Music Reviews



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Artist: The Envenomist (@)
Title: Thirsting
Format: CD
Label: Snip-Snip (@)
Rated: *****
The Envenomist is a relatively new release of David Reed, better known for his atmospheric noise project Luasa Raelon, and his DIY noise label, Snip-Snip Records. I’ve never had the pleasure to hear anything else by this particular project, though I am familiar with some of Reed’s other work. With The Envenomist Reed seems to be exploring the quieter, reflective side of noise.

The Envenomist’s Thirsting is composed of four tracks of dark, droning, ambience that seep lazily out of the speakers and directly into the mind’s eye. The sound of this release remains consistent and true throughout; drones continuously pulsing, creating a mist-like atmosphere that one can practically touch. With Thirsting, Reed paints a truly desolate picture of a deserted world covered in dust and debris.

The Envenomist’s Thirsting manages to create a world just as beautiful as it is damned. Pulse after tireless pulse, Thirsting’s dreary soundscape invades the mind and removes all potential emotion, leaving nothing but an empty wastelandready for reflection and hallucination. Play this album when you have some time to yourself, preferably alone and in a slightly darkened room, and let The Envenomist’s Thirsting carry you away.
Dec 02 2005
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Artist: Primes (@)
Title: Self-Titled
Format: CDS (CD Single)
Label: Action Driver (@)
Rated: *****
Primes is the new project of JJD/Jack Duckworth (Radio Berlin, A Luna Red) and Miss X/Michelle Synnot, both hailing from Vancouver, Canada. This self-titled album is their debut full-length release, following their popular self-released Life in the Pit demo.

Primes S/T is a high-energy album that fuses the sounds of noisecore, punk, IDM, and EBM into something new and much more listenably dynamic than any particular genre by itself. Primes’ sound favors bands like My Life With The Thrill Kill Kult, Atari Teenage Riot, and Error; all the while not sounding like any of the previously mentioned bands at all. It’s both refreshing and confusing to my sensibilities, which is something I definitely appreciate in new music.

Primes’ sound is just about as difficult to describe as it is to categorize. This is a release for anyone who is tired of listening to the same genre sound over and over again. Every track has a new sound and edge to it, challenging preconceptions without challenging the listener’s ear. I’ve never heard anything else by JJD and Miss X, but based on this album alone I’m convinced they can do no wrong.
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Artist: VV.AA.
Title: Small melodies
Format: CD
Label: Spekk
Rated: *****
Are you into ambient/electronic music with a melodic edge? Well, if you're you'd better watch out for this sampler is one of the best records of the year. I think I could say something about the deluxe jewel box that looks like the cover of a small diary/note-book but I will limit the description to the music. I think if this cd would have been featuring Ultra Milkmaids, Taylor Dupree, Oren Ambarchi, Tape and Fenton "alone" it would have been already a congress of top quality musicians, but Hèrve Bogossian, Stephen Mathieu, Tomoshi Date, Sogar, Naph and some others top class names is probably too much!. "Small melodies" is an incredible honeymoon in ambiental electronic, sweet drones, delicate guitar-glitches, trance-like loops bringing in a third dimension faster than a dream machine. Releases like that should be filed under "stress erasing music", if the day's been hard "Small melodies" puts you in a relaxed mood to face the night. I've always thought music in general was a great mean to amplify emotions and there's nothing more empyreal than the music contained in this sampler to fest the end of an hectic day. During the listening I got the impression every small frame was moving slowly like a relented documentary on natural environments. Fenton's "beautiful loser" is another clear signal this guy "has it", but scouts' honor the whole menu fills my mouth of saliva like Pavlos dog. If you are into this style, please get it!.
Artist: INITIAL PRAYER
Title: The last man in Europe
Format: CD
Label: Corrosive Growth Industries (@)
Rated: *****
I know the title "The last man in Europe" comes from the famous book by George Orwell, but it also bring my mind straight to that old movie titled "The Omega Man". Charlton Eston (the protagonist) is the last human being alive (later in the plot he will discover he's not the only one) in a world populated by white eyed mutants (sort of...and not to be confounded with Black Eyed Peas...ha,ha). By the way, the movie was pretty sad and very sick: Initial Prayer is probably less desolated but twice as "sick". There's a consistent abundance of keyboards in the nine tracks and despite they have post-goth/neo-dark guitars the atmosphere remains really krautesque. Rhythmically Initial Prayer are pretty "martial" and their use of obsessive vocals betrays a clear industrial/dark background be it Death in June, Current 93 or Throbbing Gristle. I'd also add every once in a while they have also some little sparks of doom mixed with kraut influence by the way, I'm sure their best possible audience should be into post-industrial music. During some tracks it's possible to hear some old fashioned esoteric ambient feelings but don't expect anything like Steve Roach or Amon. "The last man in Europe" is much more post-industrial oriented.
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anymore
Artist: WEISBLAT/ COSTA MONTEIRO/RODRIGUES
Title: Diafon
Format: CD
Label: Creative Sources
Rated: *****
If I Treni Inerti's "Aérea" shows glimpses of Costa Mointeiro's quieter side, "Diafon" plunges us back in the sonic maelstrom that the Portuguese improviser is used to create in his solo turntable performances, with the duo Cremaster or in collective recordings like "Octante" on L'Innomable (search the archive for my review). Here he uses "pick-ups on turntable" in a trio with Barry Weisblat (electronics) and Creative Sources owner Ernesto Rodrigues (violin, pick-ups and objects). The result is honestly closer to harsh noise than to even radical improvisation: frequencies collide and crumble, the violin is brutally ill-treated, everything is loud and distorted. Probably one of the most violent records in the catalogue of the Portuguese label, but also one of the logical extremes of its stylistic identity.
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