Feeding The Transmitter
“Feeding The Transmitter” collects artists with backgrounds in ambient, electronic and glitch who share an interest in contemporary and experimental attitudes. The work is focused on very unusual rhythmic structures and click-n-bleep textures, often “stuffed” with samples and field recordings. Michael Santos, Maps And Diagrams, Autistici, Poborsk and Pleq alternate, looking for a very fluid but cohesive mood – almost a continuum – modulating highly evocative atmospheres and using estranging poetic passages. The sounds intertwine but are diluted by “spacey” variations, either from acoustic or synthetic instruments, or from musical intermezzi – creating a dreamy minimalist effect. Expanded drones evoke a dimension made for pleasant listening but at the same time one which is sophisticated and never takes anything for granted.
…Shrouding itself in a crackling cloud of mystery, it propels the label into physical territory after a string of three download-only EPs, jumpstarting its quest as a professional yet refreshingly unadapted force. The concept behind this fourteen-track endeavour is fully consistent with this concept: Established forces like Morten Riis (who teams up with Jonas Olesen for the occasion), sound poet Michael Santos and Autistici (the alias of David Newman, who is a labelhead for Audiobulb himself) were personally invited to contribute, while the remaining slots were chosen by means of an open submission-call. Intuitive planning and organised surprise are shaking hands, stylistic integrity and delicate diversity converging in enticing ways. As a logical result, the first impression is one of radical colourfulness. Santos’ “New Start” transcends into a harmonious cluster of drones from a subtle field of chirpings and stutters, Poborsk’s “Bells” unites distant metal and gamelan influences under the slowmotioned four-to-the floor of a dry bass drum. Maps and Diagrams are illustrating the unspent efficacy of sustained flute tones and backwards lines on “Without Illustration”, while “Anigma” by Sinuso Dial feels like a majestic wave of expectation, softly ebbing away on the shores of loneliness and lamentation. Nothing is revolutionary on its own account, but the entirly unforced way in which rhythmic tracks and atmospheric breaths are gently and convincingly linked suggests a new scene (rather than a completely new style) may be budding here. “Feeding the Transmitter” is suggesting new ways of listening to material which, partially at least, seemed past its prime – and by doing so keeps one hooked for its entire 55-minute duration….
Here’s a compilation CD of electronicy folks called Feeding The Transmitter. When this was played earlier there were a few tracks which raised heads and folks would ask ‘what’s this’. Normally that means something’s pretty good… 3 of us independently asked ‘what’s this’ so it it must be pretty decent! It’s on the Amp Bit If Go label and it features Michael Santos, Poborsk, Maps & Diagrams and a load of folks I’ve never heard of. Dreamy atmospheric electroncia taking in a wide range of sources with some tracks sounding Echospacey, others going down the more Melodic electronica route, bits of Clicks & Cuts style minimalism… all sorts really. Something for everyone. As far as comps go it’s of a high standard, put together with love and someone who has an ear for some interesting sounds. There ain’t no top 40 hits on here but what you do get is 14 excellent and varied pieces of experimental electronic music. Less than a fiver as well!! P.S Check out the A Love And Below Standards track on there… when it gets going it’s amazing!
Electronic drone and glitch ambient. Feeding The Transmitter is a tight collection of tracks that have a very contemporary feel. Faint melodic forms and understated themes unfold blissfully beneath veils of sonic fuzz and crackle. The glitchy percussion structures give the album much of its character making abundant use of all manner of sibilant disturbances and near-rhythm: clicks, scratches, tuned blips and beeps, electrostatic, hiss and fog, reverberating clatter. Sometimes these acts as textural material, sometimes as disjointed beats, often as fragile assemblages somewhere in between. The musical elements have a dreamy, minimalist nature that range from wistful melodic meanderings and impressionist experimentation to spacey synthetic zones and alien atmospheres. There are some peculiar sounds at times, often submerged deep within the mix, found recordings and transmission snippets, acoustic guitar and fiddle, organ trills, music box and baby (the greatest concentration of these appearing in the rather eclectic ‘no good day’s as under’ from a love and below standards); these add unexpected flavour to the more obvious electro-acoustic effects and embellishments.