http://free-slots.us.org/

“They Catch Up” by The Qualia

“They Catch Up” by The Qualia from Tim Durland on Vimeo.

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

Side-line Magazine – Chvad SB “Crickets Were the Compass” (2014)

Genre/Influences: Dark-ambient, apocalyptic soundscape.

Content: If Chvad SB doesn’t directly ring a bell; some bands this American artist has been involved in have become quite renowned and established bands. Controlled Bleeding even belongs to the so-called pioneers and references in industrial/experimental music, but Chvad SB got also involved in The Qualia (signed on WTII Records), Tongue Muzzle ao. Chvad SB is a solo-project that has released 2 previous albums.

The dark-ambient and soundscape influences running through the work are quite noticeable elements, which seem to say something about the sources of inspiration. Chvad SB affirms to be influenced by famous names like Lustmord, Coil, The Residents or yet Controlled Bleeding. I can’t say that one of these bands is coming through on this work, but as I already mentioned, there’s a solid dark-ambient input. We’re moving throughout dark, nihilistic spheres, which in a way are quite symbolic for the desperate and cartoon-like cover featuring a desolate landscape filled with ruins, death trees and a lost dog in the middle of this surreal universe.

A dark humming ambiance welcomes the listener to join in for an apocalyptic ride. The tracks remain obscure and accomplished by some spooky effects. A few subtle drones can be heard now and then while other experiments with guitar can be noticed as well. Chvad SB is using a wide arsenal of sounds moving from modular synths to found objects, hand-built instruments, guitar and even the voice. The result is not exactly into ‘classical’ ambient music rather than an abstract approach mixing ambient and experimental music. It might explain the inspiration coming from a band like The Residents although I can’t speak about emulation.

“Crickets Were The Compass” sounds original and creative. Noise waves have been mixed with discrete and subtle bleeps while there also is a kind of cinematographic inspiration.
That’s not of a coincidence as Chvad SB already worked on multiple soundtracks for films.

Conclusion: I like this different dark-ambient approach, which sounds as an interesting alternative to more classical dark-ambient formations. I can only recommend this album for all lovers in the genre.

Best songs: “People Keep Asking And I Say You’re Well”, “It Haunts Her”, “The Dust Cloud Permeates”, “Crickets Were The compass And The World Goes ‘Round”.

Rate: (DP:8)DP.
Band: www.chvad.com / www.facebook.com/chvadsb
Label: www.silbermedia.com / www.facebook.com/silbermedia

Review by

Review originally published here:
http://www.side-line.com/reviews_comments.php?id=51443_0_17_0_C

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

a decouvrir absolument – Chvad SB “Crickets Were the Compass”

Ils l’ont fait, oui Charles toi qui frappait du poing contre le sable face à une statue de la liberté enfoncée dans le sable, la mer commençant son long office de destruction par l’érosion. La bombe a donné à l’homme ce qu’il voulait, un souffle nouveau, sauf que le souffle a le bruit sourd d’un drone lorgnant tel un requin avide de sang sur une proie qui semble encore croire à la doléance surprise du squale en manque de viande.

Tout est dévasté, un chien est parvenu à connaître l’après, protégé qu’il a été par la probable recherche d’une balle dans une souterrain. Il est remonté avec, autour de lui la désolation, le bruit des radiations se mélangeant à ceux du vent qui souffle de façon sourde et étouffé et à ceux plus énigmatiques d’une guitare errant comme un fantôme au milieu des restes d’une ville sans plus aucune apparence ou signe de vie humaine.

Le souffle lourd du disque imagine une apocalypse terrible, une agonie presque étouffée. Eprouvante avancée vers un néant déjà présent, photographie sonore d’une vide vers lequel nous semblons tous nous diriger. La fin du monde Chvad SB ne la souhaite pas, et pour que nous prenions conscience de sa proximité, il nous la dessine comme un chant de sirène morbide. Ils l’ont fait.

Review by Gérald de Oliveira
Review originally published here:
http://www.adecouvrirabsolument.com/spip.php?article5635

via Google Translate:
They did, yes you who Charles struck his fist against the sand facing a Statue of Liberty buried in the sand, the sea begins his long office destruction by erosion. The bomb gave the man what he wanted, a new life, except that the breath has the thud of a drone eyeing such a greedy shark blood on prey that still seems to think the surprise of the shark complaint short of meat.

Everything is destroyed, a dog came to know after, he was protected by the likely searching for a ball in a cave. He got back with all around him desolation, noise radiation mixing with those of the wind blowing so dull and muffled and those most enigmatic of a guitar like a ghost wandering amid the remains of a city without no more appearance or sign of human life.

The heavy breath disk imagine a terrible Apocalypse, an agony almost choked. Challenging step towards an already present nothingness, photography sound of a vacuum to which we all seem to lead us. The end of the world Chvad SB does not want, and that we become aware of its proximity, we draw it as a siren song morbid. They did.

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

Pillar

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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

Chvad SB maakt al dik twintig jaar muziek/geluid voor films. Niet dat het op een soundtrack terechtkomt, daarvoor is het meestal te abstract, te ongemakkelijk, te discordant & discomforting zoals velen het noemen. Deze keer is er alsnog een pak geluid geregistreerd en als Crickets Were the Compass op de markt gebracht.

De veelheid aan emoties is er, maar het leeuwendeel van het spectrum bestaat uit eerder negatieve klanken en composities. De creaties zijn afkomstig van “modular” synthesizers, gevonden objecten, zelfgemaakte instrumenten, gitaren en stembanden, wat dikwijls leidt tot onidentificeerbare passages waar je best niet al te veel bij stilstaat. De drones zijn voor mij de belangrijkste factor op dit album, samen met de industriële/ritmische noise en de kleinkunst-instrumenten. Het doet me denken aan een plattelandsdorp dat last krijgt van nucleaire straling. Bevalt dat idee je, trek dan dit schoentje aan.

Review by Bart Alfvoet
Review originally published here:
http://www.zwaremetalen.com/recensie/30167/Chvad-SB-Crickets-Were-the-Compass.html

via Google Translate:
Chvad SB has been making over twenty years of music / sound for movies. Not that it lands on a soundtrack, this is usually too abstract, too uncomfortable, too discordant and discomforting as many call it. This time, there is still a pack sound recorded and marketed as Crickets Were the Compass.

The multitude of emotions is there, but the bulk of the spectrum consists of rather negative sounds and compositions. The creations come from “modularsynthesizers, found objects, homemade instruments, guitars and vocal cords, which often leads to unidentifiable passages where your best not too much at a standstill. The drones are for me the most important factor on this album, along with industrial / rhythmic noise and cabaret instruments. It reminds me of a rural village that gets affected by nuclear radiation. Like that idea you pull this shoe on.

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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

Verwijmeren debuteert (www.softcorridor.net) met een plaat die nauw verwant klinkt met zijn familienaam. Levend en ademend in Delft en afgestudeerd fysicus reist hij reeds jarenlang met het openbaar vervoer, meestal voor lange afstanden en dus voor een langere tijdsduur. Dan kijkt een mens door het raam en gaat aan het nadenken, aan het mijmeren en filosoferen. Het vormt de basis voor ‘s mans muziek. De resulterende negen stukken op deze eersteling zijn ambient waarin toch iets gebeurt. Het is een tocht naar verstilling, met hier en daar een blik van verwondering. Het is muziek om naar te luisteren en weg te dromen, starend naar een koe, een regenbui, een wei vol maïs of een vervallen stal, zonder een moment te vervelen. Genietend van het kleine, het landelijke, het alledaagse. Honderd exemplaren zijn er gemaakt, met de cd die een vinyllook meekreeg. Voor toen euro kan er eentje van u zijn. Taiga Remains is het project van Alex Cobb, dat met ‘Works For Cassette’ (vinyl of digitaal, www.helenscarsdale.com) tot een hypnotiserend einde komt. Niet dat Cobb er helemaal mee ophoudt. Hij heeft gewoon besloten om onder zijn eigen naam verder te werken. Zo kan hij een andere insteek proberen om zijn drones vorm te geven. Hier klinken die lekker gruizig, een beetje verontrustend en storend. Het kabbelende is niet echt aan Cobb besteed, of toch, want naar het einde toe van de vijf stukken tellende plaat bolt hij uit, laat hij het los, droomt en kabbelt het tot het project, definitief, in slaap sukkelt. Slaapopwekkende of slaapverwekkende drones, we kunnen het schrijven die onze cd-verdeler op een post-it schreef, niet goed lezen. Zelf hebben we er echter geen last van. De trage en ingetogen drones wekken een gemoedelijke sfeer op waar we wel van kunnen genieten als de kinderen eindelijk besluiten om even rustig aan te doen. Misschien komt het wel door de sfeervolle stukken die Chvad SB ons voorschotelt. De man is actief sinds 1991, runt Facility Records en werkte onder meer met Tongue Muzzle, The Qualia en recent met Controlled Bleeding. Deels geïmproviseerd, deels op voorhand uitgewerkt klinkt ‘Crickets Were The Compass’ vooral als een mengeling van een soundtrack en een soundscape. Hier en daar licht dissonant of melodieus, kabbelt de plaat rustig verder en draait de aarde traag maar zeker zijn rondjes, zoals het afsluitende titelnummer ook zelf aangeeft. Walt Thisney Mondo Cosmico sluit onze trip af, en doet dat op kosmische wijze. Uit Lissabon, Portugal zetten ze een drone neer waarin lijkt dat heel wat met een harmonium werd geknoeid, op een buitenaards aandoende zondagmiddag. De naam van het project wijst al op een dosis absurditeit en dat zit ook een beetje in de muziek verweven. Tangerine Dream met een hoek af, muziek voor een animatiefilm waarin alles net niet klopt. It’s A Mad World, al doen Tears For Fears hier absoluut niet ter zake.

Review by Patrick Bruneel.
Review originally published here:
http://www.gonzocircus.com/reviews/?l&r=14553&srch=chvad

via Google Translate:
Verwijmeren debuts (www.softcorridor.net) with a record that sounds closely associated with his name. Living and breathing in Delft and graduated physicist, he travels many years by public transport, usually for long distances and so for a longer duration. Then a man looks through the window and is thinking, musing and philosophizing. It forms the basis for the man’s music. The resulting nine pieces on this first are ambient in which it happens. It is a journey to stillness, with here and there a look of wonder. It’s music to listen and dream away, staring at a cow, a rainstorm, a meadow full of corn or a dilapidated barn without a dull moment. Enjoying the small, rural, everyday. Hundred copies were made, with the CD that was given a vinyl look. For when one euro can be yours. Taiga Remains is the project of Alex Cobb, that “Works For Cassette” (vinyl or digital www.helenscarsdale.com) comes to an end hypnotic. Not that Cobb that it ceases altogether. He just decided to continue working. Under his own name He may have a different approach to try to shape. Drones Here that sound nice gritty, a bit disturbing and distracting. The murmur is not really devoted to Cobb, or anyway, because towards the end of the five pieces of constituent record he bolt out, he let it go, dreams, and it ripples to the project, final, struggling to sleep. Exciting sleep or sleep-inducing drones, we can not read the writing who wrote our CD distributor on a post-it, good. Itself however, we have no problems. The slow and subdued drones generate a friendly atmosphere where we have to enjoy it when the kids finally decide to just take it easy. Maybe it’s because of the atmospheric pieces that Chvad SB presents to us. The man has been active since 1991, runs Facility Records and worked with Tongue Muzzle, The Qualia and recently with Controlled Bleeding. Partly improvised, partly worked out in advance sounds ‘Crickets Were The Compass’ especially as a mix of a soundtrack and a soundscape. Here and there, slightly dissonant or melodic, lapping plate calmly and turns the earth slowly but surely making its rounds, as the closing title track itself states. Walt Thisney Mondo Cosmico close our trip off, and does so in cosmic way. From Lisbon, Portugal they put down a drone which seems that a lot has been tampered with in an alien-like Sunday afternoon. With a harmonium The name of the project already points to a dose of absurdity and that too in a bit of music interwoven. Tangerine Dream with a corner off, music for an animated film in which everything is just not true. It’s A Mad World, Tears For Fears are already doing here is absolutely irrelevant.

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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

It might be the case that Chvad SB was on the radar of the Creative Ellipse record label, but fact remain that this innovative and progressive one man project has extremely little to do with metal in general. When I say Things Outside The Skin, Tongue Muzzle, The Qualia and the pioneers of this genre Controlled Bleeding, not many metal heads will raise their head and bow to their geniality. They will have stopped reading after the last sentence. I am always in for those horror like dark and haunting soundscapes created by synthesizers sound objects. Handmade instruments, guitars and several ways of using a voice, but this improvisation art is a class apart to listen to: the circumstances have to be right to enjoy or rather undergo those waves of depression and darkness. This is not more than a soundtrack of looking at a dying ember of a raging wildfire or a class act horror flick.

Review by Erik Heylen.
Review originally posted here:
http://www.lordsofmetal.nl/en/reviews/view/id/27861

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

“Pillar”, Chvad SB live @ Electro-Music Fest 2014, Sept. 7th

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

The new trailer for the Joe Dante produced feature “DARK” features score by Chvad SB.

darkThe new trailer for the Joe Dante produced horror flick “DARK” just dropped over at Horror-Movies.ca! Check it out at the link below:

http://www.horror-movies.ca/2014/09/things-get-little-dark-teaser-trailer/

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

Chvad SB will be performing at Electro-music Fest 2014. Details inside!

Ladies and gents! YOU CAN TUNE IN AND LISTEN! The Electro-Music Fest 2014 is underway so tune in and listen! I’ll be performing live tomorrow (Sunday Sept. 7th)  at 10:00 PM but check out all the great stuff happening now!
TUNE IN HERE:
http://radio.electro-music.com/index.php

Event calendar and tickets here:
http://event.electro-music.com

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

Babysue / LMNOP – Chvad SB “Crickets Were the Compass” (2014)

Up to this point in time Chvad SB is probably best known as a former member of the bands Things Outside The Skin, Tongue Muzzle, The Qualia, and Controlled Bleeding (he also runs the record label Facility). Crickets Were The Compass is the third album released under his own name. Chvad has had ties to the Silber label as far back as the early 1990s but this is the first time the two have officially begun working together. Co-released by both labels, Crickets is a wonderfully inventive collection of experimental compositions that comes across sounding like abstract mood pieces. These tracks are peculiar and mostly brooding in nature…utilizing sounds from a variety of sources including synthesizers, found objects, hand-built instruments, guitars, and voice. This release bodes well for future releases from these two well-known underground labels. The music is strange and unorthodox…and yet still completely effective and listenable. Six perplexing cuts including “It Haunts Her,” “People Keep Asking And I Say You’re Well,” and “Crickets Were The Compass And The World Goes ‘Round.” Truly creative stuff. Top pick.

Review by; LMNOP

Review originally published here:
http://babysue.com/2014-Sept-LMNOP-Reviews.html#anchor49629

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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

Holy living God, this is probably the worst album cover we’ve ever seen. So bad, in fact, it’s the sole reason this album didn’t get a perfect score. Now, hey, hey now, wait up, we love the music, but it deserved something better! Something with this much value musically needs a proper visual representation. In all the horrid things we’ve seen grace cover after cover, this is easily the most horrid in the past year, including 2013. Until you listen to it you won’t even sure what in the hell it has to do with anything. And we’ve looked everywhere. The press release states the album is “about loss” but says nothing about dat dog with the bouncy ball. Dang thing is right there, blown-up even to massive proportions, on the CD itself. It’s possible a reference to Clifford Simak’s legendary City, but it could be any old reference to a war, apocalypse, what have you, where only the dogs survive. With their collars and decent meals apparently. Really, we could go on about this dog cover for ages. But since the damn album is so good let’s stop with the laughter and snide remarks and talk about Chvad SB because, believe it or not, this doge hides under his skin some awesome experimentation.

This one came from a label I’m pretty sure we’ve never encountered before, Silber Records. Unlike many submissions we get, Silber knows the stuff. One simple sheet explaining the artist and Crickets Were the Compass, the disc itself, nicely packed, and that’s it. That’s what you need to do, people. Nothing is more irritating than not including info about your release, leaving us to scour the internet for anything. Some of this stuff is so obscure there’s nothing ever to be found, and if we make a mistake because of this fact it makes us look like idiots, and we don’t like that. Chvad SB has been around quite awhile, since 1991 in fact, and has been a hidden presence in experimental music with several labels and bands, including Controlled Bleeding, and he even has some cred via soundtrack work in the 2012 film Gut. Suffice to say, guy comes with a hefty resume, and that’s typically a good thing. Usually when we start like that, or the above, you think to yourself “well, here’s another blah release.” Not this time, this time we’re literal.

Crickets Were the Compass is a splendid work in the abstract. Avoiding that damn cover, the musical presence of this is superb, superbly dark, that is. One can imagine that the crickets of the title chattering in a dark landscape where human presence has come and gone. A lovely image. Chvad SB makes usage of sparsity, a rare skill. His layering is more delicate, at least in this particular release, relying primarily on misty backdrops in which the listener will find a variety of sounds to investigate, with a mood almost akin to science-fiction dominating its general sound. Imagine, if you will, an ancient race from the cosmos coming down to investigate the dead remains of what we once were, and that provides yet another visual that represents what this album sounds like. Track six, “There Isn’t a Day that Goes By”, is a perfect embodiment of this feeling. And that title track. Oh yes….oh my…my my my sir, excellent job. There probably hasn’t been a better ender in the history of Deaf Sparrow reviews. And it sounds exactly as we anticipated. So, in spite of how immature the art style looks with that stinking dog, the actual justification for it is in the music itself, which is powerful enough to cause something so bland to carry more meaning that it does on the surface. Highly recommended experimental drone right here.

Written by Stanley Stepanic
Originally published here:
http://www.deafsparrow.com/2014/08/30/chvad-sb-crickets-were-the-compass/

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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.

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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.

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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/

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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
Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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.

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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!

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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.

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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.

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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/

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS

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

Share this post:
  • Facebook
  • Twitter
  • Digg
  • StumbleUpon
  • del.icio.us
  • Yahoo! Buzz
  • Google Buzz
  • Tumblr
  • Ping.fm
  • Live
  • RSS