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

Tamagawa: "plus tard, le mem jour..."
Noecho Records

plus tard, le meme jour... features nine elemental guitar drones and ambient settings from Tamagawa, an unidentified (aside from ‘B.G.') one-man guitar-based project from Saint Etienne, France. Tamagawa's effects-laden guitar settings are covered in a hazy, ethereal cloud of reverb, which gives them a pronounced psychedelic character. There's a good range of material on hand, including sound sculpting (the cloud-like evocation “Par De La Les Nuages...”), meditations (“Principe Exogamik,” whose hazy, reverb-soaked guitar melody intones like a mantra), melody-based settings (“Bonheur Animal,” the brooding “Cellule Souche”), and, of course, drones (“Midi Brulant,” where synth patterns whoosh across a blurry base). The album even includes a pretty lullaby (“Principe Endogamik”)—albeit a rather psychedelic one—whose dreamy melodies one could imagine lulling an infant off to slumber. One misstep is audible: adding a downtempo drum machine accompaniment to “La Vache Bariolee” isn't needed when the ever-intensifying drone would burn just fine on its own. Some listeners may find the album too reserved, as B.G. never unleashes the full fury that his gear affords. But this is actually one of the most appealing things about the album, as Tamagawa resists the urge to strafe the ear with unnecessary shredding. A piece such as the pulsating “Brute Interne” consequently becomes more an ambient exercise in atmospheric evocation than a narrative piece that works itself up to a conventional climax.

March 2010