Music Reviews



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Artist: Død Beverte (@)
Title: Polarination
Format: Download Only (MP3 + Lossless)
Label: self-released
Rated: *****
Død Beverte is Stefan Klein from Colorado Springs, Colorado who began his musical career with his avant-garde extreme metal band Dethcentrik back in 2009. According to his website, Død has been in, worked with, and has remixed/been remixed by many other projects and artists, including Blank Faced Prophet, Cold Metal Future, Fill The Void, Dawn of Ashes, The Rust Punk Tribe, Angelspit, f.kk.d, Omega Dub Experience, Jeremiah Whitman, Chris Vrenna (Nine Inch Nails, Tweaker, Marilyn Manson), Disturbing Taxidermy, and many others. Kinda sounds impressive, eh? Well maybe so, until you listen to 'Polarination' which is supposed to be experimental music, but all too often as in this case is a catch-all category for not too good music. First and title track on 'Polarination' is nearly 5 minutes of poorly improvised noise with repetitious dialogue samples of pundits saying "this is the most racist bigoted" and other acrimonious political jargon, obviously directed at #45. Speaking of the Cheeto-in-Chief, "Echoes of a Dark Past" continues with more dialogue samples, namely the "I alone can fix it" gem pitch-shifted down several octaves to demon range. The improvised music on "Brooding Conflict" is slightly more intriguing, but not enough to make up for what preceded it. "Straight Outta The Cold War" gives us unadulterated Trump - "Madmen, out there...shooting rockets all over the place..." underpinned with bassy warblings sounding like sad whales. "Bipolar Partisanship" is just a manipulated mess, likely as it was intended to make a statement on the current political scene. The mess continues on "The War Has Begun" with lots of chaotic crowd samples and some really bad distorto-bass playing. Plenty of anger, not much else. The short (barely over a minute) track "Holding Onto The Pieces" was the first one that seemed to have an interesting ambience in its plucky minimalism. That quickly falls by the wayside though when Død Beverte tries some avant-garde guitar and bass dissected by a steady feedback tone on "Last Moment To Reflect". Later throwing in some reverb for good measure doesn't make it any better. The fourteen and a half minute "Nuclear Holocaust" has elements of dark ambient, (monotonous) avant-garde minimal improv and noise, but the elements don't coalesce well enough to form anything more than filling 15 minutes of space with sound. "Wasteland" started out being the most interesting track on the album with minimal atmospheric bass pulse in a slow, sinister rhythm, but then "the other bass" shows up a few seconds over a minute in, and kicks the crap out of anything that might have been worthwhile in its belligerent annoynace. Even the deeply chambered sonics that eventually follow seem kind of contrived. Lastly according to Død, track 11 is an open source track he completed after the album and gave away along with giving away alternate mixes and stems, entitled "Nowhere To Hide". Funny, it's the most musical thing on the album; a bit awkward but it has its strange charm. I'd be more inclined to have liked the album if there were more tracks like that on it. I can understand that (some) artists want to make a statement and ruminate on the current socio-political crisis that is enveloping the world, and especially this country today. Let's face it, it's permeating our culture, and to a degree our music is part of that culture. You're not going to be getting anything deep out of Taylor Swift, Kanye West, or others in the pop world, so it falls to the fringe carry the torch. 'Polarination' isn't the answer though because it's just too fractured and amateurish to even leave a lasting impression. I'm sure Død Beverte was looking to leave an impression when he concocted this; I just don't think it will be what he intended.
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Artist: Anne-James Chaton & Andy Moor
Title: Tout Ce Que Je Sais
Format: CD & Vinyl
Label: Unsounds
The second part of their “Heretics” series continues to fuse together Anne-James Chaton’s French-language freeform and sometimes quite frenetic beat poetry with Andy Moor (The Ex)’s looped and layered improvised and mostly rhythm-driven experimental guitar work.

It’s recorded live, though you wouldn’t tell from the sound quality, which is very rich and deep- only the appreciate audience responses between tracks give it away. A curious bit of anachronistic soundscaping after the first track, seemingly featuring bees and tractors, is shortlived and not fully explored, with the release focussing almost exclusively on guitar and voice.

Being unable to speak French, the voice here is just another instrument to be judged on sonic rather than lyrical quality, but it stands up well in that regard. It’s dramatic, well-performed, both evocative and strangely authoritative, though there isn’t necessarily a great deal of variation between pieces which is highlighted more when you don’t understand what’s being said.

The guitar, meanwhile, generally has one particular sound, but does adopt a variety of playing styles- “Coquins coquettes et cocus” being more than halfway to full-on rock guitar, “Clair Obscur” being a little more folksy, “Casino rabelaisien” being somewhat darker.

Final track “The Things That Belong To William” (again a French-language track despite the title) stands out for being more freeform, using timestretched vocal recordings as a throat-singing-style atmospheric bed and using the guitar for spontaneous and dynamic clanging rather than the beat patterns that dominate most of the other tracks.

It’s a strong piece of guitar poetry in a relatively conventional style, and thankfully you don’t have to speak French to appreciate it.
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Artist: Eliezer
Title: The man from 94
Format: 12" vinyl + Download
Label: Unterman
The debut EP from Tel Aviv-based Eliezer is an EP made up of two original tracks and a remix of each. It also marks the first release for the Unterman label. And it’s a debut that’s polished and competent rather than outstanding.

“Frani” is a steady house groove over which squelchy synthwavey noises gradually twiddle their way across. The rocky, aggressive spoken word sample feels to be at a higher energy level than the rest of the track and ends up a little disconnected, save for when it’s being cut up and played with. Gabriel Ferreira’s remix is a stripped-back and deeper affair that turns those cut-up vocal parts into soft percussive tones sparsely sprinkled over a thick kick and simple throbbing bass.

“No Tears” is also a little darker, a moodier synthwave affair of long pads, sustained strings and analogue arpeggios. The Naduve remix is quite faithful, brightening the rhythm up a bit and adding a decidedly 80’s bass sound but falling very close to the tree as remixes go.

Confident and leisurely, it’s a nice pack that shows promise rather than brilliance.
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Artist: DVS NME
Title: Neural Chain
Format: Download Only (MP3 + Lossless)
Label: Ukonx Recordings
Rated: *****
Founded in 2011 in France by the electro producer Stephane Bastien which is also active under the moniker of Deemphasis, Ukonx Recordings, after four years of pause, is back on track with its ninth release. After releasing music by Fleck ESC, Micro Control Unit, Deemphasis itself plus a compilation, for its come back Ukonx Recordings picked up DVS NME. At Chain D.L.K. we already talked about the project of Johan Sebastian Bot and also for him this is a sort of come back, as in the latest four years he focused his efforts mainly on his weekly radio program Dark Science Electro broadcasted on Intergalactic FM. After releasing tracks on some compilations, "Neural Chain“ is his newest EP. Available at the Bandcamp page of the label, the EP is a collaborative project with Meta Complex, Franck Kartell and Deemphasis. The first three tracks born from the collaboration with the aforementioned projects and they all sound mysterious, robotic and inspired. The classic electro influences, which are going from Kratwerk to Detroit electro, are there, but they are really well dosed and you’ll find yourself wanting for more. After an appetiser of three tracks, as dessert, we have "Departure“, an original mid tempo tune composed by Johan alone. This track is a mixture of melancholy, mystery and it has a sort of "suspended in time“ feeling. You can check and purchase this really good EP at this link: https://ukonx.bandcamp.com/album/neural-chain
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Artist: Shy Layers
Title: Midnight Markers
Format: CD & Vinyl
Label: Beats In Space
Despite being described as “between darkness and light”, light is undoubtedly the victor on this jaunty, laidback and confident genre-defying album that could loosely fit under the umbrella of poppy electronica.

Tracks like “Gateway” are fully fledged pop songs, plucky percussive grooves running under sparky guitar twangs and a variety of boldly sampled instrumentation with a soulful, often heavily-vocoded vocal sitting politely on top. The influences are broad- 70’s funk, 80’s pop with a touch of soul, modern electronica, there are aspects of all of them in there. “Lover’s Code” even has a sound which would have to be described as funky synth sax stabs- but which aren’t nearly as bad as that description might imply.

Other tracks are a little sparser and more lightweight, but still bright and breezy, such as the Rhodes-esque keys-laden instrumental “Test Pattern”, or the radio-friendly open-air vibe of “No Road” on which the vocoding is so thick that the lead vocal becomes almost completely indecipherable and becomes a notes-only, lyricless instrument and letting the backing vocals come to the front in an unusual fashion.

It’s a relaxing and feel-good Friday afternoon sort of an album with a refreshing, almost naive optimism to it, and I hope it does well.
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