Objekt4 - floor 27 - specimen storage
(Burning Emptiness BE#31 single series two)
3 inch cdr on the French Burning Emptiness label (also home to Empty fanzine).  A long (20 minute) drone and effects piece marred early on by some poor mixing resulting in a couple of speaker threatening moments before it, thankfully, finds it's mix.  From then (around the 5 minute mark) on it's a smorgasbord of warm tones broken up by explosions of shattering glass.  An interesting and brave take on the drone concept and one I'd like to hear developed further.

Oblivion Ensemble - Seraphim Hallucino
(Malignant Records TumorCD28)
Oblivion Ensemble is the working name of the collaboration between John Bergstrom and Brannon Hungness and their latest album comes on like the soundtrack to a hysterical drug-paranoia movie - 'See the horror of young Johnny Wilks who 'dropped' LSD and had a BAD TRIP!!!!!!!' Cue the swirly, lava lamp-esque visuals. the camera rushing maniacally in and out of close-up whilst the music flails, rushes, jiggles and soars. Throwing itself around the speakers in an attempt to scramble and perplex your senses.
Propelled by a restless and narcotic logic redolent of the kind of deranged cut ups that Nurse With Wound used to do O.B. omit the absurdity of those creations to instead fashion a bleak and dystopian composition made entirely from tantilising fragments of Johnny's acid-fried mind...maybe.

Obsil - Distances
(Disasters by Choice CDNUY019)
A beautifully bonkers second album from Tuscany native Giulio Aldinucci that operates somewhere between the realms of electronica, psychedelia and ambient.  His music is filled with light and air allowing it (and us) ample breathing space and room to stretch out and luxuriate in his compositions. It is, in places, a little twee - most noticeably on the albums final track and the album is most suited to the task of adding colour to a room with it's broad and vibrant  palette as Aldinucci easily manages to generate and hold some nicely sumptuous atmospheres for the duration of the album.

Of - Rocks Will Open
(Digitalis Recordings ACE017)
Of is the solo guise of Jewelled Antler’s Loren Chasse and Rocks Will Open sees him exploring hazy, lazy textures on a host of instruments too numerous to mention.
Occasionally bright, occasionally almost suffocatingly bleak, Chasse’s compositions are a sleepy affair but probably not conducive to what used to be referred to as ‘a good eight hours.’
Chasse doesn’t do anything as obviously crass as making his music ‘creepy’ instead the moods he conjures are distinctly ‘disquieting’.  Sometimes his music, on the surface level at least, feels blithely innocuous but closer and more perceptive listens reveal not so much hidden depths as non-obvious nuances. The subtle overlay of contrasting textures that mask their presence by creating a third guise. The deception only revealed when one or other betrays it’s presence (deliberately or not) by a sudden shift in sound or timbre.
Rocks Will Open is a wonderfully complete and satisfying album that more than rewards repeated listens.

Linda O'Keefe & Slavek Kwi - Collaboration 2009-2012
(Tentacles of Perception Recordings 2012)
It's taken me quite a few plays to get my head into this little 2 track EP type thingy but in the end I think it was worth the effort. 
These two tracks are the results of  a long term (and possibly overly complicated) collaboration from these two Ireland based sound artists.  What we have is an aural collage that layers ephemeral sounds of everyday life (children's voices, a ping pong ball, background chatter) with sounds both amorphous and (if you'll excuse a crass term) deliberately musical.  It does, for the most part, work similar territory to Steven Stapleton but without the sense of fun and nonconformity that characterises his work they have produced a pretty cold and dispassionate pair of compositions that make for interesting  if not particularly engaging listening. 

OKOK Society - Third Side Experiment
(Perineum #025)
Welsh experimentalists OKOK Society have been championed to me by Arma from Perineum for several years now.  My only previous exposure to their sounds had been via a couple of mp3's taken from their website.  They were interesting but not enough to make a full and lasting impression.  Well, Arma has put his money where his heart is and released a full length set by the band and it's rather good.
A quick look at the OKOK website will reveal a group very much in love with obfuscation and also I suspect magick (note that all-important 'k').  If you're interested in that aspect of the world then I recommend you check it out but personally I find it to be all a load of 'blah', so I'll leave it to your investigation and focus on the album.
Obfuscation is the name of the game here also.  Their music is predominantly based on a post-industrial hiss and rumble over which snatches of vocal and radio samples are floated.  It's a simple premise but it's one that has been done exceedingly well.  The illusory qualities of their constructions lead one through a maze of shadows and phantasms.  Music of this type does have a tendency towards being quite cold and isolationist but I haven't found that here.  It's certainly detached but there is a friendliness (even an occasional silliness) to the compositions that has found me returning to this album often over the last month, it's amorphous nature allowing it to do it's thing in the background as I read or work.
Very recommended.

Olekranon - Cohesion
(Inam Records 21)
Olekranon is Ryan (no surname given) and Cohesion is an amalgam of three previous and very limited cdrs .  This rather splendid album arrived and took up residence on my stereo with no fanfare.  A mix of electronic soundscapes and full 'band' left-field, industrialised, post-rock compositions that slowly wormed their way into my head and stayed.  For the most part the music on Cohesion seems to be formed from guitar, synthesizer and drum-machine.  The guitar is Ryan's most successful instrument producing some blissfully cosmic melody lines.  The slight over-reliance on electronics does get to be a little old as the album prgresses as it does rob the album of some warmth but as Olekranon is at this point a one-man-band that is understandable.  I really would like to hear these tracks played live with a group of like-minded musicians but if that's an unlikely pipe-dream then this album certainly does the job in the meantime.
(inamrecs AT yahoo.com)

Olekranon - Gaitan
(Inan Records 29)
It’s been a while since new music by Olekranon graced my seedee player and as such Gaitan marks a very welcome return.  As before Ryan (Huber) makes music that straddles various genres including noise, rock, industrial, and oh so many more. Ryan isn’t breaking new ground here.  Musically there is much familiarity but he has taken and adapted well.  A keen ear and a willingness to experiment has enabled him to create something that is his own within that familiarity.  Certain parts work better - the symphonic goth noise of the title track didn’t really do much for me I must admit - but he flings ideas around with abandon which means that ideas never linger too long and outstay their welcome.  His is a distinctly dark psychedelic muse.  It’s a fungal psychotropic harvested from the darkest, dankest corners and it‘s quite addictive.
(inamrecs AT yahoo.com)

Olekranon - Recycle Human Lung
(Inam Records 33)
The last year has seen a steady stream of music from Ryan Huber under his Olekranon guise.  This is apparently the last for 2009 and it concludes his trio of releases nicely.
They’ve all been fairly eclectic in nature and this one continues that trait.  RHL mixes dark and intense dance(ish) music with shimmering drones and chiming guitar pieces. As you’d imagine it’s the last two that are of most interest to me especially as they’re all played with a healthy dose of fuzzy goodness.
It’s difficult to pin an accurate recommendation to Olekranon. You can’t really say ‘For fans of...’, it’s just too eclectic. What is easy to say however is that if you like harder edged music that’s willing to roam between the darker sides of several different genres then this is definitely for you.
(inamrecs (at) yahoo.com)

Olekranon - Identi
(Inam Records 34)
Seemingly unable to restrain either his enthusiasm or his muse (or both) Ryan Huber has unleashed another album of fuzzy excess upon us all.  It's been a busy year for Ryan, this is the fourth of his that I've received this year and I suspect there were more.
Ryan deals in a kind of blissed-out, fuzzy cacophony of sound built over jagged rhythms which occasionally veer into modern industrial-rock territories.  He makes regular use of an almost songlike structure with most of his compositions clocking in around the 4 to 5 minute mark.  I'd like to hear him utilise a larger template and see how he'd handle the twists and turns necessary for more longform work.
I'm not as blown away by this one as I have been by some of his other work and the latter  half of the album wasn't really to my tastes at all but on the whole it's another interesting glimpse into an intriguing body of work.
(inamrecs (AT) yahoo.com)

Olekranon - {bilal}
(Housepig / Inam Records hpig-029)
Olekranon is one of the guises under which US composer Ryan Huber issues his fantastic musical missives.  The music he makes under his other identity, Sujo, is a beautiful wall of metal tinged post-rock and intense cosmic drone work.  It's utterly wonderful and always guaranteed to but a massive smile on my face.
His Olekranon music follows a very different path.  It retains the intensity and skill of the other but in place of the organic feel of that other project here everything is tightly controlled in a symphony of industrial rhythm and noise.  '{bilal}' is the best bits of both the European and the American schools of industrial music mixed through a very modern post-noise sensibility.  Ryan is equally at home constructing innocuously trepidatious melodies as he is assaulting our sensibilities with a blitzkrieg of noise. 
His skill and control of his sound sources is absolute and I adore the music he makes.  Always recommended.
(inamrecs [AT] yahoo.com)

Olekranon - Abadina
(Inam Records 090)
Two of my favourite visitors to WWR - Olekranon and Sujo - are the work of one busy fella - Ryan Huber.  He alternates recordings between each of these guises and whilst the post-rock drone-ish excursions into the stratosphere of Sujo are more to my particular tastes I must admit a real soft spot for the bruising industrial cacophony that is Olekranon.
'Abadina' is another beautiful set of coruscating guitar grind over hammering percussion.  Olekranon carefully (and skilfully) walks the border between the sounds of eighties synth-driven Euro industrial and it's early 90's US metal counterpart with healthy doses of various Justin Broadrick projects thrown into the mix.  It's intense and brutal but never intimidating.  It's a monstrous swirling maelstrom  that you'll happily climb inside of and allow it to carry you to some mechanised Oz of clockwork monkeys, Brass-men and yellow iron rail tracks.
(inamrecs [AT] yahoo.com)

Olekranon - Listerga
(Inam Records 775)
3" CDR
Under his Olekranon persona Ryan Huber generally offers up a more structured and powerfully industrial set than he does as Sujo and 'Listerga' is a 4 song set of heavy, melodic industrial-metal instrumentals.  He is on fine form here alternating gentle melody with punishing intensity.  Guitar and drums dominate proceedings whilst sheets of white, brown, pink, chartreuse (and any other colour you'd care to name) noise hover and soar around them.
As ever with one of Ryan's releases I think it's way too short (it clocks in at around 16 minutes) but truthfully I think he could hand me an 8 disc box set and I'd think it was too short.
(inamrecs [AT] yahoo.com)

Olekranon - Barbarians
(Inam Records 102)
Earlier today I took a dip into another of Ryan Huber' nom-de-guerres, Vopat, and discovered the undercurrent of melodic expressionism that characterises his music in easy view. Olekranon has always been the place where it's harder to see; the place where he allows the city and industry to play.  It's the punishing heart of his music; the molten iron inferno in which the basic form of his sounds take form.  But, while Olekranon may often omit the melody of Sujo it does not scrimp on layers of glorious droning texture often hammered into your subconscious by metronomic rhythms.
(inanrecs [@] yahoo.com)

Omnivore - Spandaurandurandauballet
Under their previous awful name (I'll let you search the WWR archives for it - it began with a 'D') Omnivore produced one of the best albums it was my pleasure to hear in the entirety of 2008.  With 2009 nearing it's end they have once more provided me (and you if you've any sense) with a fantastic slice of fiery jazz excess.  Omnivore's jazz is obviously very much influenced by Zorn's Naked City project and their combination of restless free-jazz skronk, math-rock musicality and a stoner heart with a brutally uncompromising grindcore-esque mentality is an absolute joy to these jaded ears.  This is very much a continuation of where the previous album left off as saxophone, drums and guitars (alongside some circuit bending) collide in a glorious mass pile up of sound. 
Massively recommended.

Yui Onodera - Substrate
(Mystery Sea MS43)
This is just wonderful.  Japanese musician Yui Onodera operates in the realm of sumptuous drone populated by artists such as Mirror, Jonathan Coleclough and Colin Potter.  His drones are outwardly simple yet his compositions are immeasurably deep.  They pour gently from the speakers flowing over every surface in the room.  Whilst sourced from environmental sources along with electronics, voice, guitar and piano there is often little clue as to the origin of the sounds you are listening to (track 8 being the notable exception) instead one finds oneself fully immersed in the flow of the music as it overwhelms all consciousness and transports one fully into Onodera's opulent and verdant soundworld.

Yui Onodera - Entropy
(Trumn T02)
A welcome reissue of the debut release from Tokyo based drone musician Onodera suffers from a terrible misnomer. This is anything but the sound of entropy.  While the range of sounds on offer may be sparse, the ideas cementing them together, the clarity of the conception and the quality of the execution imbues his music with both life and movement, languid life and gentle movement admittedly, but life and movement nonetheless. 
Onodera's compositional techniques marries amorphous tone with occasional flurries of grittier textures.  His music draws from a broader palette than simple drone as loops, swirls, pulses and eddies all contribute to the heady psychedelic swell.  It's difficult to really pin down Onodera's compositions as they have a deceptively nebulous quality that avoids detailed listening which is a quality I like very much as it gives the music a longevity that is easily lost in music that one can pin down and analyse.   It's intrinsic nature is to drift across your attention allowing itself to be glanced at but not watched. 
Beautiful music.

Yui Onodera & Celer - Generic City
(Two Acorns 2A01)
I've had the pleasure of hearing both of these artists in the past but to hear them in collaboration is a real treat.  My, admittedly limited, experience of both has been of a more drone oriented bent than is apparent here.  Generic City is a whole new beast as slews of field recordings made both in Japan and in Los Angeles tangle and twist around each other to form a hallucinatory dishevelment within which I suspect the secrets of the universe are hidden.
It's almost impossible to tell where one musician ends and the other two begin (and vice versa) so seamlessly have their individual creations been fused.  The trio have produced a shifting tapestry of colour and shape in constant movement always seeking to bring a new aspect to our attention, a new form to caress.
I'm generally a fan of collaborations as they often manage to bring out the best in the participants - no-one wants to be the weak link after all.   This one is certainly no exception.  Bewitching and enchanting.

The Oratory of Divine Love - Meditatio
(Diophantine Discs n=16)
I’m currently laid up shivering next to the fire with a miserable head cold. I have my tatty red notebook and a stack of new music to keep me entertained though.  Top of the stack is this album from the curiously named The Oratory of Divine Love about whom I know absolutely nothing.
The music is a single long noise drone piece. It’s both minimalist and static but static in the way a rock on a riverbed is static amidst the turmoil of the running water. It isn’t the most engaging of music as the morass of sound precludes very much tonal variety. It is there but rarely is it the focal point of the music. The Oratory are more interested it seems in establishing an ambience and then maintaining it with only small adjustments to the sound and that’s fine.  I like that aesthetic. It holds many interesting sonic attributes but I have to admit that right here and right now I’m finding it a little one-dimensional.  I do get the feeling though that this would work well treated in a purely ambient manner, i.e. allowed to play discreetly in the background whilst pre-occupied with something else. I’m feeling too rough to do anything else at the moment though so that’s an experiment I’ll leave to you.

OrchestraMaxfieldParrish - The Silent Breath Of Emptiness
(Faith Strange Recordings)
Contrary to the suggestion made in the name this is the work of one man, Mike Fazio. 'The Silent Breath...' consists of a single solo guitar improvisation, subsequently edited into four discrete and cohesive parts and accompanied by a fifth reconstruction.  It's a stunningly melancholic and hallucinogenic experience with Fazio's guitar often sounding more like a bank of synthesizers than a guitar.  The use of 'Orchestra' in the project name is readily apparent in Mike's playing style which is described in the press notes as 'symphonic' and I can find no more apt word to replace it with.  In style OMP is reminiscent of people such as Andrew Chalk but in sound is very much related to the ambient recordings of Eno, or Phaedra-era Tangerine Dream with lush electronic chords layered to create a sumptuous bath of sound into which you can submerge.  I think I would have liked to hear more variety in the effects with which the guitar has been treated but equally I am quibbling over small things as this is a fine and recommended release.

Orchestramaxfieldparrish presents AERA - To The Last Man / Index of Dreaming
(Faith Strange Recordings fs8&9)
The last time I had the distinct pleasure of hearing a Faith Strange release it was the sublime ‘Silent Breath of Emptiness’ by the rather unwieldly named Orchestramaxfieldparrish. Now a year later the name has grown with the addition of ‘presents AERA’.  It’s a mouthful and a half isn’t it.  In order to work around this I’m going to refer to Orchestramaxfieldparrish presents AERA by his given name of Mike Fazio - it’s much easier to type.
The two halves of this album are individually named possibly as an indication of content or possibly as a thematic device for Mike’s overarching driving concept. Either way they encompass a sumptuous and engrossing set of ambient music.  Utilising, slow snowfalls of drones, showers of micro-tones and (if you’re lucky enough to grab the limited edition with the extra third disc) some well chosen field recordings Mike has created a set that fills a room with a cushion of sound
It’s difficult to give you a straight and easy description of the music. It is, by turn, the purest of ambient - like Eno at his best - before morphing into the most uncomfortable of atmospheres - dripping with discomfort and trepidation. His music is as slow and stark as the winter months and as lush and vibrant as the summer ones.  Always recommended.

Orchestramaxfieldparrish - Crossing of Shadows
(Faith Strange Recordings FS12)
Orchestramaxfieldparrish's Mike Fazio is a perennial favourite around these here parts whose melancholic and symphonic sounds are a deliciously seductive tincture.
On this exquisitely presented new album Mike we see two distinct sides to his musical nature.  Part One of the album is a sumptuous set of low key, bewitching and seductive droneworks (with occasional flashes of exuberance).  It’s very much in the vein of the previous work I’ve discussed in these pages and it’s lovely.
Part two is a much more fragile affair.  It’s music is more ephemeral. A series of ghostly images and vaporous effusions that flicker, glimmer, writhe and cavort.  It’s utterly wonderful and I am drowning in it.
Always recommended.

Carl Orff & Gunild Keetman - Music For Children
(Trunk Records JBH048CD)
This is a collection of 3 LPs dating from 1958 of musical teaching methods devised by Carl (Carmina Burana) Orff an Gunild Keetman and here restaged in English by Margaret Murray who makes excellent use of the talent of the children of the Italia Conte School, The Children's Percussion Ensemble and Chorus of the Children's Opera.
What we get is a tangle of folk songs, nursery rhymes, speech exercises and percussion pieces all designed (in ways I'm too lazy to discuss here) to teach the kids the rudiments of music.  Whether they would work or not I have no clue but what I do know is that it's fantastic fun to hear.
The rhythmic pieces are melodious tangles of glockenspiels, metallophones, drinking glasses, tambourines, cymbals and drums.  Other instruments, such as lute, recorders and double bass, make appearances throughout and the whole has the air of some sort of mediaeval mummers play as filtered through the stones of Avebury or via an incursion of 'Time' in an episode of Sapphire & Steel.
It is frankly glorious stuff, partly ecstatic and partly massively creepy - a group of children chanting the name 'Deadly Nightshade' had me giggling and reaching for the rewind to hear it again and again.  Only for it to then be eclipsed by the simultaneous chants of 'Mad as a Hatter' and 'Let the piper call the tune'.
It's magnificently odd, deliciously creepy and beyond all that it's fantastic fun and I don't think I'll hear a better album this year.

Peter Orins - Empty Orchestras
(Helix / Circum-Disc LX 006)
Peter Orins is the drummer in Kaze who we had the pleasure of hearing recently (check the Wonderful Wooden Reasons archives) and has returned to these pages with his band mates replaced by electronics which is makes a nice change as it's usually the drummer who is ousted by circuitry.
On this, if my reading of the slightly over-written press release is correct, Orins is dueting with his autonomous - their word - noise producing gadget.  Whether he is in some way triggering the textural changes via his drums or whether this little electronic Merzbow is entirely going it's own way and he is responding to and interacting with is something of which I'm unsure.  It is all rather fun though.  The drums are sometimes a little too high in the mix but the end result is an abrasive, rhythmic, stompy and thoroughly enjoyable collection of old school industrial improvisations of the type not seen around these parts for far too long.

Iker Ormazabal - Sesiones Acusticas
(R.O.N.F. Records rnf-037)
A fine set of analogue (as opposed to 'acoustic') sounds that have been combined to create a fiery and formidable wall of sound.  Very little of what you hear here is readily identifiable, instead each sound is contorted and subjected to all manner of insidious and possibly illegal manhandling before given it's place in the whole.  It's certainly not an everyday kinda listen but Sesiones Acusticas does have a certain bleak charm that will appeal to those of you with a liking for the abrasive.

Taiko Oroshi - Bleeder Locked Attack
(R.o.N.F. Records RNF-026)
Speaker, and eardrum, shattering shards of broken digital noise are the forte of Danish  musician Claus Haxholm. Bleeder Locked Attack is a littered with fast moving and uncomfortable shards of sound that Haxholm tosses around with a wonderfully blase disregard for his listener. The tracks are, for the most part, nice and short so long before a sound or an idea becomes entrenched or  passe it is has been discarded and we are all happily ensconced in the next track.  My one real complaint is in the similarity of much of the textures he uses.  There is a grittiness to many of the sounds that is interchangeable as though he has used the same effect (be it pedal or processor) on each track. That however is a quibble as this is a fun noise release that while not really offering anything new to a very full genre is still a fun listen.

Orphax - Sand In Boxes
(Verato Project)
Orphax is S v. Erve and he or she is responsible for everything contained within which apparently consists of field recordings, piano and melodica. It's a fairly sedate affair.  Gritty crackles propel the initial track along whilst slow tones swell and break like ghostly breezes. Track two sees Erve allowing his / her sounds  to soar a little sounding like layer upon layer of recordings of passing highflying aircraft. It's a little one dimensional though and a dip in quality after the auspicious opener.  Track three though sees the album back on track with an excellent, but short, track of warm drones and the return of that nice gritty crackle from the first piece.  It's a bit of a sudden drop into the fourth and final track on the album but it quickly builds in a crescendo of looping tones punctuated by stabs of granite sound.  It maybe builds a little too far as the tones start to lose definition and had me reaching for the volume knob to help them regain a comfortable level. This is though the psychedelic centrepiece of the album.  Sounds swirl, throb, circle and tumble throughout and it's wonderfully absorbing.  A fine end to an always interesting and ultimately thoroughly enjoyable album.

Orpheo 5 - A Year on the Ice
(Wordhoard whcd003)
Orpheo 5 are an electro-acoustic duo consisting of saxophonist Keith Jafrate and Shaun Blezard on electronics.  I've really struggled to find the words to write this review.  I've deleted, I think, three rough drafts before starting this one.  I'm doing this one 'blind' so to speak, the album's not even playing as I type (the new Sonic Youth one is).  I'm going to stream of consciousness this review and hope it's readable and says what I want to say.
Inspired by, amongst others, the Evan Parker's Electro-Acoustic Ensemble,  the two members of Orpheo 5 have created an album that has haunted my seedee player this last month.  You can hear their influences (especially that of Parker) but not in any way that's distracting or demeaning to either party.  Jafrate's saxophone alternates between atonality and lyricism with sublime ease and Blezard's noises can be both unobtrusive and leading depending on the particular compositions, and I'm pretty sure they are compositions as nothing here feels particularly improvised.  Both players interlink almost seamlessly with things only hiccupping once when they try their hands at a more restrictive, almost dance music like, format.  let's just say it's not a great success and leave it at that as it really is my only complaint with what is a mighty fine melding of breath, circuitry and oodles of ideas.  Recommended.

Fabio Orsi - The Wild Light Of The Moon
(Sentient Recognition Archive SRA 005)
This is my first sampling of the music conjured up by Berlin based musician Fabio Orsi but his is a name I've been hearing mentioned alongside glowing adjectives for a while now. So, with all preconceptions and expectati9ons put aside (at least as much as possible) I was keen to give a listen to his long-form drone album for US label SRA and he does not disappoint in the slightest. 'The Wild Light of the Moon' is a single track of nicely immersive Kosmiche drone complete with cool sparkly bits glittering around it's edges.  'TWLotM' is a genial and glowing sunrise that with the gentle addition of field recordings (birds) into the mix flows around you warming you in it's glow.  Think Phaedra or Rubycon era Tangerine Dream but with a more contemporary sound bank and you won't be far off the mark.  A very good album.


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