MARV: Keyboard Suite II 12"
Review from Boomkat: Paying respects to Hiroshi Yoshimura, Midori Takada and the US private press new age scene, blissed ambient/new age duo Geoff Schilling and Nathan Taylor aka Marv deploy a second volume of analog subtractive/FM synthesis and dub techniques for an 'environmental' keyboard fantasy strongly connected to the lineage of 1970s-80s private press ambient and electronic recordings - but also one to file alongside modern classics from Ulla and Topdown Dialectic.
Enmossed is one of the US underground's most reliable low key imprints right now. Weeks after deploying Jake Muir's celebrated church bell odyssey 'Campana Sonans', the label is back with a sequel to Marv's pretty-as-a-picture 'Keyboard Suite I'. If you've been following the Carrboro duo closely, you'll have caught their noisy, anxiety-provoking 'Basse Danse' that appeared in 2022 on the New Body label, but Geoff Schilling and Nathan Taylor are on more familiar territory here, huffing the tape-cracked, synthesised fumes you'd expect from Joanna Brouk, Iasos or Pauline Anna Strom's prized canon.
On opener 'Marv's Theme', the duo let us settle in with FM harp glissandi and delicate, minimal motifs that they balance out with echoing percussion and lambent pads. The album starts to pulse more profoundly on 'Andante', when their soft focus Takada-style hits are wound around time-fluxing, blown-out synth chords, creating a push and pull between Kankyō Ongaku and next-gen Midwestern cosmic gear that's surprisingly engaging. The record hits its stride on the second side, gently piercing Iasos's sensual, waterlogged symphonies on 'Laughing' and introducing a crackle of rhythmic interference on 'Newborn'.
It all builds up to 'Neither Earth Nor Air', just over eight minutes of idiophonic scrapes (provided by "absolute devotee of extended bowed saw techniques" Dan Partridge), nocturnal environmental recordings and a wavering ambience that imagines what might happen if Limpe Fuchs decided to pivot to dungeon synth.
- Format Type: 12"
Review from Boomkat: Paying respects to Hiroshi Yoshimura, Midori Takada and the US private press new age scene, blissed ambient/new age duo Geoff Schilling and Nathan Taylor aka Marv deploy a second volume of analog subtractive/FM synthesis and dub techniques for an 'environmental' keyboard fantasy strongly connected to the lineage of 1970s-80s private press ambient and electronic recordings - but also one to file alongside modern classics from Ulla and Topdown Dialectic.
Enmossed is one of the US underground's most reliable low key imprints right now. Weeks after deploying Jake Muir's celebrated church bell odyssey 'Campana Sonans', the label is back with a sequel to Marv's pretty-as-a-picture 'Keyboard Suite I'. If you've been following the Carrboro duo closely, you'll have caught their noisy, anxiety-provoking 'Basse Danse' that appeared in 2022 on the New Body label, but Geoff Schilling and Nathan Taylor are on more familiar territory here, huffing the tape-cracked, synthesised fumes you'd expect from Joanna Brouk, Iasos or Pauline Anna Strom's prized canon.
On opener 'Marv's Theme', the duo let us settle in with FM harp glissandi and delicate, minimal motifs that they balance out with echoing percussion and lambent pads. The album starts to pulse more profoundly on 'Andante', when their soft focus Takada-style hits are wound around time-fluxing, blown-out synth chords, creating a push and pull between Kankyō Ongaku and next-gen Midwestern cosmic gear that's surprisingly engaging. The record hits its stride on the second side, gently piercing Iasos's sensual, waterlogged symphonies on 'Laughing' and introducing a crackle of rhythmic interference on 'Newborn'.
It all builds up to 'Neither Earth Nor Air', just over eight minutes of idiophonic scrapes (provided by "absolute devotee of extended bowed saw techniques" Dan Partridge), nocturnal environmental recordings and a wavering ambience that imagines what might happen if Limpe Fuchs decided to pivot to dungeon synth.
- Format Type: 12"
Description
Review from Boomkat: Paying respects to Hiroshi Yoshimura, Midori Takada and the US private press new age scene, blissed ambient/new age duo Geoff Schilling and Nathan Taylor aka Marv deploy a second volume of analog subtractive/FM synthesis and dub techniques for an 'environmental' keyboard fantasy strongly connected to the lineage of 1970s-80s private press ambient and electronic recordings - but also one to file alongside modern classics from Ulla and Topdown Dialectic.
Enmossed is one of the US underground's most reliable low key imprints right now. Weeks after deploying Jake Muir's celebrated church bell odyssey 'Campana Sonans', the label is back with a sequel to Marv's pretty-as-a-picture 'Keyboard Suite I'. If you've been following the Carrboro duo closely, you'll have caught their noisy, anxiety-provoking 'Basse Danse' that appeared in 2022 on the New Body label, but Geoff Schilling and Nathan Taylor are on more familiar territory here, huffing the tape-cracked, synthesised fumes you'd expect from Joanna Brouk, Iasos or Pauline Anna Strom's prized canon.
On opener 'Marv's Theme', the duo let us settle in with FM harp glissandi and delicate, minimal motifs that they balance out with echoing percussion and lambent pads. The album starts to pulse more profoundly on 'Andante', when their soft focus Takada-style hits are wound around time-fluxing, blown-out synth chords, creating a push and pull between Kankyō Ongaku and next-gen Midwestern cosmic gear that's surprisingly engaging. The record hits its stride on the second side, gently piercing Iasos's sensual, waterlogged symphonies on 'Laughing' and introducing a crackle of rhythmic interference on 'Newborn'.
It all builds up to 'Neither Earth Nor Air', just over eight minutes of idiophonic scrapes (provided by "absolute devotee of extended bowed saw techniques" Dan Partridge), nocturnal environmental recordings and a wavering ambience that imagines what might happen if Limpe Fuchs decided to pivot to dungeon synth.
- Format Type: 12"
