The sadcore creator Jan Braathen, from Oslo (Norway), releases the LP In The Shadow Of The Fourth Dimension on the 10th of January 2019.
A thirteen track album, available through Nobel Records, which stretches through a series of guitar based dour ballads in which various guest instrumentalists and vocalists join to give each track a distinctive texture.
Not an LP to bring out at a wedding celebration but most certainly one to accompany more pensive moments where the music accompanies as a reminder although one may be solitary one is not alone.
Having reflected on the isolated moments in the LP, my pick of the release – the eight track – Let’s Cross Another Borderline – is inevitably the most upbeat and inclusive on the release.
The Norwegian scifidm creator Marius Mæland released the single Lucent Vortex on the 7th.
Only a couple of songs have been released, both, spectral brushes of electronica that have a mesmeric ebb and flow which bends the rhythm of the synapses and slows down, like a tranquillising dart, the passing of time.
Opening with the anticipatory measures of a symphonic orchestration Lucent Vortex gradually transforms in to a multi-dimensional spacious soundtrack of rotational instrumental and keyboard synthesis, a linear percussion and with the lithe electronica moulding itself in to the ever transitional shapes that affords the composition its immersive presence in a piece which doesn’t reach three and a quarter minutes, though carries the mind afar in its brief presence.
The Germany based, Norwegian, etherealwave project centred around Tuva Hellum Marschhäuser who performs as Tuvaband released the single Wolfpack on the 13th.
Tuvaband – Photo by Stefan Roehrich
Originally formed as a duo Wolfpack is the first song to be revealed that reflects of the new Tuvaband reconfiguration.
Rather than layering the song with antonyms of sound the track has a mellowed flow of synonyms that melt one in to the other creating just over four and a half minutes of dreamy ambient harmonised electronica that wraps softly around the spectral voice and leaves the listener becalmed from the daily travails of life.
Continuing to secure gigs across Europe forthcoming appearances in Iceland and Germany can only enhance the reach of a more than capable musician.
Broken Swans has only recently come to the table, with three tracks revealed in the past couple of months.
The most recent of which is You Don’t Like Me Anymore (available on bandcamp) – a fragile composition which the listener senses is likely to fracture even as it surfaces out of the speakers as the frail feathers flutter in tender strains of introspective soliloquy lain on a bed of laced acoustic guitar.
Broken Swans is a musical entity possessing of a gentle grace which I look forward to hearing more from in the coming year.
The Norwegian alt-folk creator releases the LP Skinhorse Playground on the 6th of October.
The first of the nine tracks to surface from the album – America – drifts calmly through the room as though borne on thermals as the combinations of piano and guitar ease in to the ears with an active drum-kit affording a gentle turbulence through which the engrossing vocal focuses attention.