Music Reviews

Artist: Blitzkrieg Baby
Title: Porcus Norvegicus
Format: CD
Label: Neuropa Records
Rated: *****
"Porcus Norvegicus" is the first album by Blitzkrieg Baby, project headed by Kim Solve, guy active on the scene since 1999 thanks to his design studio (Trine + Kim Design Studio - He started playing in 1992 but he didn't release nothing since his first 2008 album "The Silver Hour" with the Swarms and "XXX" by Pronounced "sex" the same year (this was a one-off collaboration with his close friend, mutual Black Metal veteran and noise artist Zweizz). In 2010 he released on Neuropa Records, his first solo album "The Vault Of Apparitions" under the K100 moniker (then K100 has been signed by Cyclic Law). Now it was time for a new project and Blitzkrieg Baby born. Kim started to work on the thirteen tracks of "Porcus Norvegicus" twelve years ago, really, without the intention of releasing them. Born as a outfit for all the destructive things that he had inside, Blitzkrieg Baby has it's like a solo project where Kim release his personal instincts like a wounded wolf who wanders through the city like a condemnation. Even if he's responsible of most all the sounds, Kim was helped by some friends that contributed with vocals, instruments, etc. They were: Anders B. (from Mind & Flesh, Three Winters) who did vocals on "Pig Boy" and "Children In Uniform", Petter Berntsen (formerly of Virus) played bass on "Viva La Morte", Bjeima (of Virus, Alfa Obscura ++) did some drums and synthesizer and his friend Alan did vocals on "Fuck Me Like You Hate Me" and "Sperm Crawling Back Into Its hole". Musically we have a perfect thirty years sum of Wagnerian industrialism plus a good amount of irony and great arrangements. The press infos name NON, early Laibach and SPK as main references but Blitzkrieg Baby sound goes beyond these names, even if I doubt it would exist without those people. Most of the tracks have fine dissonant orchestration coupled with powerful drumming and noises with the add of declamations (like on "Pig Boy", "Fuck Me Like You Hate Me" or "Children In Uniform"), atmospheric moments ("Viva La Morte" sounds like a perfect track for a thriller movie) and black humor (check titles like "Disneyfied, Delirius And HIV" or "Sperm Crawling Back Into Its Hole"). What amazed me is the quality of the sounds and the richness of the arrangements and if you own "Children Of The Black Sun" by Non, you can understand what I mean but, mind you, "Porcus Norvegicus", sounds even more varied and rich compared to that great Boyd Rice's album. I really suggest you to check this out! P.s. Stay tuned for the upcoming tape that will be released for Belaten, the label run by Thomas of Trepaneringsritualen/Dead Letters Spell Dead Words.
Artist: Piano Interrupted (@)
Title: Two by Four
Format: CD
Label: Days of Being Wild (@)
Rated: *****
This release by Piano Interrupted, project of London-based pianist and composer Tom Hodge and French electronic producer Franz Kirmann with the addition of Greg Hall on the cello and Eric Young on percussion, springs out like an awe-inspiring hidden planet. On the initial "You Don't Love Me Yet", an inspiring cello instils a sort of murmur in the listener' heart before the piano leaps in an harrowing and heated milonga with sudden spurts and tonal fits of madness. In spite of their different stlistical background as Franz dealt with electronica, pop and techno while Tom's more confident with jazz, classical music and minimalism, their reciprocal understanding sounds quite clear over the listening of this debut, which retraces their musical path from a studio project to a live band as some tracks have already been appeared on previous releases. For instance, three tracks ("Hedi", "Hobi" and "Bulbus") belong to a commissioned score of "Papa Hedi", a biographic documentary film about Hedi Jouni, the so-called Frank Sinatra of Tunisia, as recalled by his grand-daughter, who gave the possibility to these guys to access Hedi Jouni's original recordings in order to grab some samples which have been used as a starting point for the compositional process, while the graceful "Etude", where the ghost of Satie seems to lay hold of Piano Interrupted's sound machines, and the plush "London Waltz" with his funny samples (including creaking doors, music box and ping-pong hard sessions!) reflect their overjoyed early days when electronic arrangment and uncommon time signatures got spilled on the score. All the other tracks, carefully mastered with Nils Frahm in Berlin, show a remarkable maturity and technical skills, but every track immediately manages to bubble elegant cinematic gears, fragile broken melodies and many sonic pills for dreamlike states over. They cast a spell on listeners which is going to make them wish to listen to their music again and again.
Artist: VV.AA. (@)
Title: Gravity's Drop Out
Format: CD
Label: Alrealon Musique (@)
Rated: *****
'It's hard to explain with words. Some explanations should be left to experience. The meanings of life are not verbal, they are felt. To express deep meaning I must communicate with visuals and sound without language. I must make a film. Colours and audio vibration, to entrap the viewer in mood, in feeling. The viewer exits after experiencing the screen with understanding and not with words. If words are used they are abstractedly used for their vibrations of sound adding to the experience of art, of presentation. I leave to you 'me,' in vision and in sound. I leave to you a film of my soul. Alan Watts once mentioned that people once experienced things and then made words to describe them, now they make words before experiencing them. Let's avoid words, let's have pure experience of sound and vision.' - Robert L. Pepper (PAS), from the liner notes

Its a daunting proposition, reviewing the second in the series of PAS-curated compilations for Alrealon Musique, after reading such an admonition. It also strikes an icy dagger in the postmodern heart of criticism: what is the role of a critic, at this juncture? We are all starless voyagers, navigating a seamless sea of technology. We are all curious investigators, who need to understand an endless array of non-Pop musicks, to make any sense of what our ears are hearing. On 'Gravity's Drop Out', Robert Pepper introduces us to Thorsten Saltau who acts as Virgil to the jewelled underworld of his own label, m.m record. This record is an excellent microcosm of contemporary experimental music. Sound collage meets loopy free-jazz, while mingling with 20th century difficult-listening classical music.

PAS opens the show with 'To Understand Colour': a 7-minute wash of gelatinous soundscapes of questionable origins. It embraces you, like an acid washed paisley blanket, wrapping yr ears in hypnotic stereo effects, as reverberations of mangled samples pop up like snippets of last night's dreams. 'To Understand Colour' is like walking through a Mark Rothko exhibit, if that particular gallery happened to extend 4 miles, and you were lost, hungry, and afraid for 3 weeks.

Margitt Holzt's contribution, 'Bears Head', is the lengthiest offering, and a most perplexing movie, indeed. Its a ten-minute voyage from relatively unprocessed academic jazz, an incoherent music box alarm clock that will not let you sleep, which is then pulled into deep space; abyss of radio voices and solar winds. Transmissions from 1954, rapidly approaching the Andromeda galaxy, eagerly devoured by alien ears. The atonal, non-repetitive nature of the sound sources make 'Bears Head' rather abrasive at first, the juxtaposition of squeaky avant-jazz a harsh contrast to the soothing somnolence of PAS' chapter, but it is a rewarding journey that can expand yr sonic palette. Don't stop here! Don't turn back!

'The Drig Bift Transition' by Herr Penschuck is the subtlest construction. Miniature machine hums, like a laundromat late at night, are split by distant foghorns, while sleepy voices murmur in the hallway. This one is a travelogue, for sure; it sounds like going for a stroll in a galactic shopping mall, while you are waiting for your dry cleaning. You come upon an organ grinder, who tears yr heart with his nostalgic reminiscence, before stepping out to a dark and lonely cab stand, beside the turquoise sea, to catch some air and a quick smoke.

Ebinger's ethnographic, radiophonic jazz is the most easily accessible track, probably because it has a beat. Scratchy middle-eastern fiddle meets mechanical Table; this is yr grandfather's Klezmer, remixed. Those that have enjoyed the plunderphonics of Oh No or S3cond Class Citizen, add this to yr walking around playlist. The beats are flawless and masterfully executed, and the antiquated grit of the samples sound lovely, meshed with the modern dance.

'Jousan' by Nika Son, bears the most striking resemblance to classic tape music. It's subtle and evolving, with rainbow-like quaver tones \ occasionally interrupted by disembodied knocks and snippets of song. It utilizes, to brilliant effect, the ability of sound collage to simulate the patterns of thought. The narrative \ebbs and flows, \unexpectedly disintegrated by invading Daleks, before returning you to Earth, in the middle of a pedestrian mall. Delightfully contradictory, but only for those that can handle the shock.

The final chapter in this edition of the PAS-curated series is a collaboration between Herr Penschuck and Thorsten Soltau, 'Screening: Delfter Blau Simultan & Urmutter/Hohlspiegelgondolier'. It bears the strongest resemblance to 20th century classicists like Messiaen, Stockhausen, or Xenakis, the ones who were integrating electronics and pre-recorded tape into the established canon. Here, P & S integrate strings and percussion with layers of vocal samples, speaking auf deutsch, and electronic squawks, echoes, and feedback. It sounds like the soundtrack to a decrepit Soviet science fiction film, an existential narrative over sharp black-and-white celluloid. 'Screening' gives a sense of tradition and classical mastery to end this dream.

Alrealon Musique is allowing listeners an overview of the many prismatic hues of modern experimental/electronic music, and a context for them to understand. Many avant-garde movements gestated in a broiling melting pot of visual artists, writers, and musicians of every conceivable style. Punk bands opened up for country/rockabilly-sequined acts, but we lost that wide-angle diversity, over the last 30 years. Now that everybody hears everything, we are all together. And that is why it is so special for people like Robert Pepper, and the folks at Alrealon Musique, to make interesting documents like 'Gravity's Drop Out', to introduce people to new sounds, to help ease familiarity, and to help us acclimate to the global ears we now find ourselves sporting.
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Artist: Bestias De Asalto
Title: Homenaje A La Violencia
Format: CD
Label: Engraved Ritual (@)
Distributor: Bandcamp / Engraved Ritual-Digital
Rated: *****
There have been several followers out of the Mexican Harsh-EBM/Hellectro-camp trying to sound like their idols and countrymen Hocico. Hocico themselves have never ever been sounded again that raw, aggressive and intense like on their debut 'Odio En El Alma' and/or on their early demo recordings. Classic Hocico-tracks like 'Sexo Bajo Testosterona' or 'Self-Destructive Path' are still counting to the favorites of them through their speed and energetic song progression. This attitude they have unfortunately lost more or less in the years between. But here comes the Southern-Mexican duo Bestias De Asalto presenting us their debut 'Homenaje A La Violencia', which actually picks up this long-missed, raw and adrenaline-driven energy. More than this, because Bestias De Asalto aren't just copy-cats who try to focus on the latest audio results of the Hellectro-camp. Their aggressive sound-outfit rather seems to be a reflection of the daily life reported out of a socio-critical / economical-influenced crisis happening around them. Their daily life and fight to survive has seemingly made an impact on them, as they are capable to produce a soundtrack designed for the apocalypse of humanity. Always remember that there are places on this world where people are unable to sit still in front of their home entertainment being perplexed by the pseudo-aggressive noise assault sounding out of your loudspeakers. The starter 'Matalos A Todos' is maybe their most outstanding tune in a row of straight, pummeling and speedy produced tunes thanks through the changing and diverse installed, but always forward-punching kick- and snare-work. 'Que Reine El Terror' maybe stands for the second most outstanding tune. And if you doubt, that these both Mexican gauchos won't be able to produce any more matured and opulent produced haunting instrumental tunes like their above mentioned idols, then I advise you to check with 'Hacia La Guerra' as a proof to change your mind. Four remix contributions by mostly musically related projects (Sin D.N.A., Larva, Angels of Suicide and X-Fusion) are providing almost a different, but always a dancefloor-oriented view of the original compositions of these Mexicans. 'Homenaje A La Violencia' is like a loaded gun pressed into your face, its raw and uncontrollable rage will leave you breathless! Bestias De Asalto have produced a fine debut with the beat-driven energy of a raw and unpolished diamond. I want them raw and unpolished also for the future with upcoming releases. Let's hope and keep the fingers crossed that they are able to present us a follow-up release with the same amount of blood, filth and energy like on this promising debut.
Artist: Movement Ten (@)
Title: Movement Ten
Format: Download Only (MP3 + Lossless)
Label: self-released
Rated: *****
We have here the debut release of a British duo consisting of the music-producer Shadowless Man and vocalist The Sweet Chap. Why they feel the need to hide behind pseudonyms you ask? Well, I really don't know, also their web resources don't offer too much information. However, what counts is the music, and after consuming the self-titled debut of them, I really don't see a reason to hide anything. 'Movement Ten' is a self-produced and self-released 10-tracker, which provides some well-sounding and interesting arranged content to the Electropop-/New Wave-/Alternative-scene. 'Gravity', also released as being the first single out of this album, opens this album and they couldn't have chosen any better one. A catchy song progression with subtle insertions of Electronica- / acoustic-guitar elements and a pure, natural sounding male vocal performance in vein of 'James Blunt meets Synthpop' opens the hearts of the fainted listener. The ongoing tracks are sort of straighter produced: 'Machine Girl' surprises with a robotic sound-effect on the vocals, while 'BWK' celebrates straightness through its pummeling kick drum. One of the best tunes of this overall quite promising album is the Synth-/Futurepop-related 'FTBIA' with its melodic chorus, well-done vocals and its machinated beat-work. Not too much impressed with both following tunes, the marching samples of 'One Hundred Percent' are storming in until the slow Breakbeats starts to lead the scenario. I enjoyed those warm Kraftwerk-ish synthesizer-pads woven into an arpeggio-environment to rule the chorus. 'Monochrome' with its acoustic-guitar undertones is the next one and will represent the bands' third single release after 'Gravity' and 'BWK'. Last track worth a mention is the sugar-sweet album-closer 'Moon Palace', with beautiful male vocals provided in a higher Erasure-like register. Movement Ten are one of the most promising newcomers lately discovered of the British Independent-scene. This album proves a wide taste for musically diversity of the protagonists and leaves enough room for several, similar interesting sounding follow-up releases. Good work, keep it on!
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