Music Reviews

Autumns: Dyslexia Tracks

 Posted by Ibrahim Khider (@)   Electronics / EBM / Electronica
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Mar 12 2018
Artist: Autumns (@)
Title: Dyslexia Tracks
Format: 12" vinyl + Download
Label: Touch Sensitive Records (@)
Distributor: Cargo Records
Unlikely elements somehow meld together on the aptly titled, “Dyslexia Tracks” a five-track EP which is noisy, squelchy, inelegant and erratic, yet also structured, rhythmic and somehow danceable; ideal for a younger Molly Ringwald and her breakfast club. Autumns is Derry, Northern Ireland’s Christian Donaghey who brings 60’s-era psych rock guitar twangs, indecipherable reverb-drenched vocals and tense synth undulations more at home on retro video game soundtracks. Opening track, “Self Consumed” has fist pumping dance beats ideal for an 80’s synth rock Billy Idol song on a triple espresso and mean synth lines best suited for a tense first-gen Nintendo game where you square-off against a particularly nasty level master. The following “Headache Tablet” still immerse in continuous undulations of the video game motif with subtle, yet still danceable beat changes as our lead character fights through a horde of baddies. The title, “You’re A Right Useless Cunt” was probably coined at an Irish pub just before a fight over the last pitcher of Guinness while an early New Order song plays on the PA and a 60’s-era Godzilla film on the telly. Nice, layered electro beats, random laser beam squelches and reverb leaden monster vocals phrase brief yet indecipherable comments. Both “City Secrets” and “Distorted Thinking” have electro progressions and vigorous retro style drum machine rhythms, but this time set to some twangy and echoey guitar music at home on an old Batman TV show if the hero was somehow drugged and disoriented. In addition to early Billy Idol and New Order, Dyslexia Tracks brings to mind minimal techno great, Patrick Pulsinger, electro’s, Adult and ‘Add N to X’, with a middle finger aimed at most techno/electro conventions which is probably the point. Dyslexia Tracks are fun to listen to and Donaghey is not afraid to get unconventional if not erratic and layer elements most would feel have no business being together in the first place. Somehow, it works.

DJ Taye: Still Trippin

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
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Mar 10 2018
Artist: DJ Taye
Title: Still Trippin
Format: LP
Label: Hyperdub
Though branded as a relatively straightforward hip-hop electronica album, as you’d expect this offering from Hyperdub is a bit smarter than many of its peers. The groove and the swagger are definitely there, but the tempos are more varied and the drum programming is complex, the melodic synth work is smart and ambitious, and the fast-cutting production touches are quite deft, allowing the subbass to shine and offering something really different to listen to.

“Need It” is particularly unusual, cutting up jungle rhythms and bending them into a subdued multi-tempo affair that turns the vocal into something oddly stalker-ish. The tracks collaborating with DJ PayPal, such asl “Bonfire”, are equally jittery in interesting ways, with “Pop Hop” taking a surprising turn towards acid gabba (to a small extent). Fabi Reyna’s bass guitar playing and vocal on final track “I Don’t Know” give it an unusual vibe as well.

Lyrically it’s a mixed bag, with some unusual cultural and political lines at points, but also a fair share of the usual tedious testosterone-fuelled bragging and rapping-about-rapping that gets quite dull quite quickly.

Across sixteen tracks, mostly around three minutes each, there’s a breadth of ideas that keeps things running smoothly, but it is perhaps lacking enough real dynamics and highlights to make this a repeat-go-to album.

Zoë McPherson: String Figures

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
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Mar 10 2018
Artist: Zoë McPherson
Title: String Figures
Format: LP
Label: SVS Records
Zoë McPherson offers up a 7-track (sorry, 7 “chapter”) mini-album that blends together moody digital electronica with organic found-sound elements, emotive vocalisations and multilingual whispered spoken word layers, rumbles and atmospherics. A variety of natural-sounding and geographically broad percussive rhythms (mostly contributed by Falk Schrauwen), occasionally underpinned by soft techno patterns, quietly keep things ticking along without ever wandering to the forefront.

Throat singing has arguably become one of the clichés of experimental music in the same way birdsong has become synonymous with ambient, so when the press release opened with a description of the field recordings of Inuit throat singing, I feared it would be entering that cliché space- but it doesn’t at all. The throat singing is just one element, often used as a substitute for dark electronic bass almost, and certainly not the general highlighted feature.

Longer pieces like opening track “Sabotage Story” have their own internal unfolding progressions, as layers come and go, sometimes purely atmospherics, sometimes harder and more percussive. In the latter half of the album shorter tracks are more single-idea affairs like the gentle pseudo-harmonica (or possibly actual harmonica) of “Hardingfele.”

It’s richly-toned, introspective, sombre electronica with a few quirky twists that don’t break the sincerity. It maybe falls between several stools in terms of purpose and effect to the listener but it’s undoubtedly an interesting listen.

Creta: Creta

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
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Mar 06 2018
Artist: Creta
Title: Creta
Format: LP
Label: Karl
Creta is a collaboration between established musicians Massimo Pupillo, Luciano Lamanna and Roberto Zanisi, who approach this from different backgrounds and unsurprisingly have concocted a release that is very hard to pigeonhole.

Four minutes into opening track “...And Everything That Shines” it’s easy to think you already have the measure of it- dark drones, distant processed string noises, and a barren soundscape. But suddenly we meet a superslow bouncing techno kick sound, and moments later, a Spanish-influenced bit of acoustic guitar noodling. After a while this opens up and the beat fades away into something calmer, almost jazzy with vibe sounds, but never losing the deep rumbling experimental undercurrent.

“Babe In The Egg Of Blue” opens with a slightly increased sense of urgency, with a constantly ebbing bass note that threatens something explosive for several minutes before the slightly playful guitar playing settles us into accepting that this strange arrangement is our new normal, like getting used to a choppy ferry ride.

Final track “Future Humans In Form Of Aur” again opens quite cinematically before settling into another plaintive but complex atmosphere, this time highlighting the violin work alongside the plucked, this time faintly Americana guitar. Of the three tracks, this is perhaps the one that sounds somewhat dragged out, fading away in the midpoint very slowly without surprises once its initial arrangement has been established, with a solo guitar section tacked on somewhat awkwardly to finish.

At 31 minutes it’s a mini album in which the collaborators behind Creta have built something that sounds fresh and distinctive. It’s sonically self-indulgent in some ways, but intriguing and full of character.

Braconidae: Magnetic Reel

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
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Mar 04 2018
Artist: Braconidae
Title: Magnetic Reel
Format: Download Only (MP3 + Lossless)
Label: Swiss Dark Nights EXP
This is a discombobulating four-track electronica EP from Emiliana Voltarel, twisting and warping synth noises and deep found sounds into a bizarre and sometimes uncomfortable eulogy of insects.

The title track, pitched as a manifesto, sets dark beat poetry (cut, mushed and retriggered) over a thick wall of wrangled noises- rattles, rumbles and scrapes, both digital and real (if you see what I mean). Glass-ish organ arpeggios run low in the mix to give a distinct feel of suspense.

“Deathwatch Beetle” offers something thinner and more cavernous, glitching a short spoken word snippet over slow ominous percussive sounds that gradually meld into a dark techno that stops abruptly just as it feels like a structure has been accomplished.

“Bullet Ant” focuses on deep and distorted long synth bass notes, that again attract an increasing array of percussive sounds that are forming a proto-techno that stops before it has truly begun. Final tracks “Scrapes”, the odd one out in that it’s not dedicated to insects, is named rather literally after the collage of scraping sounds that are compiled here- most prominently what sounds like metal across piano strings. A light rhythm formed of coin-like noises and a low bass rumble keep things in keeping with the rest of the EP.

The title track is the most fully fleshed-out track on this release, making it feel more like an old-fashioned single with 3 instrumental B-sides. It’s thick and feels very personal and is certainly an attention-drawing statement of intent.

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