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

Proem: You Shall Have Ever Been
Merck

Proem (Richard Bailey) caps his Merck tenure with a two-disc package, the first a studio-based collection of 14 precision-tooled cuts and the bonus second a live set recorded at 2005's Decibel Festival at the label's final showcase. The product of two years' work, You Shall Have Ever Been doesn't depart radically from the ultra-sleek IDM style Bailey's honed on his previous quartet of full-lengths but that's certainly no criticism. Proem drapes silken washes, hazy synths, and vocodered voices over percolating techno pulses and billowing starburst clusters in his evocative and oft-placid soundscapes. “Field of Flies” verges on orchestral IDM, the song's first half an expansive atmospheric setting of crunchy beats and vibrant synth patterns that ultimately morphs into a peaceful flute and strings coda, while “Postage on a Slow Envelope” lulls the listener to sleep with vanishing wisps of hypnotic synth ambiance. Something as beautiful as “We'll Be Mostly Golden,” a paradisiacal dreamscape of angelic voices and languid rhythms, is worth the price of admission alone. Atmospherically immersive and teeming with textural detail, these beautifully crafted tracks reveal Bailey's vision—musically at least—to be clearly more utopian than dystopic.

October 2006