Music Reviews



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Artist: aMute
Title: Some Rest
Format: 12" vinyl + Download
Label: Humpty Dumpty Records
Jérôme Deuson’s seventh album as “Amute” or “aMute” is an organic collection of indulgent, seemingly high-budget post-rock, mostly sombre but infused with a slight sense of optimism in parts.

The title track is the opener, and at 17 minutes, almost half the whole album. Beginning with rumbling piano, strained guitar and sombre, abrasive cello work to generate long post-rock drones, which after four minutes turns into a rather flatter and more predictable bit of post-rock when the drums are introduced, before expanding out into broader atmospherics as vocal noises and spoken word loops arrive after the drums have gone.

The remaining 5 tracks are shorter pieces (comprising 23 minutes between them) but no less expansive, sometimes reminding me of M83 or Ulrich Schnauss works but rendered in a post-rock style. “Dead Cold”, despite its title, ends up being one of the more optimistic-sounding pieces, with its softer acoustic guitar patterns and an end section with the brief cameo of an actual song-like male vocal. “The Obsidian” is a highlight, with its powerful opening and cinematic flavour, while with final track “Maria” we go out with a song, sort of, with the return of a (very low in the mix) and a folksy acoustic guitar that by the end borders on busking music- but not in a particularly strong way.

It’s a tightly-produced and self-contained exercise in thick moody low frequency atmospherics rendered with a broad variety of instrumentation, but ultimately it’s in a crowded market and there’s a danger this release will just wash over you rather than snagging at your heartstrings.
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Artist: Heidseck (@)
Title: Margins
Format: CD
Label: manyfeetunder (@)
Rated: *****
Huge sediments of vinyl, CDs and paper buried this release for many months, so that some words about that are maybe too late, even if it should be available yet as a digital on the label/artist's Bandcamp... and if you missed like I did, I recommend to grab a copy. The use of the word 'sediments' and its connection to geology is not casual of course. I heard the sound by Fabrizio Matrone in the guise of Matter on the occasion of the release of "Biorhexistasy" on Kvitnu, whose title was a reference to the theory by Henri Erhart, a pedologist who proposed a general theory about the relation between climate changes and soil transformation on the basis of the alternation of biostasy and rhexistasy, a set of climatic conditions causing soil formation and soil erosion. The coexistence of the tangibility of stones, rocks, mud and weather events as well as their seemingly chaotic interaction in the seemingly ordered box of an abstract theory mirrors the feature of the sounds explored by Fabrizio on "Margins" as Heidseck, as well. The seven tracks are mainly based on glacial drones, that could vaguely resemble those field recordings that some adventurous forgers of the genre grabbed in extremely cold regions, whose gradual but continuous progressions over a gravel bed of muffled thundering of very low frequencies and white noise. These streams of abstract sounds sometimes extinguish like a candle in a room without oxygen (on tracks like "Medial" or "Blockfield"), sometimes evolve into something else like dim brighter whispers ("Lateral") or crumbling implosions ("End"), but any transformation keeps on rendering an idea of a subtly deceptive impermanence under an obscure mantle which doesn't succeed in covering the jagged edges of Heidseck's sound.
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Artist: Mick Sussman
Title: The Rosenberg Algorithmic Music Generator: Selected Works, Vol. 1
Format: CD + Download
Label: The Sublunar Society
As a music-loving programmer I love scientific artwork concepts like this- the idea that music can be auto-generated out of rules and patterns ad infinitum and without intervention. Thankfully devoid of the “who needs composers now?” hyperbole that might sometimes be attached, here we get 19 curated outputs from Sussman’s new music generator. Every track seems to have been named by pulling two random words from the dictionary and sticking them together.

All of them are strictly between 3:36 and 3:57, and all of them sound like frantic 1980’s 8-bit arpeggiators set on random settings with short drum machine percussive sounds underneath. Were it not for the polyphony of more than 3 tracks, I’d wonder whether a BBC Micro could have created this.

Does it work? At times yes. Patterns, rather than genuine randomness, is clearly an important part of this generator, and when the patterns align into something that feels comfortable- as it does in “Spherical Sameness”- it’s strangely enticing. “Italicize Mellow” has a curious baroqueness to it.

At other times, not so much. Some of it, like the ironically named “Finitely Kindhearted”, is too frantic and too relentless. Perhaps factoring in more of a sense of peak and dip, of adding and subtracting layers throughout the course of each piece rather than just embarking on nearly-four-minutes of relentless bleeping, might have yielded something more palatable than the barely listenable “Abstention Prance”. “Burble Exponent” has the component parts you might find in some Venetian Snares or Aphex Twin tracks, but help to explain in sonic terms how you really can tell the difference between their work and something truly randomised.

And for a 2018 work, the decidedly lo-fi nature of the musical output (and the accompanying artwork) seems an unnecessary move. A processor as cheap as a Raspberry Pi is capable of generating CD-quality sound through things like VST synthesis, so there’s no technical reason why this couldn’t have all been constructed with the same concept but a more modern sound.

For 365 days up to the release of this album, the label were releasing a single track from the project every day, and one disposable three-minute-work each day is arguably a more fitting use of this output than a ‘proper’ album. Ultimately, it’s one of those releases you might cherry-pick for a couple of the more successful tracks, and while it’s a concept you might enjoy, it’s not a release you’re going to frequently sit down and listen to as a complete 63-minute work.
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Artist: Noisebrigade
Title: Selected Resistors
Format: Download Only (MP3 + Lossless)
Label: Der Klang
A compilation of tracks from Maurizio Pustianaz’s Noisebrigade project from 2008 through to 2017, selected resistors is a thorough 76-minute pack of instrumental synthwave and synthpop sounds full of warm analogue synth sounds, pads and bleeps bent into making dark, cinematic and brooding music.

There’s a broad range of grooves spanning electro and a few different shades of techno, from the heavier Warp Records-esque breakbeat thumps of “I Robot” to the dystopian sci-fi drama of “Chemical Experiment”. There’s a consistency in how the pure, almost lullaby-like melodic tones play against

Text-to-speech vocals appear sparingly, such as on “Inside Trader” which has a decidedly Kraftwerk proto-electro flavour. The retro flavours are also prominent on “Hierophant’s Nebula”, which, perhaps due to my own nostalgic make-up, reminds me quite strongly of Keff McCulloch’s incidental Doctor Who music of the late 80’s- a perky and steady underscore at times.

There’s a generous helping of 7 tracks from the “Cathodic Dreams” album, and four completely unreleased tracks, with the rest picked from EP’s and various artist compilation exclusives. Despite the decidedly retro-facing general sonic make-up of it, it’s interesting to hear how the production values definitely evolve over time, with the later tracks sounding richer and pushing things a little further.

A very pleasant pack that will appeal to anyone with a fondness for analogue electro and synthwave.
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Artist: Yair Etziony
Title: Albion Remixes
Format: Download Only (MP3 + Lossless)
Label: False Industries
I reviewed Etziony’s sixth album “Deliverance” a couple of months ago, calling it “an array of drama-laden electronic soundscaping full of dark symphonic chords, echoey rumbles and percussive hits, subbass groans and slow synthetic washes”.

So when a remix package arrived, I assumed it would be of tracks from that most recent album- but in fact, it’s of four tracks from his 2015 album “Avalon” instead. As for why, that’s not seemingly explained, and since that’s an album I’m not familiar with, I can only take the remixes for what they are, not how they compare to what they were before.

The first remixer Fhloston Paradigm is better known as Knig Britt, and his version of “Never Again” is a six-minute, DJ-friendly bit of atmospheric synth house with a stuttering yet steady rhythm that gives a nice bright feeling.

Any suggestion that this is going to be a 4-pack of straightforward clubby house mixes is dispelled by Alec Empire (from Atari Teenage Riot)’s dramatic and raw take on “Imperum Romanum”. Starting with cinematic percussion hits, it builds very slowly, eventually reaching an energetic bit of American-style angry rocky instrumental EDM with a decidedly sci-fi feel.

The Maps and Diagrams remix of “Nightwatcher” has a similarly filmic opening but heads in a very different direction, a lovely acid-tinged bit of ambient-meets-old-school-beatless-trance reminiscent of The Irresistible Force and really rather lovely, before Daniela Orvin’s reversion of the album’s title track is a more modern-sounding take on ambient, full of lush synths, string swells and gentle vocal noises that give a rich velvety if moderately uneventful carpet of smooth noise which, at five minutes long, feels like it could have been explored further.

It’s a nicely diverse four-pack reflecting four different styles, and as such, well suited to open-minded electronica home listeners.
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