textura

Albums
2562
3ofmillions
3 Seconds Of Air
Monty Adkins
Agoria
Anduin
Natalie Beridze TBA
Black Eagle Child
Boduf Songs
Bodzin Vs Romboy
Build
Marco Carola
Blake Carrington
Codes In The Clouds
Dreamsploitation
Federico Durand
Elektro Guzzi
Emanuele Errante
FiRES WERE SHOT
Rick Frystak
Garin & Gobart
Gerard and Graydon
Kraig Grady
Guthrie & Budd
Marcus Intalex
Jumpel
Slavek Kwi
March
Maschine
Melodium
Alton Miller
Obsil
Phaedra
Semiomime
Shaula
Kate Simko
Sleepingdog
Nobuto Suda
Moritz Von Oswald Trio

Compilations / Mixes
5ZIG
20 F@#&ING Years
Michelangelo Antonioni
Fabric 56: Derrick Carter

EPs
Agoria featuring Kid A
Aleph
A Story of Rats
Orlando B.
Ceremony
Cex
Matthew Dear
Entia Non & Tanner Menard
Nick Kuepfer
Clem Leek
Mat Le Star
Lulacruza
Paul Lyman
Moss
Resampled Part 1
Resampled Part 2
Snoretex
Subeena

March: March
Tonefloat

Use Of Ashes and Mercy Giants member Maarten Scherrenburg steps out with a debut under the March name that spotlights his folk-based, singer-songwriter leanings. The vibe throughout is earnest and intimate, with Scherrenburg exposing his vulnerable side in winsome ballads like “Wintertime,” “Try Not To Hide,” and “You Left.” He plays all of the instruments—guitars, bass, drums, piano, organ, banjo, and vibraphone, primarily—and adds rough-hewn vocals to almost all nine of the album's songs.

As “When I See You,” the plaintive, blues-tinged ballad that opens the album makes clear, March is generally low-key and laid-back, despite the presence of a couple of animated exceptions,“Structures and Layers” and the slightly funky groove “Go To Sleep” (which exudes a jazz-tinged momentum that belies its title). A slightly trippy quality seeps into a few of the songs too (e.g., “Think About Yourself Girl”) when electric guitar episodes surface that retain a trace of psychedelic dreaminess. March is occasionally distinguished by subtle dabs of instrumental colour (vibes and banjo in “You Left,” for example) as well as some instrumental passages that are particularly lovely (the mid-song guitar break in “When I See You”). A few electronic touches surface conspicuously during “Structures and Layers” in the form of skittering drums and a few vocal hiccups and in the collage interlude “You Know That I Want You,” but Scherrenburg largely plays it straight on the forty-minute album and stays true to the material's acoustic folk spirit.

April 2011