April 23rd, 2012
Rain Spirits by Tim Gray
Apologies for the long silence. Waveguide is back with a vengeance and is proud to release the latest work by Tim Gray, aka Ethernet. Tim has released on many labels, including, Kranky, Bump/Foot, and his own bandcamp page.
This release is something special for the springtime rains – it’s a hypnotic release that utilizes simple tones and field recordings to produce a haunting effect in the listener. Free download for all, please enjoy and share.
January 6th, 2012
Apologies. My main site was hacked with redirects to phishing sites and I had to clear out the code. One consequence was the Waveguide site went down as well. We’re up and functioning again!
Be on the lookout for a new single from the Shoegazers known as Miniwave!
September 19th, 2011
The reviewers at Fluid Radio gave Astoria a listen. From their review:
The looping, pitch shifting, and reverberation in the soundscaping give the album an unusual edge and lift it above the oceanic body of introspective solo cello work that can be found if one goes looking for it. ‘Astoria’ in particular has a welcoming and familiar tone, although it is come and gone too soon at less than two minutes. In saying that, however, it is a strength for Laderas to not outstay his welcome and this is a plus for the album as a whole – by not beating you over the head with indulgent fifteen minute pieces, the album is an illustrative snapshot or document of an artist in progression, and these sketches are interesting and intriguing for this fact alone alone.
September 18th, 2011
The OO-Ray got interviewed by Christoph Berg for his Electroacoustic Tales Guide, which also features a few of his photographs. Neat!
Interview on Electroacoustic Tales
September 8th, 2011
More Astoria reviews are in, this time from Textura and Christoph Berg’s Electroacoustic Tales.
From the Textura review:
It takes no time at all for the listener to be drawn into Astoria’s world when the cello’s deep groan appears seconds into “Moments of Quiet Technicolor,” a dirge-like drone whose strings are propelled by the death knell of a recurring pluck. In “Marzo,” Laderas builds up so many cello layers the instrument becomes a string orchestra, resulting in a field of texture and melody that’s so rich and dense the effect is mesmerizing, while he elsewhere conjures a shimmering fairy-tale world (“Gwageus”) and creates settings equally majestic and mournful (“Andalucía”). Deep symphonic tones, more suggestive of organ and horns than cello, give “Sleep” a Wagnerian majesty.
There is much to admire about this recording: first and foremost, the range of sound Laderas draws from the cello, with its upper and lower registers and percussive potential amply exploited, and with pizzicatto playing heard alongside the bowing (strikingly heard in “Bubbaly,” for example); and, secondly, the circumspection shown in having the twelve settings last only three- to four-minutes on average. Each piece appears just long enough to establish its own sound-world but then, having done so, exits. It’s truly remarkable to hear as luscious a set-piece as “Chimes at Midnight” be brought to life in just three minutes.
From the Electroacoustic Tales review:
Recorded and selected for this album the pieces seem to be heavily inspired by recent works by Aaron Martin who is certainly one of the leading names in the range of experimental electro-acoustic cellists. Nevertheless Laderas finds a way to express his music in his very own way. For me personally a bit too much out of tune every now and then the repetitive cello arrangements are mostly melancholic – and for me ‘Marzo’ and ‘Gwageus’ seem to be the most outstanding works in this collection of improvisations. The final piece ‘Palimpsest’ has an even anthemic atmosphere with its droning cello layers – its abrupt ending comes surprisingly but fits to the album concept in my opinion. Somehow Laderas succeeds to remain on the thin line of highly repetitive arrangements without boring the listener but also without overstraining through experimental excesses. It seems to be well-balanced though I’d have loved to see some more dynamic changes on the overall album.
‘Astoria’ is a good collection of improvised cello works. I seem to remember that I heard something about a collaborative project between The OO-Ray and Marcus Fischer by the way. We should watch out for this…
September 5th, 2011
The winner of the Astoria CD Contest is Dave Seidel. He will be contacted via email for instructions to receive his prize.
Thanks everyone for entering!
August 25th, 2011
In light of the recent reviews, we have decided to make the CD version of Astoria available for immediate purchase. It’s a gorgeous, limited edition (of 50), hand numbered CD-R, so obviously supplies are limited.
Purchase directly from Bandcamp.
August 25th, 2011
So far, Astoria has been reviewed by The Silent Ballet, Resonant Strata, and Derives.
From The Silent Ballet review:
These tracks are never going to be radio singles, so don’t be afraid to cross the five-minute mark. The only track to do so, “Autumn” (5:03, but listed as 5:04 to seem taller) is easily the album’s finest. In this piece, we find the dark and light properties of the cello in complimentary contrast. The lower register tugs the mind toward the sullen, while the upper seeks to lead it from the depths like Orpheus leading Eurydice. As the song progresses, its layers thicken; guitar elements lend it the advertised shoegaze quality; and the volume rises to a pleasingly transportive level.
From the Resonant Strata review:
From the tinkling, pointilistic textures of Marzo to the metallically mourning drones of Gwageus and the soothing deep waves of Sleep – Astoria is a majestically moving giant. Just like a glacier, it slowly, but also unmerciful, buries you underneath it.
From the Derives review:
Slowly piercing through the collected tracks is a third vein he is opening with ambient hazy pieces reflecting the artwork. “Autumn” is a perfect translation of the cover image, aerial tramway pole leading god knows where through the fog. “Astoria” is a short atmospheric drone interlude, a temporary sunny spell with a pale sun in a middle position. Later, once the mist is dissipated, a glowing sun rises in a soft blue sky, with “Sleep” a warm and fulfilling ambient track.
It is followed by the feverish “Waveguide”, where you almost imagine a distorted guitar playing with a cello, but it’s just two layers or cello with some interplay, beautiful and intense like slow motion sea waves.
August 24th, 2011
Fantastic and perceptive writeup of the Alura Une single on Disquiet.com.
Add to that list Alura Une, whose “Dybbuk,” recently appearing on the waveguideaudio.com netlabel, is a splendid instance of full-throttle molasses-paced introverted bass extravagance.
Not only does the piece make the most of its eight minutes, lingering on chords with the merest consideration of metronomic necessity, it adds a dreamy quality by employing brief occurrences of chime-like sounds that bring to mind a children’s toy. That element of fantasy links the music to the fable from which it takes its name, the legendary character from Jewish folklore that inspired the story of Frankenstein.
August 23rd, 2011
We’re extremely excited to announce The OO-Ray’s Album Astoria will be available as a CD by us starting in September and digitally via Audiomoves.
Until then, please visit the page for a preview and enter your email for a chance at winning a free Astoria CD!