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Artist: Ennio Mazzon
Title: Xuan
Format: CD
Label: Nephogram / Ripples (@)
Rated: *****
Ennio Mazzon is an italian sound artist mostly known, at least to me, for his remarkable work as Zbeen with Gianluca Favaron. This solo issue is a track developed from improvisations with digital instruments appositely developed during the time span from 2009 to 2012. So this track is the result of a long and careful work.
Xuan is a relatively long track that start in a glitchy way organizing a set of small noises above a quiet beat then silence and quiet sounds takes the scene until a sort of drone set an interlude slowly closed by the return of the quiet sounds. Then glitchy noises are spread through the aural spectrum until a slowly developing bright drone became the glue and the landscape for the development of the noises enchanting the listener. The ending of the noises introduces to the final part of the track based on sparse sounds until silence mark the end of this musical journey.
Apart from the description this track could be easily described by the wonderful cover image made with a stunning picture by Elisa Piaggesi depicting the branches of a tree in the afternoon with a grey rhombus added by Franz Rosati in the middle stating the juxtaposition of nature and reason.
This track is undoubtedly enriched from the mastering work made by James Plotkin resulting in a bright audio spectrum that enhance the research of musical timbre nuances. So, even if the musical influences are clearly hearable, the quality of the result and the personality of the musical development makes this issue a record not to miss.
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Artist: Cindytalk (@)
Title: A Life Is Everywhere
Format: CD
Label: Editions Mego (@)
Rated: *****
The sonic mutation of Scottish band Cindytalk (former collaborators of a number of bands and musicians such as Cocteau Twins, Somatic Responses, Chris Connelly and many more) after Gordon "Cindy" Sharp lapsed into an unorthodox amalgamation of musique concrete, electronics, sampling and industrial splinters reaches its peak on this charming release, which sounds somehow slinky to the definition of "Ambi-dustrial" they coined to describe their past deconstructions of rock structures in my opinion and doesn't really lack of congruence with previous phases of their explorations and supposedly to old cinema masterpieces as they matched each of the 6 tracks to the title of legendary drama movies such as Bunel's "The Exterminating Angel", Tarkovsky's "Nostalghia", Haneke's "Hidden", Godard's "Vivre Sa Vie". I'm not sure about the reason of this match game or common denominator of the quoted movies: I could say they tried to render the atmospheres of each movie or maybe there're some hidden sonic clues within every single track. Anyway, the "method" they followed to organize sounds could vaguely resemble the one by first Autechre, who used to insert sometimes unexpected classical ditties within weaves and tangles of noises and electronic sounds, but Cindytalk's way is somehow adventorous and extremely striking. The initial "Time To Fall" could let listeners think about the gradual melting of matter inside an acid bath which sounds like a proper flood, whose final act is the surfacing of a charming abstract string melody from the obscure depths of the evoked corrosive pool. The same melody seems to get reprised like a recurring theme on the following tracks according to many different intriguing sonic strategies: it turns into a sneaking sub-bass frequency which pass through a sort of dangerously spinning helix on "My Drift is a Ghost", a phantasmagorical indiscernibile bubbling entity in the storming metallic nebulas and saturation points of "To A Dying Star", a sinister whisper which resounds behind sepulchral creaking gates and dusty thuds of some undefined netherworld on the eerie "Interruptum" and inside the narrow interstices of the squeezing pressurization of a suffocating industrial-dub movement on "As If We Had Once Been" before gaining strength over the lump of sizzling electrons of "On A Pure Plane". Even chaos can boast gracefulness!
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Artist: Snog (@)
Title: Everything Is Under Control EP
Format: Download Only (MP3 + Lossless)
Label: Metropolis (@)
Rated: *****
"Everything is under control/You're got your script and You've got your role" says this song by David Thrussell's Snog on this appetizer of their album "Babes In Consumerland", whose provocative videoclip has been spread on Internet since last March. The following refrain - "you love it, you love it, you love it" - refers to a part strictly belonging to that "everything", whose constituents go smeared on a guessed mother goose-like sort of electronic march, which could be a proper upgrade of American national anthem after the official stigmatization of aberrational meaning of freedom by USA authorities following the so-called Datagate and the vicissitude experienced by Snowden (if and only if my country would be safer, I'll give him asylum...an hint for him: have a shot at corrupting political authorities as it's another part or maybe the core of that "everything" sung by Snog). On this appetizer, you will find four remixes as well: my favorite ones are "Spiderface Remix", whose highly-danceable rhythmical bustles got preceded by an ablution into spooky electric waters, and almost epic blaze of glory on "As Wednesday Remix", but "Sir Real Remix" by means of the emphasis on wry childplay undertones and and the more obscure stranglehold declension of "Digital Primate and Ehsan Gelsi Remix" work well. The final "deafening silence" and the tragical crescendo till the final (ante-slaughtering?) choral bleats on "The Lament Of Lost Sheep" objectifies the malicious appropriateness of Snog's message. Americans should consider the possibility to replace or upgrade the Statue of Liberty with a metal sculpture of the runaway model on the cover artwork as well!
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Artist: The Silicon Scientist
Title: Sinister Street
Format: 7"
Label: Anna Logue Records
Rated: *****
After three years from the release of the second album "Poly", Stefan Bornhorst a.k.a. The Silicon Scientist is back and this 7" containing two songs serve as appetizer before the release of the new album "Outside The Night". On side A we have the main track "Sinister Street" with a different mix compared to the version that will be included into the album. The song is an upbeat melancholic tune with many melodic synth layers sustained by a bouncing bass line coupled by a 4/4 drum machine rhythm. Vocals, as usual, are filtered and this tune could be an underground hit like Stefan's "Submarines" contained into the first The Silicon Scientist album "Windows On The World". On side B we have "Sights", a song which will be available only on this 7". It is a bit more cold sounding compared to "Sinister Street" and it has also a dancey attitude despite its dark atmosphere. Both the tracks are perfect for a single and after listening to them here http://annaloguerecords.bandcamp.com/album/sinister-street I'm sure you'll consider the purchase...
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Artist: Mario BJM Bajardi (@)
Title: Glass Orchestra EP
Format: Download Only (MP3 + Lossless)
Label: ONDE
Rated: *****
This second release by the brilliant Italian composer and sound artist Mario Bajardi - check his biography in order to understand his value and the resonance of his sonic research - after his acclaimed album "Archives" on ONDE Electronic Contents, a division of Paolo Bigazzi's imprint Iter Research, hits the cinematic heart of the label on the nail as each track of this short, but amazing "Glass Orchestra EP" sounds remarkably evocative and somehow dramatic. The title track got quite notorious on YouTube as it was composed for "Sound of Wine", an awesome and very original way that Sicilian wine company Tasca D'Almerita chose to promote their delicious products by inebriating the sense of hearing which isn't involved like olfaction, taste and sight during a wine tasting. That amazing video, which got signed by viral media company Mosaicoon, shows Mr.Bajardi in the act of conducting a bizarre orchestra of 10 young players of bottles and glasses and the general chiming sound of this funny experiment is a pleasure for eardrums. The notoriety of the above-mentioned track doesn't outshine the good make of the other tracks: "All" seems to tap from dub and space rock springs whose refreshing waters spring the lukeworm psychedelic intertwining of digital processed sounds, splinters of violin and twinkly synth glares; the outlandish reverie of "San Lorenzo" is a studio version of a subplot Mario played during a live concert as an electroacoustic improvisation; "Encounter" is maybe the most dramatic track, where the initial delicate strings sounds like the inner sparking which gradually cracks the shell of daily life before bursting into properly epic flames.
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