Music Reviews



JAHCOOZI: Barefoot Wanderer

 Posted by Maurizio Pustianaz (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Mar 16 2010
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Artist: JAHCOOZI
Title: Barefoot Wanderer
Format: CD
Label: BPitch Control
Rated: *****
We recently talked about Robot Koch because of his solo album but this time I'm talking about him because he's also involved into Jahcoozi along with Sasha Perera and Oren Gerlitz. Active since early 00's with on their back releases for WMF Records, Kitty-Yo or A-Records, the trio is now releasing through BPitch Control their third album BAREFOOT WANDERER. If you were used to Robot breakbeats, well in this case you have to look somewhere else, but if you are into pop, dub, reggae and deep bass lines the eleven tracks of the album would satisfy your thirst for chill-out atmospheres. As the title suggests the band approached to the album with a new spirit and thanks to the Goethe Institute they went to Kenya to record the track "Msoto Millions" along with MCs from Uko Flani, a Kenyan dancehall/reggae crew in Nairobi. This was the first of their collaborations but this album see the band traveling and collaborating with people overseas (percussionist Guillermo Brown from New York or clay pot percussionist Oori Shalev from Israel) or in Europe (Belgian singer Barbara Panther). Ethnic influences found their home into the upbeat rhythmic textures of BAREFOOT WANDERER and if you aren't afraid of a jazzy vocal approach mixed with dub electronics you can check Jahcoozi. Personally "Wasteland" was the track I appreciated most because of its light ethnic percussion that duet with a soft female vocal and synth waves.

Christian Loeffler: Raise EP

 Posted by Vito Camarretta (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Mar 02 2010
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Artist: Christian Loeffler
Title: Raise EP
Format: 12"
Label: C-Sides (@)
Distributor: Kompakt
Rated: *****
It’s quite difficult not sharing the ideas by Glitterbug, Ronni Shendar and other lads thickening c.sides’ music hordes about the compositional skills of this 24 years old producer, whose musical path begun on his father’s old-fashioned computer through which he moved his very first steps towards the electronic music potentially infinite planet. The lack of any academic knowledge depending on the circumstance he lived in a secluded region has not been an obstacle for the development of its own (very melancholic) style and after some interesting excerpts on Orphanear (a sort of Dial’s sub-label, founded by Pawel aka Turner) and an astonishing release, Heights EP, for Cologne’s Ki-Records, he finally joined c.sides. The common factor of the four tracks of this ep maybe stands in the fact the listener could easily isolate all the acoustic stimuli combined within a track, but the way Christian Loeffler entwines them makes him powerless in front of its gradual sliding towards the emotive sphere resulting in a deep listening experience, beginning with the fluffy sounds, suffocated chirps, a sequenced puff at the end of rhythmical pattern motioning Cord – a track which is akin to some new definitions of techno (for clubs) recently spread by the legendary Cocoon -, whose initial mechanical gusts are propelled by a floating church organ, conferring a mystical aura to the track, and a clappy ambient-techno programming on drums; a bouncing bass drum, a metallic pit-a-pat, an absorbing monochord ultra-low tone and an impalpable resonance introduce the listener to the hypnotic progression of Glare, while there’s a sense of familiar warmth in the micromelody which seems to be emanated by a childhood memory in the lovely track giving name to this ep, Raise, akin to that kind of mood partially explored in the past by Anthony Rother. Some emotional tears are going to stream down your brain and your soul during the listening of the moving ambient miniature of the closing track, Core, potentially able to reach the core (as self-declared by the title) of the target aimed by Loeffler enchanting music. But don’t hang your head in sorrow please, human robots!
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Artist: D.J. Golubb (@)
Title: Underground Pathos
Format: Download Only (MP3 + Lossless)
Label: X-Line / Alter-X Promotion Group (@)
Rated: *****
First, I’m always skeptical with DJ’s trying to convince the audiences with self-produced Electronica music, since several results can be called that weak, that a recommendation would be utterly mockery. Secondly, to start an album with a cover version on "Fade To Grey" of VISAGE including the usage of poorly vocoderized vocals, can be called as being the biggest mistake an artist can produce. Luckily the next 2 tracks, aptly titled "2" and "3", are musically far away from plain Tech-Dance music – both can be placed into the wide field of modern IDM/Electronica and giving some surprisingly well-done references. The integration of experimental and noisy FX and percussion elements results in amazed faces of the listeners. At least with the 4th track, "Space", starts Mr. GOLUBb in that expected manner, to produce danceable and consumer-friendly Electronica. Both tracks, "Space" and "Illusion", can satisfy with a well-done catchy synth-play. "Robot Voice" seems to be his best track so far, it features a matured sound environment, well inserted samples, and offers a slightly nostalgic touch to some 80ies revival bands. The following tracks, as well as an alternative version to "Robot Voice" and a remix on an ID MOLOTOV-track, are turning too much into the Techno-/Trance-genre. Diversity seems to be the trademark for D.J. GOLUBb and he has created several right decisions. "Underground Pathos" is may lesser designed for the EBM-purists, but an interesting addition to the X-Line roster.

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Artist: Autoclav1.1 (@)
Title: Where Once Were Exit Wounds
Format: CD
Label: Tympanik Audio (@)
Distributor: Ant-Zen
Rated: *****
A complete new studio album from the UK-based IDM/Electronica-based project AUTOCLAV 1.1 only a year after his last release "Love No Longer Lives Here", but this shouldn’t wonder anyone, because there can be easily drawn a fine stylistically connection between both albums. Tony Young seems to reach more and more trust into a straight and linear rhythm programming, also his usage of orchestral-like strings, acoustic guitars and dominant piano sounds rather speaks for a developing musician. I found myself to pick out one of his older albums to recognize clear the differences. The days of his notorious and abstract IDM-related rhythm pattern programming are definitely over – if there’s still available a glimpse of this past, just check the percussion work of both new tracks "When We Woke Up" and "These Walls Have Seen All". Nearly all other tracks convince through its straight-forward and mostly 4/4-on-the-floor-like pattern structures, as well as the above mentioned instruments offer a lot of organic "life" and catchy moments to the music of AUTOCLAV 1.1. Some guest contributors can be heard too, Rachel Haywire for short introduction of "When We Woke Up" or his long-year friend Jamie Blacker of ESA, who provides vocals and some guitar inserts on "Do You Feel Disposable?". That tasteful black/white photo-artwork got done by Salt (Ant-Zen/Hymen Records), mastering provided by Metarc – well, you’ll get the finest art tools asides nearly 50 minutes of purest audio entertainment. Because of its highly acoustic content, this album differs enormously compared to nearly all other label horses out of the rich Tympanik Audio stable, with the exception to AD-VER-SARY maybe. Someone out there to argue against diversity of the label roster?

Disharmony: Evolution

 Posted by Marc Tater (@)   Electronics / EBM / Electronica
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Mar 01 2010
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Artist: Disharmony (@)
Title: Evolution
Format: CD
Label: Tympanik Audio (@)
Distributor: Ant-Zen
Rated: *****
Already a year before with the release of their marvelous remix collection "Cloned – Other Side Of Evolution", the Slovakian duo DISHARMONY has started its career as being one of the outstanding horses in the stable of the Tympanik Audio label. It may surprises, that they’d considered to sign with them Audio, since the both protagonists of this project, Lord Sauron and Ryby, are known to be a bit suspicious to foreign scene people, since they’ve got often screwed in some or another way previously. Both are standing also behind their very own Aliens label and DISHARMONY is surely the flagship of it. But back to the music, because it seems that the dedication towards to Tympanik Audio has left a tiny impact on the music. Their predecessor studio-album "Malignant Shields" maybe marks the highlight in the long-year career of DISHARMONY thanks to the recognizable development to integrate rather fragile than dark sounding synth arrangements. To start comparisons, "Evolution" comes out more variable and with a more of toughness in its rhythm programming, but also lesser brilliant in its synth-play. This album has its highlights in the both opening and closing tracks, "Revolution" and "Evolution". In between it has been a bit challenging to pick out additional favorites, since the order of the track list offers some clumsy decisions. Highly important track numbers to keep on a thrilling float of the album like 2 or 4 got filled with rather standard-instrumental tunes, instead to place their finally discovered masterpieces like "Spirals" or "End Of Ends" in there. They also prove, that there can be a difference between a standard and a perfect arranged instrumental tune, "Izometrix" as being the best has to named. "Evolution" is of course a good and valuable album, still being an oasis in the yet leading Hellectro-related desert zone – but it isn’t their best work so far.


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