Music Reviews



Displasia: mnnu rvvrsu

 Posted by Andrea Piran (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Oct 27 2015
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Artist: Displasia
Title: mnnu rvvrsu
Format: Download Only (MP3 + Lossless)
Label: attenuation circuit (@)
Rated: *****
Diaspasia is an Italian duo playing with sound sources which "prevents any chance of melody" and this choices put them in continuity with a musical lineage, starting from musique concrete, based on the use of musical elements treated as noise by traditional musical aesthetic. The overall result is along the part of certain reductionism where the point is on the minuscule resonances and musical meaning of the sonic event rather than in the exposition of a structure.
The recorded voice of a child opens "capu lunniri 1" and introduces a dialogue for radio and metallic objects with spaces for silences and resonances. The reverberated guitar of "un" is a starting for a meditative first part of the track focused on a drone while the second part is focused on noises and percussions. When, after two minutes of almost silence, the radio noise of "cirneco" starts a subtle sequence of small sonic events interleaved by sections of silence. "Sesto" explores the resonances of the strings while "rusuli 5" explores the resonances of the places recorded. "Scupetti" closes this release with small silences emerging frome the underneath silence.
A difficult and demanding listening where there's more cure in the sonic detail than in the overall structure. There are moments of charm and beauty but they require a full commitment in the act of perception. Recommended but only for fans of experimental or EAI.

Porno Teo Kolossal: Tannoiser

 Posted by Andrea Piran (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Oct 27 2015
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Artist: Porno Teo Kolossal
Title: Tannoiser
Format: CD
Label: Bam Balam Records (@)
Rated: *****
Porno Teo Kolossal is a project by Italian artist Massimo Divenuto conceived as a soundtrack for his paintings and exhibitions. The musical structure is based on that sort of guitar rock, from kraut to shoegaze, focused on guitar sound as a source to manipulate with effect rather than a virtuosity's show.
The noisy feedback and distorsion of the guitar starts "il tunnel in fondo alla luce" and constructs a thick background for the speaking part of the track. The two sections of the talk in are spaced out by an almost psychedelic and meditative part for guitar. "Tannoiser" is instead a track based on sustained guitar notes which develops in an final part based on a guitar's crescendo. "Opus day pistorum" reveals the structural roles of the bass guitar in the sonic equilibrium of the band. The hypnotic second part of "kandahar" is the mirror of the insistent first part. "Stanza 306" is an hypnotic track focused on the guitar's resonances ending in an obsessive crescendo. "La colonna sonora dell'eta' modern" closes the first disc with a guitar drone interrupted by the narrator's entrance and ends in a psychedelic manner.
The second disc features a single track, "deep", lasting for almost one hour starting quietly with a gentle arpeggio above whom the voice whispers his words; the second part is a quiet meditation for drone and guitar which evolves in a third part where the guitar distortion begins to prevail until the final cathartic end.
This a long and complex album that could perhaps seems to rework a limited number of ideas, in facts it's based on a codified language, but it develops them with a strong sense of writing. Recommended for fans of shoegaze.

Zeitkratzer: Column One - Entropium

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Oct 23 2015
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Artist: Zeitkratzer (@)
Title: Column One - Entropium
Format: 12"
Label: Karlrecords (@)
Rated: *****
Reinhold Friedl-led electroacoustic ensemble Zeitkratzer keeps on venturing in the revamping and reinterpretation of miliar stones of noise and industrial culture; after the amazing remake of Lou Reed's "Metal Machine Music" and the likewise fascinating remake of some stuff by William Bennet's Whitehouse, Zeitkratzer retrace the sound of the Berlin-based post-industrial collective Column One, the brainchild of Rene Lamp and Robert Schalinski, whose challenging sound, which often deranged sonic contemporary cliches to feed thought-provoking pills by means of really interesting dadaist collages (think about outputs like "Classic Chill Out Rhythms 2" and "Doubt" on Moloko+,"Cannibalism" and "Dream Time" on 90% Wasser or the more experimental/esotheric injections such as "Unrealizer", one of their masterpieces in my opinion, on Marco Koch's imprint Stateart), should not be considered as a merely fanciful deviant. I'd rather say that many sonic outputs by Column One are more like somehow benevolent viruses that try to contaminate the already sick cells of contemporary western culture, where the final outcome (health or death) is uncertain... The title of this revamping by Zeitkratzer seems to link the nihilistic idea of entropy, the medical condition in which eyelids fold inward known as entropion and "Introitum" (a Latin word which also refers to an entrance fee or a gain for companies), the title of a suite that Column One recorded at DIe SIBIRIScHe Zelle in Berlin in 2004 (released by Drone Records in 2013) by assembling the sound of Schalinski's saw together with the obsessive tapping on a "salad bowl" by drummer and percussionist Peter Hollinger, which could be matched to the typical electroacoustic improvisations by Zeitkratzer, whose path already intersected in the past as Schalinski already gave many chamber-noise compositions inputs to the ensemble. The most interesting aspect of this transplantation into an electroacoutic dimension is the fact that Friedl and partners-in-art wisely transected a wider sonic register by tuning different inputs in one-single session: the decadent and extremely cacophonous sonic debris of "Sol", that followed the scary brief introduction "Panthera", flows into "Vide Navareseke", the sinister and painful flaying of Column One's "Berta Navarseke 1919", while the twelve minutes of the fourth part "Haendhilse" manages to twirl tape-music nuances, chamber music and claustrophobic industrial churning, which could let you imagine a group of dangerous felonious psychopaths grouped together for an ensemble after killing some sadistic nurses of a crumbling mental hospital. Animal longings and shrill noises from found objects got melted in the final dissonances of "Lade".

Sharawaji: s/t

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Oct 20 2015
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Artist: Sharawaji
Title: s/t
Format: Download Only (MP3 + Lossless)
Label: Clang (@)
Rated: *****
The somehow enigmatic word "sharawadgi" was firstly introduced by well-known English statesman and essayist Sir William Temple; even if he thought it was Chinese, he used this Japanese word in order to debate about an aesthetical concept, which didn't really belong to European culture in those days. According to Temple's own words in his famous essay "Upon The Gardens of Epicurus", Chineses' "greatest Reach of Imagination, is employed in contriving Figures, where the Beauty shall be great, and strik the Eye, but without any order or disposition of parts, that shall be commonly or easily observ'd. And though we have hardly any Notion of this sort of Beauty, yet they have a particular Word to express it; and where they find it hit their Eye at first sight, they say the Sharawadgi is fine or is admirable, or any such expression of Esteem". Later the word became almost fashioned - it was widely used to describe Japanese paintings or even kimonoes - and nowadays it's the word that Ney York-based musicians Satoshu Takeishi - quite known drummer, percussionist and arranger in the improvisational NY scene - and Hans Tammen, who have been played together in a number of formations for a decade, have chosen for this amazing electroacoustic project. Their sound could sound exotic for the followers of the releases by clang, but it makes sense in the explorative aesthaetical path the label is following since its very first release by including seven amazing improvisations that the duo recorded in New York in 2012 by wrapping a bunch of fine and sometimes hiccuping percussive phrases into likewise amazingly bizarre weird entities, which got synthesized by a software for sound processing by Tammen, ranging from lenghtwise miniatures such as "Shaman" or "Athetize" and the longlasting exploration "Sateen", which reaches the intensity of a proper sonic rite.

Kenneth Kirschner: Compressions & Rarefactions

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Oct 18 2015
cover
Artist: Kenneth Kirschner (@)
Title: Compressions & Rarefactions
Format: CD
Label: 12k (@)
Rated: *****
The reading of some reviews or meditations, where more or less famous music writers describe the experiencing of Kenneth Kirschner's music as if they were in the guise of Burroughs writing a page of literature under the effect of some hallucinogenic substance, as well as the way by which graphic artist Kysa Johnson, who cared the artwork of this release and matches Kenneth's extreme dilutions of sound in time to subatomic decay patterns, are an interesting explanation of the mission and the vision of this Ney York-based sound artist. You could read them on the booklet of this release, which managed to include of a couple of shorter recordings (shorter if compared to the average length of Kenneth's psychotropic epopees into sound) in a cd and added a code that could be redeemed to download three other recordings (lasting 5 hours in total...), but I'd like to extract some parts of them in order to give you an idea of what you could expect or you could skip, if you are a lover of concision in music. For instance, Marc Waidenbaum (disquiet.com), after an extremely detailed description of the (both emotional and spacial)set and the setting as a preface, reasonably claify that Kirschner "embraces a sense of periodicity that challenges the listener's comprehension" before turning back on his meditative path and stating that "if time is Kirschner's most self-evident compositional tool, then memory is his most active one. As we find our way - that is, find a way - through the immersive, percepting-consuming, periphery-spanning territory of his work, as time passes, as life passes, our sole guide is the work itself". While Simon Cummings (5against4.com) sees "paradoxes everywhere" in Kirschner's output and run through some of them on his interesting track-by-track commentary, I find the conclusion by Mike Lazarev (headphonecommune.com) particularly guessed to set the emotional fences where Kirschener's sonic particles or electrons draw their seemingly chaotic circles and microtonal twists: "while listening to the music of Kenneth Kirschner, one can become lost in time, ceasing to be in its prison of binding. As the shackles of time fall away through the sounds, I am brought back into this very moment, where the vois is the present, and the silence is noise". What could I say more to these fine words? I might say my very first impression, as I maybe felt the some fascination that a baby could experience inside a big and hidden lab of clock repairer, where variation of single geears or teps gradually mutate the "scansion" and the perception of time. Check it out!


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