Music Reviews



Moloch: Verwüstung

 Posted by Andrea Piran (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8821)
Jul 19 2015
cover
Artist: Moloch (@)
Title: Verwüstung
Format: CD
Label: Depressive Illusions (@)
Rated: *****
Even if reviewed after "Die Isolation" it's labelled as published last year. Simply dubbed as "True Devastating Black Metal from Ukraine" it's a release void of any conceptual or elaborated presentation so it asks to be heard as a classic release but it's more elaborated than releases presented with rhetoric phrases and long statements of intentions.
"Todesstille" is an almost dark ambient introduction based on the juxtaposition of drones creating a menacing atmosphere. With the dry drum beats of "Blutmond" the album returns to the classic black metal form. "Spiritueller Selbstmord" is haunting with the use of the synth in the background the almost operatic vocal line while "Negativitat" is as aggressive as fast. The menacing atmosphere of the first track is obtained with guitar in "Nur de Tod ist wirklich" while "Die Kalte der Ewigkeit" is based on the rhythmic impact. The bass guitar of "Du bist nichts in dieser sterbenden Welt" evokes a deep sadness that is exalted by the vocals in the second part of the track. As in a circle, "Verwüstung" closes this album with the same form of "Todesstille" but with subtler means and using even silence as a composition resource, unusual in this field.
Honestly tagging Burzum in this release, it shares the same quality of this influence: the ability to floor the listener escaping all the cul de sac of this form. To listen with care.

Andrea Belfi: Natura Morta

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8816)
Jul 19 2015
cover
Artist: Andrea Belfi (@)
Title: Natura Morta
Format: CD
Label: Miasmah Recordings (@)
Rated: *****
A meeting beween music making and pictorial technique is a somewhat rare event, but this output by brilliant drummer Andrea Belfi, which belongs to one of those release which got temporarily forgotten by heavy piles of earlier releases, is one the most interesting matching point. His electroacoustic exploration seems to render "Nature Morta" id est dead nature or still life, that technique which was heavily developed during Renaissance, whose success depended on the ability of the artists in grabbing every detail of an object and the surrounding light of the portrayed object. The sonic translation of such an approach comes out of an astonishing study of details by means of two long-lasting explorations over six tracks /three tracks for each study) in between ambient, electroacoustic, minimal kraut and shoegazing post-rock tricks, where gentle synth draughts and wavering noises constantly intertwines by percussive brushworks on drums and rhythmical patchworks that could inspire daydreaming. Each group of tracks seems to follow opposite direction: the first tryptich ("Oggetti Creano Forme", "Nel Vuoto" and "Roteano"...titles that could be translated as "Objects Create Shapes", "In The Void", "They spin") focuses on a crescendo or a saturation of the sonic sphere, while the second tryptich ("Forme Creano Oggetti", "Su Linee Rette", "Immobili", that is "Shapes Create Objects", "On Straight Lines", "Standing Still") follows the reversal process by a gradual frozening of the initially erupting percussive elements. If you missed this brilliant conceptual release, you're just in time to delight your eardrums by means of this visionary output on the excellent Erik Skodvin's imprint Miasmah!

Chra: Empty Airport

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8804)
Jul 10 2015
cover
Artist: Chra (@)
Title: Empty Airport
Format: CD
Label: Editions Mego
Rated: *****
The origin of ambient music was merely functional as you can easily verify by checking the various pristine releases with unambiguous titles such as "Music for Waiting Rooms", "Music for Elevators" and so on. The most famous one - many reviewers consider it as the very first ambient album - was Brian Eno's notorious "Music For Airports", which is also the departure point of this interesting album by Wien-based electronic musician Christina Nemec aka Chra - founder of Comfortzone label and member of Shampoo Boy (together with Peter Rehberg and Christian Schachinger -, who lands on Editions Mego platform by an isolationist revision of that functionality. Ambient music is no more a sort of more or less neutral piece of furniture, but stick to the cognitive process of feedforwarding and backpropagation of the user, where sounds portray a sort of heterotopia. Noises and sounds that could come from an empty terminal got juxtaposed to inners spaces, dimensions and mutations, so that they seem to render what an unlucky traveller experiences when he/she had to wait for a connecting flight, which departs early in the morning: tiredness and drowsiness alter perception until any external sonic stimulations deposit on the wall of consciousness and manage to render imaginary dimensions, where even empty spaces could be like the displays of a living entity - tracks such as "Fits Of Asthma", "The Story Of" or "Landmine" sound like turning noises into biological functions, while other ones such as the title-track "Empty Airport", "Soca Valley" or "Contaminated Landscapes" evoke hallucinatory dimensions -. Very interesting sonic output.

Sun Color: Parallel Tracks

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8800)
Jul 06 2015
cover
Artist: Sun Color (@)
Title: Parallel Tracks
Format: 12"
Label: S.C.A.P. Records
Rated: *****
I'm not sure the idea behind SCAP Records(according to label's introduction, "to publish in vinyl a series of volumes, each as an autonomous art project and indipendent document in which various concepts and sound explortions are investigated"), the home of Sun Color, the prismatic flip-type mirror by which Barcelona-based Venezuelan Julio Cesar Palacio displays his wide spectrum of electronic and electroacoustic sonic research (manipulation of magnetic tape cassettes, field recordings, feedback morphing, reel to reel and modular synthhesizer covering a wide stylistical range in between acousmatic and GRM-like musique concrete), followed up on its very first issue, whose extremely limited edition (just 30 numbered units) was announced in the end of last year, but this amalgamation of by-products of Sun Color's sound processing that he recorded during many studio sessions are so interesting that it deserves some attention and possibly a follow-up. Named after the parallel bars of multitrack mixer, "Parallel Tracks" consists of two 15-minutes lasting clusters of sounds that Sun Color purposely made or made by chance in amazing moments of serendipity within his recording studio that he tried to organize, even if a certain lack of cohesion could make it just a divertssment for audiophiles.

Gabriel Ledoux: Le Vide Parfait

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8799)
Jul 05 2015
cover
Artist: Gabriel Ledoux
Title: Le Vide Parfait
Format: CD
Label: Acte (@)
Rated: *****
Ideated during the Quebec student strike of 2012, the meaning of this interesting release where Gabriel Ledoux tries "prettifying evil", according to the words of an established composer asked to comment his work and quoted by Symon Henry's attached words (one of the six interesting comments, that include Ledoux's reflections about his "immoral art"), got explained by a set of comments, but above all by his own music, a psychedelic amalgamation of contemporary classical, electronic and free jazz music, where he manages to render a sense of upcoming or vivid tragedy where the main statement of free art can sometimes go beyond the limitations of worst sides of reality. "I want to pay tribute to the victims of Charles Manson and Jim Jones, of the Columbine shooting and of the Waco siege. I have tried my best to be respectful to the victims of these tragic events in creating Le vide parfait, but the economic liberalism plaguing us forces me to sell these pieces to eventually benefit from these tragedies.". This is his own introduction when he tried to explain it during his own master's final dissertation at the Conservatoire de musique de Montreal, whose examining commission considered the use of recorded vocals by members of the sadly notorious People's Temple cult who declared "I'm a violent revolutionary", 911 calls during the Waco siege and the Columbine shooting, as "immoral" and while praising his examination specified that his source of inspiration was "a questionable choice"... One of the judge of "Rouge des crepuscoles" labelled it as "pornophonic"! I agree with what the above-mentioned Symon Henry says at the end of his comment by far, where he wisely quoted Nina Simone's shouted words "The whole damn world's made me lose my rest" on "Mississippi Goddam" as well: "Le vide parfait is about to get its foot in the viscous mannerism door of a music of its time (experimental as well as popular), comfortably looking for a living room idea debate, forgetting the concreteness of daily tragedies. Revolution, then and now, is defined by head-on actions as well as the subversion of cultural and social codes. By releasing this album, in full consciousness of the impact of his art, I have the impression Gabriel is paving part of the way for this revolution I strongly and urgently wish for us.". Check it out and "Don't return fire".


Search All Reviews:
[ Advanced Search ]

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