Music Reviews

Radian + Howe Gelb: Radian Verses Howe Gelb

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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May 04 2015
Artist: Radian + Howe Gelb (@)
Title: Radian Verses Howe Gelb
Format: CD
Label: Radian Releases (@)
Rated: *****
The nice Texan songwriter and globetrotter Howe Gelb, guest star of this new release by Viennese trio Radian, incontravertibly stated that this collaboration is mainly "a Radian album", where he "is only living on it", according to the words of one of the forerunners of the so-called desert rock - a brilliant fusion between alternative rock and country - within Giant Sand, but the creative soul of the trio that transpires and pulsates more is the one by Martin Brandlmayr, as his knack for the reshaping of typical songwriting is the main aspect of this musical meeting. The compositional process sounds described by the opening "Saturated" and its follow-up/reprise "Saturated Beyond", where it's even clearer the way Radian smear electronic on bass and drums, while the sensation that Howe Gelb acts more like an explorer within Radian sonic freaks becomes vivid on the following "I'm Going In" - the aesthatic acme of this album according to my ear response -, when his voice sounds like coming from an an astronaut before wearing extra vehicular activity spacesuits and waving in the dusty cosmic clouds where he lets some enchanting guitar and lovely piano chords float into the void. The following "From Birth To Mortician" could be re-labelled "how to strangle psych-song and letting it breath by means of noisy interferences", while the crying baby on the dirge-like sad piano theme of the following "...And Back" sounds like the rendering of the mood where the childish creative wit meets crooning, which knows a sort of enlighted reincarnation by Howe Gelb, who can easily indulge such an awesome moulting as well as the reptile-like mutation that follows, on "The Constant Pitch And Sway". The funny reprise of "Piacacho peak", a song by Howe from "The Coincidentalist", and the "McEntire--ian" reprise "Pitch and Sway" precede another beautiful moment of the album, an amazing transfiguration of "Moon River" by Henry Mancini And Johnny Mercer (do you remember Breakfast at Tiffany's?), when Radian finally turned their laptops off.

Isolator: Culture & Principal of Anti-Human Exaltation

 Posted by eskaton   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Apr 25 2015
Artist: Isolator (@)
Title: Culture & Principal of Anti-Human Exaltation
Format: CD
Label: Black Plagve Productions (@)
Rated: *****
Let's begin with the label's description, shall we? 'There's dark, and then there's what Isolator create ' an abyssal black hole fashioned from pure negativity and concentrated misanthropy, the sounds unraveling like a time lapse film of slow decay and rot, where cascading, shapeless drones meet charred orchestral swells, disembodied voices, ritual undertones, and crushing, blown out disharmonics, all slathered and smeared into a mass of roiling darkness.' This would sound pretty bold coming from some other labels, but Malignant knows a thing or two about dark, heavy music, and this is heavy stuff. Cinematic dark ambient that doesn't try to be scary so much as succeeds in doing so without the heavy handed tactics seen in other artists (no cheesy horror movie samples here). Just bleak compositions that envelop you like saran wrap and threaten to suffocate you. At times it is actually quite beautiful. In some places there is heavy drone and a bit of dissonance, providing an intense sense of pressure ' as if the forces of the entire galaxy were bearing down on you ('Cast Into Blood'). In other places the noise comes to the forefront with high pitched squeals and the sounds of tectonic plates crashing into each other ('Your Heaven Will Writhe Within The Chaos Of My Hell'). This is dark and sinister ' not exactly something for an evening of relaxation and reading by the fire. Even the tracks that are sedate by comparison (e.g., 'Into The Blood Of Our Kingdom') still maintain a sense of ominous dread. If you like your dark ambient incredibly dark, this is one to pick up. This album weighs in at around 57 minutes and is limited to 500 copies.

Neu Gestalt: Inside the Rain Chamber

 Posted by eskaton   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Apr 25 2015
with image
Artist: Neu Gestalt (@)
Title: Inside the Rain Chamber
Format: CD
Label: Alex Tronic Records (@)
Neu Gestalt is the work of Scottish musician Les Scott. In reading the liner notes, we find that the album was inspired by Japanese language and the film Blade Runner. Sounds like a good time so far, so let's get to the music. 'Voyager' kicks it off with some smooth synth and snippets of cut up sound source that reminded me of Art of Noise. Indeed, as I listened to the album I became convinced that I could probably pass this off as a new Art of Noise disc, so heavy seemed the influence. This is not necessarily a bad thing, but the similarity is there, at least for me. Some of the standout tracks were 'Luminance,' with bits of analog noises and pitch shifting over the mellow synth and 'Tokyo Tipping Point,' with its vocal snippets and odd melodies. Nothing here that really pushes the envelope, but overall this is some pleasant listening. This album weighs in at around 44 minutes.

Günter Schickert / Pharoah Chromium: OXTLR

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
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Apr 22 2015
Artist: Günter Schickert / Pharoah Chromium (@)
Title: OXTLR
Format: 3 x 12" vinyl
Label: Grautag (@)
Rated: *****
The eighth ring on Nicolas Moulin's label Grautag comes from two brilliant sound artists of German musical scene. Gunter Schickert could be considered one of the men behind the curtains of German krautrock scene since late 60'ies and first 70ies: he was one of the first guitar player which played a style that got widely known as "echo guitar", mainly based on sort of loops of repeated notes and overdubs, which was extensively used by many krautrockers. Even if his technique and his style were not so different from the ones of Achim Reichel and Manuel Gottsching of Ash Ra Tempel, his two best solo recordings, "Samtvogel" and "Uberfallig" (recently re-released by Bureau B label), have been deservedly rediscovered during Internet age. He splits this record with German-Palestinian musician and performer Ghazi Barakat, another brilliant sound artist, whose Pharaoh Chromium project (named after a song of the band Chrome) draws inspiration from free jazz, ancient past and near future rituals, science fiction novels and radical architecture groups like Italian Superstudio and Archizoom as well as by the sonorities of the psychedelic avant-garde of the 70ies, the industrial bands of the early 80ies and middle-far east nuances that got performed by Ghazi, who usually wears a golden mask on live stage, by a wide set of ethnic flutes and electronic devices. They already met in the mid-eighties in West Berlin, but Barakat discovered the similarities of his style to Schickert's approach just after he listened to a re-release of the above-mentioned "Samtvogel" in 2010 so that many discussions about possible collaborative works followed. Then Barakat introduced Schickert to Nicolas Moulin in order to release some of his recent outputs as well as the first fruits of their collaboration an that's how this release was born and what should have been a douple lp became a triple lp featuring two very long bicephalous tracks. Most of the compotional ideas are quite simple, but both the iterations which dig into listener's psyche little by little, and the "ritual" halo of each track, which could infer many reviewers to label it as a dark-ambient release, require immersive listening sessions in order to enjoy them: the slow flutes, the sneaking circles of a synth-brass and the gradual electronic wrapping on the initial "Bamiyan", which last 22 minutes and 22 seconds, evoke the images of the "executed" statue of the Buddhas of Bamiyan that got dynamited by Taliban icnoclasm, while the sinister tolling and the oppressive echoed sonic entites of the following "Campfire" are the elements which get closer to the so-caled dark-ambient. The almost orchestral parade of heavy echoes, ghostly drones and resounding guitars on "A6" reaches the highest hypnotical peaks of the release by means of tonal stonewalls that seem to evaporate whenever they got erected and vaguely resound on the amniotic buoyancy of the entrancing "Katharsis", where some listener could perceive some resemblances with Starts of The Lid. Such a feeling of amniotic floatation keeps on wrap listener on the awesome space-walking of "Galaktik Debris" - the first collaborative track by Barakat and Schickert-, where your eardrums could meet many strange objects in the thich layer of stardust, including guitars which are in between U2-like intro and Eastern chords. Last but not least, the final collaborative track 'Music D'Ascenseur Pour L'Echafaud' where I guess Ghazi and Gunter made a really interesting imaginary score for Louis Malle's noir movie "Ascenseur pour l'echafaud"...not an easy task if you consider that the OST of the movie was an ad hoc jam session by Miles Davis...

Simon Kolle: Drakar och Demoner: Trudvang (OST)

 Posted by Ivan Racheck (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Apr 20 2015
Artist: Simon Kolle (@)
Title: Drakar och Demoner: Trudvang (OST)
Format: CD
Label: Waerloga Records (@)
Distributor: Waerloga Records
Rated: *****
Originally released for the Swedish Roleplay game Drakar och Demoner: Trudvang but also soundtrack to the pilot films inspired by the game.

Simon Kolle is no stranger to us because of his work with Za Frumi and Musterion. Simon has composed a masterful set of cues that effortlessly blends Nordic Folk Music motifs with orchestral trademarks. Even though their blending is seamless, the combination of the two elements creates a very unique sound that is difficult to describe. Some tracks are more traditional, film music like orchestral cues, while others are heavily folk music oriented, using traditional Nordic chord progressions and instruments. The composer focuses on developing Nordic sensibilities within a standard orchestral format. The result is nothing less than breathtaking.

Drakar och Demoner was a smash hit in Sweden in the 80s and 90s and pawed the way for countless of other games and books. Drakar och Demoner is Dungeons and Dragons but with more of a Nordic take on it. The version called Trudvang is released by Riotminds and they seem to be taking their projects online with a unique and cool project called Riot Online. Right now it's only in Swedish but it's said it will be in English too.

The score of Drakar och Demoner: Trudvang is enormously strong, mature music that rivals the best orchestral works for film.

The 26 track CD has a lean running time of more than an hour. I doubt any material is missing. Track title translations exist and it's helpful.

All the lyrics (on a couple of cues) are in Icelandic and are sung by Susanne Cermenius and Lisa Gregorsson.

The main theme is superb, worthy of becoming known mainstream. It would have suited perfect for many films.
The best tracks on the album are the ones that blend powerful orchestral work with Nordic Folk Music. Many are the ethnic instruments heard on the album and sometimes you forget you are actually listening to music as you get so into it all. Many of these tracks could easily constitute the main theme for an entirely different score.

The Bonus Tracks are really good too and ending the album is a cue written for a bowyer (maker of bows) with mysterious Elven whispers.

This is a strong, expertly crafted score that never gets dull. It effortlessly combines Nordic Folk Music and Orchestral musical elements, creating a very unique and enjoyable listening experience.

Limited edition of 500 copies.

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