Music Reviews

May 04 2010
Artist: Philipp Quehenberger
Title: Hazard
Format: CD
Label: Laton (@)
Distributor: Trost
Rated: *****
The unpredictable keyboardist, former metal-head and electronic musician Philipp Quehenberger gained a certain visibility three years ago for his album Phantom In Paradise, as it was a record issued by Editions Mego which sounded quite different from other releases by the far-sighted label managed by Peter Rehberg, but Philipp’s experimental attitude fully justifies his presence in such a blazoned roster: the main points of intersections with his previous release is the use of swirling noises and deep distorted sub-tones, being the main difference the lack of male vocals as well as interesting stylistic research. Philipp Quehenberger’s attempt could be synthetically described as a conjure between the rhythmical structures of electronic body music - in many tracks of Hazard, the influence of the sound of DAF as well as his experience as a studio-musician for Dj Hell is quite clear indeed -, psychedelic noise-rock and IDM. Such a freak deriving from the hybridization of different but often complementary genres has been molded throughout eight scrupulous tracks showing their creator’s skills hazarding progressive sound saturations of the sound.

The morbid Stupid Idea, starting the sequence, begins with the sound of a typewriter working almost as a metronome for the obsessive rhythmical step, while the following track, Undante, mixes it up certain sci-fi scents - those thrilled howling sounds normally announcing the invasion of some weirdy alien race on Earth in American and Janese sci-fi movies…- with a well-done dubbed drumming canned by Fuckhead drummer ddKern. Most of the next waves of the album have the same structure with just some relevant variations on the hypnotic Hey Gert - whose heavy-dub stepping and some distant guitars effected by wise reverberations and delays reminds some past releases by Eraldo Bernocchi or Bill Laswell -, the crank pitch in Hard Joke, the bizarre splashed drum crashes on the mumbling Keep Talking which seem to be injected in a sequence of quad waves according to the customs of some electro bandits - maybe the closest to DAF sound of the album -, the gluey techno pattern of the loony hammering of After Death Business. Some stylistic devices as well his leaning towards risk could let you suppose Philipp Quehenberger could be the bastard Austrian cousin of Meat Beat Manifesto’s Jack Dangers or maybe he just shares the same pots and pans in order to cook the groove.
Apr 26 2010
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Artist: DOGPOP
Title: Jahrmarkt Der Verlorenen Kinder
Format: CD
Rated: *****
Formed by Brigant Moloch and Daniel Hofmann (members of Thorofon and Anenzephalia), Dogpop are delivering for Umber Kollektif their second official album. Released six years after their debut album "Popgod", JAHRMARKT DER VERLORENEN KINDER is a sum of German wave/industrial music of the 80s (see Der Plan, D.A.F., Pyrolator or Die Tödliche Doris). The album opens with an industrial track titled "Horst Du?" just to change with a D.A.F. inspired one titled "6er-bahn"" and the following "Himmel flieg (I-schuss-mix)" which sounds like a Pyrolator/Der Plan hybrid. Analog synth industrial is on with the obscure "Ewiges kino" and 80s minimal synth is alive on "Weisser klown" and "Dogporn". There are also some weird electronic instrumental tunes like the closing "Jahrmarkt der verlorenen kinder" or "Wind". A varied album that will please the lovers of German 80s synthetic music.

Porn: A Decade In Glitter And Danger

 Posted by Andre Wiegand   Electronics / EBM / Electronica
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Apr 25 2010
with image
Artist: Porn
Title: A Decade In Glitter And Danger
Format: CD
Label: Black Rain
Distributor: Nova MD GmbH
Rated: *****
My friends from Pornofabrik, sorry I meant Pornofabrik, believed I should check this compilation. I was said there is a serious resemblance between Porn and Dope Stars Inc. which I found to be rather limited, to be honest. By that I meant that Philippe D. sings more and shouts less than Victor Love. Besides, the songs are way less fast and less kick ass than those by the Dopies. Comparisons to Placebo, Nine Inch Nails and Ministry appear to me to make more sense.
On the opener, like the name of the band allows to suggest, you hear a couple having sex. I’m asking myself how the band recorded it. Was it just a sample from some movie or did they record people having sex in the studio. Not the most romantic or sexy place, but some people like to do it on unusual locations.
According to the trend of the last 10 years there is a cover version on the album: it is Blondie’s “Call Me”, which was covered by The 69 Eyes among others. Porn’s version can certainly keep up with the original. It doesn’t sound so squeaky like the Blondie’s. An excellent choice of material to cover thus it is hard to do much wrong with it, sirs pornographers. Perhaps it could’ve sounded a bit more sensual.
“The Fee“ is one of the classic songs by these French guys. A mid-tempo number that Trent Reznor’s fans are going to love. “Baby Smack“ combines percussion a lá electro rock tradition, sharp guitars and clear male rocking vocals that sounds a bit too high in the chorus. This was not supposed to be a tribute to Justine Timberlake after all!
Soft Machine“ is the best song on the album in my opinion; emotional, yet suitable for the clubs. By that I mean no untz-untz beats. The line “My best friend is my left hand“ hints that the lyrics were not meant to be enjoyed when your kids are around.
“Stiff Little Things“ reminds of the quieter tunes M.Manson comes up with.
Additionally to the original material there are three remixes to be found: by Manek Deboto
And Craig Sue, a Ls201 Mix and by Dexy Corp. This CD is a good opportunity to get to know this quartette.
Apr 23 2010
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Title: Walking In The Flesh
Format: CD
Label: Noitekk (@)
Rated: *****
After their self released albums “When Evil Returns” (released in 2006) and “Evisceration” (released in 2007) CeDigest got signed by BLC and they should have released their debut album on that label. One year ago Avi on the band's website wrote that they weren't working with BLC no more and now that their new album is out we are aware that they now have a contract with Noitekk. WALKING IN THE FLESH is a nice industrial e.b.m. album with some surprises. Besides presenting classic tracks based on unintelligible lyrics and electronic distortion, the band on tracks like "Displaying the wounds" show their metal influences (some melodies and the grind riffs remind me of Carcass) that has been quite a pleasant surprise. Also the fact that they don't base their sound only on sonic aggression made me appreciate their sound because the first songs of the album ("Evel returns", "Fermenting remains", "All will be lost" or "Bound") show a melodic attitude on the synth lines that sounds catchy. This along with some 4/4 dancey attitude will make you want to check WALKING IN THE FLESH.

CRYO: Hidden Aggression

 Posted by Marc Tater (@)   Electronics / EBM / Electronica
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Apr 20 2010
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Artist: CRYO (@)
Title: Hidden Aggression
Format: CD
Label: Progress Productions (@)
Distributor: Broken Silence
Rated: *****
New and third release for this Swedish one-man project, again brought to us by Progress Productions. ”Hidden Aggression” is Martin Rudefelt’s second full-length album and a long awaited item after his marvelous success with his club smashers ”Does It Hurt” or ”My Wall”, which still receive rotations in Europe’s dark clubs. This album picks up musically the path, with which Martin has stopped. He still produces a cold and static Dark Electro sound, featuring a hypnotic and rather veteran-inspired bass line sequencing, cold synth pads, different vocal processing-effects and some message-transporting voice samples. His above named club hits rather feature smooth and lesser cold electronic sounds, obviously with the intention to satisfy multiple tastes, and with both tracks ”I Die Every Day” and ”Weitergehen” (featuring German voice samples), he has been able to produce possible followers. Nevertheless his rather cold and lesser commercial-oriented tracks receive the vote to be favorites of this album. The slow and pulsating ”Contract Killer” with its typical cold, but melodious synth sweeps impresses, while the hefty pounding rhythm work on those mid-tempo tunes like ”Hit Me Once” or ”Substance” lefts the listener breathless. That phenomenon of the usual crispy and crystal-clear sound-quality of Martin’s high-end production continues with the marvelous female/male-duet ”Counting Down Again” and the musically best-worked out and most demanding last track ”Forgotten” - both can be counting to be his best compositions so far. ”Hidden Aggression” convinces generally with a more matured sound-outfit compared to his debut, and also lyrically Martin provides a clearer and more directly expression - at least a cynical politically statement like in ”Guantanamo Bay” is a prove for his grown self-confidence. This album offers a lot of valuable content to check out - no serious hint of a more Mainstream-oriented direction included too - so if you’ve been into CRYO anytime before, you gotta need to pick up this one too.

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