Artist: Bash Nova
Keywords: IDM, Dub Ambient, Natural Sounds
Reviewer: Alex Spalding
Yesterday, at time of writing of course, Cameron Thomson (aka Bash Nova) wrote Facebook, asking:
“When you are a musician that has never really gotten the perks of the artistry world reviews by blogs, spots on radio shows, gigs. I have to ask myself, am I just in it to make music or to let people hear it? I think in a way it’s to just make it. […] I don’t know what to say about the radio thing, maybe people don’t like what I make, do they? Or want to listen to it. I might have to network a lot more, don’t you think? Blogging, I haven’t a clue, do I submit a thing or through networking I gain an ear to write a review. Im working on a few issues…”
Personally, I feel it is better to write music for the enjoyment of others, not solely for yourself. I know it’s easy to say, given what your mood was when writing, but I like what you do. You almost have to maintain the illusion at all times that people are listening, regardless of your intuition that they very well may not be. Many of us, intense music fans that is, listen to everything we come across, and not always do we have any time to devote words to most of it. But it’s easy to fall into one of these traps, as an artist, thinking that you must pursue a course of self-expression, that it’s probably for the best to ignore a public that seems cold and uncaring. That leads, inevitably, to bad art… or it can, if you let it. Don’t lose sight of yourself as an artist. Artists create for the world at large. But for real, even though it may not always seem like it, there are people listening. That’s the whole point, really, which you seem to know… to the practice of making this stuff, I mean. That people out there take something away from the experience, whether it be an emotion, or epiphany, or a moment in time that belongs to the combination of life and the music happening right then, or just an appreciation or understanding on some level. Or maybe just to dance. That’s even better sometimes. It makes you feel appreciated, like the art has purpose. Doing art for others, and knowing others have been effected by it, gives the whole thing some kind of sense I think. I may not know what I’m talking about, but this is my feeling on the matter. So, with that, keep knowing people are hearing you… like us! For instance, I’m doing a review of Yoruk right now, one of your earlier works dated 2011, but it is one of my favourites so far. And fuck the radio, man, we don’t need that shit. Well… maybe cool radio, wherever it exists, would be nice… but regardless…
… this album begins with ‘Trance Atlantic’. A dirge and reverse bass are the primary sonic components of the track for awhile, until some seriously twisted up rhythmic sounds enter the audio field, whirring like pixies of steel, all sharp edges.
The next track is ‘Father’, a minimal beat structure to which much adding, subtracting and different maths are made throughout the short track. There is also feedback, I was experiencing a sort of morph in the frequencies.
‘Becoming Good’ sounds like a low wind and minimal electro beat patterns that were really rigid and architectural. There’s a disharmonic drone that shifts and creates odd feelings and sensations.
‘Kinlet’ is another basic beat, this time there is a lot of ghostly, haunting and textured ambiance surrounding it. You can hear voices from beyond the sleep of death. Found sounds litter the mix like so much debris sweeping across the grounds of an abandoned playground.
After that brief journey into horror comes ‘Mummy’, an interplay of sound imagery that evokes a sense of stunted breathing, of inward chaos and fear. There’s a cavernous feel to the music, but it possesses an aberrative naturalism.
‘Becoming Good [Nonimx]’ drives up the urgency of the rhythms. It’s a jagged sort of electro, very IDM… it is mirrored by the background, in which there are more abstract ambient textures and flutters of electronics.
Then it’s ‘Bash Roheva’, which gets going with crisp pops and a soundtrack of various bizarre mechanisms starting up. Subtle high frequencies, almost like a choir but at times more like feedback, creep up on us. An “almost-piano” happens. Mostly, the soundscape is minimal and treated with the utmost care and precise attention to detail in the sense of space and atmosphere, which is almost wholly mechanized.
‘Bats In The Belfry’ features bizarre sound effects, like synthetic crickets, a hiccup, static-interference, clicks and pops… a tumultuous world has been created here, almost devoid of life, except that which is capable of experience profound suffering. Ominous bursts of wind eventually coalesce into an eclectic IDM/industrial breakdown. It is, like much of the rest of the album, a reductionist spirit that prevails.
Overall, this was a very curious album, possessed of a feel that is almost distinctly minimal… erratic, at times, and often absolute in it’s pursuit of total mechanization. It’s hard to call the album “bleak”, as it’s so amoral; likewise, it is very grey above all, and thus it takes nothing from any attempt at perceiving it as containing menace, or emotion or intent of any kind. It is binarial. The soul just a trace, misplaced. I shall recommend you hear it for yourself, so definitely give a click on the link ahead: