Music Reviews



The Great Saunites & Attilio Novellino: Radicalisme Mècanique

 Posted by Andrea Piran (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8370)
Aug 19 2014
cover
Artist: The Great Saunites & Attilio Novellino
Title: Radicalisme Mècanique
Format: 12"
Label: discreetrecords (@)
Rated: *****
This new release is a one sided lp that last a little less that twelve minutes and is the result of the collaboration between Attilio Novellino, a sound artist, and Great Saunites a duo, playing bass and drum, working in the field of developing melodic lines out of traditionally rhythmic instruments.
A lowly distorted guitar line and cymbals introduce the listener in the initial part of this track where samples and a drum giving the rhythm of the track create the frame for the other instruments for the development of the track. The almost hypnotic overall mood is vaguely reminiscent of krautrock, his most rock oriented paths at least, and is conducted by the string instruments, guitar and bass, developing their lines slowly until a sax is left almost alone, at a low volume acting as a sidekick, and starts the second half of the track, while the beat continues assuring the cohesiveness of the track. When the guitar enters again, the sax stops, and the last part of the track begins in a crescendo that creates a sonic mass that slowly ends to let the sax ending the track in solitude upon a noisy soundscape.
This release sounds more like a live recordings of a concert rather than a fully conceived release and, for someone, this is one of the best statement available. If only it lasted a little more...

Mike Cooper: New Globe Notes

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8369)
Aug 19 2014
cover
Artist: Mike Cooper
Title: New Globe Notes
Format: 12"
Label: NO=FI Recordings (@)
Rated: *****
If you appreciated the recent album "White Shadows In The South Seas" by 72-years old odd musician Mike Cooper, whose particular declension or proper manipulation of exotism that whisk together lap steel, tape music techniques and field recordings that he collected during his journeys over Pacific islands could let you think of his style as the possible sonic outputs of a Tiki devotee, who has to face the mutation of his own tropical escapism after Moruroa-like nuclear tests, you can get this tidbit from Italian indipendent label No=Fi out of your hand. "New Globe Notes", which sounds even more dazzled than the above-mentioned release on Room40, includes nine experiments by Mike Cooper, which got previously released on hiw own personal imprint Hipshot Records as well as a 32-page booklet with texts and images by Mike Cooper himself and an introduction by David Toop, where weird guitars, chirping birds, occasional lopsided percussions and other symptoms of exotic fever are parts of wonky collages that render, in Mike's own words, 'imaginary, exotic, ambient soundscape of places that didn't exist'. Lovely and somehow disquieting musical tchotchke!

Datashock: Keine Oase In Sicht

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8368)
Aug 19 2014
cover
Artist: Datashock (@)
Title: Keine Oase In Sicht
Format: 2 x 12" vinyl
Label: Dekorder
Rated: *****
Once upon a time, there was a mysterious anchorite whose spirit took possession of music after necromantic chemical evocations although his body lied seemingly motionless in the middle of the desert, but a group of "young punks pretending to be old hippies", as Dekorder defined Datashock, decided to sleuth him by sifting those desert lands and even the spiritually figurative ones that our "civilized" world constantly provides and generates. That's how a fable about the interesting direction that this leaderless collective gave to its musical research could begin. All those listeners who say that once fire becomes ash, it cannot be re-lit, could be belied as they could get a glimpse of unforgotten pioneers of psychedelic prog-rock and astral bodies of cosmic knights and krautrockers - Amon Duul, Popul Vuh, but laso some mystical stuff from Delerium Records could resurface from the depths of your musical memory - into the mystical bonfires they lighted over the eleven stages of this musical journey, even if the distinctive trait of Datashock sound is the dilution of notorious long-lasting rides so that notwithstanding the stylistical territories their wandering over "Saarvannah", a wise combination between the name of the most known desert of the planet, Savannah, and the name of the well-known German industrial district, Saar, which highlights the topicality of the association between evoked desert lands and the cultural and spiritual desertification as well as the mirages which got accelerated by moribund capitalism, they wisely dissolved elements into a variegated pot-pourri whose fragrances (from the more "totemic" moments like "Tod in der Saarvanne" or the opening "Mudschahidin der Liebe" to the electronic glimmering coiling or levelling of "Fanta Morgana" or "Desert Lustgerte, Goldnougat Gobi", from the improv-oriented eruptions of "Ekstase der Wahrheit" to the oxidations of above-mentioned mystical prog-rock stuff on tracks like "Rubinregen aus der spirituellen Sphaere" or "Der verschleierte Helm des Pharaooze") uniforms with the manifest final possible destinations: the mecca of magical melodies, the shrines of mind-expanding sounds, the sanctuary of musical friendship and the Dyonisian temples of love and excess so that it's not a real problem if any oasis (or dead anchorites) are in sight!

VV.AA.: Italian Resonances | Dronegazers?

 Posted by Andrea Piran (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8365)
Aug 18 2014
cover
Artist: VV.AA.
Title: Italian Resonances | Dronegazers?
Format: CD
Label: Oak Editions (@)
Rated: *****
This release is a project by Fabrizio Garau, the mind behind "the New Noise" webzine, aiming to create a guide to italian drone music. However, this term is to be intended loosely, as this release, fortunately, is focused on path closer to experimental and electroacoustic paths than classic ones.
The quiet soundscape of "Descending", a track by Enrico Coniglio, opens this release suddenly developing with sustained guitar notes and resonances. The next track, from Alberto Boccardi, "Far Light", starts with approximately thirty seconds of silence until a small noise enters and the track unfolds with layers of small noisy loops and, in the last parts, they fades in favour of a quiet drone. The next artists are Easychord with "Fear Of Tunnels", an almost canonical dark ambient track, and Attilio Novellino, with "Litost", with a track closer to "Descending", as it's focused on guitar lines, but quieter and with a subtler sense for nuances. Cristiano Deison, with "No One Will Listen, But You'¦", orchestrates a colourful track that uses a wider sound spectrum. "On", a Giulio Aldinucci's track, is based upon a drone juxtaposed upon a sort of field recording and ends with an almost religious organ tune. "Pilgrim", by Francesco Giannico, is perhaps the most gentle and layered track of this relase. All this artists, under the name Dronegazers collective, close this with "Anner II" an evocative dark ambient track where the resonances constructing the drone evolve until the inevitable fading.
Perhaps this release is less wide than conceived but could be a good introduction to this scene and is a statement that it deserves more press coverage that it has. It's worth a listen.

Lucky Bone: Borderline (In Four Parts)

 Posted by eskaton   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (8363)
Aug 16 2014
problems
with image
availability
Artist: Lucky Bone
Title: Borderline (In Four Parts)
Format: CD
Label: Public Eyesore (@)
Rated: *****
Lucky Bone is the work of experimental filmmaker Neil Gravander, who hails from Milwaukee, Wisconsin. I could find very little about this project, but he is a graduate student at University of Wisconsin, Milwaukee who has exhibited his work at various shows. The liner notes are cryptic, but for this album it doesn't really seem to matter. For example, 'Part one is pre-summer something needle with recordings from the thieving boyfriends girlfriends fathers house also BPWS live on the NYC boardwalk, n' LB is Borderline and sad, and home-alone too: spiritual.' If this doesn't seem to make much sense, remember: it probably doesn't matter either way. Sonically, this album is all over the map, but remains firmly in the constellation of heavily treated sound source. Imagine taking a radio and then cycling through the stations, recording it as you go along. Now run it all through some heavy distortion and the occasional pitch bending. This gives you a taste of what you are in for. At some points the loops can get a bit repetitive, but this album moves on from place to place, like a shark that must constantly remain in motion or it will die. For example, at 10 minutes in we are treated to processed catcalls of 'Come on, girl!' followed by a truly terrible karaoke rendition of Madonna's 'Borderline.' It was funny, but got a bit dull by the end. Later, at 25 minutes in, he seems to be introducing his project by discussing the fact that he just got back from touring which then slips into voice samples that get tweaked beyond belief. At 52 minutes in, we take a trip down the radio dial over and over again, with slight variations on the theme. At 56 minutes in, we are told that this song is 'the story of how I broke my shoulder,' which then takes feedback, hum, and what may be synth and runs with it. Overall, this is noisy experimentation that doesn't seem to take itself too seriously. This last part may be its saving grace; the humorous undertone allows us to be much more forgiving. If you like lo-fi experimentation, this is one to check out. Think of this as a cross between Hafler Trio, Bob Ostertag, and anything that has come out on Breathmint Records. This album weighs in at around 76 minutes.


Search All Reviews:
[ Advanced Search ]

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