Music Reviews



Gilles Aubry: The Amplification Of Souls

 Posted by Vito Camarretta (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8490)
Nov 20 2014
cover
Artist: Gilles Aubry (@)
Title: The Amplification Of Souls
Format: CD + Book
Label: ADOCS Verlag (@)
Rated: *****
In spite of the religion-related subject, this interesting release by Swiss sound-artist Gilles Aubry is not an act of proselytism at all as it's closer to the concept of audio documentary. The two immersive tracks come from the explorations he led in Christian charismatic churches in Kinshasa, the capital city of Democratic Republic of Congo: the first 30-minutes lasting "Amplification of Souls" is a sort of immersive collage that combines a large number of elements that vividly render the cultural environment such as amplified sermons from rough speakers, surrounding noises of car engines, clamours, moments of fervor, a series of "halleluja" and "jesus" for soundchecking and other religious chants that come from distorting megaphones, exhausted worshippers or fanatical preachers, while the second 34-minutes lasting track "Amplified Souls" mainly includes collective prayers, overheated predications and speaking-in-tongues that he recorded at the Libambu Ministry Church in Kinshasa. One of the aural aspect of the record that struck me most was the distortion from loudspeakers that got used by proselytizers, which sound like a key-element of the religious experience, whose importance got explained in details by musicologist and cultural anthropologist Johannes Ismaiel-Wendt in the 80-pages book which integrates the release: "In Distortion is Truth (Poss 1998), distortion is perceived as enriching sound. Distortion creates sound, the enriched broadcast, the well-inteded gift, which the charismatic movements have quite appropriated for themselves as a amatter of course. The noise and distortion envelop everything with a patina, which also generates an aura" and "It is a proven sonic fact: if you want the signal to burn, then use a distorter. If you want to animate people to run out, if you want to inspire people to rapid transformation and to spread the gospel, then do not use a laidback, saturated sonorous sound texture. The latter only works when - as in the morning devotion on Deutschlandradio - the aim is to incite a depp emotional response. Amplification, distortion, and echoes are co-composers They dynamize, replicate, and complete the motivational ideas to form a holistic entity". This is just a part of the interesting analysis of this release by Ismaiel-Wendt, who wisely examines many aspects of this aural document by proposing a number of guessed connection with other contemporary musical stuff as well. The book also includes an explicatory interview with Gilles Aubry by Christof Haffter as well as a number of text fragments and photos by Gilles himself.

Lingua Fungi: Melankhton

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
 Edit (8485)
Nov 17 2014
cover
Artist: Lingua Fungi (@)
Title: Melankhton
Format: CD
Label: Aural Hypnox (@)
Rated: *****
When I read some notes about "Melankhton" according to which this album is "a sound interpretation of particular illness narratives and a study in experimental anthropology..." reflecting "the shifting states of the turbulent minds visited by 'Melankhton'", I thought that Melankthon was a sort of seraphic or alternatively devilish transfiguration of Philipp Melanchthon, the notorious German reformer, who has been regarded as the intellectual pulsating vein of Lutheranism, and judging by some aspects there could be some connection. Melanchton is widely known as the inventor of the term "psychology", but it seems that Jakko Padatsu, the mind behing Lingua Fungi, meant to use that term as a synonym of "soul seeking", whereas the five entrancing tracks of this record sound like an almost instinctive attempt of eliciting symphaty for mental sufferers , negative acception of soul seekers, by means of intensely evocative sonorities: the noise of a crackling pire on the opening "Wavy Guests" is the beginning and the end of a cycle where the reversed bells and the unexpected shamanic percussions seems to mirror the procession of phantasmagoric transient visions, which got rekindled over the quiet storms, the phoenix-like yells, the guitar-driven tribal dance and the obsessive pit-a-pat on "Departure", the hypnotical coalescence of cavernous waves, organic textures and alien melodies on the title-track "Melankhton", the dreamlike ballad of "Detached" as well as on the decisive last stage of this sort of sonic rite "Soma Dissolution", which sounds like adream withina dream. Another great act got added to Aural Hypnox catalogue, which released a deluxe box set (just 49 copies) including the already limited (449 copies) regular CD edition, two unique cyanotype prints and a silk-screen printed wooden panel which got housed inside a handmande cloth bag.

Ennio Mazzon: CeriseIcicles

 Posted by Andrea Piran (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8484)
Nov 16 2014
cover
Artist: Ennio Mazzon
Title: CeriseIcicles
Format: Download Only (MP3 + Lossless)
Label: Ripples
Rated: *****
The follow up of last year's 'Xuan' is a shorter and more visceral release that and based upon the impact of layered noises. According to the linear notes this music is strongly tied to a visual component reacting to the audio and, even it aims to 'deconstruct and transfigure the "pop structures" of the original audio material', it sounds more experimental in nature than other releases of this artist.
A drone and some sounds that seems from a field recording opens this release with various small noises depicting a sort of menacing and industrial soundscape but, instead of basing upon the musical impact, it focuses on the details and the evacuative properties of the samples. The second part is based on a quieter drone that let the field recording emerges from the background. Some seconds of almost silence take the attention and it takes a couple of minutes of samples for the return of the drone and a deep rhythm creating the menacing atmosphere of the beginning of the track. In the middle of the track a bright soundscape emerges and introduce the listener to a part of the track based on noises and loops that develops in an end based upon glitches that suddenly end the track.
This release, in twenty minutes, shows more ideas and paths of development than most albums that last for three times this duration. It's demanding to follow this musical development but it's full of hidden treasures. Highly recommended.
Nov 14 2014
cover
Artist: Cristian Vogel
Title: Polyphonic Beings
Format: 2 x 12" vinyl
Label: Shitkatapult (@)
Rated: *****
According to Karl Heinz Stockhausen, a unified time structuring, a wise splitting of sound, the multi-layering of spatial composition and the equality of sound and noise are the "Four Criteria of Electronic Music" in brief and such an eminent conceptualization of music seems to have inspired the last two astonishing releases by brilliant Chilean techno legend Cristian Vogel, who after he moved to Berlin, one of the sacred site of contemporary music of our planet, fulfilled a quantum jump to his already appreciated style by a sort of integration of those principles into eerie dub-driven sonic boxes, which proves the chameleon versatility of this producer after the ambient-oriented album "Eselsbrucke". Some nuances of techno pops up in just one of his eight "Polyphonic Beings" - the amazing "How Many Grapes Went Into That Wine" -, while some technoid residue flow like water snakes in water ducts into a few of them - "Spectral Jack", "Forest Gifts" and "LA Banshee" are the ones where are more audible -, but most of the tracks have a totally different approach to rhythmical structure and sonic textures as he manages to synthesize outstanding hybrid between dub-techno and acousmatics where bright stylistical spots unpredictably deviate from the continuity principle of techno stuff: the sort of elegy that suddenly surface from the above-mentioned "Forest Gifts", the analogue spit-ups that surface on tracks like "Spectral Jack" (vinyl exclusive) or "Lost In The Chase" or the melancholically entrancing piano micro-melody and the shamanic hooks on the final "Society Of Hands" are just some of the moments when Cristian could find the right way to the hearts of more demanding listeners which cannot be considered proper clubbers anymore.

Martin Kay: All Things Metal

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8477)
Nov 12 2014
cover
Artist: Martin Kay (@)
Title: All Things Metal
Format: CD
Label: 3Leaves (@)
Rated: *****
According to Martin's own words, the intention of the artist on "All Things Metal" is the highlighting of "the unique ability that metal possesses in abstracting, transforming and reconfiguring a given landscape" as well as "propelling the listener to reconsider their emotional and psychological connections to familiar urban environments". The metallic diaphragm which often becomes a sort of proper filtering by re-rendering the perception of surrounding ordinary aural inputs come from a series of installations of different kinds of microphones (contact, omni-directional air and cardioid air ones) on metallic objects or places that Martin carefully describes in the cover booklet: for instance, two contact microphones that Martin placed on a street light in Sapporo Downtown can turn footsteps, advertisements from different speakers and the buzzing noise of internal electronis of the streetlight itself into a sort of alien transmission on "Street Light in Male Entertainment Distr." or the ones he placed on the protective railing of a stairwell ("Tokyo Crows") or beneath an iron gutter ("Rain On Iron Gutter") in Futako Tamagawa or the omni-directional microphones hanging inside an abandoned Soviet oil tank in Yerevan could convey unpredictable aural experiences which can skim over psychedelia. The above-mentioned ability of metals is so abstractly extrinsic and mind-blowing in many moments of the release coming from excellent Hungarian label 3Leaves that it could be considered a proper manifestation of a false-positively hidden hyperreality.


Search All Reviews:
[ Advanced Search ]

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