Music Reviews



cover
Artist: Alberto Boccardi + Lawrence English (@)
Title: Split
Format: 12"
Label: frattonove (@)
Rated: *****
Even if this splitted release derives from Alberto Boccardi's recordings of Antonio Lamotta choir, both the cover artwork by Marco Galeazzi and the general aura of the first suite of this release reminded the final scene of "Nocturne", an old short film by Lars Von Trier: the flock of geese or crows on the ocher sky, the estranging obfuscation evoked by the gradual overlapping of a number of acoustic instruments (double bass, cello, French horn, autoharp, soprano saxophone), which could remind the horns of many maneuvering boats, the progressive saturation of the above-mentioned instruments over consecutive suctions, the clinical and vaguely stifling atmosphere rendered by the plumbean chorus, a sort of atrial flutter which disappears under a rising distorted guitar, the consequent silent coma and the entrancing final etheral delayed sound of "Drops, salt, ask me next life", the sonic path Alberto develops in three movements, could be vaguely associated to that 7 minutes lasting breathtaking short. On the flipside, you'll find "The Rocks That Tear The Ocean", a likewise absorbing suite, built by Lawrence English, who received Alberto's recordings in order to give him the possibility to freely manipulate them, and ideally consisting of four moments: "Thrones and Domains", where Lawrence reprised Antonio LaMotta choir, "Coronach Adrift" - the quotation of Scottish Galic dirge sounds apt to the evoked bleakness -, "Weathered Hymnary", where atmospheric agents seems to have been turned into proper voices and instruments, and the final upward motion of "Seraphim", where a seraphic unhuman chant seems to echo the previous keening choir and rise over the amalgamation of natural and human resounding elements. The final result is a proper mental journey, whose comparison with Land Art "in which a massing of micro elements create a macro feature" by Lawrence himself pertain to his compositional process.
cover
Artist: Buke & Gase
Title: General Dome
Format: CD
Label: Brassland (@)
Distributor: Discorporate Records
Buke and Gase are an upstate NY-based duo who make unconventional music with unconventional instruments. Together they come up with some of the most original and interesting music I've heard in a while, both on the record and on stage, and as is always the case in these rare circumstances, describing their sound is really challenging. If you can, imagine some sort of experimental post-industrial avantgarde indie rock... Odd meters, doubled melody lines, angular beats, intricate harmonizations and skilled used of distortion, pitch shifters, harmonizers and delays elevate the whole Buke & Gase experience to the level of something you've never heard of and that will keep you glued to them. Incredibly they achieve all of this with just the two of them and I've seen them doing it live. They are a power house and they don't even have a drummer or use any loops or pre-recorded material. Arone Dyer (woman) sings and plays a heavily effected Buke (baritone ukulele) and Aron Sanchez (man) plays the even more heavily processed Gase (guitarbase - a self built guitar looking instrument that has some bass strings and some guitar strings) as well as a modified kick drum with some tambourine jingles on the front of it.
Do yourself a favor and check them out yourself because describing them doesn't really do them much justice! They kick ass and you won't really know that until you hear what they do.
Jun 28 2013
image not
available
anymore
Artist: Deth Rok (@)
Title: Us & Them
Format: CD
Label: 13th Planet records (@)
Rated: *****
Deth Rok is the moniker used by NY-native Texas-based electronic artist Aaron Havill, a young electronic music producer, composer and engineer who has been working for Ministry's Al Jourgensen. Al's label is in fact the one who gave Aaron a chance and released his new CD "Us & Them" on his 13th Planet records. You shouldn't however except a Ministry clone or even an industrial-metal band. "US & Them" has no guitars or even distortions at all (except for maybe one track)... The music is more on the quieter side, although it has an underlaying sinister vein that pervades all the songs. Slow down-tempo electronica with a hoarse softly-spoken vocal parts whose themes fringe upon apocalyptic, political and cynical. The vocals actually are a pretty focal point here. Where most bands in the electronic genre might choose to hide their lyrics behind walls of saturation and screams, Havill makes the conscious choice of tackling uncomfortable topics and making sure what he thinks and says is actually intelligible and unadulterated. The sarcastic nature of the topics is futher exacerbated by samples of preachers talking about the end of the world, TV/radio commercials about medicine with really bad side effects and things like that. The slow pace and the articulation of his voice helps drive home the points he is making. Sure a lot of it is metaphoric and not necessarily matter-of-factual, but obviously the lyrics are important or the artist would not have chosen to include them in the digipack packaging.
If you are in the mood for some dark and sombre death-electronica give Deth Rok a spin, unless you are Eddie Kramer, you probably won't be disappointed!
cover
Artist: CoH (@)
Title: RETRO-2038
Format: 2 x 12" vinyl
Label: Editions Mego (@)
Rated: *****
This record by Russian-born, but Sweden-based Ivan Pavlov (what a reminiscent surname...), whose nom de guerre is CoH - a word which should be pronounced as "son" and mean "dream" or "sleep" in Russian if you read it in Cyrillic -, could be described by an allusive paraphrase of the album title by Coil, a band Ivan might like: "Retro-2038", a title whose reference should be clear to many nerds and people dealing with computational bugs related to time counting, could be considered as a collection of new backwards or possibly old forwards. This specimen of retrofuturism or avant-primitivism seems to play cowboys and indians with the concept of future and past, as if it was inspired by the defilement of a disused robotic prototype, who sounds rewired in the initial track "Retrotech Overture": the electric hiss, the reactivation of logical circuits and even a feeling of dizziness that even machines could experience after a prolonged "coma" have been mirrored by CoH before the playful electronic tingling of the following "Bugs Build A House", where the merry micromelody rejigs and gels with other sonic elements of the track, and the amazing analog/digital tic tacks of "Time To Time", where the binomial distribution of time scanning seems to emphasize the intrinsic logics of this record along the lines of an ambigous duality, which is even more stressed on the gleaming buzzers of entrancing low-frequencies of the following "On Wings Of Gravity". Crystalline drops over buzzing electronic bruises and shredded sequences oddly group together on "Aniki" and the beatless bleeping dance of "Disco Discrete". In spite of the dedication to Mika Vainio on the nubby glissando of "Vainio", "Retro-2038" sounds definitely less coarse-grained than CoH's previous releases, while the final "Method As Fun" is the peak which enshrines the declension of suprematist retro-futurism by this talented composer and his learned modulation of attacks and decays.
cover
Artist: Lyndsie Alguire
Title: Clair Obscur
Format: 3" MiniCD
Label: Time Released Sound (@)
Rated: *****
I'm not sure if there are some available copies of this interesting ambient release by Canadian pianist and soundscape chiseler Lyndsie Alguire yet, as Colin Herrick's Time Released Sound printed just 100 fingerprinted and handsigned 3inches CDR copies, but you can try as the listening experience this young musician signed sounds like a proper blow moulding from her inner soul. Out of curiosity, I had a listen to "Suspended Light", her previous album on Camomile records, and I can say that "Clair Obscur" could just remotely have been patterned on the above-mentioned release as it's less focused on piano and voice. Only one distant note resound in the initial "I Was Dreaming Of You", which sound like a self-tuning or I'd rather say a tuning on Self over interfering zephyrs. Piano melodies resurface on the following "You Used To Look Happy", where Lyndsie seems to find out a grotto inside her inner world where echoes of whispers of the voice of the above-mentioned Self are barely audible, and the radiantly aglow "The Twin Stones (Lovechain)", but it's on the final 10-minutes lasting track "All Possible Stories" that the dim light which sounds evoked by the title of this release, appears vividly sketched: piano flashlight-like melodies and supposedly sense of self got diluted by the somehow dramaticly emotional perception of the multitude in the guise of field recordings of murmuring voices. In the light of the intimate value of this release, the 8 polaroid prints taken by Lindsie's friend Mat Guerin have no sexual meaming, but they might portray the "naked" lingering on a disarming, but bewitching clear insight.
[ Next ] [ Previous ]

[1...10] [11...20] [21...30] [31...40] [41...50] [51...60] [61...70] [71...80] [81...90] [91...100] [101...110] [111...120] [121...130] [131...140] [141...150] [151...160] [161...170] [171...180] [181...190] [191...200] [201...210] [211...220] [221...230] [231...240] [241...250] [251...260] [261...270] [271...280] [281...290] [291...300] [301...310] [311...320] [321...330] [331...340] [341...350] [351...360] [361...370] [371...380] [381...390] [391...400] [401...410] [411...420] [421...430] [431...440] [441...450] [451...460] [461...470] [471...480] [481...490] [491...500] [501...510] [511...520] [521...530] [531...540] [541...550] [551...560] [561...570] [571...580] [581...590] [591...600] [601...610] [611...620] [621...630] [631...640] [641...650] [651...660] [661...670] [671...680] [681] [682] [683] [684] [685] [686] [687] [688] [689] [690] [691...700] [701...710] [711...720] [721...730] [731...740] [741...750] [751...760] [761...770] [771...780] [781...790] [791...800] [801...810] [811...820] [821...830] [831...840] [841...850] [851...860] [861...870] [871...880] [881...890] [891...900] [901...910] [911...920] [921...930] [931...940] [941...950] [951...960] [961...970] [971...980] [981...990] [991...1000] [1001...1010] [1011...1020] [1021...1030] [1031...1040] [1041...1050] [1051...1060] [1061...1070] [1071...1080] [1081...1090] [1091...1100] [1101...1110] [1111...1120] [1121...1130] [1131...1140] [1141...1150] [1151...1160] [1161...1170] [1171...1180] [1181...1190] [1191...1200] [1201...1210] [1211...1220] [1221...1230] [1231...1240] [1241...1250] [1251...1260] [1261...1270] [1271...1280] [1281...1290] [1291...1300] [1301...1310] [1311...1320] [1321...1330] [1331...1340] [1341...1350] [1351...1360] [1361...1370] [1371...1380] [1381...1390] [1391...1400] [1401...1410] [1411...1420] [1421...1430] [1431...1440] [1441...1450] [1451...1460] [1461...1470] [1471...1480] [1481...1490] [1491...1500] [1501...1510] [1511...1520] [1521...1530] [1531...1540] [1541...1550] [1551...1560] [1561...1570] [1571...1580] [1581...1590] [1591...1600] [1601...1610] [1611...1620] [1621...1630] [1631...1640] [1641...1650] [1651...1660] [1661...1670] [1671...1680] [1681...1690] [1691...1700] [1701...1710] [1711...1720] [1721...1730] [1731...1740] [1741...1750] [1751...1760] [1761...1770] [1771...1780] [1781...1790] [1791...1800] [1801...1810] [1811...1820] [1821...1830] [1831...1840] [1841...1850] [1851...1860] [1861...1870] [1871...1880] [1881...1890] [1891...1900] [1901...1910] [1911...1920] [1921...1930] [1931...1940] [1941...1950] [1951...1960] [1961...1970] [1971...1980] [1981...1990] [1991...2000] [2001...2010] [2011...2020] [2021...2030] [2031...2040] [2041...2050] [2051...2060] [2061...2070] [2071...2080] [2081...2090] [2091...2100] [2101...2110] [2111...2120]


Search All Reviews:
[ Advanced Search ]

Chain D.L.K. design by Marc Urselli
Suffusion WordPress theme by Sayontan Sinha