Sometimes music is so theatrical that it needs no stage or actors to enlighten its listeners. If such music comprised a genre in and of itself, composer Heiner Goebbels would be one of its most idiosyncratic masters. Along with Michael Mantler, Goebbels represents a theatrical strand in the ECM universe that challenges the reviewer attempting to describe it, yet which is perfectly clear once it reaches the ears. My first encounter came through Surrogate Cities, a dazzling piece of music theatre that remains the yardstick by which I’ve measured all Goebbels experiences since. That being said, the more I hear, the more I recognize the futility of such comparison, for in his decidedly textual sound there is equal room for any and all sentiments to frolic, dance, and weep.
Astor Piazzolla belongs to Buenos Aires and to the whole world as well. His music has that secret, that intangible charm and that dose of magic it takes to fascinate musicians and non-musicians alike, whatever their own styles and wherever they come from. His sharply-accented melodies and his lively, persistent rhythms with their ferocious attacks capture you and sweep you along. Then suddenly all that sonic aggression calms down in a slow section and his lyricism, his inexorable melodies, hit you inside. It's the tango, and it goes straight to the soul.
Born and raised in the deep woods near Mainz, Germany, Tobias Lorsbach is a producer, sound-designer, composer, re-mixer, DJ and mastering-engineer involved in a number of projects and genres. Having contributed to several compilations and one collaborative album on Archives under the alias of Logic Moon he offers his first full-length solo album on the label in the form of Oblivion, a deep and expansive collection of cerebral ambient explorations ornately detailed with an expressive variety of textures and field recordings. Personal highlights here include the moody atmospherics of "Bergen", the blue meditations of "Buried in Time", and the otherworldly "Another Earth".