Music Reviews

Container: LP

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Oct 14 2015
Artist: Container (@)
Title: LP
Format: 12"
Label: Spectrum Spools
Rated: *****
A wise mover must take both the lubricants that facilitate the movement and possible friction into account and an experienced agitator like Ren Schofield aka Container certainly does. The seven movements on this "LP" sound like a perpetual challenge by frictionless and immediate rhythmical pre-sets (the rhythmical ignition of some tracks like "Remover" or "Peripheral" sound like slightly distorted pre-sets of cheap electronic devices) against a series of factors which rises attrition to levels that could broke hig engines: the opening "Eject" features that kind of trance-inducing grip of some folk dances, while most of the other engines drew lubricants, dust and stones from the most obsessive extrusions of Detroit techno and Japanese noisy industrial techno. The highly abrasive gears, that he sounds like putting under ferocious and controlled strain, manage to be enjoyable as their course is realy unpredictable and thrilling, even when his way of layering polyrhithms and mechanical grasps gets closer to saturation ("Peripheral", "Appliance" and other moments when listener could imagine that these outputs could come from a sadistic love of machines by their author). Nice and no/icy way of morphing and "grooving" noises.

Dead Man’s Chest: Nautilus EP

 Posted by Vito Camarretta (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Oct 13 2015
Artist: Dead Man’s Chest
Title: Nautilus EP
Format: 12"
Label: Ingredients Records (@)
Rated: *****
A somehow nostalgic return to the source by many d'n'b producers, who are taking dust away from the classical amen break and well known sonci bullets that shaked the dawn of junglism, is a proved fact. It's not so usual that similar reprises manage to be original, but keeping the sole of stilistical feet on the street between a glorios past and a possible future could be an interesting solution in order to mix well-known ingredients up again. Eveson's new alter ego Dead Man's Chest sounds like a re-vamped revival of lte 90ies jungle, when amen break used to collide against UK rave sonorities, particularly on Side A: the disturbed electric connection, that ignites the initial "Liquid 94", brings listener back to those years and the amazing vocals could let you imagine a Flash-drawn cartoon about the fugue of a junglist hero from the firing guns of fashionist criminals, while the protagonist of this imaginary cartoon could be the amen break itself on the following "Throat Hardcore", where it seems to hide and resurface by means of the hackneyed trick on mixer's gain in order to render such an effect. The flashbacks on B side comes from the sole, which moves closer to the futuristic side: the mellow lunar tones of "Nautilus" - my fav - comes back to the melting of maen break with more chill-dub sonorities, while the oriental spots of "The Future" sounds like clasping the recent geographical boundaries reached by bass-driven music.

Cursa/Gamma: Egg Cup/Warthog

 Posted by Vito Camarretta (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Oct 05 2015
Artist: Cursa/Gamma
Title: Egg Cup/Warthog
Format: Download Only (MP3 + Lossless)
Label: Plasma Audio
Rated: *****
Another blessing on the expanding Plasma catalogue got thrown by Cursa, the London-based bicephalous project by Tim Ogilvie and Kit Maloney, whose declension of neurofunk keeps on matching together chrome-plated sonorities, dizzy drum rolling, bouncy hooks for junglists and gloomy robotic atmosphere on the hitting tune "Egg Cup", a crackling formula which is going to delight fans of quite known d'n'b entities such as Noisia, Lynx, Ed Rush'n'Optical or Survey and could let you imagine the scary white rabbit, who bedevils a troubled teen during a nap, could cross the boundaries between reality and fiction and materialize in the guise of an electricity-driven tormenting monster. Likewise tech-hey and slightly disquieting, the nettlesome plasma silicium that Hungarian producer Mark Gulacsi aka Gamma poured into chains of elastic bouncing bumps and screwing basslines on his tune "Warthog". Intended for the lovers of the twitchier side of bass-driven music.
Artist: Luxury Mollusc / Ontervjabbit / Animal Machine (@)
Title: s/t
Format: CD
Label: [&] (@)
Rated: *****
I was not familiar with any of these bands before getting this, but looking at the cover and the lo-fi presentation (artwork is a creepy drawing on pen and paper, blank CDR), I kind of expected some noise here (especially since it came in the same package as Sist En 343, which was some great noise). So I was a bit surprised when I put on the disc. First up, we have Luxury Mollusc with 'Fishing For Chalk Lung Breathing Is A Chore Wax Tundra.' This is gritty and a bit noisy, but not really noise. Imagine a post apocalyptic landscape where the machines are still running simply because there is no one left to shut them off. As you can expect, the machines have become a bit rusted and parts have started to fall off of them, but they keep grinding away. This is the feel that we begin with. Lots of reverb gives it a cavernous feel, and it gets progressively noisy as it goes along. The machines are starting to break down and it's beginning to show. Nicely done. Next up, Ontervjabbit comes in with all guns firing with 'Disruption Slot' This is a slab of heavy, feedback laden noise that crushes everything in its path. There are recurring themes throughout, but this is surprisingly good if you like rumbling, grinding noise. As such, it manages to keep the nonstop intensity going while still being engaging. It ends with an ear piercing squeal of feedback, just as I thought it would. Well done. If you were looking for some kind of aural respite after Ontervjabbit's assault, you will find none in Animal Machine's 'Live at the Rehearsal 14.10.12.' But while Ontervjabbit functioned mostly in the lower end of the spectrum, Animal Machine aims for the treble side with lots of white noise before heading into a segment of rumbling bass and feedback about halfway through. So much feedback. If you like harsh noise, this will definitely be up your alley. Overall, don't let the cover fool you ' this is well worth checking out. This album weighs in at around 66 minutes.
Sep 24 2015
Artist: John T.Gast (@)
Title: Excerpts
Format: CD
Label: Planet Mu (@)
Rated: *****
The mysterious halo around the name of John T.Gast - supposedly a fake identity -, who credited on Hype Williams' LP "Black Is Beautiful" as well as on different releases of both Dean Blunt and Inga Copeland aka Karen Glass, the two legs of Hype Williams, got fostered by this album, whose mysterious halo as well as the above-mentioned connection with the likewise mysterious Hype Williams, whose amazing and somehow original aesthetics where an elusive bubble of synth-pop, lo-fi tunes, soundcollages, trip-hop like desolation, songwriting, garage and bass-driven music resurfaced from London's chaotic nebula of UK minimal-synth sonorities that got spread out since the first years of the new millunium, makes sense. The words by which Gast's debut got introduced, which refers to both sentimental and seasonal freezing and battling ("The majority recorded early 2014 in SW England. A particularly fierce winter. Woman reasserting power. Man fighting in the dark. The Cold War continues."), are the framwork for most of the sonorities that are going to be poured into headphones and loudspeakers: the opening drone of "Shanti-ites" sounds like the opening of a magical floodgate, which got gradually released on the viscuously acid movement of the following "Infection" and the weirding housey modules of "Congress", whose lubricated groove counterbalances a set of sonic entities which screech like brakes. The confused cauldron of vocal snippets of "£" got poured into the overshadowed tones of "Ceremony", which could surmise some clouded stuff by Future Sound Of London and prepares the listener to the darker part of the album: with the exception of the groovy strangulation and the Detroitesque tech-house swings of the tail on "Claim Your Limbs", the gloomy "Green", which could let listener imagine a spectral ship in the thick fog of London's harbour which is going to set sail, the perfumed soot and the thrilling noir atmospheres of "White Noise/Dys", an excerpt which got reprised before the end, as well as the electronic eddies of "Sedna" tunnel listeners into the oblique sense of otherness and blissfully terse alienation of the final "Torch". John Y Gast's hypnagogic refluxes are so closer to Hype Williams' one than I won't wonder to know John is just their brainchild.

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