Haruki is the pseudonym of composer/sonic artist Boris Snauwaert from Ghent, Belgium, who creates sonic environments through the precise, meditated amalgamation of a diverse variety of sounds, both musical and non-musical. In any given track Haruki combines any or all sound sources; field recordings, acoustic instruments, acoustic noises, found samples, sampled instruments and so on.
Now that we have that covered, we may as well talk about the album itself right? Well the truth is, this bio really does cover the work of Haruki rather well, as ambiguous as it is. Haruki’s work is so open and various, its hard to keep up but keep up I have and been a fan of his work for a long time now. Falling is probably the deepest NKR release to date, maybe one of the deepest records to emerge in a long time. Lots a bass instruments are used such as tuba, double bass, and the ilk, alongside some circuit bent keyboards, piano, stomp boxes, field recordings, among other things. This gives it a wonderfully organic feel and development, and unlike a lot of laptop-based music, its much more live sounding, perhaps an appropriate background being a seedy Brussels bar (I do love Brussels at night). Haruki continues to push open the envelopes around him in the broodiest of ways.
“Whilst Haruki may occupy the same general musical territory as offthesky, there are a few distinctive points of separation, as the guttural bottom end of opening track ‘Shrinking Cities’ makes abundantly clear. The strident and visceral ‘When To Stumble and When To Fall’ also moves into a much more cinematic and (in places) noir-ish sphere. The humming bass tones give this release a weighty punch, and any of the four pieces could sit alongside releases of any exponent of restrained dark ambient with dignity. “So, Now We’re Even’, despite its vindictive name, is a more emotionally even piece – less oppressive than some that precede it, doing a good job of clearing the sound palette before rumbling closer ‘Tall As Tails’”. – Fluid Radio
Bridge Carols is the meeting of two artists with unique timeless approaches to music. Neo-Americana folk singer Laura Gibson is gifted with a soft and singular voice (not unlike the voices of Josephine Foster and Joanna Newsom) and writes songs that could date back a century or foretell a future rural life. Electronician Ethan Rose is vested in antiquated instruments and technologies – a sonic recycler who, out of the old, has been creating a new form of ambient music.
Presented in the Tartaruga house style, (thick recycled cardboard gatefold sleeve), this release features a beautiful screen-printed design from Bruno Jones, in bright Phthalo Green. The CD comes with a two-colour screen-printed foldout insert, again featuring illustration from Bruno Jones, printed on high quality Pergamenata paper.
With The Rules of Another Small World, M. Ostermeier has arrived at an elegant voice – otherworldly and strangely beautiful, much like the desolate Taiwanese San-Zhr Pod Village gracing the album cover.
While elements of electroacoustic, modern classical, jazz, glitch, drone, ambient, and even lounge weave in and out of the record’s eleven compositions, The Rules of Another Small World is the converse of an eclectic collection of songs.