DANIEL RUANE: The Interpreter DL The Silent Howl


DANIEL RUANE: The Interpreter     DL  The Silent Howl

Following on from the impressive ‘Arrhythmia’; ‘The Interpreter’ comprises of six remixes of other artists and four of his own tracks disassembled and rebuilt. It’s a format I have only encountered on one album before, that being Flint Glass’ excellent ‘Circumsounds’.

The most difficult thing for me when approaching this to review is that I haven’t actually heard the originals. I have however, heard a fair whack of Daniel’s work now; and what is plainly evident, is that the songs he has torn apart and reassembled on this album, now sound very much ‘him’.

Scattered beats, fractured electronics and airy gasps of pads permeate the entirety of this release; and it makes for a concise and structured listening experience. Ruane is not aversive to stepping up the pace where necessary; and key rhythmic staggers, interplay well in raising the tempo upon more sleepy arrangements.

The landscape changes somewhat on the mixes of his own tracks, due to the artists involved. Most remixes, as we know, are for the most part, mainly built on the premise that the person doing the work adds affair whack of their own sounds; and this is no exception. Each act compliments Ruane’s affection with beat play, with a prime slab of harmonics and programming skill, where the overall experience cleverly leaves the listener asking questions as to who ‘The interpreter’ really is.


MARTIJN COMES: Tradition Noise CD The Silent Howl


MARTIJN COMES: Tradition Noise   CD The Silent Howl

This is Comes’ fourth album; and explores the musical and cultural fragmentation of foreign sounds through a noise aesthetic.

‘Depths of the Nile’ opens up the proceedings with a rich ethnicity with regards to the instrumentation sampled. A multitude of layers flows a blister pack of noise, filtering out as a more tuneful Power Electronics.

After a bit of the non-entity that is ‘Sinal Desert’, the glitched out ambience of ‘Empty City of the Full Moon is more than welcoming; subtly building into a cascading array of disjointed electronics, signifying a key shift in the albums direction. The musical rhythmic noise of ‘Old Morocco’ has enough IDM-ism’s in play to make it interesting and once again leads into a bed of off-kilter harmonics and sporadic electronics.

The rest of the album follows suit and all in all is a fairly interesting affair, if not anything that will set the world alight. I hadn’t heard anything by Martijn before today; but there is much to enjoy throughout this album and I will take note and hunt down his previous releases.