Silent Land Time Machine - I am no longer alone with myself and can only artificially recall the scary and beautiful feeling of solitude

One-man band tajanstvenog čovjeka iz Texasa.
Prepolovljene violine, razrezane viole, zakopani glasovi, otkopana elektronika, električna struja napravljena trljanjem zidova, vađenje dlaka iz samoće, snovi s utičnicama za smrt, simfonije ostavljene na kišnim cestama.
(A na omotu spomenik iz stare Juge, koji sad izgleda futuristički.)

 Streaming albuma ovdje


Starije stvari:

"Silent Land Time Machine’s latest work I am no longer alone with myself and can only artificially recall the scary and beautiful feeling of solitude speaks in an oneiric and numinous tongue but is replete with durability and coherence – a rare and intriguing mixture. There exist only subtle threads of aesthetic continuity from the artist’s debut &hope still, where guitar dominates in the main, with the music shifting its emphasis toward micro electronic assemblages – at times damaged, turbulent, and percussive, at others lulling, plaintive, and melodic – with naïve, organic, and lucidly processed string arrangements woven throughout. All this aesthetic revision is accomplished while increasing the breadth, accessibility, and emotional resonance of his sonic palette.
The texture of SLTM’s EP is gentle-haze meets mechanical-grit, with lustrous swells, rapturous glitches, and clear but effaced tones guiding the listener through its ambitious harmonic and narrative arcs. The album’s emotive thrust, as its Brobdingnagian title suggests, is a palpable sense of longing. This music cuts to the heart of the tension between the vast, chaotic, terrifying, and fragmentary terrain of the spirit that subsumes the artist-at-work and the striving of the individual to reconcile his identity with the memory of a unitary and authentic peace. All of this and more pours out of this music, which, time and again, constructs scaffolding from sped-up and slowed-down self-generated samples and colorful acoustic tones. There is a depth of narrative arrangement and keen sense of how sonic elements relate to one another here that opens up pathways of communication, dimensions of integration to and from the listener, and confirms this album’s successes at translating the nuanced fluidity of dreams and hidden desires of the unconscious into potent orchestral miniatures.
This collection of “songs” is not without a childish playfulness, Scandinavian darkness, and a tact and groove that is as uplifting and memorable as it is heart-rending, bewildering, and esoteric. Bedtime listening, yes, but more than that, tunes to frolic to and yearn with through the dream that is waking life."


“Experimental Austin artist makes songs that soothe like memories…Like a record of lost symphonies left out in the rain, his new EP has a cleansing spirit.” – Dummy Mag

“Experimental music doesn’t get much more interesting than this…” – OMG Vinyl

“…beautifully layered psych-folk dirges that sound as if they were transmitted from some far-off place and time. Billows of static over looping and cascading filigrees of melody, murky percussive rhythms, and field recordings add to the songs’ haunting remote quality…it feels like some old west paean to days gone by.” – aQuarius recOrds

“This is a place of acoustic lushness, AM radio distance, electronic trickery, vocal horseplay, groovy dissonance, and a USB cable plugged into Renoise at one end and the psyche at the other…this is the sound of the fragmented self, with all of the humor, terror, absurdity and beauty that it implies.”
– The Muse in Music

“…tense, made arresting by its unconventional configuration of numerous instrumental parts, building swells on the precise dragging of bow across string alongside distorted vocal choruses and electronic flourishes. I am no longer alone… is ultimately the product of one man’s genius..and a more than sixteen month long immersion in recording, layering various instrumental parts until this magical, sometimes unhinged opus emerged.” – Decoder

“The a-side starts off with the soundtrack to a farm-dog mercy killing, real sad and weepy stuff…like someone freely improvising an AM radio dial inside an old cabin, or some sort of ancient turntablism using only 78s, and it too eventually drifts into a wash of ambient mountain sounds and the rustling of nature’s decay. Just keep reading the title over and over out-loud as the record spins, and see if you don’t fall into some sort of homeopathic trance after a while.” – Yellow Green Red


"Silent Land Time Machine's latest work I am no longer alone with myself and can only artificially recall the scary and beautiful feeling of solitude speaks in an oneiric and numinous tongue but is replete with durability and coherence – a rare and intriguing mixture. There exist only subtle threads of aesthetic continuity from the artist's debut &hope still (TIME-LAG Records), where guitar dominates in the main, with the music shifting its emphasis toward micro electronic assemblages – at times damaged, turbulent, and percussive, at others lulling, plaintive, and melodic – with naïve, organic, and lucidly processed string arrangements woven throughout. All this aesthetic revision is accomplished while increasing the breadth, accessibility, and emotional resonance of his sonic palette. The texture of SLTM's EP is gentle-haze meets mechanical-grit, with lustrous swells, rapturous glitches, and clear but effaced tones guiding the listener through its ambitious harmonic and narrative arcs. The album's emotive thrust, as its Brobdingnagian title suggests, is a palpable sense of longing. This music cuts to the heart of the tension between the vast, chaotic, terrifying, and fragmentary terrain of the spirit that subsumes the artist-at-work and the striving of the individual to reconcile his identity with the memory of a unitary and authentic peace. All of this and more pours out of this music, which, time and again, constructs scaffolding from sped-up and slowed-down self-generated samples and colorful acoustic tones. There is a depth of narrative arrangement and keen sense of how sonic elements relate to one another here that opens up pathways of communication, dimensions of integration to and from the listener, and confirms this album's successes at translating the nuanced fluidity of dreams and hidden desires of the unconscious into potent orchestral miniatures. This collection of "songs" is not without a childish playfulness, Scandinavian darkness, and a tact and groove that is as uplifting and memorable as it is heart-rending, bewildering, and esoteric. Bedtime listening, yes, but more than that, tunes to frolic to and yearn with through the dream that is waking life." - www.experimedia.net

There’s something deliciously frabjous about nonsense, from Lewis Carroll’s classic nonsense poem ‘Jabberwocky’ to the Theatre of the Absurd and Monty Python’s bizarre comic sketches. From these examples it’s clear that, though it may well present the illusion of being the incoherent ramblings of some frumious madman, true nonsense is in fact impeccably crafted and well thought out. This fact is also demonstrated by Silent Land Time Machine’s new album, the full title of which is the absurdly long “I am no longer alone with myself and can only artificially recall the scary and beautiful feeling of solitude”.
The nonsensical always requires the presence of order and convention in order to be able to trash them, which is why many references can be heard on “I am no longer alone…” to the a Godspeed! You Black Emperor’s eyes of flame, the swooningly mimsy strings of an Efterklang, and the psychedelic uffishness of a Bleeding Heart Narrative. Yet all of these impressions and more are mixed up and smashed together at hyperspeed in Silent Land Time Machine’s poetic particle collider of nonsense. For most of the EP the wordless vocalist is on helium; violins, guitars, pianos, and broken keyboards all gyre and gimble, accompanied by sounds that resemble, for example, a Jubjub bird being attacked with a hammer, or a man choking on a kazoo. Meanwhile, the luscious string harmonies or strident beats galumph on. All of which is complete nonsense, yet somehow bewilderingly cool. Hidden away in the album’s subconscious, one finds hints of yearning and childlike dreams, just as in the classic absurdities previously mentioned.
Silent Land Time Machine is a solo recording project based in Austin, Texas, though its unnamed protagonist is involved in numerous collaborations, including one with Hangedup (and former Silver Mount Zion) drummer Eric Craven. The EP is released in heavyweight clear vinyl and digital editions on the artist’s own label, Indian Queen Records. If you’re in the mood for something completely and assuredly off the wall to liven up your brillig, this might just have you chortling for joy. Just beware the Jabberwock.- Nathan Thomas for Fluid Radio

 

 &hope still (2008)  Streaming albuma ovdje


(from the TIME-LAG catalog) here's something a bit different… a collaborative release with the band's own indian queen label. pretty hard to pin this one down, but its a trip for sure. a rather mysterious one man band solo outing from texas, who builds up layer upon layer of violin, viola, acoustic guitar, slippery electric slide, percussion, electronics, accordion, buried vocals, and found sounds into haunted, rollicking, thick sonic blankets of sound. many simple parts entwined, looped, and orchestrated into an undulating whole, like naive bedroom folkrock filtered through some blissed out minimalist phase experiment. ecstatic, post-psychedelic chamber rock maybe? really doesn't sound like much else out there, but its instantly