Music Reviews



Corrado Altieri | Gianluca Favaron: Decomposed Days

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Dec 23 2014
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Artist: Corrado Altieri | Gianluca Favaron
Title: Decomposed Days
Format: CD
Label: 13 (@)
Rated: *****
One year after "The System Of Objects", their first collaborative release inspired by French sociologist and cultural theorist Jean Baudrillard, Corrado Altieri (synthesizers, electronics, tapes) and Gianluca Favaron (microphones, loops. effects, computer), two of the most brilliant electronic sound-artists from Italian scene joined their sonic arts again on Silentes' sister-label 13's "private sounds series", even if I could say that this release features a possible special guest, Tulse Luper, the fictional ornithologist whose 92 suitcases told his "story from 1928 to the fall of the Berlin Wall in 1989, sketching not so much the biography of one man as the story of a century related through some of its key events" according to the words of his own inventor, the brilliant film director Peter Greenaway. The opening "Time And Space" looks like a fusion of the mentioned two dimensions by means of a sequence of aural elements which render a train journey, distant radio transmissions, an otherworldly ticking and a binaural amalgam that sound like the sonic equivalent of Kuleshov effect in film editing, while the numbering to 121 is the first clear hook to "Vertical Features Remake", the absurd fake documentary/movie that inspired this album. Even if listeners who know or deepen that movie could understang some possible references to that movie, it's not an essential condition for enjoying the drift between abstract noise and pure sound as well as between matter and vacuum of sound, whose dual nature got permanently switched in the five explorations by these wise producers.

Tundra: Tajnie i Głębie

 Posted by Andrea Piran (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Dec 21 2014
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Artist: Tundra
Title: Tajnie i Głębie
Format: CD
Label: Zoharum (@)
Rated: *****
This is the first full-length release from an electroacoustic project present as in balance between improvisation and composed works. In fact, their style lies in the intersection between EAI and ambient as, even if carefully constructed, is more adventurous in nature than the average of this genre's releases.
The deep drone of 'half moon' opens this release and slowly develops in bright one that introduces the listener to 'werdrujace kamienie' a track focused on the contraposition between the drone and the rattles creating an almost religious athmosphere. 'Powtot CZ.1' is based on a peaceful and solar drone, sparse noises and a voice sample of stunning evocation that ends with the drone loops of 'wrzosowiska' and 'krill lasu' that acts as an introduction to 'Powtot CZ.2', the longest track of this release, based on a menacing drone whose resonance are colored by a female voice chanting, instead of the spoken word of the first part.
This is an impressive debut album that, using a well known form, is able to develop his most evocative properties and to provoke an emotive reaction. Truly recommended.

Rapoon: Fall of Drums

 Posted by Andrea Piran (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Dec 21 2014
cover
Artist: Rapoon
Title: Fall of Drums
Format: CD
Label: Zoharum (@)
Rated: *****
In the cover this 'this album marled a return to analog and mixing outside the box' and, as this reviewer was unhappy of the latest release of this historic project, this sounds as a return to the form that Robin Storey pioneered in his long career. This is also marked by his return to Middle East's ethnic rhythms and his evoking ghosts.
When the drums of 'A gallery of crows' starts there's suddenly a flavor of all the previous release unfolding with his hypnotic and charming beauty. The drones and samples of 'beneath and beyond' creates a static, but not boring, soundscape. The loops of 'upstarts and sheep' are slowly colored and submerged by the drones. The last track 'the heat beguiles' is almost half of this release, clocking over half an hour, and start with voices' loop and the drones slowly ends with the down of the echoed samples creating an hunting but peaceful atmosphere, thanks to echo effects reminiscent of dub technics, and when the drones and the echoed samples slowly evolve in a cohesive unity this tracks emerge as the centre of this release.
From an esthetic point of view there's anything new on this release but is a charming release from one of the most important names in the field. A stunning return to form.

Hot Four: Eye Of The Moose

 Posted by Vito Camarretta (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Dec 18 2014
cover
Artist: Hot Four (@)
Title: Eye Of The Moose
Format: CD
Label: Creative Sources (@)
Rated: *****
In spite of the bull moose on the cover artwork whose blood-red background and the dissection in four parts of the outline of the hugest member of deer family, it's neither a leaflet for butchers nor a christmassy idea of gift, even if the debut release by this fourtet is much more interesting than the invasion of records from mainstream musicians that majors normally led in this period by means of marketing necromancers! The initiative got drawn up by talented Norwegian vocal artist Andreas Backer who grouped Stale Liavik Solberg, a brilliant drummer who was his mate at Stavanger music academy, Swedish guitarist David Stackenas - we already met his name and his skills on some collaborative releases with Ernesto and Guilherme Rodrigues - Canadian expat double bass player Joe Williamson together and recorded this amazing live session in Sweden, where they insert contemporary classical music, free-jazz and European improv hooks as well as a remarkable numer of sonic ideas in a blender that flushes amazing dynamics out. The opening title-track "Eye Of The Moose" manages to keep a certain poise as if they were trying to find a first cautious attunement, but things radically changes on the following tracks: "Antler Of The Moose" charges eardrums by means of twisted scratches, more dissonant interactions and swirling cracks and Backer's vocals brilliantly follows this gradual nervous breakdown and could sometimes surmise a preacher fighting against rising voltage of an electric chair; "Claw Of The Moose" digs into eardrums by the slow asphyxation that got rendered by gargling vocals, eruptive torsions and crumpled guitar strokes and the rattling final track "Tail Of The Moose", where last and almost breathless vocal runs by Andreas meet the last amazing instrumental rush of popping mute hats, thundering double-bass and tangled mess of guitar tones.

Ernesto Rodrigues - Louis Laurain - Guilherme Rodrigues - Ricardo Guerreiro: Alba

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Dec 18 2014
cover
Artist: Ernesto Rodrigues - Louis Laurain - Guilherme Rodrigues - Ricardo Guerreiro
Title: Alba
Format: CD
Label: Creative Sources (@)
Rated: *****
I have lost count of the number of collaborative releases on Creative Sources where Ernesto and Guilherme Rodrigues got involved, but I'm often surprised about the fact I have not get bored by them yet as they maybe managed to involve many different collaborators. The two other musicians who took part to the four long-lasting improvisations they recorded on 9th June 2012 at Tch3 by Joel Conde are Louis Laurain on trumpet and Ricardo Guerreiro whose computer darned the sounds so masterfully that it's really difficult to understand when each instrument got filtered or not. The introduction of each track sounds like the awakening of an instrument after some centuries of hibernation and each musician could act like a cronics technician so that you are not going to listen to a series of abstract detained impulses, but the four parts of "Alba" sounds like the troublesome rescue of the decreased metabolism of improvisation after excessive sedation which often results in trembling tonal muttering that each instrument manages to find as if it renders an almost completely trophied muscle which begins to move again after endless seasons of idleness.


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