Music Reviews



Fatima Al Qadiri: Asiatisch

 Posted by Vito Camarretta (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Jul 18 2014
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Artist: Fatima Al Qadiri (@)
Title: Asiatisch
Format: CD
Label: Hyperdub (@)
Rated: *****
The choice of opening her debut album by "Shanzai" - a word which refers to the Chinese counterfeiting of Western brands and goods, even if the original meaning of the term refers to an out-of-control territory ruled by bandits... -, a nonsensical Mandarin cover of Sinead O'Connor's "Nothing Compares To U", whose inspirational romanticism could turn a daydreaming song into a sort of nightmare where that song could be considered the musical emblem of a cultural transplantation (or I'd rather call it a proper inoculation) of Western cultural memes into Chinese chaotic declension of consumerism's seeds which goes over a simple act of counterfeiting, the conceptual framework of this great release by brilliant conceptual artist Fatima Al Qadiri, has been labelled as "brave" whereas I think it's a remarkable brainwave and a wise hatchway to give listeners access on unstable stiletto to this meaningful stylistical mashup, which overarches Western cliches about such a cultural amalgamation. While O Connor's dinner in a fancy restaurant could be replaced by a sad chuanr of starfish over a foggy street in Shangai or by a bowl of tear-flavored mala beef daoxiaomein, the following tracks manage to recall modern China and possible visions of a futuristic evolution by robot-like Chinese vocal samples andtrapping chorals, entrnacing flutes, delicate synth-driven melodies, steel drums and other elements, which could let you think of a possible attempt of forgery of Western synth-music tradition as the last stage and marking of an imaginary challenge to step a fake up. In spite of its connection with so-called "sinogrime", a branch of grime that got developed in South London between 2002 and 2005 where exotic elements from Eastern sonorities got integrated into grime patterns, Fatima's debut release is one of the smartest hybridization I've ever heard.

God Module: False Face

 Posted by Vito Camarretta (@)   Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
Synth Pop / Electro Pop / Synth-Electronica
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Jul 15 2014
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Artist: God Module (@)
Title: False Face
Format: CD
Label: Metropolis (@)
Rated: *****
The immersion of electonic pop hooks and more distinguishable melodies into the dark-industrial pool of blood that Jasyn Bangert aka God Module scrambled for his sixth album is the main aspect that makes this release a cupcake if compared to other release with its mark such as "Viscera" or "Let's Go Dark". The cinematic sonic entities which let listener climb down into a crime scene or the horrific set of serial-killer driven cinematographic plot are clear since the samples of a scaried girl and the disquieting caption of a childish voice on the opening "A Good Night To Die", whose blend of sinister sonorities and sharpened beats that start on the very first ominuous lines of the song ("Wash your hands in th tears of the sycophants/Broken Behavious beyond perverse/No trial when you're opposite of innocent/your verdicts even read in reverse") could render a sensually spirited dancing with his/her assassin into listener's mind. If the stridency between muscular sounds and metallic scheeches sounds wisely softened on the following "Black And Blue", the almost jaunty sonic traces of "Nothing But Mine", one of the highlight of the album together with the title-track, the crunched song "Through The Noise", the moments when pop elements clearly resurface from the brutally groovy stings by God Module, the almost martial meaningful "Destroy The Day", could let symphatize with the torturer in a context where the classic dicotomy between good and evil, hell or heaven, got replaced by the one between truth and lie, which brings the crime or the persecution about as well as other elements where Jasyn, whose voice seems more robotic than the one I remember on previous releases, portrayed the murderer as a sort of dreamer whose aberration could descend from the craving of a paradoxically better society.

EXS: These Days (The Crystal Issue Cycle 1)

 Posted by Maurizio Pustianaz (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Jul 14 2014
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Artist: EXS
Title: These Days (The Crystal Issue Cycle 1)
Format: 12"
Label: Solar One Music
Rated: *****
After two years from the debut 12" EP on the Solar One Music sub-label Unhoerbar, EXS is back on the main label for a new one sided clear vinyl 12". Out on the "Crystal Issue" series, released after Mantra and Perseus Traxx 12"s, EXS (which is a side project of Robert Witschakowski better known as The Exaltics and one of the two label's bosses) brings, as the other acts did, two new tracks: "These Days" and "K.I.L.Y.". The main track is a seven minutes techno tune really different from the dark atmospheres we were used to with The Exaltics. Here we have atmospheric pads which duet with upbeat tribal drums where light toms sounding like bongos are doubled by hi hats and acid raw bass lines. "K.I.L.Y." has less acid sounds and is based on a bass sequence doubled by a dry lead synth sound. The effect is kinda minimal and hypnotic which could be fine for the dance floor. Personally I prefer The Exaltics but if you are party people, you can enjoy the soul techno sounds of EXS. You can find the sound excerpts here: https://soundcloud.com/solar_one_music/exs-aka-the-exaltics-these-days-the-crystal-issue-cycle-1

Hadamard: The Ass In Bass

 Posted by Maurizio Pustianaz (@)   Electronics / EBM / Electronica
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Jul 07 2014
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Artist: Hadamard
Title: The Ass In Bass
Format: 12"
Label: Solar One Music
Rated: *****
Active since mid 00's Janko Bartelink released since then eight 12"s and two digital albums under his Hadamard moniker for labels such Transient Force, Bunker Records, Mighty Robot Recordings, Black Montanas and Last Known Trajectory. On this new EP, Hadamard bring three old tracks that we already had the chance to check on the "Love Songs" digital album ("A Walk In The Park", "All I Think About" and the title track "The Ass In Bass") which was released by Transient Force back in 2010, plus "My Cool". If you had only the chance to check the "We Go Into Space" album or the first releases, well, since then Janko turned his sound into a mix of electro funk with a robotic approach. Try to imagine an harder version of Egyptian Lover with in front bass lines and beats with badass filtered vocals. On this EP he sounds like a 70s pimp who has been shot from the streets of New York right to the outer space and from there he shouts his needs for girls. The lyrics might piss off feminists as we have lines like "A beat with no basses is like a bitch with no ass", "I got titties and asses reflected in my glasses, bitches going crazy when the master passes" or "Every time I see you, you turn me on. Every time you walk in, until you're gone..." but I see it as a recreation of an era more than an offence. You know, it's like a blaxploitation movie on vinyl. Hadamard's "Ass in Bass" EP is the third part of SolarOneMusic's "Elektronische Werke Series", after Dynarec and Q-Chip and... it kick asses! Check it here https://soundcloud.com/solar_one_music/hadamard-ass-in-bass-ep

Rismu: Reborn

 Posted by Vito Camarretta (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Jul 05 2014
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Artist: Rismu
Title: Reborn
Format: Download Only (MP3 + Lossless)
Label: Affin
Rated: *****
Another release which I cannot but fish from the crowded pool of techno stuff I'm toothcombing comes from the acknowledged Joachim Spieth's Affin label, one of the most prolific of the scene with almost 150 releases in less than 7 years, which launched the debut of Rismu, a new project from Marseille-based M.A.D.A.. The opening "MST" combines trapping chords, a sort of obscure draft, a subterranean gurgle, a bouncy kick-drum, cushioned claps and the typical dynamics of a well-forged dark minimal techno tune, whose technoid elements got emphasized on The Plant Worker's remix, whose slapping claps sound like sparking signals for the progressive erosion of the retentive tone. The vibe becomes even more sinister on the following "S3" whose distant chords sound like getting closer to his prey. The Plant Worker sounds more technoid again by stressing the pounding beats and giving an edge to the other gears of the original engine.


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