Freefall
No Warning!
01/10/03 00:00 Filed in: Album reviews
translated from the Italian by Antonio Gambale
This is the fourth live release for Darkroom, after the 'Fallout' trilogy on the 'Burning Shed' label, following two solo albums and a studio EP - almost as if to intentionally underline the predominantly improvisational nature of the band, headed by Os and Michael Bearpark. The three long tracks featuring on this record, each with a duration of between twenty and twenty-five minutes, reveal a Tim Bowness-like absence, characterised in the form of monumental pieces, entirely instrumental; the influence of Fripp & Eno's work on Darkroom seems undeniable, just listen to the first track recorded during rehearsals with Bearpark and Os along with the contribution of Simon H. Fell on acoustic bass, where it's not hard to pick up on similarities with the Swastika Girls. Much more expansive, both in terms of atmosphere and duration (at 24 minutes and 38 seconds), is the second track recorded at the Unitarian Church of Cambridge: here the work of Bearpark and Os pushes toward obsessive repetition, following an electro-minimalist beat which evolves in aerial spirals that hold the listener under siege, between rarefication in the extreme, and echoes of The Heavenly Music Corporation. The initial portion of the third track is basted with liquid guitar arpeggios, recorded at the Portland Arms in Cambridge with a lineup including Peter Chilvers on bass, dispersing itself into a tight study of loops that recall the style of concise composition on their brilliant first album 'Daylight'. Far from showing signs of fading, Darkroom confirm themselves again as one of the more couragious acts in the world of ambient electronica. 'Freefall', like Peter Chilvers' album 'Free' is not commercially available but is in free circulation; follow the instructions given in the review of 'Free' to obtain a copy of Darkroom's new album for yourself.
This is the fourth live release for Darkroom, after the 'Fallout' trilogy on the 'Burning Shed' label, following two solo albums and a studio EP - almost as if to intentionally underline the predominantly improvisational nature of the band, headed by Os and Michael Bearpark. The three long tracks featuring on this record, each with a duration of between twenty and twenty-five minutes, reveal a Tim Bowness-like absence, characterised in the form of monumental pieces, entirely instrumental; the influence of Fripp & Eno's work on Darkroom seems undeniable, just listen to the first track recorded during rehearsals with Bearpark and Os along with the contribution of Simon H. Fell on acoustic bass, where it's not hard to pick up on similarities with the Swastika Girls. Much more expansive, both in terms of atmosphere and duration (at 24 minutes and 38 seconds), is the second track recorded at the Unitarian Church of Cambridge: here the work of Bearpark and Os pushes toward obsessive repetition, following an electro-minimalist beat which evolves in aerial spirals that hold the listener under siege, between rarefication in the extreme, and echoes of The Heavenly Music Corporation. The initial portion of the third track is basted with liquid guitar arpeggios, recorded at the Portland Arms in Cambridge with a lineup including Peter Chilvers on bass, dispersing itself into a tight study of loops that recall the style of concise composition on their brilliant first album 'Daylight'. Far from showing signs of fading, Darkroom confirm themselves again as one of the more couragious acts in the world of ambient electronica. 'Freefall', like Peter Chilvers' album 'Free' is not commercially available but is in free circulation; follow the instructions given in the review of 'Free' to obtain a copy of Darkroom's new album for yourself.
Phosphor Magazine (September 2003)
01/09/03 00:00 Filed in: Album reviews
The fourth live album in the 'fallout' trilogy can be obtained for free in the internet. The people behind this project even ask you to make copies and distribute them. So, do your best to pass it on, because the music on this album is excellent!
The first track by Freefall is entitled Rehearsal, Royston 26/1/2003 Mike and Os with Simon H. Fell (acoustic bass) are the persons who are responsible for the music. This 20 minute long track slowly evolves into a beautiful ambient soundscape, in which dreamy atmospheres go together with harmonic frequencies. Lovey dark and gentle waves slowly meander into warm hypnotic ambiences where some occassional psychedelic sounds concrète have been added.
Both next tracks are live. The first one, 24 minutes long, has been recorded at during the Bleepfest at the Unitarian Church, Cambridge 21/11/2002. Again Mike and Os offer a calm sensitive approach in which tranquilizing dark ambient slowly gets denser and starts to make the speakers vibrate.
The last track is a live recording by Mike and Os with Peter Chilvers (electric bass). Calm electronics and some bass have been combined with spoken word samples in the background. The second part of the piece gets more hectic. More musical elements are used and the sounds change more often, ending an excellent CD.
The first track by Freefall is entitled Rehearsal, Royston 26/1/2003 Mike and Os with Simon H. Fell (acoustic bass) are the persons who are responsible for the music. This 20 minute long track slowly evolves into a beautiful ambient soundscape, in which dreamy atmospheres go together with harmonic frequencies. Lovey dark and gentle waves slowly meander into warm hypnotic ambiences where some occassional psychedelic sounds concrète have been added.
Both next tracks are live. The first one, 24 minutes long, has been recorded at during the Bleepfest at the Unitarian Church, Cambridge 21/11/2002. Again Mike and Os offer a calm sensitive approach in which tranquilizing dark ambient slowly gets denser and starts to make the speakers vibrate.
The last track is a live recording by Mike and Os with Peter Chilvers (electric bass). Calm electronics and some bass have been combined with spoken word samples in the background. The second part of the piece gets more hectic. More musical elements are used and the sounds change more often, ending an excellent CD.