Oren Ambarchi | ||
| Allmusic Biography : Oren Ambarchi is a prolific vanguard composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar. His solo works are hesitant and tense, with his music existing in the cracks between modern electronics and processing; improvisation and minimalism; hushed, pensive songwriting; and visceral rock music that has been slowed down and stripped to its bare bones, then abstracted and replaced with pure signal. From the late 90s, his experiments with guitar abstraction and extended improv and compositional technique have led to the creation of a unique, idiosyncratic soundworld that incorporates a broader range of instruments as well as a range of tonal dynamics and sensibilities. On Grapes from the Estate and In the Pendulums Embrace, Ambarchi employed glass harmonica, strings, bells, piano, drums, and percussion, creating fragile textures that tenuously coexist with deep, wall-shaking bass tones from his detuned electric guitars. Ambarchi has not only recorded numerous solo albums, but has a multitude of collaborative releases with artists such as Richard Pinhas, Stephen OMalley, Jim ORourke, Fire!, and Keiji Haino, to name a scant few. Hailing from Sydney, Australia, Ambarchi started as a free jazz drummer, went through a Japanoise phase, and ended up cutting himself a place under the avant-garde sun as a lowercase guitarist in the early 2000s, pushing his instrument into territories similar to the ones explored by contemporaries Rafael Toral and Kevin Drumm. His releases on Tzadik, Touch, and Staubgold attracted international interest, but he remained in his home country, working hard at developing a local scene with his What Is Music? festival. Ambarchi was born in 1969 in Sydney, in a family of Sephardic Jews from Iraq. He spent his teenage years learning to play the drums, favoring free jazz at first. Listening to John and Alice Coltrane and other spiritual jazz allowed for his Jewish roots to crystallize for him. He went to New York to study at an orthodox Jewish school in Brooklyn, immersing himself in mysticism by day and experimental music by night. The music of composers Morton Feldman and Alvin Lucier, the avant-garde jazz of John Zorn, and the noise of Keiji Haino prompted him to pick up a guitar and find something to do with it. The first answer was noise. Back in Australia, and strongly influenced by the Japanoise scene, he put together the noise/punk group Phlegm with drummer Robbie Avenaim, and later the Sisters of Menstruation. He got an invitation from John Zorn, whom he had met while in New York, to perform at the 1993 Radical Jewish Culture Festival with the likes of Fred Frith and Ikue Mori -- Ambarchi would eventually record a duo CD with Robbie Avenaim, The Alter Rebbes Nigun, in 1999, for Zorns Tzadik label. Australia quickly reclaimed Ambarchi, as he was more prone to trying to develop something back home. With Avenaim, he organized the event What Is Music? in 1994, which quickly turned into an annual festival. This activity helped the guitarist develop contacts with the local free improv scene (Jim Denley, Stevie Wishart, Martin Ng, etc.), along with international artists. The guitarist only began his solo career proper in 1998. As occasions to perform live were becoming rare, he found himself with more time on his hands. Influenced by both the burgeoning Austrian/German scene of digital audio (Mego, Touch, Staubgold) and his love for the music of Feldman and Lucier, Ambarchi retreated into calmer, more meditative and textural sounds. He recorded his first solo LP, Stacte (Jerker Productions, 1998), at home in one take without looking back. That, and Stacte.2 (1999), attracted the attention of the British experimental electro label Touch, for whom he subsequently recorded Insulation (2000) and Suspension (2001), both beautiful examples of his new approach. Around the same time, Ambarchi began teaching improvisation at the University of Western Sydney. He made his first European tour in the summer of 2001. Solo work continued to develop rapidly, with Suspension (2002) and the release of three solo albums on separate labels in 2003: Sun, Triste, and a collaboration with Johan Berthling called My Days Are Darker Than Your Nights. The year 2004 saw the release of the opulent double album Grapes from the Estate. Ambarchi contributed to drone doom band Sunn 0)))s Black One album in 2005, and often joined them in live performance and sporadically on recordings afterwards. Collaboration became more routine in his growing discography, recording albums and doing live collaborations with Greg Anderson, Attila Csihar, ZEV, and many others along with annual recording summits and subsequent albums of collaborations with Keiji Haino and Jim ORourke, which were mostly released on Ambarchis own Black Truffle label. In 2011 he collaborated with experimental electronic artist Robin Fox on the score for an Australian dance companys performance. The resultant soundtrack recordings, Connected, were released the next year, along with other 2012 solo albums Audience of One, Sagittarian Domain, and Raga Ooty, though they were only three of the ten recordings he participated in during that year. Others included such collaborative offerings as In the Mouth - A Hand with Fire! and Imikuzushi with Haino and Jim ORourke. He also collaborated with Crys Cole and Keith Rowe on Black Plume, and with Thomas Brinkmann on The Mortimer Trap. While 2013 was not as prolific, it proved to be equally provocative. A second album with Haino and ORourke, entitled Now While Its Still Warm Let Us Pour in All the Mystery, was followed by The Just Reproach, a notable collaboration with classical composer John Tilbury. In mid-2014, after Ambarchis extended collaborative effort with Stephen OMalley and Randall Dunn resulted in a score for Alexis Destoops short film Kairos in Belgium, the trio furthered its exploration and issued the album Shade Themes from Kairos for Drag City in early May, followed by Tikkun, an audio and video document with Heldon guitarist Richard Pinhas. Constantly prolific, Ambarchi released Quixotism before the end of that year, a lengthy five-part statement that included collaborations with such contemporaries as ORourke and Brinkmann. The year 2015 brought further collaborations with Haino and ORourke, as well as solo efforts Live Knots (released by PAN) and Sleepwalkers Conviction (on Black Truffle). In 2016, Editions Mego released Ambarchis album Hubris, which included contributions from Ricardo Villalobos, Arto Lindsay, Keith Fullerton Whitman, and many others. Hubris Variation, a companion EP with Villalobos, also appeared around the same time. That same year he delivered Aithein in collaboration with Stefano Pilia and Massimo Pupillo, Pale Calling with Kassel Jaeger, and "Im Sorry" Is Such a Lovely Sound It Keeps Things from Getting Worse with James Rushford, Keiji Haino, and ORourke. Three albums followed in 2017: a live offering with the Ash Ra Tempel Experience (Manuel Göttsching, Ariel Pink, Shags Chamberlain); Hotel Record with Crys Cole; and This Dazzling, Genuine "Difference" Now Where Shall It Go? with ORourke and Haino. Face Time with Jaeger and Rushford arrived in 2018. | ||
 | Album: 1 of 47 Title: Stacte Released: 1998 Tracks: 2 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Untitled (?) 2 Untitled (?) |
 | Album: 2 of 47 Title: Stacte.2 Released: 1999 Tracks: 2 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Untitled (?) 2 Untitled (?) |
 | Album: 3 of 47 Title: The Alter Rebbes Nigun Released: 1999-01-19 Tracks: 4 Duration: 44:43 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Asiyah (Action) (09:12) 2 Yetzirah (Formation) (07:45) 3 Beriah (Creation) (11:47) 4 Atzilut (Emanation) (15:58) |
 | Album: 4 of 47 Title: Reconnaissance Released: 2000 Tracks: 3 Duration: 39:42 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Procession (05:41) 2 Surfacing (07:44) 3 Reconnaissance (26:16) |
| Reconnaissance : Allmusic album Review : There is an aura of nostalgia surrounding Oren Ambarchi and Martin Ngs Reconnaissance. The analog electronics, stripped-down aesthetics, and the lines and geometrical shapes in Tina Franks artwork are taken right out of the early days of minimalism and sound art (especially Alvin Lucier). Ngs analog tones and Ambarchis guitar are literally fused together. Only after the most attentive listen (and the willingness to take chances) will one be able to ascertain who produced what sounds. Harmonies and resonances are the heart of this CD. Tones delicately echo off one another, creating cold but pleasant soundscapes. "Procession" seems made of only analog tones -- would that make it a solo performance by Ng? Its a short warm-up. "Surfacing" introduces the soft whales and tiny bell-like sounds of Ambarchi. Ever heard a guitar that sounds like finger cymbals? This one is very peaceful, totally Zen. After the two preambles (five and seven minutes long), the two artists come together for the 26-minute title track. It is here that the elements presented in the previous tracks become one. It sounds easy, doesnt it? Many artists with or without electronic backgrounds have tried similar things, but rarely have they created a piece that is an object of such plastic beauty, such raw postmodern aestheticism. Every musical gesture counts in this endeavor structured around the repetition of a very limited number of moves. Not as strikingly beautiful as Gals Defragmentation/Blue (mostly because of the delay created by the presence of the first two tracks), Reconnaissance still shows impeccable taste and an uncanny courage to do less. Recommended. | ||
 | Album: 5 of 47 Title: Afternoon Tea Released: 2000 Tracks: 2 Duration: 43:48 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Afternoon Tea 1 (19:13) 2 Afternoon Tea 2 (24:34) |
| Afternoon Tea : Allmusic album Review : This group of minimal electronica newcomers join elder statesman of the avant-garde Keith Rowe, a guitarist most recognized as a member of pioneering British improvisation group AMM. The abstractionist was creating music from noise and other sonic detritus as early as the mid-60s and quite possibly before his collaborators on this album were born. The Austrian avant-garde/IDM label Megos masthead Powerbook noise artist Pita and Fennesz join the Australian wing of abstract electronica -- Oren Ambarchi and Pimmon -- in a work in which they collectively assimilate their computers into an outstanding improvisation with the British "prepared" guitarist. While Keith Rowes instrument may be from another era, his six strings are not lacking the sonic potential of the computer music era of his collaborators, not by any means. In fact, Afternoon Tea does not have the sound of an ad hoc free improvisation night as it apparently was. Inasmuch, the work of this quintet sounds strikingly familiar to the emphatic electro-acoustic music of the Ritornell label; hence it makes for one of the most compelling documents of both free improvisation and electronica. | ||
 | Album: 6 of 47 Title: Insulation Released: 2000-03-27 Tracks: 11 Duration: 50:52 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Préamble (00:16) 2 Murmur (03:47) 3 Snork (14:26) 4 Lungs (03:47) 5 Simon (02:42) 6 Strategem (05:01) 7 Study No. 1 (03:20) 8 Study No. 3 (04:37) 9 Concurrents (02:54) 10 La notte (04:06) 11 Leclisse (05:52) |
| Insulation : Allmusic album Review : The Australian guitarist Oren Ambarchi is known in new music circles for his multifarious collaborations and for the sometimes extreme intensity of his live performances. This solo album apparently consists of nothing but guitar sounds, although youd never be able to guess the instrumentation without being told -- it opens with shreds of what sound uncannily like voices, then segues into a series of low, (barely) rhythmic noises that could just as easily have come from a malfunctioning microwave oven as from a musical instrument. Ambarchi collaborates with electronica artist Matthew Thomas on several tracks. These are more layered and complex than the solo pieces, but never really leave the realm of abstraction. The verdict? A must for noise fans and adepts of the ambient techno school; others should proceed with caution. | ||
 | Album: 7 of 47 Title: Stacte.3 Released: 2000-09 Tracks: 2 Duration: 37:03 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 3A (14:32) 2 3B (22:31) |
 | Album: 8 of 47 Title: Suspension Released: 2001-10-15 Tracks: 6 Duration: 54:34 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Wednesday (07:16) 2 Vogler (12:35) 3 This Evening So Soon (04:00) 4 Gene (08:15) 5 Suspension (08:24) 6 As Far as the Eye Can See (14:02) |
| Suspension : Allmusic album Review : Once more Oren Ambarchi managed to record a striking album of lowercase electronics. Less stripped-down than his collaboration with Martin Ng (Reconnaissance, on Staubgold), Suspension still belongs to the field of minimal(ist) music. Using guitar and electronics (and the line between one and the other is very thin), the composer has created slow, delicate pieces. The title describes the music appropriately: Everything seems to float in midair, including the listener. This position is not necessarily all that comfortable, but then again, Suspension is not an album for Zen meditation or exercises in Tibetan spirituality. It exists for ears to explore, providing an artistic experience in the most profound sense of the word. Turn up the volume in order to be moved by the occasional sub-bass tones, direct all of your attention to the music, and let yourself be hypnotized. "Wednesday" and "Vogler" are made of half-remembered melodies dissected and reassembled in a way similar to Fennesz CD Endless Summer (minus the glitches and crackles). These are the busiest pieces. "Suspension" features the sound of a Wurlitzer electric piano with digital treatments. Its fragments of melodies bring to mind some of Andrew Poppys works. The last piece, "As Far As the Eye Can See," evacuates any allusion to music as we usually conceive it to concentrate on a slow-evolving drone. Suspension confirms Ambarchis talent and the strength of his musical vision. This music has personality and heart. It moves and stirs. Recommended. | ||
 | Album: 9 of 47 Title: Mort Aux Vaches Released: 2002 Tracks: 6 Duration: 37:01 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Song of Separation, Part 1 (13:24) 2 Song of Separation, Part 2 (03:00) 3 Song of Separation, Part 3 (06:48) 4 Song of Separation, Part 4 (03:34) 5 Song of Separation, Part 5 (01:26) 6 Song of Separation, Part 6 (08:49) |
 | Album: 10 of 47 Title: Stacte.4 Released: 2002 Tracks: 2 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Stacte 4.a (?) 2 Stacte 4.b (?) |
 | Album: 11 of 47 Title: Flypaper Released: 2002-06-24 Tracks: 4 Duration: 44:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Flypaper I (11:44) 2 Flypaper II (06:08) 3 Flypaper III (11:41) 4 Flypaper IV (15:01) |
| Flypaper : Allmusic album Review : Guitarists Keith Rowe and Oren Ambarchi have collaborated on a number of occasions in recent years, on the Grob releases Honey Pie (with Robbie Avenaim) and Thumb (with Avenaim, Sachiko M, and Otomo Yoshihide) and more recently on the Erstwhile double-CD Cloud with 4G -- aka the Four Gentlemen of the Guitar (the other two being Toshimaru Nakamura and Christian Fennesz) -- but Flypaper is very much a duo affair. Those familiar with Rowes slow-motion grainy drone and wisps of radio broadcasts and the warm glow of Ambarchis electronics (hes never as far as you might think from the delicious pop world he explores so well with Chris Townsend in the group Sun) will find few surprises on offer in these four medium-length tracks, but much to appreciate. Not as intense as Rowes Erstwhile collaboration with Nakamura, Weather Sky, but certainly more substantial and rewarding than Thumb, Flypaper is a good place for newcomers to Rowe and Ambarchi to get themselves stuck on. | ||
 | Album: 12 of 47 Title: Oystered Released: 2003-03-21 Tracks: 4 Duration: 41:47 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Walking Oysters (10:51) 2 Briefing Oysters (13:11) 3 Grounding Oysters (07:57) 4 Oystered (09:47) |
| Oystered : Allmusic album Review : Voice Crack (Andy Guhl and Norbert Moslang) and Günter Müller account for three-fourths of the electro-acoustic improv group poire_z. One would think that trading turntablist Erik M for soundscape guitarist Oren Ambarchi on the remaining chair would take the groups music into even higher planes of crackling atmospheres. On the contrary, Oystered sounds more grounded and dynamic than poire_zs recordings. Individual contributions become very difficult to pinpoint in this music, where acoustic instruments (Müllers selected percussion) are treated to sound electronic, where everyday electronic devices are cracked to pulsate and twitch as if they were components of a laptop computer, where aerial guitars are looped and stacked to roar like a cyclone. But the group sound is irresistible: engulfing and moving with great synchronism, as if all its constituents were governed by the same spirit and yet showing independence of thought in its details. Listen to how different parties gently tug "Grounding Oysters" in opposite directions. "Briefing Oysters" stands as the highlight of this session, recorded in Sydney on July 23, 2002: it grows menacingly, blown by Ambarchis solar winds and animated by Voice Cracks odd chirps and hisses. Fans of Ambarchis albums for Touch and Staubgold may feel destabilized at first, because his art is fully integrated to the dominating voice of this quasi-poire_z. | ||
 | Album: 13 of 47 Title: My Days Are Darker Than Your Nights Released: 2003-04 Tracks: 1 Duration: 30:34 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 My Days Are Darker Than Your Nights (30:34) |
| My Days Are Darker Than Your Nights : Allmusic album Review : The Australian experimental guitarist Oren Ambarchi made a trip to Stockholm, Sweden, in March of 2002. On his to-do list was a recording session with multi-instrumentalist Johan Berthling (one-third of Tape, among other projects). My Days Are Darker Than Your Nights consists of a single 31-minute piece. Ambarchi gets credit for guitar and Berthling for harmonium, but that only tells half of the story. As usual, the guitarist has used a multi-track looping device to build up a thick, dense, highly kinetic drone. The harmonium sounds more immediate (no electronics seem to be involved); Berthling holds down chords for long durations, pumping air in the instrument and letting its whiny breath blend into the guitar soundscapes. The piece starts out very atmospheric and ambient. It gains momentum and volume gradually, and after 15 minutes it reaches a point where it could either remain comfortable and "ambient" or cross over to harsh noise -- simultaneously velvet and glass shards. You can literally feel how dangerously thin is the separation between the two. And it remains there, sitting on the proverbial fence for the last half of the piece, mesmerizing you like a giant (it feels huge!) kaleidoscope. The fade-out -- however careful and slow -- is a bit disappointing, but not enough to cancel out the fascination this piece exerts. Recommended, especially to those who appreciate Phill Niblocks microtonal works. | ||
 | Album: 14 of 47 Title: Vigil Released: 2003-05-23 Tracks: 4 Duration: 48:51 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Vigil I (15:05) 2 Vigil II (20:48) 3 Vigil III (04:49) 4 When Love Comes Back to Haunt You (08:08) |
| Vigil : Allmusic album Review : Oren Ambarchi and Martin Ngs second collaboration is a keeper. Pushing further their approach to harmonics and resonances introduced on Reconnaissance, they have created beautiful soundscapes that fill the entire listening room even though they consist of very limited elements. A comparison to American minimalists such as Alvin Lucier and Gordon Mumma is in order, but Ambarchi and Ngs pieces dont have that "process generated" feel. They dont seem to follow a specific agenda or try to prove a point. They simply limit themselves to resounding sounds and articulate them in a natural-sounding way, which is all the more intriguing since Ambarchi is best known for his electric guitar loops and Ngs instrument of choice is usually the turntable. These calling cards dont prepare you for the pure electronic tones and finger cymbals that account for most of the music. The absence of performing credits in the booklet suggests that the mystery is intentional. The three-part "Vigil" fills up most of the disc. Slow-building, it starts with very high and quiet frequencies and ends with the aforementioned cymbals emerging from the otherwise faceless (but captivating) tones. "When Love Comes Back to Haunt You" is comparatively busier, changing harmonic chords beating alongside an evanescent drone. The disc also includes two MPEG videos for "Procession" and "Surfacing" (two tracks from Reconnaissance) by Mego and Staubgold cover designer Tina Frank, who has often accompanied the duo in live performances. Her abstract images of colored curves and grids match the aridity of the music on a superficial level but hardly connects with its deeper beauties. | ||
 | Album: 15 of 47 Title: Strange Love Released: 2004 Tracks: 2 Duration: 51:38 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Cooler (30:52) 2 Warmer (20:46) |
| Strange Love : Allmusic album Review : This trio makes a very nice electro-acoustic improv match. Günter Müller, owner of the Swiss label For 4 Ears and one of the first European artists to develop a microsound esthetic in the 90s, visits Australia in July 2002 to perform at What Is Music?, an annual festival organized in Melbourne by guitarist Oren Ambarchi. Rounding up the trio is local electronician Philip Samartzis. This CD presents two extended pieces. The first one, 31 minutes in duration, was recorded live on July 16, 2002. The second, 21 minutes long, is an Internet collaboration conducted in the fall of 2003, each improviser working at home. "Cooler" (the first piece) proposes a clinical look at e-a improv. The musicians display acute listening and a startling level of precision in their interventions. If fascinating, the piece remains somewhat cold or emotionless, which actually works out better than those words could indicate. On the contrary, "Warmer" is, well, warmer. It may have to do with the fact that Ambarchis shimmering guitar drones are pushed further upfront or that the piece sounds much more focused, without a single dull second. If Ambarchis contribution is rather easy to isolate (although that may be a lure), Müllers and Samartzis blend into one set of enigmatic textures, the former mixing acoustic elements (his minimal percussion) with electronic processes and samples, the latter using field recordings (both urban and nature-based) along with electronic sounds. The two pieces would work great as two sides of an LP, but the first one is too long to fit on vinyl. So hit the pause button after track one and allow yourself some time to let it settle in. The contrast will be all the more powerful and the listening experience more rewarding. | ||
 | Album: 16 of 47 Title: Honey Pie Released: 2004-04 Tracks: 1 Duration: 39:46 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 [untitled] (39:46) |
 | Album: 17 of 47 Title: Grapes From the Estate Released: 2004-06-21 Tracks: 4 Duration: 55:42 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Corkscrew (09:43) 2 Girl With the Silver Eyes (09:40) 3 Remedios the Beauty (15:37) 4 Stars Aligned, Webs Spun (20:40) |
| Grapes From the Estate : Allmusic album Review : Proceeding from Suspension and informed by Oren Ambarchis work in the song-based group Sun, Grapes from the Estate adds yet another beautiful installment to his growing discography. Definitely of the same lineage as the guitarists previous albums for Touch, this one sees him perfect his art -- the four pieces sound purer and even more focused -- and expand his instrumental palette. The opening and closing pieces come closer than what youd expect: multi-tracked guitar loops consisting of fragmented tonal melodies coupling abstraction with a sense of sweetness and peacefulness. The 20-minute "Stars Aligned, Webs Spun" is slightly slow to gather momentum, but its awkward rearrangement of cutout notes and chords eventually builds up to a delightful understated tune. "Corkscrew" is the perfect example of what Ambarchi has been aiming to do for the previous five years. In the other two pieces, the guitarist adds extra instruments to offer fully arranged music hinting at the melancholia of post-rock while retaining his highly idiosyncratic signature. "Girl With the Silver Eyes" simply adds sharply cut organ notes to the web of looped guitars, its tones actually very close to Ambarchis guitar sound. There is also a little bit of drums, an instrument given a more prominent role in "Remedios the Beauty," along with acoustic guitar, piano, bells, and percussion. A gorgeous piece, this one opens doors to new ground for Ambarchi to explore. Highly recommended. | ||
 | Album: 18 of 47 Title: Squire Released: 2006-10-26 Tracks: 1 Duration: 42:44 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Squire (42:44) |
| Squire : Allmusic album Review : Squire was recorded live a few months after Keith Rowe and Oren Ambarchis duo debut Flypaper. The music here feels much more involved and engaging, for a significantly more satisfying album. The "installation" feel of Flypaper has vanished, replaced by the urgency of performance. Individual contributions are also harder to isolate from the whole. The album consists of a single 40-minute improvisation. Early on, a mini-fan brushing away at guitar strings will provide the main texture for most of the duration of the piece. An electrical hum and quiet electronic rumbles join in, delicately mixed in and changed to alter the landscape as we proceed. Radio waves are picked up, left unexplained, and given some room to be heard, integrated but not engaged. Since 2000 or so, every project involving both Ambarchi and Rowe has felt like drifting blissfully on a cloud -- Cloud also being the well-chosen title for the live album by Four Gentlemen of the Guitar, the quartet also featuring Christian Fennesz and Toshimaru Nakamura. Unsuspecting listeners may not perceive that gentle feeling of drifting away, as they might end up alienated by the lack of pulse, melody, harmony, and any other traditional musical references. However, connoisseurs will find here that prized drifting quality that was missing from Flypaper. Recommended | ||
 | Album: 19 of 47 Title: Lost Like a Star Released: 2007 Tracks: 2 Duration: 38:20 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Lost Like a Star (14:41) 2 The Final Option (23:39) |
 | Album: 20 of 47 Title: In the Pendulums Embrace Released: 2007-09 Tracks: 3 Duration: 40:50 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Fever, a Warm Poison (17:54) 2 Inamorata (10:19) 3 Trailing Moss in Mystic Glow (12:36) |
| In the Pendulum's Embrace : Allmusic album Review : Australian sound traveler Oren Ambarchi keeps creating mesmerizing, evocative landscapes of sound. With a mixture of electronic and traditional instruments--including strings, chimes, and glass harmonica--he creates a unique, personal sonic world over IN THE PENDULUMS EMBRACEs 41 minutes. The effect of Ambarchis recent adventures with various avant headbangers and his affiliation with Southern Lord Records is obvious, and comes through in interesting, subtle ways. The three tracks that make up the album dwell both in the underground drone world of sometime collaborators SunnO))) and a brighter, more crystalline zone of quiet reflection. Altogether, it represents nothing so much as life itself, composed of crushing lows and sweet, gentle highs, and made from equal parts stern technology and warm flesh and blood. | ||
 | Album: 21 of 47 Title: Spirit Transform Me Released: 2008-03-25 Tracks: 3 Duration: 41:49 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Alef (15:09) 2 Bet (16:47) 3 Gimel (09:52) |
| Spirit Transform Me : Allmusic album Review : Since the beginning of the 21st century, electronic composer and multi-instrumentalist Oren Ambarchi has been releasing an average of two albums per year. In this era, more than one per annum may seem like a lot, but throughout musical history, particularly in the fields of jazz and country in the 50s and 60s, it wasnt uncommon for an artist to release three or four. Ambarchis music is far from those worlds, of course, and given the ready availability of cheap recording gear its a wonder more artists arent doing this. Then theres the other reason: he simply has a lot to say. No two recordings of his sound alike. They create music that walks on the unspeakable edge of displaced sound, space, and seemingly disembodied but utterly physical noise. On Spirit Transform Me, Ambarchi collaborates with the truly enigmatic percussionist and sound sculptor Zev who has been on the scene for over 30 years. The pair has released recordings separately on the same labels, but this outing represents their first union in sound. Ambarchi recorded numerous seemingly disparate source records and sent them digitally via file sharing networks to Zev in London. These were received on the first day after a hernia surgery, and Zev, according to the liner notes, eschewed the painkillers prescribed and went right to work. For the next three weeks he added percussion, mixing and sculpting these three pieces -- and numerous others that didnt make the cut -- into this release. Fans of dark ambient -- were talking Robert Rich and Lustmørds Stalker and Nurse with Wounds more murky ambient excursions here -- will be utterly captivated by "Alef," the 15-plus-minute opening cut, where guitar drones and vibraphones are rendered unidentifiable in their soft, nearly impenetrable voidness. This is a black hole with life, a mysterious, seductive, even hypnotic excursion into tone, sonic blur, and tamed, harnessed white noise with minimal intrusion from percussive elements, except as more minutiae entering this gauzy wave whose other side is the clear light of darkness. "Bet" is its opposite, Zevs trash can, barrel-rumbling percussion is wrapped beat-less around controlled feedback, industrial soundscapes, and a viola somewhere. Its harsher, almost discontinuous, and erratic for the first four minutes or so, but halfway through its 16 minutes it becomes violent. Zevs rumbling tom toms and tympanis add a tribal rhythm to wave upon wave of feedback and scree. This is an unholy union of power electronics and unhinged percussive warfare. The final piece, "Gimel," consists of soft, ambient sounds created by sinister-sounding drones, tubular bells, and seemingly dropped-in noises atop a single, deep -- almost subsonic -- drone that lasts the entire work. Whats so compelling is that it is far from static; in some ways, despite its deeply echoed sense of space and unnameable sound washes, it is so active its almost exhausting. This is excellent work, unclassifiable really. It is accountable only to itself and its creators and sounds fresh after numerous listenings. | ||
 | Album: 22 of 47 Title: Persona Released: 2009 Tracks: 3 Duration: 36:57 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Alma (05:36) 2 Vogler (12:35) 3 Persona (18:45) |
| Persona : Allmusic album Review : Like STACTE.3, which also saw a reissue in 2009, Oren Ambarchi’s PERSONA originally dates from the turn of the century, where it was released in his native Australia. Ambarchi delves deep into the possibilities of the electric guitar on PERSONA, and with the help of loops, effects pedals, pitch shifting, and digital manipulation, he creates a sometimes startling, sometimes soothing universe of non-guitar-like guitar noise. The album’s three extended compositions are mesmerizing, not least for their demonstration of Ambarchi’s skill with tone and texture. The 2009 reissue shouldgive PERSONA the wider audience it deserves. | ||
 | Album: 23 of 47 Title: Intermission 2000-2008 Released: 2009-11-30 Tracks: 5 Duration: 1:00:10 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Intimidator (12:44) 2 Iron Waves (11:44) 3 Moving Violation (08:18) 4 The Strouhal Number (07:05) 5 A Final Kiss on Poisoned Cheeks (20:15) |
| Intermission 2000-2008 : Allmusic album Review : Intermission 2000-2008 features Oren Ambarchi reaching for the bottom drawer, compiling rarities and odd tracks. Rest assured, though, that these are not substandard pieces, not by a long shot. Four of the five lengthy numbers included on this CD have been previously available on compilation CDs or limited-edition vinyl. Out of these, the most notable are "Intimidator," a quietly rumbling minimalist affair also featuring Anthony Pateras on prepared piano and first released as a bonus track on the two-LP version of Ambarchis album In the Pendulums Embrace, and "A Final Kiss on Poisoned Cheeks," a dark yet serene extended track featuring a live guitar improvisation (extremely ambient) with overdubbed bells and "motorised cymbal," originally released as a limited 12" on Table of the Elements. However, the highlight of Intermission is the one track that was previously unheard: "Iron Waves," a remix of a Paul Duncan song ("Parasail," from Above the Trees), although "remix" is not enough to describe the extent of Ambarchis reworking (with added guitars, bells, and cymbals) around Duncans rapturing vocal track. This CD has less thematic unity than Ambarchis previous albums for Touch, namely Suspension and Grapes from the Estate, but it still offers an intense and immersive listening experience. And considering all the other compilation tracks from that time frame he had to choose from, thematic unity, artistic coherence, and listening curve are clearly all factors that played into the track selection. | ||
 | Album: 24 of 47 Title: Raga Ooty / The Nilgiri Plateau Released: 2012 Tracks: 3 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Raga Ooty (?) 2 The Nilgiri Plateau (?) 3 Raga Ooty (Slight Return) (?) |
 | Album: 25 of 47 Title: Audience of One Released: 2012-01-30 Tracks: 4 Duration: 53:55 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Salt (05:32) 2 Knots (33:23) 3 Passage (06:41) 4 Fractured Mirror (08:19) |
| Audience of One : Allmusic album Review : Recruiting a variety of guests and fellow travelers, including Eyvind Kang and Crys Cole, Oren Ambarchi continues in his vein of excellent solo releases on Touch with 2012s An Audience of One. The still feeling of "Salt," the album starter, suggests that its not merely a solitary audience, but a contemplation of solitary feeling -- with calm slow melodies, softly echoed singing from Warm Ghosts Paul Duncan thats part stern, part wistful, and a sense of focused contemplation. "Passage" has a similar feeling at the start with its piano introduction, and notes paced out as Jessika Kenneys singing and textures via Cole emphasize centering and looking inward more than out. But this also blends into the concluding "Fractured Mirror" -- an interpretation of a genuinely pretty, moody instrumental from Ace Frehleys late-70s solo album, keeping the same skeletal serenity of the original and turning the albums focus outward in turn. "Knots" takes up most of the album, a half-hour-long piece of dark ambience that has the virtue of demonstrating how much more clear and unique Ambarchis aesthetic and musical voice has become with time. As the soft, reticent chill settles into a slow unfolding of various elements -- what could almost be Tuvan throat singing at one part, a distant percussive part from Joe Talia as feedback coils and snarls at another, or a two-note moan pattern that feels like a fanfare via Vangelis Blade Runner work for another -- into a full arrangement partially courtesy of Kang; its at once thrilling and subtly crushing, with a slow steamroller effect. When it pulls back at about ten minutes to feature a new, sweetly exultant main theme, arrhythmic electronic pulses and pluckings and a sense of heading out into a collapsing outer space take the lead in a striking instance of Ambarchis abilities in full flight. | ||
 | Album: 26 of 47 Title: The Mortimer Trap Released: 2012-02-13 Tracks: 1 Duration: 1:17:44 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 The Mortimer Trap (1:17:44) |
 | Album: 27 of 47 Title: Wired Open Day 2009 Released: 2012-04 Tracks: 5 Duration: 1:15:06 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 7:40pm (19:05) 2 8:05pm Pt. 1 (14:34) 3 8:05pm Pt. 2 (01:24) 1 9:10pm (18:51) 2 9:40pm (21:12) |
 | Album: 28 of 47 Title: In the Mouth - A Hand Released: 2012-05-11 Tracks: 4 Duration: 1:08:39 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 A Man Who Might Have Been Screaming (18:09) 2 And the Stories Will Flood Your Satisfaction (with Terror) (23:23) 3 He Wants to Sleep in a Dream (He Keeps in His Head) (19:11) 4 I Am Sucking for a Bruise (07:54) |
 | Album: 29 of 47 Title: Black Plume Released: 2012-07-14 Tracks: 2 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Black Plume I (?) 2 Black Plume II (?) |
 | Album: 30 of 47 Title: Sagittarian Domain Released: 2012-08-28 Tracks: 1 Duration: 33:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Sagittarian Domain (33:36) |
| Sagittarian Domain : Allmusic album Review : If Oren Ambarchi lives to create and record, then its a sign that he is so consistently able to create involving, always enjoyable releases that explore the realms between dude-with-guitar and compositional experimentation and ambience so perfectly. Sagittarian Domain is in many ways one of his most conservative efforts -- not a slam, by any means, but an acknowledgment of how this one-track effort derives from the 1970s era of side-long vinyl efforts as everything from prog rock to fusion jazz to psych heaviness all swirl together. Recorded by himself aside from some string contributions, its a pleasure from the get-go: a nicely ominous plucked guitar rhythm of a couple of notes is the bed for even more moody feedback wails and fading in/out arcs of feedback. Its very much a "curtains are opening" moment that is then supplemented by a pulsing bass element and then drums hitting a perfect steady groove thats not quite motorik or funk, more a focused trance without being trance in the electronic dance sense. By 13 minutes you can feel everything shifting into a more aggressive, full arrangement, a rising/falling tone making everything feel even more unsettled as further guitar noise builds and fills before everything cuts back to the rhythm section only, even the initial guitar going suddenly. Ambarchi then lets everything build up again around it minus that initial bit, angry drones and screaming intertwined. The concluding strings could almost be the end of Princes "Purple Rain," something soothing in the post-apocalypse even if it never fully exploded as lingering tones replace the rhythm entirely. | ||
 | Album: 31 of 47 Title: Connected Released: 2012-10-22 Tracks: 5 Duration: 37:48 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Standing Mandala (09:03) 2 Game of Two (08:07) 3 Connected (08:47) 4 Trios (05:52) 5 Invigilation (05:59) |
| Connected : Allmusic album Review : Experimental guitarist/composer Oren Ambarchi and purveyor of cold electronic sounds Robin Fox came together in Melbourne, Australia in early 2011 to collaborate with dance company Chunky Move, soundtracking their otherworldly production Connected. The performance saw dancers interacting with organic sculptural works, sometimes ominously suspended midair. Over the course of the performance, the dancers found themselves wrapped in the sculptures menacing tentacles, struggling for either escape or assimilation into the pieces. Connected, the resultant album of Ambarchi and Foxs work on the score for this piece, also ponders extremes of escape and submission. Foxs clinical electronics are minimal to the point of almost being test-tones at times, and the juxtaposition of Ambarchis organic and often visceral guitar tones creates a foreboding sway throughout the album. Never is Connected menacing or horrified, but its sounds pace nervously between abstract noise, patient bell tones, and tensely narrative-obscured chord progressions. The album flows seamlessly between its presentation of moods. Connected begins with the building dread of the nine-minute "Standing Mandala," its sharp melodic pulses growing into harsh static before an abrupt end. Moments later a wall of ragged, drifty guitar chords wanders through understated electronics and cymbal washes on "Game of Two" before melting naturally into the white-noise firestorm of "Trios." Removed from the dance pieces it soundtracks, Connected takes on its own life. With the same restlessness that flows through Neil Youngs lonely desert chords on the Dead Man soundtrack or the patient observation that marks the earliest experimental electronic music, Ambarchi and Fox come together here with laser-beam precision and focus. The collaborators desperate signature sounds align with enough space, consideration, and restraint to become something bigger than the sum of their parts. Connected is a musical study of tension, anxiety, release, and relief, all communicated in a manner simultaneously subtle and complex. Besides being an impressive melding of unlikely worlds, the five pieces here are transcendently beautiful, and essential listening for a fan of either player or any sound art enthusiast. | ||
 | Album: 32 of 47 Title: The Just Reproach Released: 2013 Tracks: 2 Duration: 19:26 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 The Just Reproach Part 1 (19:26) 2 The Just Reproach Part 2 (?) |
 | Album: 33 of 47 Title: Sonja Henies Vei 31 Released: 2014-05 Tracks: 3 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Untitled (?) 2 Untitled (?) 3 Untitled (?) |
 | Album: 34 of 47 Title: Shade Themes From Kairos Released: 2014-05-20 Tracks: 16 Duration: 2:20:30 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 That Space Between (13:08) 2 Temporal, Eponymous (11:29) 3 Circumstances of Faith (13:12) 4 Sometimes (08:30) 5 Ebony Pagoda (21:17) 1 Vega as Behenian (05:49) 2 Kairos Instrument Theme II (01:11) 3 Kairos Instrument Theme IV (01:02) 4 Kairos Instrument Theme III (01:42) 5 Wāqi (05:18) 6 Torture à carapace molle (07:50) 7 Kairos Instrument Theme I (01:01) 8 Approaching the Pagoda (02:04) 9 Pierre Douce (13:49) 10 Metric Homme (08:09) 11 Sapphireish (24:59) |
| Shade Themes From Kairos : Allmusic album Review : Shade Themes from Kairos is an extension of the soundtrack project that Oren Ambarchi, Stephen OMalley, and Randall Dunn undertook for Alexis Destoops short film Kairos in 2009. After that work was completed, the trio decamped from a makeshift studio in Belgium to Dunns now defunct ALEPH studio in Seattle. Dunn was originally hired to co-produce and engineer the sessions, but his knowledge of analog synths and sonic textures, and his instinctive spatial approach to sound became integral and he became not an outlying participant, but a full collaborator. There are five pieces here; the shortest lasting over eight-and-a-half minutes, the longest over 21. Musically, this set is more structured than initial impression might suggest. Movement, duration, and aural evolution are architectural aspects in each track. While opener "That Space Between" (also known as a bardo) commences with loose ambient synths and two-note guitar drones, drums soon establish a rhythmic pulse to erect circular waves, gradually spiraling without losing the center. Noisy analog flanges and layers of distortion eventually claim the middle of the mix before two guitars come angling through and into and one another. That guitar interplay is the heart of "Temporal, Eponymous," which rolls out like an extension of the previous track with compelling rhythmic invention and more elongated atmospheric textures before approaching a psych squall that claims the tracks structural body. "Circumstances of Faith" is a tense, striated ambient track for more than five of its 13-plus minutes; its all hues and shadows of loosely defined sound. The subdued but frenetic bassline emerges from the margin, and imprecise wah-wah guitar introduces guest Tor Dietrichsons frenetic tabla playing, which becomes its engine, framed by all manner of wafting and careening noise. "Sometimes" is a welcome break in the action, a carefully considered architecture of drift and space, while closer "Enemy Pagoda" makes use of low-tuned basses and guitars to introduce a sense of pure dread in drones that are highlighted by analog synth. It never wavers from its path of menacing haunt. Shade Themes from Kairos is striking in that it not only hosts a variety of tones and colors based on dynamics, textures, and yes, the illusory stretching of time, but it reflects a true collaboration by principals who are actually investigating what the possibilities of the latter might sound like were it actually possible. | ||
 | Album: 35 of 47 Title: Tikkun Released: 2014-05-27 Tracks: 3 Duration: 1:10:25 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Washington, D.C. - T4V1 (31:02) 2 Tokyo - T4V2 (13:02) 3 San Francisco - T2V2 (26:21) |
| Tikkun : Allmusic album Review : Tikkun is a collaborative recording between French avant guitarist Richard Pinhas, founder of 1970s-era guerilla rockers Heldon, and Australian guitarist, drummer, producer and experimentalist Oren Ambarchi. The pair first played together on Pinhas stellar 2013 album Desolation Row, the first part of his "devolution" trilogy; his act of resistance against neo-liberalism and global capitals reliance on machines to control societies. Tikkun is one of two recordings he issued simultaneously; the other is Welcome in the Void with drummer Yoshida Tatsuya; the second part of "devolution." Tikkun is not part of the trilogy but in a sense, is its other side. The word is part of the Hebrew spiritual term "Tikkun olam" which, loosely translated, means to repair and heal a broken world. It dates from the Mishnah and early Rabbinic period, but was later expanded upon in the 16th century kabbalistic thought of Rabbi Isaac Luria, and later still in the Jewish activism of the 20th century. This set contains both an audio and a video disc. The audio portion contains three long works played by the pair with "circles" of musicians. The first circle features both guitarists and drummer Joe Talia; the second is an added group which helps to illustrate the sonic investigations undertaken by the first: legendary Japanese noise constructivist Masami Akita (aka Merzbow), Pinhas son Duncan on sequencers, and second drummer Erick Borelva. The video portion is a concert-length duo performance shot at Les Instants Chavires in Paris. Unlike the cyclonic, forceful Welcome in the Void, these pieces are all spiraling space rock jams with drones and colorful, textured ambience at their core. The two guitarists use their respective talents, loops, and effects to complement, encourage, and frame one another energetically. Talias and Borelvas drums act not so much as guideposts, but as additional fuel for the heavy, breathing, wafting colors and sounds. The bass sequences that open "Washington, D.C. - T4v1" feature Ambarchis signature piercing guitar above Pinhas more distorted open drone. For 30 minutes they build, graft, transfer, and flow between one another, erecting massive walls of sound where bass bombs, noise, and feedback become part of a mysterious though very physical cosmiche. "Toyko - T4v2" is slower, and offers Merzbows tempered but no less menacing industrial textures as another lead instrument atop Talias syncopated and broken beats. But this is a true duo offering: the guitars use his dissonance to create something beautiful from the torrential noise. On the video disc, the duo prove they can do this all on their own. Ambarchi switches to drums part way through and his ecstatic playing is a joyous if raucous counterpart to Pinhas always fascinating construction of scintillating ideas, tensions, fragmented spaces, and spiky assertions. Over two-and-half hours, Tikkun delivers a boundless, space rock that reflects the depth and variety of human and spiritual experience. | ||
 | Album: 36 of 47 Title: Alps Released: 2014-08-25 Tracks: 3 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Alps 1 (?) 2 Alps 2 (?) 1 Alps 1 & 2 (?) |
| Alps : Allmusic album Review : Experimental guitarist/composer Oren Ambarchi teamed with boundary-pushing percussionist Eli Keszler for 2014s Alps, a two-part suite of eruptive free sounds and melting chaos. Divided simply into two tracks, "Alps 1" and "Alps 2," these duets merge Ambarchis symphonic and sometimes storytelling feedback with nonstop blasts of scattershot drumming from Keszler for an attack of noisy improvisation. Keszlers fluid and anxiety-ridden percussion style is a perfect companion for Ambarchis grizzly guitar stabs and horror movie drones. | ||
 | Album: 37 of 47 Title: Quixotism Released: 2014-10-08 Tracks: 5 Duration: 46:49 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Quixotism, Part 1 (17:59) 2 Quixotism, Part 2 (04:09) 3 Quixotism, Part 3 (06:58) 4 Quixotism, Part 4 (02:59) 5 Quixotism, Part 5 (14:44) |
| Quixotism : Allmusic album Review : Experimental composer/guitarist/percussionist Oren Ambarchis massive discography has taken on many forms, from the summery ambience of 2004s stellar effort Grapes from the Estate to more droning, metallic fare or even sounds resembling pop. Quixotism is one of Ambarchis more involved and dense compositions, seeing the composer boil down more than two years worth of recordings with dozens of collaborators into a single album in five parts. Neatly ordered and precise in nature, the separate chapters of Quixotism are strung together by a steadfast pulse supplied by electronic minimalist Thomas Brinkmann. The digital kick drum sounds wander across the stereo field as Ambarchi deftly mixes in sounds ranging from his own haunted guitar harmonics to synth gurgling from Jim ORourke and even long stretches of heavily lingering string arrangements from the Iceland Symphony Orchestra. Tabla player U-Zhaans tense playing makes an appearance on the fifth and most dynamic part of Quixotism, wrapping the album up without offering any real sense of conclusion or closure, but leaving the listener suspended in silence, missing the relentless but almost invisible heartbeat thats kept the album alive for nearly the last hour. | ||
 | Album: 38 of 47 Title: Behold Released: 2015-03 Tracks: 2 Duration: 42:08 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Behold A (18:44) 2 Behold B (23:24) |
 | Album: 39 of 47 Title: Sleepwalker’s Conviction Released: 2015-05-12 Tracks: 2 Duration: 37:30 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Sleepwalkers Conviction Part 1 (17:02) 2 Sleepwalkers Conviction Part 2 (20:28) |
 | Album: 40 of 47 Title: Tongue Tied Released: 2015-10-15 Tracks: 2 Duration: 31:45 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Tongue (16:29) 2 Tied (15:16) |
 | Album: 41 of 47 Title: Pale Calling Released: 2016-04-15 Tracks: 2 Duration: 39:42 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Pale (19:02) 2 Calling (20:40) |
 | Album: 42 of 47 Title: Aithein Released: 2016-04-29 Tracks: 2 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Burn (?) 2 Shine (?) |
 | Album: 43 of 47 Title: Hubris Released: 2016-10-28 Tracks: 3 Duration: 40:18 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Hubris, Part 1 (21:49) 2 Hubris, Part 2 (01:55) 3 Hubris, Part 3 (16:34) |
 | Album: 44 of 47 Title: Hotel Record Released: 2017-09-03 Tracks: 4 Duration: 59:48 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Call Myself (17:35) 2 Francis Debacle (Uno) (18:53) 1 Burrata (07:04) 2 Pad Phet Gob (16:16) |
 | Album: 45 of 47 Title: Face Time Released: 2018-06-01 Tracks: 2 Duration: 39:00 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Face (19:51) 2 Face Time (19:09) |
 | Album: 46 of 47 Title: Hence Released: 2018-11-23 Tracks: 2 Duration: 38:45 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Hence One (19:15) 2 Hence Two (19:30) |
 | Album: 47 of 47 Title: Simian Angel Released: 2019-06 Tracks: 2 Duration: 36:14 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Palm Sugar Candy (16:02) 2 Simian Angel (20:12) |