“Flow is an album that refuses the boundaries of language — it is just electronic music. Flow is everything you might think electronic music is and, at the same time, everything electronic music is not. Stephan Dragesser aka The Euphoric Hum writes, “Often my pieces are based on little loops, and the tracks are based on long sessions experiment with sounds, to bring the sound in a form, make a track, is always a problem for me, because I can basically get lost.” Getting lost is apropos of everything and nothing when writing about Flow.”

(read the entire review here)
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You can listen to and/or download “Flow” by the Euphoric Hum on Vuzh Music by following this link:
http://www.vuzhmusic.com/releases/flow.html

“59 Hz,” is 3:22 of what sounds like a ground hum. If you’re expecting the guitar to plug in and this humming sound to go away, well, that doesn’t happen. The noise is the star.

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“Clathrate Gun Hypothesis,” sounds like an echoey underwater chamber, an alien life form beside some stalactites. (…) Several rhythmic elements operating independently, with that tension in the middle. This one is prettified chaos.

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Read the full review here:
http://autoreversetoinfinity.wordpress.com/2011/08/05/reviews-c-reider-formerly-sine-drones-and-owning-extinctions-2011/

http://autoreversetoinfinity.wordpress.com/2011/07/14/interview-c-reider-of-vuzh-music/

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Disquiet ezine wrote an informative article about the new C. Reider release “Formerly Sine Drones”, much space is given to the methodology & constraints of this strange little work.
http://disquiet.com/2011/07/11/c-reider-modisti-sine-wave/
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AUTOreverse also reviewed the lovely new Auzel release, Ian compared it to things like Skinner Box, Rasputina & 4AD releases. Money quote: “This album is scary and weird. I like it very much.”
http://autoreversetoinfinity.wordpress.com/2011/07/15/review-auzel-old-2011/
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Lastly, I joined the silly new social network Google Plus. Add me or whatever.
https://plus.google.com/115824106778896363774

14 shortish pieces. Micro, minimalistic. Lots of samples, surrounded by rustic, homemade vocal drones. “I Remember It More Now” is a couple of rhythmic, glitchy loops beset by noise-abuse. “The Maid And The Cook” is kooky and frenetic, using some seriously high frequencies amid piano and xylophone-type sounds. Like a lost piece by Skinner Box. “Incorrect Spell” continues similarly, maybe like one of the early Rasputina album interludes. “Too True” is an all-too-brief vocal piece that sounds like some lost record on 4AD that I wish I had heard before. Wow. “Herringbone” is a whispery, breathy, trippy, heavily-processed conversation. “She Turned Into The Dog” is just gorgeous ambience, sounds like an echoey cello or an e-bow with a bit of humming on top. This album is scary and weird. I like it very much. A mighty fine release.

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http://autoreversetoinfinity.wordpress.com/2011/07/15/review-auzel-old-2011/

I am a voracious listener. I listen to loads of music, as much new stuff as possible all the time. I listen to my surroundings everywhere I go… there are interesting sounds everywhere. I try not to listen to what people say, if I can help it, but I do listen to the way they say it, I love voices and inflections and accents. All sound influences me. Listening is maybe something like a religion.

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Read the entire monstrosity here:
http://autoreversetoinfinity.wordpress.com/2011/07/14/interview-c-reider-of-vuzh-music/

The sine wave is arguably the most rudimentary building block of electronic music. It is the source for various forms of synthesis: a simple sonic object that can be tweaked, prodded, processed, and layered to create new sounds. Simple as its sonic makeup is, that undulating up and down cycle, it can be, in the hands of some musicians, an object of intense aural attention unto itself. C. Reider has made a prolific habit of using constraints as a means toward creative ends, perhaps most notably in the employment of early drum machines in the production of music for which rhythm is not the main point. On his recent freely downloadable album Formerly Sine Drones, released by the Modisti netlabel, Reider makes several different sine waves do marvelous things.

The tracks range from wildly active to deeply sedate. The latter is the case with the album’s final cut (MP3), titled “777 Hz.” All the tracks are named for the frequency of the sine wave from which they are built, ranging between “12 Hz” to “3456 Hz,” as chosen by followers of his twitter.com/vuzhmusic account when he put a call out for random numbers.

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There’s more explanatory info, a streaming track and a graphic illustration at the article:
http://disquiet.com/2011/07/11/c-reider-modisti-sine-wave/

As Marc Weidenbaum wrote about C. Reider last year in the Disquiet review of Steam Inspector (2009), Reider is a ”deeply curious (and curiosity-inducing) musician”. Maybe it’s this curiosity for both musician and listener that makes C. Reider such a daring and admired experimental sound artist. On this blog, I’ve reviewed several works by Reider from his collaboration with Desohill, Falling Into Disrepair (2010); his recent solo work, Owning Extinctions (2011); his Crook’d Finger remixes (2000); and the community remix of C. Reider’s work (2011). But even if you listen to his other recent releases: Inconstant (2008), Linguism (2008), and the Electric Quintet series (2008-2009), one would experience an artist who doesn’t retread the same tired experimental hooks that were successful in previous releases. It is always something new. There are hundreds of electronic artists who call themselves “experimental” or “Avant-Garde”, but in reality they just are continuing in some sort of post-Commodore electronic noise genre that they are comfortable in. Reider does not do that. He produces work that always seems outside his comfort zone — something all experimental artists should being do. For his listeners the only thing we can expect from a C. Reider release is that it will be different from the previous C. Reider release.
Even though my dogs did not like is latest release on Modisti, Formerly Sine Drones, my curiosity as well as that of Reider’s makes this record a great addition to the musician’s discography. More than just tones and sound manipulations, Reider takes an atypical and almost deviant exploration into electronic frequencies.
http://www.actsofsilence.com/album-review/multiple-functions/

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The Agier blog’s feature “Recent Music Heroes” reviewed the 2011 Vuzh Music re-release of 2000′s “Crook’d Finger vs. Harlan / Crook’d Finger vs. D. Rhythm:O“, saying:

C. Reider is a unsung hero of darkly brooding electronic music who has been involved in music for about two decades, being very prolific as solo artist (under his own name; Luster; Crook`d Finger), having loads of collaborations and split albums, and having participated in such collective as Drone Forest. He has worked as musical reviewer and headed up a label titled as Vuzh Music. However, the initial release of this remastered version was issued 11 years ago. Someone called as Finger (ha-ha) has re-worked the versions of such artists as Harlan and D. Rhythm:O, respectively. The first side of the album (or the first side of the cassette release initially) is a bit more joyous industrial-based appearance mixing it up with Latin breaks and heavily stomping cadences and riffs. The flip side of it, however, it will be revolving around the axis of ominously sounding industrial techno, profound dystopiac reverberations and murky dub progressions. For instance, if you are deeply get involved in music of Justin Broadrick`s projects or the similar kind, this album must be heard at least as well.
http://agier.blogspot.com/2011/06/crookd-finger-vs-harlan-vs-drhythmo.html

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“Using a wide variety of sound sources, he’s created pieces that emphatically describe various parts of the heinous crime to our environment, and the lackadaisical reaction to it by the corporation directly involved and the government we’ve charged with protecting our way of life.”

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The review can be found here:
Jeff Sampson review of “Owning Extinctions”
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While there, be sure to hit his music player, sounds like this fellow has some pretty fine ambient music to enjoy.
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Meanwhile, enjoy again the SoundCloud track from this album:
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Underwater Plume by vuzhmusic