Ideal Recordings is the Swedish electronical label to watch out for at the moment. Happily releasing albums ranging from lush ambience to technoid precision beats and power noise, they are bridging the gaps between genres that have always had much in common, but have spent too long denying it.
Ideal is based in Gothenburg and share this generous attitude with their predecessors in that town, the Radium 226.05 Association and record label that revolutionized experimental music in Sweden in the 80:s. From Radium sprang, just to name a few, The Lucky People Center International, artists like Carl Michael von Hausswolf (also an electronic musician) and rock band Union Carbide Productions, later to become the commercially successful and rather bland The Soundtrack of Our Lives.
Henrik Rylander handled the drums in Union Carbide, but chose to pursue a more experimental musical direction than his former bandmates. On his first solo album ”Från en obestämd plats i rummet” his background in rock is very present, and though a droning, suggestive work seems to be the aim, the sound of the drums and guitars is too close to an ordinary rock song to ever break free of that format. Five years hence, Rylander has changed his sound considerably on ”Formation”, and this third album further establishes the concept he came up with then, namely the rhythmic use of feedback from various fx-units.
Henrik Rylander has exhibited audiovisual art and some of the tracks seem to have developed from that context. His trademark rhythms have become pulses of sound, and the sound textures are mostly vibrating hums, drones or low rumbles rather than screeching feedback noise. If the arrangements could be called traditional, it is only in the sense that Pan Sonic and others have established something of a tradition of finding and using the unintentional and otherwise unwished for ghost sounds of the machine, which Rylander can’t help imitating to some extent. ”Speaker as Microphone to Speaker” touches on the clicks’n’cuts genre while ”Flange” is closer to Masonna-style Japanese noise. Still, it is a focused and intense album, leaving your ears quite raw from the experience.