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Electronicmusic- reviews.com
Paul Lloyd
Every so often you find an artist or album that makes a lasting impression on you, something that stays with you from that point onwards. What makes any one particular piece of music so memorable can be its energy and uplifting rhythm, or its darkness, minimalism and emotion. Take, for example, the work of Biosphere; originally a proponent of ambient techno, now a skilled practitioner of complex soundscapes that pick you up and sweep you away to a desolate frozen landscape somewhere deep in your imagination. It is a testament to the quality of the music and the ability of the musician to be able to have such an effect on the listener.
Recording on his own mostly under the name Liquid Morphine, Florianz also records under many other pseudonyms as part of a select group of like-minded musicians. Openstage is the perfect example of what a small label is capable of and of how, every now and then, you can discover an artist that will stay with you for many years to come. Thoughtfully packaged in a map tied with rough string, each of the three CDs in the set comes in its own jewel case with beautifully designed artwork. Each album features the core collaboration of Matthew Florianz (keyboard) and Ivo Selder (percussion) with additional contributions from Bill Brissette (guitar) on the first CD and Stan Linders on a track on the third CD.
The difference between the work of these artists is that Florianz and contemporaries actually record their music live in the environment it embodies. The three CDs that comprise the complete 200-minute Openstage set are all recorded outdoors with Florianz utilizing a car battery as a power source for his keyboard. The map used to wrap the CDs shows the area in which the music was recorded, and has the recording locations marked along with the signatures of the musicians. It’s a nice touch that helps listeners place themselves in the context of the location, as if to experience the recording actually happening. Birds chatter, the wind blows, a plane flies overhead and it is all caught on the recording, almost as though it was intentionally placed there when, in fact, they are naturally occurring sounds from the environment around the players.
The music itself is spacious and natural, almost as though it is naturally occurring all around you in everyday life. An added dimension to the work of Florianz and his associates is that the music is recorded in such a way as to capture the ambience of the surroundings. A relatively small amount of equipment was used to create a smooth flowing ambient backdrop. The tranquillity and ambience of the surroundings are captured exactly as the music reflects it. The mood of the scene is captured in the gentle, low-key drumming, and enhanced with drifting fluid synths and a touch of cymbal to create a serene backdrop of the gradual setting of the sun on a deserted shoreline. As darkness slowly falls, an eerie air descends all around the first disc, taking a darker edge. The drumming becomes faster, like an anxious heartbeat with tense synths and acoustic guitar.
The mood of the second disc is generally more synth-based, spacious and atmospheric, but maintains the same tense edge. The third disc is again very synth-based with the addition of incidental drumming and percussion to add to the atmosphere. Overall, the effect is to create an image of vast openness, space and a natural environment conducive to deep thought and contemplation.
Florianz and friends succeed where many others fail, they not only invoke a supreme feeling of calm and tranquillity through their music, but they also manage to transport the listener to the location of the recording. Listening to Openstage you can picture yourself staring out at the sparkling water as the sun sets, the sound of the water lapping on the shore and the still of the night descending around you. Florianz’ music is truly ambient by design and recording method; it feels natural and organic.
Paul Lloyd
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