135 Responses to “Reviews”

  1. […] Source: […]

  2. […] ‘It’s even almost pop (…) as all the experimental effort are bounded in a clear and classic musical development.’ chain d.l.k. […]

  3. […] “Both explorative visitors and resident Liverpudlians have maybe experienced the peacefully beautiful setting of St.James cemetery nearby Anglican Cathedral in Merseyside, where you can easily relax and enjoy the surrounding grandeur of nature and history: Liverpool’s first public park was originally a quarry, but its secluded and somewhat cloistered position which could inspire relax, ravishing and daydreaming contemplation was supposedly known by those who named t.James hill Mount Zion. Its maze-like amalgam of arbours, gravestones, Victorian monuments, recesses and tunnels inspired this lovely release by Ashlar, the collaborative project by Wil Bolton and Phil Edwards, who combined field recordings grabbed inside and nearby St.James’ Gardens and instrumental brush strokes, which got recorded at Cathedral Chambers. They managed to render a sonic virtual tour in the gardens by highlighting the emotional inferences and even historical memories: the initial “Winding Nature” emphasizes the wind gusts which blow into gardens and seems to recall the windmills at the edge of the quarry by means of billows of acoustic and electric guitar and graceful electronics, but then the enchanted sonic ablutions seem to respectfully crouch on the following “Monuments” by making an ideal connections between gravestones, memorials and more or less illustrious buried people by feeding cogitations whose sacredness got rendered by sunken guitar phrasing. This virtual tour ends on “The Oratory”, where quiet synth-bubbles and soothing arpeggios mix sonic inputs up with Neoclassical architecture of the Oratory while descendants of Liver Bird supposedly try to socialize with Tracey Emin’s little bronze bird!” – Chain DLK […]

  4. […] ‘One of the records of the year.’ chain d.l.k. […]

  5. […] ‘Drvg Cvltvre entirely deconstructs ‘Highway Hypnosis’ taking it in darker and more evocative territories.’ chain d.l.k. […]

  6. […] read it here below or read it on the website. […]

  7. […] “This new release by Wil Bolton, a sound artist whose name often appeared on this zine by means of his lovely drone-ambient outputs or for some releases he dropped by his imprint Boltfish or in the guise of Cheju, names after “bokeh”, a word which refers to a well-known photographic blurring technique that comes from the alteration of the Japanese word “boke”, meaning “blur” or “haze”. Some photographers consider it an “optical aberration” as many “boke” could come from wrong focusing of the optical lens, but it could be intentionally added to bring out some object from background or for artistic photography. A friend of mine who has a mania for Japan and photography explained to me that “boke” is also the word to describe the mental confusion of aged people suffering from senile dementia, but even if Wil’s sonorities could sound vaguely melancholic, I don’t think it’s connected to senility! The opening title-track seems to translate the above-described photographic ‘out-of-focus’ technique into sound as he blurred resounding objects such as seagulls or distant traffic noises by means of diluted atmospheric vanishing varnish and bulged clear bell-like hits and he follows a similar pattern on the following tracks where Wil slightly changes blurred elements and blurring dynamics: an indistinct chatter and a wrapping frequency which sounds like frowning on this interference on “Sash”, driving rain and loooped metallic hits on the track that got named from the Welsh village of Tramadog, recurring traffic sounds, playing children and chirping birds that got wrapped into a Boards Of Canada-like sonic blister which renders a certain sense of lukewarm astonishment on the pleasantly lulling “1887″, electric buzzes and other faint voices on the entrancing “Pentaprism”. The final dedication to his 1-year old niece “Moonlight (for Sophie)” where he included the melody of her toy telephone and other rattles is the most tender moment of the release and could let you surmise that the sonic optical lens by which Wil filtered surrounding reality is a sort of childish reverie where the differentiations that feature the perception of adults got levelled off.” – Chain DLK […]

  8. […] CHAIN D.L.K (ENG) published the review of albums „DECLINE” seeHERE […]

  9. […] from Chain D.L.K. we have the […]

  10. […] D.L.K. reviews Tympanik releases ‘Emerging Organisms vol.3‘, SE‘s ‘L36‘, and Candle Nine‘s ‘The Muse In Been took of not […]

  11. […] >>>> ”Concisely inspiring.” […]

  12. […] boring. If you like harsh improve, this is one to check out.” Read the full post at […]

  13. […] album shows why Psy’Aviah is one of the stand-out names on the Alfa Matrix roster.”; whilst CHAIN D.L.K gave it a full 5 out 5 stars and concluded that “Seven Sorrows, Seven Stars’ is a real contender for album of the […]

  14. […] first ‪#‎review‬ of our new album is in, by ‎notorious‬ / ‪infamous‬ Chain D.L.K. Magazine! Yiha, we got 5*stars.. Read all about it here: [ […]

  15. […] Music Mag’s Oontzcast (listen here) ~ “A real contender for album of the year“, CHAIN D.L.K Magazine 5⋆ review (read here) ~ “Complete and sonically stunning album“, Intravenous Magazine review (read here) ~ […]

  16. […] the ChainDLK Magazine and Vital Weekly reviewed some of my latest solo and Band […]