One Arc Degree "The Forest And The Milky Way" (2023)

Inconsequential! That's the word I've been seeking. A peaceful setting, absent of self. This describes my current obsession with these meditative Psybient sleepers. One Arc Degree's prior effort didn't resonate quite like this one. With soft touches of Yagya alike dreamy Downtempo droning, The Forest And The Milky Way toys with Cosmic Ambience aesthetics as steady thuds of percussive life pull us through serine soundscapes that swell and contract through luscious layers of shimmering synths. Its sweetest fruits emerge through covert arrivals. The driving kick bass locks in with an emergence of soft snare and quiet cymbals, conjuring a hazy dancefloor energy.

Its construct sequences lengthy songs dwelling on an aesthetic tones. Instruments gracefully dodge melody, lurching in limbo, toying with their own ambiguity. A web of sounds hang in perpetuity, whirling, murmuring, drifting on by without a care. The result is soothing, meditative, blending earthly vibes with astral synths that land in their own strange yet welcoming space. My preferred tracks lure me in to a deep calm, the others pass by without concern. Its a wonderful listen. The moments that spin to my rhythm are entrancing. Its not the entirety of the record but worthy of much merit!

 

Rating: 7/10

Yagya "Faded Photographs" (2023)

 

I recall commenting previously that Yagya's music, a unique blend of dreamy Ethereal Downtempo ambience, had run its course with me. Still in adoration of the peaceful persuasion this composer casts, this newest installment commanded a curious listen. The soft sway of deeply subdued dub percussion meets a timeless array of cloudy synths again for another sleepy affair in the heavens. Business as usual, the sweetest of routines that leaves me with little to say I haven't already in previous posts.

Where Faded Photographs caught my ear was with its vocal collaborations. A real sense of intended chemistry emerged as these delicate, softly sung voices chimed in as if a new element of the Yagya sound. Its been done before but in a few instances, these unions with Bandreas, Benoit Pioulard and my favorite Saint Sinner, turned out a treat! The subtle saxophone expressions from Óskar Guðjónsson another delight.

With a rather constrained temperament and consistent approach to the composition of these eleven songs, the novelty wears off swiftly but a soothing charm does persist. The Serpent stands head and shoulders apart as the records best song. Grappling with foggy unease and eerie stresses, the chorus moves through gratifying shifts as tensions resolve and elevate with beautiful chord progressions. It commanded me to write this post! The record however did become a rather typical affair for a sound thoroughly explored already. I do still enjoy on occasion though, this was one of them.

Rating: 6/10

Yagya "Always Maybe Tomorrow" (2021)

 

With little in the way of a stylistic divergence to be found, Always Maybe Tomorrow is the sort of release I prefer from an artist who I enjoy, yet may not find something new as they remain in their lane. This is a straight forward four track EP of droning dreamy cuts with the typical Yagya sound. Its synths, percussive pallet and ambiguous noises seemingly recycled tones from past projects but in this brief format its a welcome place to revisit. So much so that I'd fail not to repeat myself in describing it.

Each song is a deployment of rich textural aesthetics. Its perpetual deep bass pounding a soothing rhythmic backbone for a one way drive through the varying temperaments of its various instruments. Dense with atmosphere and calming in nature its quite the meditative experience for focus with no human voices to provide any distraction from the entrancing experience of these dreamy drones.

Perhaps I could remark on Standing Still In A River for a more prominent synth melody that repeats on itself endlessly, upfront in the tracks limelight. Beyond that excursion I find myself with little to comment on. This is a very typical set of tracks from Yagya, great to enjoy but not to much in the way of breaking new ground, which I doubt was ever the intent.

Rating: 4/10

Yagya "Old Dreams And Memories" (2020)

Given my utter disappointment with last years Stormur, I almost let this one pass me by but alas I had to find out if the Icelandic musician Yagya would kindle his particular breed of calming magic again. I'm please to report the answer is yes. It is a return to form but also no measure of anything unheard before. After much consumption, it essentially confines Old Dreams And Memories to the playlist along with his other works when seeking the relaxing mood of his soft and dreamy atmospheres.

Toying a little with tense strings on occasional tracks, the usual remedy of dub baselines resonating slow club grooves below cloudy synths gets a little flavor to define it. Many of the usual tones, synths and drum sounds in his pallet resurface alongside these Classical elements, bringing about a sorrowful and saddening tone to otherwise carefree and indulgent sound. Its rainy, glum, yet entrancing and beautiful as  sombre violins usher in a seriousness on its select tracks.

The voice of what I presume to be a Japanese woman crops up throughout the record. Her soft spoken word creates an intimate feeling of something serious. Given the nature of the music it has less of a manifestation into theme but adds a little mystery to the records vibe. All in all the new songs have provided the Yagya experience again but with nothing remarkable going on. As always this music is fresh on first listen but quickly its ambience and atmosphere confines it to the background.

Rating: 5/10

Yagya "Stormur" (2019)

Excitement and exception falls flat on its face as I rush to pick up a record without a pause to hear it first. Yagya has been a frequent "go to" for a particular mood, the steady pacing, ambient energy and dreamy atmospheres are blissful in the right setting, even calming. This time around the formula has changed, a pivot back towards roots in Dub, Techno and IDM music leaves us with a record more alike a Tangerine Dream album than Brian Eno. The opening couple of tracks have the distinctive soft and airy synths, cushioning the monotone beat and slowly melting into a dreamy atmosphere. It takes off where Sleepygirl left but not for long.

With each track the layer of warm and tranquil synths seem to slip out of focus as the underlying drive of Dub beats seem to become the main narrative. With an unhealthy amount of repetition the musics elongated moments seems to ploy around the microscopic details of the beat and its synths that latch closely. Inflection, tone and volume morphs and transmutes with the occasional kick removal offering up the only variety. Its at this point the songs drone on with that Tangerine Dream quality of winding meandering synths. Its dull, the record may possesses degrees of composure but its long strolls through winding beat manipulation suck out any magic it musters in brief moments. A real disappointment, not my cup of tea that is for sure.

Rating: 2/10

Vince Staples "Big Fish Theory" (2017)

It was only a while back that I was introduced to the young Compton rapper. Summertime '06 won me over so another album springing up so quickly Is a pleasant surprise. Big Fish takes of where Summertime left, working with the same producer Vince retains the distinct production style behind his rhymes, sub baselines crunch under tight shuffling hi hats and steady, cautious snare kick grooves. Where Summertime had a smoother tone with fragrant samples and a more "traditional" Hip Hop vibe, Big Fish takes a turn to new territory with strong influences from House and Electronic music that has much of the instrumentation used performed by an array of synthesized sounds.

 The album kicks off with "Crabs In The Bucket", if you removed Vince's voice from the track it would unrecognizable as a Hip Hop track, Its sweeping wind synths lead us into a smooth Dance groove with Kilo Kish laying down soft, echoing vocals over a climatic jiving baseline groove reminiscent of G-Funk. This tone follows through the record, many tracks would fall into another category if it wasn't for Vince's rhymes and that's the albums brilliance, Its abridged styles and created something of its own, a unique fusion that seems just right for this artist. The records tone has a rather cold and spacious quality, many of these crunking baselines and tight shuffling beats intersect with abstract electronic noises without an upfront melody. In response the baseline rhythms become a focal point of direction and Vince's often flat, leveled delivery reinforces the chilling tone. It works especially well when his lyrics go into darker regions.

With a handful of banging baselines and catchy hooks the album sets off fires in one instances and puts them out with its quirkier tracks that don't quite vibe the same. Not to say they are bad tracks but there is a note able difference despite a rather consistent tone. I like Big Fish Theory for its unique crossover between style two genres and much is to be merited for that success but it doesn't mean all the songs are automatically destined for greatness. With new territory comes new challenges and through the thirty six minutes I felt as if there was an imbalance between the quirky, rhythmically arranged synths and an opportunity for more dance laden melody and atmosphere, however that's just a matter of taste and unfortunately what started out as a really interesting album started to fade somewhat by the tenth listen or so as the overall picture of the record came into view. The songs just don't quite hold up and an overall direction is lacking, most notable on Alyssa that comes in with a long vocal snippet that has seemingly nothing to do with the rest of the record. The great ideas are scattered in here but they don't find their way to cohesion.

Favorite Tracks: Crabs In The Bucket, Love Can Be, 745, Bagbak, Rain Come Down

Rating: 6/10

Delerium "Semantic Spaces" (1994)

Id not heard of Delerium before receiving this recommendation, however I had heard the Tiesto remix of their famous "Silence" Trance song. I'm also familiar with Front Line Assembly a Canadian Industrial group who flirted with Metal on their most commercially successful venture "Millennium" released the same year. Bill Leeb and Rhys Fulber of the band formed this side project in 1987, a year after FLA, and released a prolific seven full lengths before this release, which is one of three in the year of ninety four. Its a lengthy record of steady moving electronic pieces tinging on ambience and encompassing a eastern, worldly cultural influences, very much reflective of the times.

With an arsenal of synthetic instruments the two line the back bone of these songs with layers of smooth flowing electronics, light and short wanderings of shimmering melodies, a few select sections of composition interwoven to form a dense music current that runs the course of these lengthy tracks. They are steady, smooth, calming and conjure a mellow atmosphere that's slightly juxtaposed to the actual level of instrumental activity. Looping percussive samples and bold, plump baselines hold the repetitions firmly in place, gluing the instruments together as they set the stage.

The magic happens in the forefront, this thick spine of instrumentation goes through the motions, expanding, contracting, coming and going with the flow of the music. Its the airy synths, feminine vocals, soft pianos and lead synths that inspire direction and determine the path the songs take. Some distinct cultural sounds come to this stage, eastern flutes and Gregorian chants sung by monks and choirs give the record an ethnic root that contrasts its electronic and modern persona.

With a firmly nineties electronic sound one can hear all sorts of influences from Trip Hop, to Dub, Trance, Downtempo, House and all between. Its a melting pot of that eras sound and it comes together seamlessly. There's little to criticize, the music is inspired and creates quite the setting for thought and indulgence however its not particularly thrilling. The smooth and easy flow often stagnates in places as the songs strength beyond the seven minute mark with not much more than a repeat of a previous segment. I may return to this one again, It feels like the sort of record you could grow to adore if it were in the background of some game, slowly drilling itself deep into your mind.

Favorite Track: Metaphor
Rating: 6/10

Yagya "Stars And Dust" (2016)

Days before the new year arrived the Icelandic producer turned in his sixth full length record much to my excitement as immediately took to bandcamp to get my copy. The second post I wrote on this music blog was "Sleepygirls", which was over two years ago! That and "Rigning" have been my go to records for calm and meditative music with downtempo beats and dub baselines that can sooth and clear the mind. The minimalist album cover, open to interpretation, had me excited in hope for more of this sweet ambience, which is what we got.

Initially I was disappointed, hoping for something deep, dense and dreamy the "lightness" of the record threw me off. However with each listen I realized it was essentially the same style, familiarity with that layer of atmospheric density striped back. The result exposes Yagya's wondrous spacial feel for melodies, both in the form of synth strings drifting to and from focus and the inconsequential notes that cut through the atmosphere with intimidate echos on tracks like "The Observable Universe". The unconventional melody style creates a mesmerizing sense of depth as patterns and tunes allude one in the ever murmuring synths, swirling in the void.

The formula is somewhat unchanged. Deep resonating dub baselines stroll with the easy going downtempo beats and a similar selection of instruments layer colors on top. Mostly electronic synths, a few piano sounds, bells and voices make there way in too. There's a slight swirl of atmospheric noise happening subtly in the background, sometimes dialed up on the occasion track. Its this element, shifted in composition, that has been greatly toned down from previous records.

The change gives light to instruments that feel as equally mysterious and illusive, only providing the calming, soothing tone rather than a direct narrative. However that illumination was not previously absent, the melodies were conveyed within the thick atmosphere. It leaves me wondering if it gained or lost anything in this transition. "Stars And Dust" is more of what Ive come to expect, once again with its own pallet that doesn't do much to progress the sound. A solid record for a mood of calm or focus but nothing more.

Rating: 6/10

Yagya "Rigning" (2009)

When I started this music blog back in 2014, Yagya's "Sleepygirl" had recently been released just after a big phase I went through with this record. It solidified itself as a "go to" record for a particular mood, the need for calmness or distance, something similar to meditation. Yagya is an Icelandic electronic composer who dabbles in the ambience with this project which has taken several different approaches to Dub Techno, also known as Ambient Dub, and this is the best of them. It really captivated me with its simplicity and ease on the listener, however with that comes a depth of sound and richness that lets every listen feel like you will hear something new. Inspired by rain, every song is accompanied by the sound of raindrops and sometimes traffic or urban noises. It fits so perfectly.

The record plays like one giant song with ten different movements, however these movements do little to move apart from one another, no change of pace or dramatic progressions they all explore the different shades of an idea. Each song has a backbone of deep murmuring base like a heart beat, with a quiet snare, kick and hi-hats nestled in to create the rhythm which always remains consistent in pace with no fills, rolls or breaks. Around them light airy synths faintly set a calmness as deeper, brooding synths sweep in and out of focus with reverbs engineered for what I can only describe as the sounds of clouds drifting through the sky. Other soft leads will pop in to the songs with a slight sense of melody that seems inconsequential, simply existing in union without the need for attention.

Everything is calm, serene and the tone so beautiful it compliments its inspiration, the rain, which pours down in every song. Downtempo beats quietly shuffle along with plodding baselines and around it an enormous sense of atmosphere enriched by the layers of synths that feel endless yet come together so gently. There are all sorts of little details worked into these soundscapes, brief melodies, an inkling of vocals and sometimes the sounds of people in the distance, just buried under the deep sound. Its an impressive record for its inspiration, construct and execution and one you can go to time and time again. The only flaw I could give it is my attention span, at one hour it stretches, however its mood is rather intoxicating. In the beginning tracks I am completely sucked in and with a lack of progression or change from song to song that charm isn't as strong by the middle tracks. All ten songs are very similar but its a complete treat for those who get a kick from this engrossing form of ambience.

Favorite Track: Rigning Þrjú

Rating: 8/10

Yagya "Sleepygirl" (2014)

Yagya is a producer from Iceland whos approach and execution of ambient electronic music is unlike anything else on offer out there. His style is as distinct as it is lush and dreamy, you could describe this as "ambient techno" with some influences of dub and ethereal sounds, but in between these familiarities is where something unique emerges.

Sleepygirl is exactly what i wanted from a Yagya record after being slightly disappointed with 2012's "The Inescapable Decay Of My Heart" which has actually grown on me a fair bit overtime. 12 tracks of sleepy, dreamy soundscapes guided by steady paced bass drums kicks that fuse with some minimalist leads that resist evolution and keep you locked in the space between the sounds. The inclusion of some vocals in places are well received as they fit into the ambiance much better than Yagya's previous effort. There are no negatives for me here other than a lack of a standout "moment" or favorite track, but then thats really not what this record is about.

A final note, i especially like the album cover on this record. To look at art is to be held in its moment, never moving or progressing and i feel that is a quality of Yagya's music that is reflected by this cover, which keeps me intrigued as to the meaning of the two triangle sections of cloud.

Favorite Song: None

Rating: 6/10