Music Reviews



Jan 05 2014
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Artist: Daniel & Mikael Tjernberg (@)
Title: Anton (OST)
Format: CDS (CD Single)
Label: Waerloga Records (@)
Distributor: Waerloga Records
Rated: *****
Daniel & Mikael Tjernberg are the brothers behind the band called Lost Kingdom and they also compose music and perform music in other settings in different genres. The brothers have only breifly before ventured into the world of film scores but for all of us who listened to the brothers before this was the obvious step. The same goes for several other Waerloga Records artists such as Simon Kolle (www.simonkolle.com) in Za Frumi who happened to master this album brilliantly.

Daniel & Mikael have outdone themselves really with this soundtrack. The name of the film is Anton and the film is in the sci-fi genre. Here you can find a teaser from the movie http://vimeo.com/visualcooks/antonteaser and here you can find an awesome promo http://www.youtube.com/watch?v=lRUK0jfWLGA

As far as my opinion on the music goes I have to say I am very happy that Daniel & Mikael for real evolved their sound in this way. The Chronicle of the Black Monks, which were the brothers soundtrack debut, was also good and more in the vein we come to know Lost Kingdom. With Anton the brothers have become way whole so to speak.


Daniel & Mikael turns up the power for the release of Anton. Stoked by a vast combination of percussion, horns and really strange and cool fusion jazz elements. It does not end there as the brothers freely and with great result also experiment in genres such as classical and ambient (of course Dark Ambient).

For all you that like Post Apocalyptic soundscapes you should check this out as it! Orchestral mastery interwoven with strange and sometimes surrealistic outbursts of jazz! While achieving malevolent drama with the cue Hunt the track that I love the most is Out of Hand as it is so strange and yet thrilling. The cue Anton I really enjoy as it also is way out there with the Fusion and strange elements of musical geniality. The cue Heartbeat is beautiful and dark but it's the track Atmospheric Toxicity (and it's reprise) that really give me chills and make me think of spy thrillers. The emotion truly comes when we reach the climactic cues, the sweeping strings tugging at the listener's heart in the way only great composers can achieve.

This strange album is the best so far from the duo!

HATI: Wild Temple

 Posted by Vito Camarretta (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
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Jan 04 2014
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Artist: HATI (@)
Title: Wild Temple
Format: CD
Label: Monotype Records (@)
Rated: *****
"The Serpent knew the call, and, rolling on,/Wave about wave, his rising length, advanced/His open jaws; then, with the expected prey,/glides to the dark recesses of hid den." These are the last four lines of the sixth paragraph from Southey's "Madoc". I might get wrong but, even if there are no specific hints in the linear notes, there some references to the following parts of that poem in this striking studio album by Polish percussionists HATI, who started to record stuff together with guest Slawomir Ciesielski, former drummer and percussionist of legendary Polish alternative rock band Republika (very popular in the 80ies) inside a XIX century fort in Torun before recording this album in studio, and if you keep on reading the following stanzas (in particular the one that the notorious English poet titled The Snake God), you could have the impression they managed to translate both the atmosphere and the lyrical tone of that poem as well as its synesthetic moments with many sonic hooks while listening to the entrancing percussive weaves by these musicians, who reach the most hypnotical peaks of possession on the tribal-like mantras of "Last Breath Of Ra" and "Ocean, on the atmospheric combination of thin metallic rasps, echoing cymbals and mesmerizing woods of "Sen" and on the menacing bewitchment of the final "Limbus", which are the best moments of an album where HATI manage to channel both ritual, meditative and electroacoustic sonorities and a somewhat istintive percussive style, so that the title of this album "Wild Temple" could be the proper recap of what you're going to listen and find after a detailed sonic titration.

Gelbart: Vermin

 Posted by Vito Camarretta (@)   Synth Pop / Electro Pop / Synth-Electronica
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Jan 03 2014
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Artist: Gelbart (@)
Title: Vermin
Format: 12"
Label: Gagarin (@)
Rated: *****
Once upon a time crowds of macrocephalic martians, predators (notably opposing sausage-cephalic translucent wired aliens), body snatchers, space vampires, ETs, Ewoks, Macs or just Things followed by higher ranks of slimy, furry, scaled, chapped or glaring beings from outer space used to invade our planet in order to save it from its malevolent occupants. Now you should get ready for Vermins, a new species in the guise of little sweet potatoes with parsley-like appendages, who according to their mouthpiece, the 8-bit-chewing whimsical composer Adi Gelbart, are collecting seeds of a number of plants for some mysterious purposes (maybe just a salad...) and such a first step of a desirable colonization, a mission of utmost importance, deserves a befitting soundtrack, a drudgery that Gelbart discharged by an amusing musical patty which whisked lo-fi electronica, noisy remainders of laser guns or quacking puppets passed for as innocuous toys, prog-rock everlasting howling ghosts, old-fashioned synth-driven arpeggios, raw rock-like crackpot motifs and other delightful cryptic ciphers which ranges from the weird space samba of "The Device", the steady-thumping arcade blowdown of "It Speaks" or the menacing flaring space-age pop-rock spotted abscesses of "Those Machines Are Translators" to the wistful halo of "Song for a Dying Earth" or the mechanical (and very human) clucking of the pitched strings and the amusing clarinet inserts by Benautik on "Meloda" by a pinwheel of electronic sounds and samples which got adorned by a set of terrestrial acoustic instruments such as saxophones, bass guitars, violins, organ, trumpets and drums, where you could track many different influences down whose range is even wider and could include Oleg Kostrow, childplays, Atari 8-bit videogames, Pierre Henry or even King Crimson... On B-side you'll find the proper soundtrack that this brilliant multi-instrumentalist and electro-scientist composed for his homonymous film "Vermin", whose sequence of bleeping patterns, sound effects, sci-fi eerie melodies and sonic samples from old sound libraries will rocket you in the nooks and crannies of a radiophonic outer space. Clear the way for Vermins triumphal invasion, dozy humans!

Tattered Kaylor: Sombre Nay Sated

 Posted by Vito Camarretta (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Dec 29 2013
cover
Artist: Tattered Kaylor (@)
Title: Sombre Nay Sated
Format: Download Only (MP3 only)
Label: Stasisfield (@)
Rated: *****
"Sound does not know our rules regarding walls, corners and closed doors. It travels through and beyond - being numerous in place, yet existing as a single entity. Under the guise of being unseen it permeates our surroundings, expanding and contracting space, warping the edges we construct with our perceptions of reality". Such a fascinating and embraceable observation by Australian sound artist Tessa Elieff aka Tattered Kaylor, which middles sound as a sort of an autonomous entity which prescinds from its receptor by emphasizing the role of perception and got marvelously epitomized by her acousmatic releases, could let you guess that an adaptation for personal fruition of her live works could be considered a challenge within a challenge. This attempt consists of three interesting adaptations of previous performances where she tried to link real sounds to their perceptions by a sort of overlapping between sonic "realities" such as steel, stone or architectural (both artificial and natural) cavities and a multi-speaker system, which got inspired by the original project of the Acousmonium by Francois Bayle: the tubular thin undulations of "Waves 2009", a stereophonic recording for a live performace she built with Cadif's Jacques Soddell, which soon turned into a sort of drone with sounds which could come from the bottom of an obscure well and seemingly disembodied female words, starts this immersive listening experience, which continues with a couple of tracks commissioned by Kunstradio, "Taken To Booroomba", a sort of reshpaed "take" of Uli Kuehn's "ROBOT" whose thunders and storms got played back at granite Booroomba Rocks in Australian Capital Territory, and the sinisterly claustrophobic "The Broken Return", which got derived from "Minigit", a sound installation by Andreas Trobollowitsch, which was performed at Moozak Festival in Wien in 2012. You can download this release for free with the possibility to send donation here: http://www.stasisfield.com/releases/year11/sf-11001.html

20.SV: The Great Sonic Wave

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Dec 26 2013
cover
Artist: 20.SV
Title: The Great Sonic Wave
Format: CD
Label: Cavity (@)
Rated: *****
Can you imagine the possible noises which could rise from mauled innards of a braggart former fakir after he ingested hundreds a heap of rusty nails and a couple of ales? Can you envisage the speech and the shouts of a tormented Gollum who got crucified after he innocently pissed on Harry Potter's spell books? If you can, it could be a good starting point in order to render what you're going to listen over this 30-minutes lasting visionary and menacingly sinister suite by Lebanese guitarist and sound sculptor Osman "20.SV" Arabi, whose disquieting ambience got remarkably enhanced by talented American singer Alan Dubin, whose distinctive vocals, which sound like recorded while being on pain of death, became quite famous while he used to bring his voice to former doom metal band Khanate. Arabi's drilling electronic and metallic noises got mirrored by fitting Dubin's devastated and somehow haunting vocal dramatization, which after so much overflowing evoked atrocity cannot but murmur a word in conclusion: revenge...


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