In 2009, veteran New Zealand psych-guitarist Roy Montgomery (of Dadamah and Hash Jar Tempo, among other things) and Liz Harris’ Grouper released this magnificent split 12″ on Harris’ Yellow Electric label as well as ambient artist Jefre Cantu-Ledesma’s now defunct Root Strata label.
Montgomery’s side is dedicated to Sandy Bull. Bull was a groundbreaking folk-guitarist who became a staple performer in the Greenwich Village scene of the early 60s and pushed boundaries on his albums, mixing international instruments, sounds and genres. His “Blend” is presumably the inspiration for Montgomery’s “Fantasia on a Theme by Sandy Bull (Slight Return)”. Like “Blend”, “Fantasia” is a roughly 20-minute piece of marvelous acoustic guitar work, with multiple changes in tempo and melody. A significant difference is that on “Blend”, Bull was accompanied by jazz drummer Billy Higgins (of Ornette Coleman’s band, among others), where Montgomery’s “Fantasia” has no drums. This is made up for by the reverb on Montgomery’s guitar, which gives the effect of the artist accompanying himself. It’s a brilliant psychedelic piece to get lost in.
Grouper’s side comes from one of the strongest periods of her consistent career: between the releases of Dragging a Dead Deer Up a Hill and AIA, arguably her two best full-lengths. If you’re a fan of Grouper you know what to expect: music that is hazy, delicate and touching. There are four songs, the standout being “Vessel”, which recalls (to me) the melody of “The Star-Spangled Banner”. “Pulse”, the instrumental closer, features some prominent dog-barking (presumably from the one pictured here).
Harris and Cantu-Ledesma would later collaborate as Raum on 2013’s Event of Your Leaving, and Harris featured on Roy Montgomery’s 2018 album Suffuse.
This split is not on Spotify. Check out Grouper’s side on Youtube, below.
Whew, that title is a mouthful. Okay, ever seen Jodorowsky’s Holy Mountain? Well, it’s partially inspired by French writer René Daumal’s surrealist novel Mount Analogue, in which the titular mountain is either imaginary or inaccessible. Daumal died before the book was finished, and the first track of this album acts as a sort of companion piece envisioning what the mountain contains – the title translating to Wet Meadows of Mount Analogue. I’m using some conjecture here – the album contains no lyrics and I cannot find an English translation to the Italian LP insert. The music, though, is sure to please fans of ambient and minimalist music.
Prati bagnati is composed of three tracks, the title track taking up the album’s first side and most of its running time. This is Messina’s side, and he adds synths to the piano playing of Michele Fedrigotti. The piano is delicate as a lullaby. At about the 14:45 mark, a synth melody slowly enters the mix – it sounds like what an ambulance siren would sound like if ambulances were calming instead of alarming. Then at 18 minutes we hear a couple stronger synth swaths that make me think of OPN’s maximalist soundtrack work.
Lovisoni’s b-side begins with “Hula Om”, a solo piece performed on harp, and ends with “Amon Ra”. “Amon Ra” features vocals by Juri Camisasca, who has appeared on several albums by Franco Battiato, who produced this record. Lots of Italian names, I know, but don’t worry I won’t quiz you. Both tracks continue the meditative vibe of the a-side, albeit to slightly less hypnotizing effect. But if you’re down with the 23-minute jam that opens the album, you’ll be into the rest. As a package, Prati bagnati is a heavenly slice of Milanese minimalism.
Look at the ARP Odyssey. It looks like 1976. At 23(!), Manuel Göttsching used it and an array of other synth equipment to create New Age of Earth. By ’76, the Ash Ra Tempel veteran had spent over 5 years with that group as a young guitarist and vocalist. Despite the Ashra moniker here, New Age of Earth is essentially Göttsching’s solo debut. Göttsching’s official website bio hilariously characterizes him as “Modest, quiet, [and] bad with self-promotion and with answering the phone”. He made all the music himself, and in falling with his modest and quiet character, there are no vocals to be found here, just 4 instrumental pieces.
“Sunrain” is propulsive, perhaps the least “ambient” piece here. It makes me want to sing along like the guy on Pat Metheny’s Still Life who goes “dadadada de DAdoo dayah” (maybe check that album out if you don’t know what I’m talking about).
“Ocean of Tenderness” is, as its title suggests, calm and soothing. Göttsching whips out the Gibson SG on the last 5 minutes for some dank noodling. “Deep Distance” is a whistling jam that some have likened to a proto-Aphex Twin track.
“Nightdust” takes up the whole B side, and it’s the trippiest piece on the record as well as my favorite. It fans out like a bellows before settling, appropriately, like cosmic dust. Along with the ambient pieces on NEU! 75, this is about as good as it gets for spacey Krautrock music. I recommend it to any fan of ambient or atmospheric synth and guitar work.
Imagine a party outside, in Japan, on a mountain. Heavy rain falls as ambient techno plays late into the night. This isn’t a dream: this is Labyrinth, an annual music festival on Japan’s Mt. Naeba.
It was here at Labyrinth 2012 that Italian techno producer Donato Dozzy met Philadelphian ambient/experimental musician Chris Madak, AKA Bee Mask. Dozzy called the festival “Simply, the best thing I ever experienced in my life,” and connected with Madak in an environment ripe for both musicians. Initially commissioned for a single remix of Bee Mask’s “Vaporware” (note: not “vaporwave”) 12″, Dozzy produced an entire album of reimaginings of the source material. The result: Donato Dozzy Plays Bee Mask.
The original “Vaporware” is initially a jarring track, its bleeps and blips immediately scrambling the listener’s brain before gaining a rhythm. Plays Bee Mask brilliantly uses the source material to create a much more subtle and calming experience. Infused with raindrops, the opener “Vaporware 1” is ambient bliss, looping the bells of “Vaporware” to create a sonic dreamscape.
Elsewhere, “Vaporware 3” freezes what sounds like a vocal loop a la The Field, “Vaporware 4” finds a techno groove, and “Vaporware 7” is a mind-melting finale. What Dozzy accomplished with Plays Bee Mask is outstanding in both the ambient and techno genres, especially considering the amount of music released in both fields over the past 10 years. If you consider yourself a fan of either type of music, do yourself a favor and listen to this album.