Electronics / EBM / Electronica
Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
Industrial Noise / Power Noise / Harsh Noise
Synth Pop / Electro Pop / Synth-Electronica
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Odd / Field Recording
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
Apr 02 2006
Myk Jung is for sure a Goth/Industrial Rock legend alive not only in Europe, thanks to his well known projects like THE FAIR SEX or TESTIFY. I should admit in advance that his music caught never really my attention - and then this new release... First off, forget almost all Rock elements you know from his both main bands. The second title of this CD, "The Nine Lost Ballads" simply describes what this is. No heavy guitar attacks, no acoustic speed drums - no, Myk presents a very personal and emotional side of his music. Already with the chose to release this CD under his very own name shows already his dedication to the tracks. Also that he could include his 10-years-old daughter doing some beautiful vocals on two tracks is just another proving fact. Piano sounds, calm acoustic guitars, several orchestrated string ensembles and a lot of deep dark male vocals at times with some female help - this is the right soundtrack for some gray and rainy November days in front of a fire side. Six special tracks in between the nine ballads called "Flight I to VI" are included as well and here shows Myk his understanding also for the more electronic side of his music. And also that this music can and will never count to my preferences, I have to speak out my deepest respect for this release in all its kind and how it comes out. Check also out the excellent styled CD itself - it looks like a 7 inch vinyl single...
Mar 30 2006
Remember, when we deal with Errant Bodies' releases you've always to take for granted we're dealing with unconventional objects in the most noble sense of its meaning. Right lately I've read that great book + cd they did on Christof Migone's works, but Labelle gives another audio exhibit confirming the initial statement I've written makes sense. Jarrod Fowler's work is "rhythmical", yes, that's something you can ear with your own hear as you will play these rhythm borne out of digital skip like in the first and in the fifth tracks, after that this audio "experience" features parts of synthesized vocals dealing with the subjects of the tracks the composer has performed (tracks two and four). Oh sure, there's also your beloved white noise and you can also find the "dear old" field recordings, but the fact is that's a real pain in the ass to review the "music" of a record where the booklet and the concept are indivisible from the "musical" (in the most abstract but at the same time most "real" sense) content. For those who have not understood it yet: this cd is based on studies, thus I think you/we've to view it as a performance or sorry for the repetition: a study. Being the mind-tripper-frigid-nerd I'm, I've found it a pleasant listening/reading since I've happened a few times to read/hear text files translated into audio files, and with references like Cage, Satie, Platone it's easy to be saduced by the concept, you know...The fact is this cd like many other listenings like it goes beyond simple criticism and apart from the performative judgment every other aesthetical consideration becomes useless and above al subjective.
Mar 30 2006
Minimal and elegant electronic music for Boris Hauf, nothing more that that, everything is quasi essential during the listening. The sound choice is accurate and the mastering done by Todd Carter in Chicago pushes everything at the right place. I think if poor Satie is still wandering up there teaching somebody the discipline of "un-expressivity": down here Boris Hauf shows the lesson has been learnt by heart. This music is a skinny blend between danceable beats and "wide-range" electronics, I think if I'll say idm the most of you may visualize something melodically oriented but that's not the case. As I was saying "clark" is not melodic at all and sails much more in a pool where soft noises, bleeps and beats are the water. If you give a check to Hauf's discography you'll discover he's a "restless child" but if sound quality and song assembling in electronic music does still make sense...all of this hyperactivity brought "ability". "Le chien" is probably the only pure fragment of minimal techno kicking inside this record but somehow the whole "portrait is evolved around this same figurative thought", you will have an hard time finding dance clubs where you can move your feet to songs like "ken doll in the wind" or "she was a state trooper". Lately I got the idea many electronic musician are fusing more and more that genre with post-industrial moods (c’mon, the succes of Pan Sonic disclosed a whole world of possibilities), maybe that's the wrong impression but with weird "objects" like Hauf it’s hard to believe that’s the wrong one.
Mar 28 2006
Sbassship is the main creature of the Dominance Electricity guy Matthias Wiese. His latest release ENCRYPTION is a 12" containing two tracks: "Gegen den rest" and "Rock the planet 2098.2". The first track is a classic retro electro tune with a German filtered vocal track. It is based on the alternance of bass / drum and synth melodic lines. I don’t know why but it makes me think about the Terminator movie. "Rock the planet 2098.2" is more tense and techno, the bass here is like running trying to catch the drum machine. The voice isn’t used that much, you can find it after 3’50" and it’s like a couple of sentences spoken by a robot and at the very beginning of the track as a breath but it is intriguing anyway. This release is limited but Sbassship should release his debut album during 2006. I can’t wait to listen to it!
After a couple of years from "Filth, Lust, Lies", TV are back with their new album (the second) which is simply titled SKIN. If on the first album the band sound was an intriguing kind of industrial e.b.m., on the new one the sound is a bit less aggressive but it is really interesting how the band managed it, creating a mixture of late Clock D.V.A. (do you remember the whispered voice of Adi Newton on tracks like "Eternity"?) and Front Line Assembly. Tracks like "Neurotic love" or the following "Kind of devotion" have a sort of driving evil atmosphere where the rhythm isn’t the main thing. It’s good to see how the band made different musical influences join together as the album alternate classic e.b.m. songs like "Skin deep", "Culture", "Vortex of pain" or the closing "Heart body mind" with tense tracks based on long synth pads and dark vocals. There’s no need to say that the band succeeded into the test of the second album and they are worth your attention.