LOWERCASE NOISES

The most recent project from one-man band Andrew Othling is the loosely conceptual work 'Migratory Patterns.' The subject of the album is as haunting as it is fascinating, and it's a true story. Scientists have discovered the existence of a single lone whale, species unknown, calling out at regular intervals and going unanswered as it travels the deep alone. Since 1992 the animal has been calling out at 52-hertz and moving in patterns unrelated to other whales. There is much speculation as to why this creature is alone and going unanswered...could be the last of his species, could be deformed and thus 'speaking' incorrectly, or simply too far from the typical range of other whales to be understood. Whatever the reason his calls have gone unanswered for as long as the Navy continued to monitor them.

Othling has used this strange story as the perfect base for a musical project that actually incorporates the recorded call of the '52-hertz' whale as it is known to researchers. He describes the new work as a 'sort of soft-electronica sound coupled with somewhat darker melodies, making it Lowercase Noises' most contemplative album yet.' It has a noticeably different feel than the excellent preceding work 'Carry Us All Away' which was colorful and occasionally rocking. Here the style is toned way down to a slower and peaceful current that captures the oddly claustrophobic feel of the deep underwater universe. Single piano notes ring out across spacious keyboard textures in 'Song for No One.' The Eno ambient feel continues with the repeating patterns of 'Persistence' suggesting how it might feel to continually call out where you are alone. As the album moves along beats are introduced and Andrew's layered guitars build density, occasionally supported again by the gorgeous cello work of Shannon Harden. She takes 'Depths' to another level of beauty, the piece drones on with an ache that is palpable. On the closer 'Farewell' Othling couples his guitar with some pretty fair banjo playing, unusual I'm sure for the post-rock genre but it is effective here. While the work clocks at 33 minutes (longer than some classic RPI!) and feels complete enough to me to call 'an album', Othling calls it an EP so that is where we have placed it.

'Migratory Patterns' is a fascinating and successful piece of work which ties a great subject to music that tells the story almost completely without vocals. You are carried by this music as if you are following the lonely creature. I really like the weathered looking cover that reminds of some educational audio recording from the 60s or 70s, another in a series of fine album cover selections. You can purchase a high quality download of the album for only $3 at his website. (You can also stream the albums of Lowercase Noises, but I would suggest buying the two CD package which gives you Seafront and Carry Us. I have these and the artwork is great to have.)

While the early work of Lowercase Noises was promising and enjoyable, Andrew Othling's one-man band takes a huge step forward with the amazing "Carry Us All Away" for which I read one experienced post-rock blogger call the best release of 2010. I'm not knowledgeable enough about post-rock to make such a claim but I know a great album when I hear one. Othling hails from Albuquerque and handles all instruments and production on his own, with the exception of specials guests here and there. With this album he incurred significant costs in an attempt to push his work to the next level and the results show it.

While Othling excels at times in ambient and drone textures "Carry Us" is really not like that. This being the album that initially sucked me in, I was blown away at the amount of color, melody, and animation present here. When boiled down, these are simply great majestic rock songs sans vocals. A larger drum presence is brought into this one to propel the amazingly pastel guitar work of Othling and the equally beautiful cello of Shannon Harden, whose presence is far greater here, she plays on seven tracks this time out. While pieces have sections of serene pools they will often evolve into large, lumbering waves of exhilaration...nice walls of bass/drums/guitar in energetic fashion break the sections of introspection. Above all the mood and emotion remain balanced between a longing melancholy and hope. In the softer parts Othling's guitar again leads the way over the sparse keyboards, clean and intuitive to your melodic sense, colorful as mentioned, he is a wonderfully original player. He even brings in some banjo along with the cello background to further expand the sound. Lead vocals occur on only one track, and recorded spoken word audio is much less prevalent than on "Seafront." Start to finish this release is just a lovely example of post-rock coming out of its comfort zone to somewhere more engaging. It's also the perfect soundtrack for watching a sunrise or sunset.

This is the clear starting point for those who wish to discover this amazing artist. The album is available via CD or download at a very modest price, so please check out his website for details. The CD is worth the price for the glorious artwork of Terri Othling, the cover painting spreads out over all four panels of the digipak sleeve. One of the finest independent releases of 2010 also features one of the best album covers of the year, one which perfectly conveys the music you will find within.

Lowercase Noises is the musical journey of Andrew Othling, a one-man composer, producer, and multi-instrumentalist from Albuquerque New Mexico. "Marshall", which follows his stellar debut "Seafront", is dedicated to his new son of the same name and released just weeks after his son's birth. "Marshall" is a much quieter and more serene ride than the debut "Seafront." Featuring Othling's atmospheric guitar and keyboards, very few beats, and some guest cello from Shannon Harden, the album drifts by slowly and peacefully, capturing an intimate moment in life. The most obvious connection comes right at the beginning. In the opening of parts of "The Things Your Eyes Have Seen" you can literally feel the love, the music expression succeeds at representing the feelings of love and warmth welcoming a new child. It is contemplative music conveying a sense of wonder and amazement at what was happening while it was written. There is a great effect in "Peeling Crayons" which sounds like breathing, over Othling's clean electric guitar sound. "How Deep the Father's Love" is the one place Andrew injects some punch, with loud drumming and a bit of snarl in his guitar at the end. A bit of release after some long and relaxing moments. "Marshall" contains more of a droning style than its predecessor but it is no less fascinating or inspired. Welcome aboard Marshall, it was very nice to meet you. And as good as the album is even better stuff is coming.

I've been so affected by Lowercase Noises over the last month that I set aside my usual regimen of Italian prog rock to help get this Albuquerque-based post-rock project added to the site. I say project because Lowercase Noises is really one man, the hugely talented composer, producer, and musician Andy Othling. He will have the occasional guest on his albums but for the most part, this is a one-man show which manages to avoid the pitfalls common to one-man shows.

"Seafront" is the debut album and it is a good one. Strains of Eno or quieter Tangerine Dream atmospheres collide with modern post rock and electronic beats in some songs. There is a superb thematic thread running through the album which revolves around looking at the past via spoken word interludes. The most fascinating to me takes place in "Certain Remembrances" when an old woman born in 1876 is reminiscing and speaking of the events in her life to Andy's gentle music. Hugely effective piece of music. You can feel the aura of time passing as you listen. Gentle guitarscapes and keyboards literally float you along. "A Haunt of Jackals" features light beats over Othling's squalling guitar which pleads at times, and other times drives upbeat melody with bright, uplifting chord progressions. When you listen to Haunt in the car the world outside literally becomes a film, Othling's melody becomes such an adept soundtrack, your mind wanders with him. This is mood music which is never background noise, and never boring. It allows you to view your own life from above, I found parts of it almost mind expanding at the risk of sounding precious.

The dialogue returns again with haunting music as we hear wonder described in "It was a Sight." "Evening Wolves" recalls a Portishead vibe with a big bass and tinkling piano over the beats, something of a side trip from the album's feel to this point. "Burning Sand" manages to make an aeronautical weather recording, the most boring of broadcasts, into a pure Floydian dreamscape complete with water sound effects and a Gilmourian lead guitar. "A Rare Social Gathering" again uses some spoken historical recording looking at the behaviours of girls in the 1790s as compared to life in what I assume was the 1950s or 60s. Here Andy rocks out with crashing drums and large guitar bombast as he navigates the waves of time travel.

I've never been a huge post-rock guy but Lowercase Noises is one band that includes enough color and animation to really pull me in. This is a great catalog of work which needs to be heard. Some of the titles include the gorgeous artwork of Terri Othling. With subsequent releases, Andrew Othling continues to improve his craft and composition, becoming one of the most interesting recording artists out there. "Seafront" is a very worthy and contemplative starting point in what I hope is a long ride.