Music Reviews



VV.AA.: Sensitive Data 2

 Posted by Andrea Piran (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Aug 30 2012
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Artist: VV.AA.
Title: Sensitive Data 2
Format: CD
Label: Zoharum (@)
Rated: *****
This release from Zoharum marks the fifth anniversary of this label, so it compiles samples from the most interesting release of the last two years. I've already reviewed on this site some of the artists featured on this release (Inner Vision Laboratory, Ab Intra, Ouroboros, Rapoon, Hybrids), however this album is interesting because some tracks are remix taken from single or compilation and, so, not included in albums.
Psychomanteum remix the track "frozen resonance" by Inner Vision Laboratory and, stated that they are two of the best act from this label, this is a bloomy atmospheric track based on subtle sound processing. "Bonus 1" by Different State marks a depart from the usual label's sound being an almost trip-hop (and enjoyable) tune. "System xx-entend" by Zenial is another almost pop track stating the open mind of the compiler and "Noto i'm ready" by K. Stanislavsky is perhaps even more explicit in searching atmospheres closer to soundtracks than dark ambient territories. While M.X.Marchoff and Mj Caroline Rider with "voxfield 6" are in the classic dark ambient territories loved by this label, "Passage Wright" By Orryelle & Hermaphoditic Chaorder of the Silver Dusk is an almost irresistible pop tune.
This compilation is a surprise for the connaisseurs of this label and a colourful prism for the primer. A truly enjoyable release.

Nick Edwards: Plekzationz

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Aug 28 2012
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Artist: Nick Edwards (@)
Title: Plekzationz
Format: CD
Label: Mego
Rated: *****
Named after an EKO organ bought in a charity shop, the artistic alter ego Ekoplekz of Nick Edwards, music blogger on the influential Gutterbreakz blog, began to circulate between electronic music followers since his very first wails and after various releases on various catalogues such as Mordant Music, Punch Drank, Perc Trax, Snug Life, and many others, he finally gains more visibility with this release for the renowned label by Peter Rehberg, whose four long-lasting recordings sounds like a mindblowing collage of other recordings. Edwards' charming and somewhat obscure dub as well as its intertwines with old-fashioned sounds, which are often untreated and uneffected, are really pleaseful: echoes, delays and vibrato on dry and liquid sounds - particularly in the first ("Chance Meets Causality Uptown") and third ("Inside The Analog Continuum") parts - and the addiction of some daydreaming gleaming sounds and bubble-wrapped grooves recalled to my mind some spectacular and entrancing psychedelic rides by electronic dub's pioneers such as Future Sound Of London and Jah Wobble, but there many sonic hints, related to his basic homemade sound equipment - he mainly works on primitive analogue hardware and cassette four-track technology -, which could remind 70ies and firts 80ies psychedelia (I don't think it would be a sacrilege to put Pink Floyd out amidst possible references), whereas a sort of sonic superimposition between dub, krautrock and industrial appears to be an accomplished fact while listening "(No) Escape From '79" (undoubtedly an eloquent title!), the second part of Plekzationz. The fourth and final track "A Pedant's Progress" sounds quite different from the rest of the album: reminiscences of most pompus suites by Cabaret Voltaire, combined with occasional rings and beep, could be associated to the testing of some bizarre atomic clock, powered by some martian fuel, or a door bell made of unknown alloys.

Uncodified: Document

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Aug 28 2012
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Artist: Uncodified (@)
Title: Document
Format: CD
Label: Lisca Records (@)
Rated: *****
This first release or document by Uncodified, new brainchild of the talented musician Corrado Altieri - I already introduced some of his collaborative projects on this space and his long-lasting partner-in-art Simon Balestrazzi, which co-signs their tasty project Candor Chasma, come abreast of him for electronics and mastering on the final "Entertainment and Partial Entropy" and "Aesthetic Imperfection", one of my favorite track due to the way they perforates plain waves by means of drilling noises -, sounds like a sonic translation of temporary mental black-outs or I'd better say it seems he managed to capture, render and turn into sounds the reticular black and white crackling sizzle on TV screen when something got wrong during analog broadcasting which ideally interposes between reason, will, desire, expectations, impulses and every inner surges or mental structures from one side and external reality from the other side, a diaphragm which sounds evoked by distorted low frequencies, fractured walls of digging noises (the jittery ones in "Discobar Panic Disorder", "Severance" and "Relationship" sounds particularly abrasive and catchy at the same time) and piercing sonic waves, whereas its psychopuncturing hooks could vaguely recall some stuff by Zonk't. Built on sounds extracted by analogue and digital tools without laptops, these psychotropic electronic storms are not so disturbing, even if "Document" cannot be filed under easy-listening music.

Jeff Carey: Interrupt-Decay

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Aug 27 2012
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Artist: Jeff Carey
Title: Interrupt-Decay
Format: CD
Label: CWnil (@)
Rated: *****
One of the best digital noise album which has recently been spilled from my headphones is this sort of debut release by Jeff Carey. It's not so proper to speak about a debut as Jeff is not a newbie at all, as he mainly poured his sonic art in many acclaimed projects - the most known is maybe Skif++, an eclectic abstract sonic and visual project, co-signed by Robert van Heumen and Bas Van Koolwijk, which has been propelled by Jeff's talent and passion on SuperCollider, an open-source dynamic programming language for real-time audio synthesis and Jeff's fad! - and is one of the key musician of Amsterdam-based N-Collective, a pool of musicians which focuses on electronic compositions and improv acoustics, considered as the new frontier of musical research. I'd say the listening of "Interrupt/Decay" is more fascinating as trained listeners will recognise Jeff applies compositional techniques to noises he wisely patterns. The fact there's a placement of noises (and silences as well...it's really fun alternation of noises and silence on the fourth track "Struct") which is not so dissimilar from the placement of punctuation and tones on staff, doesn't mean there are not any sonic spurs for more or less raving mental fancies: the initial "Lag" is quite close to the noise you could hear on a train compartment with wide-open window when it runs under a tunnel, the sounds of the following track "Chop" let me imagine Jeff while preparing a cocktail with an assortment of molten metals and the lucky taster sucking in with a special straw due to some sonic similaraties with the noise you can hear when drawing from an almost empty juice box and other tracks have sounds who reminded some vintage home computers' sounds - some of you could imagine the overhaul of Atari or Commodore F1 car after a road accident while listening to "Step" and its troublesome test on "1F" -, a fancy which could be injected after I read Mr.Carey composed "Interrupt/Decay" by using a gaming keypad and joystick to control his laptop (!)...if you think my associations could validate an admission to mental hospital, I cannot imagine how you are going to label those ones by a friend who occasionally entered into my room while listening to this release, who thought about the attempt at chewing meatballs stuffed with pins by some unlucky person or at immortalizing the wedding between two storm catchers in love by a camera from inside an hurricane. Joking aside, Jeff's precision in cutting frequencies and place them on the pattern is really remarkable. Have a listen.

Roberto Fega: Daily Visions

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Aug 24 2012
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Artist: Roberto Fega (@)
Title: Daily Visions
Format: CD
Label: Creative Sources (@)
Rated: *****
Roberto Fega's "Daily Visions" cannot be considered an easy listening both for the technique he uses to agglutinate a number of sketches and reprises and for the hints within his record, which looks like an attempt of saving from oblivion by "punching" ordinary dimension with political statements and urgent cultural battles, so that it seems that "Daily Visions" sounds like a plot whose unwinding runs parallel to momentuous events, inserted by means of what he defines "audio interludes" (voices from Occupy Wall Street, immigrants in Lampedusa, recordings and reports taken from Greek riots and Manchester turmoils, passages taken from an interview to Zygmunt Bauman and movie "Nowegian Wood" based on Murakami's book), and a gradual and sore consciousness rising, partially enfranchised just within intimate (still free) spaces like the ones evoked by the initial "Apnee d'amore/Breath-hold loving" and the final track "Ricordi mai sopiti/Unburied memories", the one I liked most for the daydreaming interaction of palpitating reversed liquid sounds by Fega with the entrancing sound of Francesco Lo Cascio's vibraphone. Whereas his style seems to be fenced by electro-acoustic improvisational music, sonic collagism (close to some cinematic stuff coming from Japanese scene, based on bizarre and somewhat disquieting sonic "hyphenations" - I particularly enjoyed the ones in "Per un finale diverso/For a different ending" and "In Exion", a track based on the reading of a poem by Jennifer Scappettone -, or small interesting labels such as Raabenstein's Nonine) and some jazz standards for trumpets - wisely turned into something mindblowing by talented trumpet player Ersilia Prosperi -, the conceptual framework could be summarized by Roberto's dedications (including the ones to Robert Wyatt, Berlin, Joe Strummer's "The Future Is Unwritten" and all political, cultural and artistic antagonisms of this world), which seal this sort of musical ekphrasis of something which has not happened yet overall.


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