Compilation discs have proven, in the last decade, to be essential statements of intent in the independent music continuum. They fulfill varied purposes--for example, label samplers and new artist tasters--and often have the added artistic merit of album-length concept explorations by varied musicians. The debut compilation release on CDR label Slobor Media, Texture possesses all of these qualities with generally impressive results.

One of the strengths of Slobor's artistic ethos is in its focus on design, packaging, and intent of purpose. For me, the strongest parallel is the groundbreaking label design of UK-based 4AD, who, in their eighties heyday, released gorgeous art rock packaged in equally sumptuous art-object sleeves generally executed by Vaughn Oliver/V23. Looking at the stylized Slobor logo, it's hard to deny that the label is seeking a similarly vibrant, unified effect.

Musically, Texture sounds as if the instrumental talents from the original 4AD roster kicked out the other members of their bands in favor of pursuing minimal ambient sounds. Texture is indeed the keyword here, as the artists within choose to, for the most part, eschew the ambiance of classic records like Cocteau Twins' extremely ambient Victorialand in favor of droning, occasionally static, pieces. This music clearly owes more to Zoviet*France than Robin Guthrie.

• First up, we have Jason Sloan (whose impressive Still will be reviewed in the coming weeks), who contributes a wall of sound with a somewhat claustrophobic effect. It's a great tone poem, which would not be out of place on similar works by The Azuza Plane or Windy & Carl.
• Next is Brooks Rongstad, recording as Exuviae, who is unquestionably one of the finest upcoming talents in the neo-ambient/atmospheric genre. This piece is quite similar to the guitar ambience of Christian Fennesz, though without the focus on Gysin-style laptop cutups and with a purely drift-toned atmosphere. Rongstad has been doing uniformly fantastic work lately, and is clearly an artist to watch.
• Jeff Pearce, a recent dynamo of ambience, contributes a more or less typical track, very similar to his work on To the Shores of Heaven. "Typical" for Pearce is still most impressive, as his work is always crafted, radiant, and rapturous. The deserved popularity of Pearce's work is, I believe, due in part to his constant toeing-of-the-line between beautiful soundscaping and interesting, more experimental guitar playing--appealing equally to listeners all along the ambient spectrum.
• Zimiamvian Night contributes "Beltran," a static, quiet piece reminding one of grey open spaces. This is one of the weaker tracks on the compilation, with little other than thin textures to leave in the listener's mind.
• Alan Imberg presents a track resembling a sedate Richard Pinhas, creating a somewhat strained atmosphere, lightened with Imberg's delicate guitarwork.
• Matt Borghi's impressive track "Lansing" utilizes the unlikely sound source of a train yard mixed with particularly affecting guitartones. It's difficult to say this track is menacing; uncertain is a better word, as if one is witnessing an event one cannot quite explain. Needless to say, the effect is fascinating, and one of the highlights of the compilation.
• Numina's (Jesse Sola) track is dominated by Fripp-esque e-bow work that would not be out of place on Fripp's countless Soundscape albums. Like Imberg's track, Numina's piece is rather melodramatic, and not the best work I've heard from him.
• Tony Gerber (of Space for Music records) and Rob Jenkins contribute a pretty, strummed track not too dissimilar to recent guitar work by Steve Roach. However, the guitar work here is much more accomplished than I've heard from Roach, and contributes to this track's appeal immensely.
• "Distance" by Michael Kirson-Goldapper swells up from nowhere pillowing with foggy Stars of the Lid grace. The liner notes state that Kirson-Goldapper is a "bad, bad man" but this track is some good, good sonic drift. A highlight.
• Anomalous Disturbances' track accomplishes what some other tracks (like the earlier "Beltran") on the compilation do not. The texture of the track is apparent, and yet it seems to drone on with purpose, slowly shifting in interesting ways. This is an intriguing track, which makes me curious to hear the AD full-length.
• Remco Helbers's "Urban Nightshape II" is simply gorgeous; a deep resonant track with a nice low end. I'd not previously heard Helbers and this is truly nice stuff: shimmering and weightless.
• True Colour of Blood (Eric Kesner) weighs in with "Twilight State Dream," an utterly bad-ass piece of ambience. I'd previously described Kirson-Goldapper's work above as similar to Stars of the Lid, and that comparison is also valid here. This cut is spacious, haunting, and my favorite track on the compilation.
• Finally, Markus Reuter's "Miniml" is a tonal exploration of warm soothing tones. Very different from much of the work I've heard from Reuter, this track displays a calm, introspective mood similar to Jeff Pearce's fine work.

In all, Texture accomplishes what it sets out to do, presenting a wide variety of artists all operating with similar instrumentation in a complimentary sonic mood. To some degree, I feel that the concept of "texture" music limits the material on the compilation. Most tracks do not reach beyond the album concept and operate more as a pleasant sensation rather than a lasting experience. It is akin to feeling a piece of velvet--a smooth positive experience, but with no context behind the feeling. That said, there is a lot to like about this compilation--especially the added benefit of an introduction to previously unheard artists. While not essential by any means, I feel that Texture makes a satisfying document of the current state of "guitar ambience" and is a worthy opening salvo from Slobor Media.

Available as a beautifully packaged (with guitar string!) CDR directly from Slobor Media.

since July 15, 2003