Alva Noto and Ryuichi Sakamoto: Summvs

Following the release of multiple collaborative EP’s between Alva Noto and Ryuichi Sakamoto, including ‘Insen’ in 2005 which is reviewed here, the latest release in the series, ‘Summvs’ presents further refinement in this highly unusual combination of improvised piano performance and digital processing. This album also sees a more experimental approach of writing with a more sophisticate soundworld achieved through the digital processing of far more dissonant piano performance compared to some of the earlier releases in the series.

Alva Noto & Ryuichi Sakamoto: Summvs

The release contains 10 tracks, running at approximately an hour in length. Some of the most interesting material lies within the trio of compositions entitled ‘Microon I’, II and III which illustrate a curiously ambient approach from Alva Noto who is best known as a proponent of the burgeoning glitch electronica tradition. As alluded to briefly earlier, throughout these tracks Sakamoto’s piano performance incorporates a more experimental approach to harmony, employing extended passages of dissonant chord constructions.

The ambient treatment of Sakamoto’s piano performance continues through to other tracks beyond the ‘Microon’ trio, tracks such as ‘Halo’ continue in this vein. In this track for example Noto creates extended sustained drones from a piano performance that at first could be mistaken as a Debussy work. From even a brief listen to the material on offer, the progression in terms of timbres achieved electronically from earlier releases in the series is conspicuous, as is an improved approach to audio production.

Having noted the enhancements to timbre achieved throughout this album, it is pertinent to mention in particular ‘Pioneer IOO’ which acts as a very interesting ‘missing link’ between Alva Noto’s glitch and ambient aesthetics, incorporating various glitch elements alongside the drone-based processing seen in other tracks. This occurs while Sakamoto creates a piano performance around a somewhat ‘bluesy’ scale set, later also using prepared piano techniques, originally introduced by John Cage, which blend well within this psudo-electronic setting.

This album proves to be one of the finest releases in Alva Noto’s series of collaborations with Sakamoto and remains highly original in its conceptual origins.



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Tracklisting:

1. Microon I
2. Reverso
3. Halo
4. Microon II
5. Pioneer IOO
6. Ionoscan
7. By This River
8. Naono
9. Microon III
10. By This River - Phantom

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Tangerine Dream: Winter In Hiroshima

Following three previous releases in Tangerine Dream’s Five Atomic Seasons series, ‘Winter In Hiroshima,’ the fourth instalment, represents the penultimate release in the series. This release follows ‘Autumn In Hiroshima,’ retaining elements the sombre and dark style of writing which characterised that album, interjected with a greater sense of urgency and pace to the work. Stylistically this release sees noticeable development from its predecessor as the story of the Japanese businessman which approached the group’s youth throughout 1945 and the dropping of the first atomic bomb in Hiroshima nears its conclusion.

Tangerine Dream: Winter In Hiroshima

‘Winter In Hiroshima’ opens with ‘Transition’ which through its writing style trivialises the premise of the work to paradoxically induce a greater sense of dread when this is considered as part of the larger work. This is followed by the third and final reference to Ayumi in the series in ‘Ayumi’s Loom.’ As no explanation of the programme is provided by the group other than brief outlines in ‘Springtime In Nagasaki’’s liner notes, the significance of Ayumi is unknown but one can assume that on the basis that no other character receives reference throughout the series, Ayumi is central to the story governing the work. ‘Ayumi’s Loom’ itself illustrates the more urgent and upbeat style of writing seen at several points in this release, adorned with long-running sequences, unusual percussive electronic timbres and further abstract instrumentation.

‘Outlook’ sees a Koto-like lead meandering through various harmonic constructs of which a tonal ambiguity, aural uncertainty regarding a major or minor tonal centre, creates an aurally fascinating quality to the track. This track is possibly the most ambient in style to appear on this album, which is in itself a reference to the charming naïve optimism expressed by the ambient style in several tracks from the first album in the series, ‘Springtime In Hiroshima.’

As ‘Glowing Vision’ signifies the beginning of the concluding track to this album, the listener is plunged into great uncertainty, established by the brooding harmonic and timbral elements in this track. As the track concludes, the tone is set for the beginning of ‘The Endless Season,’ the final instalment in the Five Atomic Seasons series which interestingly references ‘Trauma’ in the third chapter, ‘Autumn In Hiroshima,’ rather than any material from the release featured here.


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Tracklisting:

1. Transition
2. Ayumi's Loom
3. Outlook
4. Togetherness
5. Echo Of Light
6. Key Moment
7. Insiders
8. Nexuses
9. Glowing Vision

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Two Tigers: Dunes

Following a liberal amount of twitter prowling, The Sonic Music Review is pleased to feature 'Dune' by Two Tigers having stumbled across their profile and link to their Soundcloud page here. Two Tigers are a musical act from Chile producing quite a commercial, polished selection of tracks, clearly influenced from 80's acts such as Depeche Mode but stylistically are far more akin to a combination of MGMT and Daft Punk.

Two Tigers - Dunes by twotigersmusic

The track featured here, 'Dunes,' illustrates the act's notable proficiency with synthetic instrumentation within a pseudo-'pop' setting. The piece begins with a simple, clean and crisp guitar riff with subtle use of stutter editing to add additional interest, used in moderation so as not to be intrusive. Layered vocals quickly enter but one of the best moments in this track is the first exposition of synthetic instrumentation which comes soon after.

The orchestration seen throughout, with particular regard to the synthetic timbres, is very accomplished for an independent act, each musical element has its place within the track and within the mix and has been very well crafted. There is a great temptation by many artists to create a single, homogenous wash of sound but the production and great care in orchestrating this track has paid great dividends in making such a varied arrangement which draws the listener in.

As the arrangement continues, the listener is treated to an instrumental section in place of a second verse which further exemplifies Two Tigers' talent in their craft, the keyboardist clearly in their element at this point. This continues before a segue into a repeat of the first verse and chorus, whereupon the piece reaches its conclusion at just over three minutes. The adaptation of the typical three-minute pop song is again a credit to Two Tigers, proving to be highly effective, although a more convincing ending could be achieved. Nonetheless, this is one of the best songs that The Sonic Music Review has had the pleasure of discovering and has been a pleasure to feature for our readers.

For more information on Two Tigers, you can visit their official website here. As ever, if any of our readers represent an independent artist and would like to submit music, please get in touch or find us on Twitter @SubsonicWinter.

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Daft Punk/Various: Tron Legacy - Reconfigured

Following the completion and release of some of the finest house/electronic film scores of the past year, Daft Punk's seminal score to the Disney film 'Tron: Legacy,' reviewed here, a remix album entitled 'Tron Legacy - Reconfigured' (stylised as 'R3CONF1GUR3D'), containing 15 remixes of some of the most popular tracks in the soundtrack, including remixes by big names of the club scene, such as Paul Oakenfold and Moby.

Daft Punk, Remixed By Various: Tron Legacy - Reconfigured

The release as a whole captures Daft Punk's aesthetic aims in producing an exciting and varied programme of largely house music but frequently recontextualizes the duo's creative practice, in many cases adding a much harsher edge, such is the case in the Teddybears' remix of 'Adagio For Tron' and the Boys Noize remix of 'End Of Line.' This inevitably attracts a new kind of audience who naturally veer towards alternative forms of electronic music which strives for a harsher sound world than a typical House artist for example.

The Release itself begins with a remix of 'Derezzed' by The Glitch Mob. This particular track is also seen later, remixed by Avicii also. While The Glitch Mob's remix takes on a similar sound world to the original, as the original track itself is comprised mostly from a single musical idea of the meandering, leaping and falling synth riff, The Glitch Mob proves slightly unconvincing as little new material is added by the remix. Contrasting this with the later Avicii remix, which employs a 'lighter' and non-threatening trance-influenced sonic palette and adds several new musical ideas, relegating the main riff to a background track for continuity's sake, the Avicii remix proves far more convincing. It should be noted that the disparity in styles means that the two tracks  do not compete for the same audience per se, rendering such a comparison as unfair for the dedicated followers of one of the styles in particular.

With such a wide and varied track listing, it is hard to note all the worthy tracks but the Com Truise remix of 'Ecom Part 2,' Pretty Lights remix of 'Solar Sailer' and Crystal Method remix of 'The Grid' are all noteworthy for their own individual musical achievements. Overall, this release serves as a great expansion upon Daft Punk's original work.

View Tracklisting

Tracklisting:

1. "Derezzed" (The Glitch Mob)
2. "Fall" (M83 vs. Big Black Delta)
3. "The Grid" (The Crystal Method)
4. "Adagio for Tron" (Teddybears)
5. "The Son of Flynn" (Ki:Theory)
6. "C.L.U." (Paul Oakenfold)
7. "The Son of Flynn" (Moby)
8. "End of Line" (Boys Noize)
9. "Rinzler" (Kaskade)
10. "ENCOM, Part II" (Com Truise)
11. "End of Line" (Photek)
12. "Arena" (The Japanese Popstars)
13. "Derezzed" (Avicii)
14. "Solar Sailer" (Pretty Lights)
15. "Tron Legacy End Titles"

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