Music Reviews



Chris Gavin: Nice View

 Posted by Vito Camarretta (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Sep 16 2013
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Artist: Chris Gavin (@)
Title: Nice View
Format: Download Only (MP3 only)
Label: L-System (@)
Rated: *****
The third delivery from L-System records got the signature of French dj and producer Chris Gavin, whose "Nice View" overlooks on techno scene by a possible attempt of sonic translation of the inner vascular motion of a metropolis: a sort of electronic marimba, which gradually becomes more and more audible, reversed woodblocks, an unceasing percussive pump, a subtle metallic whistle, harmonic chips, sudden catalytic ripples sound like everchanging tiles of a gigantic urban organism and the following track "The Present M" sounds likewise ripped from dynamic urbanscapes so that that M of the title could mean both "Music" and "Metro" due to the interconnection between garnered urban audible inputs like the noise from an underground rail, which got swallowed by rhythmic pattern, or the indistinct clamor by passengers, which sounds like a grave collective chorale, entwines with the glimmering concatenations which sonically mirrors the coloured reticulum of a subway map and overfill the sonic sphere by a sort of growing clew. The release include a couple of remixes by German producer Martin Roth, who pan-fried many percussive elements by adding monotonic chords and a mellow teeter-totter-like movement which gradually turns into a catchy deep-techno progression, and Anglo-Persian dj Omid Nourizadeh aka Omid 16b, who sublimates the urban particles of the original track into a lukewarm pad-synth cloud in the two awesome parts of the remix he signed.

Didges Christ Superdrum: Alien Technology

 Posted by Vito Camarretta (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Sep 14 2013
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Artist: Didges Christ Superdrum (@)
Title: Alien Technology
Format: CD
Label: self-released
Rated: *****
I'm pretty sure that Brian Johnson of AC/DC, who caught one half of this project, Shawn Bowen, while playing together with Kelly Shaefer for Neurotica and decided to produce their first album when he used to live in Sarasota (Florida), wouldn't be disappointed by the costume Shawn "Obishawnkenobi", talented didgeridoo player Jeremy "Lembonius" Lembo with the support on drums and percussion by Julius "Caesaronius" Mendoza and James "Bezl" Labonte which could someone think about four possible fathers of Iron Maiden's dummy Eddie. Jokes apart, this record by Didges Christ SuperDrum, which could be considered as a sort of side project of World Collision, shows a remarkable sonic understanding and complementarity of its columns and an interesting crossover between didgeridoo dance and ritual music and electronic rock song typical structure, whereas even if the conceptual framework, if we could call it so, draw on aquarian/new age beliefs, the ritual pep often got tempered by a shrouded and thought-provoking irony and vitriolic sideswipes against reigning capitalist contours, particularly on tracks like the clotted gore-spotted "Black Is The Colour", the appropriate venomous "Grind To The Slaves" (lyrics like "The ideology of ideocracy/You've been hypnotized/by your own demise.../.../The system that you foster/isn't built to last" could echo more some furious industrial or metal song than a ritual-oriented set), the non-confessional "The One True Devil" or the final sabbatical stage "Snake Oil" - one of the highlights according to my ear response -. All things considered, "Alien Technology" is a very good release, but I imagine that listening or taking part to some Didges Christ Superdrum's live exhibition (or I'd rather call it a rejuveneting rite of passage!), which features interpretative dances and fire manipulations by Skyedancer as well as some fluorescent body painting, could be head and shoulders above an ordinary listening by headphones.

Ikonika: Aerotropolis

 Posted by Vito Camarretta (@)   Synth Pop / Electro Pop / Synth-Electronica
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Sep 14 2013
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Artist: Ikonika (@)
Title: Aerotropolis
Format: CD
Label: Hyperdub (@)
Rated: *****
Another sublime and sublimating sonic specimen which ideally knots past, present and future, comes from the heightened musical sensibility of Sara Abdel-Hamid aka Ikonika, one of the best female dj at present, whose somehow visionary talents was clear since her first single on Hyperdub "Please" and the following full-lenght "Contact, Want, Love, Have" by which she moved dubstep up towards steampunk and 8-bit ground-breaking forms. This junction could mirror "the not-too-distant future" when the plot of Gattaca (an explicit source of inspiration of this record) and its protagonist Vincent Anton Freeman/Jerome Eugene Morrow occurred or possibly a proper assay of sonic genetic engineering or the validation of a stylistical freak between italo-house, 80ies breaks and many other amazing clasps with that "not-too-distant past" from not too old-fashioned glorious equipment (such as a Roland 707 or a Juno-106) in order to be in line with the plot of that movie. Named after the phenomenon described on "Aerotropolis: The Way We'll Live Next", an interesting essay by John D. Kasdara and Greg Lindsay, who envisaged a sort of perpetual global connectivity by means of cities, where the typical urban pattern according to which airports should be built in peripheral areas will be replaced by airport-centric giant cities, many listeners will not believe their own ears to know Ikonika partially got inspired by her fear of flights beside the fact her recording studio is close to Heathrow Airport for "Aerotropolis" due to the recurring synth rockets and the feeling of air spring that her classy patchwork of claps, agogo, fingersnaps and other percussive elements could inspire when got shaked inside melodic ginger pompoms and enmeshing arpeggios since the ignition sequence starts by means of the delicate drone of "Mise en Place" and the following aerostatic sensuality of "Beach Mode (Keep It Simple)", which features enchanting vocals of Jessy Lanza, who gets off the ground and begins an gorgeous musical journey with many emotional legs between reminiscences and augmented stylistical developments. Stop'n'go barrel rolls of "Manchego", the gliding of gleaming percussive elements on a surface of polished chords on "Let A Smile Be (Y)our Umbrella", the uplifting jigging junction with italo-house of "Eternal Mode", the crunchy bleeping housey breaks of "Lights are forever", the blissful estrangement of the crossbreed between church organ and reverberated claps on "Mega Church" are just some of the moments of this evocation which manages to flash listeners up till the final bare solemnity of "Zen Sizzle".

Xtrah: Lost Time EP

 Posted by Vito Camarretta (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Sep 12 2013
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Artist: Xtrah (@)
Title: Lost Time EP
Format: 12"
Label: Symmetry Recordings (@)
Rated: *****
A plenty of forthcoming great dnb releases which are going to break winter's ice have been announced and this gorgeous 15th drop with the signature of a proper lord of the scene, Yasin Elgohary aka Xtrah, in Symmetry catalogue is almost ready-made. To be honest, its collaboration with Break and DRS, the electro-hopped tribastic hit "Always New" with its worming synth lines has shaked many frontlines in summertime yet. The full release - I'm not sure if it will come on double or single vinyl beside the digital version - includes "Groove Shadow", a great assay of nervously drilling darker dnb, a remix of "Cyrax" (the astonishing track by which Xtrah landed on Symmetry shaking grounds) by Break, who impresses its fast-moving beat rolls upon the cinematic sequence of electric skylarking, misty pad-synths and granular basslines, and the title track, "Lost Time", the massive tune which comes from the collaboration with Codebreaker, where the ideal fight against the passing of time suggested by (rhetorical?) repeated question has made by means of unconventional weapons such as gurgling basslines, puffed hi-hats, precise cuts and clackers - a toy, also known as click clack balls, which many oldies who were teens in late 70ies/early 80ies could remember... -! "Lost Time EP", which is going to be available on 30th September, doesn't definitively mean wasted time...

Taho vs Cerebro: Outer Rim EP

 Posted by Vito Camarretta (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
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Sep 10 2013
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Artist: Taho vs Cerebro (@)
Title: Outer Rim EP
Format: Download Only (MP3 only)
Label: L-System (@)
Rated: *****
The second ring of L-System's chain I recently introduced comes from both its co-founders, Trey Smith aka Berebro and Aix-en-Provence dj David Jacopin aka Taho, who strike up the label by a couple of disco-oriented throws on this co-signed tidbit. I'm not sure if Taho is a fan odf Star Wars, but I could suppose so as the title of his track "Mon Bala" - if bala isn't a sort of abbreviation for "balance") - could refer to the molten rocky planet orbiting the star Ryloth in the notorious saga, which could have been reprised by molten rock guitars which sounds like dissolved into a deep techno solution with a remarkable editing on a sort of woodblock. Cerebro's "Mon Duul" is equally engaging and features an amazing sequence on electronic cymbal, scissor-like hi-hats, moody holy pad-synths and those howling synths which could remind those glamouresque reprises of 70ies disco, which are fit for the theme song of some contemporary talent show.


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