Music Reviews


 Posted by Maurizio Pustianaz (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Sep 15 2005
Title: Hart Of The Wud
Format: MCD (Mini CD)
Label: Sonic 360 (@)
Rated: *****
Extremely expressive and creative Littl Shyning Man's debut mini CD is an inspired moment of music. The six tracks of the CD move through folk elements well mixed with electro experimentalism and rhythmic paths. Chris Haworth created HART OF THE WUD taking inspiration from Russel Hoban's futuristic folk tale "Riddely Walker". Thirty minutes are enough for being hypnotized by the ever evolving movements of Littl Shyning Man. Most of the sounds born from guitar treatments and are enriched with hip hop rhythms, loops, jazzy solutions and much more. If you are interested in gloomy atmospheres and creative ways of making music, you could be interested in checking HART OF THE WUD. The EP is available online only as every Sonic 360 release.

LASSE MARHAUG: Carnival of Souls

 Posted by Eugenio Maggi (@)   Industrial Noise / Power Noise / Harsh Noise
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Sep 10 2005
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Title: Carnival of Souls
Format: MCD (Mini CD)
Label: Thisco
Rated: *****
"Carnival of Souls" is a 20-minute track culled from the soundtrack done for Tom Lohberg's short film "The Letter". I have no clue about the nature of that work, but the rather ghastly stills used by Marhaug in the layout, and the title he's chosen for the ep ("Carnival of Souls" being, if I'm not wrong, a cult ghost movie), suggest something creepy. The piece begins with almost total silence, then a bass-heavy drone starts to billow, until it eventually - around the 9th minute - bursts into the harsh noise Marhaug is very well known for. The second half of the work is a somewhat more disjointed series of fragments - disquieting field recordings, fast-paced noise cut ups and all-out feedback. Still quite nice, but I definitely like the drone+noise mix of the first half better. I'd be pretty curious to see how these sounds are mixed with the movie.


 Posted by Eugenio Maggi (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Sep 10 2005
Title: Heroin
Format: 3" MiniCD
Label: AFE Records
Rated: *****
A nice addition to this mysterious Dutch/Japanese project's extended discography, "Heroin" is a 20-minute piece as grim as the title and the graphics suggest - the concept obviously being taking one's like via drug overdose. Ghost voices crawl in and out of the sullen drones, and Ellende surely know(s) how to mix all the different sounds in a cohesive composition. Even the final litany, apparently filtered through a vocoder, sounds credible and effective. Limited to a mere 50 copies, so hurry while you can, as it's very good.

TAYLOR DUPREE + EISI: Every still day

 Posted by Andrea Ferraris (@)   Synth Pop / Electro Pop / Synth-Electronica
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Sep 09 2005
Title: Every still day
Format: CD
Label: Noble (@)
Rated: *****
This good friend of mine who's into Taylor Dupree told me this cd was not Dupree's "ordinary administration" since it was a sort of production/post-production/arrangements/reinterpretation (Taylor put his hands on the recording added here, remixed there and gave a new look to this old suit). It all sounds really weird-melo-acoustic music, if you're confidential with Dupree experimental-electronic releases forget it. The vocal of Mujika Easel is the recurring element in the most of the tracks (and it could be somewhere between Cat Power and Bjork), the music has a constant "dreamy-trance-like" atmosphere but the song structure and the shape changes constantly. "Eisi is stirring" have this acoustic guitar that reminds of Joan of Arc or Jackie O' Motherfucker as much as "Cloud, light, water (fall)", but on the other side you have synths landscape, computer processing here and there in a lot of tracks in some other it's even dominant ("Awaawa (windows)" for example). There's also a saxophone and together with synths that's probably what makes the recording even more "visionary", these arrangements tend to rise from the back filled with ghostly-reverb while the framework seems absent (ergo: "free"). If Storm and Stress were less technical and would work on prog-psych-folk tracks without their characteristic explosions and with the help of a computer, I imagine they could be really close to "Every still day". On the front cover there's a bright overexposed picture of a room flooded by the light of the morning: lot's of light, some shadows on the wall and a sunday morning climax, the essence of this record.

Zentropia: Subsonic Laws of Deconstruction

 Posted by Shaun Phelps (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Sep 05 2005
Artist: Zentropia (@)
Title: Subsonic Laws of Deconstruction
Format: CD
Rated: *****
Subsonic Laws of Destruction, Zentropia’s 8th release since 1997, is the stuff dreams are made of. My first exposure to Zentropia was through the caption in their promo sheet, reading: "Do not operate heavy machinery while under the influence of Zentropia." Sound advice. This release is the aural personification of a drug-induced haze.

Subsonic Laws of Deconstruction is comprised of dubbed out beats and indy guitar experimentations that float in and out of the speakers while dreamy ambient soundscapes dominate, weaving and growing, imparting vivid picturesque scenes of almost apocalyptic proportion. That sentence might be a mouthful but it, in itself, barely does this release justice. It’s almost impossible to describe the lush atmospheres created by Zentropia, in fact, without using a run-on sentence.

Grammar aside, this release is mind-numbingly powerful meditation music. Regardless your motives or outlet for quiet-time, Subsonic Laws of Deconstruction can do nothing but add to the peace and calm of the moment. Pick this album up, pop it in your CD player, turn down the lights, and let Zentropia’s Subsonic Laws of Deconstruction carry you awayI dare say you won’t be sorry.

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