Electronics / EBM / Electronica
Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
Industrial Noise / Power Noise / Harsh Noise
Synth Pop / Electro Pop / Synth-Electronica
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Odd / Field Recording
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
May 31 2004
New release by Raffaele Serra on AFE Records (see archive for previous reviews), packaged in a gorgeous carboard cover. Partly inspired by Fleur Jaeggy's "Sweet days of discipline", "La spectre de la rose" is a quite sombre work, and a kind of lengthy summa of Serra's different souls, mixing ambient, electronica, and soundtrack-like compositions. The cd opens with the unquiet ambient drone of "Siege of the Unseen", then features rhythmic tracks like "Iron Dream" and "Love Vs. Gravity" (similar to the previous work, "Europe Endless"), and even some ("Stars like dust", "Ticket to anywhere") that could be a colder electronic version of sixties lounge. It's a lengthy release (70'), and at times I wished the ideas were more concentrated, or that some patterns were more varied - but anyway, an engaging listen nonetheless.
"The live performance consists in undergoing alterations the sound broadcasted in real time by the television networks, showing images at the same time". Uh? Mediocre harsh noise - not even that harsh - generated by tv audio though distortion and phaser, or whatever. Jeez, I could even recognize a footbal match. Why should I listen to 60' of this? Is the concept that interesting? Isn't tv bad enough, should I also listen to its harsh noise version?
May 30 2004
Din-ST (also known as Dynasty, Din, Dj Maxximus, Fever, F.Stader) is ready to drop his urban-digital-core on us thanks to Asphodel (in San Francisco) and Schematic (in Miami), who teamed up to deliver "yamu d'din", a concentrate of elven tracks of experimental broken-core insanity. It's hard to describe Din-ST's style, as it draws from a tradition of digitalcore that has always been hard, by choice, to identify and categorize. What characterizes his style is the occasional addition of quasi dancehall-style MC-ing and street-style hip hop ministrations (hence I called it urban-digital-core), but most importantly the slice & dice approach to his broken beats and un-even rhythmical constructions. The whole thing flows, but his stylish hiccups don't fail to add that vein of punk-ish uncertainty to the mixture. In other words, don't expect another Atari Teenage Riot offsring just because you heard the words digital hardcore, this goes beyond the scope of hardcore and reaches into the everyday life of street and rave culture, carrying the dark shadow of society around as a gift to expression. Could be even more interesting though...
May 30 2004
Miami, FL based label Schematic (the same label of Shapeshifter and The Hearts Of Darknesses, who we have interviewed and proudly discovered before he got signed) has scouted another new gemm in the world of electro-breakcore, and to know where they found this laptop artist seems to be top secret. o9's "Church of the Ghetto P.C." fires off his debut with an exhilarating kick ass breakcore blast and keeps up the good work (and the pace) with most of the following tracks. The dude has learned the lesson from the British masters (mostly those signed to Warp), that's for sure, but has also made a point in echoing the sound of labels such as Mego, Hive, Raster-Noton, Unschooled etc. Altough I am afraid the intensity of the album sort of spirals downward as the listening continues, the quality is maintained and the impact curve probably suits an immersive experience that can go from dancing to listening and chilling.
May 30 2004
Ashtool is musician Mirco Rizzi, a Turin, Italy based artist whose music is a cross road of experimental, industrial, dark, ambient and noise.The album also features guest collaborations by Daniele Brusaschetto (pretty much the godfather of that local scene), Oscar Mucci, Paul Beauchamp, Micaela Michetti and the saavy engineering skills of the ubiquitous Marco Milanesio.From underneath his loft bed, Mirco's been fishing around his pool of influences and ends up gently plucking the strings of all the above mentioned genres, with leftfield humble minimalistic excursions and louder sonic ministrations. His combination of electric and acoustic sounds generates tension and relaxation, at the same time. Guitar improvisations are blended in with all sort of types of noises, occasionally industrial rhythms (in classical Brusa-style), voices (mostly spoken) and other sounds, resulting in a dynamic and multifaceted album that ranges from beautiful atmospheric tracks ("Meeting a Friend", "Passegiata", or "Sexes3" and "Ridolini/th(ou)gh(t)s" and their gorgeous jazzy treated guitars) to loud attacks on eardrums ("Mu", "Nulla Mi E' Dovuto" or "Cerchireprise", with its interesting quasi orchestral samples), and everything in between (like the sweet Warp-ish sounding "Saleccia5").It is definitely one of those albums you'd have to listen to at an appropriate volume and with the right state of mind, in order to appreciate its nice and hidden subtleties.