Music Reviews



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Artist: TER
Title: Fingerprints
Format: CD
Label: cat|sun (@)
Rated: *****
The shadowy consonances with the sonorities of partner-in art Tomek Mirt ring out while listening the earliest seconds of the first of six untitled fingerprints by TER, but this sonic trinket by the female soul of defunct psychedelic Polish band Brasil And The Gallowbrothers Band, where Andrzej Zaleski aka Zale forgets his paw on the (recorded in real time) percussions of three tracks as well, reveals its impressive stylisticals heterogeneousness in the blink of an eye. Modular synths, which tilt listeners up between phantasmagorical voiding and likeable psychedelic tickle, bump into afro percussions, space-age grandeur, kicking sizzles, synth-driven dub trots, electronic excrescences, minimal fillips, exotica nooks, dreamy synth-lines, sudden rhythicaml ganglions, abstract noodling and lovely alien melodies. The comparison of her six outputs with fingerprints comes from TER's admission of a certain kinship between her previous collaborative experiences and the enthralling syntax she's testing on her solo debut album, which cannot but be relished since the very first listening. Have a test/taste!
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Artist: Nerk/Kirn
Title: Remnant Hugo
Format: Download Only (MP3 + Lossless)
Label: V-Records (@)
Rated: *****
First collaborative release by a couple of Berlin-based techno-lovers who spill their passion on the stained tablecloth of music zines and on sonic technological devices as one half of Nerk/Krin is German-born Benjamin Weiss aka Nerk, a veteran of dance music scene as well as a founding member of the notorious German mag De:bug, while the other half is Kentucky-based classically trained producer Peter Kirn, founding editor of CreateDigitalMusic. They dropped a couple of good tracks by forging digitally-edited analog sonorities which draw fully from rich sources of underground Berlin after-parties: on "Hugo", they have fun by sand an innervated MS-20-driven drone by means of light distortions, micro-taps, plastic slithering and clanging spurts, while "Remnant" bounces fingersnaps, dry kicks, claps off the sides of a cavern before they let an arpeggio and some crunchy sonorities out of a Juno-106.
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Artist: Mirt (@)
Title: Rite Of Passage
Format: CD
Label: cat|sun (@)
Rated: *****
Despite the fact that Polish sound artist Tomek Mirt outlined some references of his ninth album - for instance, the title "Rite Of Passage" has been taken from one epidose of tv series "Miami Vice" and vocal parts have been sampled from old zombie movies such as the second untitled track which has been recorded from Halperin Brothers' "White Zombie" (1932) starring a great Bela Lugosi as "Murder" Legendre, a white Haitian voodoo master who leads a crew of zombies before performing "The King Of Zombie" on a movie by Jean Yarbrough in 1941, which got sampled on "Rite 4"! -, the insertion of his second track which features some frog calls (already resounding on the above-mentioned sample from "White Zombie"), "Music of the Frogs", which could engender exstacy to neuroethologists and students of animal world together with the first version on Mirt's recent album "Handmade Man", the otherwordly atmosphere of the other numbered "Rites", the hallucinogenic sonorities that Mirt extracted from his modular synth in one take and without any further mixing or overdubbing and a certain grotesque halo which got emitted by cover artwork indeed managed to ring a bell: I may get wrong, but I invite you to check "The Frogs" by Aristophanes telling the story of the journey to Hades (Ancient Greek undeworld) by god Dyonisus in order to revive the playwright Euripides and make up for the unsatysfying state of Athens' tragedians. Beyond the synapse with the notorious chorus of frogs (Brekekekex-koax-koax!), this connection got fed by entrancing ambient dilutions, fermented noises, gelatinous dub-like movements as well as some sonic tricks that Mirt could have learnt from the amazing soundtracks of the quoted zombie movies, which could let listeners think about "Rite Of Passage" as a set of possible transmissions from the afterlife rather than a stylistical passage by Mirt.
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Artist: P.E.A.R.L.
Title: Order/Decay
Format: 12"
Label: Falling Ethics (@)
Distributor: Triple Vision
Rated: *****
On the face of upcoming or newborn techno labels, those Detroit-esque Berlin-based obscure techno sonorities, which shaked the scene in the first decade of new millenium, are living a blaze of glory again. Beyond the almost axiomatic apocalyptical nuances that a name like Falling Ethics could impulsively evoke, the debut of the new imprint by young Cantabrian producer P.E.A.R.L. validates such an impression: the three parts of "Order/Decay" sounds like following a graduated ascent, a sort of reversed gravity wave where the nitrogen level increases in the sonic stream of each track as it approaches the exit of the reactor, where the last of the three part, needless to say, is the most stifling one by means of more clearly audible industrial influences. In order to have an idea of what you're going to listen, just imagine a crossbreed between the stuff that industrial-oriented techno grandmasters like Riou Tomita and the syncopated regularity of producers like Ascion, Monolake or Fumiya Tanaka added and keep on adding to their artifacts.
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Artist: Akira Kosemura (@)
Title: 虹の彼方 - Seven Colors Variations
Format: CDS (CD Single)
Label: Schole (@)
Rated: *****
Akira Kosemura decided to mouthwater listeners by just one pretty J-pop mid-tempo song, "Niji no Kanata" (Japanese for "Beyond The Rainbow"), whose lyrics about evanescence of feelings and a previously reciprocal fragile and faint love, its perfect vocal interpretation by lasah and its honey-sweet arrangement, which features the delicate sound of acoustic guitar by Muneki Takasaka (Paniyolo) could make glicemia in your brains rise up. The release include six remarkable remixes, which pushed this song towards different directions: Madegg derails Akira's emotional flight by means of balanced tech-house pressure and chopped sounds, Takahiro Uchibori aka Metome lets it slide on amazing swooshing synths and an uplifting pitched disco-funk groove skates, Shaw-Han Liem aka I Am Robot And Proud decorates it by saccharine garlands of metronomical cuts, while the melodic line of the crystal-clear electric piano introduction by Toshiyuki Tasuda reminded me of Sakamoto's "Merry Christmas, Mr.Lawrence" for a while. Lawrence English's dazling ambient dilutions, which could propel flights of fancy, and the intimate reinterpretation by [.que] ideally complete the tracklist, but Akira Kosemura launched a contest for further remixers (make and move yours as well) and an audition for new vocalists for next song of the forthcoming album.
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