Music Reviews



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anymore
Artist: INSURGENT INC. (@)
Title: Kidz
Format: CD
Label: Subvision Records/Gaia Disk Records (@)
Rated: *****
Again some stuff for the elders and experienced users I think – who of you can remember their marvelous done debut "System Structure Security" back in 1993 by this Montreal-based Canadian duo? It was released at times when the typically US-Coldwave scene with labels like 21st Circuitry or Re-Constriction have just started – released at times where Wax Trax was still up - "SSS" was a killer album, outstanding and future-leading for several bands and the genre. Well, times have changed in between, INSURGENT have included the additional INC. to their band name (... I guess the album aptly entitled "Inc." in 2K2 has announced this...) and the term of the harsh pounding Industrial tunes have been reduced. Through the years they’ve traveled the world and visited several very different countries like France, Belarus or South Korea. A lot of friendships have been built and they used these trips to integrate some traditional musically influences and ideas into their music. So you don’t have to wonder that you’ll get to hear some unconventional acoustic instruments or choirs thrown in here and there. "Kidz" is the newest output of this Canadian duo, their fourth full-length album as far what I know, and to me rather a conceptual release instead of a simple collection of songs. The world of the adults so mad and perverse seen with the eyes of a child – well, I guess this can hold several variations and an uncountable amount of inspiration. Musically their newest effort is a rather "rocking" Industrial-Metal-like output with real guitar play and real drums – the Industrial element is very reduced to some samples and some synth lines here and there. Also the vocals are no longer that kind of a distorted "Cold Molest"-screaming into the microphone – a more natural sounding, while not losing efficiency male timbre can be heard. Favorites I like to name with the rather dark oriented "Atheistic Affidavit" and especially the last piece "Reply", which is separated into four different parts – also the traditionally "Motherless Child" presented by a female vocalist got aptly included. Some other pieces have to mentioned as well featuring the rather multi-cultural side of the band, "Evelina" for instance having a Belarussian folklore group on board. This concept album of INSURGENT INC. is quite interesting structured and composed, although Electro-purists have to be open-minded for the rather more guitar-oriented arrangements of the band.

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anymore
Artist: INSURGENT INC. (@)
Title: Stronger
Format: CD EP
Label: Subvision Records/Gaia Disk Records (@)
Rated: *****
Canada’s cult duo INSURGENT INC. returns with an appetizing 5-track EP released before their new full-length CD "Kidz". Two new and specially edited tracks entitled "Stronger" and "Transitive" are the first audio results of this new album, while the three further tracks are originally INSURGENT INC. classics taken from the album "Inc." and "Supercollider" which got new recorded and re-arranged for this EP. "Stronger" is a fast-paced guitar-driven monster piece with raging vocals and a globally acoustic outcome. "Transitive" against to this features much more Electronica elements and a straight, very club-friendly attitude – somehow the ideal track to grab wider attention. The new re-vamped versions of the classics then turn more into the Goth-Rock/Industrial-Metal genre – somehow the way which also the new track "Stronger" offers. A convincing EP which works well as an introduction for the "Kidz" album – if you’re able to accept that the raging times of the classic "System Surgical Security" are gone since several years.
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anymore
Artist: BRON Y AUR
Title: millenovecentosettantasette
Format: CD
Label: Wallace (@)
Rated: *****
Wow, despite the catchy title of the record (that in Italian language means "nineteen-seventy-seven") this one has nothing to do with punk rock. For those who never heard Bron Y Aur like the moniker itself suggests (it’s referred to Led Zeppeling) the band pays an heavy tribute to the music coming from the era. Lately I’ve seen the band members put out several rock oriented side releases but according to my personal taste this’ still the most attractive project involving those freaks. While their last mini album saw the band lost in vintage rock a la Black Sabbath, Zeppeling, Amon Dull, Kraut, this time they’re more melodic, more psychedelical and less "hard" while the kraut ingredient is still high in their personal sky. Differently from the past vocals have become a constitutive element in the architecture of their music and obviously the way it sounds is again old fashioned as you can guess approaching to a release like that. I’m tented to say this’ one of their best release so far, maybe their best one together with "Between 13 and 16" but without any doubt it’s the easiest one to get into the sound of this group. "Millenovecentosettantasette" is well proportioned, it has the right recording and judging from the history of the band is not an episode of trendy revivalism but more a work absorbed in a musical period in which they probably locate their most formative listenings and that is easily intelligible not just from the "dusty" sound of the recording but also from the way they play. "Freak heads are back in town".
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Artist: FUZZ ORCHESTRA
Title: s/t
Format: CD
Label: Wallace/Bar La Muerte (@)
Rated: *****
This record has come out just a blink of an eye before the new Bron Y Aur that feature three members on four of their historical line up. While duelling the same krautesque post-Faust, Can, Amon Dull matter of their original band the Orchestra is less fragmented and less physical but maybe it has to do with the recording infact they actually erupt here and there but the recording is not pushing everything in your ears as it should. Odd tracks duelling with repetitions, vintage sounds and and acid rifforama, than add some weird sample and you get the abstract image shot by these guys from Milan. As for Bron Y Aur I suppose these people assumed incredible dose of music from the seventies or at least that’s what you can guess from their style and from their rock attitude. The rock thing is not omnipresent alas take for granted some experimental episodes are cast in the track list, but mainly in-between the structure of the single tracks, let’s say if we should make a comparison they can be filed in the same category of bands like Oneida but way more trippy and less monolithic and "devastating" but probably I can’t say if that’s their intention. I think Bron Y Aur fans will tune easily on these frequencies.
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Artist: Celadon (@)
Title: Post Industrial Delicacies
Format: CD
Label: self-released
Distributor: CD BABY
Rated: *****
Here’s one from out in left field- Celadon’s "Post Industrial Delicacies", proving that anyone with some digital equipment and a little moxy can throw something together that people might listen to. Celadon’s promo says " Post-Industrial Delicacies' uniquely textural sound results from its mixture of found sounds and electronics. Samples of trains, birds, machinery, and people are selected, warped, manipulated, and layered into detailed compositions. The result is unlike the typical sterile, synthetic sound of most electronic music." I can’t agree with the last line of the statement; I’ve heard a lot of electronic music that doesn’t sound sterile. As for "synthetic", hey, it’s electronic music, OF COURSE IT’S SYNTHETIC!

Anyway, let’s dig a little deeper into "Post Industrial Delicacies", Track the first, "Earth Abides" begins with a nice primitive percussion groove overlaid with a SYNTHESIZED guitar in a slow minimal groove plunking out the lead line. There are birds chirping in the background and a bunch of stray strange noises. Very lo-fi on the recording, so I knew already what I was in for. The track lacked development and a quality lead sound. Not nearly menacing enough to really grab your attention. Track two – "Curiouser" was a bit curiouser, with odd non-sequetous dialogue samples, a laugh track from a funhouse fat lady (remember them?), and a clatter-beat percussion barrage that at times had a groove turnaround not unlike a lawn sprinkler. Little bells seemed to be improvising a totally different song giving the effect of a demented carnival. Sounds like they put everything including the kitchen sink in this one. But as in cooking, just because you add a lot of ingredients to the stew doesn’t mean it will taste good.

Track 3, "Lie With Me" has spoken vocals that are just outright embarrassing. This is beginning to border on pathetic. The real shame of it is, that there is talent here buried beneath the cacophony. Moving on, "Nothing To Say" is just that-a morass of sound with processed dialog that really doesn’t have anything to say. A few interesting sounds, but nothing I haven’t heard before. "Sisyphus Laid Down His Stone" moves more into the experimental illbient category and would have been alright if it wasn’t for the "sounds like I’m just learning to play this thing" guitar plunks. "Good Ole Boy" takes a bunch of redneck, skinhead, neo-nazi, KKK, etc. dialog samples, and puts them in a sonic blender on the frappe setting. The result is something no contestant on Fear Factor would want to consume. Last two tracks, "Whisper In My Ear" and "In My Winter" feign a sinister motif, but by this time I’ve already lost interest, which is too bad because there’s an interesting element or three happening now and then. Too much too little, too late. Maybe given time, "Post Industrial Delicacies" could grow on you... probably like a fungus. I’d see a doctor for that.
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