Dan Abrams’ first CD as Shuttle358 struck many listeners as a minor masterpiece, but Frame is even more accomplished, ranking alongside Aphex Twin’s Selected Ambient Works II and Eno’s Music for Airports in its evocation of imaginary space.
The almost menacing, expectant feel that creeps in and over you as you listen to these sounds, especially that churning, stuttering, fusebox-gone-awry bass, which never seems to settle and always seems ready to burst.
If Frank Lloyd wright had lived to design a record label, Taylor Deupree’s 12k imprint would be it, and Shuttle358’s Frame would be the Guggenheim.
Shuttle358 sings with a beautifully original electronic voice that is both timely and timeless.
Shuttle358 creates subliminal scapes through forms, rhythms, and patterns in minimal electronic sounds.
Not many words are necessary to describe this warm, engaging record
Music like that on Frame set the tone for much microsound like music from the years to follow.
A sense of suspension prevails, as cloudlike forms hover weightless and semi-opaque, holding time as well as matter at bay.
This is the unstructured contained, and Frame is its distinguished encasement.
Frame radiates thus logical-proves in all directions, functioned in the best way in aquariums and deserts, is freely licencable as wallpaper for multistoried buildings and holds ready more than surprising things in each track.
Amontage of blissful ethereal ambient soundscapes with crackles, pops, pings and numerous other suble nuances.
Frail microrhytmic roars drowned in waves of extremely rarefied textures with father Eno benevolently looking from above.
Indefinable-though-alluring sounds are captured within Dan Abram’s very computerized frame; despite their digital origins, the soundforms of Shuttle358 have been reshaped into pillowy amorphousness then sprinkled with varying amounts of microscopic particles.