The first thing to point out about the music on this 10-track instrumental experimental / ambient music orientated album is that it certainly has quality and fine musicianship but I would imagine its overall appeal would be quite limited to only those people who are fans of this kind of music. It is an arguable point I know, but for me ambient style music is not exactly the kind of stuff you would particularly share with others, that is unless everyone else with you at the time is in exactly the same frame of listening mind. For me it is more of a solitary kind of thing where you would just want to sit yourself down, plug in and bathe in the complications of the music. So I found listening to this album mostly passages of electric guitar with odd interspersions of ambient electric guitar, together with electronic tinkering, and seemingly a full on exercise on the drum kit a little overwhelming. I personally found it not to be the kind of music where you could just close your eyes and drift off into total oblivion and fly away to some kind of higher plain. The main reason for this is that the balance of melodic charm is far outweighed by dreary periods of oscillating nothingness. In truth I really couldn't but help compare some of this music too that of a computer game soundtrack or backing. This is not to say that it isn’t captivating in parts but to my ears it was not totally absorbing and quite often fragmented . Certainly a reviewer more tuned into Henry Cow or Robert Fripp would,no doubt, hold a completely different point of view to my above ramblings. For me it would be the perfect album to play when you want to get rid of dinner guests who have far out-rstayed their welcome.
My further internet based investigations revealed that “Simple Past” is a based on the notion of temporality of the human world, conveying the realization that even when we work hard and try our best, our lives will sooner or later disappear into the endless emptiness. “No! didn’t make much sense to me either!”
Robert Jürjendal trained as a classical guitarist and later studied Robert Fripp's Guitar Craft and learned to play loop music.
He was composer for the films: The Measure of Man (documentary) (2011), Teispool vihma (short) (2004).
Instruments and Gear
As an experimental guitarist and composer, Robert uses a wide variety of instruments and effects to help him create musical textures that set the mood of his compositions. In an interview with Guitar Moderne, Robert revealed some of the equipment he most often uses. His main guitar is an Ovation semi acoustic steel guitar equipped with a MIDI pickup that he uses with a Roland VG-8 guitar processor. He also uses this processor with a Breedlove C15 Custom semi-acoustic guitar. In addition to these guitars and processor, Robert also uses several guitar effects and pedals. In the interview he revealed that he uses an E-bow, Electro Harmonix HOG, Roland Space Echo, and a Boss RC50 Loop Station. In addition to these effects, Robert also uses a Neunaber Audio Effects
Summary:An album firmly based on the experimental side of the progressive rock fence and which would certainly appeal to aficionado’s of Brian Eno, Henry Cow and Brian Fripp.
Artwork: Fairly sparse but contains basic information in respect to track order and instrumentation.
1. No or Yes.
4. Melting Memories.
5. Up Up.
6. Old Stories.
10, Simple Past.