Music Reviews



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Artist: Gilles Aubry (@)
Title: The Amplification Of Souls
Format: CD + Book
Label: ADOCS Verlag (@)
Rated: *****
In spite of the religion-related subject, this interesting release by Swiss sound-artist Gilles Aubry is not an act of proselytism at all as it's closer to the concept of audio documentary. The two immersive tracks come from the explorations he led in Christian charismatic churches in Kinshasa, the capital city of Democratic Republic of Congo: the first 30-minutes lasting "Amplification of Souls" is a sort of immersive collage that combines a large number of elements that vividly render the cultural environment such as amplified sermons from rough speakers, surrounding noises of car engines, clamours, moments of fervor, a series of "halleluja" and "jesus" for soundchecking and other religious chants that come from distorting megaphones, exhausted worshippers or fanatical preachers, while the second 34-minutes lasting track "Amplified Souls" mainly includes collective prayers, overheated predications and speaking-in-tongues that he recorded at the Libambu Ministry Church in Kinshasa. One of the aural aspect of the record that struck me most was the distortion from loudspeakers that got used by proselytizers, which sound like a key-element of the religious experience, whose importance got explained in details by musicologist and cultural anthropologist Johannes Ismaiel-Wendt in the 80-pages book which integrates the release: "In Distortion is Truth (Poss 1998), distortion is perceived as enriching sound. Distortion creates sound, the enriched broadcast, the well-inteded gift, which the charismatic movements have quite appropriated for themselves as a amatter of course. The noise and distortion envelop everything with a patina, which also generates an aura" and "It is a proven sonic fact: if you want the signal to burn, then use a distorter. If you want to animate people to run out, if you want to inspire people to rapid transformation and to spread the gospel, then do not use a laidback, saturated sonorous sound texture. The latter only works when - as in the morning devotion on Deutschlandradio - the aim is to incite a depp emotional response. Amplification, distortion, and echoes are co-composers They dynamize, replicate, and complete the motivational ideas to form a holistic entity". This is just a part of the interesting analysis of this release by Ismaiel-Wendt, who wisely examines many aspects of this aural document by proposing a number of guessed connection with other contemporary musical stuff as well. The book also includes an explicatory interview with Gilles Aubry by Christof Haffter as well as a number of text fragments and photos by Gilles himself.
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Artist: Tourdeforce
Title: Jedem Das Seine
Format: CD
Label: Space Race Records
Distributor: Audioglobe
Rated: *****
I wrote about Tourdeforce four years ago, when I reviewed their debut album "Colours In Life". Since then, Christian Ryder released other two digital albums on the My Owl Music label. "Jedem Das Seine" is Tourdeforce latest album and it has been released by the Italian Space Race Records label. The album theme is controversial and dangerous too, because Christian took inspiration from the national socialist period to enhance the similitudes with nowadays society and you know that it's difficult to deal with such themes. Because of the title ("Jedem Das Seine" was a writing that was placed on Buchenwald gates and it means "to each his own") the album has already find some distribution issues in Germany but I don't want to be shortsighted and I'd like to check what's inside. The band clearly stated that their aren't revisionists and I think that they wanted to provoke and show to people that little has changed, only some way of making propaganda changed. Also lyrics (which are kinda short and give to the listener a description of a scenario useful to have the right feel) and titles refer to that kind of themes and we have: "John Lennon Was A Warmonger", "History Is Written By The Winners", "Adolf Hitler Platz", "Did Six Million Really Die" and, just to make people talk a little more, as hidden track, we have "Decrepitude" written by Varg Vikernes, a.k.a. Burzum. Musically "Jedem Das Seine" is inspired by 90s Nothern synthpop with also a little 90s e.b.m. sprinkles, guitar riffs here and there plus a bit of 80s synthpop (on some tracks I hear echoes of Pet Shop Boys melodies). Melody and energy are the strongest points of the album and make of it a good one which can be danced to or listened at home.
"I don't believe your truth, The Only accepted by the grey eminence"
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availability
Artist: Mechanimal
Title: Secret Science
Format: CD & Vinyl
Label: Inner Ear
Rated: *****
Mechanimal is a post-something band from Athens. I say 'post-something' not with ironic tone'¦on the contrary, it is difficult to say exactly what kind of music t'Secret Science' is. Mechanimal define their music as 'drone 'n' roll', but I don't think that this label is able to capture the variety of this music. I would say that this work is full of synthetic sounds, krautrock (as they say), but also darwave, some gothic stuff, and of course drone. The album can be ideally divided in two parts. The first part (the first five songs) is influenced by certain EBM, with a fantastic dark wave touch. The vocals should be mentioned: it is mostly spoken words, but with a low tone which reminds me Peter Steele. Better, the vocals is in the middle between Death in June and Type o' Negative. Probably 'we come alive' is the best song of the first part. It is really a piece of art early Depeche Mode-style and a nice interplay between a vocoder and that Type o' Negative vocals. Moreover, the guitar is wisely arranged. The second part of the album is more atmospheric. See for instance 'The Den', organized around atmospheric pads not easy to distinguish, giving a sense of 'auditory fog'. The last song ('Down in the basement') is probably the best one, and it is a sort of summary of the entire album: atmospheric and dance-oriented at the same time. Overall, 'Secret Science' is a nice album, and Mechanimal has clearly the potential for developing an original and full-fledged new hybrid at the intersection of multiple styles.
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Artist: Mlada Fronta (@)
Title: Polygon
Format: CD
Label: Artoffact (@)
Rated: *****
Even if it seems that French producer Remy Pelleschi, the main as well as the only remaining head behind Mlada Fronta, took it down a notch on the occasion of this return after almost a decade of silence and a welcomed oversized refresher by Artoffact that dropped the exhaustive collection "Every Thing" over 10 CDs, this "Polygon" has all the distinguishing elements of Mlada Fronta style, whose seemingly simple structures get more and more haunting by a sort of self-rising organized complexity which could be somewhat summerized by polygons themselves. The above-mentioned quietude of rhythmical patterns could be felt on the tails of the album, whose progression seems to follow a guassian function where some excellent middle tempi, such as "Cvb" or "Flash" where Mlada Fronta sound like flashing listeners by synth-flares from the core of whirling geometrical polygons, get gradually ignited on tracks like "Osc-A", the compelling pursuits of "Cop_magnum bass" and "Night Run" - two of the most amazing tracks - before the chains of control got almost completely wiped out on the hard hits of "Strict Dress Code"; the serpentine electronic straightedges of "Top" marks the moments when bpms decrease - except for the gnarled distorted flow of "Sdk" - and the sound more distinctly starts high-flying till the enchanting final "Ytre", which reunites with the blissful mechanical daydreaming of the appetizer "North Pole". According to Remy's own words, the sound could remind some tracks by Digitalism, the Hacker, Underworld and his fellow country-mate Gesaffelstein, but some moments of the record could be closer to some stuff by Orbital, Crystal Method or the first Daft Punk.
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Artist: The Invaderz
Title: New Found Dialect
Format: Download Only (MP3 + Lossless)
Label: Commercial Suicide (@)
Rated: *****
If you want to have an idea of what you are going to listen on the first album by The Invaders, a London-based d'n'b trio by Darrell James, Leo Grant and the sprawling Matt "Lord'a'Mercy" Lord (guitar and bass of Ladyfuzz, collaborator of Paul Dolby's Homecookin' as well as a member of the appreciated collective Bugz In The Attic), you could trust the title they've chosen for their album, which comes from Commercial Suicide, the excellent and reassuring label by Klute. In the plural, possibly, as they intercepted and explored different speech variates, accents and dialects of drum'n'bass with full knowledge of the facts due to their more than long-lasting militancy in the scene: "New Found Dialect" is characterized by a remarkable variety of style that got packed together in one album, whose stylistical hooks range from Bristolian steppers, stunning connections with 90ies jungle sonorities ("Jungle Life", "Burning Book"), tech-hey monsters ("Bonesaw", "Dream Is Over"), liquefied amen vocal smashers ("Addicted", "Love Vibrations" ft.Dj Marky), classy jazzy tunes ("Jazz Club", "Getting So" and the astonishing title-track tune which features MC Stirlin on the mic) and many voodoo-like sonic bewitching which could let your body involuntarily move such as the uplifting "Feel The Same", "Doublethink" and the excellent denoument on the catchy "True Grit". Such a dialect can convince listeners that they shouldn't limit their vocabulary! and that it's worth improving the consistency of terminology in terms of d'n'b tunes!
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