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Artist: Haruki
Title: Snowed In Food Shelter
Format: CD EP
Label: Klanggold (@)
Rated: *****
Haruki is one of the artist who are trying to mix acoustic and digital sound sources. His music is constructed using two lines: one line is a soundscape (noisy or drone), the other is the resonance of an acoustic instrument. This could sound simple but, because he doesn't juxtapose, when the resonance sink into the soundscape, the music has its charme.
The album has five songs "Animals all over the table" where sharp guitar notes color large grains of noise; "a chair is for reaching out" with a clarinet and a calmer sounscape introuduces us to a quieter listening experience. The album ends with "how to bend over in 5 movements" with softly nuances of resonance. "Your flowers are dripping" and "There are things we should have talked about" are doomy pieces based on piano resonance which act as a bridge to the various atmospheres of the record.
This is, unfortunately, a brief album, just half an hour, but a good pick if you like calm records to relax after a working day.
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Artist: VV.AA.
Title: Sound On Probation 2010
Format: CD
Label: Sound On Probation (@)
Rated: *****
Given away for free with the next issue of Sound Projector magazine and with every purchase you do directly from the label, SOUND ON PROBATION 2010 is the first label compilation that gathers tracks from the past and future releases. The ten tracks of the CD cover every Laurent Perrier's musical project so, basically, this compilation is also a good way to getting to know his multi faceted musical world. You'll find Zonk't with its electronic experimentations, the dub metal guitarism of Cape Fear, the minimal experimental variations of what he does under his own name (here there's also a track from the forthcoming collaboration with Laurent Pernice), the dub ambient jazzy tunes of Heal and the crackling sounds with the add of sub/low frequencies of Pylone (here with a track born from a collaboration with Kinetix). We pass from minimal experimental sounds to rhythm based tracks in no time and we could appreciate in full the Sound On Probation catalog.
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Artist: Filewile (@)
Title: On The Run
Format: 7"
Label: Mouthwatering (@)
Distributor: OUR Distribution
Rated: *****
When we had a chat with the Filewile guys last December ' one of the wisest Swiss collective shaking the electronic dub scene whose leaves point toward digital skies even if their roots are firmly attached to the reaggae soil! -, they pre-announced their forthcoming South-African tour'¦Well, this recording could be considered a sort of musical report of their experience outside European boundaries, a sort of on-the-spot investigation in the country that is going to host next World Football Championship, seen from the viewpoint of a group of wise dubsters. They had nice time feeling like at home during the dancehalls they took part at Johannesburg, Cape Town, Maputo and Dar Es Salaam as well as on the sun-drenched beaches presumably, but they tried to speak about the social scene of that seemingly happy island of the tormented Black Continent. On The Run, the follow up of the single Numer One Kid, consciously speaks about broken hearts and broken homes during these troubled times from inside the warming cave of the soul, its tune evokes the best tradition of electronic dub with delayed percussions, deep bass lines, synth-trumpets and troubled lyrics in the tradition. The velvety voice by Pedro Da Silva Pinto, frontman of the band 340ml from Mozambique, they met during their tour in Mandela's dreamland, echoed by the charming one by Joy Frempong, adding some backing vocals floating like a feather on the spacey flowery sounds, perfectly fits to Filewile's enticing musical formula, slightly burdened with lo-frequency sub-tones in the stomping Dub Version on the flipside. A dub-side emotional perspective on the forthcoming televised set for the umpteenth sponsored ecumenical show.
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Artist: Tonal Y Nagual
Title: La Sierra Mecanica
Format: CD
Label: Confusibombus/UMB (@)
Distributor: Ant-Zen
Rated: *****
Departing from the unseen desert ' the title of their very first debut in 2007 - with the bare necessities and a musical rescue kit lovely prepared inside UMF (acronym of United Manipulation Broadcasting, the industrial label managed by Daniel Hoffmann aka Dan Courtman) as well as from the shamanic teachings by Carlos Castaneda as Sandro Salaris aka Giueseppe Tonal and Timm Rambuscheck aka Tikki Nagual mediated their aliases from the vision by Don Juan, partially reflecting the anatomic detachment of human brain between rational and irrational emisphere, these interesting creative minds slightly alter their musical course: from the primordial neo-folk experiments of their previous releases Tonal Y Nagual ' I warmly recommend to listen The Hidden Oasis, licendes by Thonar Records two years ago -, luckily inspired by wicked spirits met in the above-mentioned desert as well as by some intelligent pop acts and industrial rock legends , moved towards a style which is not so easy to describe, as ingredients borrowed from dirtiest blues, hypnotic rhythms, medieval, shamanic hymns as well as from the repertoires by different bands and projects such as Cabaret Voltaire and Interpol have been overcooked in the same cauldron! The final result, even if somewhat paradoxical for the intertwining of a certain lo-fi feel and a modernist appeal and technical tricks which comply with contemporary music lovers' wishes, is really enjoyable.

Maybe in order to suggest the idea of continuity between their past releases and this new work, TyN wittingly introduce their journey throughout La Sierra Mecanica with an ideal outro for their last album and The Hidden Oasis potentially summarize the style of the same-titled record, including the conceptual starting point for their further explorations, impressed on listener's mind through the 'racist' fake statement according to which 'Whiteman got no riddim', title of the second track in which these guys begin contaminating their sound with electro-pop poisons and a pulsating blues vein. The following Another, the most relevant crossbread between their usual bizarre folk and Interpol, is worthy of praise as it definitively debunk any possibility to say La Sierra Mecanica could act as the typical album to throw away the past. Their bastardized sense of humor resurfaces in Honey, an eccentric debris of lyrics standing as the silliest and strategic declaration in order to survive in the mechanical Sierra, cranky dance beating and a disorientating melancholic touch, and the following Mister Cranky Tree, whose harsh computerized beats, violent scratchy sound, wispy guitars and cheeky cut melody perfectly fits to the portrait of 'the monster in the universe' the lyrics refer to.

Lux Cypher and Grave are maybe the most touching episodes of the whole record, being the first based on guessed lyrics playing on the contrast between the apparent lightness of a feather and its catching request to release its burden (whimsical!!!) and travelling on a musical locomotive, snorting mechanical rhythms close to electro-house experiments by Joakim ' concentrate on details, including the stifled mocking laughter in the beginning of the track - , and the second a sort of self-portait by Genevieve Pasquier, whose gothic groaning has been wonderfully translated into a velvety music language, totally muddled by the disdainful Get Out OF Our Way, by Tonal Y Nagual! The Loneliest Place commutes the folk song into a structure which reminds to me that kid of circular rhythms superbly explored by Allerseelen, while the disembodied glam rock of Dirty Maiden could evoke the most irreverent side of Nina Hagen. Machines go angrier and angrier on Tribes Of The Night, a violent jolt of industrial punk ' I personally like the way TyN modulates the voice when shouting 'It's oveeeeeer!'-, and after the scornful and messy parenthesis of Der Bergkonig ' how terrificly mechanical that flying bumble bee appears here! -, the process of assimilation to biomechanical forms seems completed on the stomping Cog In The Machine, a morbid technoid/EBMish mutant close to the most furious and provocative language by Thrussell's Black Lung and Front Line Assembly as well. The album closes with the intriguing and illuminating reading of The Real Outro about the crisis human being's experiencing nowadayas, even if it closes with two nice winks to frenziest dancers, the wild 'telektronicpronky' remix of Proud To Be by Die Perlen ' old codgers will rejuvenate after listening! ' and the grazed version of Cog In The Machine by Zero Degree, wisely re-entitled Kaputt Maschine!!! Will TyN a new way of composing or a sort of alien language in the industrial scene? In my modest opinion, they presented all credentials by delivering this album!!! Have a listen!
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Artist: Deuterror (@)
Title: Le Gueuele De Guerre
Format: CD
Label: Steelwork Maschine (@)
Distributor: Steelwork Maschine
Rated: *****
'Le Gueuele De Guerre' is Deuterror's third release and the very first available on cd. On this disc Nicolas Crombez, Deuterror's sole member, stays true to form to his previous offerings; mixing dark, ambient imagery with more beautiful, contrasting moments. 'Le Gueuele De Guerre' however, is most certainly the darkest, most epic and high quality release to date. It contains nine tracks, each untitled and the disc itself is enhanced with a very classy flash player from which you can choose to view all of the images contained within the physical digipack and its booklet, as well as several others, all with HD resolution versions available on the disc. Also available on the player is an info page and a short computer animated movie of a medieval hillside which expels a massive ball of fire into the heavens, an image which hints to the music therein.

The album is an incredible marriage of darkness with a hint of light, of madness with just a breath of sanity. It starts off with the buzzing of flies, over the sounds of nature just before the harsh drone of distorted synth overtakes all. It is a mass of ambience and dark, hopeless noise throughout the track, until just as the last few seconds drain from the counter, a hint of melody is introduced before it vanishes into thin air. Probably about the first half of the disc follows a very similar basic structure of ambience and sparse synths followed by the bulk of the song (usually harsh noise or synth with moments of serenity interspersed), ending with the introduction of melody just at the very ends of the songs. The latter half tends to break free of this and become a bit more experimental and unpredictable and amazing. The blend of ambience and soundscapes with distortion and synths, desperate percussion, samples and moments of baroque, neo-classical resolve work just perfectly together. Throughout the cd Nicolas finds ways to meld harsh walls of noise with pseudo-musical ideas to create something very unique and terrifying which builds up against the ambience and actual musical pieces contained in a majority of the tracks in a way that defies description. This is one you should certainly give a try, in the dark, late at night, when you're all alone, waiting for the end of the world.
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