Rozz Williams - Pig O.S.T. (1998)

We all know Rozz Williams, that's a fact... Things i didn't knew about him is that his last state of art was a short film called Pig...

Directed and written by Nico B. and Rozz Williams, this is the last thing that Rozz offered to humanity, only printed in the mysterious number of 1334 in VHS and in 2002 on DVD.

By the way this is not another cheesy dearhrock album in the style of the late Christian Death. Beyond this only lies pain, misery and lost hope. This is an example of what a man with big stressed brains between his legs can create...

Enjoy! 

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Troum - Darv Esh 10"

Troum is a duo located in Bremen, Germany, established in early 1997. The two members "Glit[S]ch" and "Baraka[H]" were active before in the influental ambient industrial group Maeror Tri which existed from 1988 to 1996.
Troum is the old german word for "dream". The dream seen as a central manifestation of the unconscious symbolizes the aim of Troum to lead the listener into a hypnotizing dream-state of mind, a pre-verbal and primal consciousness sphere. A thanks goes to Tzomborgha for knowing my sick appetite for endless war loops.

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Nature Recordings - Mountain Stream (1985)

The nature/environmental sounds make their return to the Closet once again on every Sunday. Sorry about the lack of nature/environmental posts lately, but I simply ran out. About a couple of weeks ago, I obtained a few more cassettes which will be posted in the next few weeks. Hopefully, I'll have even more to post for many weeks to come.

As you can tell, this one is a cassette from 1985. I found this cassette without a cover. Most of the other ones I found do not have covers either. This is another lovely recording of a mountain stream by another mysterious outfit called Nature Recordings. Birds make a brief appearance at the beginning. (a closet of curiosities)

Tracklisting:

1. Mountain Stream {41:51}

Both sides of the cassette are the same.

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Stephan Mathieu - Radioland (2008)

Radioland fulfills the cardinal principle of ambient music; you can play it for pleasant background sound, but it richly repays close listening. It is a close kin to Rafael Toral’sWave Field. Both discs back up breathtaking surface appeal - in other words, you don’t have to be totally warped by noise to find the music really beautiful - with layer upon layer of essential details that change radically depending on how loud you play the thing and yield endless rewards to attention paid. Take “Raphael,” the opening track. In the course of a few seconds, orchestral woodwinds slide over static like a glacier in a hurry. While the horns build and swell, different strains of electronic noise filter in and out of hearing; they’re there and then gone like white-caps in a choppy sea. Musical performances, conversations, and the hiss and crackle endemic to shortwave bandwidths all come into play, but most of the time they’re so processed that it’s the timbre and texture, not the provenance, of Mathieu’s material that stands out. He has a knack for snatching and transforming sounds, like the bobbing high tones on “Eine Promenade” and the shimmering midrange early in “Licht und Finsternis zum Auge,” so that they seem unchanging even though they’re in constant flux.

Radioland is the most beautiful ambient record and the most immersive piece of drone I’ve heard all year, but to leave it at that would still be damning it with faint praise. This is simply one of the loveliest wall-to-wall sounds around.

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Machinefabriek - Marijin (2006) / Ranonkel (2008)

Fizzing glockenspiel tones light a melodic causeway across a minuscule, infinitely graceful backdrop of high frequency sine tones, crackle and slow chords. It's a real keeper, definitely among the very finest of Zuydervelt's compositions. If you've grown a little sceptical of the Machinefabriek quality control system of late, here's the antidote. A series of more streamlined drones follows, although the overall feel is one of methodical, well thought out composition rather than off-the cuff tonal layering: 'Stofstuktoon' resonates like an orchestra of perpetually sustaining Tibetan prayer bowls, eventually sliding away into near silence populated only by a protracted static hiss.

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Giuseppe Lelasi - Aix (2009)

Milanese guitarist and electronic musician Giuseppe Ielasi is best known for his languidly beautiful, yet painstakingly wrought drone poems. His finest releases – 2003’s Plans (Sedimental) and 2007’s stunning August (12k) – are set apart by Ielasi’s attention to the smallest of details in his sound sources, which are left largely untreated. Pieces seem to unfold out of the hypnotic ebb and flow of crackling field recordings, warmly linear guitar lines and burbling electronics.

On first listen, Aix – named for Aix-en-Provence, where the album was recorded – appears to mark a shift, however subtle, in Ielasi’s solo work. The emphasis is more on rupture and rhythm, rather than on the soft, stream-of-consciousness flow that is Ielasi’s hallmark, but it’s still as immersive and atmospheric as ever. Ielasi constructed the nine untitled pieces that make up the album along the lattice points of a rhythmic grid, using chopped up samples and fragments of piano, drums, guitar, trumpet, vinyl and other less-easily decipherable sources as basic musical building blocks.

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