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INST003

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Reviews:

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THE WIRE:
REVIEWED IN THE AUGUST 2009 ISSUE

NORMAN RECORDS:

"Peter Wright is a bit of a top geezer when it comes to arresting sounds and his whopping 'Snowblind' double CD on Install is somewhat of an essential beast. Hot on the heels of The Caretaker's ' Persistent Repetition Of Phrases' CD that was critically acclaimed (and we couldn't get enough of as every batch of discs to arrive would sell out super fast). This is another gem in the Install label's catalogue. For those not familiar with the New Zealand native's work then it's worth mentioning that he's gracefully been dropping underground bombs on Last Visible Dog, Blackest Rainbow, Digitalis, PseudoArcana, Apoplexy, Students Of Decay, aRCHIVE etc. so he's built a tidy array of quality releases. His sound probably falls into the drone category but he sprinkles the genre with his own magic and manages to take things way deep. Imagine if Stars Of The Lid had turned to the dark side of the force. His sounds resonate around your skull in a weird deja vu kind of way and take you to a place which is simultaneously familiar yet refreshingly new. It reminds me of a state of sleep deprivation where every object seems to vibrate with its own unique tone. All the frequencies that Wright hits are just perfect.. The bottom end is full and slightly menacing then the higher frequencies evolve in unexpected and gloriously lush ways. There's a distinct contrast of bleakness and impending euphoria. Comparisons to Godspeed and Windy & Carl are being spat around the office during what is a captivating and dramatic listening experience. Your ears need this."

Aquarius Records:

"We haven't heard from New Zealand dronescaper Peter Wright in about a year. Well, it's been at least that long since we've reviewed one of his discs. Somehow two other Wright discs slipped through the cracks in that time though, which is a shame, since pretty much everything we've heard from Wright is fantastic. This latest double disc is no different Nine looooooong tracks spread out over two discs, most in the 15-20 minute range, which is ideal for Wright's slow building, slow burning drone-epics, allowing for plenty of time to drift and shimmer and buzz and whir and rumble. The first disc opens as disembodied voices float above and within thick swells of grinding melodic buzz, smoothed out into undulating sonic sheets, feedback is dulled and blunted and transformed into warm ambience, the raga-like buzz sprawls out seemingly endlessly, this is Wright at his heaviest and most aggressive, the tones taking on a timbre not that far removed from Nadja's doomic crush, but Wright approaches that sound from another direction entirely. The rest of disc one is much more serene, minimal and hushed, a slow swirling ambient shimmer, delicate and crystalline, which over the course of two tracks and nearly 40 minutes manages to slip from hushed whisper to smoldering whir, glowing hotter and hotter but never letting loose, until the 6 minute closer gets all riffy, the guitars blindingly distorted, but remaining soft and warm and hauntingly melancholic. The second disc is the perfect second movement, shifting from warm effects drenched drifts to deep subterranean rumbles, from sun dappled cinematic ambience to reverbed minimal mood music and finally to full on crumbling corrosive blown out crunch, with weirdly decaying distortion, strange strangled guitars, thick swaths of blurred buzz, and gorgeous chiming tones ringing out in the background. Yet another collection of divine drones and sublime minimal soundscaping from the inimitable Peter Wright. Needless to say, absolutely gorgeous, and for the droneminded among you, most likely essential."

mapsadaisical:

"Sometimes a record comes along that is just so vast in terms of its scope and ambition that it jars up my cogs and completely prevents me from listening to anything else for weeks. Such a record is Peter Wright’s Snowblind. I’ve been a fan of Wright for some time now; both live and on record, but nothing could have prepared me for this, not even someone holding a big sign aloft which read “Peter Wright is about to release a record so vast in scope and ambition that it will jar up your cogs”. Well, maybe that would have helped. But no-one did it, did they?

Peter Wright has been threatening to release Snowblind for such a long time that it was beginning to acquire some sort of mythical status in his discography. This double CD, recorded in 2007 when New Zealander Wright was sojourning in London, seems to have taken its time to find a home: which is utterly bizarre given its absurdly high quality. Thankfully Install have now picked it up, although quantities are distressingly limited. In fact, I wouldn’t waste time reading the rest of the review. It’ll be a long one. Trust me; go there, buy one now, and then come back and finish this later. I’ll wait for you, honest.

Got one? Excellent, I’ll press on with disc one. It all begins with a most familiar sound to us Londoners: a drunk ranting while police sirens wail all around. From there, Wright combines abrasive Kevin Drumm drone, spooked Miasmah atmospherics, hazy shoegaze, dense Richard Skelton style composition, and even bursts of Godspeed guitar grandiosity to complete his masterpiece. Most of my favourite elements, then. “The Drunken Master In His Crumbling Citadel” clears the drunk off the streets with some increasingly harsh and heavy feedback which falls like torrential rain by the end. Reverberating metallic rhythms, like distorted steel drums, lead into the long ambient organ drone of “Apakura“, whose still surface occasionally dapples, briefly breaking up into luminous patterns. “Truth Serum” is constructed entirely from scrapes of whining guitar, and is dense, muffled and emotionally fraught. Following that, the building guitar strum of “Follow The Leader” couldn’t do more to signify an imminent eruption into huge white noise if it held aloft a big sign which read…um I’ve done this one already haven’t I? But when it finally comes, the ear-pummelling which follows is particularly intense, the sound is ravaged beyond all recognisability. Utterly excoriating.

The second disc begins with pulsating Spacemen 3 type ambience, before the oppressive, rainy, hissy atmospheres of “The Distopian National Anthem” descend; since hearing this, I’ve cancelled my forthcoming trip to Distopia, and am even considering suspending all diplomatic relations. “Cruise Missiles” gently reprises “Akapura” drone, being a mere calm before the torrential electric storm entitled (somewhat bizarrely, if no doubt truthfully) “With Teeth Like That You Can’t Help But Succeed“. Brutally serrated fragments of guitar distortion crackle from the speakers, forming billowing clouds of skin-shredding metal. The album descends gently to a close with the reatrained chord sequences of the title track, leaving you to reflect on the huge sonic experience that was Snowblind the album, let your ears rest a little, then skip right back to the start of the first disc. Before you know it, you’ll have lost weeks of your life to this album. Don’t say no-one warned you."

TOUCHING EXTREMES:

"The luminiferous flock of Peter Wright’s guitars has come again to rescue this poor listener, forced to the ropes by the attack of dwarf clones whose inconsistency is directly proportional to the consideration they receive. Snow Blind, for good measure, is a double CD (hooray!) that sends the magnitude of the quivering signals pretty high in the scale: nearly two hours of blissfully deafening roars, succulently plangent drones and disturbed ringing tones. Depurative, febrifugal, unreasonably suggestive stuff designed for your personalities to develop as angelic children in dissolute adult bodies. And that’s not all, folks.

Ever since the initial and splendidly titled “The Drunken Master In His Crumbling Citadel”, Wright incites the listener to the contemplation of a murky ecstasy through a self-explanatory urban commentary: a field recording of a bona fide drunkard, muttering his own truth (incomprehensibly for this scrutinizer) amidst metropolitan echoes and gradually swallowing walls of wailing axes depicting an idyllic harmonic tissue. A stark contrast, nonetheless suggesting something that sounds, for lack of a better adjective, divine. The discriminating acumen shown by the New Zealander in the assemblage of superimposed distortions (frequently sounding particularly consonant) is in this case counterbalanced by various recourses to extremely rudimentary, yet devastating melodies (check the first disc’s final episode “Follow The Leader”, the very title hinting to a concept that makes me recoil in horror) which should ideally encourage a brighter vision of a decaying materialism but in the end elicits a peculiar type of quiet desperation, to say the least.

As always, the guitarist looks especially interested in changing the gradation of timbres via altered varieties of equalization, a knowledgeable processing that literally disintegrates chords and lines into sparkling smidgens of gritty idiosyncrasy. And those drones: the best on the market for over a decade now. Amplifiers at 11 are not enough to emulate what this man manages to achieve with a simple arpeggio surrounded by thousands of mashed-snail reverberations. Let me tell you once and for all: people like Wright and, on a different playground, Aidan Baker are the initiators of this kind of modern-day six-string painting. The rest are for the large part cheap imitators that occasionally strike a mere ounce of gold with an appropriate choice of colours, nothing more.

Therefore save your money - thus preventing some pathetically incompetent, tinnitus-inducing retrograde from impersonating the god of hermitic thaumaturgy in a valve-amped Walhalla - and support those who have been walking the walk after talking the talk for decades, barely noticed, utterly enlightened. The grief-stricken broken illusions portrayed in this gorgeous release might fight a bit with the witty cleverness of their creator’s real-life attitude (perceivable even in his website and email updates); still, they’re undoubtedly the nearest thing to a representation of guitar-based endlessness that I can think of. A bulletin like this is a good reason to be grateful."

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REVIEWS:

NORMAN RECORDS

"Another week, another fine drone/ambient release, this one is from Jason and Shinobu through the mercurial Install. Slow waves of evocative drifting textures are randomly assaulted by sinister outbursts of grizzled fuzz, creeping up the sides of the stately walls like curious splashes of acid whilst someone in the distance metrononically taps a length of piping in an echo chamber. Further investigation reveals a CD that is quite bleak & industrial, kinda post apocalyptic. The sounds on 'Headless', for instance, seem corroded, decaying, creaking, rusting yet incredibly thought provoking, later I hear skeletal feedbacking tones and the disembodied fuzz of some malfunctioning transmitter, that electroid chirruping I love so much with plenty of cool industrial clanking & scraping from a way away - all this I find both strangely comforting & peacful! I think the appeal of this release is the sound displacement, noise & sound detritus seemingly coming from various distances, through walls and floors, other dimensions. A really absorbing release from a top quality stable, 'Dispel Space Time Lust' is CD only, 100 pressed!"

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REVIEWS:

FOXY DIGITALIS:

"9/10

Aidan Baker has easily become one of my personal favorites. Each release he puts out hits it out of the ballpark every time. I believe he has also established himself in the hearts of many others who spend their hours getting lost in fluid drones too. But, after getting used to the feel of his other albums and EPs, I was skeptical when I first got this one. Sure, I thought it couldn’t be that bad. After all, Aidan Baker is a genius. However, I wasn’t confident that I would award it the high rating that I did. You see, the album was stamped with the title “Dry” based upon the new approach to art-making that Baker took for this one. It refers to a more stripped-back formula for creation. He is definitely one helluva guitarist and that really shines with “Dry.” Baker shelved all the effects and stuck with the simplicity of his guitar. Yes it is plugged in, but this one is all about the strings. He constructs a swirling twister of mood with the gentle tones of each string, whether singly or synergistically. He continues his beloved style of drone only with a different blueprint.

And so, after popping this one in, hearing became believing. This is just as good as any of his other stuff…just different. But, this is mandatory listening for anyone who is already a fan. Some have said that if you listen to any of Baker’s 2009 releases it should be this one, and despite my love for “Gathering Blue” and “Blue Figures,” I have to agree. This is his best of the year. I hope he continues to explore with this musical template in future releases. This has more of an autumnal feel to it, as though he has captured the essence of browning leaves that are shriveling up and dropping, along with the soul of chilly rains that promise a snowy transition. He recorded this near the end of the Summer of 2009, so while this review is a bit belated, it definitely finds a welcomed spot, as it is a more positive listen during this month’s freeze. Comes in a nifty eco-wallet, complete with appropriate and aesthetically-pleasing graphics throughout the package and disc. 9/10 -- Dave Miller"

NORMAN RECORDS:

"Is MTV unplugged still going? I haven’t watched MTV in about 15 years... Anyway Aidan Baker has a CD out on Install called ‘Dry’ and the name is a clue to what’s happening on the recording. Basically the man is playing his electric guitar ‘“Dry” i.e zero effects. Okay so his guitar is plugged in but this is kinda like his Unplugged session. What a session it is too as his sound is stripped right back to its basic elements. What this really reveals is his genius guitar playing which can sometimes get a little lost amongst all the effects. Mr. Baker really gets some emotions swirling through the strings and I begin to realize just how nimble his fingers are as he improvises but never noodles, the mood feels free yet controlled by his vision/ emotions. I really dig the spacious sometimes minimal feel. At a couple of points I was reminded of Oren Ambarchi’s classic ambient guitar record ‘Grapes From The Estate’ I’ve yet to hear a release on this label that I haven’t thoroughly enjoyed (That Peter Wright 2CD is still doing it for me). I’m inclined to agree with the label here when they say “If you only hear one Baker release in 2009, make it this one”. High quality stuff, limited to 500 copies in eco-wallet."

DEAD BRAIN ETERNITY:

What can a sonic crafter who became famous for the use of looped guitars do, if dispossessed of effects and delays? The answer lies in the 47 minutes of Dry, which was entirely played on an unprocessed electric guitar, nine tracks linked together as in a single piece.

Difficult, for the non-owners of an instinctive musicality, to even think of appearing completely exposed and unaided, attempting to produce appealing music without resorting to tricks. It is there that the separation between contenders and pretenders takes place. Baker is well acquainted with the core essence of the instrument: the fact that this record sounds related, in a unique way, to one of the countless lucid dreams he gifted us with in the past is testimony to his immutable sense of personal synchronization, which transits across many lands – static recollection, tranquil arpeggio, unanticipated crackle. Rather stunning, especially considering the bareness of the utilized means.

The Canadian’s ability is also established by the customary richness of those layers, reiterative figurations and chiming chords that, once superimposed, cause sympathetic resonance in large quantity. Not that there’s only cuteness: on the contrary, noisy particles of unclear activity, thumping hits and semi-strums – and, just maybe, some manual preparation - characterize the most surprising parts of the disc. But when Baker brings the whole to a conclusion by utilizing a mechanism of heartrending pseudo-vocal glissandos – ending the trip with the highest percentage of evocation – we’re finally able to release our breath, the deep sigh that typically follows an intense listening experience. “Yes, it’s still him” is the thought that comes to mind during the silent instants following the closing stages.

A touch of class that resounds magically, a highly recommended work – again – by a true poet of reminiscent reverberation.

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REVIEWS:

FOXY DIGITALIS:

"10/10

Wood-Land, if you read this, I don’t know if I should thank you or congratulate you. I want to thank you because this is a phenomenal album, absolutely exceptional in every regard, gifting everyone privileged enough to hear it with some of the best tracks available. I want to congratulate you because you have won my award for best psych album of the year! Maybe even best psych album ever?! “Stone Circle” deserves much more than a measly ten stars! I wish we had more because in the school of experimental music this one has graduated with honors!

Wood-Land is a group of friends that call themselves The Vessels of the House of the Forest. This moniker alone says it all. This is an autumnal album that has crawled its way out of the Pennsylvania woods. It’s packed with twenty tracks loaded with everything that any good psych album should have: entrancing loops, echoing drones, warped vocals, blissful guitar, earthy low-fi, and crispy fuzz. Lots of variety to keep things interesting, which can make it feel like a compilation at times…BUT, it’s the best of everything! Every angle that they could come from just nails it so well. Extremely magical.

Oooo, I just wish everyone could hear this! It’s too bad it’s only released in a scanty count of 100 copies. Invite the forest spirits into your stereo. - DAVE MILLER"

NORMAN RECORDS:

"Wood-land have released a few bits and bobs on the Install label but i'm totally unfamiliar with their work. 'Stone circle' is the duo's first full length release, limited to a super small run of 100 copies. On first listen i reckon it's total winner. Twenty tracks of brooding lo-fi instrumentation that sounds like it was recorded using the very first microphone and tape machine ever made, 'Stone circle' is packed with twisted spaced out jams and ambient post-everything sound collage's. Hauntingly atmospheric whilst maintaining a autumnal charm this is the aural equivalent of finding a bustling community of tiny talking animals (the ones that wear glasses and sit around drinking tea around tiny table, you know the ones) in a damp abandoned forest in the middle of the night. They've got their own mini lanterns and fitted clothes and everything.....the cute little things. Magical, enchanting loops and drones that sounds utterly perfect this time of year. Deserves a bigger print run i say, good stuff."

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SIMON WHETHAM & MISE_EN_SCENE: EINEANDEREWELTSTRASSE

1. EINEANDEREWELTSTRASSE

Limited to 100 FUll-color MINI LP STYLE SLEEVES.

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VINYL:

SOLD OUT!

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Installation Series:

DAN CRALL - NORTH

1. In Tune
2. Devil's Playgound
3. I Killed My Horse This Mornin'
4. Sonne, Lumiere Et Verre
5. Oregon Rain, Near Roadside
6. WPRR F-691.2 Conifer Avenue
7. Vineyard Mountain
8. Cicada Recording
9. Timber
10. Last Dreams
11. Voicemail From Paul
12. Coastal Contour

Limited to 50 Copies.

SOLD OUT!

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BRIAN GRAINGER - SILVER SURFACES WASHED WHITE

1. Filament
2. Chalk
3. Washer Spiral
4. Milk

Limited to 50 Copies.

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GARETH HARDWICK - WAITING FOR THE PENNY TO DROP

1. Cambridge, 14th November 2007
2. Vidreres, 13th April 2007
 

Limited to 100 Copies.

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WOOD-LAND - home

1. HEAVY FOG ON THE FOREST FLOOR
2. LICKING CREEK
3. HALLOWED HANDS
4. PSALM 135:7
5. THE CIVIL WAR
6. JUST A THOUGHT
7. DEVIL'S DEN
8. SQUIRREL BONES AND PINE CONES
9. SLEEPING BEAR
10. BIG ROUND TOP
11. SOMEONE FOUND HAPPINESS

Limited to 50 Copies.

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ACREIL - EISEGETIC WAIVER

1. EMISSION CORRIDOR
2. EIGHT TINY SPHERES
3. SLIGHTLY THROUGH AIR
4. MID-LENGTH, TRANSPARENTLY

Limited to 50 Copies.

PURCHASE HERE

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Tanner menard - canopy of sky on black

1. canopy of sky on black

Limited to 50 Copies.

PURCHASE HERE

Reviews:

The Jack Bohlen Book club - allegory & Violence

1. Sundress
2. Demeter
3. Teuton
4. Tonnage
5. July
6. Tapestry
7. Persephone
8. Tiamat
9. Flower
10. Woodline

Limited to 50 Copies.

PURCHASE HERE

Reviews:

Limited to 50 Copies.

PURCHASE HERE

Reviews:

Limited to 50 Copies.

SOLD OUT!

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Limited to 100 Copies.

SOLD OUT!

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Limited to 100 Copies.

SOLD OUT!

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Limited to 50 Copies.

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