Music Reviews



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Artist: Aderlating (@)
Title: Gospel of the Burning Idols
Format: CD
Label: Black Plague (Malignant Records) (@)
Rated: *****
Aderlating is a side-project of Maurice (Mories) De Jong's Gnaw Their Tongues, along with Eric Eijspaart, aka Mowlawner. 'Gospel of the Burning Idols' is some My-T-Fine black metal and hellish industrial black ambient noise. 'Opening of a Tomb' foments with a sub-current of low staticy noise, while a kind of keening sound can also be heard. A hoarsely croaking voice (perhaps a lich?) rises up amidst subtle electronic ambience and voices of the dead and begins an incantation. If this was some type of Ghost Hunter reality show, you boys and girls are going to seriously regret opening that tomb as the doom drums and processed cymbals in the background and the intensity of the sonics reveal a nightmare world unlike any you have ever experienced. Too late to stop it, too late to run as the terror washes over you. 'A Vulture's Tongue Disease' begins with that necromancer's croaking voice over a low drone but soon morphs into the chaos of clattering drums, crashing cymbals and unearthly voices. You are plumming the absolute depths of darkness here my friend, as your immersion in this demonic madness is inexorable. 'The Burial Gown Reeks of Semen' (what a title!) might be the weirdest, creepiest track so far, with its palette of disparate noisy sonics, low drone tone, screams from the deep, and a gibbering processed voice raving incoherently about'¦well, you figure that one out. 'Dragged to the Smouldering Pits of Infinity' is just too ineffable to describe; there is so much going on here, so much frenetic dark energy that pandemonium doesn't even begin to describe it. 'Bondaged in Shame, Disgraced in Fear' is a bit easier to convey. As with most of the tracks, it begins minimally, a squealing metallic sound, some drone, electronic noises and echoed sounds, mournful church bell, maybe some rain, then the chaos drumming begins. Buzzing, squalling electronics, processed cymbals, an electronic storm winding down into a puddle of despair. 'Spewed On By Slave of Inhumanity' begins with a rhythmic pounding while electronic ambience and processed whispers creep in. A heavy metallic drone with noise takes over while a processed voice raves in the background. While this intensifies, percussive bashing and clatter are added. Noise hiss, controlled feedback, and other deeply chambered sounds add to the mélange until it all fades away. 'Gospel of the Burning Idols' begins with squalling electronics (oscillators gone wild) adding dark, low drone that occasionally changes pitch, and processed sizzing noise, until it ends. Most unpleasant. All in all, it's pretty good black metal industrial ambient noise, but I detect that it lacks some focus, especially in the last couple of tracks. If the object was simply chaotic doom, then 'Gospel of the Burning Idols' succeeds in that, but if there is supposed to be some deeper meaning, I didn't find it. Still, this should please most ambient black metal enthusiasts.
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Artist: Gianluca Becuzzi
Title: (B)haunted
Format: CD
Label: Silentes (@)
Rated: *****
Gianluca Becuzzi has a long story as musician. He passed most of his time being the singer with Limbo (1984-2001) and recording an LP as Saint Luka (project born in 1988 and ended in 1992). In the mid 90s he did an album with his samples based project Metaform and at the end of those years until 2010 he recorded as Kinetix exploring experimental sounds and releasing different stuff for Nova Ars Digitandi, Small Voices, Sine3pm, Silentes, etc. At the moment he has four different project that are still going on: the one with his own name and the one with Fabio Orsi (both from 2006), Noise Trade Company (from 2008 and with releases out for N-Label, EK Product, Space Race Records and Sigsaly Transmissions and Grey History (from 2010 he did two CDrs for Radical Matters). Released by Silentes (for its Minimal Editions sub label), "(B)Haunted" isn't really the new album by Gianluca Becuzzi but it is a collection of tracks that are coming from two tapes: "B" (released on 2011 for Silentes) and "Haunted" (released in tape and CDr on 2011 for Cerebro Morto). The eight tracks sounds to me like a mix of Vivenza meet early Einsturzende Neubauten at a Current 93 concert. The core of the sounds are clanging metal noises and Gianluca add to them digital noises, drones, samples choruses, hissing sounds, bells and squeaking sounds. Most of the tracks are ten minutes noisy suites where the listener is tested and threatened. While on track like "B002" and "B003" noise is too much for me, on tracks like "B004" and "H004", where the alternance of tension and sounds explosion is more calibrated, the listener can enjoy at best the effect created.
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Artist: Mollono.Bass
Title: Remix Collection II
Format: CD
Label: 3000°
Rated: *****
He likes bass frequencies. He likes house music. He likes to remix different genres. He did lotsa remixes and I mean a lot! He did only one album in 2011 for Acker Records. He did about fifteen EPs for Acker Records, Absurd Recordings, Ostwind Records and 3000°. For this last one he just released on CD his second collection of remixes. Who's he? He is Ronny Mollenhauer a.k.a. Mollono.Bass. About one year from the first volume here it is a second one containing fourteen new remixes that Ronny did for Be Svendsen, Robot Needs Oil Ganja Tunes, Douglas Greed Feat. Delhia De France, Felix Eul, Fuji Kureta, Monkey Safari, Pupkulies & Rebecca, Stereo Express, Dole & Kom, Wolfgang Lohr Feat. Miss NatNat, Schäufler & Zovsky, Be Svendsen, Peng Peng and Dolph. The tracks' atmosphere moves from dub reggae/balearic (on the remix of Felix Eul's "Auch"), to minimal house passing through pop folk with Hawaiian atmospheres (on the Pupkulies & Rebecca remix of "Ici") and Gipsy influences (on the remix of Stereo Express' "Mister Mayor"). I appreciate the wide of variety of genres remixed but most of the tracks are conducted to have a similar sound at the end of the work missing a bit of peculiarity. Most of the times on the background there's a wobbling bass sound that along with a good amount of reverb helps creating this effect. Most of the tracks are nice but sounds like fluffy dance tunes that missed a bit of their power on the process.
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Artist: Stevie Hyper D
Title: Generation Hyper
Format: CDS (CD Single)
Label: Dance Concept (@)
Rated: *****
The legendary MC Stevie Hyper D, whose death for a heart attack following a strenuous international tour and an ereditary condition on 5th July 1998 was an unbridgeable loss for drum'n'bass and jungle scene, lives again on this massive and overloaded collection by likewise legendary Dance Concept, whose owner Benny V has been a life-lasting friend and partner-in-art of Stevie. He was not only the inventor of the so-called Double Time MC'ing style and the first DnB MC signed by a major label ("The Next Step" on Island Records in 1999), but he also inspired and spread virtues and ideas by means of his perfectly timed word. Coming after 16 years after that tragic loss, "Generation Hyper" covers a remarkably wide range of styles and producers, who had the honour to work side by side this immortal and really versatile force of nature, who can be reasonably considered a cult figure for junglists and contemporary MCs, by means of 24 great tunes: Congo Natty, Benny V, Jaydan, Savage Rehab, Pappa G, Heist, Ray Keith, Jayline, Dj Sly, Nookie and many more. An authentic unmissable piece of music history, which is going to move your bodies and minds. Over and over again...
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Artist: Andrew Lewis (@)
Title: Au-delà
Format: CD
Label: empreintes DIGITALes (@)
Rated: *****
"Au-dela'" (French expression for "beyond") is a collection of six amazing acousmatic compositions that got created between 1990 and 2012 by North Wales-based composer Andrew Lewis, one of the original members of BEAST (in spite of the hallucinatory and somehow mesmeric nuances of some stuff by Andrew, it's not a satanist group, but it's the acronym for Birmingham Electroacoustic Sound Theatre), professor and director of the Electroacoustic Music Studios at the University of Wales Bangor, where he also directs Electroacoustic WALES, a group of composers (mainly former students) which tries to "promote and encourage the creation and dissemination of electroacoustic music within Wales and beyond. Lovers of the genre, but also newbies, are going to explain the amount of prizes and awards that Andrew gained after listening to this collection by putting his outlandish integration between a rich paraphernalia of acousmatics and a set of interesting concepts forward and such a sonic "strategy" since the initial track "Lexicon" which renders dyslexia by let rappeling the words of a poem by Tom, a 12 years old bot, into a pit of meaningful noises where Tom himelf seems to appear like a ghost in the cloud of voices which repeat lines of the poem ("Word is my prolem", "Words are like lifes/lies" - or maybe flies as some buzzing flies which resound after 8 minutes could let you surmise -, "a page is like a map I try to find my way around" and so on...). You'll get astonished by the bunch of harmonics that Andrew Lewis manages to extract from the sound of breaking glasses on "Dark Glass" as well as by his odd way of reinventing Wales' sonic culture on "Can" (Welsh for "song"). The oldest compositions of this collection are quite surprising as well: he translated the mountainous landscape around Bangor University studios into a mysterious sonic adventure on "Ascent", he turns many sonic entities into ephemeral being on "Time and Fire", which sounds like a treatise about transience, while the funnily disquieting "Scherzo" could let you revive childhood by a mesmerizing and swirling whirlwind of sonic clues.
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