GermJumper - T.H.A. (Self-released, 2012)

Cyrus Shamir is all over the place, playing in the Atlanta band The N.E.C., contributing to Jamie Hepler (Soft Opening) on his drone project Nest Egg, recording and mixing for lots of people, and doing just about everything musically he has time for.

GermJumper is a solo project released last year. These are a couple of well crafted twenty minute forays in experimental electronics. The aesthetic is reminiscent of early electronic synthesis from Clara Rockmore, Pierre Henry or Morton Subotnick. There is also an eerie alien sub-space transmission feel to the entire composition. The combination of these elements, presented in an undulating rhythmic drone format, is quite different than the current trend of ambient / drone / noise. Shamir has a classical electronic grasp on structure. What seems like meandering is very controlled. This music is esoteric yet strikingly accessible to those with a modicum of interest in left of center sounds.

Outer Space - II (Blast First, 2012)

Not all modular synths are created equal. Just because there are thousands of 20 year olds in their bedrooms treating Edgar Froese arpeggios like Jimi Hendrix licks, doesn't mean they can create masterful recordings with the mini-moog they just traded for their electric guitar. This is why people like John Elliot (Emeralds) still matter so much. The torch itself was passed to Elliot. Its his game now, and he knows how to play it. If you sit around listening to a lot of retro synth material, you can tell when you're hearing his tracks.

Outer Space is Elliot alongside Andrew Veres (who does a lot of audio engineering work, mixing and mastering for Spectrum Spools), Adam Miller, Phillip J. Whiteside, Jeff Hatfield and Drew McDowall (of COIL fame). This does feel like a group effort. There are vast influences being represented here.

Whereas the first record felt very tense, this one has more er...umm... space? Side A begins in an intense fashion. Very thick pulses thud and punch their way through a wall of wind. This gives way to a release, in the form of a comfortable sprawl of rhythm and melody. Overall, its hopeful and lovely. Side B is quite a different story. In the beginning it sounds like an exercise in musique concrete, but quickly develops into a heavy and quite overwhelming narrative of darkness and doubt, fear and anxiety. Everything feels ominous for quite a while. This side long piece clicks and cuts, gurgles and churns its way through the depths of synth experimentation that, at its most exotic, reminds me of Conrad Schnitzler. Elliot himself stated that this side is a tribute to Ilhan Mimaroglu and Tod Dockstader.

This is a fantastic piece for those that are fans of the darker deeper side of synth history, its roots and possibilities are both represented here. Definitely give this one a go.


Read full review of Outer Space II - OUTER SPACE (JOHN ELLIOTT) on Boomkat.com ©

Igor Wakhevich - Docteur Faust (Pathe Marconi EMI, 1971)

OK, what the hell is this? It's good, I think....I think.
Doctor Faustus is a play based on the Faust story. Common themes are sin and affirmation and Satan. So with that in mind, needless to say this album is dark and scary in tone. “Docteur Faust” is almost set up like a surreal score for the play itself. This album is really pure progressive rock in it's most cluttered and abstract form. The smooth jammy grooves of early Pink Floyd are holding hands with the martial sounds of King Crimson and Stravinsky and they're walking along, yet keep on falling into puddles of Goblin goo. As this album is purposely composed as it is, it is a bit much in the way of never gaining any sort theme other than confusion and torment. Which, if that is what Igor Wakhevich was attempting to do, he has exceeded his goal. Seriously though, this album sounds like Satan's own martial symphony is playing while marching straight into the cave where several species of small fury animals are grooving with a Pict. This album is definitely worth checking out.

--Sean Dail

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