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Trust – Chvad SB “Crickets Were the Compass” (2014)

Auf dem Cover steht ein naiv gemalter Hund in zerbombter Stadtlandschaft. Vor ihm liegt ein Ball. Über die Schulter sucht der Hund womöglich den Blickkontakt
zu seinem Menschlein, um ihm den Ball zu bringen – wobei dort wohl kein Menschchen mehr ist. So wenig bedrohlich die Szene wirkt, so wenig scheint der dunkle Ambient-Sound wirklich beunruhigend.

Author: Andreas Schnell
Originally published in Trust #167

via Google Translate:
On the cover is a naively painted dog in bombed-out cityscape. Before him is a ball. Looking over the shoulder of the dog might eye contact
to his little man to get him the ball – where there is probably no more Menschchen. So little threatening the scene is so little seems to be the dark ambient sound really disturbing.

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Dark Entries – Chvad SB “Crickets Were the Compass” (2014)

Het hoesje van dit album toont een tekening van een troosteloos landschap met kapotte huizen, dode bomen en een hoop afval en op de voorgrond een eenzaam en wat triest kijkende hondje. Het heeft iets lieflijk en onheilspellend tegelijk. De muziek klinkt vooral onheilspellend en desolaat en even post-apocalyptisch als het landschap op de hoes. De minimaal repetitieve drone ambient kabbelt langzaam voorbij in zes composities in lengte variërend van 4,5 tot 14 minuten.

Chvad SB maakt al muziek sinds 1991 met projecten als Things Outside The Skin, Tongue Muzzle, The Qualia en – last but not least – als medelid van Controlled Bleeding. Invloeden haalt hij naar eigen zeggen onder meer bij Lustmord, Coil, Swans, Jean-Michel Jarre en The Residents. Bij het beluisteren van het album “Crickets Were The Compass” – zijn derde album onder de eigen naam voor zover we kunnen nagaan – komen naar mijn bescheiden mening de invloeden van Lustmord het meest tot uiting. Chvad SB maakt voor zijn soundscapes gebruik van modulaire synthesizers, gevonden voorwerpen, zelf gemaakte instrumenten, gitaar en stem, zo leert ons zijn facebook pagina. Dit album is echter 100% instrumentaal.

Het zijn de iets kortere tracks die mij het meest aanspreken. Het dreigende “A Hair Before Sundown” bijvoorbeeld of de spookachtige, desolate monotonie van openingstrack “It Haunts Her” dat zijn titel meer dan waar maakt of het wat meer industrial getinte “There Isn’t A Day That Goes By”. Het album sluit af met het 12 minuten durende titelnummer, waarin inderdaad langdurig een krekelachtig geluid zit. “Crickets Were The Compass” (6 tracks, 54 minuten speelduur) is een sfeervol, post-apocalyptisch dark ambient plaatje voor de liefhebber.

Rating: 7.5/10

Review by;
Henk Vereecken

Review originally published here:
http://www.darkentries.be/nl/cds/chvad-sb-crickets-were-the-compass/

Translation via Google Translate:
The cover of the album shows a drawing of a desolate landscape with broken homes, dead trees and a lot of waste, and in the foreground a solitary and some sad-looking dog. It has something sweet and ominous at the same time. The music sounds especially ominous and desolate and as post-apocalyptic as the landscape on the cover. The minimum repetitive drone ambient lapping slowly past six compositions ranging in length from 4.5 to 14 minutes.

Chvad SB has been making music since 1991, with projects like Things Outside The Skin, Tongue Muzzle, The Qualia and – last but not least – a fellow member of Controlled Bleeding. Influences he brings in his own words including at Lustmord, Coil, Swans, Jean-Michel Jarre and The Residents. When listening to the album “Crickets Were The Compass” – his third album under his own name as far as we can ascertain – come to my humble opinion the influences of Lustmord most evident. Chvad SB makes his soundscapes using modular synthesizers, found objects, homemade instruments, guitar and voice, tells us his facebook page. However, this album is 100% instrumental.

It is the slightly shorter tracks that appeal to me the most. The imminent “A Hair Before Sundown” for example, or the haunting, desolate monotony of opening track “It Haunts Her” that his title more than lives up to or more industrial tinged “There Is not A Day That Goes By.” The album closes with the 12 minute title track, which indeed allow a cricket-like sound is. “Crickets Were The Compass” (6 tracks, 54 minutes playing time) is an atmospheric, post-apocalyptic dark ambient plate for the enthusiast.

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Aural Innovations – Chvad SB “Crickets Were the Compass” (2014)

Though new to me, Chvad SB has been in action for over 20 years as a recording artist, scoring films, and a member of Controlled Bleeding.

Chvad SB has a flair for bringing together experimental and pleasantly accessible sound elements to create hauntingly minimal yet strangely melodic, image inducing soundtracks for the mind. The opening piece, It Haunts Her, is all about sound, with its laser beam waves accompanied by sparse guitar notes. The sound waves rise and fall, phasing slowly in my brain as the guitar licks provide a drugged, trippy, melodic counterpoint to the minimal electronics. The ominous rumbling and electronic static on A Hair Before Sundown might as well be a horde of insects, though offset by the contrasting child’s xylophone and smatterings of percussion.

The scorer of films is at work on tracks like The Dust Cloud Permeates. Haunting, cavernous atmospherics, freaky electronic effects and light guitar conjure up a multitude of possible scenes, the most prominent in my mind being a spacecraft cruising over the surface of a cold, seemingly barren alien planet (it’s always the sci-fi with me). The feeling is detached yet tense and suspenseful, painting a spaced out and often eerie panorama of cinematic sound. The spacey soundscapes on People Keep Asking And I Say You’re Well conjure up images of a busy urban street. Traffic is rushing back and forth, yet somehow I feel I’m like I’m sitting in the middle of it like some spectrally detached observer. A ghostly orchestral aura surrounds the everyday sounds of the city, punctuated by plinking sounds and sporadic guitar licks. Simultaneously haunting and surreal, this is one of my favorite tracks of the set. I like the combination of robotic patterns and melodic chamber ensemble on There Isn’t A Day That Goes By. And Crickets Were The Compass And The World Goes ‘Round feels like the soundtrack to a post-apocalyptic tale, with its minimal, slowly grinding crawl and darkly orchestral thrum. Listen to this when you’re feeling contemplative. Play it again and you’re guaranteed to hear something you missed the first time.

Review originally published here:
http://aural-innovations.com/blog/2014/07/chvad-sb-crickets-were-the-compass-silber-records-2014-cddownload/

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Terapija – Chvad SB “Crickets Were the Compass” (2014)

Početak karijere ovog bruklinškog muzičara seže u 1991. godinu, a prema pres materijalima bio je osnivač experimentalnih i industrial bendova kao što su THINGS OUTSIDE THE SKIN (Facility Records) and Tongue Muzzle (Facility Records) i član bendova Controlled Bleeding i The Qualia (WTII Records). Također, osnivač je i Facility Recordsa. Kad nije sudjelovao u gomili bendova i projekata, radio je i muziku za filmove.

Ovih šest pjesama koje su se “ugurale” u 54 minute materijala, prvo su njegovo izdanje za Silber Records. Osim samog sebe na albumu nije želio nikog drugog, pa je tako sve instrumente (sintovi, gitare, “ručno izrađeni instrumenti”) sam snimio, producirao i naravno, napisao.

Pres materijal kaže, također, da je ovo “testament of loss”, a tako se i čini nakon ovlaš pogledanih naslova pjesama (It Haunts Her, People Keep Asking and I Say You’re Well, There Isn’t a Day that Goes By), a bome i nakon preslušanog albuma.
No, preslušati album nije lako. Nema tu baš puno melodija. Nema ni pjevanja. Većinom su to zujanja različitih instrumenata, a dogodi se i po par minuta tišine, koliko god ja pojačavao glasnoću zvuka. No, unatoč gubitku, Chvad SB očito nije neki agresivac, jer većina pjesama je mirnijeg tonaliteta.

Tako se na A Hair Before Sundown, zaustavlja samo na “grebanju” po sintisajzeru, na It Haunts Her preko neprijateljskog gitarskog dronea recitira riječi utjehe…

Iako ja nisam toliko dubokoumno raspoložen da bi do kraja mogao shvatiti “što je pjesnik htio reći”, “Crickets were the Compass” sigurno je jedan od ultimativnih drone albuma ove godine, ako ne i šire.

PS: Za ljubitelje ovakvog zvuka, prvi koji se javi na mejl (nagradnjacha@terapija.net), u subjektu mejla napiše “chvad”, a u mejlu svoje ime i prezime, te adresu, poslat ćemo primjerak ovog albuma.

ocjena albuma [1-10]: 7
pedja // 19/07/2014

Review originally published here:
http://www.terapija.net/mjuzik.asp?ID=19683

via Google Translate:
Start a career of Brooklyn musicians goes back to the 1991st year, according to the press materials, was the founder experimentalnih and industrial bands such as THINGS OUTSIDE THE SKIN (Facility Records) and Tongue Muzzle (Facility Records) and a member of the bands Controlled Bleeding and The Qualia (WTII Records). Also, the founder and Facility Records. When not involved in the crowd of bands and projects, radio and music for films.


These six songs are “crammed” into 54 minutes of material, the first edition of his Silber Records. In addition to the album itself did not want anyone else, so all the instruments (Sint, guitar, “hand-made instruments”) I recorded, produced, and of course, he wrote.

Press material says, also, that this is “a testament of loss,” and so it seems, and after casually hits on the title track (It Haunts Her, People keep asking and I Say You’re Well, There Is not that a Day Goes By ), and, my word, and after preslušanog album.
But listen to the album is not easy. There’s just a lot of tunes. There is no singing. They are mostly buzzing different instruments, and it happens and a few minutes of silence, as much as I grew louder volume. But despite the loss, Chvad SB obviously not an Aggression, because most of the songs is more peaceful tonality.

Thus, the A Hair Before Sundown, stopping only to “scratching” on synthesizer, the It Haunts Her over hostile guitar dronea recites the words of encouragement …

Although I’m not as profound mood to the end could not understand “what the poet wanted to say”, “Crickets were the Compass” is certainly one of the ultimate drone albums of the year, if not beyond.

PS: For those who love this kind of sound, the first to be told on mail (nagradnjacha@terapija.net), subject to users subscribed write “chvad”, and mails your name and address, we will send a copy of this album.

Album Rating [1-10]: 7

pedja / / 19.07.2014
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Echte Leute – Chvad SB “Crickets Were the Compass” (2014)

Bei Chvad SB geht es experimentell zur Sache, wenn er auf seinem neuen Album „Crickets Were The Compass“ mit modularen Synthesizern, gefundenen Objekten, selbstgebauten Instrumenten und ein wenig Gitarre neue Sounds kreiert, die insgesamt einen Ambient-Drone-Cocktail ergeben, der nicht gerade gefällig wegzuschlürfen ist.

Die teils improvisierten Stücke entziehen sich jeglicher Songstruktur. Oszillierende Klangteppiche und sich wiederholende Figuren kennzeichnen das Werk von Chvad SB, der sich auch im Bereich Film-Soundtrack aktiv zeigt.

Düster-morbide ist die Grundstimmung, die „Crickets Were The Compass“ verbreitet. Ohne einen ansatzweise roten Faden oder melodisches Gerüst schaffen es die Stücke allerdings nicht nachhaltig zu fesseln. Zu wahllos mäandern die Klänge, die kaum Spannungsbögen aufweisen.

So ist „Crickets Were The Compass“ letztendlich recht zähe Kost, die auch dem geübten Hörer einige Geduld abverlangt.

CHVAD SB – Crickets Were The Compass (Silber Records)

(Jens)

Review originally published here:
http://www.echte-leute.de/chvad-sb-crickets-were-the-compass/

Translation via Google Translate:
In Chvad SB it is experimental to the point, if he new sounds created on his new album “Crickets Were The Compass” with modular synthesizers, found objects, homemade instruments and a little guitar, the total of an ambient-drone Cocktail result, the non-is just wegzuschlürfen complacent.

The partly improvised pieces defy song structure. Oscillating soundscapes and repetitive figures featuring the work of Chvad SB, which is also active in the film soundtrack.

Dark-morbid is the mood that spreads “Crickets Were The Compass”. Without a rudimentary theme or melodic framework it create the pieces, however, not sustainable to captivate. At random meander the sounds that have little suspense.

So “Crickets Were The Compass” ultimately quite chewy food, which required some patience even the experienced listener.

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Musik an sich – Chvad SB “Crickets Were the Compass” (2014)

Der aus Brooklyn stammende Musiker Chvad SB stellt die Hörerschaft mit seinem Album Crickets Were The Compass auf eine recht harte Probe. Gewohnte Songstrukturen, wiederkehrenden Themen und oder gar Melodiebögen, dies alles gibt es auf Crickets Were The Compass nicht zu hören. Stattdessen werden ruhige soundtrackartige Klänge auf die Ohren der Hörer losgelassen. In diesen Soundtracks trifft man auf Synthesizer welchen manchmal ein wenig ohrschmeischlerich daherkommen, manchmal sind die elektronischen Klänge aber auch ziemlich garstig. Gleiches gilt für die sparsam eingesetzten elektrischen Gitarren. Dabei hinterlässt Chvad SB mehrmals große Fragezeichen im Kopf des Zuhörers, weil die Klangwelten nicht immer komplett nachvollziehbar sind. Liebhaber ruhiger Ambientklänge könnten mit dem Album glücklich werden, für andere ist die Musik eine Herausforderung!

Rating: 12/20

Review originally published here; http://www.musikansich.de/review.php?id=14532
Google Translate:
A native of Brooklyn musicians Chvad SB presents the audience with his album Crickets Were The Compass on a rather severe test. Familiar song structures, recurring themes and or even melodies, all this can be found on Crickets Were The Compass not heard. Instead quiet soundtrack-like sounds are let loose on the ears of the listener. In these soundtracks you meet sometimes appear a little ohrschmeischlerich on synthesizer which, sometimes the electronic sounds are also pretty nasty. The same is true for the sparingly used electric guitars. This Chvad SB leaves several times big question mark in the mind of the listener, because the sound worlds are not always completely understandable. Lover quiet ambient sounds could be happy with the album, for others is the music a challenge!

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Fame Reviews – Chvad SB “Crickets Were the Compass” (2014)

Chvad SB, in his latest, Crickets were the Compass, follows Brain Eno’s On Land dicta far more cogently than most, then gets spacefaced and even Can-rocks a bit. The Dust Cloud Permeates is a prime example of this, dark and subtle, moving in layers, cross-stitching modalities. Anyone with half a wit knows Satie’s ‘furniture music’ (properly ‘musique d’ameublement’ or ‘furnishing music’) was never meant to be a chair or armoire but instead a tableau, a still life, a miniature. In fact, the widely touted gnossienes and gymnopedies were not among what others have attributed to his furniture musics. Erik himself named only five pieces thusly, not one of them a gnossienne or gymnopedie…though I doubt he’d much quibble with what’s been claimed regardless, his Rosicrucianism a bit too zen to be that crass. Satie’s interest was that “furnishing music completes one’s property”.

Indeed, and Chvad SB’s work becomes an extension of that, telescoping perception beyond the living room through the woods, over the lake, into the skies, and then beyond. In fact, I find these pieces to be a perfect cross between Eno and PBK (Philip B. Klingler), as the former was for quite some time fascinated by milieu qua milieu while the latter was a micro-surgeon delving into the componentry of ambientalism, tearing it down for its molecular and atomic secrets. Crickets is not music for gamboling or even a quiet chamber saturnalia but instead interactive meditation, in the 70s known as ‘tripping out’.

Each piece (ignore the titles, they mean nothing) is an exercise in cerebellular architecting; that is: building structures within the brain itself. There isn’t a Day That Goes By even incorporates a staple of musique d’ameublement: the sort of repetitive minimalism seeing beatification in Phillip Glass’ oeuvre. Chvad SB’s is not music to listen to but rather to exist within, all the more so if you’re under the influence of an intoxicant of some sort, whether alcoholic, herbal, or hallucinogenic, anything causing the human monkey mind to cease its inner prattle and just be. Lacking that, you won’t quite get all that’s here, though you might still capture significant portions. Silber Records puts out a lot of cool experimental, electronic, and ambient works, but this is one of the best they’ve so far procured. Listen to it if you’re not quite sane yet serious about music.



Review by; Mark S. Tucker
Edited by; David N. Pyles
Review originally published here:
http://www.acousticmusic.com/fame/p09774.htm
http://www.acousticmusic.com

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Musicscan – Chvad SB “Crickets Were the Compass” (2014)

Der Musiker ist im Bereich von Industrial, Drone, Ambient und Noise erfahren. CHVAD SB war Initiator oder zumindest Teil von Gruppen wie Things Outside The Skin, Tongue Muzzle, Controlled Bleeding und The Qualia. Seit 1991 versucht er sich in verschiedenen Konstellationen und Stilen, um neuartige, düstere Klangwelten zu erschaffen. „Crickets Were The Compass“ ist die erste Ambient-Platte des Künstlers betitelt, die er im Alleingang umgesetzt hat. Beim Sechs-Tracker scheint es sich um den Soundtrack zu einem fiktiven Film zu handeln. Das lassen die Geräuschkulissen und ihre Titel wenigstens vermuten. Jedenfalls folgt CHVAD SB eigenen Absichten, die aufgrund ihrer instrumentalen Umsetzung zwangsweise cineastisch wirken. Da es zumeist bei überschaubarem Input und Tempo bleibt, und auch die Spannungsbögen die Konzentration der Hörer nur selten zu fesseln wissen, fällt der Umgang mit dem Solo-Debüt des Brooklyners schwer. Selbst wenn man sich für experimentelle Soundscapes zwischen Drone, Ambient und Noise interessiert, stellt einen „Crickets Were The Compass“ auf eine Geduldsprobe. Wahlweise passiert zu wenig oder aber die Stoßrichtung und die Hintergedanken von CHVAD SB wollen sich partout nicht erschließen. Überhaupt wirkt das 54-minütige Release eher wie eine Ideenskizze, denn wie ein zusammengehöriges Album.

Rating: 5/10

Review originally published here:
http://www.music-scan.net/Templates/reviews_team.php?id=19831

Translation via Google Translate:
The musician is experienced in the field of Industrial, Drone, Ambient and Noise. CHVAD SB was the initiator or at least part of groups like Things Outside The Skin, Tongue Muzzle, Controlled Bleeding and The Qualia. Since 1991, he dabbles in various configurations and styles to create new, gloomy soundscapes. Crickets Were The Compassis the first titled Ambient-plate of the artist, which he has implemented on its own. For a six-tracker it seems to be to the soundtrack for a fictional film. The let the soundscapes and their titles at least suspect. Anyway follows CHVAD SB own intentions, acting forcibly cinematically because of their instrumental implementation. Since it usually remains at a manageable pace and input, and also know the suspense rarely attract the concentration of the listener, the handling of the solo debut of Brooklyners difficult. Even if one is interested in experimental soundscapes between drone, ambient and noise, provides a “Crickets Were The Compass” on a test of patience. Optional happened too little or the thrust and the ulterior motives of CHVAD SB seek to expand into non-partout. In general, the 54-minute release seems more like a sketch of an idea, because as a matched album.

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Nonpop.de – Chvad SB “Crickets Were the Compass” (2014)

CHVAD SB ist ein Künstler, der schon seit einigen Jahren im Ambient, in der Filmmusik und im experimentellen Sound unterwegs ist und dabei verschiedene Projekte unterhält und unterhalten hat. Zudem ist er seit 2012 auch im Dunstkreis der neu formierten CONTROLLED BLEEDING unterwegs. Mit „Crickets Were The Compass“ legt er nun ein Album vor, das ein „testament of loss“ darstellt – also den Verlust thematisieren soll. Illustriert wird dies allein schon durch das gezeichnete Cover, das einen Hund in einer verlassenen – ja, zerstörten Umgebung zeigt.

Beschäftigt man sich mit den einzelnen Titeln der sechs, teilweise ausufernden Stücke, dann ergibt sich der Eindruck einer Vermischung eines „inneren“ Verlustes („It Haunts Her“, „People Keep Asking And I Say You’re Well“) mit einem „äußeren“ Verlust oder einer Bedrohung („The Dust Cloud Permeates“) – oder ist die „Staubwolke“ gar ein Bild für die Verdunkelung des eignen Lebens und kein äußeres Geschehnis? Einen Hinweis darauf bieten auch die kurzen Anmerkungen zu jedem Stück, wobei der Verlust eher auf Krankheit und Tod hindeutet als auf eine Trennung. Musikalisch bewegt man sich im instrumentalen Ambient sowie in der experimentellen Soundkreation, die Dank des Einsatzes von nicht zu stark verfremdeten Gitarrenklängen erfreulich organisch bleibt. Daneben grummeln und kratzen die Synthesizer („A Hair Before Sundown“) oder repetitive auf- und ablaufende Töne bestimmen das Klangbild („It Haunts Her“) – später treten auch Klänge wie Alarmsignale auf („There Isn’t A Day That Goes By“). Rhythmen fehlen hingegen. Der Sound bleibt somit trocken und greifbar; falscher Bombast oder überschwängliche Effekte fehlen und wären auch fehl am Platz. Interessant ist vor allem die Gegenüberstellung der oft kalten, schroffen, grummelnden Synthesizerfundamente oder Drones mit helleren Gitarrenklängen. Dies wirkt wie eine klangliche Darstellung der Gefühle bei einem Verlust. Verwirrung, Desorientierung, das Gefühl einer irrealen Welt und auf der anderen Seite der emotionale Part, die Melancholie oder Trauer. Besonders auffallend ist dies aufgrund zusätzlicher Akkordflächen ausgerechnet bei „People Keep Asking And I Say You’re Well“ – was vielleicht auch den innerlichen Bruchpunkt der mit dem drohenden Verlust beladenen Person herausarbeitet. Die im Titel des Albums und im Schlussstück gebrauchte Phrase „Crickets Were The Compass“ weist letztlich auf die Orientierungslosigkeit des Individuums nach einem Verlust hin – die Musik bleibt dazu entsprechend freilaufend. Insofern gelingt CHVAD SB das, was man von gutem Ambient eigentlich erwartet: Im Kopfkino entspinnt sich eine Dramaturgie, die durch Titel, Artwork und Begleittexte in Szene gesetzt wird – soweit der Hörer Geduld mitbringt und sich einlassen möchte.

Review by; Tony F.

Review originally published here: http://www.nonpop.de/nonpop/index.php?mkey=CHVAD-SB-Crickets-Were-The-Compass&type=review&area=1&p=articles&id=2703

via Google Translate:
CHVAD SB is an artist who’s been around for a few years in Ambient, in film music and experimental sound on the road and thereby maintains various projects and has entertained. He is since 2012 also in the orbit of the newly formed CONTROLLED BLEEDING go. With “Crickets Were The Compass” he now presents an album that a “testament of loss” is – that is to thematize the loss. This is illustrated by the mere drawn cover that a dog in an abandoned – is yes, destroyed environment.

On closer examination of the individual titles of the six, sometimes escalating pieces, then there is the impression of a mixture of an “inner” external loss (“It Haunts Her”, “People Keep Asking And I Say You’re Well”) with a ” “loss or a threat (” The Dust Cloud permeate “) – or is the” dust cloud “even an image for the darkening of his own life and not an external event? An indication also offer brief remarks on each piece, with the loss rather than on illness and death suggesting a separation. Musically one moves in the instrumental ambient as well as in the experimental sound creation that remains pleasing organic thanks to the use of not too distorted guitar sounds. In addition, grumbling and scratching the synthesizer (“A Hair Before Sundown”) or repetitive up-and-running tones determine the sound (“It Haunts Her”) – later followed also sounds as alarm signals (“There Is not A Day That Goes By “). Rhythms, however, are lacking. The sound thus remains dry and tangible; false bombast or exuberant effects are missing and would also be out of place. Of particular interest is the comparison of the often cold, harsh, rumbling synth drones with lighter foundations or guitar sounds. This acts as a sonic representation of the feelings at a loss. Confusion, disorientation, feeling an unreal world and on the other side of the emotional part, the melancholy or sadness. Particularly striking, this is due to additional chord surfaces just with the “People Keep Asking And I Say You’re Well” – perhaps also working out the inner break point of the loaded with the impending loss person. The cars in the title of the album and the final piece phrase “Crickets Were The Compass” has ultimately points to the disorientation of the individual after a loss – the music remains to corresponding free-running. Insofar CHVAD SB can do that, what you have expected from a good Ambient: In Kopfkino a dramaturgy that is set by title, artwork and accompanying text in scene unfolds – if the listener brings patience and want to get involved.

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James Wegg Review – Chvad SB “Crickets Were the Compass” (2014)

It’s a dog’s life, so what’s the hurry?

In another remarkable coincidence regarding the luck of the draw for our CD reviews (live events seldom work out that way except hearing three performances of Beethoven’s Overture to Lenora No.3 in Ottawa within the span of a few days in the ‘70s), how curious indeed to find a pair of albums written in homage to special beings. Perhaps there is no better way to honour a loved one than to create music that will outlive us and be immediately accessible to all those who choose to hear.

Having become familiar with composer/performer Chvad’s talents thanks to the filmmaking skills of Elias (cross-reference below), it only seemed natural to sample this 55-minute work and learn more.

Unlike Daniel Detrick, whose post-composition, 10-line poem tellingly served as the “names” for each movement, Chvad’s poetry informs the titles for each of the six sections (the complete text becomes the production’s entire program note).

“It Haunts Her” immediately sets the tone for the electronic, digital soundscape that lies ahead with its throbbing, pulsating power, angry pedal and a few bits of childlike “ding, dong” that describe many facets of the dearly departed’s personality and—ironically—shared comfort in silence.

“A Hair Before Sundown” is immediately awash in cascading waves of distortion anchored by a low, tolling beat. A few sweeping whooshes are drily contrasted with chips of woodblock, then a metallic tune also finds its inner child if not its flaxen hair. This day closes with a touch of monotony.

A welcome breath of consonance ushers in “The Dust Cloud Permeates” before yielding to electronic granules served upon an austere aural canvas. On several occasions a high-pitched guitar pics its way into prominence, briefly rekindling the “ding dong” motif, becoming more agitated before slipping back to rhythmic—relatively—insignificance. Everything gradually calms down, as if running out of gas, more fuelled by octaves than octane.

“People Keep Asking and I Say You’re Well” speaks chirpy volumes (heralding the finale, to come) as various motors roar to race-like life—the same old question, hardly a picture of health, is given a relentless, if melodic, answer until a glimpse of “The Last Post”—above a slow motion chorus—foreshadows anew as everything comes to quiet rest.

Here the incessant ostinato and equally unrelenting bass produce a hypnotic effect as “There Isn’t a Day That Goes By” unfolds. Two contrasting voices appear at different times, sprinkled in with some bits of “finger snaps” and ripping paper (or might that be a new leaf turned?). The result is absolutely, abstractly fascinating.

After so many forms and styles, :”Crickets Were the Compass and the World Goes ‘Round” feeds largely on a 6-repeated-note sequence that rises higher and higher—at times with crushed grace notes furthering the insect imagery—above the Gryllidae chattering classes. Given that natural cacophony, who would know where to turn when—at this thoughtful time for reflection—everything leads down the same path of heartfelt remembrance and loss?

As mesmerizing as the music can frequently be, a cinematic treatment might stretch its current “legs” further still.

JWR

Review originally published here:
http://www.jamesweggreview.org/Articles.aspx?ID=1775

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Culture is Not Your Friend – Chvad SB “Crickets Were the Compass” (2014)

Every once in a while you find yourself holding an album that’s there to stay. “Crickets were the compass” is such album, and I think the reason I like it so much is the fact that besides the great music, The album art is not a conventional cover art that you can find on Drone albums, and the track titles are sparking up the imagination with intense stories.

What stories? Well, through drones and loops that can easily cause anxiety on one hand, and remarkable delight on the other, “Crickets were the Compass” is a world of warm points of dense energy, spread across the barren, gloomy aftermath of society. The title track, for instance, is a beautiful drown inside a low and slow growl, while hovering above like distant fire flies are tiny electronic ghosts that are echoing together in harmony.

“It Haunts Her” is a heavier wave of oscillation with a touching guitar saying words of comfort over a hostile, menacing and fluid drone. Overall, the holy mixture of hope and loss is clearly evident through this album. Chvad SB, being active for over twenty years, has a very powerful statement of presence. Look for this album, all ye drone lovers!

Review originally published here:
http://cinyf.wordpress.com/reviews/four-chvad-sb-crickets-were-the-compass/

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Metalrage – Chvad SB “Crickets Were the Compass” (2014)

Never judge a book by its cover. Never judge a band by its name and never judge music by the album title. On Chvad SB’s Crickets Were the Compass there is a dog drawn in front of a grey area with rubbish on the streets and some old houses. It could’ve been a cover for a children’s book. I guessed this band would be some East-European copycat Metalcore/Post Hardcore band. I was totally wrong. Chvad SB is intriguing (Dark) Ambient/Drone with a story; an instrumental story of 55 minutes.

In six songs Chvad SB sets a moody tone full of eerie vibes that mostly are haunting and sometimes melodic. The soundscapes tell a story. Mostly a subtle buzzing noise sets the tone while later horror movie sounds are crippling through the stereo. In ‘The Dust Cloud Permeates’ the monotonous picking on guitar strings give a feeling of bad things to come. This title is well chosen.

In the stream of Drone and Ambient layers in ‘People Keep Asking and I Say You’re Well’ a subtle guitar melody is repeated. The textures are slowly moving to other territories making this album a discovery. No wonder Chvad SB is making experimental music since the early nineties. This album is his first properly released album under his own name and where he creates all the music.

Abstract music forms the base and evolves into a monster you cannot hide for. The last song ‘Crickets Were the Compass and The World Goes ‘Round’ is again buzzing noise, now with a subtle sound similar to a Geiger teller while dark synths are coming in. More than ten minutes a musical shadow is forming in the darkness of night.

There are tons of artists in this musical area, Chvad SB is one of a kind and simply can hold you in a stranglehold as Lustmord does during the complete album. A heartbeat in the end tells me I am still alive.

Review by; Maurosis

Review originally published here:
http://www.metalrage.com/reviews/3243/chvad-sb-cricket-where-the-compass.html

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Unruhr – Chvad SB “Crickets Were the Compass” (2014)

das cover scheint einen auf den irrweg schicken zu wollen; das gegenteil ist der fall: comic-stil (und dann auch noch mit einem hund als charakter), das hat schnell etwas niedliches. bis nicht nur der „gesichtsausdruck” des hundes ins auge fällt, sondern eben auch der zustand der umgebung. post-apokalypse irgendwie. wenn dann noch zu lesen ist, chvad sb wollte mit „crickets were the compass” eine art „nachlassdokument von verlust” erstellen, dann kann das von visueller seite schon mal als erfolgreich bescheinigt werden.

und mit blick auf die namen der titel dann gleich darauf ein zweites mal. und aufgrund der musik (natürlich) erst recht: schon die ersten töne von „it haunts her” mit ihrer mischung von gitarreneinsprenkseln und dem in einer tieferen tonlage als bekannt eine typische sirene nachzeichnenden synth versetzen die hörer (kompliziert gesprochen) in eine tendenziell nicht wirklich komfortable lage. alles scheint stillzustehen, irgendwo (unortbar) scheint trotz allem etwas zu passieren; was es ist bleibt unklar, aber es kann nichts gutes sein… „a hair before sundown”, die #2, nutzt das gleiche instrumentarium, lässt den synth jedoch nun lautmalerisch sowohl einschlagen als auch (seltsam verhalten aber dennoch) salvenartig, wie abstraktes geschützfeuer, die hörer angreifen…
die beschreibung dieser ersten beiden stücke ist absolut symptomatisch für die stimmung auf „crickets were the compass”; eine ambient(?) vö, die alles andere als anschmiegsam sein will und die es, im gegensatz zu veröffentlichungen mit ähnlicher attitüde eben nicht über möglichst noisige sounds etc. erreicht, sondern allein über die bilder, die die für sich betrachtet sogar eigentlich warmen sounds in den köpfen entstehen lassen. geradezu unheimlich, und das mit fast schon einfachsten mitteln. gerade die zurückhaltung, das verhaltene erzeugt hier das grauen viel stärker als es jeder noiseüberfall könnte…

schöne grüße

N

Review originally published here:
http://www.unruhr.de/musik/rezensionen/3900-chvad-sb-crickets-were-the-compass

Rough internet translation:
The cover seems to want to send a on the wrong track; the opposite is the case: comic-book-style (and then even with a dog as a character), the has something cute to not only the “Expression” of the dog’s eye, but also the state of the environment. Post-apocalypse somehow. If, in addition to this is to read, chvad sb wanted to use “crickets were the compass” a kind of “nachlassdokument of loss” can create, then the visual side is already successfully certified as time.

And with a view to the names of the title will then be equal to a second time. And because of the music (of course) only right: even the first sounds of “it [Haunts]” with its mix of gitarreneinsprenkseln and in a deeper A typical pitch known as Siren nachzeichnenden synth enable the handset (complicated spoken) in a tendency to not really comfortable location. Everything seems to be stuck, somewhere (unortbar) seems to happen a bit in spite of everything; what it is remains unclear, but there is nothing that can be good … “A hair before sundown”, the #2, uses the same instruments, but the synth can be onomatopoeic both wheels now as well (strange behavior but nevertheless) salvenartig, like abstract gunfire, attack the handset …
the description of this first two pieces is absolutely symptomatic of the mood on “crickets were the compass”; a ambient( ?) vo, which is anything but cuddly and wants to be the it, in contrast to publications with a similar attitude as far as possible not just on noisige sounds etc. has been reached, but only regarding the images, even considered in the warm sounds in the minds can come out of it. frankly creepy, and the simplest of means with almost, and it is precisely the restraint, the restrained here generates the gray much more than any could noiseuberfall … nice

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Pitfire – Chvad SB “Crickets Were the Compass” (2014)

Lustiger Ambient-Stoff von einem Könner. Zumeist hört man hier in erster Linie mit Geräuschen aufgefüllte Stille, die aber zugleich bedrohlich wie atmosphärisch wirkt. Dafür fällt aber einem auch jedes Element auf. Nett!

Wenn zum Beispiel aus dem Nichts langatmig ein schwirrendes Geräusch erhebt, dass irgendwann in ein fast-Drone mündet, ist man schlussendlich begeistert, sobald die Idee einer Xylophon-Melodie durchbricht. Bei welcher „Musik“ hat man das sonst schon? Auf dem Höhepunkt wird das sogar durch angedeutete Streicher und ein paar Töne der E-Gitarre ergänzt. Die grosse Kunst von dem erfahrenen Soundcollagen-Schmied aus Brooklyn ist aber auch mit minimalen Mitteln maximale Bedrohlichkeit und eine angenehm düstere Stimmung zu erschaffen. Man muss von der schlichten Genialität bei der Erreichung dieses Ziels den Hut ziehen.

Wer sich auf diese Platte einlässt, findet viele kleine Lieblingsecken in dieser nur vordergründig unstrukturierten Geschichte, die uns wohlige Schauer über den Rücken jagt. Ganz so einfach ist das aber auch nicht.

Veröffentlichung: 30. Juni 2014

http://chvad.bandcamp.com/album/crickets-were-the-compass
http://www.silbermedia.com/

Review by; reto

Review originally published here:
http://pitfire.net/index.php?ac=links_ca


Via BabelXL Translator:
Funny ambient material of a skill. Mostly, you hear filled silence, but at the same time threatening how atmospheric acting here first and foremost with noise. For each element is but one. Nice!

If for example out of nowhere an underutilized sound lengthy rises, that eventually flows in an almost drone, is finally excited as soon as the idea of a xylophone melody breaks through. What “music” one else already has? At the height that adds even strings hint of and a few notes of the guitar. The great art of the experienced sound collages Smith from Brooklyn is maximum seriousness and a but also with minimal means pleasant gloom to create. You must take your hat from the simple genius in achieving this objective.

Who engages in this record, finds many small favorite edges in this only seemingly unstructured story, which us comforting shower over the back. That is not quite so easy but also.

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Metal 1 – Chvad SB “Crickets Were the Compass” (2014)

Dass Musik eine Kunstform ist, steht außer Frage – und wie bei jeder Form von Kunst ist eine allgemeingültige Definition nahezu unmöglich. So lässt sich der sarkastische Satz „Ist das Kunst oder kann das weg“ auch auf so manche CD anwenden – denn was in den Augen (respektive Ohren) des einen Ausdruck höchster Kreativität darstellt, lässt den anderen oft ratlos zurück.

CHVAD SB ist eines der Projekte, die den Hörer diesbezüglich auf eine harte Probe stellen: Denn wo manche im Werk des Musikers aus Brooklyn eine kunstvoll arrangierete Mischung aus Drone und eperimentellen Ambient zu hören vermögen, klingt das mit einem niedlichen Hündchen illustrierte Werk „Crickets Were The Compass“ für andere wohl nach nicht mehr als einer Dreiviertelstunde belangloser Geräuschkulisse.

Verständnis lässt sich für beide Seiten aufbringen: Bei dem Sound (jedoch nicht unbedingt der Wohnsituation in einem Mietshaus) angemessener Lautstärke und restlos abgedunkelten Fenstern kann man „Crickets Were The Compass“ durchaus soetwas wie Atmosphäre abgewinnen. Lässt man sich jedoch nicht vollends auf das Werk ein, geht CHVAD SB nicht nur zum einen Ohr hinein und zum anderen hinaus, sondern lässt dazwischen ein großes Fragezeichen aufsteigen: Kratzende, schwirrende und zerrende Sounds wabern durch den Raum, während sich als psychedelische Elemente nur einzelne Töne klar als solche zu erkennen geben. So etwas Dynamik oder Dramatik sucht man hier jedoch vergeblich: Der Spannungsbogen des Albums trägt den Namen „Römerstraße“, führt allerdings nicht nach Rom, sondern einfach irgendwo ins Blaue hinein.

Man kann „Crickets Were The Compass“ meditativ nennen, aber über Walgesänge wird ähnliches behauptet und dennoch kommt man eher selten auf die Idee, sich mal wieder die „Best Of Buckelwal“ einzulegen. Sollte man aber doch mal wieder in eine solche Situation kommen, in der das angemessen wäre, und peinlich berührt feststellen, dass man sämtliche Alben mit Walgesängen im Freundeskreis verliehen hat, tut es zur Not wohl auch „Crickets Were The Compass“. Danke dafür, CHVAD SB.

Rating: 3.5 out of 10

Review by; Moritz Grütz

Review originally published here:
http://www.metal1.info/metal-reviews/chvad-sb-crickets-were-the-compass/

via Google Translate:

The fact that music is an art form, there is no question – and as with any form of art is a universal definition is almost impossible. This allows the sarcastic phrase “Is it art or is it gone” on many a CD to use – for what, in the eyes (or rather ears) is an expression of the highest creativity, the other can often return loss.

CHVAD SB is one of the projects in this regard provide the listener on a hard test: For where some are able to hear an elaborately arrangierete mix of drone and eperimentellen Ambient in the work of the musician from Brooklyn, that sounds with a cute doggie illustrated work “Crickets Were The Compass “for other well after no more. than three quarters of an hour of extraneous background noise

Understanding can be applied to both sides: In the sound (but not necessarily the housing situation in a block of flats) reasonable volumes completely darkened windows can be “Crickets Were The Compass” well something like abgewinnen atmosphere. If one accepts, however, not completely on the drive, CHVAD SB goes beyond not only in one ear and out the other, but can be between ascend a big question mark: Scratching, buzzing and distorting sounds waft through the room, while just as psychedelic elements give clearly identifiable as such individual tones. Something dynamics or drama you’re looking for here, but in vain: the tension of the album is called “Roman road”, but does not lead to Rome, but just somewhere out of the blue.

One can “Crickets Were The Compass” call meditative, but about whale songs is similar claims and yet one rarely comes up with the idea itself once again the “Best Of Humpback Whale” insert. But you should still go back again in such a situation where that would be appropriate, and embarrassed find that you earned all of their albums with whale songs with friends, it does need to probably “Crickets Were The Compass”. Thanks for CHVAD SB.

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Amusio – Chvad SB “Crickets Were the Compass” (2014)

Sorgsam verhaltenes Grauen: Chvad SB
Verlust und Resignation als Chance

Am 30. Juni erscheint das in einem jahrelangen Vorlauf entstandene Album „Crickets Were The Compass“ (Silber/Facility Records) des in Brooklyn beheimateten (Film-) Musikers und Klangforschers Chvad SB. In entbeinter Schwermut schwelgend und sich beiläufiger Simplifizierung souverän entziehend, liegt ein beeindruckendes Werk vor, das zwischen Dark Ambient und Old-School Industrial oszillierend eine Überfülle an Ideen dem Wettlauf gegen die (Lauf-) Zeit aussetzt. Verhaltenes Grauen, gediegene Ohnmacht und das große Warum im Modus des Verlustes. Dieser Kompass weist vom diffusen Diesseits hinaus ins Unbenennbare.

Wer wirft jetzt das Bällchen? (Silber Records / Facility Records)

Wer wirft jetzt das Bällchen? (Silber Records / Facility Records)


Schon seit 1991 reüssiert Chvad SB in Industrial/Ambient-Kreisen mit verstörenden Soundscapes und extrem angelegten Soundtracks zu entsprechend extremen Independent-Filmen („Gut“). Wie es in der Szene zum guten Ton gehört, nahm Chvad SB über die Jahre hinweg variable Identitäten und Kooperationen an (Tongue Muzzle, The Qualia bis hin zu den Industrial-Dub- Pionieren um Paul Lemos, Controlled Bleeding). Bei „Crickets Were The Compass“ gehen Mensch und Werk jedoch eine vernehmlich enge Symbiose, eine Identität ein. Sehr intim, sehr persönlich und absolut frei in der Wahl der Mittel, gelingt Chvad SB ein Seelenbild, das betroffen macht und permanent beunruhigt, denn: Es könnte jeden treffen.

Das Verfahren, rein improvisierte Passagen mit in jahrelanger Akribie entstandenen und vorab konservierten Elementen zu amalgamieren, zahlt in die auffällige Direktheit ein, mit der das Album seine Wirkung entfaltet. Kaum neigt der Hörer zu der Ansicht, es mit recht simpel erzeugten Soundscapes  zu schaffen zu haben, regt sich schon wieder der gegenläufige Verdacht, dass es sich um ein hochgradig artifizielles und überaus komplex arrangiertes Sammelsurium aus Klang gewordener Entfremdung handelt.

Chvad SB spricht das Gefühl sowohl über den Intellekt als auch über die physische Erfahrung an. Wenn auf die Magengrube abzielende Passagen in minimal gehaltene Momente der Innenschau münden, zeichnet sich eine Ahnung von unmittelbarem Verständnis ab: „Barely audible through the dusty road / floating in the beams of light, particles drift“, beschreibt es Chvad SB selbst, im Zusammenhang mit den Track „The Dust Cloud Permeates“.

Es geht ihm ganz offensichtlich nicht um die Erzeugung von maximalen Affekten durch die Verwendung allzu berechenbarer Mittel. Die sich daraus ergebene Tendenz zur Reduktion und Konzentration verbietet auch nur den zartesten Anflug von Beliebigkeit. Kein „Hören mit Schmerzen“, vielmehr ein Erleben sorgsam verhaltenen Grauens unter klar akzentuierten Voraussetzungen und Vorzeichen, die gemeinhin allzu gerne verdrängt werden. Verlust und Resignation als Chance. Sehr zu empfehlen.

Review by; Stephan Wolf

Review originally published here:
http://www.amusio.com/10851/verlust-und-resignation-als-chance/

Google Translate:
Carefully restrained horror: Chvad SB
Loss and resignation as an opportunity

On June 30, the album resulting in a year-long lead Crickets Were The Compass(Silver / Facility Records) of the native to Brooklyn (film) musician and sound researcher Chvad SB appears. Add deboned melancholy reveling and casual oversimplification sovereign eluding, there is an impressive body of work, the oscillating an overabundance of ideas suspends the race against (running) time between dark ambient and old school industrial. Subdued gray, dignified powerlessness and the big Why in the mode of loss. This compass points from the diffuse this world out to the unnamable.

Who throws the balls now?

Already since 1991 reüssiert Chvad SB in industrial / ambient circles with disturbing soundscapes and soundtracks to extreme scale according extreme independent films (“good”). How it belongs in the scene de rigueur, Chvad SB took over the years variable identities and collaborations to (Tongue Muzzle, The Qualia to the Industrial dub pioneers to Paul Lemos, Controlled Bleeding). In Crickets Were The Compass” Man and work go but a distinctly close symbiosis, an identity. Very intimate, very personal and absolutely free in the choice of means, Chvad SB manages a soul image that is upsetting and worried constantly because: It could happen to anyone.

The method, purely improvised passages to amalgamate with resulting in years of meticulousness and advance conserved elements, pays into the striking directness with which the album unfolds its effect. Hardly a tendency of listeners to the view, to have to make it with very simple generated soundscapes, again stirs the opposite suspicion that this is a highly artificial and highly complex facility arranged hodgepodge of sound that have become alienation.

Chvad SB speaks to the feel of both the intellect and through physical experience. When opening onto the stomach aimed passages in minimally held moments of introspection, an idea of immediate understanding is emerging: Barely audible through the dusty road / floating in the beams of light, particles drift”, it describes Chvad SB itself, in the context with the track the Dust Cloud permeate“.

For him it is obviously not the generation of maximum emotions by using too predictable means. Its consequent tendency to reduce concentration and even prohibits the most delicate hint of arbitrariness. No listening with pain,” but rather an experience carefully restrained horror clearly accentuated under conditions and signs, which are commonly too happy displaced. Loss and resignation as an opportunity. Highly recommended.

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Emerging Indie Bands – Chvad SB “Crickets Were the Compass” (2014)

Chvad SB is a New York, USA, based experimental music creator.

Allow yourself plenty of time before hitting play as Chvad SB delivers his extended pieces which can run to the best part of a quarter of an hour. The grumbling and groaning crackles commingle to form rumblings of malevolence which dissipate through the brain in ever flowing threads of sound. Electronically generated sounds combine with hand-made instruments, guitars and occasional vocal to paint aural abstract imagery of loss.

Whilst stretching the electronics, the music doesn’t sit uncomfortably with the listener who is drawn into the eerie noises that simultaneously have a calming and restive resonance. The creations are not impenetrable as Chvad SB develops the themes of the tracks in exquisite loops, which despite their duration are stripped of the extraneous giving the resulting out-put an earthy realism.

Having been around for a few years now Chvad SB has been able to refine his craft and the latest release, the seven track enigmatically titled, Crickets Were The Compass is a fine exposition of his work. I recommend finding some time to explore the themes and virtual organic synthetics of a talented sound designer.

Review by; Tim

Review originally published here:
http://emergingindiebands.com/chvad-sb-experimental/

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It’s Darker Outside Than You’d Think

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Kathodik – Chvad SB “Crickets Were the Compass” (2014)

Vent’anni di esperienza pagano, eccome, vi basti sentire come riescono a elevare il nuovo lavoro di Chvad SB, pseudonimo dietro cui si nasconde un artista americano (il nome non l’ho trovato), fondatore della Facility Records e fautore di diversi collaborazioni con nomi tipo Things Outside the Skin e Controlled Bleeding.
In questo nuovo lavoro, Chvad esplora il dolore della perdita e la successiva redenzione, esemplificata da pezzi inquieti come People Keep Asking and I Say You’re Well, lunga esplorazione ambient composta di sintetizzatori, oggetti ritrovati, strumenti musicali realizzati a casa e chitarre.
Se è facile evocare entità come Coil o Roll the Dice ascoltando There Isn’t A Day That Goes By, è però vero che il lavoro di Chvad riesce a emozionare fin troppo facilmente con una quieta ripetizione melodica di semplici sequenze. La lunga title track in chiusura, invece, romba inquieta in sottofondo senza mai uscire allo scoperto, preferendo dipingere un orizzonte infinito di grigiore da cui, in qualche modo, risorgerà la speranza di andare avanti e superare i propri traumi.
Per intenditori.

3.5/5

Original review published here:
http://www.kathodik.it/modules.php?name=Reviews&rop=showcontent&id=5720

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Bliss / Aquamarine – Chvad SB “Crickets Were the Compass” (2014)

Chvad SB has been active in music since 1991, running Facility Records (with whom this is a split release) and playing in a number of bands such as Things Outside the Skin, Tongue Muzzle, The Qualia, and most recently joining pioneering experimental band Controlled Bleeding. This CD features thought provoking artwork by Richard Sala, of a post-apocalyptic scene populated only by a dog, whose expression looks forlorn yet hopeful. A faint glimmer of hope, a glimmer of life within a deathly landscape; a juxtaposition of bleakness and optimism that is mirrored in the music itself. Dissonant, abstract rumbles and drones and harsh mechanical and computerised sounds creating an unsettled mood are punctuated by moments of beauty, courtesy of the melodic passages played on synth, xylophone and guitar. There Isn’t A Day That Goes By does away with the harshness altogether; it’s a soothing ambient piece with heartbeat-like pulsing rhythms, relaxing atmospheric synth sounds and a hypnotically repetitive melody. Despite the ‘difficult’ nature of the music, this is actually an engaging album that demands the listener’s attention. Available from www.silbermedia.com

Review originally published here:
http://www.blissaquamarine.net/albumreviews28.html

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Space Rock Mountain – Chvad SB “Crickets Were the Compass” (2014)

Chvad SB is a Brooklyn based noise/ambient artist that has been chugging along for a few years now. This set of songs might be his most cohesive to date, with some of the oddest and most terrifying sounds you may here this side of the haunted house. No, this is not music that is intended to revolt, but the haunting atmospheres sustained for extended periods of time will surely cause some discomfort in many listeners. Not me however, as I am a serial killer always looking for a new soundtrack to haunt my prey to. This is not “easy” music, but it is worth your time.

Review by;
Elvis Dracula

Review originally published here:
http://spacerockmountain.blogspot.com/2014/06/chvad-sb-crickets-were-compass-2014.html

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Knifed in Venice – Chvad SB “Crickets Were the Compass” (2014)

It’s an infrequent occurrence when we stray from cinema in our reviews but every once and a while we do -and there’s a method to our madness.  Chvad SB is the musician behind the score for Gut [review here], his LP Crickets Were The Compass has just been released and is available through Silber Records.

The opening track, It Haunts Here, builds like the recollection of an air-raid siren in a dream.  It draws the listener in to an uncertain frame of mind that’s incredibly rich.  From there A Hair Before Sundown takes a jagged edged turn that invites an emotional response that tugs at the listener and drags them between invasion and illusion, fantasy and frenzy as Chvad builds the atmosphere that the entire aesthetic of the LP is built upon.  The Dust Permeates is very much the tour de force of Crickets Were The Compass.  At 14 minutes in length it demonstrates the artistic leanings of its creator and the same sort of creative ingenuity that Radiohead’s Kid A showcased when it was first released.  People Keep Asking And I Say […] may sound as though it’s influenced by Bob Dylan (if you judge books by covers and songs by titles) but in the hands of Chvad SB it has the trickling relief of consciousness as it emerges from the dark, almost Weimarian landscape of dream…nay, nightmare.

Crickets Were The Compass is a provocative, challenging, cinematic LP.  It creates a strong, darkly dystopic narrative that is as heavenly as it is haunting.  A powerful offering from a hugely talented artist.

Review by;

Review originally published here:
http://www.knifedinvenice.com/2014/06/crickets-were-compass-by-chvad-sb.html?spref=tw&m=1

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Black Magazine – Chvad SB “Crickets Were the Compass” (2014)

Das Cover scheint einen auf den Irrweg schicken zu wollen; das Gegenteil ist der Fall: Comic-Stil (und dann auch noch mit einem Hund als Charakter), das hat schnell etwas Niedliches. Bis nicht nur der „Gesichtsausdruck“ des Hundes ins Auge fällt, sondern eben auch der Zustand der Umgebung. Post-Apokalypse irgendwie. Wenn dann noch zu lesen ist, Chvad SB wollte mit „Crickets Were The Compass“ eine Art „Nachlassdokument von Verlust“ erstellen, dann kann das von visueller Seite schon mal als erfolgreich bescheinigt werden. Und mit Blick auf die Namen der Titel dann gleich darauf ein zweites Mal. Und aufgrund der Musik (natürlich) erst recht: schon die ersten Töne von „It Haunts Her“ mit ihrer Mischung von Gitarreneinsprengseln und dem in einer tieferen Tonlage als bekannt eine typische Sirene nachzeichnenden Synth versetzen die Hörer (kompliziert gesprochen) in eine tendenziell nicht wirklich komfortable Lage. Alles scheint stillzustehen, irgendwo (unortbar) scheint trotz allem etwas zu passieren; was es ist bleibt unklar, aber es kann nichts gutes sein… „A Hair Before Sundown“, die #2, nutzt das gleiche Instrumentarium, lässt den Synth jedoch nun lautmalerisch sowohl einschlagen als auch (seltsam verhalten aber dennoch) salvenartig, wie abstraktes Geschützfeuer, die Hörer angreifen… Die Beschreibung dieser ersten beiden Stücke ist absolut symptomatisch für die Stimmung auf „Crickets Were The Compass“; eine Ambient(?) VÖ, die alles andere als anschmiegsam sein will und die es, im Gegensatz zu Veröffentlichungen mit ähnlicher Attitüde eben nicht über möglichst noisige Sounds etc. erreicht, sondern allein über die Bilder, die die für sich betrachtet sogar eigentlich warmen Sounds in den Köpfen entstehen lassen. Geradezu unheimlich, und das mit fast schon einfachsten Mitteln. Gerade die Zurückhaltung, das Verhaltene erzeugt hier das Grauen viel stärker als es jeder Noiseüberfall könnte…

Review originally published here:
http://www.blackmagazin.com/?p=17047

Translation:
The cover seems to be leading you onto the wrong path, but the opposite is true: Comic-style – and then even with a dog as character – easily becomes something cute. That is until the facial expression of the dog comes to notice, but also the state of the environment. Post-apocalypse in a way. And when you read that Chvad SB wanted to create an “inheritance document of loss” with “Crickets Were The Compass”, then he succeeded already on the visual part. And in regard to the track titles he did that again. And the music, of course. Already the first notes of “It Haunts Her” with their mixture of guitar-“Einsprengseln” something and the lower pitch synth, retracing a typical siren, transport the listener into a not too comfortable mood. Everything seems to stand still, still somewhere (untraceable) something seems to be happening; what that is remains unclear, but it can’t be good. “A Hair Before Sundown”, track 2, uses the same instruments.

.. the mood of Crickets were compass, that wants to be everything but cuddly by – in contrast to releases with a similar attitude – not using as much noisy sounds but only images, that, standing by themselves, actually create a warm sound in your head. Almost sinister, and that with the most simple methods. Especially the reservation, the cautiousness here creates a much stronger horror than any noise overload (?) ever could.

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Babyblauen Seiten – Chvad SB “Crickets Were the Compass” (2014)

Der sich Chvad SB nennende Musiker stammt aus Brooklyn, NY., USA und hat seit 1994 eine umfangreiche Diskographie angesammelt. Darunter sind mehrere im Alleingang aufgenommene Soundtracks sowie Aufnahmen mit experimentellen Projekten, wie z.B. Thing Outside the Skin und Tongue Muzzle.

Auf “Crickets were the Compass” widmet sich Chvad SB avantgardistisch angehauchter Musik, die man wohl als Dark Ambient bezeichnen kann. Die Instrumentals des 2014 aktuellen Albums verarbeiten angeblich die Gefühle des Verlustes und des Verlorenseins sowie andere vergleichbare Erscheinungen. Zu jedem Titel hat der Künstler noch einen kurzen Kommentar verfasst, der die Gedanken hinter der jeweiligen Komposition, oder Improvisation zusammenfassen soll. Die zusätzliche Anmerkung zu „People asking and I say you’re well“ lautet z. B.: „They ask how you’ve been, I say you‘re well, I wish I knew that were true“. In Verbindung mit dem rührend-apokalyptischen Artwork (das einen einsamen Hund in einer zerstörten Stadt zeigt) und der durchaus eindringlich schwermütigen Musik liegt einem sicher kein Gesamtkunstwerk vor, der zur Entspannung einladen würde.

Gut so: die Musik darf auch als Herausforderung aufgefasst werden. Um seine zum Klang gewordene Herausforderung umzusetzen verwendet Chvad SB vor allem Gitarren, Synthesizer, Gegenstände des täglichen Bedarfs und selbstgebastelte Klangerzeuger. Die eher minimalistisch angelegte, öfters mit einem Industrial-Touch versehene Musik variiert zwischen monoton-verstörend, resigniert-melancholisch und unterschwellig aggressiv.

Musikalische Gefälligkeiten sind ebenso wenig zu erwarten, wie Songstrukturen mit Gesang. In „A Hair before Sundown“ treffen beispielsweise knurrende Synthesizer auf perkussive Strukturen, die von Xylophon zu stammen scheinen. „The Dust Cloud Permeates“ klingt wie eine finstere Ambient-Collage aus verzerrten Feedbacks, repetitiven Gitarrentönen und surrenden Synthies. Der erste noisige Teil von „People Keep Asking…“ wird bei manchem konservativem Hörer die Frage nach den Grenzen zwischen Musik und bloßem Geräusch aufkommen lassen. Aber die Geduld wird belohnt: nach dem noisigen Auftakt beginnen sich langsam melodische Ambient-Strukturen herauszuschälen. Die schleifenartigen Soundscapes von „There isn’t a day…“ könnten den Fripp-Sympathisanten in uns ansprechen, falls vorhanden. Teile von „Crickets were the compass…“ ähneln den frühen Krautrock-Industrial-Elektronik-Experimenten in der Art von Kluster.

“Crickets were the Compass” kann als post-apokalyptische Soundtrack-Vorlage verwendet werden, z.B. um sich zu vergegenwärtigen, wie gut es uns zurzeit noch geht.

Rating: 10/15

Review by; Siggy Zielinski

Review originally published here:
http://www.babyblaue-seiten.de/album_14325.html#oben

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Tongue Muzzle “Erectoskeleton” to be featured in the new film, “The Demolisher”!

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