[spectre] April issue of Furthernoise.

[marc garrett]

Sorry for any cross posting...

Welcome to the April issue of Furthernoise, where as always we have a 
host of new reviews and sounds for your reading and listening pleasure. 
Our latest net release, Explorations in Sound, Vol. 4 is still getting 
lots of attention and is available to download from the net label page 
of the site.

So sit back, turn the volume up and enjoy !

Furthernoise issue April 2011
http://www.furthernoise.org/index.php?iss=93

"Unfathomless (U01) ~Tsukubai~" (feature)
Parallel to the ongoing Mystery Sea series, with its ‘night ocean 
drones’ and related metaphorical psycho-activity, Daniel Crokaert has 
inaugurated a sister label. Unfathomless seeks to mine potentially wider 
and deeper audio-documentary veins - natural, man-made, fictive, as well 
as other related environmental experiences implicating memory and senses.
http://www.furthernoise.org/page.php?ID=388
feature by Alan Lockett

""rivages sur l'antipode" - d'incise" (review)
Releasing yet another fine objet d'art of metaphorical antipodesian 
soundscapes, the ini.itu imprint have once again reinforced their unique 
take on experimental global sound. “Ravages sur l’antipode” by d’incise, 
aka Laurent Peter is something akin to a palmiset of southern sound,
http://www.furthernoise.org/page.php?ID=403
review by Roger Mills

"Arctic Summits - Netherworld" (review)
Netherworld's stated working method is to start from tiny fragments of 
classical music and various other kinds of field recordings and found 
sounds, manipulated and processed to evoke polar silences. The results 
often include lush harmonies, whose surface calm contains touches of 
grit that provide a surreal undercurrent in his ever-shifting arctic 
splendor.
http://www.furthernoise.org/page.php?ID=400
review by Caleb Deupree

"Crossing Of Shadows" (review)
Previously orchestramaxfieldparrish has navigated interstices between 
ambient, drone and neo-classical, dealing in a blend of ritual, drone 
and post-Gothic colourings and wispy atmospherics. A questing 
sensibility issues here in a turning away from repetition of gestures. 
What once was was restless with experiment, now seems more restrained.
http://www.furthernoise.org/page.php?ID=402
review by Alan Lockett

"Unfathomless (U02) ~Tactile.Surface~" (review)
Unfathomless (U02): A choreography of the chthonic constitutes much of 
this engaging excursion. Sources for Tactile.Surface were recorded in 
diverse settings: Turra’s room in Schio, Italy, and one of McFall’s 
trips from Kansas to Colorado. Their combined aesthetic is one of stark 
isolationism, with a mix of familiar components bringing new timbral 
skin to the old ceremony.
http://www.furthernoise.org/page.php?ID=389
review by Alan Lockett

"Unfathomless (U03) ~Lack Affix~" (review)
Unfathomless (U03): Built upon the grouping of field recordings from 
Maryland, Washington D.C. and Argentina. Nicholas Szczepanik & Juan José 
Calarco traded field recordings in constructing this glowering but not 
inhospitable collage, processing and mixing audio spoils from their 
respective areas jointly into a work of substantial clarity and 
particulate involvement.
http://www.furthernoise.org/page.php?ID=391
review by Alan Lockett

"Unfathomless (U04) ~Lignes d’erre & Randons~" (review)
Unfathomless (U04): continuing the pursual of grimly fluid, 
introspective, subterranean drone, a style that's become increasingly 
widespread as others follow where Daniel Crokaert et al. lead. There are 
few, though, as proficient as Kassel Jaeger, who augments the house 
style, widening the palette through inclusion of electronics, and 
deepening interaction with source material.
http://www.furthernoise.org/page.php?ID=390
review by Alan Lockett

"Unfathomless (U05) ~Zeltini~" (review)
Unfathomless (U05): Revenant is an open-membership project involving a 
number of specialists of location recording. Zeltini's eponymous 
environment is an abandoned Soviet army base in a Latvian forest - large 
horizontal bunkers where missiles were stored, one of which was used in 
a semi-transcendental experience in which the participants dispersed in 
almost total darkness.
http://www.furthernoise.org/page.php?ID=399
review by Alan Lockett

Roger Mills
Editor, Furthernoise