released September 3, 2016
YEAH I KNOW IT SUCKS
It’s been a very long time since we have peeked our ears into a fine compilation coming from the now legendary label Attenuation Circuit. They have been doing some promotional collections and luckily for us digital citizens they are also available online! The one named ‘extrication’ is filled with prominent names that are associated one way or another with this experimental label from Germany. The tracks on this album seem to be superbly glued to each other, clearly making it a really nice listening experience for all into strange and obscure ambiances.
All the way up front label owner Emerge emerges with a pretty work full of mystery, one with some slow shimmering sounds that fly around like lonely fireflies in the night, coloring up the blackness with glass like precision. It’s a bright composition coming from a normally darker toned sounding artist; does this mean we are in for more unexpectedness on this album?
Luckily Gerald Fiebig start hitting the dark tones of a piano, for some reason I imagine this artist operating the piano with the pointy back points of both his elbows. It’s a very dark piece, like a cave with the artist and piano in a corner, delivering this set at its most serious. This is no laughing matter, this is black matter!
Prophecy Sun brings in the feeling of humbling holiness. It isn’t an uplifting episode, more something that you could hear when you walk into a brain-session at the local free-your-mind new-age yoga center. You know people sitting with crossed legs, meditating their heads off after they pay good money to the host of the center. Luckily Prophecy Sun is sounding sincere and doesn’t come with a price tag.
Artificial Memory Trace brings in the nice underground wobbles that you can easily feel in your stomach as they flow out of your speakers. They are like a bunch of friendly monsters, playing pipe, squeezing plastic PVC & perhaps squeaky toys of a high tech origin. I don’t know how to describe it more clearer as it’s pretty much abstract and oddly entertaining.
Peer Saer brings a humbling drone; an atmospheric hum that has a cold, but enough tissue to continue its sound flow without any real hinder. You can hear it breathing, avoiding the use of an inhaler. Coughing is avoided, but the stream might be secretly laced with bacteria.
A nice singing ambience by ‘On The Wrong Planet’ also sets the tone of a dark warmth, leaving me no choice to switch of the heating and just sit close to the source of sound. It is a very vast sounding work, thick and loaded, easily sliding through the emptiness like a knife through a wedding cake.
Doc Wor Mirran feat. Conrad Schnitzler comes up with a work named ‘the grateful dead’, an illustrious synthesized world that seems to set the whole room in a futuristic glow. It is material that reminds me of how great it would be to have a dream-machine installed, just to be able to hear this pretty trip-worthy goodness of a track while staring at the famous flickering lights.
After that its Aalfang Mit Pferdekopf who really knows how to bring the material to drift away. The music grows and grows into the depths of mystery. It flows through a cave like fantasy world in which water reflections, singing birds and strange electronic bugs are ready to be spotted. Too bad I forgot my photo camera!
A very pleasant and surprising work is delivered by Nicola Giunta, it comes with a super nice rhythmic atmosphere that calmly moves with so much lovable warmth that it reminds me of wearing mittens while trying to hold up a tea cup with tea inside It. (An action that sounds easier in text then being executed in real life.) It just has this superb coziness of a really nice time, preferably late at night. It even gets better when Nicola Giunta sweetly inserts a fragile sounding melody on top, clearly sealing of that this artist is all about perfection.
Prinzip Nemesis then comes with a ‘trapdoor’ which is humbleness on a bed of darkness. There is sincere female singing in the German and English language while rumbling rumbles and expressionistic real life noises slap around a heavy bass in the backdrop. The music is coming across like something that meets in the middle of a magical ritual and a spaced out slow art rocker! Very cool! And with this cool darkness the compilation comes unfortunately to an end. But if you didn’t hear it yet, it is for you Fortunately the beginning...