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Form Without LinesDYL :: Dot Product :: Sloth of the Jungle :: Indidjinous :: Parallel :: Nic TVG :: K-Chaos
Form Without Lines revisits a reoccurring idea on Pinecone Moonshine by combining Drone with Drum and Bass in way that percussion is interrupted or de-emphasized.
The EP starts with a distinctly Indidjinous piece where his synths oscillate as if they are vibrating in a mechanical system. Next Parallel emphasizes a single breakbeat in A Dark Abyss. Ambients are more noise than tones and quite low in the mix. In DYL's Horus Eye, percussion between the downbeat is splintered with clicks and slight hints of Drum and Bass patterns that have been almost hidden in the mix. Subs and tones result from densely manipulated granular snippets of audio.
K-Chaos uses the jazz double bass samples from Brief and a modulating synth to set the rhythm. Percussion is sparse and a bit unpredictable where and when it is triggered. Delay Technique returns to more familiar Drum and Bass themes with chopped and delayed Amen break samples.
These four tracks by Snaper demonstrate a finesse and attention to detail that make what are on the surface rather repetitive tracks full of movement.
Pod emphasizes a rhythmic bassline loud in the mix and a light break with shuffles or slightly quieter snares filling the down beats. Morph uses just a couple kicks and snares and hi-hats slowly ticking in the background. There is plenty of space between notes allowing small movements, delays, and sub to fit. Grey Line has a tinnier sounding break almost like the sound pressure is a bit forced. Subtle use of synths get a good reverb treatment. Again the space between drum hits is filled with one off details and carefully selected delays and reverb. Dissonant has a low sounding kick drum matched with a slew-distorted, noise snare. Harmonic dub pads end the EP on a pleasant tone.
Sampling is a group of tracks from the last couple of years which represent simplifying and remaining mobile. Restrictions were set on selecting and processing samples from records and field recordings. And by being mobile, these pieces reflect where they were and when they were written:
09_13_2012 - a sunny, summer afternoon in Southern California.
Ease of Streets - a hotel room in New York looking out at an empty city block late at night.
Tomato Seeds – on and off through my move from Louisiana to California.
The Dog Who Walked on Windowsills - my brother's kitchen table in the morning.
Continuous - a laundromat which was previously a historic recording studio.
The North Sea IntimateMaff Stenning
Crackle and distortion like an old record sets the context for Maff Stenning's The North Sea Intimate. Allowing a couple minutes to introduce the dominant harmonies, it will take six minutes to reach the apex and four minutes to build back down. Maff's style is nostalgic of something precursory of electronic music.
Using a mixture of analog synthesizers and sampling with mainly melodic layers to keep rhythm, the two works feel like an archive of folk music presented as ambient. The second piece follows with similar sound design but is more muted and buried in reverb. Percussive rumbles swell and pop like unraveled low-end frequencies. This is the second release on Pinecone Moonshine in seven years to depart from Drum and Bass, 170bpm music.
Cross ProductDot Product :: Snaper :: K-Chaos :: Metro :: Nic TVG
Metro returns to Pinecone Moonshine with a remix of Dot Product's droning 56i 18j 144k. The empty, ambient layers are successfully combined with sparse percussion adding a strong rhythmic dimension. Snaper also returns this time with a Dub Techno inspired piece. Sparse percussion puts Muted deceptively in the 170 tempo range. Delayed and reverbed tones, noise, and the rhythm all change gradually over seven minutes.
Dot Product's Brief is also Techno inspired sticking to a mostly a 4/4 pattern and elongated reverberations. Nic TVG provides additional percussion including a few glimpses of a drum roll. K-Chaos wraps up the release with Crackles of Fire. The intro makes use of the earlier concepts of 4/4 rhythm and quiet, atonal ambients before opening up into Drumfunk.
Cut by 20Fada
Fada's Cut by 20 EP is built on sharp funk breaks dominated by the kicks and snares. Subtle growling bass sounds and layers of instruments manipulated into drones sparsely arranged as if improvised make a mostly inharmonic backdrop.
The title track offers only a few moments of harmony focusing on the drum break which is held steady with hi-hats and natural sounding syncopation. Transient Thought ups the intensity with a more mechanical drumming often breaking the flow and using drum change ups and the occasional few notes from a synth.
Brushes strays the most from the other tracks. Drones and dissonance remain, but horns, sustained vocals, tablas, and Indian flute are in the forefront. Layering in the Tighten Up break along with the other percussion makes for the densest moments of sound on the EP.
Vapours has been edited to be even murkier with pitched down effects and a heavy amount of distortion. The drums have been replaced with something more guttural flowing less like Drum and Bass and more like a funky drum solo.
Drum Funk IINic TVG
Very Close to Nothing combines two classic Drum and Bass breaks attempting coax the imperfections of the vinyl recording to the forefront. Lackadaisical piano playing and a slow harmony progression blend in with the noise of the drums.
From 2008, Transparent Lines is still one of my favorite pieces. Although there is only hints of percussion, it was a turning point in timbre and arrangement. This is the original mixdown and master that was not released.
Inspired by LXC's LFAnt, Bela begins with warm kicks and beeps put on filtered delays. The intro could have been built into a separate track as it leads into a heavily chopped funk break.
Greenleaf - Forward Motion / Zigaboo
Asymmetric - LSD
Greenleaf presents two New Orleans influenced drum funk style pieces. Sweeps and isolated tones, huge sustained reverbs, low stabs of sub leave the emphasis on the drum kits. Syncopated small plucks of guitar accentuate the rhythm in Forward Motion; the drums ringing and rushing. Zigaboo's main drum pattern stutters almost pushing and pulling with the tempo. Other drum breaks make an appearance but only for one or two bars at a time. Both feature a brief brief excerpt from an interview part way through making these fit like a part one and part two of the same idea.
Asymmetric's LSD bring the focus to Drumfunk by meticulously editing the Think break into new rhythms.