Music Reviews

Artist: Samuel Rohrer (@)
Title: Range of Regularity
Format: CD
Label: arjunamusic (@)
Rated: *****
The open-minded attitude by Swiss-born (but Berlin-based) producer and improviser Samuel Rohrer can be easily guessed by the impressive diversity of festivals and their audience, where he performed (CTM Berlin, MoldeJazz in Norway, Nuits Sonores Lyon, Huddersfield Contemporary Music Festival, Vancouver International Festival, Sunwaves Festival in Romania and many more), as well as the variegated bunch of stylistic differences of the artists he works or worked with (Ricardo Villalobos, Nils Petter Molvaer, laurie Anderson, Eivind Aarset, Mark Feldman, Sidsel Endresen, just to name a few of them) and the collaborative projects (the one with Claudio Puntin and Max Loderbauer, AMBIQ, is maybe the most known). Such a grandiloquent CV could let you think that his solo work could be something snooty for an elitarian niche of listeners, but I don't think Samuel turned his nose up by this debut album, even it's something really classy. He forged six amazing movements, whose "regularity" made them easy to chew to listeners who prefer a certain immediacy in music, but this apparent simplicity got refined by intricate webs of overlaps and an impressive diversification of timbres through a wide kit of acoustic and electronic tools (including prepared drums, detuned ziter, found objects, mini synths, Moog-driven bass, cymbals and many percussions). Such a sophistication, that together with a clear stylistic refinement and a sort of functional slit by the author (looking like something in between a sound sculpturist and a live performer) in every single track, is going to delight more demanding listeners as well. The opening "Microcosmism" is a good starter, while the following "Lenina" (the first of the three longest - lasting more than ten minutes - suites) is a first assay of the skills of mirroring the apparent contrast between tradition and modernity of tools (electronic and acoustic) by the style (a sort of accelerated adaptation of traditional afrobeat!), but the first real evidence of Rohrer's rhythmical dexterity is clearer on the third track "Nimbus" (in spite of some rough presets). Samuel turns his sonic textures into a light-tight item on the contemplative 4-minutes lasting parenthesis of "Sunclue" (something good for meditation), before the aural pleasures he forged by the other two long-lasting suites (the obscure dub dim light of "War On Consciousness" - close to some stuff by Jah Wobble - and the awesome interplay between kraut and electronic dub of the final "Uncertain grace"). Check it out together with the outputs of his personal imprint arjunamusic.

East Man: Red White & Zero

 Posted by Stuart Bruce (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Feb 19 2018
Artist: East Man
Title: Red White & Zero
Format: CD & Vinyl
Label: Planet Mu
East Man calls this blend “Hi Tek”. It’s hard grime, with the uptempo hip-hop grooves and the rapid-fire MC’s, but sonically it’s built out of techno and hardcore sounds- seriously distorted bass gutpunches, heavy and complex drum patterns, and edgy acidic electronica noises. Everything’s turned up to 11 and it just oozes angry attitude.

Although the album’s written introduction, from academic Paul Gilroy, makes big political points about London’s disaffected youth, as is all too usual a few too many of the MC’s resort to basic bragging, threats and talking themselves up rather than hitting anything thought-provoking. The most notable lines come from Darkos Strife. Daftest lyric award has to go to Lyrical Strally for “Pardew, like Alan”, with Kwam’s dropping William Hague references a close second.

Tracks without MC’s, like “Stratford”, instead use spoken-word samples as mantras while bringing the moodier side of the music to the fore. “Drapesing” is a notable interlude, taking long samples from a documentary about urban life over a harsher and more ambient musical setting. The military tone of last track “And What” takes the album out with a bang.

It’s a relentless and raw 38 minute assault from the fresh side of grime, with enough electronica tweaks and twerks to make it a natural fit for Planet Mu. So, it seems grime isn’t utterly sold out to national radio after all.
Feb 19 2018
Artist: Cluster Lizard (@)
Title: Edge Of The Universe
Format: LP
Label: Le Cabanon Records (@)
Rated: *****
The first release of the newly made series Stand-alone by the small French label Le Cabanon (founded by Guillaume Malaret, Clovis 'Horla' Lemée, Pierre 'Bruma' Relaño and Pierre Torrell) got signed by two Ukrainian artists we constantly followed through their label Kvitnu. As many of you immediately guessed, I'm talking about Dmytro Fedorenko aka Kotra and Kateryna Zavoloka, who signs her releases by using her surname only. Compared to their solo issue, the sound of Cluster Lizard is slightly different: the harsh concreteness and the solidity of some of their solo outputs and the riverbed limestone where this harshness coexisted with steamy dark ambient clouds get sharpened by the apparent intent of this release, whose aim seems to be the attempt of propelling listener's mind towards the (other than metaphysical) edges of known or imaginable universe. I like to imagine that the abstract clip I saw the opening "Being Alive Isn't Everything", whose background seems to be taken by a simple cam pointing the journey in an obscure gallery through a window screen, mirrors both the dim light of its sonorities and the moment that sparkled the authors' sonic journey, as if the anguish of our terrestrial lives and the related search for escapism could be the gate to boundless explorations. Such an apparent contradiction seems to be the emotional framework, lingering as the shading of a burnt memory over the whole listening, where this vivid apparent contradiction could also explain the harmonic coexistence of really "terrestrial" (and clashing) entities and ethereal ones, where the first ones get often harmonised to the latter ones on tracks like "Fractal Core", "Afterlife Drift" or "Biomass of Beauty". Highly recommended sonic trip!

Sevensol & Bender: Das Ideale Geschenk

 Posted by Stuart Bruce (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Feb 17 2018
Artist: Sevensol & Bender
Title: Das Ideale Geschenk
Format: 12" vinyl + Download
“Das Ideale Geschenk” is a three-pack of beautifully mellow, soft instrumental house, comprised relatively simply from lightweight rhythm patterns and long, warm, sunbleached chord pads. Dreamy chime sounds flitter over the top while the production deftly and subtly adjusts EQ’s and layers to keep things moving along.

After the supremely mellow journey of opening track “Mythen Center Korfu”, “Driftwood” adds some appropriately wooden-sounding extra percussion and a faintly harder-edged acid bassline into an arrangement that sounds more conventionally symphonic. “Rhythmus Tool” is, as the name suggests, a bonus 4-minute rhythm pattern DJ tool for running under structured beatless material as a DJ tool.

The most obvious criticism of the bundle is that it’s quite generic- there’s little in here to give proceedings any kind of distinctive character that will stand out from the crowd. But if you’re in the market for smooth, non-attention-grabbing super-dreamy house, check this out.

Aaron Spectre: Roots We Seek

 Posted by Stuart Bruce (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Feb 14 2018
Artist: Aaron Spectre
Title: Roots We Seek
Format: 12" vinyl + Download
Label: Jahmoni Music
“Roots We Seek” is a joyous soundclash of an EP, broadly structured as jungle-meets-drum-and-bass but throwing in generous doses of reggae and rock guitars, Jamaican-style hip-hop vocals alongside smatterings of electronica squeaks and squirls, scratches and record stop sounds. Some of that’s not the regular fodder we’re most often sent at ChainDLK but you can’t help but get into the infectious energy factor that runs throughout.

The title track is the most poppy and radio-friendly, with the most feel-good and positive vibe of the set and a less kick-heavy jungle rhythm, even (less so) on the chorus. I’m not sure where the sample is from but it reminds me of some of LSK’s first couple of albums.

“They Don’t Know We” has a gritty attitude and fury-laden complex drum programming with a decidedly cathartic vibe, and “Three O’Clock Rock” takes things further in that direction with howling guitar feedback and an almost gabba-like mania that gets sharply contrasted by the steady reggae breakdowns. “Hey Natty Dreadlocks” takes the very familiar ‘under mi sensi’ vocal and wraps it on another frantic, siren-laden bit of d&b with serious urgency.

Exhibiting spectacular control over an everything-but-the-kitchen-sink sonic arrangement, fans of acts like The Qemists or the more energetic offerings from other sonically open-minded acts like Dreadzone or Afro-Celt Sound System will love this, as will- yes I’m going to say it- the junglist massive.

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