Bandcamp Reviews: FOUDRE!, Charlatan, David Moore
Every Friday, I plan to buy one or two "new to me" releases on Bandcamp. ”New to me” is something I just now discovered or finally bought. Whether it be from 1972 of 2025. I will then listen to these releases for a couple of days and then post my unfiltered thoughts*. So, at the very least there should be a post a week (with some exceptions of course).
*there is no such thing as bad music – just music you dislike. So you won't ever see me saying something is bad etc – just why it didn't work for me.
Voltæ (Chthulucene) by FOUDRE!
In the latter part of the nineties, I launched the micro label, Mad Monkey Records with my best friend, Eric and part of this was our attempt to produce our own electronic music. The music produced was eclectic and veered more toward the industrial realm (without being industrial). A large part of this music production was improv. Just get together and see what the synths, drum machines and computers could do. Lay it all down to disk and take out the parts that worked (and in some cases, determine if they could be re-produced live).
I am including this as part of the review because I have always been fascinated by the idea that electronic music should be spontaneous and improv oriented. That the "jams" lead to a hypnotic state for both the creator and listener. I especially like this idea in a live setting – operating without a net/what will be, will be.
So, I came across a Quietus interview with FOUDRE! and one of the things that stood out was that electronic improv is a foundational component of the band. That up until recently, their releases were recorded live and in one take. Typically with a theme or a purpose (scoring a movie in real time for instance). From style point of view, I would say they are drone oriented. A bit like some of the drone groups on the VHF label but more electronic. However, with this release (their latest) they decided to do a proper studio album – merge this improvisational approach with overdubs and shape accordingly.
This new approach takes the best of both worlds – the feel of spontaneity with designed beats/soundscapes that amplify the improvisational feel. Musically, this feel like a merger of IDM, drone, ambient and orchestrated noise. Because of this, the music feels more industrialized electronic than not (this is a good – we need more music that does its own thing). Honestly, somewhat similar to the music we were producing in the nineties (but much better lol). If you like dark beat filled electronics that are fueled by drones then this is the album for you. Personally, it is a new favorite and I will be tracking down their older releases so that I can compare/contrast.
Recommend.
Last Year's Ocean by Charlatan
Full disclosure, I sorta know Brad Rose (the person behind Charlatan and many other monikers). I say sorta because I have never met him or spoken to him but I did briefly write for his online zine, Foxy Digitalis in the early 2000s. Beyond that, I have been a fan of his music for quite some time and I recently subscribed to the Jewel Garden. For those not familiar with his works, I would start with the North Sea. Now for the review:
Normally, I do not like comparing artists to another artist – as it usually takes away from both of them but in this case, I believe it is appropriate. As I can think of no other way to describe or review the music. Think of a merger between early Caretaker (think haunted ballroom) and Brian Eno (music for airports era) – the result being ambient music that is off kilter in a way that you can just not place (and this is a good thing!).
On a personal level, I found the music quite hallucinatory as I took a nap in the late afternoon. The music simply flowed and intertwined around me – allowing me to engage or not engage. However, this is not just background music – as the sounds and timbers color the listening space (even if the listener is not consciously aware of the music).
Recommended.
Butterfly Gardens by David Moore
Quite an astonishing drone punctuated release that utilizes stretched piano and pump organ to evoke a sense of the infinite. This is the kind of music that could go on forever and the world would be better for it. Within the depths of its minimalism is a calmness which seems to escape sonically as piano notes that are complex in their simplicity.
As I said, this music seems endless and ever expanding. There is great beauty within the music with maybe a tinge of sadness. In my mind, it feels like a slow journey through serenity and being in the moment. The listener knows that as much as they wish it was, the music is not actually endless and needs to be heard in its fullest now.
Essential.
Photo by Daniel De Los Santos, Chicago Illinois