ARTICLES
Listening Post: E. Honig
Label Profile: Ad Noiseam

ALBUMS
Leo Abrahams
Ammoncontact
Anka
Lloyd Barrett
Beach House
Bibio
Christina Carter
Davis & Jerman
Ecstatic Sunshine
Ensemble
Fluorescent Grey
Freiband
[guÿôm]
Chris Herbert
Home Video
Larvae
Lullabye Arkestra
Mathieu / Schaefer
MONO & w. end girlfriend
My Robot Friend
Nicolay
Pieter Nooten
Nuccini
Obfusc
Objekt4
Over the Atlantic
Para One
Proem
Red Sparowes
The Remote
Root 70
Florencia Ruiz
Ryuichi Sakamoto
Alan Sparhawk
Andy Stott
Thumbtack Smoothie
Tortoise
Triosk
Vlor

COMPILATIONS/MIXES
Ad Noiseam 2001-2006
Another Generic Sampler
Bip-Hop Generation 8
Diary of a Sweet Day
Idea Hoard Uncut
Innature
Morrow Choral Orchestra
Noise Factory Vol. 3
Squadron 2
Warp Works

3"/7"/10"/12"/EPs
Alias & Tarsier
Audion
Caroline
Home Video
Iz & Diz
Sami Koivikko
Mai
Mathhead
Monomachine
Narcotic Syntax
Quinoline Yellow
Sigur Rós
Samartzis & English
Samartzis & Inada
Andy Vaz
Andy Vaz Remixes
Waterprotection

Leo Abrahams: Scene Memory
Bip-Hop

Someone please give Philippe Petit an award or medal of some kind. Instead of milking trends and profiting from it, the Bip-Hop label head repeatedly offers new voices an international forum for their music, Leo Abrahams' Scene Memory merely the latest example. His follow-up to 2005's Honeytrap presents 12 textural studies for solo electric guitar recorded in real time with the instrument augmented by laptop treatments. Doing so enables the Eno and Ed Harcourt associate to generate and construct multi-tiered settings that suggest a sextet of guitarists carefully weaving lines together (“Soon”) or a lead player emoting over crystalline atmospheres (“Empty Shell”). “Below Ground” features Abrahams' aquatic lead (sounding a little bit like Andy Summers) unfurling against a softly billowing cloud while the hymnal “Rings” and “Love Unknown” impress as particularly lovely.

Scene Memory is the furthest thing from ear-shattering dissonance—you'll find no moments of bludgeoning caterwaul or harrowing tumult here. Instead, Abrahams favours rapturous settings filled with entrancing textures and themes (“Anemone”) or ambient meditations built from clusters of chiming reverberance (“A Different Light,” “Route 11”). He cites Morton Feldman as an influence, and the composer's impact is heard in time-suspended pieces like “Pendulum.” If anything, a mood of bucolic elegance is nurtured so consistently that when a relatively more aggressive or moody episode arises (“Signal,” “Gone”), the effect is doubly startling. A consistently satisfying exercise in ‘solo' guitar explorations, Scene Memory strikes a deft balance between experimentalism and accessibility throughout its 46 delicately sculpted minutes.

October 2006