Electronics / EBM / Electronica
Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
Industrial Noise / Power Noise / Harsh Noise
Synth Pop / Electro Pop / Synth-Electronica
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Odd / Field Recording
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
Mar 27 2013
In spite of the relatively limited array of sounds, mainly venomous puffs, electrical clips from ammeters or plugs, mainly muffled bass bumps, plucked steel tongues, obscure suctions, buzzing surges, surgical incisions, Danish electronic music composer Jon Egeskov aka Pixel dishes catchy dynamics out on "Mantle", his fourth release on Raster-Noton, where he tempers his rhythm-driven approach to a series of hyphenation/articulation of electrons with recurring shifts and skips. Most of tracks sound quite obscure and somehow stifling and the rare breaks are snap-shots when his threatening electro-mechanical entities seem to get some air before they keep on drooling fused silica, neodymium, tantalum and corrosive magma. It's quite interesting to follow the strategies that some aggregrates of buzzes seem to enact to ensnare the whole sonic sphere, particularly on some tracks such as "Ericson Sandstone", "Steel Tape", "Nesting Screen" or "Plump Bob". This is another proof that even perturbing industrial machinery can sound somehow funk.
Mar 27 2013
Lovely Polish city Krakow must be really inspiring as "Kallista" (meaning "very beautiful") is maybe the third or fourth record which is somewhat related to one of the leading center of arts and culture in Poland. The involved artists, Kotra, Zavoloka and Dunaewsky69, got so stricken by its mysterious beauty during a visit in early 2012 that they tributed this record. According to their own words, Krakow is "an obscure area of inspiration and misunderstandings, old city of new art and technology, place of imminent comfort and lazy silence, convenient space for breeding bizarre and radical ideas". Those ideas have been poured into 24 astonishing tracks, which they assembled with the support of some friends in Studio of Electroacoustic music of renowned Krakow Music Academy, whose support consisting of giving the possibility to the trio to have access to its wide collection of old analogue synthesizers, modular systems and sound processors (some of them belong to that collection since early 60's) has been integrated by the precious collaboration of young Slovakian sound artist Jonas Gruska and two skilled Polish composers, Michal Pawelek, who helped Kotra, Zavoloka and Dunaewski69 in grabbing some field recordings, and Marcin Strzelecki, who built some oscillators. Such a choral effort made this release really heterogenous from the structural viewpoint and even though it was equally trebeled by the three involved artists, each contribution renders different strategies of coalescence between modular pulses, uncut noise, sharpened sine waves and electric shocks without lacking of a certain sense of amalgamation. Mottled electronic scalding of abrasive tracks by Dunaewsky69 such as "Krolewska", "Huta" or "Niesamowite" flow into the polymeric sonic pulsations, artificial vivid entities and unpredictable surreal inserts by Zavoloka ("Krak", "Cichy-Btonia", "Planty") and more epic-oriented flares by Kotra (I particularly enjoyed Kotra's "Emaus", "Bunkier", "Wyspianski 2000" and "Solvay", whose saxophone sample comes from Ayane Yamanke) in a fascinating aggregate of sounds, which sound like squeezed from history and places of a city "that always sleep and always awake". The psychotropic multicolored doilies Zavoloka adopted on the artwork wisely recap the collaborative spirit of this delicious hash that I cannot but recommend.
Mar 26 2013
The recording of a panic-stricken hurly-burly crowd under a spray of drums and gunfire is the frantic introduction on "Petit Huit" of this amazing stylistical pastiche by David Fenech on this surprising and amazing album, "Grand Huit" (French expression meaning "looping" or "roller coaster"), whose first edition came in the year 2000 on Tout L'Univers and has been reprinted on Gagarin Records, the label of the prodigious NeoDadaist composer Felix Kubin. The fact that it was assembled by means of a rudimentary 4-track tape recorder and cheap equipment could be deceptive as the response you'll receive from ears and mind cannot but contemplate an intrinsic niceness and that kind of heterogeneity which sounds everything but prosaic or predictable: you can imagine a gap-toothed dead ringer of Beth Gibbons on "Confieso Que He Vivido", who get replaced by a body double of Tom Waits, whose dry-cough hails his rude awakening before a choir of moochers matches a battle hymn from the streets and a strident and malformed interpretation of Cibo Matto's stuffon "Mister Master", an emulator of Yann Tiersen, who gradually fall into temptation of playing something which sounds more macabre, while performing in a grungy bistro on "'Un Lacher De Lucioles/Jukebox', the scraggy reading of a poem on frustration on "Boeuf Bourguiba", the grotesque Japanese sketch on the amazing "Opera En Toc", the xylophone-driven frenzy of "Jaune d'oeuf en cage", the elegant electro-pop uncouthness and moronic jerks of "Petit Soleil". The unpredictable parenthesis of filthy funk on "Grand Huit", the surreally crackpot dedication to Tarkovsky's "Solaris", the above-mentioned blubbery dead ringer of Beth Gibbons while rehearsing a song with painful ankles on the bothersome of dogs, the autistic low-fi dub-funk of "Coralingo", the electronic tinnitus on "Goulashnikov" and the depressed dark folk ballad on guitar and voice of "Love That Feel", a properly epic conclusion, gives a wider perspective on the varicolored, fascinating and somehow thunderstruck musical universe of David Fenech. A hoot for lovers of dada-influenced aesthetics.
Mar 26 2013
The filter Steven Naylor interjects to a series of field recordings on this release is mainly emotional memory. He makes such a cognitive and creative operation in a way which could be associated to the sight of a director of a movie or an essayist on a plot, so that there's always an emotional transmission which interferes with the somehow cinematic palette of field recordings: the mechanical and electromechanical creaking and squeaking of gearwheels which enliven automatons of Devon-based designer-maker Tony Mann subtends an astounded and sometimes frightened wonder in front of the complexity of an "artifical life", the emotional wires which permeates the fragment "I wish" taken from plaintive song "Home" by Rita Rankin seem to be stretched by longings, fears and imperilments related to wishes, a certain daunted and confused upheavel emerges from "Irrashaimase", an immersive track, named after the typical form of greeting that some Japanese shop keepers shout to invite new customers inside their shops, which depicts urban Japan with its inner contrasts between robotic and elegant, chaotic and musical, a dumbfounded contemplation arises from the wonderful sonic painting of Chiang Mai night market in northern Thailand where Steven kept the noises of motorcycles and other occasinal intrusions in his ethnomusicological documentary and a certain estrangement comes out on "kune kune", a track based on the oinks by these rare hairy pigs living in New Zealand and recorded nearby Bath. The final long-lasting "The Thermal Properties of Concrete", based on the fictitious narrator-character of a woman, wondrously performed by Jody Stevens, and a couple of senior staff members of the Planning Department of the City of Halifax. emphasizes the cinematic hooks of Naylor's skills.
Mar 26 2013
Death throes and suffocated laments, which then sound like burgeoning so that you could think about tragedy and pain related to non-communication as one of the most eminent generative sparking of art, seem to permeate "The Human Condition", the very first track of this new release by whimsical East-German musician, sound-artist and poetess Antye Greie-Ripatti, popularly known as AGF and living in Hailuoto (Finland) together with her husband Sasu Ripatti (Vladislav Delay), who focused on voice, regarded as the human instrument par excellence, distinctive characteristic and even political device of each person, for this occasion, as you can easily grasp from the title "Source Voice". The icy Finnish environment she daily experiences resonates all over the record, whereas AGF arranges her voice into the surrounding context till it seems to coalesce with whiffs and severe weather conditions in "Breathing In Lines" and transmuting into a singing ice crystal while shimmering in the middle of a blizzard and gradually turning into a more human breath after a reprieve in the gorgeous "Digital Yoik", which reveals one of the sources for inspiration for this recording, the ancient, mostly wordless form of singing/vocalization by the Sami tribe of Northern Scandinavia. The somewhat spooky vocal deformations on "Hum Pitch Play", the barbed electrical saturation points on "Voice Count" and the entrancing moans of "Kaamos", the only track where voice has not been digitally processed, are likewise mindblowing. The exclusive digital bonus available only through the shop of Chartier's label, "Feed Back", a collaboration with label owner, sounds like the defrosting of a singing nymph of the woods with organic sounds grabbed by means of hydrophones placed on the waterline of some frozen pond.