UOVI by UOVI

Reviews :

UOVI – UOVI
Ambient and electronica come together and create something unique here. It’s like FSOL met up with Boards of Canada, Biosphere, Steve Stoll, and Sense and the final result was this massive, varied eruption… and yet, despite the variance between tracks, still maintains a wholeness that few artists pull off well. Various synth styles, ambient techniques and subgenre-hopping are just the tip of the iceberg. There is a lot going on here and it is truly fantastic. This is the first album under this particular project but the skills and experience of the artist behind it really shine through. Well done! This really makes me hungry for the next album! (4.9 out of 5)

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UOVI Review by Grey Malkin at The Active Listener.

A perfect and spectral slice of electronica, UOVI’s debut album ably traverses the hauntology genre, crosses over into darkly glistening ambient territory and visits the area of the avant garde where Coil, Kraftwerk and Stockhausen have on occasion resided. UOVI is the work of one man, Matthelos Peachyoza who describes his intention and approach with this recording as ‘the sound of my synths going out of control. It’s about less computer interaction. It’s about the sounds and their dynamic relationship with each other. They have their own personalities when you get to know them’. Late night listening, this is a diverse and crafted piece of electronic esoterica that will delight fans of the afore mentioned artists, of the Ghost Box label and of fellow travellers in spooktronica such as Broadcast and John Foxx.

Opener 'Stripped Away’ is a spooked piano led piece filled with echoes and sampled dialogue that recalls both Gary Numan’s 'Sacrifice’ era and the more synthesised moments of The Legendary Pink Dots. Haunting and wraithlike, this is music that layers and unfolds to create atmosphere and mood rather than hooks or riffs. Evocative and eerie, these are songs for dusk or dawn, not the daylight hours. 'Bluebells’ is a perfect sliver of woozy ambience, analogue effects whirring past a solemn and melancholy motif of choirs and bells. Nocturnal and nuanced, this is an electronic tapestry of sound and genuine emotion that belies its synthetic origins. Next, 'Flux’ ups the tension with a motorik bassline and beat, a night time ride through the dark heart of the city. Vintage keyboard sounds oscillate and orbit around the reverberating melody line, unsettling and yet warm and reassuring in it’s tripped out motorized intent. '1975’ is an echo laden ghost of a song, emerging into view before retreating behind swathes of hum and drone. The pace increases Jon Carpenter-style, cascades of bass synth pulsating beneath the unease. Never overdone and more concerned with evoking a moodscape, these tracks are no less than subtle, precise and effective electronic symphonies. 'While In Berlin’ utilises vintage sounding patches and sounds that remind this listener of Kraftwerk’s 'The Mix’, latter day Front 242 and Coil’s acid drenched Love’s Secret Domain period in the complex, interwoven beats and air of slightly unhinged dramatic tension. 'A Separate Reality’s swathes of digital strings wash in and out ominously over glitchy percussion until the most gorgeous Blade Runner-esque keyboard line emerges, icy strings creating something both truly heartbreaking and minddblowing. 'Witches’ doom laden and otherworldly discordance creeps across squelches and uncanny analogue wails; again not unlike John Carpenter in its layered and carefully constructed minimalism. This is music to unnerve. Final track, 'Haunted Circuits’ is a monolithic black mass of a song, screaming electronics and waves of noise and static creating a fittingly shadowy and ambitious closer to a deeply original and hauntingly inventive album.

This is music for the cityscapes at their most toweringly brooding and malevolent, a night-time sonata of vintage and modern electronics that dazzles, disorientates and disquiets in equal measure. Dusk is falling; here is your soundtrack.

http://active-listener.blogspot.co.uk/

UOVI consists of transmissions from another universe. Kept mysterious these are songs that hint at other worlds. Sounds are highly electronic originating from the deepest depths of sci-fi fantasies. Everything is constantly in flux for this particular album. Pieces relate to each other like constellations transmitting light and energy. By taking on such an abstract approach to the aural landscapes the songs end up recalling aspects of geography more than anything traditionally associated with music. Disembodied vocals snippets help to give the sense of an album floating further and further away from the rest of humanity.

“Stripped Away” begins the album off as an amorphous jellyfish of sound. From there UOVI moves into slightly more accessible territory on the low-slung rhythms of “Bluebells”. Elements of melody emerge out of the sonic ether. On “Flux” UOVI moves closer to what would be considered an early 90s sound specifically that of Future Sound of London. With a playful sensibility the song has a relaxed mellow atmosphere behind it as the synthesizer weaves its way through a vast variety of textures. The cinematic aspects of the sound are explored on the aptly named “1975”. Aggression defines “While in Berlin” whose aural assault is considerably different from what came before. Returning into the ambient dust is the surreal “Witches”. Bringing things to a close is the creepy repetition of “Haunted Circuits”.

With sound that defies categorization this is music that is deeply weird and from another world.

http://beachsloth.tumblr.com/

Soundtracks, noise music, audio occultism and experiments.
Side projects by M.D.Peach.

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