Articles
2008 Ten Favourite Labels
Ten Questions Celer
Ten Questions Deadbeat

Albums
Anzio Green
Ariel Abshire
Osman Arabi
Arastoo & AEMAE
Asymmetrical Head
Benoît Pioulard
Bohren & der Club of Gore
Matt Borghi
Celer
Cubenx
Anders Dahl
Davis & Roux
Deadbeat
Feu Follet
Formication
Generic
Stefan Goldmann
Gultskra Artikler / Lanterns
Hauschka
Hexes & Ohs
Koen Holtkamp
I Am Robot And Proud
Illusion of Safety
Integral
Koen Park
Akira Kosemura
Koushik
Library Tapes
Lineland
Mamiffer
Melodium
Moon
Oppressed By The Line
Pillars and Tongues
Rumpistol
Kamran Sadeghi
Sans Serif
Signal Deluxe
Skogen
Saul Stokes
Matthew Sweet
Tapage
Thursday / Envy
Windy & Carl

Compilations / Mixes
An Taobh Tuathail II
Chaos Restored 2
DFPRMX
Kuniyuki
Message Subatomic World
Pero es olor en el cuarto...

EPs
Canyons!
Budhaditya Chattopadhyay
Cubenx
Dokuro
Fraction
Lee Holman
Ikonika
King Midas Sound
Michael Lambright
Library Tapes
Lilienweiss
MRK1
:papercutz
Spencer Parker
Poratz
Spartak + John Chantler
Andy Vaz

Arastoo & AEMAE: Ostrakon
Isounderscore

Available in a run of 320 copies, Ostrakon is a twenty-three-minute vinyl release showcasing the considerable experimental talents of collaborators Arastoo Darakshan (piano) and AEMAE aka Brandon Nickell (synthesis). The A-side's title piece positions Darakshan's elegant classical playing at the center of Nickell's jagged electronic treatments. Nuanced, impressionistic, and ruminative, the fluid piano playing wends a largely slow and melancholy path while Nickell shadows it the violent screech of a train car, alien snuffling noises, and subtler atmospheric enhancements like the ghostly whisper of silken electronic tones. Taking the lead in this remarkable set-piece, Darakshan masterfully modulates the tempo and volume of his playing, with Nickell following his every move with well-timed textural colourations.

The roles are reversed on the flip side's “Capo” with Nickell presumably at the helm. Like the amplified fusion of a distant train whistle and a hydraulic machine, industrial reverberations advance and recede in volume, with Darakshan's piano either nowhere in sight during or transformed via processing so completely no trace of its natural sound remains. Suddenly, however, the storm retreats at the halfway mark and cascading ripples of piano tinkles appear like sunlight piercing through the departing clouds. Both pieces are resolutely experimental in character yet eminently musical, despite an occasional harsh interjection on side one. Nickell issued the distinguished Ostrakon on his own Isounderscore imprint.

November 2008