#Sonic Solace Canada

[sonic-solace]

Sonic Solace Tinnitus - Ingredients Pros & Cons

Sonic Solace Review A quick point before we start, I am not a doctor and do not claim to be. Any special diet requirements you have you should take up with your dietician or medical professional. Sonic Solace Review The foods I talk about here are foods that I find beneficial to me to avoid. My name is John and I suffered with Sonic Solace Review tinnitus for ten years. Over this time I have found what works and what does not with helping tinnitus. My website was setup to help those who suffer with a series of self help guides Sonic Solace Review.

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Sonic Solace Review Tinnitus is a condition where you here a constant ringing in your ears. You may also experience headaches and dizziness with it. The condition itself is not life threatening, it is just very annoying. I have to run a fan on my night stand at night when I sleep, to provide some noise.

In other words, you can't trade your worries for a change in destiny. No one is going to re-write the books just because you like to worry. I found the best way to deal with worry is to obtain the basic facts and determine what the core of my worry is.

But, do you know the only problem with this kind of thought process? None of it would make my tinnitus or my life any better? And, that's when I decided to do something about it. I realized that if I could not cure my tinnitus then I would have to cure my life instead. How did I do this? How can you do this?

Wax build-up in the ears causes ear infection too. When those ear fluids come in contact with dirt, wax forms. If the ear is not cleaned regularly, wax can buildup to the extent it causes major problems.

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I was so busy fighting the Tinnitus and struggling to make it through the day, I barely noticed my wife's struggle with my Tinnitus too. I had no energy for her personal fight to keep me alive, or to fight the Canadian Hearing Association when they told me they couldn't measure the volume of the noise I hear (higher than their instruments could measure). I had no strength to fight the audiologist who sold me "white noise/masking hearing aids" that, despite my discipline, hope, and full cooperation, didn't work for me. I didn't have the energy to fight other health professionals who tried to help but whose good ideas didn't work. They got my money; I kept the tinnitus.

Before you lie down, review your day and think of ways to resolve any problems you may have encountered. When you don't get enough rest, your body does not have the chance to regenerate and heal.

In fact, you can make your own natural products to help your tinnitus at home. Everything can be found in the grocery store for under $10. Geoff Barker, an renowned tinnitus researcher, developed a guide to help you cure your tinnitus. I highly recommend checking it out because it has helped thousands worldwide.

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[son1c]

i think it's a little silly to say that sega is "baiting" sonadow with some of the promotional stuff they've done, or even stuff like sonic prime and sonic x shadow gens and etc. it's fully normal for characters to have meaningful interactions with each other or at the very least have their connections ACKNOWLEDGED. sonic (series) kind of has a nasty case of mascotitis where these characters aren't allowed to actually be characters a lot of the time. that being said, some stuff like walmart canada alluding to sonic and shadow being "exes" is a bit hard to ignore. but to be honest i don't really mind it? idk, obviously nothing is going to come out of it. it's just indicative of a general shift in attitude... or at least i'd like to hope it is. where the thought of two guys being romantically involved is something that even corporations feel comfortable admitting exists. there's some solace in seeing that recognized by Entities With Money especially when this particular series is no stranger to "baiting" a straight ship in the past. even if it's all just some kind of elaborate joke, which i don't think it is, i'd still take a nod with a cheeky little smile to no nod at all

[get-health-supplement-for-all]

Is Sonic Solace Safe? Is it really work?

It's the only product in the world which is carefully designed to do one thing: protect your ears!

Sonic Solace is a scientific breakthrough in ear health, and has been taking the world by storm.

What is Sonic Solace ?

The World Health Organization estimates that 25% of people will experience a problem in their ears in the next 30 years. These problems could affect more than 700 million people. However, this is not an inevitable fate. Consumers can avoid these problems. Most people don't pay much attention to ear health or the issues that affect it (e.g., hearing loss, ringing, etc.). Sonic Solace can help you if you lose your ability to hear.Sonic Solace, a new revolutionary formula for ear health, has thousands of users who have already used it to improve their own. Five exotic ingredients are combined in a proprietary blend to protect the ears and eliminate toxins. The inner ear hairs can be protected from hearing loss by using this blend. This can also help with tinnitus caused by this type of pain.

That’s why we created

Sonic Solace The unique ingredients help to clear up toxic nerve environments, which if not addressed, will destroy or damage the hair cells in your inner ear. If these hair cells are not protected, you may experience ringing in your ears, or hearing loss.

Frequently Asked Questions

Small Call to Act How Many Bottle Should I Order? Sonic Solace is best used for at least 3 to 6 months to achieve the best results. This will ensure you reach your goals. Sonic Solace can be purchased monthly, but we recommend you buy 3 to 6 Bottle of Sonic Solace as we offer discounts and that's the minimum amount you need to see results. You should note that this discount is not available year-round. So take advantage of it while you can.Is Sonic Solace Approved By The FDA?Sonic Solace is manufactured in the USA by our FDA-approved, GMP-certified facility. We adhere to the highest standards.

How can I buySonic Solace Supplement?

Sonic Solace is available For a limited time, they offer three discounted packages: Basic bottle - $69 Per Bottle.How Will Sonic Solace Be Shipped To Me And How Quickly?

You can expect your order to be shipped within 5-7 business day if you live in the United States of America or Canada. Orders from outside the USA or Canada typically take between 8-15 business days (+ customs clearance). Delivery times may be affected by the Covid-19 pandemic. We will deliver your order to your office or home using a premium carrier like FedEx or UPS.

Is Sonic Solace Safe?

Sonic Solace contains 100% natural and safe ingredients. It is therefore completely safe, effective, and natural. Sonic Solace is used daily by thousands of people. There have been no reported side effects. Sonic Solace are made in the USA at our FDA-approved, GMP-certified facility. We adhere to the highest standards. It is 100% natural, vegetarian, and non-GMO. Before using, consult your doctor if you have any medical conditions ion Headline

There have been no reported side effects. Sonic Solace are made in the USA at our FDA-approved, GMP-certified facility. We adhere to the highest standards. It is 100% natural, vegetarian, and non-GMO. Before using, consult your doctor if you have any medical conditions ion Headline

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[dustedmagazine]

Dust Volume 6, Number 4

Guided by Voices just dropped record #30!

We enter April wishing all of you good health and financial solvency, though we know that many of the musicians and artists and appreciators that visit our site are in very dire circumstances. Our own crew is, so far, not infected, though we are coping with varying degrees of success to the new normal. Some are writing more. Others are struggling. Almost all of us are listening hard to the music that sustains us, and hope that you are likewise finding some solace. This edition of Dust is a big one, as a lot of us have the attention span for shorter, but not longer pieces. Enjoy it in good health. Contributors included Bill Meyer, Jennifer Kelly, Jonathan Shaw, Ian Mathers, Andrew Forell and Tim Clarke.

Aara — En Ergô Einai (Debemur Morti Productions)

En Ergô Einai by Aara

Swiss black metal band Aara offers a very high-concept LP, investigating the European Enlightenment, and the period’s complex and conflicting discourses on human rationality. In some ways, the historical period was enormously optimistic, featuring thinkers like Ben Franklin and Rousseau, who were committed to modes of thought that were scientifically rigorous and grounded in egalitarian ethics. But at the same time, European coloniality ramped up significantly, and capital became a rapacious, world consuming engine, churning out massive wealth and even more massive human suffering. Aara investigate that — or anyways that’s their claim. They haven’t published the lyrics to these songs, and the vocal stylings of singer Fluss are so brittle, so horrendously shrieked, that it’s impossible to decipher the words. The music is suggestive, however. It’s infused with a grand sensibility, and also charged with black metal’s negative intensities. The influence of Blut Aus Nord’s romantic Memoria Vetusta records is strongly present — and Vindsval, Blut Aus Nord’s principal composer, plays guitar on “Arkanum,” first track on this record. Its grandiosity is in tune with the philosophical enthusiasms of the Enlightenment. But it’s pretty cold stuff, like rationality itself.

Jonathan Shaw

 Ryoko Akama / Apartment House — Dial 45-21-95 (2019) (Another Timbre)

Dial 45-21-95 by Ryoko Akama

The one time I saw Ryoko Akama’s music performed, the visual poetry of the concert was at least as compelling as the music that was made. During one piece she, Joseph Clayton Mills and Adam Sonderberg walked calmly up and down a line of tables loaded with instruments and knick-knacks she picked up during her visit to Chicago, making timely sounds that seemed to accent their movements rather than issue from them. While it sounded nothing like the music on Dial 45-21-95 (2019), this album is likewise the work of sympathetic musicians expressing a composer’s impressions of a place and all that comes with it. The source material this time comes from Akama’s visit to the archive of filmmaker Krzystof Kieslowski. Objects she saw, words that she read, and the episodic pacing of his works all became part of this cycle of leisurely, gentle movements of music that is small in scale, but not exactly minimalist. The musicians, in this case the English new music ensemble Apartment House, often seem to be passing phrases from one to another, each recipient conveying a reaction to what they’ve heard rather than the same information. In this way they impart the experience of a story without telling one.

Bill Meyer

 Aidan Baker & Gareth Davis — Invisible Cities II (Karlrecords)

Invisible Cities II by Aidan Baker & Gareth Davis

What better time than when we’re all forbidden by pandemic to spend time in the company of others to listen to some quality sonic landscaping instead? Nadja’s ever-prolific Aidan Baker second duo collaboration with bass clarinetist Gareth Davis follows on the first Invisible Cities with a similar structure; Baker, credited on that first LP with just “guitar”, somehow summons up vast or subtle cloudbanks of hissing ambience, covert drones, even sometimes harsh blares (check out “The Dead” here) while Davis plays his clarinet like he’s carefully picking his way across a perilous set of ruins. Whether elegiac like the opening “Hidden” or more mysterious like the fading pulses threading around Davis’s work on “Eyes”, the result is a vividly evocative set of involving ambient music made using slightly unusual materials. Even though Baker and Davis fall into a set of background/foreground roles, both clearly contribute equally to what makes Invisible Cities II work so well (honestly, a little better than their fine debut as a duo), and although unintentional, the result can serve to give us temporary shut ins plenty of mental fodder as well.  

Ian Mathers  

 The Bobby Lees — Skin Suit (Alive)

The Bobby Lees may be from Woodstock, but they definitely do not have flowers in their hair. Skin Suit, the band’s second album, is a blistering onslaught of garage rock fury, at least as heated as last year’s Hank Wood and the Hammerheads S-T, but tighter, nearly surgically precise. Singer/guitarist Sam Quartin has a magnetic, unflappable presence, whether issuing threats sotto voce (“Coin”), insinuating sexual heat (“Redroom”) or crooning the blues. But everyone in the band is more than up to the job, whether Macky Bowman knocking the kit sidewise in the most disciplined way, Kendall Windall jacking the pressure with thundering bass or Nick Casa lighting off Molotov cocktails of guitar sound. Video (above) suggests that the record isn’t the half of it, but the record is pretty damned good. Jon Spencer produced and makes a characteristically unhinged cameo in “Ranch Baby.” Two covers ought to be a misfire—can anybody improve on Richard Hell’s “Blank Generation,” or add anything further to the Spencer Davis Group’s “I’m a Man”? — but instead bring the fire. Helluva a band, probably even better live.

Jennifer Kelly

 Rob Clutton with Tony Malaby — Offering (Snailbongbong Records)

Offering by Rob Clutton with Tony Malaby

Sometimes when one musician gets top billing, that just means they ponied up for the session fees. But on Offering, the words “Rob Clutton with” signal that the Canadian double bassist conceived of a sound situation and procured material suited to that concept. Clutton is well acquainted with the American soprano and tenor saxophonist, Tony Malaby. Their association dates back two decades, when both men were resident artists at the Banff Centre For Arts and Creativity in Alberta, Canada, and they’re both members of drummer Nick Fraser’s band. That common ground gets the nod on “Sketch #11,” a Fraser tune that occasions some of the most swinging music on this wide-ranging and thoroughly satisfying session. But elsewhere the genesis of the material lies in Clutton’s own improvisations, which he recorded, transcribed and analyzed in order to locate nuggets of musical intelligence worth developing into discreet melodies — or further improvisations. Either way, Malaby isn’t just the guy on hand to play the horn parts, but a known musical quantity to be either be written for or set up to set loose. Clutton must have had his tone, alternately ample and pungent on soprano, and his imaginative responsiveness to the melodic, rhythmic, and emotional implications of a theme in mind, for his own purposeful perambulations seem designed to give Malaby plenty to wrap around and climb upon. While the music is ever spare, it’s never wanting.

Bill Meyer

 Pia Fraus — Empty Parks (Seksound)

Empty Parks by Pia Fraus

Empty Parks, the latest album from Estonian neo-shoegazers Pia Fraus, deftly soundtracks crisp, blue-skied, late winter days when buds are emerging on bare trees and the promise of warmer days beckons. The Tallinn based band comprising Eve Komp (vocals, synth), Kärt Ojavee (synth), Rein Fuks (guitar, vocals, synth, percussion), Reijo Tagapere (bass), Joosep Volk (drums, electronic percussion) and Kristel Eplik (backing vocals) traffics in layered harmonies, swathes of synth and roving guitar lines over a solid, propulsive rhythm section. Most of the songs move along at a good clip with a great sense of dynamics and a focus on atmospherics. Sometimes one wishes they would let go a little and explore the hints of noise on standout tracks “Mr. Land Freezer,” “Nice And Clever” and “Australian Boots” which have traces of grit that, if given more prominence, may have elevated Empty Parks as a whole from enjoyable to compelling.  

Andrew Forell  

 Stephen Gauci / Sandy Ewen / Adam Lane / Kevin Shea — Live at the Bushwick Series (Gaucimusic)

Gauci/Ewen/Lane/Shea, Live at the Bushwick Series by gaucimusic

The cultural losses inflicted by the current pandemic situation are so immense that no record review is going to hold the whole story. But this one might clue you in to one culture under unique threat, and also shine a light on the spirit that may bring it back again. Since the summer of 2017, tenor saxophonist Stephen Gauci has been organizing a concert series at the Bushwick Public House in Brooklyn, NY. Each Monday starting at 7 PM up to half a dozen individuals or ensembles will play some variant of jazz or improvised music. This album is the first in a series of five titles, all released as either downloads or CDRs with nicely done sleeves, and each documenting a set that was part of the series. Live at the Bushwick Series is a forceful argument for the mixing of aesthetics. You might know drummer Kevin Shea from the conceptually comedic jazz band, Mostly Other People Do The Killing, or Gauci and Lane from the many recordings that showcase each man’s impassioned playing and rigorous compositions. Maybe you know guitarist Sandy Ewen as a started-from-scratch free improviser. But when you hear this recording, you’ll know that they are a band, one that makes cohesive and ferocious music on full of tectonic friction and fluid role-swapping on the fly. When the quarantines expire, there may or may not be a concert series, or a Bushwick Public House to host it. But it’ll take the kind of commitment and invention heard here to get things rolling again.

Bill Meyer

 Vincent Glanzmann / Gerry Hemingway — Composition O (Fundacja Sluchaj)

Composition O by Vincent Glanzmann / Gerry Hemingway

A composition is both an ending and a beginning. It establishes some parameters, however specifically, to guide musicians’ interactions. But the publishing of a piece can also provoke many different interpretations, especially when the composition itself is designed to be a work in progress. Percussionists Vincent Glanzmann and Gerry Hemingway developed Composition O with the intent to revise each time they play it, so that while there is a graphic score guiding them, it is subject to change. So, don’t expect this music to have the locked-in quality of, say, Steve Reich’s Music for Eighteen Musicians, any more than you might expect it to evince the self-creating form of a free improvisation. It proceeds quite deliberately through sections of athletic stick-craft, sonorous rubbing, and eerie extensions beyond the percussive realm enabled by the distorting properties of microphones and the deeply human communication of Hemingway’s vocalizations, which are filtered by a harmonica. The score keeps things organized; the concept means that this music will evolve and change.

Bill Meyer

 Magnus Granberg / Insub Meta Orchestra — Als alle Vögel sangen mein Sehnen und Verlangen (Insub)

Als alle Vögel sangen mein Sehnen und Verlangen by MAGNUS GRANBERG / INSUB META ORCHESTRA

In a previous review for Dusted, I characterized Magnus Grandberg’s sound world as “unemphatic.” The same applies here, and the accomplishment of that effect is in direct inverse to the size of the ensemble playing this album-length piece. For this performance, the Insub Meta Orchestra numbers 27 musicians, but it rarely sounds like more than four or five of them are playing at any time. The ensemble is well equipped to represent whatever Granberg suggests. In addition to conventional orchestra instrumentation, you’ll find antique instruments such as spinet, traverso and viola da gamba, as well as newcomers like the analog synthesizer and laptop computer. Granberg selects discerningly from centuries of compositional and performative approaches. The piece’s title, which translates to “When all the birds sang my longing and desire,” tips the hat to Schubert, but the way that timbres offset one another shows a working knowledge with contemporary free improvisation. It takes restraint on the part of the players as well as the composer to make a group this big sound so small in contrast to the silence that contains its music.

Bill Meyer    

 Ivar Grydeland / Henry Kaiser — In The Arctic Dreamtime (Rune Grammofon)

If Ivar Gyrdeland (Danes les Arbres, Huntsville) and Henry Kaiser had first met in an airport lounge or a green room somewhere, you might not be able to hold this CD in your hands. They’d have sat down, started talking about strings or pick-ups or their favorite Terje Rypdal records, and who knows where that might have led. But they met in an Oslo studio, and one of them had some means of projecting Roald Amundsen — Lincoln Ellsworth’s Flyveekspedisjon 1925, a documentary of an unsuccessful and nearly fatal attempt to fly two airplanes over the North Pole. So, they set up their guitars and improvised a soundtrack to the film on the spot, which became the contents of this CD. Neither man regards the guitar’s conventional sounds as obligatory boundaries, and much of the music here delves into other available options. Resonant swells, looped harmonics, and flickering backwards sounds alternate with shimmering strums, skeins of feedback, and unabashed shredding, radiating with an icy brightness that corresponds to the unending polar sunlight that shone down on the expeditionaries as they hand-carved a runway out of the ice.

Bill Meyer

 Guided By Voices — ‘Surrender Your Poppy Field’ (GBV, Inc.)

Surrender Your Poppy Field by Guided By Voices

The ever productive Robert Pollard kicks off a new decade with a louder, more distorted brand of rock, his characteristic hooky melodies buzzing with guitar feedback. He’s supported by the same band as on last year’s Sweating the Plague— Doug Gillard, Kevin March, Bobby Bare, Jr. and Mark Shue, who like Pollard are lifers to a man. Songs run short and feverish with only a couple breaking the three- minute mark and the chamber-pop “Whoa Nelly,” clocking in at 61 seconds. And yet, who can pack more into a couple of minutes than the godfather of lofi? “Queen Parking Lot” ramps up the dissonance around the most fetching sort of melody, which curves organically around modal curves. “Steely Dodger,” layers rattling textures of percussive sound (drums, strummed guitars) around a dreaming psychedelic tune. The words make no sense, but tap into subconscious fancies. This is Guided by Voices 30th album. Here’s to the next 30.

Jennifer Kelly

 Zachary Hay — Zachary Hay (Scissor Tail)

Zachary Hay by Zachary Hay

Zachary Hay is an American acoustic guitarist, but please, put aside the associative baggage that comes with those words. If you do so, that’ll put you closer to the spirit that informed the making of this LP’s ten un-named tracks. Like Jon Collin, Hay seems to be intent upon capturing the mood and environment of a particular moment. The sound of the room, or someone turning on a tap while he’s recording — these become elements of the music every bit as much as his patient note choices. Hay likes melodies, but he doesn’t feel bound to repeat them, which imparts a sense of motion to the music. Things change a bit towards the end, when he puts down his guitar and stretches out for a spell on banjo and squeezebox, humming along with the latter like a man who knows that he must be his own company.

Bill Meyer  

 Egil Kalman & Fredrik Rasten — Weaving a Fabric of Winds (Shhpuma)

Weaving a Fabric of Winds by Egil Kalman & Fredrik Rasten

Some music is born out of commercial or communicative aspirations, or philosophical structural prescriptions. One suspects that this music originates from some agreement about what sounds good, compounded by other ideas about the right way to do things. Fredrik Rasten is a guitarist who splits his time between Berlin and Oslo, shuttling between improvised and composed musical situations; he has an album out on Wandelweiser, which should tell you a bit about his aesthetics. Egil Kalman plays modular synthesizer on this record, but he is also a double bassist from Sweden who lives in Copenhagen, and he keeps busy playing in folk, jazz and free improv settings; one hopes that someday, we’ll hear some recordings by his touring project, Alasdair Roberts & Völvur. But in the meantime, give a listen to this record, which patiently scrutinizes a space bounded by string harmonics and electronic resonance. Rasten uses just intonation to maximize the radiance of his sounds and re-tunes while playing to subtly manage the harmonic proximity between his vibrations and Kalman’s long tones. The synth supplies a bit of slow-motion melody. The album’s two pieces were performed in real time, and the effort involved in maintaining precise harmonic distance gives the music a subtle but undeniable charge. The title mentions winds, but this music feels more like a sonic representation of slight but steady breezes.

Bill Meyer

Matt Karmil — STS371 (Smalltown Supersound)

STS371 by Matt Karmil

UK producer Matt Karmil’s latest release STS371 mines a lode of straight ahead acid house and techno laced with enough glitch and twitch to appeal to the head as much as the body. Lead single “PB” is a maximalist concoction of ricocheting hi-hat, blurting bass, the panting of the short distance runner and an undercurrent of soft white noise. Karmil uses just a few simple elements to build his tracks which foreground the beats. Hi-hat and kick drums drop on tracks like “SR/WB” to highlight woozy synth washes. It’s just enough to let you breathe before the high energy tempos return and the strobes flash once more. STS371 touches on Force Inc clicks and cuts and ~scape minimalism beneath the rhythms but most of all Karmil is interested in keeping you on your feet. Mission accomplished.  

Andrew Forell

 Kevin Krauter — Full Hand (Bayonet Records)

Full Hand by Kevin Krauter

Indiana musician Kevin Krauter’s sophomore album Full Hand floats by like a summer breeze. The Hoops bassist plumbs 1980s AOR and coats it in an agreeable fuzz to produce 12 tracks of gossamer dream pop heavy on atmosphere if not always individually memorable. Lyrically Krauter mines his memories and experiences growing up in a religious household, self-discovery and coming of age with poetic grace that his delivers over drum machines, hazy synths, delicate layers of guitar, and low-key yearning vocals.

At his most direct on the title track and “Pretty Boy”, Krauter explores queer identity and his wish to be himself and express his desire. “Green Eyes” and “How” confront the dilemmas of doing just that. The songs are less confessional or revelatory than the sound of Krauter working things out in real time, allowing his audience the privilege of listening as he does so. There are no “big” moments but one comes away inspired by his words and warmed by his music.

Andrew Forell

 Nap Eyes — Snapshot of a Beginner (Jagjaguwar)

Album number four sees Nap Eyes open up to take in broader, sleeker vistas. For the most part, lackadaisical country-rock’n’roll is nudged towards expansiveness by spacey guitars borrowed from My Bloody Valentine’s Isn’t Anything. Nigel Chapman steps forward into his front man role with more aplomb than on preceding albums, marshalling his bandmates around him to explore more colorful musical territories. Most successful are the singles, especially opener “So Tired,” plus the canny repurposing of the “Paint It Black” riff on “Real Thoughts,” and the deft guitar work on “Dark Link.” Sometimes there’s a loss of focus, a feeling of stretching for something just beyond reach. But that’s OK; after all, the shrugging acceptance of their shortcomings is right there in the album title.

Tim Clarke

 Peel Dream Magazine — Agitprop Alterna (Slumberland / Tough Love)

Agitprop Alterna by Peel Dream Magazine

On second album Agitprop Alterna, Peel Dream Magazine sound just like early Stereolab, with occasional blasts of shoe-gazey guitar thrown in for good measure. It may come across as reductive, even dismissive, to make such an overt comparison, but there’s no getting round it. With Stereolab’s comeback reminding everyone how beloved the band is, it’s heartening that there are new bands carrying the torch of their glorious aesthetic. To anyone who grew up in the 1990s listening to this stuff, it’ll no doubt be startling how well Joe Stevens has pulled this off. It’s a love letter to the sound of droning organs, guitars hammering away at major sevenths, driving rhythms and zoned-out but tuneful vocals. It’s derivative, sure, but it’s so well done, and the song writing is so solid that the appeal is undeniable. A recording of John Peel’s reassuringly deadpan radio patter even makes an appearance on “Wood Paneling Pt 2,” midway through the album, as if posthumously giving the band his blessing. I can’t argue with that.  

Tim Clarke

 Sign of Evil — Psychodelic Horror (Caligari Records)

Psychodelic Horror by SIGN OF EVIL

Maybe music this astoundingly stupid shouldn’t be quite so fun. But Sign of Evil, a one-man-black-metal-psychobilly-mash-up from Chile, makes a racket that’s so oddly deranged that it’s hard not to be charmed. Imagine if Link Wray somehow managed to walk into a Dark Throne practice session, c. 1995, and decided to jam, and you might conjure some of the strangeness you’ll encounter on the doltishly titled Psychodelic Horror. It’s fitting that the best song on the tape is simply called “Horror.” Nuff said. But check out the whacko piano that Witchfucker (yep) gamely pounds through the song’s first 30 seconds, and then the wheezy guitar tone he abuses your ear with when the metal portion of the song starts. These are not the sounds of a well-adjusted intelligence. Nor are they the sorts of sounds made by jackasses that cynically profess misanthropic allegiance to Satan, even as they enjoy decades-long careers in the music industry. Watain and Gorgoroth and Dark Funeral only wish they could be this legitimately unhinged. It helps that Witchfucker isn’t a loathsome racist. Rock on, you weirdo.

Jonathan Shaw

 Tré Burt — Caught It From the Rye (Oh Boy)

Caught It From The Rye by Tre Burt

Tré Burt has a rough-edged voice and fiery way with the harmonica that can’t help but remind of a certain Nobel Prize winning songwriter, though his words are less oblique. This debut album has a raspy, down-home charm, framed by raucous acoustic strumming and forthright Americana melodies. The winner here is the title track, which glancingly references the J.D. Salinger classic, but mostly reflects a soulful, restless search for meaning in art and life and music. “All my favorite paintings/ they keep on fallin' down/And I need savin' by the grace of god/But I know he's off creatin' /another one like me,” croons Burt with sandy sincerity. It’s a resilient sort of music, where Burt’s yowling voice plumbs emotional depths, but his rambling guitar line maintains a steady cheer. Burt got his big chance from John Prine’s Oh Boy Records, and as that songwriter hovers near death, it’s a good time to celebrate his legacy of leaving the ladder up.

Jennifer Kelly

 Michael Vallera — Window In (Denovali)

Window In by Michael Vallera

Chicago photographer, musician and composer Michael Vallera releases Window In, a four-track album of ambient manipulated guitar and electronic drone. Vallera works in a liminal space between actuality and potential, with continual, albeit almost imperceptible, shifts from the general and the hyper-specific. He brings a photographic eye to his compositions. They are the aural equivalent of seascapes in which one basks before one is drawn to details and the secrets beneath. Vallera’s tracks float by on luxurious oceanic swells with undercurrents of hiss, subaquatic rumbles, the blips and bleeps of luminescent trench dwellers. In the process the source, the guitar, is rendered unrecognizable, erased from the results leaving only disembodied sounds that ironically feel anchored in the real. Fans of Wolfgang Voigt’s Gas project, Fennesz’ guitar based ambient music or Basinski’s The Disintegration Loops will find much to appreciate here. Window In is a meditation on stillness and calm in the eye of powerful natural forces, something we always need but more so now.

Andrew Forell

 Windy & Carl — Allegiance and Conviction (Kranky)

Allegiance and Conviction by Windy & Carl

Windy Weber and Carl Hultgren have been creating ambient space-rock for nearly 30 years now. The couple’s cosmic yet intimate output may have slowed — this is their first album since 2012’s We Will Always Be — but their sound possesses a timeless resonance. Stepping into their river of watery guitar and bass drones in 2020 feels like little has changed since we last left them — and yet, strangely, everything is new. Windy’s voice makes tentative yet emotionally insistent appearances on five of these six tracks, her words hinting at small-scale revolutions (“In the underground, we’ve got a job to do” — “The Stranger”). “Will I See the Dawn” is the only wordless piece, where electric piano and tape hiss manage to speak volumes. At only 38 minutes, this is a short album for Windy & Carl, but one that has enough shadowy depths to qualify as a worthwhile addition to their intimidating discography.  

Tim Clarke

[swampmusicplayers]

You don't know how sweet Sugar is! 'Sugar Parks' @sugarshot featured on the 2nd track of our next EP #album Sugar Parks is a beloved #singersongwriter from the #Hollywood music scene. Sultry, smooth and emotional she communicates and charms the gatherings of hopeful artists seeking sonic solace at the various cafes and venues in the city of broken dreams. She does no less on our #LoFi album 'Urban Crime' 🚓🚁 with a dreamy rendition of a popular symphonic #Americana tune that was popular on #radio and TV in the #1970s and #80s. It may be too out there to be believed. 'Urban Crime' 🚓🚁 is headed to #campusradio this autumn! #swampinfo #swampmusicplayers #altcountry #newmusic #cosmicamericanmusic #cosmicamericana #loungemusic #indiemusic #indie #alternativemusic #yyjmusic #canada

[zed-air]

OZ’s 2017

______

Another year done gone.

••• 

As much as I enjoy discovering and listening to new music, apart from artists I already love and actively follow, I primarily seek it out for use in radio. I already have thousands of albums in the Zibliothek to explore and keep me interested, so there’s rarely a lack of tunes to spin. Those who do follow my radio work will know that I’ve had less of it in 2017 than in previous years. I’ve kept busy with other projects, but haven’t spent much energy on new releases this year. That being said, I have found a few gems. So, despite the fact that 2017 was a dog’s breakfast, here are some things I enjoyed - things that you might enjoy too - and a few things I didn’t... in no order but alphabetical.

••• 

ALBUMS I HEARD AND LOVED

Alvvays - Antisocialites // One of Canada's great contemporary Pop groups, and Alvvays enjoyable.

Comaduster - Solace // Canada's greatest sonic sculptor strikes again, as Comaduster astounds audiophiles with this tremendous, long-gestating Electronic opus. Also available in an equally-good instrumental version. 

Bill Frisell & Tomas Morgan - Small Town // Brimming with space and taste, Small Town has remained within arm’s reach since I first heard it.

The New Haunts - The New Haunts // A great debut offering from a powerful new force in the Edmonton music scene.

Noveller - A Pink Sunset for No One // I overlooked this one when I submitted my top LPs to CKUA’s 2017 list. Given the limitations of that format, I would have replaced Antisocialites with this offering from soundscapist and modern guitar-hero Sarah Lipstate. An atmospheric triumph.

Osyron - Kingsbane // Overflowing with lush arrangements, powerful vocals, and awesome guitar playing, Osyron is keeping things dynamic, nuanced, and interesting in Calgary.

AND HEY…

Theory of a Dead Man released a new album. Were you aware? Neither was I. 

••• 

HONORABLE MENTIONS

Afghan Whigs - In Spades

Celeigh Cardinal - Everything and Nothing At All

Ray Davies - Americana

Bob Dylan - Triplicate

Elbow - Little Fictions

Liam Gallagher - As You Were

Adrian Nation - Anarchy and Love

The National - Sleep Well Beast

Mike Oldfield - Return to Ommadawn

Underfelt - Refractions in Monochrome

ALBUMS I STILL NEED TO HEAR

Algiers - The Underside of Power

Nicole Atkins - Goodnight Rhonda Lee

Bjork - Utopia

GY!BE - Luciferian Towers

Jason Isbell & the 400 Unit - The Nashville Sound

Jarvis Cocker & Chilly Gonzales - Room 29

Noel Gallagher’s High Flying Birds - Who Built the Moon?

Kraftwerk - 3-D: The Catalogue

OMD - The Punishment of Luxury

St Vincent - Masseduction 

Sparks - Hippopotamus

Zola Jesus - Okovi

GREAT REISSUES

The Beatles - Sgt. Pepper’s... various versions

George Harrison - The Vinyl Collection

Radiohead - OKNOTOK

BEST LIVE SHOWS

Donny McCaslin Trio

The New Haunts

Osyron

FILMS I SAW AND LOVED

Get Out

Logan (twice, on different airplanes, because it had captions and I didn’t need headphones)

Lucky

Curiously, I did not see Logan Lucky and have no plans to do so.

Thor: Ragnarok

Wonder Woman

FILMS I STILL NEED TO SEE

Blade Runner 2049

Lady Bird

Star Wars: the Last Jedi

T2 Trainspotting

WORST MOVIE EXPERIENCES

Alien Covenant was ghastly bad.

Eight Days a Week was a complete letdown, as it added nothing to the already excellent and more-complete Anthology series. Also, the DVD  was utterly deceptive regarding its bonus materials and I’m still mad about it.

Modesty Blaise was an incoherent 1960s “spy” film. The novel which I also read this year was better, but not great. Very disappointing. 

ONE OF MANY SAD THINGS ABOUT 2017

There’s no shortage of things to be sad about this year, but, specifically for me, one of the saddest is the news that, after nearly ten years, Jarvis Cocker will be leaving his weekly radio program on BBC6 Music. His “Sunday Service” show, and my enjoyment of it, was instrumental in motivating me to get more serious about radio as something I wanted to do in my life. I’d worked in radio on and off since I was a kid, but never as a regular discipline (leading later to a hoped-for career in the medium). Jarvis’ shows have become more irregular and infrequent during the last few years, but it was always good to have him back. The rumour is that “it’s au revoir, not good bye,” but nothing lasts forever. I’ll miss him and his program a great deal. 

[gigsoupmusic]

Prolific Ambient producer Soular Order announces Beholder EP

Manchester-based ambient producer Soular Order has announced his EP Beholder, set for release on 8 November via his own imprint City By Night Records. Soular Order has featured numerous times on tastemaker Youtube channels Mr Suicide Sheep, Ambient, Fluidified and MOR Network, The GΔmes We PlΔy and Madorasindahouse with his remix of Hans Zimmer’s ‘Time’ racking up over 3 million views. He has garnered 2.2 million Soundcloud and Spotify plays and has racked up a total of over 5.5 million Youtube views to date. He has received airplay from BBC’s Soundscapes with Stephen McCauley and BBC Introducing as well as featured on expert music sites including Magnetic Magazine, Clash Magazine, Earmilk, Stoney Roads, Stereofox, Indie Shuffle, The Music Ninja and many others. Jon Maynard began making music under the Soular Order moniker in 2010. Having spent most of his youth playing guitar in various local bands, he began producing electronic music under various names until settling on the alias. He is the founder of City By Night Records - an independent record label based in Manchester, hosting the likes of artists such as Alaskan Tapes, Solace, Axel Grassi-Havnen and Izzard. Maynard’s introduction to music came in the form of a guitar gifted from his grandfather, and after playing in several bands as a youngster, he discovered a passion for producing electronic music. He has a number of releases in his wake, including seven EP’s and 2016’s full-length album Rhythmic Sleep. Soular Order creates experimental, ambient and beat-driven electronica, combining elements of analogue synths, guitars and found sound percussion. His diverse range of influences including Aphex Twin, David Bowie, William Basinski and Tycho, leads to a unique sound comparable to Brian Eno, Boards of Canada and Sigur Rós. Beholder EP is strikingly fresh and original - a template of lush, electro-rhythms and light and dark moods. On ‘Redacted’ we see Soular Order laying a rapid beat over luminous synth figures and chiming embellishments. Deeply hypnotic cycling patterns flow into intriguing cosmic auras - immersive, intimate and decidedly melodic. ‘Versus’ flows brilliantly through evolved melodies and movement of pure texture, while ‘Downfall’ casts its arc in reverberant spaces, traversing rich sonic landscapes. A multi-layered sound palette and ventricular beats resonate through the track, surging steadily into a panoramic ambient trance before receding and dissolving into silence ‘Beholder’s’ congruous balance of celestial harmonies are the perfect ending track - allowing the listener time to process the impressions of the previous tracks. Speaking of the EP Soular Order comments: “The Beholder EP was written over the course of a few months and combines analogue, generative synth elements with found-sound percussion and textures. It’s about self-reflection and taking control over life directions.” Read the full article

[jazzworldquest-blog]

USA/CANADA: Saxophonist/Composer Quinsin Nachoff Traces the Shadow of the Sun on the Second Release by his Innovative, Genre-Eclipsing Band Flux

Saxophonist/Composer Quinsin Nachoff Traces the Shadow of the Sun on the Second Release by his Innovative, Genre-Eclipsing Band Flux

Path of Totality, out February 8, 2019 on Whirlwind Recordings, features David Binney, Matt Mitchell, Kenny Wollesen and Nate Wood melding jazz and classical music with an arsenal of vintage electro-acoustic instruments

4.5 stars.  "Path of Totality is a stunning, deep dive of an album, the sort of music in which one could spend hours submersed." - J.D. Considine, DownBeat, February 2019 "Pure, bracing, thought-provoking musicŠcliche-and convention-free." -Peter Hum, Ottawa Citizen, reviewing Flux's debut concert Neither Toronto nor New York, the two cities that Quinsin Nachoff calls home, offered prime viewing conditions as the moon eclipsed the sun in August of 2017. But Nachoff, who has long drawn inspiration from the scientific wonders of the universe, couldn't help but be moved by this rare astronomical phenomenon - and to find a degree of solace in it. After all, here was a shadow large enough to blot out the face of the sun, darkening the Earth and then moving on. In the Path of Totality could be found hope that this, too - whatever "this" might be in the moment, whether political, personal or environmental - will indeed pass. That faith in change is at the heart of Flux, the name that Nachoff has bestowed upon his remarkable group, which returns on February 8, 2019 with its second release, Path of Totality, via Whirlwind Recordings. Flux is an ensemble, and Nachoff a composer, that thrive in the spaces in between genres, styles and inspirations. At its foundation Flux is a quartet, though at times on this album a quintet and sometimes more, employing a vast array of instruments and a vivid palette of musical colors to create something that is consistently surprising as its shape morphs from moment to moment over the course of these six epic-length pieces. In saxophonist David Binney, Nachoff has a frontline partner with a keen-edged tone and a refined ear for texture, having integrated electronics into his own work as an artist and a producer that expand and mutate his sonic environments. Matt Mitchell is a rigorous boundary pusher, a pianist and composer who astutely avoids obvious choices in favor of pressing fervidly into the unexplored. Kenny Wollesen couples a similarly adventurous instinct with a passion for the playful, as reflected not only in the eccentric arsenal of invented instruments known as "Wollesonics" but in the buoyant swing he maintains even in his most complex and abstract rhythmic excursions. The new addition this time out is Nate Wood, who alternates and at times shares the drum chair with Wollesen, lending the band an urgency and avant-rock propulsion familiar from his work with Kneebody.

While that combination of voices would offer a wealth of possibility for any composer, Nachoff was handed an even larger palette by Canada's National Music Centre, a non-profit organization dedicated to promoting Canadian music through exhibitions, performances and educational programs. As one of the NMC's first Artists-in-Residence, Nachoff was granted access to the Centre's extensive keyboard collection, an enormous resource of both acoustic and electronic instruments.

"They really want this to be a living collection," Nachoff says. "So I spent three weeks at the NMC exploring the keyboards and synthesizers in their new, state-of-the-art building, then another two weeks writing during an artists' residency in Banff." Raised in a household where electronic music was not only heard but composed, Nachoff has long been spurred to follow his own, more acoustic path, but the NMC's collection proved too tempting to resist. Both Mitchell and producer David Travers-Smith have a field day with the array of instruments, particularly on the stunningly pointillistic "Splatter," recorded at the NMC. Beginning with Mitchell's Baroque-by-way-of-Sun-Ra solo harpsichord improvisation, the tune progresses through a cosmic haze carved by jagged rhythms before the erratic horn melody intrudes, gradually building in density before breaking apart into stark fragments.

In a sense that arc could be seen as the portrait of the universe in miniature, though a model of the stellar regions was more directly a source for "Orbital Resonances," the album's closing track. Based on the intersecting pathways of orbiting bodies in space, the tune places the members of Flux into interrelated motion, crafting a piece from the accumulated sound of singular identities. Nachoff is an artist that takes the idea of "experimentation" quite literally. He's taken his interest in science beyond simple inspiration, working directly with Dr. Stephen Morris, a physicist at the University of Toronto, to translate experimental data into musical form. One early result is "Bounce," whose percussive outbursts and heady call-and-response are built on the mathematical model of a bouncing ball. The conceptual is ultimately subsumed by the poignant, however, as the massive swell of a 1924 Kimball Theatre Organ from the NMC collection overwhelms the piece, turning into a requiem for a pair of recently lost influences, Kenny Wheeler and John Taylor - the latter of whom Nachoff was honored to record with on the 2007 release Horizons Ensemble. Another compositional inspiration, John Cage, provided the spark for "Toy Piano Meditation," which takes the late pioneer's "Suite for Toy Piano" as a starting point and fuses Cage-ian ideas with the entrancing melodic/percussive turns of Balinese gamelan. Of course, no album that names itself for a momentary darkness shrouding the planet can help but comment on our current political reality, and "March Macabre" does just that, with a healthy dose of bleak humor. Wollesen's "march machine," a wooden board outfitted with a row of clomping clogs, provides the marching beat that opens the piece on a totalitarian note. By the end, through the blissful improvisation of tap dancer Orlando Hernández, the lockstep has been broken and individual freedom restored. "We went on tour for the first Flux record the day after Trump got elected and I was concurrently going through the process of becoming a US citizen," Nachoff recalls. "We were all in shock. We didn't know what to think, what to say to people. 'March macabre' was the first piece I wrote after that, and the Russia scandal inspired me to tie in elements from Shostakovich or Prokofiev -- composers who worked under a strict authoritarian structure but were still able to overcome this and make really interesting music." Quinsin NachoffNYC-based saxophonist and composer Quinsin Nachoff has earned a reputation for making "pure, bracing, thought-provoking music" that is "cliché-and convention-free" (Ottawa Citizen). Since moving from his native Toronto to New York City, Nachoff has made a habit of freely crossing borders: his music moves fluidly between the jazz and classical worlds and manages to be soul-stirring at the same time that it is intricately cerebral. His passions reach into both the arts and the sciences, with concepts from physics or astronomy sparking inspiration for exhilarating compositions. As a saxophonist, Nachoff's playing has been described as "a revelationŠ [p]arsing shimmers of Sonny Rollins, Wayne Shorter and Mark Turner" (DownBeat). He was a semifinalist in the renowned Thelonious Monk Jazz Saxophone Competition and has been nominated for numerous Canadian National Jazz Awards. His diverse ensembles include Flux, the Ethereal Trio, Horizons Ensemble and FoMo quartet as well as the Pyramid Project. www.quinsin.com

--

via Blogger http://bit.ly/2N1l2wm

[ricardosousalemos]

Allan Kingdom: LINES

So much of Allan Kingdom’s work is about collapsing borders. He is a sing-songy rap alchemist turning signifiers across genres into something radical. His voice melts into slippery flows that seep into the cracks on any production. He was born in Canada, the son of South African and Tanzanian immigrants, and spent much of his life in Saint Paul and Minneapolis, shaped by a small creative community of “dirty, hippy artists…grinding in the middle of the forest.” His last project, Northern Lights, was a sporadic opus molded by the host of cities in which it was made, including the trip to London for the blacked-out BRIT Awards performance of Kanye West’s “All Day.” These cues give hints about the sprawl of his sounds, which rest at a nexus of the African diaspora and the modern rap internet. His work is fueled by spontaneity—sudden bursts out of pockets and slinky jumps in and out of compacting phrases. His unique milieu is a guide to his chameleonic sonic identity.

“I am from Canada, I am from Africa, I am from so many states,” Kingdom raps early on LINES, a debut studio record that stretches his stylings further than they’ve ever gone before. It is a project that goes a long way toward fleshing out the personality of the man behind these eclectic mixes. While exploring a wide array of compositions from collaborators like Cadenza, Dro, and Jared Evans, he offers appraisals of life after a Kanye co-sign, rap as a tumultuous path to escaping the middle class, and how being a nonconformist can be alienating. It’s a study in individuality, where the subject seeks a connection—or more specifically, to be drawn to something.

Aside from the literal “Feeling Magnetic,” which illustrates his pull and his longing to attract plainly, there’s a more subtle desire to bond throughout LINES. Loneliness, and the push for companionship have been constant themes in Kingdom’s songs, but many moments on this album examine coupling closely. The full-throated, crooned descender “Down for Me” requests undying devotion. On the watercolor-ish “Vibes,” he tries to close the distance with a lover, citing a shared energy. The island-flecked title track shares a similar sentiment. Conversely, the disgust in his voice is palpable when a clinger feeds on proximity to his celebrity on “Astounded.” He longs to be close to someone in a meaningful way, but can’t. The closer, “Loner’s Anthem,” feels like a rebuke of the rest of the album in that way: it turns inward, finding solace in his work.

Allan Kingdom cares deeply about craft; he wouldn’t open his debut with “Perfection,” a song about honing his skills amid slow payoffs if he didn’t. It explains why so much of his music is about originality, avoiding negative energy, and protecting his sound from the posers trying (poorly) to replicate it. But the latest entry into his ever-growing technique-sweating pantheon, “Leaders,” is an interesting twist on the series, conceptually and sonically. The flute-led, scuzzy-riffed jam is an everyman dispatch from an emerging phenom that asks peers and fans alike not to follow his lead, on account of his own personal demons. A great deal of the album plays out in a similar fashion: humanizing an eclectic artist who is often inaccessible. On “Questions,” he mentions an absentee father and lost friends as asides in a life recap, providing clues into a fragile mindset. Each cadence in each stanza is selected to strike just the right tone. With stringy flows and a voice that naturally carries melody, he puts into practice his distinctive mechanics.

Though it doesn’t quite reach the highs of its predecessor, LINES is constantly in motion, full of exhilarating lyrical exercises (“Feeling Magnetic”) and sweeping sound installations (“The Fusion”). Ideas tumble one after another, often overlapping at the joints, as on “Don’t Push Me”: “I’m from the land of the lakes/I knew that she wanted to fuck me and she fell in love when she saw me with Ye/I used to save all my shawtys when I was a shorty, I lost all the capes/Tony the Tiger but covered in apes/Back in the day no one thought I was great.” The cadences and inflections spring outward, widening the scope of his sound. With each passing breath, Allan Kingdom strives to expand his universe, creating safe spaces for outcasts in the process.

[independentartistbuzz]

Alex Exists asks listeners to think critically on “Mindful Madness” from LP, Everybody’s Famous

Alex Exists is the new solo project of Alex Pulec, frontman of The Nursery (awarded Best Independent Rock/Pop Band in Canada at Indie88’s 2018 Indie Awards). His music is inspired by absurdism, hyper surrealism and optimistic nihilism with an acid tongue firmly planted in his cheek. He is fascinated by pop culture and ego. The signature of Alex’s creative work is his unique sonic touches, drum heavy rhythms and classic “pop through a blender” melodies. 

Alex wrote the song “Mindful Madness” in the heat of worldwide lockdowns. The lyrics touch on themes of self-reflection, questioning reality, and describe a sense of widespread confusion and a desire for clarity. Overall, this is a song that explores themes of self-discovery, rebellion, and societal disillusionment. It encourages embracing individuality, questioning the status quo, and finding solace in the chaos of life.

Everybody’s Famous is an album that encourages listeners to navigate the chaos and complexity of life with a mindful and critical perspective, to resist being controlled or deceived, and to find solace and empowerment in embracing their own unique perspectives and experiences.

The album artwork is a satirical take on the “Best Pop/Rock Album of all time” but instead it’s filled up with the heroes, villains and most infamous people of our time, showcasing how absurd life has evolved since then.

Watch the video here: https://youtu.be/zsNCoavT1q8

[gigsoupmusic]

Prolific Ambient producer Soular Order announces Beholder EP Shares ‘Downfall’ Single

Manchester-born and based Ambient musician Soular Order has released his new single ‘Downfall’, via his own imprint City By Night Records. The second single lifted from his upcoming EP Beholder which is set for release on the 8 November. He has featured numerous times on tastemaker Youtube channels Mr Suicide Sheep, Ambient, Fluidified and MOR Network, with his remix of Hans Zimmer’s ‘Time’ racking up over 3 million views. He has garnered 2.2 million Soundcloud and Spotify plays and has racked up a total of over 5.5 million Youtube views to date. He has received airplay from BBC’s Soundscapes with Stephen McCauley and BBC Introducing as well as featured on expert music sites including Magnetic Magazine, Earmilk, Stoney Roads, Stereofox, Indie Shuffle, The Music Ninja and many others. https://open.spotify.com/track/74cUobRUbGybXJKYDujygF?si=hEhEeVc_TPi3G_KAf3gEHA Jon Maynard is the man behind Soular Order, as well as the founder of City By Night Records - an independent record label based in Manchester, hosting the likes of artists such as Alaskan Tapes, Solace, Axel Grassi-Havnen and Izzard. Maynard’s introduction to music came in the form of a guitar gifted from his grandfather, and after playing in several bands as a youngster, he discovered a passion for producing electronic music. He has a number of releases in his wake, including seven EP’s and 2016’s full-length album Rhythmic Sleep. His diverse range of influences including Aphex Twin, David Bowie, William Basinski and Tycho, leading to a unique sound comparable to Brian Eno, Boards of Canada and Sigur Rós. The result is a breathy ambience that embraces the experimental and rejects the expected norms. Soular Order creates experimental, ambient and beat-driven electronica, combining elements of analogue synths, guitars and found sound percussion. ‘Downfall’ casts its arc in reverberant spaces, traversing rich sonic landscapes. A multi-layered sound palette and ventricular beats resonate through the track, surging steadily into a panoramic ambient trance before receding and dissolving into silence. Speaking of the track he comments: "Downfall is a track in constant progression with generative elements. Starting subtle and building towards a large encompassing ending." Beholder Tracklist 1. Redacted 2. Versus 3. Downfall 4. Beholder Read the full article