Music Reviews



Tomas Korber: Musik für ein Feld

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8432)
Oct 05 2014
cover
Artist: Tomas Korber (@)
Title: Musik für ein Feld
Format: CD
Label: Cubus (@)
Rated: *****
The field that could came to your mind while listening the first nine of nine movements of this amazing suite that Swiss composer and improvisational performer Tomas Korber wrote and performed with Konus Quartett, a fourtet of saxophones by Christian Kobi (tenor and soprano saxophone), Fabio Oehrli (soprano saxophone), Jonas Tschanz (alto and soprano saxophone), Stefan Rolli (baritone saxophone), whose tonal breath got wisely processed by Korber himseld, is the one of sci-fi movies like Alien, where the last survivor of a flight crew finally understands there could be some technical problems by low levels of oxygen in the loungy disco-like cabin and chances upon of corpses of his/her collegues before meeting some alien monster, which miraculously grew from leftovers of overbaked lasagna whose stuffing includes beans from outer space. Jokes aside, the one track suite with many altenrations of sounds (it's not so easy to distinguish wind instruments and processed parts and background noise as Korber sometimes turns the tails of tonal frequencies from Konus Quartett into pure sinewaves and viceversa) by these guys is really amazing and their invitation to test "Musik fur ein Feld" in different ways (different rooms and/or palyback systems with different levels and types of background noise) could result into surprising listening experiences where sonic entities like those saxophone-driven geysers which seem to gather paper around 20 minutes, the metallic puckering between minutes 43 and 44, the progressive saturations of single breath in many moments of the recording, the deforming overlapping with background noise and so on could trick and daze your mind.

BMRN: Immersion / Drift / Accretion / Shift

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
 Edit (8431)
Oct 04 2014
cover
Artist: BMRN (@)
Title: Immersion / Drift / Accretion / Shift
Format: CD
Label: Eilean (@)
Rated: *****
The 63rd point on the map of Mathias Van Eecloo aka Monolyth&Cobalt's Eilean Records comes from Exeter, one of the main towns of the enchanting Devon, where Greig Baird aka BMRN/Boomruin lives together with his family, which seems to be one of his favourite sources of inspiration for his beautiful sonic artifacts in addition to his homeland which provides some field recordings tat features this release. I could guess that this new point of Eilean's map is closer or maybe within Scotland - a connection with that enchanting area of out planet got evoked by the mane of the French label after all -, homeland of Boards of Canada, the closest stylistical neighbours of bmrn as you immediately guess not only for the opening track which quotes a notorious Scottish Gaelic salutation (Failte Dhachaidh, meaning Welcome Home), but mainly from the sonci similarities you can easily notice here and there over this enjoyable listening experience: the blossoming sounds of the above-mentioned "Intro", the entrancing pad-synth which floods the sonic sphere before the appearance of a soothing electronic drum pattern on the following "Family & Drum Machines", the reversed speech on a virginal sound and the scraped metallic slow break whose intermittence got mirrored by a bright electronic pulse on the arcane "A Natural History" or the ethereal "Low Light Span" could surmise BOC's music, but Greig's balanced dosages of breakbeat and ambient are also closer to some stuff from Boltfish, the label by Murray Fisher aka Mint and Wil Bolton aka CHEjU, even if Baird's music sounds like permanently shrouded by an emphasized mystical halo. I think I'll include this release in a selection of music for my umpteenth car trip in Scottish Highlands or maybe Devonshire/Cornwall, some places I like to come back which got somehow evoked by BMRN's sounds.

Vieon: Starfighter

 Posted by Marc Tater   Synth Pop / Electro Pop / Synth-Electronica
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
 Edit (8428)
Oct 03 2014
cover
Artist: Vieon
Title: Starfighter
Format: Download Only (MP3 + Lossless)
Label: AnalogueTrash Records (@)
Distributor: Trashdigital / Bandcamp
Rated: *****
Another new signing to the Manchester-based AnalogueTrash Records is this Electronica music-project of Matt Wild. Also Vieon takes its inspiration out of the works of pioneers like Jean-Michel Jarre, Kraftwerk or Tangerine Dream and always explores the depth of the spacey, analogue synthesizer sound-era of the mid-70s to the mid-80s. Matt Wild's music-sound represents for a huge amount the ideas of Spacesynth-music in combination of influences of movie-soundtrack-works. Musically it would fit well with the works of labels like Space Sound Records, without falling into their Italo-Disco related section. Aside of this Vieon's music does not only offer spacey retro-nostalgia. Matt also understands it to entertain with catchy hook-lines and a rich arsenal of rhythm-/ percussion sounds. 'Starfighter' is an ideal introduction to Matt's work and could be a soundtrack-score of your next virtual game-hero in a space adventure. This 2-track teaser, which is available to a 'name-your-price' routine via Bandcamp, warms up the listener with the tracks 'Starfighter' and a special single-edit of 'Sonic Highway' for the up and coming full-length album 'The Sound Of The Future'. A great teaser of a highly talented artist, don't miss this EP as well as the album!
Oct 03 2014
cover
Artist: Luc Ferrari - GOL / Brunhild Meyer-Ferrari
Title: Tautologos III / Havresac
Format: CD
Label: Éditions Piednu (@)
Distributor: metamkine
The third part of Tautologos (1969) was the conclusive moment of a creative process that Luc Ferrari, the co-founder of Groupes De Recherches Musicales as well as one of my favorite representative of that forerunning circle and maybe the less hard-shell of the forefathers of the so-called musique concrete compared to more elitarian opinions like the one by Pierre Boulez according to which all those who approached the genre cannot be philistine improvisors with any notions of composition or musical scoring, started in 1961. On its text score, Luc Ferrari just gave some performative instructions and explained the meaning of this process: the performers or the Tautologuers, as Luc wrote, may use their own instruments, contact or traditional microphones or any other object, which could be just amplified or transformed in a different way so that there is no real limitations to the number and the kind of instruments; each Tautologuer must choose an Action, whose length should be shorter than the silent moments, whose alternation is almost endless and manages to generate a proper loop according to a diffeent combination of seven features ("duree, registre, dynamique, caractere, timbre, evolution, vitesse), but each loop should not be like a "mechanical construction" so that each musician/Tautologuer had to focus on a sort of communicational instinct. According to Luc's own words: "C'est seulement cet etat de concentration-communication qui creera un climat ayant une signification, et qui illustrera le phenomene tautologique comme un phenomene issu de la vie ; et, tautologiquement, votre...'¦qu'il y ait un tel nombre d'elements tautologiques dans les domaines les plus divers et avec des moyens les plus varies, que s'ecroulent pour un moment les murs absurdes que la "civilisation" nous impose". This concept got perfectly interpreted by very special Tautologuers like Brunhild Meyer-Ferrari, former Luc's wife, who manages to evoke a wide range of emotional states by her own voice, and GOL, the electroacoustic trio by Jean-Marcel Busson (charango, Luxonic and Metacrakle), Frederic Rebotier (male voice saying that "da da da" you are going to hear, clarinet, metallic candy box and torn paper) and Ravi Shardja (electric mandolin, bass, transverse flute, sanza): the sudden appearance of occasional toytronic cymbals which surmise those cymbal-banging monkey toys and the general dynamics with many sonic entities which soulds like been coughed could let you imagine a journey inside those fun-fair haunted houses, but the alternation of sonic sketches is really psychotropic as well as in line with Luc's rules. They also included another amazing improvisation hat got titled "Havresac" (French foir "haversack", but also a reference to the city where it was recorded), where the role of electronics and resounding objects on the sonic set got somehow highlighted. An unmissable release for all those who love musique concrete, electroacoustic improvisation as well as for all those who are just neophytes of this creative wellspring.

Ben Jacov: Transalp EP

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
 Edit (8424)
Oct 01 2014
cover
Artist: Ben Jacov
Title: Transalp EP
Format: 12"
Label: Doumen Records (@)
Rated: *****
The traffic of promotional releases on my desk and inside my hi-fi system sometimes mulches and hides some sonic pearls like this ep from Berlin-based young producer Ben Jacov. His biography on Soundcloud which quotes the 14th paragraph of Pessoa's "The Book of Disquiet" could turn up the noses of all those ones who knows the poetics of the Portuguese poet as its evolution is more "linear" than cyclic, but it could fit the crepuscolar framework as well as an abstract malaise that Ben manages to pour into his loops. His style squeezes both some bordeline sonorities that masters like Burial injected in their own music and the instantaneous emotional hooks that some contemporary electronic knights such as Trentemoller or Moderat exploited to harpoon mainstream: the tubular organ-like cement as well as the electronic metallophones on "Ipsaa" and "Notturno Lucis" - a song whose intensity got highlighted by graceful voice of Nada Aiko and a sort of resounding howling - smell like the above-mentioned possible influences, while the title track is maybe the less surprising track - it could be good for the empteenth Buddha Bar compilation, but it's nothing particularly original -. Traces of tech house spots the clockwork of "Weeg", the first track of B-side, while "Yelltu Riekk" dunks Ben's supposed disquiet into a somewhat transcendental pool and the final "Tessera Lepta" sounds like the rendering of some enlighted brainwave or uprising resolution by means of sounds which are close to struck matchsticks, occasional claps, uplifting pads and quietest atmospheres. Regarding my delay, this release got launched last spring, but its melancholic nuances could be better for an autumnal playlist.


Search All Reviews:
[ Advanced Search ]

Chain D.L.K. design by Marc Urselli
Suffusion WordPress theme by Sayontan Sinha