Canovas, Javi

Whether it be rampaging Berlin School sequencing or contemporary powerhouse EM Javi Canovas from Teneriffe / Spain instills the sort of quality that lifts him above the hum-drum.
Canovas, Javi
23Fish - Future?
Artist: 23Fish (Javi Canovas & David Paredes)
P: 2012
It's quite experimental, in a similar way of the first (Unforgiven machine), even more. This experience is the result between two different ways to understand the music and differents influences. My influences are clearly the Classic Electronic Music, David's influences and his actual work are oriented to Free Improvisation. So this is a synthesis between both tendences apparently distants, although perhaps no so much.
What we hear is a lot of sequencing and many synthesizersounds in sometimes little experimental way.

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23Fish - Unforgiven Machine
Artist: 23Fish (Javi Canovas & David Paredes)
P: 2010
If you think of an album along the lines of an even more intense version of ‘In This Moment in this Place’ accompanied by the most wonderfully understated electric guitar courtesy of David Paredes you will not be too far off the mark.

‘Nightwatchers’ starts with electronic effects of what sounds like some sort of alien craft taking off. A warning siren cries out. Little guitar licks quiten things down and sooth the nerves. Two excellent sequences break through, one heavy while the other high register and percussive. They mutate wonderfully gaining more oomph all the time while subtle melodies float over the top. Things build to incredible proportions. Exciting stuff!

‘Underground Voice’ uses very quiet little percussive and windy effects to set a suitably subterranean scene. The gentlest of guitar touches add a little caressing light to proceedings. This is excellent soothing and relaxing stuff. Of course a sequence does make an entrance but to start of with it doesn’t intrude on the blissed out atmos too much, just providing a little crystalline structure. Things become more intense and complex with the arrival of another sequence then before we know it there is a surge containing more notes a second than I could possibly count. It’s like a wave of incredible power or an earthquake. Whooshing electronic pads (or it could even be processed guitar) heighten the intensity still further. Crikey!

Dark brooding tones and arcing electricity effects give ‘Architeuths’ a rather sinister sounding beginning. A bright sequence completely changes the mood and we are soon bounding forward on a surge of positive energy. Ticking high hat and contrasting bass line impart added oomph. Things are cranked up even further with the arrival of another sequence. Processed guitar gives added bite. For a short time the guitar sound becomes more conventional, growling wonderfully in the middle of the mix as once again the energy levels increase to incredible proportions. Things then moderate a little, the intensity of it all ebbing and flowing as we go.

Little guitar touches over subtle chimes get ‘The Twenty Six Gls Man’ underway. A lovely melodic loop is formed. This is gorgeous stuff, ideal of relaxing to on a lazy sunny afternoon. The storm clouds start to gather though and before you know it one sequence after another is brought in, fizzing energy flying from the edge of the pulsations. Guitar shimmers act like solar flares. All then subsides, as an eight note bass sequence becomes the main focus. This retreats into the mix as yet more sequences fill the energy gap, weaving little melodies of their own as they carve their own devastating paths. As with previous tracks the sheer power levels reached at the peaks of the surging pulsations just have to be heard to be appreciated.

Javi and David have created an awesome album here- a real monster in fact!

2010. DL

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Audiometria (Javi Canovas + M.Justo) - Somewhere

Artists: Javi Canovas + M.Justo
P: 2014
This release of the two spanish electroincmusicians ist perfect in the mid 70s style of vintage Berlin School style EM. Long tracks with evolving sequencerlines and a touch of melody.

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Javi Canovas - Aureal

Artists: Javi Canovas
P: 2011
‘Open Flux’ is something of a scene setter. It’s as if dawn is breaking over a misty landscape. ‘Perception’ gets underway with beautiful plucked strings hanging in the air then decaying into the distance. Lush, warm backing adding a shimmering heat haze. Things take a decidedly dark twist for ‘Aeternus’, the sun going behind a mountain, leaving the valley in shadow. ‘Empty Memory’ takes us back to warmer realms but this time with a hint of sadness. Things are peaceful but somehow not as they were. Something is missing. ‘Downfall’ doesn’t lift the mood but to me provides a meditative atmosphere from which answers can come. ‘Echoes from the Dryland’ is a beautiful number with gorgeous flute drifting over a lush reverberating backing. Maybe we now have peace of mind and are moving on. ‘Fractal Dimensions’ drifts along pleasantly enough. We get to another flute lead piece, ‘Age of Irreality’. The mood is similar to ‘Echoes…’ but with a hint of sadness. So far all the tracks seem to have gone together as different chapters of the same story. We now move on to a new quest for the five-part title track. The opening section fizzes into life then settles down to a moody soundscape where unpleasant things could be lurking in the mist. The second part uses the most exquisite combination of sounds with bubbling effects giving it all a rather primordial swamp like feel a bit like a slightly more melodic version of ‘Zeit’. I absolutely loved it. The next section is brighter with a slow lead meandering around warmer shimmers. The fourth is like an approaching storm with chollyThe final chapter has a subtle melodic quality and overall is all rather tranquil and dreamy. It’s a lovely way to finish a gorgeous album. Javi may be well known for his Berlin School outings but this album is a real must for Robert Rich fans, especially Aureal 1 to 5.

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Javi Canovas - Axiom

Artists: Javi Canovas
P: 2019

‘Sima’ has rapid sequencing reminding me of J.M.Jarre’s ‘Arpegiator’ and I’m immediately catapulted into head-nodding mode as this is very entrancing!
‘Descent’ starts with a single note tone followed and joined by rhythmic sequencing that sound reminiscent of Edgar Froese’s ‘Drunken Mozart In The Desert’. A second rhythm joins in with effects and is rather hypnotic stuff!
‘Masker’ starts with an unusual jerky but interesting rhythm and atmospheric swooshes, being joined by accompanying notes, and is a very enjoyable piece.
‘Axiom’ starts with cathedral-like atmospheric swooshes, then a 100 mile an hour sequencer is deployed followed by a second and I imagine hurtling along on a ‘space-bike’ through a continuously morphing alien landscape as the music builds to a completely body moving trance-experience. It all fades into atmos’. Fantastic!
‘Invisible Symbol’ plays piano that create feelings of emotion, sadness and reflective thoughts. Beautiful playing with atmospheric synth doodlings that make this piece stand out to reach your heart.
‘Hydrometry’ starts with rapid sequencing and is joined by effects and lead lines and atmospherics that break back down into atmospheric end. Nice one.
‘Crush’ opens with blippy sounds and a mid-paced sequence that builds with a bassy thudding rhythm and added sequencing that builds and peaks. Play this on your car stereo on the motorway or autobahn and you are likely to exceed all speed records!
‘Forbidden Zone’ brings us atmos’ and weird effects in waves and random notes with synth washes and even more effects, and it is all very enjoyable.
‘Relapse’ is immediately very rhythmic with effects and is the polar opposite of the previous track, and sounds like a classic tune with a sense of purpose. A lead line and I am reminded of mid-80’s Klaus Schulze. The strength in this album is in it’s variety.
‘The Seeker’ begins with a 5 note rhythm and atmos’, then extra notes are added to the rhythm and it gradually builds to a rapid sequency rhythm and washes of atmospherics. Wonderful!
‘Transcription’ has bouncy rhythm joined by atmospherics and builds in volume and intensity, with effects along the way, giving a sense of automaton.
‘Allegory’ is a fantastic piece of rhythmics and effects not too different to the industrial-synth-pop of artists like ‘Mesh’ and ‘Tenek’ of the UK and Europe. This is something that I could actually imagine being played in any night club that specialises in ‘industrial dark synth’ music! I absolutely loved this piece!
‘Almost Imperseptible’ opens with atmospherics and a rapid rhythm keeps appearing with Jarre-like effects and a lead line plays over the top, sounding epic!
‘Heavy Colour’ has atmos’ and is heavy with effects and an air of anticipation. I feel like I am in a huge dark chamber, forever? A huge sound washes over and a half heard rhythm comes and goes. It’s actually quite soothing and relaxing along similar lines to John Foxx’s ‘Cathedral Oceans’ ambient albums.
Overall an excellent albums of shorter pieces with plenty of variety that show off Javi’s versatility and creativity.
Review by Geoff Mason.

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Javi Canovas - Behind the Shadows

Artists: Javi Canovas
P: 2010
Whether it be rampaging Berlin School sequencing or contemprary powerhouse EM Javi Canovas instills the sort of quality that lifts him above the hum-drum. Uplifting, dynamic, sensational! His music will inspire.
Pure ambient sonics from Javi Canovas.


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Javi Canovas - Cracks in the Air

Artists: Javi Canovas
P: 2013
Slow synth layers spread their passive wings of which the contrasting tones float such as the breezes from an oasis of melancholy. "No Place to Stay" is the entering door from Javi Canovas' 14th album; a quiet album, the den of contemplativity. After an album bubbling of clanic rhythms, released earlier this year, Javi Canovas comes back to present us a much more peaceful album. “Cracks in the Air”, a title which depicts with poetry all its musical structure, joins the somber meditative reflections that we found on Behind the Shadows in 2010. Set by 10 titles which vary between 3 and 10 minutes, the Spanish synthesist walks on Steve Roach's hollow territories, "One Existence", and sounds his chloroformic horizons, "Overtime" with an enigmatic album where the ambient music is tint of a restful musicality.
"Fatum" embraces a somber aura of mystery with its sibylline breaths which grumble between the sinuous spaces of monoliths and raise sonic particles so much bitter as the sands from the deserts of rocks. We comfortably sit in
Steve Roach's Australian territories, percussions less, with an album filled with dark winds. Winds witnesses of a faded civilization while that "The Structure of Illusion" illuminates a little the musicality with fine chords of an acoustic guitar which commune with themselves in melodious winds. Dreamer, "Paranoid Voice" lies down its somber strata filled of nostalgia in the soft winds of voices which sound like the worn breaths coming out of those Vuvuzela. "Memory Dismantled" marries a little the abstruse ambiences of "Paranoid Voice" by spreading a sonic shroud where the veiled singings of magnetic resonances bring us towards another level of mystification. The synth lines with delicate breaths of oracles rest on these darker strata, they are even more lugubrious, showing this surprising parallel between the blackness and the brightness which crosses the 56 minutes of “Cracks in the Air”. I say 56 minutes because the title-track offers a bouquet of sequences which dance calmly on an attractive ambient structure. This is a great based sequences track which shows all the rhythmic prose of Javi Canovas. After this fleeting rhythmic interlude "Aevum" plunges us back into the morphic sweetnesses which filled the airs of Steve Roach's Structures from Silence. It's a very beautiful ambient title which completes marvellously the too short "Overtime", while that "Ultimate Nature of Mirage" turns around the same torments of these wild winds which moved "One Existence".
A little as in Behind the Shadows, “Cracks in the Air” inhales these fascinating figures of ambient music which drinks of
Steve Roach's meditative spheres and even Robert Rich. It's an album of dark ambient music, even very sibylline, where a subtle duel between the tones of black and white clears a restful musicality. This is why I do love ambient music.
Sylvain Lupari


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Javi Canovas - Desert Dawn

Artists: Javi Canovas
P: 2013

Fans of a progressive EM style like Berlin School or/and its derivatives have sometimes tepid ears. We like these long structures which perspire the improvisations all along rhythms unstitched by intuitive sequences which cross the ambiences of bluish ether that lead us near transitory dreams. Thus, when we learn that one of the true values wants to bring us to the borders of World Music, we have the ears which grimace. And nevertheless we shouldn't. “Desert Dawn” from Javi Canovas is an album of delicate Berber musical incantations where the clanic rhythms are swirling in the echoes of tom-toms and of their extremely tightened skins. Rhythms of silk which don't pour into techno nor brush it, giving an exotic musicality which sings through layers of synths and of their hybrid whistles to the charms of the warm Arabian nights.
"Atlas" invites us in the new musical fragrances of Javi Canovas with delicate arpeggios daydreaming on a rhythmic embryo livened up by an uncertain bass line and percussions Tablas. Very harmonious, the intro floats in oniric vapors before being collided by strong percussions, struck with bedazzled hands, and by a bass line with throbbing chords. This combination structures a mesmerizing Arabian hip-hop where enchants a synth and its breaths of snake charmers. Blazing, "Atlas" offers a good mixture of percussions to eclectic tones which reminds me a little of Jean Michel Jarre's rhythmic moods on his famous Egyptian night with more slamming percussions and a slightly stroboscopic structure which bites some more ethereal clanic atmospheres. "River Luccus" fills our ears with an almighty rhythm of West Indian folklore which swirls with exhilaration on the breaths of synth singing the charms of the Gobi Desert. This fusion of “Desert Dawn”'s World Music reaches its peak on "River Luccus" with a wild polka which sets our feet on fire, stamping on the harmonies which sing against the current. Delicious and very lively! "Thar" proposes then a very meditative intro with notes of a fanciful harp which roam in some musical winds carried by the heat of the deserts of Magreb. We hear well those clanic tom-toms trying to awaken the rhythm, but the dense synth layers are masking the pale rhythmic reflections. And it's bit by bit that "Thar" embraces the curves of a lascivious tribal dance with tom-toms more fed and notes of sitar which are flavoring a Bedouin dance wrapped in a suave heat of a synth to in melodious Arabian breaths which cannot contain the rhythmic heaviness that hugs "Thar" a little after its 10th minute.
"Blue Desert" begins the 2nd portion of Javi Canovas' intrusion in the rhythms of the world with a lighter approach. Shimmering notes and Tablas percussions are ringing in harmonies, weaving a rhythm finely embroidered in intertwined filets that Arabian flutes caress of their soft tribal harmonies. I like "Fes", while that initially it left me of ice. Its rhythm structure is heavy and rumbling, like on "Atlas", but with an airier harmonious envelope where a piano is running there and dances of its xylophone keys under the breaths of the flutes which didn't leave the quiet ambiences of the title-track. It's quite nice and light. And the orchestrations save the day of a track that would be flat without them. "Nouadibhou" is what that it's closer to the territories of conventional EM with its delicate poetic intro where dusts of stars float in cosmic winds of ether. The synth layers are undulating lazily there, freeing fluty breezes on a cinematographic dune where are dragging some beatings of mislaid percussions and a chain of abrasive sequences which lose all sense of rhythm in these intense vapors of iodine. The rhythm wakes up at around the 5th minute. Arched on percussions to hollow timbres and graffiti of xylophone to tones of anvil, it swings its furtive tempo like a leg hanging in space, making sing the flutes of Babylon. This rhythm, at first sight furtive, espouses a clearly noisier tangent with an avalanche of clanic percussions which make resound their shimmering skins in a languishing approach of tribal waltz, there where are always singing these flutes charmer of snakes.
Like what that one can be different and remain good! That's what comes to mind while listening to this last effort of Javi Canovas whose surprising intrusion in the Arabian spheres listens to with a disconcerting ease. Without kissing the paths of a techno to the disturbing rhythms of Turkey, “Desert Dawn” is a lively exotic album where the percussions enchant in their roles prevailing on sequences, shaping rhythms of wild local dances. Synths are discreet, certainly! They weave Berber harmonies where the Arabic flutes are whipping the cosmic breezes and the dusts of dunes, creating the ideal balance for an album with the charms of the 1001 Arabian nights.
Sylvain Lupari (February 26th, 2013)

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Javi Canovas - Eigenspaces

Artists: Javi Canovas
P: 2008
An audacious mixture between cosmic and space music filled of metallic droning waves which collide on rhythmic structures bordering rock and funk, in a Mellotron atmosphere which reminds certain passages of TD and even Schulze, in particular on Where Was The Time. Diversified, colored and very rhythmic, Eigenscapes is an album to multiple musical approaches demonstrating that Javi Canovas is not just another synthesist among so many others. But an audacious musician who is not afraid of deepening his ideas by adding touches of funk and rock, in a constantly evolving sound universe.

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Javi Canovas - Gravitational Waves

Artists: Javi Canovas
P: 2011
After 2 very ambient albums Javi Canovas offers us an EP full of sequenced and heavy rhythms. It’s a desirable return to the roots wished by those who had succumbed to the tempting rhythms of Nights of Brightness. Gravitational Waves is a 3 tracks EP filled with sequenced adrenalin. A heavy EP with rhythms and resonant sequences which are sometimes wrapped by soft mellotrons. In fact Javi Canovas makes a temporal journey, there where heavy and mysterious Berlin School was the prerogative of the analog years; the 70s!
And all of this compressed power begins with the hard-hitting Solar Dome whose opening passes by a line of twisted synth where fragile arpeggios roam there and dance too. They skip on oscillating curves of caustic reverberations while a heavy sequenced movement frees big juicy and frenzied chords. The rhythm heavy and nervous, Solar Dome unfolds then at great pace with a powerful undulating sequential movement of which zigzagging chords abound in a boosted resonance. It’s a heavy and infernal rhythm which sinks into lines of a synth to foggy and ghostly breezes that is not without recalling the murky depth of Tangerine Dream or Redshift. Feverish arpeggios twirl around and dance on this infernal structure where the rhythm is forged in a powerful sequential movement with chords that still splash with their reverberations, while very slowly this sequenced fury is quietly going slow. But it’s a much nuanced calm which brings with difficulty Solar Dome at doors of more limpid sequences but as much feverish on a stationary rhythm and encircled by a synth of mist. After an intro where metallic choirs sleep in the abysses of chthonian sub-soils, Elephant Trunks in Space livens up with a crossed lines sequential movement which flow rapidly. Chords open up at full speed, leaving on their passages trails of metallic mists which sigh under the heat of the speed. Another sequence joins the leading one. It flickers nervously with hybrid tones and nervous ascension beneath a superb fluty mellotron. As much hard-hitting than Solar Dome, Elephant Trunks in Space is more melodious and exalts of a splendid depth with its heavy crossed sequences which criss-cross a hyper rapid movement beneath fine parts of a fluty mellotron. That’s a wonderful track that allies sequential strength and melody and which ends its exhausting race beneath breaths of a solitary synth. After an intro to strange murky breezes, Dispersionl offers a beautiful melodious sequential movement with chords which skip finely. Another sequence is adding and draws an echo shape in the shade of a soft fluty mellotron filled of the analog year’s sonorities. Quietly the movement is growing in size and heaviness with chords which cavort and resound, wrapped of a fluid synthesized fog. In spite of its chords which skip nervously and with a heavy resonance, Dispersion evolves between heaviness and tenderness, a little as a blend between Solar Dome and Elephant Trunks in Space, but with a mellotron to more accentuated and fluid breezes.
We can say that it’s a luck that Gravitational Waves is only an EP of a 28 minutes length because I doubt that my ears and my loudspeakers, as well as yours, can take as much heaviness, resonances and tortuousity over a longer period. Gravitational Waves is a monument of weightiness where the melody invites itself in strangely powerful musical contexts. It’s an EP that wants to be a revival for the heavy sequenced music of analog years. In short, an EP all indicated to fans of TD (Franke era), Redshift and Ramp. It‘s very good and strongly livened up, as EM should be a little more often. Gravitational Waves is a solid EP that we can get at MusicZeit download site for the price of a song!


Sylvain Lupari (2011)
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Javi Canovas - Hidden Path

Artists: Javi Canovas
P: 2014
Retro / analog / Berlin school

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Javi Canovas - Impasse

Artists: Javi Canovas
P: 2005
Warm synth tones, vaguely like organ music, hang in the air for several minutes, creating the atmosphere. Just before the 6:30 mark the sequencing starts up and male choirs ring out over the top, signaling the arrival of another solid entrant in the Berlin school class. Just before 8:00 a cool filter effect morphs the sequence a bit, as a spacey wind blows through. Next up are the vintage synth leads, lending a dramatic flair. This section does a solid impersonation of Tangerine Dream around the Tangram period. The sequencing continues on the attack, growling assertively as the intensity continues to build just so. Drums are added toward the end, modulated not unlike TD’s “Through Metamorphic Rocks.” It’s an epic piece on a grand scale to start the album most promisingly.
“North of Circle” starts low and distant, as if tentatively exploring its way onto the sonic terrain. Choirs return, and sequencing returns in short order, propelling things briskly along. If you like other Teutonic artists like Navigator, Kubusschnitt, Gert Emmens and so forth, this should be well to your liking. “Zenith” concludes the hour-long synthfest with more of the same, deep space wanderings to begin, followed by slowly wavering electronics, and the obligatory sequencing, fastest of all here as it spins nearly out of control.

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Javi Canovas - In this Moment, in this Place

Artists: Javi Canovas
P: 2009
It is one long 70 minute track but with many different sections. It was recorded live but you would never know it, sounding like a wonderfully crafted studio album of all new music. Fizzing electronics give way to the first sequence and even at this stage the quality shines through. It is rather melodic, bouncing along beautifully. A second sequence nestles with the first perfectly as a gorgeous slow lead hovers above the pulsations. Yet another sequence comes in, packing quite a punch, the melody swelling in response. The sequences then build to such amazingly powerful proportions, diving this way and that. Just turn up the volume and make the ground shake. This is absolutely awesome stuff. In the twelfth minute things subside to a rather spooky section lasting just a couple of minutes before another earthquake of a sequence bursts through, full of rumbling bass and enormous energy. Things are softened slightly by a contrasting flutey lead line and whooshing effects. A higher register sequence enters flying over it all, the initial sequence storming back creating even more wonderful mayhem than before. Very gradually the intensity subsides only to return again in wave after wave. By the twenty sixth minute we are given time to get our breath back, relaxing in the beautiful gentle pads. A fizzing lead adds a little detail before things become really deep then rather stormy. Javi has already shown us what he can do with power sequencing, now he shows us that he is also an expert at atmospheric descriptive music. The images that come to my mind are of a rather strange rainforest. A slow pulse can be heard, as if something is awakening. A brace of playful sequences change the mood once more, like rays of bright light twinkling through the canopy above. The tone is optimistic and the pace fast. The sequences start to surge, gaining power all the time, sounding like a crackling raging fire. This section then changes in character once more as yet another sequence / melodic loop is thrown in the brew, like a giant crushing all before it- absolutely amazing. There are so many elements to each section, every one fitting perfectly with the whole. Things start to subside as a single slow lead settles over it all like some vast hand smothering all beneath it. We then get another gentle interlude, this time with lovely solo piano. It’s really quite tender stuff, softening us up nicely for the next sequential barrage. It starts off simply enough with a sturdy twangy sequence, a second rapid one darting in and out of the pulsations like a wasp around a picnic table but then as more and more roller coaster sequences and mellotron are introduced we are once again in the middle of another blistering turbo charged wall of sound. Pure Berlin School Heaven! If you are into sequencer music this album is simply essential.

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Javi Canovas - Light Echoes

Artists: Javi Canovas
P: 2006
"Light Echoes" is one monster of an album, filled to the top with excellent sequences. If you like sequencing and more sequencing, Light Echoes is the ticket, again it features three lengthy excursions into all things Teutonic.
The title track wastes little time getting up to speed, and sounds much like AirSculpture, with a synth lead that mimics an electric guitar solo. Though Impasse was good, this sounds better, more polished. The effective layering of sequences is hypnotic as they dance about each other. Very upbeat, it would be hard to be down while listening to this. The last five minutes are given room to breathe as mellotron flutes and ethereal synths play brightly.
“Two Toned Rock on Mars” is up next, again reminding me of AirSculpture or perhaps Create as dreamy textures start us off. Once again a stonking sequence rises up out of the mist, full of bubbly energetic electronics. Cánovas tends to find a cool groove and ride it out, with generally solid results. Here he allows for more delicate touches and a more expansive feeling, as the song moves back into dreamy reverie before its barely half over, allowing plenty of time to explore the subtler side of synthesizer sonics. A bit of soft piano even gets into the act, a nice touch toward the end.
“Interpherometry” not only serves up another solid slice of Berlin school energy, it also gives me an excuse to look up the word, apparently a term used in both holography and astrophysics, fitting in well with both the main theme and the cool cover art of Light Echoes.

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Javi Canovas - Mens Demersa

Artists: Javi Canovas
P: 2020

Sounds like TD Rubycon or newer TD 70s compositions. Very analogue sounding sequences.

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Javi Canovas - Nights of Brightness

Artists: Javi Canovas
P: 2008
If you like upbeat melodic sequencer-based EM, and if you haven’t yet discovered Spanish musician Javi Canovas, you should head right on and check out his latest albums, including this one, Nights of Brightness.
“Nimbus” starts things off crisply and brightly, really getting the feet and/or the body moving depending on your inclination. “Elipse” is just as lively with a rollicking beat and fun synthesizer sounds.
“Metallic Core” has a moderate tempo with hypnotic loops. “Mr. Ivan” is the liveliest yet, even playful. “Fugitive Star” mixes things up nicely again, with mellotron flute and low-key chugging sequencing. And so it goes, alternating dance-friendly numbers like “Beta” with dreamy drifters like my personal favorite, “Protoplanet.” It is the longest track and closes out the disc on a high note. Highly recommended.

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Javi Canovas - Psychedelic Voyage

Artists: Javi Canovas
P: 2012
It’s in a thick cloud of cosmic particles that the intro of "Psychedelic Voyage" begins our journey into the very psychedelic states of Javi Canovas' 11th opus. Allegorical twists in tones of cold sirens are snaking in all directions a wall of stigmatized drizzle whereas that quirky tones and echoing fuzz are squabbling these moments of hallucinogenic frenzies. This cerebral spasm sinks into a thick angelic fog which dissipates little by little when the first sequenced pulsations emerge with fright at around the 6th minute point. The rhythm zigzags shyly under the eye of a synth which scatters its abstruse breaths with mixed tones under a tempo which grows ceaselessly before becoming heavy. A feminine voice comes to caress our hearing while tha Canovas  exploits his fine and tortuous solos which decorate a rhythm became wiser. The smoke intro of "Mechanic Spirit" is shorter than on "Psychedelic Voyage" while the rhythmic approach is sharply more incisive. On this title the Spanish synthesist brings us downright in the years of Tangerine Dream's Phaedra with a very good mellotron fluty line which floats above the keys of a sequencer which mould an undisciplined rhythm. The chords of a sober guitar come to ennoble this rhythm which little by little gets dissociate of its Cartesian approach to arches itself and hiccups of curt spasms which pounce with crash in a heavily metallic ambience. Like a steel ballet "Mechanic Spirit" swirls in infinite minimalist loops, revealing its sequenced ions which try to hang on to the discreet amber vapors of synths and to this flute which had avoided it since its opening.
After the delicate dance of dreams drawn by a the soft piano and the enchanting flute of "Into the Sylence","Sundown" propels us in the much more audacious phases of “Psychedelic Voyage” where evanescent atmospheres and rhythms are interconnect to a structure which borrows more the paths of a progressive cosmic rock à la RMI than the psychedelico-cosmic wanderings of the vintage electronic years. More ethereal, the intro frees soft synth clouds which undulate thoughtfully. Sequences emerge from this lethal fog a little after the 4th minute. Waddling of a fast pace they draw a circular movement which skips of its symmetric arrhythmia under the charms of a divine mellotron flute while a guitar sprinkles its uncertain chords on a structure which swims in its perpetual duality. In fact "Sundown" is a long climbing with rest areas. The rhythmic passages are tremulous and molded on nervous sequences which skip such as a herd of mislaid sheeps, while heavy impulses of a synth which puts its
Redshift clothes draw aggressive curves and kicks away captivating mists that a guitar is wrapping up with shuddering riffs and scattered solos.There are intense moments on this track which vanished, as it had hatched, in oched mists. Sat comfortably on a musical approach with infinite possibilities, Javi Canovas concocts another beautiful opus which find its way through all available mysterious cerebral meanders. “Psychedelic Voyage” is an album which swims in a Berlin School style to progressive and experimental roots. A little as the excellent Metamorphosis, but with an even more audacious approach.
Sylvain Lupari (October 4th, 2012)

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Javi Canovas - Quondam

Artists: Javi Canovas
P: 2020

The title track starts the album off, (working title originally called 'spire'), and begins with heavy atmospherics and sounds resonating as if from a huge steel chamber. After 3.5 minutes the ambience dissolves as a rhythm starts up with key changes and morphing with notes speeding up, and effects are building things nicely until it has evolved into a very rhythmic brew. This just gets better and better building to a sequencer/rhythmic frenzy! It gradually fades out at the end. A rather groovy rhythmic piece. 'Inescrutable' starts by immediately hitting percussive cymbal-like effects rapidly, with building atmospherics and sound effects. It fades as a heartbeat starts with piano effects, and sequency effects. I don't think I've ever experienced this wonderful combination of sounds before. It all kicks off with fast paced rhythmic sequencing and effects one after another. The sequencing morphs and my whole body is moving to the groove. Wow! Fantastic! A lead line comes along and the music reaches new heights. I imagine being inside an automated factory of robots creating new technology. Fantastic track. 'Speculum' begins with grand atmospherics and I feel as if I am floating high amongst the clouds in my imagination with visions of unseen lands! Awesome ambience! Eventually a rhythmic sequencer starts building and developing with various sound effects and an interesting pitch-bending lead line and rhythm that gets your head nodding, then the pace quickens and it launches into a 100 mile an hour rhythmic sequencer masterpiece that is sure to put a smile on your face. Breathtaking music! Lead lines fly over the top until almost screaming feedback proportions. I imagine an unstoppable force of nature marching along on a mission. The piece gently fades into atmospheric ending. This album is just getting better! 'Ancient VIsion' fades in with more atmos', wind effects and the title makes me imagine being overshadowed by a giant Greek or Egyptian statue. At 3 minutes it all changes with new effects anticipating change, a slow deep rhythm grows and develops alongside swirling wind effects. The rhythm gets quite groovy and speeds up, more effects coming and going. This actually reminds me of 'Redshift' in full flow, it's that good! Javi is in top form right now. This is full on sequencer crazy berlin school of huge proportions, oozing attitude, and fades out into ambient atmos' at the end. This music has gone past seriously good and into highly influential. The bar has just been raised! 'Penumbra' starts eerily atmospheric like being in an inner-world, hidden. Spooky effects and twitters, then an organ sounds deeply makes me imagine being in a tunnel. A rhythm starts and effects come and go. It all speeds up and a lead line plays along, accelerating to a fast pace and I imagine running free through an exotic landscape. This rhythmic sequency music with added atmos' builds with high points and my whole body is moving. Absolutely fantastic! I'm playing 'air-keyboard' and loving it! It suddenly dissolves back into atmos' with not long to go, then this magestic track closes nicely. 'The Nihilist' starts with sounds reminding me of the oceans, very atmospheric and powerful deep sounds then a sequencer starts up, and is seriously groovy. The sound effects and keyboard playing is catchy, and more effects add to this, by now amazing track! Piano is playing a tune, and it sounds like a jamming session between 2 or 3 musicians, the playing is that good! The track finally closes, and what a great track to end this fantastic album! This is instantly my favourite and the best album that I have heard in a very long time, and will surely stand the test of time. Simply an essential album!
Review by Geoff Mason.

13,90 EUR
 
incl. 19% tax excl. Shipping costs
Javi Canovas - Red Metal

Artists: Javi Canovas
P: 2007
Yet another excellent album by Javi that from time to time reminded me a little of Rainbow Serpent.
The difference in style is evident immediately on Red Metal’s opener, “Circadian Rhythms,” a piece of modern electronica with a shuffling dance beat. Not my thing, but well done.
“Radiometry” is more my speed as crystalline sequencing starts us off. A fat synth lead eases its way in, and the track is really allowed to breathe before the beats come in, softer and slower this time. More synths and sequencers are layered in and this one gets a thumbs-up.
“Commutation Q” shimmers with ethereal tones, warm and bright. Bouncy sequencing and thumping beats return for “Cibercafe” in a winning combination as well. Also very good is “Dark Memory System,” another bit of fun synthesizer synthetic sounds. The emphasis is on a futuristic electronic sound, no synth guitars or oboes or even flutes. Mostly upbeat, there are occasional darker moments such as “Liquid Crystal”, a subtler, more dramatic piece.
The title track is completely devoid of rhythm, with warm synth timbres, very nice.
“Radar” is my favorite, a complex number that weaves at least three distinctive, varied movements into its 10-minute time span.

13,90 EUR
 
incl. 19% tax excl. Shipping costs
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