Music Reviews

Kratos Himself: Solstice / Part I

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
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Dec 14 2018
Artist: Kratos Himself
Title: Solstice / Part I
Format: Download Only (MP3 + Lossless)
Label: Youngbloods
The first half of a downtempo vocal electronica concept work marking the division of the seasons, the 23 minutes of “Solstice Part I” focus on the transition between winter and spring, and it’s a fairly on-the-nose treatment, blending elements such as glacial melodic synth tones and birdsong in a manner that’s more prosaically representative than metaphorical.

Though describing itself as ‘ancestral soundscapes’ it’s a more danceable release than that may imply, with steady grooves and basses rolling throughout. The nicely off-step rhythm patterns of “Hibernal” are quite poppy and could potentially be a crossover track, as could the gentle soft-glitch and simple but catchy bassline work of “Luna”, where the quirky vocal sampling and fairly dramatic melodic reveals exude a refreshing confidence. The jazziness of “Lonely Ride VII” is rather sweet too and would make good quality library music.

For electronica that’s unusually seasonal- and by that, thankfully I really don’t mean “Christmas music”- this is an interesting and well-crafted little offering.

Cæcilie Overgaard: There Is A Home

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
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Dec 07 2018
Artist: Cæcilie Overgaard
Title: There Is A Home
Format: Download Only (MP3 + Lossless)
Label: Clang
Danish composer Overgaard’s second album is a gentle collection of homely, warm electronica.

After the ambient opener “Mic Test One”, it’s the title track that really sets the tone. Soft, crisp, super-light percussive patterns and digital atmospherics combine with some mellow, freeform trumpet work from Tim Ewé to create something that’s richly familiar, but in a good way.

That gently beautiful tone persists for the remainder of this short (33 minute) release- a gentle retriggering piano giving “A Simple Mind” a very faint edge, Mathias Hammerstrøm’s very sparse vocal on “Skyggeplet” adding an extra layer of humanity, but generally sticking to the script of coldly pretty downtempo electronic chill-out, and being none the worse for it.

The press release draws attention to the unusual sampling approaches adopted here- with supermarket plastic bag hits being reworked as snare drums, modulating an engine sound to emulate a marimba, and so on- but the effect of this is remarkably mild, with the result sounding generally synthesized and coherent, and certainly not the cacophony of Art Of Noise-style raw found sound that may have been suggested.

An excellent release to settle things down to, comforting enough to firm up your mood like a warm hot chocolate but intricate and detailed enough to hold your attention as well. It’s very Winter-friendly.
Dec 06 2018
Artist: Andreas O. Hirsch
Title: Early Carbophonics
Format: 10"
Label: Makiphon
The Carbophone is Hirsch’s own invention and the first one was only constructed in 2015, so there’s a tongue-in-cheek aspect to the name “Early Carbophonics”- but despite being an acoustic instrument built with a wooden base and carbon rods, the tone of the instrument, and of this 26-minute mini-album as a whole, is so close to the playful weirdness of 1960’s experimental electronics that it really does sound like a throwback to what might get labelled early electronic music.

In terms of intention, it references the African Kalimba or Mbira, and the layered rhythms in pieces like “Octopus Promenade” do have shades of traditional African music, while others like “Balfolk” sound more like Eastern European folk instrumentation reworked into mesmeric repetition that borders on analogue techno. “Castle Moat Robot” would not sound out of place in a Radiophonic Workshop retrospective, while “Full Moon Hula Hoop” sounds like an attempt to construct a more modern, faintly glitch-steppy piece but solely using a wood-toned instrument.

Will the Carbophone reinvent music and invite retrospective compilations fifty years from now? I very much doubt it. But is it a pleasant and strangely nostalgic attempt to build something solid and new that rekindles the spirit of musical experimentation? Yes, it is that. And does it work? In a rather sweet way, it does.

Gudrun Gut: Moment

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
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Dec 05 2018
Artist: Gudrun Gut
Title: Moment
Format: CD & Vinyl
Label: Monika Enterprise
Berlin new music legend Gudrun Gut’s new album is a 14-track pack of dark synthpop, rumbling and firm-walking electronics and understated German-language vocal performance that just oozes confidence and which, arguably, plays it all rather safe.

Highlights include the gradual acid builds of “Musik” where Gut’s vocal adopts a drawn-out sensual whisper. Unsurprisingly the nicely squelchy cover of Bowie’s “When You’re A Boy” is one of the album’s more memorable moments too.

Only a couple of tracks top the five minute mark, with some adopting an almost radio-pop structure (but not sound) and others more like electronic interlude sketches, like the really enjoyable little skit of “Shuttle Service”. Proceedings get a touch more experimental as they go along, with “Sein” an example of the dark spaces that are reached as a result.

It’s mixed by T. Raumschmiere, as shines through in elements such as the groove on “Baby I Can Drive My Car”. He’s been responsible for some far more energetic and impassioned affairs, against which this sounds rather self-assured and even middle-aged by comparison.

It’s a surprisingly mellow piece of “post-electroclash”, if that’s a thing, where the angry voices of over a decade ago are now settled in suburbia with calmer tastes, but not fundamentally changed underneath. It really works, and will certainly appeal as a post-club wind-down.

Jan Nemecek: Recurrences

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
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Dec 03 2018
Artist: Jan Nemecek
Title: Recurrences
Format: 12" vinyl + Download
Label: -OUS
‘Power ambient’ is a fascinating made-up genre to label a release with, leading you on thoughts about what that could possibly sound like and how that could possibly not be a contradiction in terms before you’ve even clicked play. In truth this is definitely more ‘ambient’ than ‘power’, by far, but it’s still clear where the idea came from and it’s not an inappropriate fit. It’s a busy ambient with plenty going on, but still calm.

Digital sweeps and pads, with measured amounts of sawtoothed crispness and just hints of distortion, wash around over staple electronica sounds and processed textures. It’s more than a little reminiscent of old The Orb albums at times, particularly in the stuttering voice treatment on “I Pretend”, while other pieces like “Incidents I-II” are more akin to modern game music with a cinematic tension and open unscriptedness. “Foreverness” has that crisp digitally-pure-melodic downtempo flavour that feels a little done yet always relaxing.

It’s a sharp and intricate bit of electronica that pulls neither a lot of surprises, nor a lot of tricks from its sleeve, but it’s richly textured and varied enough to keep your attention throughout.

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