A project named Blues for spacegirl (probably named by Thurston Moore`s ambient drone track), headed by Thomas de Bauw, started in the midst of 2008.
His debut album Alice Springs was fringed by acid-filled bubbling walls. It was followed by impressive Theme for August, and Orchester dans le lac du Roi gelé Hiver as well.
The brand new one relies on looped tape recordings in the amount of 70 per cent, approximately. As the result, you can hear less or more loud sounding guitar drone in the background. De Bauw`s conceptual point is directed upon digital editing revolving around generation loss in the data, treating noise as signal.
Concerning more precisely on tracks my first opinion is Needless in Seattle which through its overgrowing layers and the aesthetics of minimalized digital chaos is getting close to such a concept which is tightly related to some borealic wonder. Warm inside yet being in the midst of a whiteout. Also Lost in I Ching, Violet currents, and saffron winds are those tracks which arise above an average niveau. Lathe of Heaven, on the hand, crawls in the vein of the first album, which caustic pattern and some amount of quavering sphericness don`t convince me at all. On the contrary, it is a quite annoying try. The rest tracks of being unnamed is getting have better shapes, though, a thorough moving milky sonic array ushers in tautological mediocrity being so habitual for the most ambient musicians nowadays. Comparing it to Jacques de Villiers`s and slept.`s debut albums, slept, Fennesz`s and Tim Hecker`s works, Eluder`s Drift or Thomas de Bauw`s own Theme for August this acedia will come forth more distinctly. On the other hand, inspite of it the current music has a lot of sonic references regarding grandeur shadows of the aforementioned albums. However, unfortunately the last gig is only there not to be done.
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7.7
