Music Reviews



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Artist: 2JUNXION
Title: Acid Rock "The remixes"
Format: Download Only (MP3 only)
Label: AJ Records
Personally I'm not that much into acid techno and neither into releases containing remixes of only one track. This 2Junxion release covers both the cases so I'll try to be honest as much as possible. Originally released for Acid Tracks label in 2005 as A side of a 12", "Acid rock" was a dancefloor hit and when played today, it still convince acid techno lovers. Based on 303 bass lines, acid sounds trained by filters' tweaking, the tune (which is available as closing track also on this digital download release) contains all the elements of acid techno: crazy bass lines, punching rhythms, hypnotic atmosphere and vocal samples used as instruments. During almost nine minutes, "Acid rock" is divided into three main parts based on three different melodies (this helped me a lot during the listening and I appreciated that 2Junxion didn't stick on two sounds for the whole time). The other tracks (the first three) you find here are remixes of the original tune reworked by Sorgenkint (this is a ten minutes sort of industrial acid techno version where drum and bass sound like an hammer) , Acid Junkies (they picked up the main bass line and repeated it for six minutes and half tweaking on filters and samples) and SynnyS (this is kinda minimal and it's focused on one bass line, a melodic line and rhythms but it's the one I preferred because it plays a little bit with melodies).
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Artist: VV.AA.
Title: Songs for a Child - A Tribute to PIER PAOLO PASOLINI
Format: CD
Label: Rustblade (@)
Distributor: Masterpiece
Rated: *****
Some Italian journalists have tried to make a great fuss about nothing related to this interesting issue and right and proper tribute by the Italian label Rustblade to the most prominent Italian poet and intellectual of the previous century, Pier Paolo Pasolini, whose death by mysterious homicide dated to back to 34 years ago (it was 2nd November 1975 when his body was found on the beach of Ostia, nearby Rome, being run over his own car by Giuseppe Pelosi, a 17yrs old hustler, even if the way events occurred is still substantially unexplained) has been recently remembered by some media (sometimes inaccurately). The uselessness of the above-mentioned polemics being about the presumable lack of suitability between a collection of songs belonging to the so-called avant-garde music scene and the poet's hostility towards some futile excesses of some avant-garde forms of art and literature consists in the "genetic" defect some reviewers show when they didn't manage to contextualize expression as they look too self-confident in arguing that contemporary musical languages are just a product belonging to our days. Are they so sure that Pasolini would not have appreciated this tribute as well? As I'd like to exclude the hypothesis those reviewers act like mediums chatting with the souls of dead bodies (requiescat in pacem!), I think these polemics are quite fruitless. It's even longer sensible to them asking what should be the ideal arrangement of Pasolini's thinking (in particular his ardent critic to consumerism running side-by-side to the one against bourgeois values and ambitions standing behind the picaresque neo-realism, standing out among his flunkey contemporaries) nowadays.


An elegant artwork with images provided by the portrayer Saturno Buttò and the painter Alessia Catanuto for a selection of 14 tracks (hurry up if you're interested in it as it's another strictly limited edition... just 696 copies issued... ) signed by an interesting roster of European underground scene, ranging from the renowned Coil '“ whose track Ostia (The Death Of Pasolini) propelled by an entrancing string session composed by Billy McGee, a sort of musical epigraph on the death of this illuminating as well as troublesome intellectual , was already issued in their intriguing apocalypse-inspired Horse Rotorvator '“ to the foggy dark-ambient by Bahntier '“ project by the label head of Rustblade, Stefano Rossello '“, from the touching and crystalline folk-pop by Spiritual Front to the lopsided fractured drops of diapasonic guitar of Les Mille Et Une Nuits by Ah Cama-Sotz to the corrupted string sonata on the subliming vocal samples by Pasolini himself reciting the so-called "civil poems" propelled by the creativity by Alio Die, from the electrified oddities by Teatro Satanico in Ppppetrolio and the esoteric choirs combined with ritual sound hooks by In Slaughter Natives, from the stinging dark pulsations of the obsessive downbeat by Condanna to the grand droning with some famous samples by the poet attacking fascists depicted as criminals thirsty of power by Sandblasting and so on... And even if the Supplica by Black Sun Productions could not easily be compared to the most famous one by Diamanda Galas, we have some evidence to say that maybe Pier Paolo Pasolini could appreciate it if still living as one of the most intriguing musical memorial and summary of the highlights of his scathing thought...
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Artist: MAX BONDI
Title: M
Format: CD
Label: Tartaruga Records (@)
Rated: *****
Boss of London based label Tartaruga Records and experimental musician, Max Bondi is releasing on his own label his debut album titled M. Recorded in one week in a North Spain small flat, the album opens with "Aleph, bet", an track based on minimal variations of organ sounds with the add of xylophone like sounds. During only its four minutes, "Aleph, bet" is already able to built a cinematic atmosphere and musically it reminds me of "Lucifer rising" soundtrack. "Morendo" has a suspended/tense atmosphere thanks to a treated bass guitar (it sounds like noises coming from a cave) with sparse snare drum beats. "Volante!" is a tribal tune based on percussions, guitar distortions and organ drones. "In such seeming all things are" creates a similar effect to some Glenn Branca guitar orchestrations (the ones without rhythms) with its organ sound mixed with guitar high pitched drones. "Alina" has a dramatic touch because is based on violin melodies which are delayed and repeated. "A desperate threnody" is a 15' long suite where organ drones, tiny bells, distorted guitars sounds grow reaching their top just to silently fall turning into a rarefied melancholic piano moment then a noisy distortion starts and step by step it become a giant monster that eat everything else and from its sound it seems to contort on itself. The closing "Elenco" is based on minimal melodic repetitions where a windy noise after three minutes is replaced by a noisy guitar drone which becomes louder and louder just to stop at the end of the suite. Personally I found the first six tracks enchanting and convincing (they are able to sound fresh because of the kind of sounds chosen by Max and because of the atmosphere they create) and this last one less interesting because more "conventional" if paragoned to other experimental albums I listened during the last twenty years. The album is available as a limited 200 copies CD edition and as digital download at the major online stores like iTunes, Amazon, 7digital, etc.
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Artist: Brillig (@)
Title: The Red Coats
Format: CD
Label: Black Rain (@)
Rated: *****
From the virginal land of Australia, it comes another interesting and genuine musical proposal, the one by four folks artistically and humanly grown in Adelaide fond on playing instruments, singing songs, old stories and fairytales, good company and some appropriate beverage (something not so dissimilar to what Irish people usually term craic!). These wizards founded a band called Brillig (a word invented by Lewis Carroll in Jabberwacky '“ one of most famous nonsense poem, in the English literature -which according to the explanation of the fictitious character Humpty Dumpty was used to name that moment of the afternoon around four' o'clock during which some people use to begin preparing dinner by broiling recipes... ) and after they spread this album entitled The Red Coats on various music journalists' desktops, they deservedly gained enthusiastic reviews for their enchanting way of combining dark-tinged folk freak hybridized by storytelling, some gentle Celtic inhalations and even a certain gipsy scent filtered through a somewhat gothic mood, which is not so pervasive or depressive. The plucking tones of a banjo and a relevant verse ("This is how the story starts") in Death At Sea (a song with a refrain sentencing "A Band Of Constant Sorrow" which seems to our musical memory something like a quote of Man Of Constant Sorrow, a famous traditional American folk song by the half-blind fiddler Dick Burnett) the listener in the sputtering and pleasant warmth of Brilig's music, giving to him a sort of visit card to collect in his/her pavilion. Entrancing ballads alternates to tales which seems to be sung in an old bad-smelling tavern where all the elements of the magical musical textures are interwoven and always find a sort of meeting point in the finger-plucked guitar emotionally played by Matt Swayne and the background but precise drumming by Ben Macklin and a slight sense of tragedy in the lyrics are just some of the key notes of their guessed formula.

Have a careful listen to The Old Captain (a sort of funereal march with a funny touch of buccaneer's collective imagination hooked by the great performance by The Drunken Bastard Choir), the lovely melancholy dropping from The Frozen Lake and the gloomy Absinthe Makes The Heart Grow Fonder in order to understand that the influences by Leonard Cohen, Nick Cave, Neil Young, Johnny Cash, The Decemberists and even The Cure (undeniable the similarities between the use of vocal chords by Matt to the one by Mr.Smith) are anything but influences as their retro style looks paradoxically original! All the lucky people which have seen them performing don't hesitate in testifying their skills in evoking the old-fashioned smell of their music even on the stage increasing our desire to see them perform out of Australian boundaries. They've begun their short European tour in Leipzig in Mat 2009, but some rumors say they'll come back touring the planet in 2010. In the meanwhile, enjoy the warmth of their Red Coats to protect from the cold breezes of the forthcoming winter, folks!
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Artist: ESPLENDOR GEOMETRICO
Title: Pulsion
Format: CD
Label: Geometrik Records
Distributor: Masterpiece Distribution
PULSION is the newest Esplendor Geometrico which follows "Compuesto de hierro" (their previous studio album) and the 2007 live album "8 tracks and live". The new album brings to the attention of the lovers of industrial music nine new tracks (they have already performed live some of them) which are based mainly on rhythms manipulation with the add of vocal samples. The interesting thing about the samples is that they chose speeches of people of a radical Japanese party, Che Guevara, anti occidental words from an Islamic leader (but the band underline that they have used these sources without any political meaning) plus ethnic chants and music. Everything have been filtered, treated and encrypted into the personal Esplendor Geometrico sound to form a thick hypnotic hammering industrial sound. The album is also available on a limited vinyl edition of 500 copies.
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