Music Reviews



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Artist: Giulio Aldinucci
Title: Disappearing In A Mirror
Format: CD & Vinyl
Label: Karlrecords
Established Italian sound artist Aldinucci here offers up a seven-pack of fluid ambient landscapes with a grandiose scale, built from choral sounds, reverberant cavernous rumbles, alienated washes and textures.

“Notturno Toscano” brings with it hints of rhythm, a soft and semi-regular click and some more compact electronic noises that take a step in the direction of electronica, while “Aphasic Semiotics” toys with the edges of crisp distortion as a conventional but still effective rough-edged counterpoint to its choir noises. The slightly more staccato elements of “Mute Serenade” end the album with a bold and confident finale to the album.

The muffled sidechain-ish effect on “The Burning Alphabet” is a curiosity at first but begins to grate after a while, sounding more like a poorly dubbed bathroom recording than a deliberate sonic effect, making it the album’s only weak point.

Generally, it’s a grand if somewhat familiar immersive chill-out work, with a classical and conventional beauty, ideal for late night horizontal listening.
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Artist: Downtrend Shapes Renewal
Title: Dissonance
Format: Tape
Label: Ferric:Flux
The first release on Andy Backhouse’s Ferric:Flux label is anti-pop, of a form. A generally lo-fi collection of guitar riffs, screams and drones, muffled synth arpeggios, lightweight drum machine sounds, barely audible vocals and low-bitrate twists and glitches, it’s a sometimes indulgent and temperamental musical deconstruction with a point to make.

Tracks like “A Buzzword In The Hype Cycle” are bordering on anti-synthpop, heavy on the plinky sounds, but perhaps not the true “anti X-Factor” political statement that the unironic hype accompanying this release would have suggested.

It’s cathartic and it’s a bold opening statement for a new label, but unfortunately the production at times, rather than being boldly anti-establishment, ends up sounding like a poorly mastered bedroom demo, most notably on “Sifting For Compliments Instead Of Seeing”. The attitude does work in its favour in the more sound-design moments like the short closing piece “Garden Siren”.
Sep 17 2018
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Artist: Trash Deity
Title: Cross & Divide
Format: CD + Download
Label: Metropolis
A real treat of immense proportions is what we have for you today. Cross & Divide is the new release from Trash Deity available on Metropolis Records now!

Trash Deity is Groovie Mann aka Franke N. Nardiello (My Life With The Thrill Kill Kult frontman/writer) and accomplished music producer and Industrial artist John D. Norten (Blue Eyed Christ).

"Cross & Divide Album is an album for now and is a representation of the confrontational and divisive times we live in. Each song has its own identity, but the album was designed to be a trip on a journey. It sounds totally cohesive and totally chaotic at the same time...just like us! (John Norton)"

Cross & Divide is as seductive as it is addictive; a great and fun listen from point A. to point B. The album contains nine solid songs each equal in quality and character as well as one remix of "Finger on A Trigger." The title track comes in like a slithering snake with Groovie's sultry vocals over the steady, mid-tempo beat.

If you are familiar with My Life With The Thrill Kill Kult and Blue Eyed Christ then you can likely guess the sonic influences for the album. But this quirky duo does step out of the pre-defined lines and delves into the sounds of mid-90s ebm with the likes of "Run For Your Lies!" "Emotions Matter" begins almost with a Kraftwerk-esque ambiance including a rhythm and background vocal nuances that are a bit akin to "Autobahn."

But really the entire duration of Cross & Divide is met at every stop with diversity so a track-by-track analysis is virtually pointless. Each cut stands firmly on its own and occasionally crosses lines that defined these artists during their respective careers.

Really the only thing that I didn't like about this album was the idea of another 3-year period separating this and a (hopefully) follow-up album. But then again such a thought is subjective. In the end, Trash Deity reminds us that we must live in the "now" and appreciate life for each adventure that it brings.
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Artist: Bill Thompson
Title: Mouthful Of Silence
Format: 2 x CD (double CD)
Label: Burning Harpsichord Records
After tendinitis interfered with his career as a jazz guitarist, Bill Thompson turned to experimental noise-making, drone and avantgarde. Adopting his ‘perfect instrument’, a Moog guitar capable of infinite sustain and foot-pedal-driven overtone blending, he is now producing single-take, super-long evolving sound experiments in which drones and metallic overtones slowly shift, twist and mesmerise over very long periods, with every track on this release around forty minutes long or more.

“Stillness” charts an ambitious curve, both starting and ending in a mellow, soporific calm posture, particularly with the sparkling plucking sounds at the end, but inbetween it plots a course into harsh, atonal territory that creeps up so smoothly that you don’t immediately realise how sonically uncomfortable it is becoming.

Second track “Solitude” doesn’t share the same grit, instead wallowing more languidly in hollow sci-fi feedbacks that hint at howl-round without ever escalating. Twenty minutes in there’s a growing hint of rhythm and gravelly pulse that weaves its way in, without ever really challenging for dominance.

“Shifting Currents Installation” is a bonus track, independently available as a tour merchandise CD and now attached as a close cousin to the main two pieces of this release. The structure and attitude is broadly the same, but this is a busier work, with several sonic layers overlapping and interweaving, including some slightly scratchier found-sound-ish noises and an electrical pattern that feels rooted in the sound of an incorrectly connected electric guitar that’s been worked, EQ’ed and live-processed into something more complex. It’s more sawtoothed and abrasive than the other tracks, sometimes decided squealy, but still traces the same arhythmic alien landscape.

Arguably a single idea writ extremely large at over two hours’ worth of music, Thompson’s work is bold and at times unwelcoming. But for lovers of electric drone and hum, it will certainly be welcomed as a luxuriant listening experience.
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Artist: Tobias Meier / Dalia Donadio / Berni Doessegger (@)
Title: A Linear Thought
Format: 7"
Label: Wide Ear (@)
Rated: *****
Related somehow to the previous review (the one on Cold Voodoo), as for the presence of hyperactive musician and composer Tobias Meier, this release sees Tobias in the guise of composer or I'd rather say a voice director for a very unconventional project. The only performer on A Linear Thought is the vocalist Dalia Donadio, based on the explanatory words (in German) by Berni Doessegger. I said the role played by Tobias is more close to the one of a single-input orchestral director, as he seems to define the performative strategies for Dalia's vocals, each for one of the five parts of this composition, supercompressed in two short tracks (lasting 3 minutes and 20 seconds only). The most interesting aspect of this release (requiring two years to be completed, as it was reprised many times over this pretty long timeframe) is that is nothing but a sort of "act of awareness" on perception (in a certain sense, it could be considered as a sort of extension behind the surrounding concept of Wide Ear Records as well) and the importance and the uniqueness of human voice (as "an instrument common to all people" and as a primary "personal organ for communication and emotions"). Such a reflection got well explained by Berni's words and well translated into voice by Dalia for the fans of unconventional notations for music scores. Some sketches of Berni's words will render an idea of what I tried to describe: "...lungs, glottis, vocal cords, throat, tongue, lips. From the body's interior to the exterior and back into a hearing ear. This alone already explains the binding and touching power of the voice, its inner intimacy, its immense transference" - the text related to the first part. And again on the fourth part: "sound is the stretching of time. It folds time, in order to give time to time itself (this is what the ear does with sound). If temporality is the dimension of the act of sounding, this is because sounding defines itself as that which separates itself from there, from the other, from itself, so as to oscillate, to become itself and to become something else. Therefore, the voice, its inner and outer expansion, is an echo chamber, a body of time and space, a resonance that it places inside itself".
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