Music Reviews



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Artist: Ernesto Diaz-Infante, Manuel Mota, Gino Robair & Ernesto Rodrigues
Title: Our Faceless Empire
Format: CD
Label: Pax Recordings (@)
Rated: *****
Out of all of these artists, the only one I had heard of was Ernesto Diaz-Infante, but you never quite know what you will get, as he tends to vary his approach. But you know it's going to be an interesting ride when one of the artists, Gino Robair, is credited with the instrument 'Energized Surfaces / Voltage Made Audible.' The others are credited with steel string acoustic guitar (Diaz-Infante), electric guitar (Mota), and viola (Rodrigues). Put it all together and you have an interesting improvisation-fest. At times it is minimalist, at times it is noisy, and at times it is reminiscent of Cage's experiments with treated piano, but for the most part this is engaging, interesting stuff. Maybe it's me, but I got a whimsical sense in the music. The only drawback is that at times it seemed to blend together and become a bit repetitive. I get the sense that it would have been a lot of fun to watch these improvisations live. This disc weighs in at around 49 minutes.
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Artist: QUICK & BRITE
Title: Tunnels > Interstate > Perimeter
Format: Download Only (MP3 + Lossless)
Label: Basserk (@)
Rated: *****
Active since late 90s with an album on their back released in 2002 and different EPs, Quick & Brite are back on Basserk with a new EP titled TUNNELS > INTERSTATE > PERIMETER. The release contains one nineteen minutes long track titled "Nightdriver" plus three remixes of the three different parts which make the original tune, reworked by Tanzkonsol, Deadbotsa and Endorphins. "Nightdriver" is a dance techno tune that sounds mixed live and which you'll love dancing with. It gave me the feeling of an Orb track remixed by Chemical Brothers with those dreamy sounds and hard beats. It sure fits its title. Tanzkonsol, instead, decided to go for a powerful synth robotic 4/4 approach with dance industrial feelings. Deadbots opted for a pistolpop remix with in levare mid tempos, distorted bass lines and epic melodies. Endorphin slowed down the tempo and made a great two step grime remix with cool ambient inserts. Check out this release, it deserve it.
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Artist: HYBOID
Title: Aliens Ate My Synthesizer!
Format: 12"
Label: Astro Chicken (@)
Rated: *****
We already checked Hyboid's analog synth music thanks to the first Astro Chicken compilation "Chicken Accelerator", released the last summer. Now, Hyboid is back with a full length release, a 12" MLP titled ALIEN ATE MY SYNTHESIZER!. The nine tracks of the release serve as soundtrack to an imaginary movie: picture into your mind a huge flying interstellar mental asylum collecting the most hopeless cases of our galaxy, meet Dr. Dabic and his hideous device, listen to Klaus Nomi's desperate tale (the titled "Ou Est Klaus Nomi?" sounds like a joke having in mind Death In June's track "Ou Est Klaus Barbi?) and watch the beauty of NGC891 from your padded cell. The MLP begins with "Madhouse In Space Pt. I" a short introduction that is able to make you understand what we're dealing with thanks to upbeat 808 drum patterns, cool arpeggios and a melodic synth lead sound. "Multiple Personality Disorder" mix spaced out sounds (I love that lead vibrato harmony) with mysterious atmospheres. "Dr. Dabic's Pain Amplifier" sounds more robotic and nervous with a fast bass line, synth sound effects and dueling melodies (thanks to arpeggios and lead synths). "Ou Est Klaus Nomi?" is a short mid tempo which introduces the fast "Attack Of The Bloogs", a track that sounds like an alien punk rock synth anthem. Robotic rhythms are back with "Orgontherapie", a track with warm pads and melodic lead lines. "Trip To NGC891" begins reverbered and epic just to turn into a space voyage soundtrack thanks to a nice dry arpeggio. "Rubber Cell Disco" is a fast atmospheric retro disco tune which will make you fell dizzy. The short "Madhouse In Space Pt. II" closes the MLP with epic melodies and it will make you visualize the closing titles but you won't recognize the actors' names, because they are all aliens! P.s. ALIEN ATE MY SYNTHESIZER! is available in transparent blue vinyl and 80 copies limited clear vinyl with "Alien slime" cover.
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Artist: INFECTION CODE
Title: Fine
Format: CD
Label: New Lm
Rated: *****
Brand new album for this band that started as a "nu metal" combo and Eraldo Bernocchi is behind the mixing desk, so you post-industrial fans keep reading!. Kick ass recording and production as you may have guessed and that's exactly what they needed since beside the usual rock line up vocals, guitar, bass and drums they use effects, synths and electronic devices. Many different influences ranging from post hardcore (mostly Hydra Head) to noise, a post-Justin Broadrick rifforama hybridized with the seed planted by Trent Reznor a while ago. Electronic interventions are never too separated from the song structure equals: you perceive them, they're not lost in the scenario, but at the same time are constantly pulsing underneath there in several tracks. According to my personal taste they work quite well when playing relaxed atmospherical songs and they reach the climax when covering "Cupe Vampe" from C.S.I., I imagine many out there never heard the last band, but during the Nineties they've reached a certain degree of popularity in Italy thank to their alternative art-rock mixed with intellectual thoughtful lyrics. Sometimes their style betrays their post-metal background and I think it has a lot do with the production but that's not necessarily a bad at last we all come from somewhere and I think that's good. Some passages will show you how directly or not Voivod during their transition from "Nothing Face" to "Outer Limits" have probably influenced a whole generation of avant-metal freak heads. During the years it looks like they've mellowed down a bit searching from some sort of personal identity and judging from this point of view they're not exactly a band that rests on laurels. That's a personal opinion, but they've followed a path Fear Factory never considered seriously. Give it a try the cover-song itself it's worth of the ticket.



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Artist: Kinetix (@)
Title: Final Archives
Format: CD
Label: Silentes (@)
Rated: *****
After going out of Limbo (that's the name of the forerunning electronic darkwave project he conceived when he was younger in the fertile cultural ground of Florence in the glorious 80ies, which excepting its esoteric ecchymosis can be considered one of the most stylish and innovative Italian act of that scene), it seems Gianluca Becuzzi made a pact with ethereal beings in need of musical voice, an agreement kept by the Italian sound forger through the exploration of really interesting experimental forms. Under the moniker Kinetix, whose excerpts I already heard here and there, he signs some good DSP sculptures and on this occasion he scrutinizes his filling cabinet full of recordings to let them issue to Silentes' imprint, one of the truly minimal record label, being the adjective "minimal" inappropriately used to label camouflages of trance music nowadays.

Final Archives can be ideally split into three parts: the first track Absolute Grey was made for one of Gianluca's sound installation, helded at the sound art festival PX2_Piombino_eXperimenta_2006 - the festival he successfully organised amidst the clouds of iron powders of Piombino in Tuscany -, whose set was made up of ten grey scale serigraphies on white PVC forex sheets and amplified from two loud speakers and one woofer covered with grey powder on the top of a white cube, a sometimes frightening microsound sculpture with interesting examples of outstreched sine wave manipulation whose tense atmosphere has been highlighted by a male modified voice - saying something I've not really understood... -, which seems to come out from the sink! In the middle of this release, you could appreciate some noisy splinters and raw stuff recorded between 1999 and 2002 among which there're some appreciable exercises of DSP with some really scary and catchy moments (I don't know why some of theme loaded some releases by Francisco Lopez from my listening memory...), whose only flaw is the decision to preserve some harsh excerpts...I admit I cursed against Becuzzi when he fired my ears by the typical annoying noises you can ear when you wrongly try to listen a CD-Rom track on your hi-fi...! The final 20-minutes track, Resounding Sculptures, concerns with the concept of "compositionfor blocks of sound", introduced in the 50ies and 60ies by Iannis Xenakis, and act as a dedication to the Greek composer's genius, sampled by Kinetix. A really interesting collection of tracks for fans and for electronic music scholar, not intended for those ones easily suffering from claustrophobia, paranoia or schizophrenia...they could be excessively impressed by such a record, especially if they unfortunately listen to it in a dark room!!!
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