Music Reviews

Jim Haynes: Scarlet

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8862)
Aug 09 2015
Artist: Jim Haynes (@)
Title: Scarlet
Format: Tape
Label: The Helen Scarsdale Agency (@)
Rated: *****
I could begin from the artwork to explain the sound that Jim Haynes, who properly defines himself as an investigator of the properties of decay, whose investigations began "into rust and decay as a means to detour my shortcomings as an oil-painter", according to his own biographical words, from its artwork. Pretty and somehow seducing eyelashes of a closed eye evokes an artificial beauty that doesn't cast a glance at its observer and sounds like like a subtle invitation to introspection. Scarlet is the color that gives name to the release as well as the filter of the package, as if it was painted by means of dry blood, and it could vaguely surmise an artificially aged reprise of the red profile on the cover artwork of self-named Martin Rev debut album on the legendary label Infidelity, one of Charles Ball's tentacle which forged the so-called No Wave sound, one of the closest sonic stuff to this intruiguing artifact by Jim, which sometimes surmise the enigmatic industrial experiments by Werkbund as well. The reiteration of drilling electric sounds, field recordings which seem to be modified by means of tape manipulation and other entities that resurface from rough noisy scrabs can disclose unforgotten nightmarish vision as it occurs on "Alizarin", the seven minutes lasting second track, which sounds like rendering the secret laboratory of a mad butcher, the piercing friction of "Acrid", the dead radiophonic transmission of "Mordant Red 15" or the hypnotical strobes of "Racine To Vermillion", where mysterious entities make sudden and somehow disquieting appearances in between radio shortwaves, industrial noises, asynchronous clicks and psychotropic intermittencies. The typical hissing sound of the tape helps to make this release a little bit more scary, as if this cassette was found in the cellar of an abandoned haunted mansion and got recorded by its previous boarders or possibly by its poltergeist!

Glice: 51433213

 Posted by Ibrahim Khider (@)   Industrial Noise / Power Noise / Harsh Noise
 Edit (8847)
Aug 02 2015
with image
Artist: Glice (@)
Title: 51433213
Format: Download Only (MP3 + Lossless)
Label: self-released
Apparently, the word, 'Glice' was coined by Justin Bieber who inadvertently spliced 'glad' and 'nice' when he replied to greetings as in, 'It was glice to meet you'. This may or may not where Amsterdam-based noise experimentalists Ruben Braeken and Melle Kromhout got the moniker from. Perhaps it means something else in Dutch or maybe it is just a word that sort of sounds cool. The album cover art, suggests reference books on magmatic rock and studies on minerals deposits, mostly compliments the music nicely. I say mostly because it does not account for the ban's more whimsical side. Subsequent, 'deeper' listens to 51433213 trigger not unpleasant recollections of Saturday afternoons as a child watching old Godzilla films on TV. The analogy fits because the often jarring and cacophonous audio effects that clamor through this ep suggests jams by Godzilla and friends from monster island--when not stomping on cities and hapless inhabitants. Not one for elaborate album titles, Glice starts off with 'J', where Megalon croons ironic, post-rock vocals while Godzilla joins in with instrumentals, at first lightly strumming high-voltage power lines, then gradually agitating the power transformers to get just the right power chords mid-way through. Understated backing vocals are provided by King Ghidorah. The next track, 'Q', is where Godzilla probably got a claw full of tightly wound fiber optic cables still riveted to the ground and with enough tension to pluck out some resonating, bulbous basslines. Midway through, Godzilla picks up an idling farm tractor for its rhythmic staccato effect before charring it to a molten husk with his breath in a kind of improvisational flare. On 'B' we have Gigan on guest vocals while our favorite giant lizard tries to figure out the inherent benefit of power transformers, modulated to varying megawatts to get just the right reverberating drones. The ep is capped with 'U', Mothra's cover of Bruce Springsteen's 'I'm On Fire', a song I'm sure most on monster Island can relate to. Lots of exotic and abrasive textures are on this album with enough effects to do your head in, but sometimes delivered with the uninhibited abandon of a 4 year old given a mic and sound system to play with after being fed a tray of brownies and a pitcher of Kool-aid. Sheer nuttiness and larger-than-life noise.

Now Glice also asked their follow-up one-track EP, 'H' also get reviewed. This one is a bit more reliant on vocals, which seem more incantational. Sort of like a cult calling for an encore of the monster jam band while also firing up a sub-dimensional device to open a portal and bring some more mega oddities from 'other-realms-of-there'. With any luck, Cthulu will join in. Lots of vocal effects and electronic modulations that intensify near the end of the track. The portal is open and the story will be concluded in Glice's upcoming full length. Bring your safety gear.

Gianluca Becuzzi: We Can Be Everywhere

 Posted by Maurizio Pustianaz (@)   Industrial Noise / Power Noise / Harsh Noise
 Edit (8836)
Jul 27 2015
Artist: Gianluca Becuzzi
Title: We Can Be Everywhere
Format: CD
Label: Final Muzik (@)
Rated: *****
Released a while ago but not covered here on Chain D.L.K. yet, "We Can Be Everywhere" was a Gianluca Becuzzi album released by Final Muzik the last year which sees him collaborate with different people of the Italian industrial/experimental scene on six out of nine tracks. Recorded during the 2012/2013 period, I'm enjoying this album more than "(B)haunted" which I reviewed a while ago: "We Can Be Everywhere" contains tracks that in my opinion have a stronger structure and wider palette of sounds and somehow is less cacophonic. Svart1, and Deison are joining forces with Gianluca and they succeeded into making of "We Can Be Everywhere" a great album which sounds in balance from classic drone ambient NWW atmospheres, fields recordings and experimental music. On this one rhythms and loops found their right place between hissing sounds, guitar drones, metallic percussions and tons of other stuff. On the label's website there are some videos for you to check. Try them, they are worth it!

Aymeric De Tapol & Joachim Montessuis / Ripit: split

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
 Edit (8803)
Jul 09 2015
Artist: Aymeric De Tapol & Joachim Montessuis / Ripit
Title: split
Format: 7"
Label: Ångström Records (@)
Rated: *****
Some digital fury over French-Belgian label Angstrom comes on this split release, where the three sound artists that got involved offer an intensively visceral listening experience between digital hardcore, noise and pure brutality. Side A of this 45rpm 7inches vinyl that features a fine cover artwork by Line Vangrunderbeeck, gold silkscrren on heavy black paper, got occupied by Brussels-based video artist and composer Aymeric de Tapol and brilliant French experimental vocal performer Joachim Montessuis; their track "Protozaurus ", whose title seems to quote "Talking with a Dinosaur", an album by Aymeric de Tapol that got released in 2011 on Angstroem, spurts angst and agony from any piercing second of playing, where Joachim's excruciating voice claws the rough surface of a drone-like heavily distorted low frequency. On the other incendiary side, you'll find two short digital deflagrations - lasting about one minute -, whose elements (head-banging hits in-between the noise of helicopters and machine-gun fire, swirling electronic sequence and aggressive chiptunes) got exacerbated on "Deflagrator 2", by Nicolas "Ripit" Esterle (you won't believe he's one of the founder of Fujako in this noisy guise). The third and the fourth deflagrations include vocals respectively from Herbert Bourreau and Otto Von Schirach. If you consider this kind of stuff as the acoustic equivalent of a surgical operaion without anesthesia, don't worry, it's quite quick, but I can't say it will be painless at all...

Iron Fist Of The Sun: We Can Yield Our Own Footsteps

 Posted by Andrea Piran (@)   Industrial Noise / Power Noise / Harsh Noise
 Edit (8788)
Jun 25 2015
Artist: Iron Fist Of The Sun
Title: We Can Yield Our Own Footsteps
Format: CD
Label: Cold Spring (@)
Rated: *****
This project is presented as "melancholic, cold industrial" by his label but it sounds as a sort of intelligent noise music i.e., noise as a proper sound source than deserve musical treatment.
Above a menacing low soundscape, the resonant metallic beat of "Pride" introduces the listener into a musical universe where noises and distortions are used to create musical movements rather than walls of sound. "The Disappearing Chair" juxtaposed layers of small noises until "Trapped In Amber" reveals his duty to some classic form of noises with voices while "Cold Wet Skin" uses a cinematic noise and a filtered voice until the synth develops them and "Insignificant" returns to a sort of wall of sound. "Born Of Snake" is subtle in his use of noise as a soundscape for the voice and the creation of an atmosphere while "The Only Thought Is Mine" closes this release closer to experimental music as it's able to develop a sort of sonata for noises until a beating noises ends the assault.
Undoubtedly more clever than the average noise releases, it's a project to closely hear as it's even better on handphones rather than full volume stereo. It's really worth a listen.

Search All Reviews:
[ Advanced Search ]

Chain D.L.K. design by Marc Urselli
Suffusion WordPress theme by Sayontan Sinha