Music Reviews



iVardensphere: Dark Science Trilogy - Part 1

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
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Nov 12 2015
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Artist: iVardensphere (@)
Title: Dark Science Trilogy - Part 1
Format: Download Only (MP3 + Lossless)
Label: Metropolis (@)
Rated: *****
Almost synchronized with the recent release of their awesome album "Fable", Canadian duo iVardensphere, the brainchild of Scott Fox and Yann Faussurier,tries to scout different stylistical area and sonic declension on this relatively minor release - the first part of Dark Science Trilogy -. Both some obscure references - there are many similarities with the framework of the above-mentioned "Fable" - and the heavily scorching industrial wire drawing of their sound endure this skin-shedding output, but forget any grasp by means of what could resemble the form of a song as well as furious tribal drumming and EBM shredding and grating: even if the guessed voiceover, which is similar to the ones of more or less tendencious video-documentary or educational videoclips for science classrooms, is an element they used in Fable, the dirty metallic sounds of initial "Aether" move towards a sort of distorted dubstep and the disquieting choirs on "Blight" are similar to the ones you could hear in "Millian Year Echo", the opening track of "Fable", whose trait d'union seems to be the dystopian vision both tracks evoke, but those choirs sound like a disturbed interference in between the harsch distorted electric buzzes of "Blight", a track which prepares the ground for the gargantuan burp of "Lapse". I'm curious about future steps of the forthcoming chapters.
Oct 23 2015
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Artist: Zeitkratzer (@)
Title: Column One - Entropium
Format: 12"
Label: Karlrecords (@)
Rated: *****
Reinhold Friedl-led electroacoustic ensemble Zeitkratzer keeps on venturing in the revamping and reinterpretation of miliar stones of noise and industrial culture; after the amazing remake of Lou Reed's "Metal Machine Music" and the likewise fascinating remake of some stuff by William Bennet's Whitehouse, Zeitkratzer retrace the sound of the Berlin-based post-industrial collective Column One, the brainchild of Rene Lamp and Robert Schalinski, whose challenging sound, which often deranged sonic contemporary cliches to feed thought-provoking pills by means of really interesting dadaist collages (think about outputs like "Classic Chill Out Rhythms 2" and "Doubt" on Moloko+,"Cannibalism" and "Dream Time" on 90% Wasser or the more experimental/esotheric injections such as "Unrealizer", one of their masterpieces in my opinion, on Marco Koch's imprint Stateart), should not be considered as a merely fanciful deviant. I'd rather say that many sonic outputs by Column One are more like somehow benevolent viruses that try to contaminate the already sick cells of contemporary western culture, where the final outcome (health or death) is uncertain... The title of this revamping by Zeitkratzer seems to link the nihilistic idea of entropy, the medical condition in which eyelids fold inward known as entropion and "Introitum" (a Latin word which also refers to an entrance fee or a gain for companies), the title of a suite that Column One recorded at DIe SIBIRIScHe Zelle in Berlin in 2004 (released by Drone Records in 2013) by assembling the sound of Schalinski's saw together with the obsessive tapping on a "salad bowl" by drummer and percussionist Peter Hollinger, which could be matched to the typical electroacoustic improvisations by Zeitkratzer, whose path already intersected in the past as Schalinski already gave many chamber-noise compositions inputs to the ensemble. The most interesting aspect of this transplantation into an electroacoutic dimension is the fact that Friedl and partners-in-art wisely transected a wider sonic register by tuning different inputs in one-single session: the decadent and extremely cacophonous sonic debris of "Sol", that followed the scary brief introduction "Panthera", flows into "Vide Navareseke", the sinister and painful flaying of Column One's "Berta Navarseke 1919", while the twelve minutes of the fourth part "Haendhilse" manages to twirl tape-music nuances, chamber music and claustrophobic industrial churning, which could let you imagine a group of dangerous felonious psychopaths grouped together for an ensemble after killing some sadistic nurses of a crumbling mental hospital. Animal longings and shrill noises from found objects got melted in the final dissonances of "Lade".
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Artist: Isolat Pattern
Title: Clinical Ambience
Format: CD
Label: Kvitnu (@)
Rated: *****
"Clinical Ambience" sounds like a guessed title for this output by one of the recent discoveries of Kotra's imprint Kvitnu, which came from the sonic wit of Berlin-based sound artist Benjamin Harris, which didn't received so many feedback despite the considerable quality of sounds and their layering. The wisely forged noises that Isolat Pattern pull out of his machines got inoculated in both spacey and claustrophobic pad-synth-rendered empty spaces: nervously whirling electronic trimming beats, artificial lacerations, piercing low frequencies or digital puffs come to life inside the narrow electric tunnels of "BLK.HSE", the cryptic whispers and the widely reverbered clashes of "Darkness Curves", the fascinating void of "Die Charmante Verlockung", the intermittent patterns of "Glitterer" , the abyssal recesses of "Purestate" and the industrial sikholes of "Twinning". It comes on a carefully designed artwork by Zavaloka, who wrapped this awesome release by means of exclusive glittered black cardboard and two inner prints made on metallic translucent and marbled papers.

Kotra: Freyr Hologram

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Oct 18 2015
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Artist: Kotra (@)
Title: Freyr Hologram
Format: CD
Label: Kvitnu (@)
Rated: *****
Dmytro Fedorenko aka Kotra is the founder and the main mastermind behind the excellent Ukrainian label Kvitnu, which is keeping on spreading interesting specimen of experimental electronics by meansof a selection of stuff and superbly crafted pieces of music, which, according to label's own description, "concetrates on sound and ideas with a high blood pressure in it" and could withstand selection of more consolidated labels. The interesting sonic discoveries they manage to find inside and outside Ukraine benefits listeners, but I guess they benefit the creative vein of Dmytro and Kateryna Zavoloka, the other artistic column of the label, as we can testify by this tidbit that got recently released by Kvitnu. The elegant artwork by Zavoloka, who wrapped the package by means of those bright white/silver silk wallpaper, that I remember I saw on many walls in the 90ies, enclose a CD-r where Kotra put three abrasive tracks, which could be described as the rawest side of some outputs of artists like Kangding Ray or Senking, that I wouldn't really match to the soso-called rhythmik noise. in spite of a certain syncopated step by which Dmytro organized - so to say - a bunch of hisses, interferences and concrete noises on the opening "Spiv Zolota" and the closing title track "Freyr Hologram" - my fav -. A good appetizer for the other recent outputs from Kvitnu that I'll introduce in the days to come.

Container: LP

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Oct 14 2015
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Artist: Container (@)
Title: LP
Format: 12"
Label: Spectrum Spools
Rated: *****
A wise mover must take both the lubricants that facilitate the movement and possible friction into account and an experienced agitator like Ren Schofield aka Container certainly does. The seven movements on this "LP" sound like a perpetual challenge by frictionless and immediate rhythmical pre-sets (the rhythmical ignition of some tracks like "Remover" or "Peripheral" sound like slightly distorted pre-sets of cheap electronic devices) against a series of factors which rises attrition to levels that could broke hig engines: the opening "Eject" features that kind of trance-inducing grip of some folk dances, while most of the other engines drew lubricants, dust and stones from the most obsessive extrusions of Detroit techno and Japanese noisy industrial techno. The highly abrasive gears, that he sounds like putting under ferocious and controlled strain, manage to be enjoyable as their course is realy unpredictable and thrilling, even when his way of layering polyrhithms and mechanical grasps gets closer to saturation ("Peripheral", "Appliance" and other moments when listener could imagine that these outputs could come from a sadistic love of machines by their author). Nice and no/icy way of morphing and "grooving" noises.


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