Articles
17 Pygmies
Bruno Heinen
Daniel Wohl

Albums
17 Pygmies
ACV
Airhead
Arborea
Aufgang
Dinky
Ecovillage
Ekin Fil
Fausten
Greg Haines
Ian Hawgood
Bruno Heinen Sextet
Human
Mathew Jonson
Jacob Kirkegaard
The Knife
Lacuna
Machinefabriek & M. Pilots
Moonshoes
My Home, Sinking
RP Boo
Rhian Sheehan
Spazzkid
Aoki Takamasa
Dandy Teru
Time Is a Mountain
Witxes
Daniel Wohl
Zeitgeber

Compilations / Mixes
Aquarius
Calibre
minMAX
Schwarz / D & W / DIN
Silence Was Warm 4
Under The Influence 3

EPs / Cassettes / Singles
Anomalie 002
Chroma
Dying Machines
Kres
Kuantum
Mako and Villem
Martsman
Kate Simko
Spargel Trax 3 & 4
Test House
Chris Weeks

Dying Machines: What I Have Not Forgotten
Mush Records

New Orleans multi-instrumentalist Thomas Buschbach has a particularly interesting way of generating the neo-classical-electronic music he issues under the Dying Machines name. Employing a strict ‘no synthesizers' rule, Buschbach uses guitar to produce blurry washes of ambient design, which are then merged with piano as well as orchestral elements (usually viola and cello) played by real musicians for the final mix. What results on What I Have Not Forgotten, the follow-up EP to Dying Machines' debut, Nicht Spreche, are transporting, five-minute epics that play like heady fusions of Arvo Part and Stars Of The Lid.

Reminiscent of the kind of music the prototypical Hibernate artists excels at producing, “So We Lived” opens in a foggy ambient blur before morphing into a more strings-heavy dynamo that swells incrementally to a massive size. As huge as its eventual sound is, it's dwarfed by the immensity of the strings-and-guitar washes in the penultimate piece, “It Has Been.” Sparse sprinklings of reverb-heavy piano introduce “Prisoner's Cinema” until an all-encompassing strings-based drone appears to nudge the material in the direction of Stars Of The Lid. In like manner, “None of That Matters Now” opens with the spotlight on a lone cello before a sweeping orchestral expansion emerges that's so dense the cello is almost rendered inaudible. One of What I Have Not Forgotten's more memorable aspects has to do with the contrast Buschbach creates between a single instrument's sound, be it piano or cello, and the towering washes that otherwise dominate, and the EP makes a strong impression on the listener, despite being a modest twenty-seven minutes in length.

June 2013