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Artist: BABYLONE CHAOS / MOS[K] (@)
Title: Anatomia Del Ruido
Format: CD
Label: NEIN Records (@)
Rated: *****
New release for the San Diego-based NEIN Records label, providing us this time a split-CD project featuring both mentioned acts. BABYLONE CHAOS are hailing from France and they present rough Power Electronics at times rhythmically, but mostly Electronica-like arranged. Rhythmical yes, here and there, but it isn’t that kind of hard Techno-inspired patterns and this stuff is generally not focusing to be danceable. Very hard structures at all, also with a lot of samples out of different music styles. No easy listening for sure, more of that kind which needs several rotations to grow on you. The second project MOS[K], which by the way runs by NEIN Records label chief Roberto Royas aka Otrebor 7, differs a lot by providing Powernoise pretty much dedicated to dancefloor compatibility, but also without falling into this reduced Techno formula. To me the better and more impressive stuff which also seems to offer some more routine in the arrangements. Five tracks are presented here by both acts, plus each band has constructed a remix work of a track from the other band – so in all 12 tracks featuring some really good and well achieved Powernoise/IDM/Glitch stuff, which is a must-have for the fans. Please note the limitation of this release of about 777 numbered pieces.
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Artist: PAUL KALKBRENNER
Title: Works
Format: CD
Label: Bpitch Control (@)
Distributor: Audioglobe
Rated: *****
The 137th release by Bpitch Control is a remix project wished by Paul Kalkbrenner. He decided to make available to other artists he appreciate, all his sources that he used for his previous releases (he did 21 releases, counting 12" and albums, since 1999) and he let them pick up the track they preferred just to do of it whatever they wanted to. In this way the Wighnomy Brothers, Sascha Funke, Agoria, Ellen Allien & Apparat, Joris Voorn, Alexander Kowalski, Modeselector and Michael Mayer picked up tracks coming from "Steinbesser", "F.fwd", "Self", "Press on", "Tatü-tata" and "Superimpose". Also Kalkbrenner did a remix and he picked up "Der berserker", a track originally included into the album "Gemeinsam der berserker". The original tracks have been heavily changed as people like Agoria, for example, on their remix of "Page 1, 2, 3" took only an accordion line from the original version. The various tracks sound now span though minimal techno to ambient with upbeat parts or breakbeat tempos. The remixers did a good job as the tracks have different mood changes (within the same track) and this sense of growth keep them interesting for the whole length.
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Artist: _ROPPONGI INC. PROJECT (@)
Title: Till The End
Format: CD
Label: Russian Gothic Project
Rated: *****
Second full length CD release for this Russian one man project consisting of DJ Negative aka Sergey Losyakow, this time released through the organization known as Russian Gothic Project. Already the first tunes on this new full length show already the difference to the EBM-like structured debut "R.I.P." – Sergey could gain some more maturity on his equipment and he tends separate better between styles. Although that fine appreciated EBM style of the debut turns a bit in the background, his new output shows more diversity and development. Danceable tunes like the glorious "Birthday", which impresses through some excellent played Synth hook lines, "Idiom" or "Terror Fashion" should be able to keep some masses in motion, while a piece like "Paparazzi" are more designed for the open-minded audience thanks to the featured breakbeats here. The slowly arranged "Thoughts" once more proves the musically diversity and provides some acoustic guitars as well – it’s like music for some sad and gray rainy days. A lot of to discover here on this disc, which is – as usual for a DJ – an instrumental album. Some plans are existing about a collaboration with Tommy T. Rapisardi of the US label DSBP, whose voice out of a Cyberage radio show got sampled here on the last track "...The End", for a new DIVERJE album to be released at the fall. Good work, well chosen and tasteful arranged electronic music – keep it on!
Artist: Celeste Noir (@)
Title: Dark Dancer
Format: CD EP
Rated: *****
German synth-pop/horrorpop trio Celeste Noir is back with another club killer cd. This time it's a 7 song ep. "Dark Dancer" is not only on the lines of Depeche Mode, but also on the lines of New Order. Carsten, the band's singer is still at his very best with baritone vocals and the lyrics are seriously on the drama side with a sense of humour. Don't take them for granted, don't underestimate them because of their synthy bouncy sound. Celeste Noir always challenge themselves by making a perfect record that's different from their previous releases. Each song provides a catchy intro within 15-20 seconds that will get the listener undivided attention and worthy to pay close attention to. Like Depeche Mode and New Order, their music is punctuated by style and technique with perfection. The band is complete in control of their own music and production. They have that aggression to be cold and bitchy, but also with a lot of love to give and spread. They can take one simple idea, twists it, turns it, and inflates it to epic proportions combining repetition with a sense of the unexpected.. The German trio doesn't have to impress or show off. They deliver the best club/dance record. And this one is brilliant up to date.Tracklistings:1. Dark Dancer (Original)2. I Won't Cry3. Black Dog (2006)4. The Music of the Heart5. No Place For You6. The One I Left Behind (New Version)7. Still Alive8. Dark Dancer (12 Inch Mix)9. Dark Dancer (C-D-R Mix)
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Artist: GABRIEL PAIUK/JASON KAHN
Title: Breathings
Format: CD
Label: Cut
Rated: *****
Cut founder and renowned laptop/percussion improviser Jason Kahn here teams up with Buenos Aires-based composer and pianist Gabriel Paiuk for one of the best improv records I've listened to in a long time. It's almost hard to believe this was recorded in a single afternoon in Paiuk's house in November, 2004, given the intensity and the balance of its sounds. Kahn mostly works with high-end digital crackles, minimal feedback effects and subtle electronic drones, while Paiuk improvises at the piano, alternating between sparse notes and - my guess - chord plucking, scrapings and other instrument-played-as-an-object tecniques. What amazes is the perfect interaction between the two, and the stark beauty of these nine untitled fragments. Skillfully dosing pauses and constrained eruptions, but never really reaching full-on noise, Kahn and Paiuk create a work of apparent stasis where the underlying tension is at times almost unbearable, sensing it will never explode. "Breathings" has often reminded me of Rowe's and Tilbury's masterpiece "Duos for Doris" (especially its first minutes), which is also not that unsound given that Paiuk has played with the former. Improvised music at its best: both harsh and extremely refined, with an enviable taste for the choice and dosing of its sound events.
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