Music Reviews



Noorglo: Hard Body Music

 Posted by Vito Camarretta (@)   Electronics / EBM / Electronica
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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May 28 2009
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Artist: Noorglo
Title: Hard Body Music
Format: CD
Label: Rustblade (@)
Distributor: Masterpiece Distribution
Rated: *****
Hard Body Music is a title which wears the new unmusical effort by the esteemed Italian promoter and dj (but not so many people knows he's also a talented techno forger... ) Noorglo like plastic gummy (and potentially carcinogen!) overalls giving the illusion of a perfect body. His name is mainly related to Decadence parties, among the most famous rendez-vous involving a lot of people devoted to Gothicism, fetishism (and related fashion branches... ) and obviously electro-techno music, but he's considered one of the most active of the underground Italian scene, as he also shared the stage with legendary names of the international music-biz such as Covenant, Massive Attack, Funker Vogt, Einsturzende Neubaten, Hocico, Lacrimosa and many others. A lot of respectful ackonwledgements which are justified not only by his enthusiastic way of promoting his devil-like eyebeam and his guessed figure for introducing to darkish dancing masses as well as by his bumpy sets and his philosophical excerpts giving a conceptual framework to his musical "mission" (... and we could not anything but wink when he states that "performance is the physical expression of music. Often, a musical work is performed once its structure and instrumentation are satisfactory to its creators; however, as it gets performed more and more over time, it can evolve and change in any number of ways"... have a look to Noorglo's myspace to get bodies of evidence of its nite and clear statements, folks!), but also for his good music taste confirmed by this work, which could be ideally detached in two parts: the first one contains a plenty of impressive catching rhythms, progressively gathering (high) speed '“ but please don't fine him or his sample machines for excess of speed!!! '“ oscillating between the experimental grasps on well-sequenced beat storms of Waratah '“ a reference to the Australian beautiful flower whose extract is supposedly able to give courage and heal from depression and anxiety '“ and the suffocating Arena '“ a clashy way to start the fire on dancehalls -, the "aspirated" suctions of Lashes, the harsh idiosyncratic beats of Hyerarchy '“ a nervous and powerful techno mayhem which I didn't hear since a lot of time!!! -, the ironic gabber movement (do you wanna Debord?!?!?) of Bedroom Corrosion and some good slices of sad-istic divertssment in the remix of Oph '“ reminding to us some cranium-clastic issues by Venetian Snares and the first Aphex Twin -. The second part of the record seems to be less refined than the first one, but we're almost sure a lot of people loving technomantras will love it: the trumpet announcing a charge in Beast (a quote of Lumukanda?!?!?), the ultradistorted ready-to-chew brass in Concrete Flesh and the violently sucked tribal-techno stepping in Hbmopera32 reminded to us some acts of Belgian techno music and Rotterdam(ne-R-d) old school. And after the doors of hell have benn disclosed, Mr.Noorglo proposes a Biosphere-like nice cameo in 12 with lovely trembling and tension-filled atmospheres. A really concrete -!- way to modulate noise in-shape-of something musical to train your sinews and go mouldy on a dancehall.
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Artist: ESA
Title: The Sea & The Silence
Format: CD
Label: Tympanik Audio (@)
Distributor: Ant-Zen
Rated: *****
It seems that Hive-recording artists are free for sale, because sooner than expected the British project ESA (stands for Electronic Substance Abuse) a.k.a. Jamie Blacker returns after 2 albums on Hive with a completely new album out on Tympanik Audio. Besides ESA, Jamie could make himself a quite good name thanks to some guest-musician contributions to STRAY (side-project of Erica UNTER NULL Dunham) and his label comrade AUTOCLAV 1.1.
And ESA stands surely for the harder side of the release catalogue of the uprising Tympanik label, maybe side by side with PNEUMATIC DETACH. "The Sea & The Silence" seems to be a conceptual release and the medium itself seems to have a healthy effort on Jamie, since he has added a special quote, which documents his dedication: "This album is in dedication to the three things that have helped me through this year, my music, my close friends and the sea, that seems to wash away my worries with every wave."
Musically, ESA offers a straight pounding Powernoise sound pretty much along the classic CONVERTER/IMMINENT-line. The opening track "Tasting Nails" is one of the best introductions I’ve ever heard, presenting very well the balance between dark and ominous sample sounds and hammering rhythm lines to the end of the track. "Absolute Fury (in its very Fabric)" then doesn’t takes any prisoners and executes the dancefloor. Remarkable also to note is the fact, that Jamie uses and integrates vocals. Be it his own timbre, often fx manipulated and inserted in different kinds, or be it with the help of several female guest vocalists, Jacqueline Curd, featured on the title track, "Your Anger Is A Gift" and "The Devil Worships Me" has to named for example.
Another highlight worth to mention is the dark sounding "Open To Me Your Black And Bitter Heart" and the try to combine DIVE-like noisy arrangements with some acoustic guitar loops – total contrary instruments can sound united.
"The Sea & The Silence" is a great example of a modern sounding rhythmically Powernoise album. It avoids too much repetitions, it doesn’t fall into that unnecessary Hard-Tec/EBM-sound, but it is still straight oriented. An album with depth, message, Industrial ambience not to be missed.
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Artist: VOIDE (@)
Title: Humachine
Format: CD
Label: self-released
Distributor: CD Baby
Rated: *****
Asides the recently released Single-CD "Love" (feat. Suzi Electric), David Almgren alias VOIDE has also produced a complete new studio album. "Humachine" picks up for the most part the line of his last album "Evolution", with which VOIDE could score intensely the ears of both, audience and reviewers.
As the title announces it, "Humachine" continues mostly to write an additional storyboard of the connection man - machine in a new and straight upbeating kind. A sheer evergreen of a theme, available in multiple variations, which especially fits well with Electronica artists. Musically David seems to lay his focus on a better balance between the styles, he especially allows more and more stylistically different drum patterns to invade the spacey EBM/Electronica music outfit. Compared with "Evolution", the EBM influence comes out a bit more reduced (exception: "Rock The Geek"), but several new and up-to-date-arranged tracks ("Humachine", "Electrolyte" or "Toxic") are increasing with the speed.
It can be generally noticed, that David has perfected several parts of his composition process, although the integration of his vocals is and remains still the part in which he could develop a bit. As for the float of the album, I must admit, that I would have changed the track listing a bit, just because the best pieces like "The Mechanical Fiddler" (brilliant "fiddling" synth drops...), the pummeling "Toxic", which features some typical-303-sounding bass synths and the beautiful layered "Retrothought" do definitely deserve a better and more striking rank in the track list.
Let’s keep out the well-done opening title track "Humachine" and the melodic synth-fanfares of "Between Sheets", I for the most part skip the tracks up to track 6, because these tunes come out to me as average and somehow I have heard them in a more diverse and refreshing kind available on "Evolution".
Track 6 then is the brilliant and nearly 7 minutes long dancefloor-massacre named "Electrolyte", which completely impresses with its staccato-like clap-and-snare-programmings. Thumbs up also for the diverse layers of "In Agony With Hope", while the sequencing work of "Sometimes I Daydream" would be able to bring VOIDE next to international renowned artists like Vangelis on every "Synthesizer Essentials" compilation.
Even if I tend to criticize one or another track of this album, it has to be said, that "Humachine" is an excellent piece of work, which may wouldn’t stand in the shadow of the almighty monument named "Evolution", if I wouldn’t have heard it before. It’s a hard cake with the try to better an own produced monument – some of the new tracks on "Humachine" offer a possible direction, while some others act like repetitions. But I’m sure that David continues to figure out the needed diversity to return even stronger with another new studio album.
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Artist: Empty (@)
Title: Never Get To You
Format: CD EP
Label: Aphotic Audio
Distributor: DSBP
Rated: *****
No, this isn’t the long-awaited first full-length album of Australia’s Dark Electro duo EMPTY – "only" a new CDEP, but a release with some remarkable content. "Never Get To You" at least seems to be a kind of a fresh breeze, because with the title track, the band has integrated a quite different and unexpected musically course. As being lately for the most part inspired through IDM/Electronica music, Aaron Potter and Daniel Brunet show and prove easily, that they fit well also with the elements extracted out of this style. Take on one side the latest audible results of DISMANTLED and try to mix it with the last lighter DISHARMONY recordings, and you’ll get a glimpse, how smooth and almost "sweet" this duo can sound. Still multiple layered, but the often pronounced comparison to FLA and aliases often presented through that typically sci-fi-related sampling work and the newly discovered lighter synths sounds turn a bit into the background. This can be also recognized through the clearer sounding male vocals, the huge fx manipulation got reduced especially for the main track. Besides "Never Get To You" and its four remix contributions by DISMANTLED, PASK, IAMMYNEWT, and ANGEL THEORY, you’ll get one additional new track entitled "Forgotten Dreams", which rather focuses to present an IDM/Break-Beat performance combined with the typical vocoderized male vocals, which we’ve often heard from EMPTY. This one stands pretty much in the shadow of the title track, since it lacks of a clearer catchy attitude. "King of Kings" is finally a cover version originally composed and recorded by The Models – do I hear on it tendencies to a calmer and more melodic outfit? However, I see the need to release this teaser EP, especially to "warn" the harder Electro-minded purists, that EMPTY can sound diverse. Check our newest interview with both protagonists on here, to pick up the newest info about this Australian duo.

Cygnosic: A Deity In Pain

 Posted by Vito Camarretta (@)   Electronics / EBM / Electronica
 Edit (5143)
May 26 2009
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Artist: Cygnosic (@)
Title: A Deity In Pain
Format: CD
Label: BLC Productions (@)
Distributor: Masterpiece Distribution
Rated: *****
This provocative record by the young Greek (from Old Athens) producer Georg aka Cygnosic (an acronym maybe referring to the famous neutrinos' storm related to the disappearing of Cygnus X-1, a supernova supposedly turned into a black hole discovered in 1964 and responsible for the mentioned storm which hit even Planet Earth in 1981, grabbing the interest by a lot of scientists' symposiums, according to which it was the first astronomical object widely accepted to be a source of massive X-rays, useful to explain and study the phenomenon of black holes) could be the musical answers to the Kitamori's dilemma according the double divine personality (a piece of good news for psycho pills' factories!), as Georg chooses this religious references picturing a sort of portrait of an angry and unmerciful divinity to enwrap his well-crafted and catchy music, constantly oscillating between EBM, techno and music for movies (an attitude featuring Georg's music confirmed by his recent collaboration with the emerging and promising Greek film-maker Fokion Bogris for the soundtrack of a movie entitled Catharsis... ). His distorted use of voice could be associated to this painful god's complaints about human race (it could be fitted to Kitamori's quoting stating that "when the pain of man becomes the symbol of the pain of God and unites with the pain of God, man's pain is in turn healed. What heals our wounds is the love rooted in the pain of God"... hope I don't look too intellectually snobbish to our beloved readers!), its rhythmical electromechanical patterns seem to initiate to ritual dances for forgiveness and for the praise of this dreadful deity which lose its patience. There're some references to the funny fake believing of Discordianism, when Georg identify one of the sign (and reaction... ) of divine pain in the aim of spreading chaos in the first powerful track, in references to the moon eclipse in the second one entitled Luna Obscura (a well-done "chaotic" remix ends up this cheeky tracklist for people which usually enjoy dancing on this kind of hard rhythms in darkish dancefloors), in the geometrical basslines and catastrophic sequences of Zero Tolerance (the structure of the track reminds to us Juno Reactor's "Bible of Dreams" as well as some pieces of Klinik's repertoire... it's not so difficult to fix into memory the lyrics of this song... just repeat the title continuously!). Some slices of terrifying dialogues and malevolent sneers in the filmic You Stink Of Fear, a sort of interlude evoking the awakening of this deity in pain (don't be afraid!), and an adamantine EBM hurdy-gurdy with a reversed sample of breaking chains in Throw Away My Dust anticipate one of my favorite tracks, Neva55 '“ we sincerely ignore the reason why Georg tribute this track to an old Russian radio!!!-, an highly-danceable track well seasoned with samples of distorted typewriting and anti-aircraft alarms which will surely shake your bodies... This deity looks really disappointed in the soteriological One O Two, a really suggestive track which should not to be heard by people affected with persecution manias! As Far As We Can Go with his catchy gripping could be alternatively entitled As Far As You Can Dance, while a distorted horn and metallic bumpy rifle-shots enrich the nice techno movement of In The Lag Of Time! There are some bodies of evidence confirming the theory according to which some Greek composers looks to be devoted to seraphic choruses, inserted everywhere in this album... it should arguably be a sort of trademark of music coming from Greece '“ a sort of devotional tribute to the Hellenic respectable descendents?!?!? -! We're not sure that this record could lenify this deity's wound, but we're almost sure about the fact the this deity in pain is going to get possession of your body!!! Are you ready to get into the terrible will of a deity in pain, men?!?!?


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