Articles
Rafael Anton Irisarri
Slow Six

Albums
Another Electronic Musician
Balmorhea
Celer
City of Satellites
Cylon
Deadbeat
Kyle Bobby Dunn
Eluvium
Ent
Ido Govrin
Danny Paul Grody
Chihei Hatakeyama
Wyndel Hunt
The Internal Tulips
Keepsakes
The Knife
Kshatriy
Lali Puna
Francisco López
Mask
Melodium
Monolake
Clara Moto
Myrmyr
Nos Phillipé
Ontayso
Outputmessage
Pleq
The Q4
Schuster
Shinkei + mise_en_scene
The Sight Below
Sphere Rex
subtractiveLAD
Bjørn Svin
Tamagawa
Ten and Tracer
Trills
Trouble Books
Yellow Swans

Compilations / Mixes
An Taobh Tuathail Vol. III
Does Your Cat Know My...
Emerging Organisms 3
Moment Sound Vol. 1

EPs
Brim Liski
Ceremony
Eric Chenaux
Abe Duque
Hieroglyphic Being
Rafael Anton Irisarri
Manaboo
Monolake
Mr Cooper & Dday One
Pleq & Seque
Nigel Samways
Santos and Woodward
Simon Scott
Soundpool
Stimming, Watt & Biel
Stray Ghost
Ten and Tracer
Stuchka Vkarmanye

Nigel Samways: Silver Rain, Green Trees
Ephre Imprint

Nigel Samways, who has issued previous releases on Experimedia and October man, among others, now inaugurates the London-based Ephre with a twenty-three-minute EP (available in ten-inch or CD-R formats) of pieces heavily centered around field recordings. Silver Rain, Green Trees, which uses recordings made in London during 2007-8 as a springboard, follows upon two previous releases that Samways also oriented around recordings made in different cityscapes, specifically Mestre Full Stop (Venice) and Veilleur de nuit (Paris). Though the Silver Rain, Green Trees contains seven pieces, one follows after another without interruption, though an abrupt shift does occurs between the title track and “Dulwich.” Rather than tipping the balance too far in either direction, Samways gives equal room to the field elements as he does the musical, the intent being to complement London's decaying dimension—its “bruised and battered underbelly,” as he puts it—with music of a similarly decomposing kind. As such, melancholy themes voiced by piano and guitar merge via computer with texture-heavy field materials in a such a way that all parts swim within a common, dense mix. A fog envelops much of it, rendering the parts indistinct and allowing them to blend together more hazily. At opposite ends of the EP, sparse piano droplets sprinkle over a stream of city sounds and voices in “Victoria/Vauxhall,” and crystalline bells intone amidst washes of blurry noise during “Lambeth In Saviour.”

March 2010