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cat-nr: verazität: 050, release date: March 2007, ltd.-edition: 60, mp3 
"Inaudible" features 3 new tracks that will show a new Side of Seconds In Formaldehyde. Guitar drones mixed with some minimal beats and tribal percussion. Fans of Aidan Baker and Fear Falls Burning should like this tunes. First edition will be released in a handmade digipack artwork! | |
Auch "Inaudible" besticht wiederum durch die angenehm- zurückhaltende Art des Künstlers, musikalisch, wie auch im persönlichen Auftreten. "Inaudible" beginnt mit sanften Drones die irgendwo da zuhause sind, wo die Grenze zwischen Himmel und Ozean am Horizont verschwimmt. Grenzgang wie Naturerfahrung gleichermassen. Lange Akkorde tragen den Hörer durch weite, spärliche Klangfelder. Die wohl grösste Neuerung diesmal sind die minimalen, auf leichten Füssen daherkommenden Beats, sowie die Percussion Loops, die an minimalistische Elektronische Musik erinnern. Ich mag es, wenn sich Künstler, die sich einem bestimmten Genre zugehörig fühlen, trotzdem den Mut haben, neue Schritte zu gehen, andere Wege zu beschreiten. Wer würde bei Fear Falls Burning, Aidan Baker und Konsorten damit rechnen, dass eine Platte plötzlich Beats aufweist? Wohl eher niemand. Um so interessanter dies nun bei Seconds In Formaldehyde verfolgen zu können. Die Beats sind sehr dezent und gekonnt zurückhaltend gestreut, was den typischen ruhigen Drone-Klangforschungen keinerlei Abbruch tut. by Creative Eclipse Martin Fuhs is the man behind Seconds In Formaldehyde who plays ambient guitar drone music since about five years. His music is played on electric guitars and sometimes uses drum programming. Although more recent, there is a strong similarity with the music of Fear Falls Burning. Slowly strumming, feeding the sound through a bunch of colored sound effects to create a long sustain, and bob's your uncle. The drumcomputer, a feature not to be found in Fear Falls Burning trunk, is used on the first two tracks only, but it adds an extra flavor to the music which makes it more interesting. The final track is lengthier and sound a bit too much alike his Belgium counterpart (again: even Fuhs may play this longer than Fear Falls Burning, this is my first encounter with his music, and I believe he started to release music after september 2006), who already produced a large body of music. So: it's certainly nice what he does, and done in a really good way, but at the same time, also a bit too much of a copy. by frans de waard @ vital weekly seconds in formaldehyde überraschen uns. beginnt das erste stück, "there is a certain feeling under my skin", noch sehr ambient harmonisch (obwohl das flirrige tremolo in teilen des sound schon so etwas wie unruhe verbreitet / vorbereitet), so sind "the calm before the storm" und erst recht "when death took position of him" deutlich kratzbürstiger; allein aufgrund harmonischer reibungen; flächen driften gegeneinander, reiben und umkreisen sich, wollen sich finden, spüren aber ihren abstand und können (wollen? sollen!) ihn letztlich auch nicht überwinden. eine atmosphäre respektvollen abstands, einer erwartung, die den hörer unruhig werden lässt, die fast schon latente aggressivität in sich birgt und diese besonders bei höherer lautstärke auch ausspielt. der wunsch nach einem harmonischen finden wird übermächtig; ob er sich letztlich erfüllt? ein spiel mit coda-momenten, ein immer wieder rückkehren, ein ins endlose gedehnte wegdriften und immer wieder aufbäumen. und die zweite überraschung: drumprogramming auf #1 + #2: "there is a certain feeling under my skin" abwartend; im charakter an circlesquare's "pre-earthquake anthem" erinnernd, jedoch ohne deren erdige tiefe, stattdessen trotz downbeat eher in den wolken; zusammen mit dem bewusst unbehaglicherem (siehe oben), fast 30 minuten langen "when death took position of him" für mich die höhepunkte des albums. "the calm before the storm" mit einer interpretation von gebrochenen beats dagegen für meine ohren in den ingredienzien zu sehr nebeneinanderstehend. und schon wieder eine mikroauflage (60 stck), im digipak.................. by Unruhr.de With five years of experience on his back and a couple of previously released albums in his account German guitar drone experimentalist Martin Fuhs comes with his third album. “Audible”. The album was released by verato project and it is a limited edition deluxe digipack. The album contains three songs that sums a whole record time of 45 minutes of guitar drone bliss, although the titles suggest something entirely different. Martin is at charge of the whole composition, performance and recording process aside from programming the drums and playing the guitar. SIF continues the tradition of Aidan Baker’s Guitar drone ambient (he is a declared influence in Martin’s work). Half way improvisation and other half meticulous work, SIF is able to dissect every guitar chord into elongated drones of roomy lush and spacious ether. He denotes mastery in superimposing guitar layers, one over another in perfect motion, decomposing the original sound and creating an entirely different relentless set of drones that cut their way from ethereal landscapes with melancholic undertones to relaxed and grandiloquent vistas that incite oniric states in the listener. Like fumes of incense smoke, elevating and the concentrating in a spot, the drone quality is undulating ever expanding, incessantly moving and evolving. From one basic drone loop then comes another very subtly and in the blink of an eye we have a sum of layers conforming a whole piece of delicate beauty. Martin is able to bring cohesion and divergence to the plot by adding a smart usage of drum programming, excellently conceived and managed. The beat bring this chill out quality to the music, conceiving a very simple quasi heart beat accompaniment to the ever morphing qualities of the drone layers slowly setting a placid atmosphere of vague elements and fuzzy environments. Music to lie off ! First piece “There is a certain feeling under my skin”, in spite of the title, the song is an entrance to calmness and relaxation. Second piece “The calm before the storm” still preserving the ever moving aspect of the drone layers takes a more tribal aspect with the drum sequence, it has some eastern reminiscence also and evokes perhaps a wide hamman where the course of time seems to be of eternal quality. This piece is more hypnotic by constant repetition in the guitar drone sequences and perhaps comes with a little more tension as product of this effect. Latest song is the most western alike and the more ethereal as well. No more drum programming is present, only a westernized psychedelic echoed guitar strolls in first plane while the ethereal clouds of atonal sound stampede at the bottom. This is perhaps the more ethereal and dreamy piece. Very surreal and sun flowered, the walls of guitar noise float relentlessly inducing infinite bliss and a casting away shadows. It is like the soundtrack for a perfect evening of delicate and yet powerful golden tonalities. SIF is a band that pleases the unaware listener or the practical expert in drone ambient. Very well worked and polished. With no flaws accountable, the pieces have the subtlety to seduce the listener without burdening him with over imposition of sequences or unnecessary loops. Enough rhythmic to allow a conscious perspective and to avoid drowsy states it is perfect to chill out and relax in proactive calm. It is not yet another drone guitar ambient but an interesting experience of sound quality and ethereal atmospherics. by heathen harvest | ||