Music Reviews



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Artist: BRENDON MURRAY (@)
Title: Commonwealth
Format: CD
Label: 23five
Rated: *****
This' an interesting label, I've been tasting a couple of their releases and I find they've an exciting roster above all if you're into experimental music if names like Francisco Lopez, John Duncan or Tetsuo Furudate still mean a thing, well you don’t need any other comment. This release is quite warm and with that I mean releases like "Commonwealth" are in some ways severe but humane, not just for the most of the sound sources/instruments used, I think it has to do much more with the audio essence of the music. Basically this cd consists of a forty-nine minutes suite evolved around something that sounds like an organ drone which reminded me much more of some La Monte Young than of Xenakis but yes it also brings somehow very close to some compositions of Elian Radigue as you can read in the press sheet accompanying this release. I know many would be tented to compare the sound source to some Pauline Oliveros and I don’t think that would be completely wrong, but believe me, for the first twenty minutes it's really monolithic and it takes time before it starts softening changing note and giving the ambience a more relaxed atmosphere, but don’t worry this softening will leave the "non-indulgent" nature of the record untouched. Thought I don't think this work has been exactly meant to be a dark ambient suite, it goes from massive to crepuscular, infact if during the first half the drone is brawny with the first part of the final decreasing the music becomes really obscure while also inexpressive while approaching the end. "Commonwealth" by some means is a classic work you if you’re into "single drone oriented" release that’s for you.
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anymore
Artist: VV.AA. (@)
Title: Music Videos
Format: DVD
Label: DTrash Records (@)
Rated: *****
In celebration of their 100th release, Canadian power-electronics label, DTrash Records, has released this DVD collection. This DVD collection includes 18 music videos of 15 artists and bootleg videos of another 6 artists from the label, including the perversely insane French band, Punish Yourself. And, not to outdo themselves, DTrash Records also celebrates their 100th release by including a track from each of their releases in a jukebox.

DTrash’s 100th release DVD collection is over 5 hours of content. Never mind that every band on this release is from a different corner of the extreme electronics genreGabber one minute, Digital hardcore another, and breakcore the next. Watching this DVD is like having my head kicked around and stomped on from Play to Stop, and I like it: I feel like a kid in a candystoreand it’s all mine.

So, if you are craving a nearly unlimited collection of new, aggressive electronic sounds, and four hours of eye-candy to boot, pick this up. There is sure to be something you won’t enjoy, but who fucking cares? DTrash has outdone themselves with their 100th release, which speaks quite a bit for their commitment as a label.
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Artist: .Pridon
Title: apnea eina
Format: CD
Label: Low Impedence Recordings (@)
Distributor: Low Impedence Recordings
Rated: *****
. Pridon hails from Athens, Greece (Petros Voudouris is the man behind the name) and is not what you’d expect at all from Greece. "apnea eina" is a mix of techno/IDM/dub/glitch elements, and often an eclectic one at that. Supposedly 3 years in the making, there’s a lot more going on in this album than a first listening reveals. Light melodies play against dark atmospheres while seemingly simple rhythms are augmented by complex sub-elements. Alternately spacey and psychedelic, there is a flow from track to track that unifies the work as a whole, and prevents it from becoming just a collection of disparate sound sculptures.

Some of the rhythmic work, like on "Sunk" is blatantly familiar in a Tipsy-ish sort of way. This has an anchoring effect for .Pridon’s more adventurous elements, which if you listen closely, are fascinating bits of sonic effluvia. Some tracks like "False Schematics" are pretty far out there venturing well into the experimental zone, but if you always play it safe you’re not going to come up with anything new.

Excepting some sampled dialogue, this is a completely instrumental and mostly electronic programmed album. You can tell .Pridon put a lot of time and effort into it, maybe almost as much as Autechre puts into their work. Although there are a lot of retro synth and D&B elements in "apnea eina," not much sounds clichéd or overdone. Even the repetitive sections are constantly morphing and changing which is a really big plus in my book for .Pridon.

I’m not wild about everything Pridon does on "apnea eina" though. Some of the tinkling fractured toy piano melodies just didn’t grab me. Still, there is plenty here for the IDM/techno enthusiast to revel in. The complexity alone is enough to thrill those who’ve been looking for something a little bit different than everything that’s been done before. If it’s minimalism you want, you won’t find it here. But if you enjoy a programmer that likes to tread off the well-beaten path, you have to check this out.
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Artist: Audiocum/Occulto Digital (@)
Title: Corrosion thrown Out
Format: CD
Label: Symbolic Prod (@)
Rated: *****
Corrosion Thrown Out is a dual effort between Audiocum and Occulto Digital on the label Symbolic Prod. Both artists, from what I can gather, hail from France. There are seven tracks on this release, 5 of them feature both Occulto Digital and Audiocum, and two tracks are exclusively Audiocum. Two of these tracks are live recordings.

To begin, Corrosion thrown out is as pure a noise release as you can find. This is a wall of pain from beginning to end: There is rarely a moment for calm or collection. The sound here is massive and violent, the bassy analogue crunches are in a constant struggle against shrill and shrieking feedback. Occasionally a rhythm pretends to find it’s way to the front, but is quickly overpowered and thrown away, a mere fraction of itself.

Audiocum and Occulto Digital are a good match. I don’t know enough about Occulto Digital to make any statements on their part, but the sounds here push what I am used to with Audiocum into very intense and damaging new territory. Anyone that is not a pure noise lover would probably compare this album to having a migraine surgically implanted behind one eye with rusty nails. To anyone that is a pure noise lover, well, they would probably enjoy that feeling.
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anymore
Artist: RICARDO ARIAS, MIGUEL FRASCONI, KEIKO UENISCHI (@)
Title: Object
Format: CD
Label: eh? (@)
Rated: *****
Object: the name says a lot above all if you go to the back of the packaging and give a look to the instruments adopted for this recording, by the way if you don’t trust me just give a try to the sound as sentenced by Prevost: "No sound is innocent!". Arias, Frasconi and Uenishi play laptop, glass objects and bass balloon kit and their effort ends sounding not so far from many good electro-acoustical releases. Just one track for the sake of live performance, in this way they’ve not betrayed the original spirit of this live show, this long suite has it’s moments and stylistically offers a concert clearly divided in different sections thus don’t expect it to be a typical freaky, post-psychedelic linear continuum. In some way this also reminder the sound of Alessandro Buzzi, just less "jazzy" and not Prevost-influenced but if you’re into played objects and you appreciate him you will like them and vice versa. Well proportioned and really elegant, "Objects" becomes really interesting above all when drift ashore from dogmatic electro-acoustic music and embraces a more avant-garde contemporary scenario, while playing some glasses (or sort of) and that bass-balloon kit Frasconi and Aria have the luck to find some natural intersections in their communication, there the soloist is supported by his mates in a really discrete manner. Every voice is easily distinguishable, every movement is well developed till it reaches its natural declining and that’s good, sometimes you’d really like them to free them from the bondages of gradual ups and down or to quite their natural "shelter" to look for a more violent/sudden change, but there’s no doubt the improvisative edifice is well built on a solid framework.
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