Music Reviews



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Artist: Cordis Cincti Serpente (@)
Title: Noo Yuggoth (Redux)
Format: Tape
Label: Industrial Ölocaust Recordings (@)
Rated: *****
Cordis Cincti Serpente seems to be the dark ambient project of Adrian Marcado from Bari, Italy and 'Noo Yuggoth (Redux)' is a 13 track album on 2 C60 cassettes, limited to 31 signed copies also with a booklet. There is not a lot of information to go on about this project. The only previous release under this name was in 1989, a self-titled C46 cassette, again limited to 31 copies with the participants being Giovanni Lisi and Ivan Iusco, the latter being the owner and founder of Minus Habens Records. I get the impression that Adrian Marcado could be a pseudonym for one or both of the previous participants. In any case, 'Noo Yuggoth (Redux)' is touted as "an exploration into Lovecraftian's Metaphysic" as you might expect from the title. Not difficult at all to believe as so much dark ambient music these days taps into H.P. Lovecraft and the Cthulhu Mythos. I warn you though that this is not all smooth sailing into the void to play with the Outer Gods. After a somewhat placid, yet disturbing dark and pulsating voyage on "Dvr'n Dbr'h," The first shock comes at the beginning of title track "Noo Yuggoth" with a piercing high pitched feedback tone that had me throwing my headphones across the room in order to avoid eardrum damage. Not cool!! Not cool at all. After that super-shock the rest of the track is rather calm but strange in a warpy-wobbly world. Monsters or wild beasts seem to be lurking everywhere in "Ft'ath aga" as their growls and groans will attest. " Ish' Nishg' urh'raTth" is comprised of backwards voices and bubbly, burbley electronics making a rather weird, creepy impression. "A'Ahzmuth" sounds like astral cats caught in a cosmic wringer with lots of variable feedback manipulation. It went on a little too long for my taste. On "A'AAAhZ'Pha" there are slow, low transmissions from beyond zapped by some kind of electronic device. "EheD'Z" sounds like the beast feeding on corpses, mindlesly devouring all within its reach. This is the lengthiest track in the work going on for an astounding twelve minutes! "Z'eed'erth" is only 1:35 but might well be the most disturbing track of all. It has an undercurrent of uncompromising evil to it. The watery grave of "PnaaTha" is almost a relief as a sort of placid respite, as much as you could have on an album like this. On "m'Fung" you will swear that Tulushuggua has deigned to have a personal conversation with you. "LL'Sh'drth" is the embodiment of cosmic horror from beyond; the kind of space music that pours its nightmarish content into every crevice of your being. "N'oz y'ggth" is supposed to be a reprise of "Noo Yuggoth" but it is rather different- more like a swarm of killer bees than anything else. The name Cordis Cincti Serpente is taken from Aleister Crowley's Holy Books of Thelema (Vol. 1 - Liber LXV: Liber Cordis Cincti Serpente), an account of the relations of the aspirant and his Holy Guardian Angel. I believe this release is obviously not intended for the masses, but rather that small cult of Lovecraftians who may even work in Magick. That indeed is a limited market, but it seems the artist was more interested in doing the work than profiting by it. For a discriminating esoteric clientele only; difficult but rewarding for those acolytes.
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Artist: Ana & Ina
Title: On Dockweiler Beach
Format: Tape
Label: Constellation Tatsu (@)
Rated: *****
The winter batch (I know a couple of seasons - spring and summer - hit the calendar in the meanwhile, but it doesn't really matter) by tape-label Constellation Tatsu I also found this cassette by Ana and Ina, monikers of writer Ashley Hoffman and visual artist Ian James, who also likes to play synths. Honestly, I wouldn't label it as a masterpiece of analogue-synth electronica, but what lay behind the curtain of this (not only) artistic liaison and the subsequent sonic project is somehow interesting. Ana and Ina met in Columbus, Ohio, and run together a spiritual path as lovers and friends that brought them to explore what they refer to as 'metaphysical plan' through a series of bizarre ways to a more or less artificial transcendence smelling like new-age spirits (including some devotional beliefs in asexual muscly angels, goofy and supposedly nonsensical poems carved in sandstone and reverie about technology-driven utopian society ruled by equality and no worries about money). The beliefs fostering their sound had an unavoidable influence on hit: the two long ambient suites (the 26-minutes lasting "Come In" and the 20 minutes of "Come Around" on the B-side of the tape) feature naively elongated minimal loops, sudden injections of blinding wide-resonating harmonics, lukewarm wrapping (even if often "wilted") tones, cricket-like whistles and other softening elements, lying in between the dime-a-dozen lo-fi new age stuff that someone can even receive as a gift by buying tons of smelling candles in one of those shops owned by former hippies and highest stuff by some interesting findings belonging to the so-called isolationist branch of ambient, such as the mesmerizing stuff by Sonic Boom/Pete Kember's Experimental Audio Research or some outputs by Todd Gautreau's project Tear Ceremony. Some writings by Ashley could maybe explain the reason why they quoted Dockweiler State beach (nearby Los Angeles) for the title. It deserves a check, even if please don't expect to reach some kind of enlightenment!
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Artist: Expo 70 (@)
Title: Exquisite Lust
Format: LP
Label: Sonic Meditations
I'm in the second day of a fast right now, so maybe I'm cranky or a little too clear, but this album isn't winning me over so far. It's ambient-ish, loop-based guitar music "crafted entirely from guitars, sitar and Moog". The bed drone in the opening track is fine, whatever, but the guitar loop stuff is basically dicking around. The atonal clashing moments come off as "whoops" moves rather than any attempt at tension or a resignation to chaos. I've heard playing like this at open-mic nights, I'm sorry to say.

"astrionics pt. I" turns the tables a bit...the guitar is more interesting, with melancholy, drifting arpeggios, but the drone stuff and and other guitar dickery kind of awkwardly plop themselves right into the middle of the mood. There's totally room for electronic noise alongside solo guitar stuff, but this is a bad example. The abrupt ending, at least the way they ended it on this vinyl (this is a reissue of a 2006 CDr), gives me the impression of an unrealized sketch rather than an intentional, cohesive statement. The pretty guitar or spookshow electronics would maybe work fine in a one-or-the-other situation, but they fail as a team here.

Side B, "motorik"...when you understand how loop pedals and delay effects work, and how easy it is to make weird sounds just by scratching your pick on the guitar strings bumping around the instrument, it becomes difficult to sit through things like this. I will say the addition of the Moog gives the listener more texture to explore, so good move, there. But when you're just dealing with texture for texture's sake, it doesn't really matter how many layers there are. There's some jazzy runs hidden in the middle of this track, but I'm getting the impression again that this is just more dicking around. I swear to God if the last run of notes had subtitles it would read: "Yeah, so you know, yeah whateverrrrr, whoooooo, uh. Sigh." Just an uninspired, beige slab, only there to impress the thoroughly baked or musically uninformed.

There's a heavily filtered drone happening right now that's actually kind of cool...it's so enveloped that it's kind of making my ears vibrate, and the feel is reminding me of good Lalo Schifrin Exorcist stuff, and it just led into some sickening stereo-field manipulated chatter that calls back to Wendy Carlos' "Colorado". And then the track ends. So the end of "motorik" gets a pass.

"village of forest" picks up where "motorik" left off, with thick, nauseating drone. It's legitimately "creepy", not just decoration. There's a menace here that was absent in the earlier tracks. Some square-wave sweeps dropping in, and this is sounding like an outtake from Brad Fiedel's "The Terminator" score. See? It's not that I hate drone, ambient, or improv loop stuff...I just need it to have some kind of actual depth. I'd be interested to know how far apart the sessions were for all these tracks. It sounds like this one was recorded at a darker time than the first two stinkers.

I know this genre works in lengthy durations to put you into the "zone", or whatever, but I definitely feel like there's a lot of tacked-on stuff to these pieces. The last two minutes of "village of forest" definitely feel like a hastily created exit tactic unrelated to the mood of the piece as a whole.

"witch hunt of the sun people" has the same problem as "astrionics pt. 1", being two poorly combined concepts of pretty guitar and ambient experimentation. Again, they do not give a seamless impression as much as oh-whatever jamming.

Back and forth, back and forth. "two black hearts" is excellent. The credits don't indicate there's Moog on this track, and I'm beginning to think the credits aren't correct. A Wire article quoted in the press sent with this album even lists different track titles ("Center Of The Earth"?), so I'm wondering if anything was changed from the initial CDr release. Anyways, there's some piercing high electronic tones on this track that don't seem guitar-generated. White noise hisses, and more powerful synth drone. When the guitar stuff comes in, it sounds like really good David Gilmour-creepjob stuff. This is a cool, menacing track. Things even get a bit crunchy towards the end, with fuzzed-out guitar strikes and blown-out synth washes.

"astrionics pt. II" seems to have almost nothing to do with it's predecessor, and joins the better tracks on the album. It says Justin Wright plays guitar on "all tracks", but it's buried here, or unrecognizable as guitar. This one doesn't feel overlong, either. Dark, ominous track with thick tones and a sensible conclusion.

The titular finale, "exquisite lust", opens with a soothing guitar-jangle loop that is soon surrounded in string-section like warmth from volume-swell tremolo washes, with sparse, bluesy picking on top. The strings effect is very convincing and lovely, and the jangle-loop disintegrating into itself works well in the mix. Some typical delay effect wankery is present as color, but it doesn't detract from the piece. I'm going to vote that the droning foundation on this track is the strongest, most impressive bed on the album. There's a clear reason it was used to close the album on a high note. There's a terrifying squall towards the end that again recalls Wendy Carlos' "The Shining" work, and an odd classical arpeggio that sounds like a ghost-echo from some other album. The whole thing reminds me of Elliot Goldenthal's "guitar orchestra" stuff for the Heat score, with a few out-there choices that were good or bad choices depending on which part of the mood you're enjoying. Again: I long for more cohesion.

This isn't awful stuff, but it's definitely a bit of an aimless mess. Completely listenable, and probably a fine addition to anyone's pile of ambient/improv/drone choices, but I just wish there had been some fat trimming and a better sense of blending and flow. The artwork is nice, but seems to be just lifted from some '70s art/porn stuff. The vinyl pressing is decent, but definitely seems to be mastered too hot, and starts to show its weaknesses quite a bit on the last side, at least with my copy, with peak snaps and lots of crackle that clearly isn't intentional. The tracks I did enjoy deserve a second listen, though, so I suppose I can comfortable recommend this, warts and all.
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Artist: VV.AA.
Title: Delineation- A Collection Of Reinterpretations & Remixes
Format: Tape
Label: Midira Records
“Delineation” is a four-cassette box set containing just under two hours of reworks of Midira Records tracks from N, Ninemiles, Caudal, Piiptsjilling and others, reworked by 13 different artists who are allowed to cut fairly loose and put their own spin on things. The reworkings are so broad that it plays more like a compilation of original label tunes than a remix album, and in some parts it’s so consistent that it feels more like an indulgent artist album.

The opening two tracks, remixes from Nadja and Aidan Baker, are both lengthy slices of slow sinister drone with supremely slow (circa 50bpm) rock drumming echoing away underneath. They’re both reworks of N tracks, which comprise almost half the collection and which generally follow the same pattern- languid drone with heavily effected guitar ambling over dark, almost zombie-walk rhythms. The trumpet playing on the Zenjungle remix, initially purist and then gradually and subtly glitched, helps that one stand out with a unique character, while the Andrea Belfi remix revolves around a plucky semi-synthetic sound that’s more than a little bit Twin Peaks.

The non-N tracks are mostly pushed to the second half of the set, and add a moderate amount of extra scope without being radically different. Aidan Baker’s “Consciousness Bridge” reshaped by Architeuthis Rex shifts things somewhat, with a sorrowful and hard-to-decipher, slightly folky female vocal and more ethnic percussive sounds providing a different kind of energy underneath the two-chord drone. Ninemiles’ remix of Piiptsjilling’s “Kobbeswerk” ups the electrical sparking and industrial flavours, and a Birken remix places subtle, deep-underwater thump patterns underneath the wash. A Tissika remix of another Piiptsjilling track and the appropriately-named ‘Desolation’ version by Dirk Serries of another N track wrap things up with a couple of longer and more barren soundscapes as proceedings tail away, fading carefully into silence.

The extensive duration of most of these tracks (averaging 9 minutes each) is perhaps inspired by the tape format, with most of the tracks allowed to fill most or all of a 15-minute side of a tape, yet I don’t quite see that this release lends itself to the tape format. Periods of silence at the end of each side, and having to turn the cassette over after almost every track, makes it feel like the worst limitations of the format have been exposed. Luckily each box set comes with a download code, so in practice I’m sure most listeners will enjoy the continuous two-hour listening experience, and the cassette box will be an unusual little bookend or paperweight.
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Artist: Sontag Shogun
Title: Patterns For Resonant Space
Format: 12"
Label: Youngbloods
“Patterns For Resonant Space” is a relatively familiar-sound combination of reverberant and sparse piano playing, combined with electronic glitches and found sound elements to create a soundscape that’s melancholic and just a little bit spiky. There are ten generally very short slices of cinematic bleakness with a broad but not particularly revolutionary palette. Crisp digital processing counterpoints against pure grand piano tones in a well-tried and reliable formula.

Each piece has both a number (independent of the track number) and a name, as if to try and double-up the distinction between tracks that most comprise the same ingredients, which isn’t wholly necessary as they do already contain a reasonable variety of character, normally created by having one element that’s unique to each track. For example, “Barricade Bleu” adds some more watery noises. “Patient Elegy For Bernr’d Hoffman” adds some vocal ahhhhs reminiscent of M83 or Sigur Ros. “Music Box”, unsurprisingly, adds the distorted and twisted sound of a music box. “Windmill” leaves the piano aside in favour of forming loose looping patterns in the percussive sounds. The bizarrely named “Chopsticks, Motor, Lecture” adds relatively unchopped samples of what sounds like a school science lecture, then “£20,000” adds some quirky vinyl scratches, and so on.

The final and lengthiest piece “Leaves Like Photographs” is the only track allowed to evolve at greater length, existing in several stages and acting like a flavour of what may have been allowed to develop if some of the ideas in the other tracks had been allowed to play out for longer in more sparse and indulgent frameworks.

Fans of listening to immersive, reverb-heavy cold atmospheres who like wearing headphones lying down in dark rooms will really get into this and find 31 minutes too short. For a less focussed listening experience, it washes away into nothingness a little.
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