Music Reviews



cover
Artist: Autoclav1.1 (@)
Title: No Protocol EP
Format: CD
Label: Diskus Fonografika (@)
Rated: *****
Autoclav1.1 is industrial music veteran Tony Young. Young, though a new name for many, has spent years behind the scenes working with various influential labels and artists. Young now brings the culmination of his experiences to the table beginning with the No Protocol EP, his first of three releases this year as Autoclav1.1.

The first track, "Dirty Bomb," sets a calming, ambient mood filled with mechanized droning and steady beatsserving as an ear-pleasing introduction and a promising glimpse at things to come. The pace quickly changes with the next track "Intention," injecting fast, complex rhythms over the ambient patterns previously introduced. From there, Young takes advantage of every chance to add to the endlessly mounting musical environments that rise and fall beneath his uniquely structured percussion sequences; fusing tribal, IDM, and noise-core sensibilities into a style all his own.

Autoclav1.1’s No Protocol EP grows in intensity with an unstoppable momentum. By the time the album clocks its last beat at an all too early 28 minutes and 33 seconds, the brain is in denial and the repeat button is screaming to be hit. No Protocol is addictive, and a welcome addiction at that. Young has implied that his next two releases will be stronger and better--which seems a difficult task. After what he accomplished with the No Protocol EP, however; I'm inclined to believe he will deliver on the promise. This is definitely an artist to keep an eye on, I have no doubt he will go far.
image not
available
anymore
Artist: REC_OVERFLOW
Title: Madrid
Format: CD
Label: Spark (@)
Rated: *****
Spark is a young label coming from Spain. Their tenth release is the album of a project coming from Madrid: Rec_Overflow. MADRID, is the title of the CD and its eleven tracks seems to be the recordings of a pulsating city. A city always in balance between its tradition and its European will of modernity. Musically the tracks sound like a mix of I.D.M. and light ambient music. Every track is characterized by a melancholic melodic line which seems to run free along with the fragmented rhythms. At a first listening this isn't a thrilling release because it is based on similar sound structures that give to the whole album a dreamy sound which could make the listener lose the attention. For sure the sound and some ideas are interesting but sometimes I think that a diversification of tracks' ambience could help the fruition of the release. I think that this music could be something more than a thing for the I.D.M. hardcore fans but sometimes the search of a particular sound or a rhythm could make the musician lose the point.
cover
Artist: Kris Tiner/Mike Baggeta
Title: There, Just As You Look For It
Format: CD
Label: pfMENTUM
Rated: *****
Trumpet and acoustic guitar duet Tiner and Baggeta serve up a dozen tracks of their own original compositions. Spare, ultra-modern and nonlinear, the musical pieces are all founded on improvisation, with little or no symmetry. That does not mean they don't make sense, in and of themselves--they do; but instead of melody lines and rhythm, you hear mostly grunting bursts of horn over jumbled, jangly, atonal guitar scuffle. In track number ten, "One More Chance," these lapses into madness are broken by islands of melodic calm. At other times the guitar becomes a percussion instrument (with knuckle tapping) and is bowed into raspy scree with a violin bow (by Baggeta, in this case a guitarist obviously not trying to be Jimmy Page).

While this well-made yet spartan recording brings plenty of atmosphere with it, I have a hard time picturing its context. Is it romantic or existential? Urban or pastoral? Lyrical or elegaic? Jazzy or more classical? Does it take after Stravinsky or Coltrane more? It could be that its many ambiguities are what's good about There, Just As You Look For It, in the first place. It depends on how impressed one is by musicians who are able to get as many different varieties of sound out of their instruments in a non-rock-and-roll or non-electronic-music setting, without smashing them to bits. If this were a live recording, then perhaps it might be more convincing. I can't decide, so therefore you must.
cover
Artist: AMON
Title: Foundation
Format: 2 x CD (double CD)
Label: Eibon/AFE
Rated: *****
Andrea Marutti (Amon/Never Known) has never been particularly prolific, wisely focusing on quality rather than quantity. So, while waiting for a brand new Amon disc after the "Nona" ep on Amplexus, here is a much welcome re-release of works from 1995 to 2000. Included in the two cds are the eponymous debut on Murder Release (1996), the contribution to the "Dissolution Fahrenheit" sampler (1997), and the ltd. edition cdr "Mer" (Blade 2000), all sold out long ago. This is 100% Amon-style dark ambient, as in the masterpiece "The Legacy": majestic, claustrophobic yet "spacey" (in a Lovecraftian sense) drones full of crawling bass frequencies and metallic reverberations. Catacombs and alien civilizations have alway been Amon's graphic and conceptual extremes, and his pieces do evoke both. Get this and learn why this project has gained a cult status among ambient-industrial aficionados.
cover
Artist: ALESSANDRO FOGAR
Title: Surface Studies # 1 - # 2
Format: CD
Label: AFE Records
Rated: *****
A visual artist, composer and multimedia/software designer, Alessandro Fogar has previously released works on labels like S'Agita and AUA, and here presents two lengthy works in the ongoing series "focused on the study of surfaces". "Sand" and "Streams" are both based on field recordings (from a small island near his native Grado and from river Torre respectively) and digital synthesis/manipulation tecniques, plus a filtered melodica on the former track. Water, sand, pebbles are, as expected, the main sounds, both kept recognizable and manipulated via (my guess) reverses, time-stretching, eq, etc. Both tracks, the second one in particular, are very quiet and fairly repetitive, but in a positive sense. I've used a lot of water-based field recordings myself and I think I've had a similar input: rather than looking for any dramatic development, which would probably even sound jarring, one is tempted to let everything - literally! - flow, and focus on microscopic details. Fogar writes he's inspired, among other, by Bernhard Günther and John Duncan, but also, and I think it shows beneath the surface (whoops), by Morton Feldman.
[ Next ] [ Previous ]

[1...10] [11...20] [21...30] [31...40] [41...50] [51...60] [61...70] [71...80] [81...90] [91...100] [101...110] [111...120] [121...130] [131...140] [141...150] [151...160] [161...170] [171...180] [181...190] [191...200] [201...210] [211...220] [221...230] [231...240] [241...250] [251...260] [261...270] [271...280] [281...290] [291...300] [301...310] [311...320] [321...330] [331...340] [341...350] [351...360] [361...370] [371...380] [381...390] [391...400] [401...410] [411...420] [421...430] [431...440] [441...450] [451...460] [461...470] [471...480] [481...490] [491...500] [501...510] [511...520] [521...530] [531...540] [541...550] [551...560] [561...570] [571...580] [581...590] [591...600] [601...610] [611...620] [621...630] [631...640] [641...650] [651...660] [661...670] [671...680] [681...690] [691...700] [701...710] [711...720] [721...730] [731...740] [741...750] [751...760] [761...770] [771...780] [781...790] [791...800] [801...810] [811...820] [821...830] [831...840] [841...850] [851...860] [861...870] [871...880] [881...890] [891...900] [901...910] [911...920] [921...930] [931...940] [941...950] [951...960] [961...970] [971...980] [981...990] [991...1000] [1001...1010] [1011...1020] [1021...1030] [1031...1040] [1041...1050] [1051...1060] [1061...1070] [1071...1080] [1081...1090] [1091...1100] [1101...1110] [1111...1120] [1121...1130] [1131...1140] [1141...1150] [1151...1160] [1161...1170] [1171...1180] [1181...1190] [1191...1200] [1201...1210] [1211...1220] [1221...1230] [1231...1240] [1241...1250] [1251...1260] [1261...1270] [1271...1280] [1281...1290] [1291...1300] [1301...1310] [1311...1320] [1321...1330] [1331...1340] [1341...1350] [1351...1360] [1361...1370] [1371...1380] [1381...1390] [1391...1400] [1401...1410] [1411...1420] [1421...1430] [1431...1440] [1441...1450] [1451...1460] [1461...1470] [1471...1480] [1481...1490] [1491...1500] [1501...1510] [1511...1520] [1521...1530] [1531...1540] [1541...1550] [1551...1560] [1561] [1562] [1563] [1564] [1565] [1566] [1567] [1568] [1569] [1570] [1571...1580] [1581...1590] [1591...1600] [1601...1610] [1611...1620] [1621...1630] [1631...1640] [1641...1650] [1651...1660] [1661...1670] [1671...1680] [1681...1690] [1691...1700] [1701...1710] [1711...1720] [1721...1730] [1731...1740] [1741...1750] [1751...1760] [1761...1770] [1771...1780] [1781...1790] [1791...1800] [1801...1810] [1811...1820] [1821...1830] [1831...1840] [1841...1850] [1851...1860] [1861...1870] [1871...1880] [1881...1890] [1891...1900] [1901...1910] [1911...1920]


Search All Reviews:
[ Advanced Search ]

Chain D.L.K. design by Marc Urselli
Suffusion WordPress theme by Sayontan Sinha