Music Reviews



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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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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.
Artist: Shinto Records
Title: 2008 Artist Sampler
Format: CD
Label: Shinto Records (@)
Rated: *****
The new label, Shinto, introduce us their musical acts that's a melting pot on their roster. The compilation showcases and represent the indie electro-experimental, industrial and gothic scene. A stylish connection to dominate the music underground scene. With a line-up as varied, surely some of these bands will highly rise above the water. Who may be the possible candidates? Scarlet Slipping, Batzz in the Belfry, JasonAlacrity, and The Oedipus Complex. These artists are the secures the reputation in the face of the 21st Century. An indelible future for the artists and the label itself. Shinto lable bring talent and charisma to the table and to embrace the listeners with new comers who will be appreciated in due time.
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Artist: william c. harrington (@)
Title: noise noise
Format: CD
Label: urban electronic music (@)
Distributor: www.urbanelectronicmusic.com
Rated: *****
william c. harrington
Noise noise.

This disc is an adventurous journey back to a previous era of electronic musical thought, and this is a good thing. That being said, it provides some unexpected turns, some unpredictable and large gestures, with a variety of whimsical, electronic storytelling art.

As his bio denotes, Harrington has worked in the record industry for years, where he quote "amassed a sizable collection of electonic(sp) and avante-garde(sp) recordings before going on tour."

Fans of Tod Dockstader may rejoice early on, as track # 2 "KL" is right up that alley. A surprising selection for a second track on an album, this piece deserves its rightful place in the electroacoustic concert hall, perhaps on the same musical happening as a Zappa or early pastiche tape piece. Track #3, "Arps" is another inside job that starts abruptly but finds its rightful place in the listener's ear somewhat early on.

Track #5 is my choice pick. "Blast" is something of a schizophrenic unveiling of the artists inner mind. My vote, should the composer be reading this, is that this should have been track one. A bold comment but nevertheless one that is sincere, it's nice use of timbre- and while not easily ingested, Harrington is quite comfy doing his thing. He is very much at ease in his own skin. I would love to hear more of this type of material as in this writers opinion, it is his compositional wheelhouse.

Track #6 is my 2nd favorite, (perhaps eclipsing my initial response) as the most timbrally complex of the album. Never to be underestimated, Harrington does a nice job of ramping up to the closing track as as 'Wisp o' the Will' demands that the listener take a seat for the finale.
"noise noise'", the closing & title track, sneaks up - casting the listener down into the best seat of the house. Then the composer turns on the spotlights...Twice. Harrington delivers his final message in the form of a sonic onslaught but thanks to the lead in, it comes as a necessary relief.
This album is not for the average listener or newcomer, which is what draws me to it. While not definitive or groundbreaking, music lovers of outer perimeter listening will rejoice. --mv





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Artist: DEZEPTION (@)
Title: Human Eyes
Format: CD
Rated: *****
Self released on CD-R by the band and available also for free as free downloads on their website, HUMAN EYES is the debut album by Danish futurepop band DeZeption. The band originally formed in 2003 thanks to Jan B. Jensen and Claus L. Hansen and saw Kim B. Sommer join on early 2005. The aim of the band is clear since the opening song "Teach me": playing bright synthpop with nice melodies, upbeat tempos and interesting vocals. To my surprise the vocal style of some tune (like the opening "Teach me", a little bit "Sorry" and "The beginning"), recalled me The Danse Society and by looking at the age of the trio (40, 41 and 36) it could be that they have the same musical background I had. Anyway, despite the classic future pop sound production (it isn't a nice thing to have a classifiable sound) DeZeption are able to fill the CD of good tunes and at least four of them could be good singles. I suggest to you to download the album and if you like it support the band by purchasing the CD-R.
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