Two long-playing guitar tracks with similar concept: the core riff evolves as an embryo into complex organic music structure, but they vary in emotional filling.

Sharpen" structures initial chaos, while "Lighten" transforms the space to antimatter.

Taking a break in producing experimental-pop-rock songs, and having imroved skills in guitar playing, karp0ff kaspar0ff (a one-man project from Russia) records an instrumental EP, using previous experience in composing neoclassic piano compositions, hard electronic music and even synthypop, with an aim to produce complex emotional modern sounding compositions.

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Summons of Shining Ruins - Analog Vibrations. That points into the right direction. Summons of Shining Ruins is a project of Shinobu Nemoto, who works with electric guitar, tape delay, old rhythm machines, stompboxes and 4-track-recorders. No computer or software is used to record this work.

And you can hear that in every tone. BIRD REQUIEM" sounds at the first listen extremly raw. You can not define what you hear in the first moment. But everything sounds a bit haunting, hidden under a layer of dust. But the longer you listen, the more you can feel how warm everything sounds and how spirited this work is. You can point out subtle melodies, coming to you through this thick curtain build by delay over delay and tone over tone.

You can hear the rhythm machine, ticking and rumbling from the past. And at some points you can imaging voices or shapes, floating by. To follow Shinobu's advice: Listen to it loud and feel the analog vibration.

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Sylvie Walder and entia non (James McDougall) are well-known names in the netlabel-world and beyond. Sylvie Walder released collaboration-albums with Phillip Wilkerson, Siegmar Fricke, and " " (as Kakitsubata). IOD, u-cover, Resting Bell and contributions on compilations for duckbay and Slow Flow Recs. On "bewilderment" Sylvie and James create a rich and deep organic sound-cosmos.

Droning background-layers, instrumental fragments, field recordings, voices, athmospheric glitches and crackles, all assembled to a breathing, living collage. Especially the first three tracks work with this sound-model. Based on Sylvie's piano recordings, James built up an impressive ambience by processing, re-arranging and re-structuring the material.

The last track "le petit lac" is more guided by Sylvie's piano playing with only very subtle accouterments and mastering by James. The artists cooperate together over the huge distance between France and Australia, but the result actually sounds like they have sit together in the same studio and knew eath other since their school days. It's a pleasure to hear how all the different elements, layers and sounds fit together and result in a work that sounds so clear, whole and beautiful.

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