Difference between pages "Sea Oleena - A Lift (Dreams Of Portugal)" and "Yuri Urano - Aso"

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This track is part of a compilation and it is currently (?) its opener. As can be expected of Sea Oleena, the music is very atmospheric and hypnotic. It appears to be an attempt to evoke in the mind of the listener the imagery of a scenery at the water front, a scenery one might even want to place in the summer. A hazy thick air that is welcoming and off-putting at the same time. Somehow the rhythmic element are blows the push the listener back into the chair again.
Waves. Raw. Unaltered. Though not pure in sound. A humming sound, something else, something distant. An inescapable other, a boat, a motor, nature anno domini.
 
What is there to lift then? The spirit? Should we merely gaze on the iridescent scenery that unravels itself in front of our eyes, but limited to our audio-visual senses as we are bereft of our ability to actual explore that which surrounds us?
 
The Algarve is a renown place in Portugal. Maybe this is what the track alludes to. It is easy to add some pointless phrases about the beauty of this place, but since the writer does not receive any royalties from any tourist organization praises and the sort were amended.  
 
Nevertheless, it is music to dream to and let the sprits float. The vague voice, the haunting atmosphere, those vague sounds and the calm piano paint together quite an interesting calm scenery.
 
Take the lift ... to who knows where.
 
 
Part of:
The 'Dreams' compilation from Stadiums & Shrines and Cascine is a double album of new ambient and experimental compositions by contemporary artists.
(Source: https://cascine.bandcamp.com/album/s-s-presents-dreams)


Aso, the opener, presents it manipulated. Presents it in a different setting. A droning sphere. A relocation of what is not pure any more, appears to be a distant visage of its own existence. The cover is clear in its lack of clarity. A juxtaposition of sounds and rhythm that at its core are alien to each other. The hollow melodic elements impose itself only to be washed away. They appear to comment, appear to tell something, but in the end they are list in the vagueness of and density of the waves.


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[[Category:Review]][[Category:Sea Oleena]][[Category:Pop]][[Category:Experimental]][[Category:Ambient]][[Category:Independent]][[Category:2014]][[Category:Canada]]
[[Category:Review]][[Category:Yuri Urano]][[Category:Drone]][[Category:Ambient]][[Category:Field Recording]][[Category:2022]][[Category:Japan]]
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[[Year::2022]][[Genre::Pop]][[Genre::Experimental]][[Genre::Ambient]][[Genre::Independent]][[Date::2022]][[Review::2022]][[Released::2014]][[Series::2]]
[[Year::2022]][[Genre::Drone]][[Genre::Field Recording]][[Genre::Ambient]][[Date::2022]]
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Latest revision as of 15:50, 8 June 2022

Waves. Raw. Unaltered. Though not pure in sound. A humming sound, something else, something distant. An inescapable other, a boat, a motor, nature anno domini.

Aso, the opener, presents it manipulated. Presents it in a different setting. A droning sphere. A relocation of what is not pure any more, appears to be a distant visage of its own existence. The cover is clear in its lack of clarity. A juxtaposition of sounds and rhythm that at its core are alien to each other. The hollow melodic elements impose itself only to be washed away. They appear to comment, appear to tell something, but in the end they are list in the vagueness of and density of the waves.

2022DroneField RecordingAmbient2022