Miki Yui: lupe luep peul epul

yui-llpe.jpg (11k) Miki Yui: lupe luep peul epul
(LINE - 2001)

I get a little more from Miki Yui's electrominimal soundscapes; these sonic transformations aren't as frustratingly quiet as I've found some LINE releases to be...

Miki (a female microsounder... cool!) says the pieces of lupe luep peul epul are meant to be played in "random" mode, and she asks "please play at transparent levels in different atmospheres". I'll vouch that doing so results in a pleasantly light immersion into the enigmatic.

Phantasmal/metallic ki's vaporous fluctuations surge and recede mysteriously. A sharp-edged bleep opens mpsi, slipping then into grainy textural wisps like drifting sands. torli's unfurling feedback is backed by less-intrusive activities of indistinct ghostly/mechanical natures.

Sizzling sound molecules wash across aawa like ocean waves on a shore. Light staccato clicks pitterpat over a droning sheen, in the entrancing, but all-too-brief, yu. koko continues to demonstrate a predilection toward metallized soundforms, as bells ring over sampled street noise.

Utterly obtuse, yet somehow comforting, the indefinable atmospheres of obonbon hum and flutter with ringing accompaniment. The brief squeal that is viim (0:06), leads to the question... can a six-second squeal really be considered a "track"? Distant trainlike rumbles cross a gaseous plane ooa (4:57), ruffling in vague spurts.

A final (when playing it non-randomly straight-through, of course) haze of humming machine-like radiance iusu, emits glowing loops and higher pitched tones.

Miki Yui's strange experimentations avoid becoming annoying, due to their quiet (but not indiscernable) natures and to thoughtful arrangement of the unusual elements. I'm not sure what lupe luep peul epul means exactly, but I like to listen anyway... an 8.7 for subtle surrealistic sounds and not-too-abrasive microscopics.

We'll be hearing more from 12k (LINE's parent-label) next month... so stay tuned.

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This review posted April 30, 2001

AmbiEntrance © 2001-1997 by David J Opdyke (except CD cover art, rights retained by original owners).