Music Reviews



cover
Artist: Peder Mannerfelt
Title: EP1
Format: 12"
Label: self-released
Rated: *****
Not to be mistaken with Dj Spooky aka That Subliminal Kid, Swedish producer Peder "The Sublimanal Kid" Mannerfelt, one leg of Roll The Dice with Malcom Pardon, moults on the occasion of the launch of his own label and the release of an album that is going to come on Digital Industries to the extent that the above-mentioned sonic appearances could be felt like a tender caress compared to a knockout blow of this EP. He seems to follow similar strategies of Paul "Emptyset" Purgas, who produced his self-named debut on his own label We Can Elude Control over the seven tracks he collected for this first ring of an hopefully long chain as he skillfully kneads some sonic material till the moment it leaps over listeners' eardrums and leaves a sediment on their brain: the chirping rattles which opens the opening track "Hook (end)" got crumbled before emulating a sequence of metallic waves and breaching together a faraway pinball-like noise against an electronic plop, a dying electric circuit got absorbed by an hyponotical jouncy rhythm on the following "Psalm and Songs and Voices", piercing sinewaves sound like burning after a match got striked on the entrancing "Expanding Sinewaves", the hissing of rattlesnakes and the one from an oscillator got weaved together on "Serpant and Cross Modulated Oscillator", scalds and short circuits heat the sonic sphere up on "Pauls Chain", electromechanical regurgitations and abrasive rotors got seethed on "Rhythm Modulated", while the final "With Psalms And Songs And Praises" sounds like the ultimate swallowing of urban life and supposedly Peder Mannerfelt's own voice by surrounding machines.
cover
Artist: iVardensphere (@)
Title: The Methuselah Tree
Format: CD
Label: Metropolis (@)
Rated: *****
After some appetizers on Metropolis from this interesting Canadian "fusionist" band, the announced new album by iVardensphere got finally released by Dave Heckman's label and it doesn't let high expectations down. Named after the Great Basin bristlecone pine tree, the second longest living tree in the world, whose exact location in a grove on the White Mountains of Eastern California nearby Los Angeles has been kept secret in order to safeguard it, "The Methuselah Tree" seems to expound and unroll the theme of natural grandeur and silent majesty clashing with human misery and self-destructive attitude. Such an "environmentalist" declension of eschatology, where the knotty pine and its branches which looks like arms of a prayer striving compassion could subtend a silent teaching to mankind (the sombre voice of Jamie Blacker sings on the final lines ofthe title-track, a collaborative song with Mlada Fronta, "I See A Future So Bleak With Only Dead Leaves/And A Hundred Broken Dreams"), exudes a kind of somewhat fatalist awareness, which is quite common in the scene, but the way they musically transmute this concept is really good: they tempered their porous style, which melts tribal pulses and industrial sonorities, by means of epic and eerie moods and cinematic insertions so that iVardensphere rolls along synaesthetic lanes and arouses mightily visionary suggestions which could surmise a possible crossbreed between Juno Reactor and Two Steps From Hell. Besides some unconvincing tracks such as the song "Society Of Dogs", whose meaningful lyrics and good sonic doornails got somehow neautralised by a predictable song structure with hackneyed arabesque insertions, which makes quite predictable other tracks such as "Observing Bartok (Stamping Dance)" or "Snakecharmer" as well, the stylistical miscellany of this release set many memorable moments aside: even if some tracks ("Eclipse", "Bloodline", "Narada") could sound perfect for action moments of a possible new chapter of Assassin's Creed, I prefer these unchained tracks to other moments of the album due to the devastating energy and the brute force they can emit, but the listener won't fully enter into the spirit of the record without the astonishingly epic introduction on "Mother Of Crows" which features a masterful interpretation by Twilla MacLeod, who also enhances the evocative power of "A Black Sun On The Horizon (Invocation)" or the gothic medley "Second Sleep".
cover
Artist: Marsen Jules (@)
Title: Beautyfear
Format: CD
Label: Oktaf (@)
Rated: *****
A mixture of spleen and vague anxiety sounds like swimming towards intangible depths and anaesthetic abstractions on this new record by Marsen Jules, as if he managed to decode thoughts and worries by a wendersian angel before gushing them into a resounding bucket, whose contents became the varnish of the twelve tracks of this "Beautyfear". As the title could let you easily surmise and according to Jules' own words, "it's an album on the fragility of beauty", whose birthplace had an influence on its sonorities. Masterfully mastered by 12k label head Taylor Deupree, the sequence of synth strings-driven fragile celestial symphonies, which sometimes sound like a distillation of techno with no percussions, dusky thunders, whose menacing halo could surmise some crepuscolar stuff from darkwave or dark ambient fields, reedy aural wavelets and plush sonic fluctations could let you imagine that Marsen abraded a number of suggestions, which got evoked by the place where he created this album during a week stay, a theatre workplace on the top of one hill of Lisbon, where the ideal proximity to a cloudy sky tied in with the panoramic view over that dusty enchanting city. The strange beauty of "Beautyfear" manages to feed expectations on the announced collaboration with Swedish filmmaker Anders Weberg and a forthcoming release that Marsen made after a residence at GRM studuos in Paris, the temple of electroacoustic music, acousmatics and musique concrete.
cover
Artist: Lubomyr Melnyk (@)
Title: Windmills
Format: CD
Label: Hinterzimmer (@)
Rated: *****
Cervantes' Don Quixote fighted against them as he thought they were monstrous enemies, they used to loom like giants over landscapes of notorious painters such as Jan Brueghel, Ivan Aivazovsky, William Callow, Claude Monet and Salvador Dali', who imagined giant butterflies in place of its blades. A windmill is also the protagonist of "The Old Mill", one notorious animation of Silly Symphonies series by Walt Disney, which dates back to 1937. Besides the advanced animation techniques which got tested, it can be considered a proper masterpiece for a number of reasons such as the intelligent use of timing and the score by Leigh Harline, whose musical and sonic supply included interesting effects as well as Johann Strauss' waltz "One day when we were young" managed to emphasize the most dramatic moments and the emotional changes of the funny fauna living inside an old mill before, during and after a violent thunderstorm. According to the interpretation by talented Canadian composer and pianist of Ukrainian origins Lubomyr Melnyk, that windmill could represent a human being, who faces misfortunes, vicissitudes and trials just like the windmill holds out against the destructive force of the wind on the top of a hill. His astonishing musical translation revolves around this vision by means of heart rending melodies, breathtaking emotional keys, restless variations and that whirlwind of extremely rapid notes, which connotes the technique of piano playing he named "Continuous Mode" by which he keeps on holding the record for most number of notes played in one hour (almost 94 thousands individual notes!). The final composition occurred after 3 years of tweak and revisions, where the addition of the lovely 20-minutes lasting suite "The Song Of Windmill's Ghost", whose gentle melodic breeze evokes less anguished and tormented emotions, sounds like the ascension of windmill towards empyrean beatitude! Simply beautiful listening experience!
cover
Artist: Bus
Title: Eagles
Format: 12" vinyl + CD
Label: Shitkatapult
Rated: *****
Eight years after their album "Feelin' Danke", Daniel Meteo and Tom Thiel a.k.a. Bus, are back with a new album titled "Eagles" and for this new release, they landed on a Shitkatapult. Containing eleven songs recording during this time span, Bus on "Eagles" dismissed the vocal parts and composed instrumental tracks in balance between dub, minimal techno and exotica (this is what comes to my mind while listening to "Grove"). Convinced that less is more, the duo made of the absence an important element of the new album: they used wobbling low frequencies working as spectrum filler and then they added micro sounds, samples and a lot of rhythmical elements to enrich the lot. While listening to the album I have a mixed feeling about their effectiveness, because even if they are rhythmically rich, I found them pretty static and I don't find them enough entertaining. Maybe they wanted to reach a sort of zen space emptiness where sound is sound and doesn't need further explanation. Anyway, I found "Soundberg" the best of the lot, as it has upbeat pounding rhythms and a rich sound palette. Check the tracks here http://www.shitkatapult.com/release/eagles
[ Next ] [ Previous ]

[1...10] [11...20] [21...30] [31...40] [41...50] [51...60] [61...70] [71...80] [81...90] [91...100] [101...110] [111...120] [121...130] [131...140] [141...150] [151...160] [161...170] [171...180] [181...190] [191...200] [201...210] [211...220] [221...230] [231...240] [241...250] [251...260] [261...270] [271...280] [281...290] [291...300] [301...310] [311...320] [321...330] [331...340] [341...350] [351...360] [361...370] [371...380] [381...390] [391...400] [401...410] [411...420] [421...430] [431...440] [441...450] [451...460] [461...470] [471...480] [481...490] [491...500] [501...510] [511...520] [521...530] [531...540] [541...550] [551...560] [561...570] [571...580] [581...590] [591...600] [601] [602] [603] [604] [605] [606] [607] [608] [609] [610] [611...620] [621...630] [631...640] [641...650] [651...660] [661...670] [671...680] [681...690] [691...700] [701...710] [711...720] [721...730] [731...740] [741...750] [751...760] [761...770] [771...780] [781...790] [791...800] [801...810] [811...820] [821...830] [831...840] [841...850] [851...860] [861...870] [871...880] [881...890] [891...900] [901...910] [911...920] [921...930] [931...940] [941...950] [951...960] [961...970] [971...980] [981...990] [991...1000] [1001...1010] [1011...1020] [1021...1030] [1031...1040] [1041...1050] [1051...1060] [1061...1070] [1071...1080] [1081...1090] [1091...1100] [1101...1110] [1111...1120] [1121...1130] [1131...1140] [1141...1150] [1151...1160] [1161...1170] [1171...1180] [1181...1190] [1191...1200] [1201...1210] [1211...1220] [1221...1230] [1231...1240] [1241...1250] [1251...1260] [1261...1270] [1271...1280] [1281...1290] [1291...1300] [1301...1310] [1311...1320] [1321...1330] [1331...1340] [1341...1350] [1351...1360] [1361...1370] [1371...1380] [1381...1390] [1391...1400] [1401...1410] [1411...1420] [1421...1430] [1431...1440] [1441...1450] [1451...1460] [1461...1470] [1471...1480] [1481...1490] [1491...1500] [1501...1510] [1511...1520] [1521...1530] [1531...1540] [1541...1550] [1551...1560] [1561...1570] [1571...1580] [1581...1590] [1591...1600] [1601...1610] [1611...1620] [1621...1630] [1631...1640] [1641...1650] [1651...1660] [1661...1670] [1671...1680] [1681...1690] [1691...1700] [1701...1710] [1711...1720] [1721...1730] [1731...1740] [1741...1750] [1751...1760] [1761...1770] [1771...1780] [1781...1790] [1791...1800] [1801...1810] [1811...1820] [1821...1830] [1831...1840] [1841...1850] [1851...1860] [1861...1870] [1871...1880] [1881...1890] [1891...1900] [1901...1910] [1911...1920] [1921...1930] [1931...1940] [1941...1950] [1951...1960] [1961...1970] [1971...1980] [1981...1990] [1991...2000] [2001...2010] [2011...2020] [2021...2030] [2031...2040] [2041...2050] [2051...2060] [2061...2070] [2071...2080] [2081...2090] [2091...2100] [2101...2110] [2111...2120]


Search All Reviews:
[ Advanced Search ]

Chain D.L.K. design by Marc Urselli
Suffusion WordPress theme by Sayontan Sinha