Music Reviews



Gudrun Gut: Moment Remixes

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
Synth Pop / Electro Pop / Synth-Electronica
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Aug 16 2019
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Artist: Gudrun Gut
Title: Moment Remixes
Format: Download Only (MP3 + Lossless)
Label: Monika Enterprise
Gudrun Gut’s strong album “Moment”, released last year, gets revisited here for a four-pack of relatively straightforward, danceable slices of electropop that’s not nearly as dark as I was expecting. Chugging synth arps, acid squelches and lightly broken drum patterns are the bed for a respectful take on the four brooding original vocals.

Legendary German electro-techno producer T.Raumschmiere’s take on “Lover” is relatively mild by previous standards, and the Pilocka Krach remix of Bowie cover “Boys Keep Swinging” is nothing short of synth-pop.

Dasha Rush’s version of “Baby I Can Drive My Car” has a rolling, progressive-house-ish breakbeat and some lovely pads, but never quite manages to go anywhere, before the almost-ten-minute-long Paul Frick mix of “Musik” sets the breathy and understated vocal against an endearing slow rolling techno groove with a really enjoyable sense of purpose and some rather lush detailing, making it a standout.

No real standout reworks here unfortunately, but an enjoyable if surprisingly lightweight electropop supplement for fans of last year’s album.

Aidan Casserly: Black Eyes

 Posted by Maurizio Pustianaz (@)   Synth Pop / Electro Pop / Synth-Electronica
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Aug 12 2019
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Artist: Aidan Casserly
Title: Black Eyes
Format: Download Only (MP3 + Lossless)
Label: House Of Analogue
Rated: *****
Aidan Casserly is always on the move and just after releasing his newest album as Empire State Human, he's already releasing a mini album of Dead Or Alive re-interpretations. For "Black Eyeas", he picked up five songs, all coming from albums and not as famous as other ones released as singles and re-imagined them acustically. Three out of five ("Then There Was You", "Special Star" and "Come Inside") are coming from "Mad, Bad And Dangerous To Know". The original ones have an Euro pop flavor (even more commercial than their most successfull album "Youthquake"), with a bit of orchestration while Aidan versions strip them to the bone and slow them down. Piano, sax, a bit of strings and an intimate atmosphere give to them a new light. "Far Too Hard", from their first album "Sophisticated Boom Boom" already had an orchestral opening and a bit of French dramatic touch, so it was just ready for such treatment. Aidan pushed harder the "drama" pedal and gave a really nice performance (maybe the best of the lot). "My Forbidden Lover" was the closing track of the 1989 album "Nude" and was a dance pop track and in the new version is sounding heartbreaking and with a nice distorted guitar on the backgroud that help building the atmosphere. Nice EP not only for Dead Or Alive fans.

HIN: Warmer Weather (EP)

 Posted by Steve Mecca   Synth Pop / Electro Pop / Synth-Electronica
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Aug 08 2019
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Artist: HIN (@)
Title: Warmer Weather (EP)
Format: CD + Download
Label: Sound In Silence Records (@)
Rated: *****
Once again we delve into another offering from the small custom label, Sound in Silence Records, and a new project called HIN, which is comprised of London UK based artist Jerome Alexander (his main project being the ambient/folktronica Message To Bears) and transatlantic partner from Los Angeles, Justin Lee Radford (his current project being The Kids And The Cosmos). Jerome has had several previous releases both under his MTB moniker and his own name, while Justin has cultivated extensive collaborations with film makers, environmentalists, astronauts, activists, scientists and social activists, composing music for films, VR, commercials, art installations, and theatre. Apparently these two were school chums back in the day, and likely social media renewed their acquaintance.

'Warmer Weather' consists of five tracks between 2:24 and 5:48 in length and clocking in at about 20 minutes. When it comes right down to it, the SIS one-sheet provides a better description of the music on 'Warmer Weather' than what I could have dreamed up- "HIN's debut deals with feelings of isolation, environmentalism and friendship, and is a perfect mix of dreamy electronica, elegant dream pop and soothing ambient. Utilizing wistful guitars, warm pads, hazy synths, enchanting electric piano melodies, deep bass lines, gentle male and childlike female vocals, intricate beats and glitchy electronics, HIN create an EP full of emotive textures and sublime soundscapes." Yep, that pretty much sums it up. The music is very engaging in such an innocent, naive way, with no agenda or attempt to pull you in a particular direction. It's a pop-ambient hybrid that succumbs to neither convention nor experimentalism. Perfect but not flawless, sweet without being saccharine, ambitious but not epic, and esoteric yet accessible, this is the way 'Warmer Weather' comes across. If I had to describe it succinctly though, I'd call it mini-marvelous. For that certain void in your listening experience when it seems like nothing in particular will do, try 'Warmer Weather'. I think it will hit the spot. As usual with Sound in Silence releases, this is a limited (to 300), numbered edition in a hand-stamped cardboard envelope with a color image printed on polaroid style photo paper. (Also give you a download code.) Otherwise available as a digital download.

Tralala Blip: Eat My Codes If Your Light Falls

 Posted by Stuart Bruce (@)   Synth Pop / Electro Pop / Synth-Electronica
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Jul 17 2019
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Artist: Tralala Blip
Title: Eat My Codes If Your Light Falls
Format: 12" vinyl + Download
Label: Someone Good
It’s almost a shame that the promotion for Tralala Blip’s first full album in over five years still puts so much emphasis on the five band members’ status as differently abled individuals, as it takes attention away from an end product which is worthy of attention regardless of how it was created. The fact there were additional challenges in its creation makes it more impressive, and no disrespect is intended, but it’s an album that deserves repeat listens regardless of the individuals behind it.

It’s a short 8-track collection of quirky alt-pop with a healthy dose of both modern-sounding and more synthwavey electronica elements. Bright synth pads, drum machine and clap rhythms, verse-chorus vocals and generally upbeat vibes are the core, with other details coming and going on demand. That said, there’s a modesty and a laptop-staring introspection at times that make it feel more honest and unique, especially in a group setting with multiple vocalists where vibes are sometimes more inclined to turn to party sounds.

Tracks like “Voodoo Pins” are relatively conventional, almost rock-like, with cheery 80’s stabs and chants that make it decidedly radio-friendly. “Voltage Flowers” makes me think of Ninthwave Records, while “Nightmare Land Welcomes You To” has a songwriting quality to it that reminds me of fellow Australians Infusion at their broodiest, whilst also having shades of M83 in the more droney production elements. I may be overdoing it here but “Dear Formless”, another highlight, recalls Midnight Juggernauts- coincidentally another Australian band.

There are odder moments too. Opener “Pub Talk” is a glitchy downtempo affair that would sound at home on Planet Mu. Ballad-like “Star Of Hope”’s heavily effected vocal takes on an Eastern-sounding mantra-like quality. “The Canyon” is a nicely atmospheric winding-down conclusion, an album-closer in a classic style.

If I could change one thing about this release, I’d tweak the mixes to make the vocals more prominent and clear. If I could change a second thing, I’d make it all last longer- it’s only 30 minutes in total- because apart from those two details it’s one of the freshest-sounding pop albums I’ve heard in ages and it leaves me very much wanting more.

Glok: Dissident

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
Synth Pop / Electro Pop / Synth-Electronica
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Jul 11 2019
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Artist: Glok
Title: Dissident
Format: CD & Vinyl
Label: Bytes
Andy Bell- not the Erasure one, the one from Ride and the one previously a bassist with Oasis- yes, that Oasis- wanted to keep his middle-aged-guitarist status a secret so he could put out some much more synthwave works without prejudice and preconception, so for a couple of years, Glok was a mystery. The veil is now lifted, but given my lack of familiarity with Ride or affinity with Oasis, I find myself able to review it without prejudice anyway.

The nearly-20-minute title track is very much in the latter-day Tangerine Dream mould- a thoroughly digital, slowly changing and progressive bit of synthwave that’s not overtly retro but isn’t old fashioned either, decorated with enough care and detail to keep things balanced between interesting and mesmeric.

The rest of the tracks are less ambitious, but a bit broader in tone. “Kolokol” is sonically in the same ballpark, but with a more subdued structure that brings it closer to mellow belearic techno, but with the drums turned right down and the synth washes brought forward to dominate the track. “Pulsing” channels the 90’s trance vibes of Salt Tank or Union Jack into that format, to very successful effect and with a positive tone that makes it a highlight.

The four four-minute tracks that make up the rest of side B feel more like miscellaneous experiments and unfinished pieces than a coherent album conclusion, but they’re not without their merit. “Weaver” is faintly trip-hoppy, with a nice guitar melody line, but with a slightly flat and forgettable groove that perhaps skirts too close to library music, while “Projected Sounds” is gentle plinking over a Kraftwerk-esque rhythm pattern. The twangy guitar and synth blend in “Cloud Cover” is reminiscent of State Of Grace but without the vocal, and somehow ends up sound tired rather than relaxed, but final piece “Exit Through The Skylight”’s more complex drum patterns and just faintly toothy synth work provides a more interesting flavour to conclude with.

It’s the title track that really shines here, and along with “Pulsing”, the admission price is certainly justified, but it does run out of steam somewhat before the end.


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