Evan Caminiti - Digging The Void

Label: Students Of Decay

Released: 2009

Style: Acoustic, Drone, Experimental, Ambient

"We've been trying to get these in stock for a while now, solo record number two from Evan Caminiti, one half of psychedelic doom drone duo Barn Owl. The other Caminiti solo record, Psychic Mud Shrine, introduced us to a world not all that far removed from Barn Owl, or Elm, the solo project from Caminiti's partner in Barn Owl Jon Porras (who just so happens to work at aQ!), and Digging The Void does indeed delve even further into that same blissy druggy void.

Long, low, slow tones, throb, and pulse, layered tones emit subtle overtones, melodies are spidery and barely there, visible through the gauzy whir of the droning guitars, a series of spaced out otherworldly ragas, super minimal and intimate, but at the same time, sweeping and epic. Unlike Elm's, and to a lesser extent, Barn Owl's tendency to get HEAVY, and to dabble in some SUNNO)))-like density, Caminiti keeps it hushed and scaled back, these sonic rituals are not meant to conjure up the same sort of blackened mystery, instead they drift through soft clouds of hum and whir, fragments of Appalachian folk hover over deep rumbles, the sounds are ghostly, the arrangements spectral and ethereal, laced with twang, but just as likely to smooth all the notes and melodies into softened streaks of monochrome blur, and on at least one track, the drone is jettisoned, and an acoustic guitar unfurls long tendrils of steel string buzz and classic folky melody, a darkly mysterious coda, to an already haunting and murky songsuite. So gorgeous. " - Aquarius Records

Tracklisting:

1 II (6:35)

2 Weaving The Great Smoke Loom (12:33)

3 Glowing Corpse (9:24)

4 Ice Marj (3:01)

5 Midnight Naked Swim (4:57)

6 I (3:31)

Link

Hush Arbors - Hush Arbors

Label: Digitalis Recordings

Released: 2006

Style: Folk Rock, Acoustic, Experimental

"Self released albums often get overlooked by most media outlets. This is a crime, especially considering that there is a lot of high quality stuff being put out by people with no money. You burn the CDs at home, you make the covers yourself, and you send out copies just hoping someone will listen. And I know from experience how discouraging it can be when seemingly no one pays attention. Hush Arbors, the solo vehicle of Keith Wood, is such a project that is plugging away in Northern Missouri. Despite attention from local admirers, you probably won't read much about Hush Arbors in many magazines across the globe. This is no indication of how good Wood's music is.

The Hush Arbors self-titled debut CD-R is 43 minutes of blissful forest folk with a heavy drone influence. Wood's vocals lie somewhere in between Jewelled Antler kingpin Glenn Donaldson and international man of mystery, Will Oldham. Musically, I am most reminded of the former's Birdtree project, but there are a range of influences audible all over this record. Those so endeared to the oragnic nature of many groups on the Jewelled Antler imprint will find much comfort in these warm and inviting tracks.

Wood opens the album with the haunting "Magic Wood." It's a slow, meandering piece that hums under the heat of the summer sun. His voice swims in ocean's of reverb, and his acoustic guitar sounds like it's being played in an underwater cave. This song makes me long for laying in the grass under a giant oak tree in an abandoned field. These songs have so much warmth flowing from them that the listener can't help but get drawn in. This is especially true with "Magic Wood." Each note seems carefully placed and each word chosen for a purpose. After one listen, I feel like I've been whisked away to a dream world. Wood's high-pitched voice meshed with the bright and roomy guitars gently lull your eyes shut as the music infects your entire body. "Magic Wood" sets the perfect mood for the rest of the album.

This album works so well because of it's combination of songs that are straight-forward and other tracks with heavy leanings in the drone area. The best example of this is on "The Same Tree Forever" which is followed by the short, innocent ballad "Wait for Awhile." "The Same Tree Forever" is a seven minute drone using some kind of bowed stringed instrument as the foundation. Hearing this, I feel like I'm in a cathedral and light is pouring through the brigthly-colored stained glass. As I am bathed in light, a choir of angels is barely audible through this thick musical haze. This is ethereal in every sense of the word. Just when it seems like he might let up, Wood builds the wall of sound higher; he doesn't let up. Spirituality is rarely expressed in such an empowering way.

Now, the real brilliance here is how "The Same Tree Forever" is followed up by the short, sweet, sun-kissed longing of "Wait for Awhile." Based around acid-folk guitars and bowed dulcimer (I think), Wood sings simple verses about the simple, beautiful things in life. "If we could find a place to wait for a while, to make sure there's a smile on your face," he croons. There is such longing in his voice that I can't help but be moved. This is a song that might not work in another context, but here it is perfect. It's sweet, and maybe even a little sappy, but every time I hear it, it's nothing short of beautiful.

Each track here is a winner, but my favorite is "I Took a Watch on the Sea Wall." By using a lot of bass when mixing the acoustic guitar track, Wood gives this song vague punk rock undertones. I know it sounds strange, but I feel a great deal of energy emanating from this piece. This song, like so many on here, is based around acoustic guitar and his voice. Under the surface flows a river of dense ambience. These atmospherics give the track an open-air feeling, like he is trying to embody the vast expanses of rural Missouri. On the chorus, Wood's voice is cathartic, and his reverb-laden background vocals are vaporous. The last chorus feels like one last breath of fresh air before the song descends into a minute of distorted electronic noise. "I Took a Watch on the Sea Wall" is a minor masterpiece.

Keith Wood is an immensely talented songwriter, and his ability to make his recordings feel raw and organic really sets him apart from likeminded artists. Perhaps I am most reminded of Ben Chasny and Six Organs of Admittance; there are definitely similarities, especially on the 11+ minute "Smoke Burn - Eyes So Sore." With its subtle Eastern influences and gentle guitar picking, Chasny and other Fahey followers would be proud. This is music that comes straight from the earth. It's a shame that this won't get the same attention as any of the recent recordings from Chasny, because this is just as good. 9/10 --" - Foxy Digitalis

Tracklisting:

1 Magic Wood (3:53)

2 The Same Tree Forever (6:48)

3 Wait For Awhile (2:27)

4 The Werewolf Om (4:18)

5 Red Horse (4:10)

6 I Took A Watch On The Sea Wall (6:19)

7 People Died Today (3:37)

8 Smoke Burn - Eyes So Sore (11:19)

Link

Chihei Hatakeyama - Saunter

Label: Room40
Released: 2009
Style: Ambient, Acoustic

"Saunter is in some ways an auditory interpretation of the monochromatic Chinese painting style ‘Sansui-Ga’. An approach concerned with the themes of landscape, ‘Sansui-Ga’ seeks to express a sense of philosophical consideration for the form and shape.

Saunter follows this approach, casting out lush layers of texture that seem to sound out the edges of landscape. The sounds dynamic fluctuations suggesting structures, trees, fields and other aspects dotting the landscape in which Hatakeyama finds himself.

Focused particularly on the transition from Fall to Winter, this record is a graceful and considered work. Elegantly crafted with an attention to subtle melodic variation and harmonic richness Saunter is a ‘visionary’ collection from one of Japan’s finest composers." - Label

Tracklisting:

1 Treads Echoing Far Away From Sea Coast (7:17)
2 The Room In Past (9:27)
3 Images Of Broken Light (8:29)
4 A Stone Inside The Box (5:06)
5 Small Pond (4:22)
6 Landscape On A Hill (8:32)

Link

Mark McGuire - Light Movement

Label: Wagon
Released: 2008
Style: Acoustic, Drone

"Mark describes this one as his most ‘new age’ sounding set yet, but cross that with some beautifully reflective deep-listening drone ala Andrew Chalk and the kinda luminous guitar work of peak Charalambides and you’re truly there. Excellent." - Volcanic Tongue

Tracklisting:

1 The Path Lined With Colorful Stones (9:32)
2 Under New-Age Skies (9:21)
3 Dividing Lines (9:31)
4 The Turtles And The Lizards And The Snakes And The Dragon Flies And The Field Mouse All Sat On The Riverbank (9:34)

Link