Silent Land Time Machine’s latest work, I am no longer alone with myself and can only artificially recall the scary and beautiful feeling of solitude, speaks in an oneiric and numinous tongue but is replete with durability and coherence – a rare and intriguing mixture. There exist only subtle threads of aesthetic continuity from the artist’s debut &hope still, where guitar dominates in the main, with the music shifting its emphasis toward micro electronic assemblages – at times damaged, turbulent, and percussive, at others lulling, plaintive, and melodic – with naïve, organic, and lucidly processed string arrangements woven throughout. All this aesthetic revision is accomplished while increasing the breadth, accessibility, and emotional resonance of his sonic palette.
The texture of SLTM’s EP is gentle-haze meets mechanical-grit, with lustrous swells, rapturous glitches, and clear but effaced tones guiding the listener through its ambitious harmonic and narrative arcs. The album’s emotive thrust, as its Brobdingnagian title suggests, is a palpable sense of longing. This music cuts to the heart of the tension between the vast, chaotic, terrifying, and fragmentary terrain of the spirit that subsumes the artist-at-work and the striving of the individual to reconcile his identity with the memory of a unitary and authentic peace. All of this and more pours out of this music, which, time and again, constructs scaffolding from sped-up and slowed-down self-generated samples and colorful acoustic tones. There is a depth of narrative arrangement and keen sense of how sonic elements relate to one another here that opens up pathways of communication, dimensions of integration to and from the listener, and confirms this album’s successes at translating the nuanced fluidity of dreams and hidden desires of the unconscious into potent orchestral miniatures.
This collection of “songs” is not without a childish playfulness, Scandinavian darkness, and a tact and groove that is as uplifting and memorable as it is heart-rending, bewildering, and esoteric. Bedtime listening, yes, but more than that, tunes to frolic to and yearn with through the dream that is waking life.
“Experimental Austin artist makes songs that soothe like memories…Like a record of lost symphonies left out in the rain, his new EP has a cleansing spirit.”
– Dummy Mag
“Experimental music doesn’t get much more interesting than this…”
– OMG Vinyl
“…beautifully layered psych-folk dirges that sound as if they were transmitted from some far-off place and time. Billows of static over looping and cascading filigrees of melody, murky percussive rhythms, and field recordings add to the songs’ haunting remote quality…it feels like some old west paean to days gone by.”
– aQuarius recOrds
“This is a place of acoustic lushness, AM radio distance, electronic trickery, vocal horseplay, groovy dissonance, and a USB cable plugged into Renoise at one end and the psyche at the other…this is the sound of the fragmented self, with all of the humor, terror, absurdity and beauty that it implies.”
– The Muse in Music
“…tense, made arresting by its unconventional configuration of numerous instrumental parts, building swells on the precise dragging of bow across string alongside distorted vocal choruses and electronic flourishes. I am no longer alone… is ultimately the product of one man’s genius..and a more than sixteen month long immersion in recording, layering various instrumental parts until this magical, sometimes unhinged opus emerged.”
“The a-side starts off with the soundtrack to a farm-dog mercy killing, real sad and weepy stuff…like someone freely improvising an AM radio dial inside an old cabin, or some sort of ancient turntablism using only 78s, and it too eventually drifts into a wash of ambient mountain sounds and the rustling of nature’s decay. Just keep reading the title over and over out-loud as the record spins, and see if you don’t fall into some sort of homeopathic trance after a while.”
– Yellow Green Red
released June 6, 2012
• attracted / arranged / composed / (de)constructed / recorded / mixed by SLTM at home between May 2010 and June 2011
• Full color offset LP jackets with reverse-matte finish, b&w matte dust-sleeves containing liner notes & Silent Land portrait (120mm photo by Stefanie Franciotti) / 180g clear vinyl EPs by Samo Media / LP jackets by Standard Form.
• Originally released with ad hoc title “summer 2011 tour EP” in limited CD-R & cassette editions for SLTM’s Summer 2011 Tour and Suoni Per Il Popolo (Montréal) performance with Nick Kuepfer & Khôra
• Mastered by Harris Newman (Godspeed You! Black Emperor, Silver Mt. Zion, The Arcade Fire) at Grey Market Mastering
• cover & back photos of (former) Yugoslavian monuments (photographer unknown, feel free to drop a line) // tweaked by SLTM // originally constructed by various designers and architects in the 1980′s to honor the dead of WWII & concentration camps
All sounds ≈ SLTM / all of it for Mom, Jung, & Kissa
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