Music Reviews

Artist: Corrado Altieri | Gianluca Favaron
Title: Decomposed Days
Format: CD
Label: 13 (@)
Rated: *****
One year after "The System Of Objects", their first collaborative release inspired by French sociologist and cultural theorist Jean Baudrillard, Corrado Altieri (synthesizers, electronics, tapes) and Gianluca Favaron (microphones, loops. effects, computer), two of the most brilliant electronic sound-artists from Italian scene joined their sonic arts again on Silentes' sister-label 13's "private sounds series", even if I could say that this release features a possible special guest, Tulse Luper, the fictional ornithologist whose 92 suitcases told his "story from 1928 to the fall of the Berlin Wall in 1989, sketching not so much the biography of one man as the story of a century related through some of its key events" according to the words of his own inventor, the brilliant film director Peter Greenaway. The opening "Time And Space" looks like a fusion of the mentioned two dimensions by means of a sequence of aural elements which render a train journey, distant radio transmissions, an otherworldly ticking and a binaural amalgam that sound like the sonic equivalent of Kuleshov effect in film editing, while the numbering to 121 is the first clear hook to "Vertical Features Remake", the absurd fake documentary/movie that inspired this album. Even if listeners who know or deepen that movie could understang some possible references to that movie, it's not an essential condition for enjoying the drift between abstract noise and pure sound as well as between matter and vacuum of sound, whose dual nature got permanently switched in the five explorations by these wise producers.

Asolaar: Interceptor

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
 Edit (8468)
Nov 02 2014
Artist: Asolaar (@)
Title: Interceptor
Format: CD
Label: Kvitnu (@)
Rated: *****
Even if the excellent Ukrainian label Kvitnu situates Asolaar, the brainchild by Argentinean producer Dario Pinto Calvis, in between the artists which fly on the "heavy wing" of its oustanding sonic squadron, it seems that he has slightly softened his sound and such a mitigation is clear since the opening electric peristalsis. His sonorities on "Interceptor" keeps on propagating vitriolic frequencies and abrasive distorsions, but Asolaar shows much more familiarity with his dangerous electric devices than other previous more abstractly chaotic stuff: he rarely move away from circuit-driven rhythmical loops, which soak tracks like "Gravastar", but he frequently deviates from excessive repetitiveness by means of amazing electromechanical saturations such as on "Cruce Magnetico II", "Cruce Magnetico II", "Emptiness Dealers", whose combactive stepping could let you think about the possible death rattle of a stricken drone, or the fragmented high-voltage break of "Random Violence", where his style get closer to old stuff from Celluloid Mata, P.A.L. or Synapscape, or by clipped chemical burns ("0028-13", "Lord H.Mohawk" or the nice "Lu In Dimension"). It's really remarkable the ability to draw so many noisy tidbits together in just 24 minutes, which could be sometimes much more lieable than excessive prolongation of less surprising brainwaves.

Pharmakon: Bestial Burden

 Posted by Emanuele Ratti (@)   Industrial Noise / Power Noise / Harsh Noise
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Oct 27 2014
Artist: Pharmakon
Title: Bestial Burden
Format: CD
Label: Sacred Bones Records
Rated: *****
I think I'm falling in love with Margaret Chardiet. The first time I heard about Pharmakon was last year. Listening to 'Abandon' a myriads of thoughts came into my mind, but the core message was 'this is fascinating'. Now Pharmakon is back with a new album called 'Bestial Burden'. For those who don't know, Pharmakon is the power-noise/death-industrial/whatever project of Margaret Chardiet, a woman from NY. This album, as far as I understand, has been conceived during Margaret's long stay in a hospital, for some medical emergences occurred just before her first European Tour. Somehow the album has an aseptic touch, distinctive of hospitals. The structure of her songs is actually very simple: a monotone sinister pad, an essential almost-martial drum section, another pad doing a macabre and, again, essential melody, some noises here and there, and finally her voice. The expertise of this amazing girl are vocals. She screams, she speaks, she laugh, she cries, she vomits. Rarely I had the fortune to listen to such amazing pieces of screams. It reminds me a perfect integration between Roger Karmanik and Marco Corbelli. This album is a masterpiece of death industrial, and I can't wait to listen to future Pharmakon's developments. Highly recommended.
Artist: Ueno Masaaki
Title: Ununseptium/ Vortices
Format: 12"
Label: Raster-Noton (@)
Rated: *****
Four years after the discovery by Yuri Tsolakovich Oganessian, a group of American and Russian researches and nuclear physics of the 117th element by means of the fusion of Calcium and transuranic radioactive chemical element Berkelium at Joint Institute for Nuclear Research in Dubna, Raster-Noton discovered its 117th element for unun series, the notorious series of releases, named after the family of transuranic or superheavy elements. Its scientific connection got emphasized by Japanese sound-artist Ueno Masaaki, whose four tracks for the seventh ring of this chain are aimed to be a sort of reconstruction of natural laws and forces by means of complex polymeric grooves, clipped rhythimcal cuts, clusters of chopped metallic hits and overclocked suctions of piercing bass pulsations, which could be vaguely described as a possible groovy declension of Autechre or Emptyset stuff. It might sound repetitive only to absent-minded listeners, as more attentive listeners will easily appreciate the rich assets of sonic detailes of this zipped stuff.
Artist: Fujako (@)
Title: Soul Buzz EP
Format: 10"
Label: Ångström Records (@)
Rated: *****
When the soul buzzes, it could disjointedly hits on drums and could even sing like a gremlin. It's the recent sonic discovery by this lupine duet by Jonathan Saldanha from Portugal and Nyko Esterle from Belgium, who came back on French-Belgian label Angstroem after their debut album "Landform" in 2009. You could get flabbergasted they need almost two years to forge a 6-tracks EP, but it doesn't really matters how much hey needed to shape their sound to free from that buzzing sound. They make "Entrance" by means of a minute blurred electric storms before the meaningful gruff lyrics of the title-track - featuring the dusky voice of DC-based MC Black Saturn, grandon of blues musician John Jackson -, whose unchained thuds and viscuous distortions revies the golden age of ill-hop. The bumping ultra-low frequency over fragmented hip-hop groove on "J*A*" adds more obfuscation to an already thickly foggy sound till it reaches highest levels of stunning daze on "Preacher's Echo", which opens the flipside, where these guys focuses on obsessively obscure dub hooks by means of overechoed and overdelayed voice, corroded and corrosive hums, cacophonous interferences and tumbling beats as well as a gremlin who sounds duetting with MC Black Saturn on the mad dub version of "Soul Buzz", where these folks seems to have dunked the orgiinal version into a pot of hot tar.

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