Music Reviews



Container: LP

 Posted by Vito Camarretta (@)   Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (7377)
Jan 04 2013
cover
Artist: Container (@)
Title: LP
Format: 12"
Label: Spectrum Spools/Mego (@)
Rated: *****
Besides the frontline of more fashioned techno makers, who are costantly honing recording techniques and enhancing sounds till the concision of pure frequencies, there's a bizarre rearline of (mainly European) producers and djs who are rediscovering dirty and extremely rough sounds. A detection of historical explanation to this phenomenon could focus on analogous sonic languages such as Detroit techno movement, whose cultural memes could be found in the environment of the first decadent American metropolis, due to the undeniable stylistical propinquity. Such a propinquity is quite clear in the sonic reversed research by Nashville-based producer Ren Schofield aka Container, who flaunts five retrofuturistic tracks on his second LP, osseusly titled "LP". Even if he demonstrates that he can easily handle techno timeless driving forces and brainchildren by many notorious predecessors such as Derrick May, Kenny Larkin, Joey Beltram, Dave Clarke, X-313, Surgeon or even DAF, he prefers a dirtier and rusty sound, which he manages to render by recording it in mono so that it seems he revamped disused old industrial machinery before their final demise. With the exception of the final "Refract" - a devastating electromechanical storm with suffocating fill-in of distorted snare drums and noisy gluts -, most of the tracks have been wisely boned so that their essentiality could remind the overdried structures of some electro-pop relics ("Paralyzed"), the heating coils of the most minimal displays and programming of Detroit techno and acid house ("Perforate", "Dripping") or some industrial techno engines ("Acclimator"). The language which Container's sound trying to translate smells of that kind of archeology of dumped machines (or maybe I'd name it futuristic primitivism) that many listeners could dare to describe as "prophetic".

Akira Kosemura: It's On Everything +

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (7371)
Dec 29 2012
cover
Artist: Akira Kosemura (@)
Title: It's On Everything +
Format: CD
Label: Someone Good (@)
Rated: *****
I already received and reviewed the first edition of this lovely release by young Tokyo-based composer Akira Kosemura, together with a bunch of nice releases from his label Schole, on the Italian web-zine TheVibes.net. I cannot but confirm my opinion on it after that I've listened this enhanced edition (it includes two more tracks and just some little variation on the tracklist): the piano-driven micromelodies and the tranquil atmosphere recorded by drop-like crystalline sounds and field recordings of sketches which sound like grabbed in a Japanese garden of the initial "Orgel" immediately enmeshes the listener into a contemplative and somewhat beatific dimension by means of modified chimes, plunking harmonies, sonic paintings of school playground, quiet urban parks and everyday life which seems to evoke the balance between nature and technology, one of the most fascinating "genetical" peculiarity of contemporary Japanese culture and civilization, unobtrusive electroacoustic inserts and entrancing organic melodies, which sounds like self-sustaining after the first sparkling chords. You could almost surmise that there's an intrinsic and intentional restriction of the function of the musician/author, who turns himself into a sort of enzyme of spontaneous musical processes in order to accelerate and assist a sort of symbiosis between music, surrounding (real or imagined) environment and listener, which are going to "coagulate" stroke after stroke. Akira Kosemura offers an enveloping listening experience: I recommended its fruition 4 years ago and I cannot but recommend it today.

VV.AA.: RE(C)QUIEM

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
 Edit (7369)
Dec 28 2012
cover
Artist: VV.AA.
Title: RE(C)QUIEM
Format: CD
Label: SantoS Productions (@)
Rated: *****
The small Italian label Santos Productions by Davide Fernia manages to erect a monumental sonic mausoleum dedicated to big names of history, politics or culture, whose lives are somewhat memorable whether right or wrong, by involving some of the most renowned (mainly) Italian representatives and explorers of grey interzone, who offer an impressive collection of various facets of this obscure and unconventional scene, whose stylistical ground lies on tape and noise art, post-industrial, electronic experiments, dark ambient, neo-folk, ritual ambient as well as on a fertile humus of occult subjects, paganism, underground cultures, futurism, political activism and so on. This 17-tracks compilation of "requiems" opens with "Le 516 volte di Giovanni" ("The 516 times by Giovanni") by Massimo Olla's project Noisedelik, whose sinister rasps on guitar strings, noises of chains, grinding blades, metallic objects and coughs which seem to come from filthy wet prison cells become more and more claustrophobic and obsessive like the imminent execution by the hands of the character whom this track refers, Giovanni Battista Bugatti, commonly known as Mastro Titta, the cruel official executioner for the Papal States in the first half of XIX century, who carried out 516 executions. That's a sticking way to start this commemoration, which carries on with memorable memorials. All tracks include proper sonic hints and quotes by the personalities they referred to so that it's almost impossible to state an "order of preference" as well as a dissertation about each memorial could be excessively rambling. Anyway there are some tracks which struck me more, but such a list cannot be considered thorough at all: ofr instance I found particularly catchy the treatment LCHM and KHEM reserved on "Neo Mondo" to a reading by Pier Paolo Pasolini of some excerpts from Ezra Pound's "The Pisan Cantos" with the quotation of the known verse "What thou lovest well remains, / the rest is dross", the psychotropic evocation Simon Balestrazzi offers on "The Airtight Garage of Jean Giraud (Requiem for Moebius)", the guessed industrial anxiety on "Crunch/Grind Mechanism" by Automageddon in order to remember the controversial General Ludd, the memory glimpses of some literary climax by Danilo Kis while listening to the tribute by Maurizio Bianchi, Stefano Gentile and Gianluca Favaron, the touching dark folk song dedicated to Ota Benga by TSIDMZ and Rose Rovine e Amanti, the synaesthetic sonic remembrance of the brave deeds by Ukrainian anarcho-communist revolutionary Nestor Makhno on "Tacianka Armata" by Brigata Stirner, the scary abrasions by Uncodified for his homage/memorial to Italian witty film director Lucio Fulci or the ripping dedication by meand of headbanging reading within a storm of noises to the innovative aesthaetics of Japanese writer Yukio Mishima by The Streetcleaner and Troy Southgate, but I cannot but reaffirm such a list doesn't justice to other sound artists, who gave their precious contribution to the general impressiveness of the project.

Bionulor: Erik

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (7368)
Dec 28 2012
cover
Artist: Bionulor (@)
Title: Erik
Format: CD
Label: Requiem (@)
Rated: *****
I've already listened to several interpretations and reworks of Gymnopedies by legendary and mysterious composer Erik Satie, whose most notorious composition has been regarded as the most remarkable precursor of the so-called ambient music due to the ambiguity coming from the melodic structure, based on the astonishing reversed complementarity between harmony and calculated dissonances, but it's quite rare a derivative release managed to mirror the emotional contrails which could be triggered by its listening. Czestochowa-based composer Sebastian Banaszczyk aka Bionulor seems to be so intimate with that forerunning oeuvre that he decided to entitle this collection of sonic eclairs by borrowing the name of the French pianist and composer, just as if he were one of his closest friend. Bionulor applied that processing method he called "100% sound recycling" he already successfully tested in his previous two albums - whereas his self-titled debut focused on previously recorded music of the Middle Ages and the Renaissance, he mainly molded human voice on its second album "Sacred Mushroom Chant" - to Gymnopedies by juxtaposing a wide range of filters and settings: the notorious alternation of the subdominant G and the tonic D tones of the first of the three piano compositions often recurs over the album, but it got dipped into many sonic solutions. For instance on the initial "ST.001", it seems evoked by a mnemonic glimpse due to the loop of a vinyl crackle, which sounds emphasized on the following ST.002 together with the dirty sound of torn speakers or of a rusty grammophone, before feeding the sparking of the hypnotic ticking pulses on "ST.003". Sometimes slices of the score looks like turning into a sort of coding for otherwise unintelligible dimension or weird entities: "ST.008" sounds like the accompaniment to the graceful movements of a ghost, while "ST.007" and "ST.004" could respectively be peddled as the extracts from an imaginative edition for goblins and spaceships;"ST.009" or "ST.013" could be the way Gymnopedies could be "remixed" by the consciousness of some assistant of Dr.Lily after the first trial of some isolation tank, the reversed play on swarming chirps and puffing sonic sutures on "ST.010" could let some listener surmise it came from some old tape, which Bionulor found in Silesian forests. Those tracks where it seems Gymnopedies arise like glares, lightning bugs or will-o'-the-wispsin the night are pure nostrum for imagination, while the final "ST.015" could sound like a possible Gymnopedie-inspired reverie by Nobukazu Takemura. "Erik" has been wisely mastered by Taylor Deupree.

Transfer: Øe

 Posted by Andrea Piran (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (7367)
Dec 27 2012
image not
available
anymore
Artist: Transfer (@)
Title: Øe
Format: CD
Label: Murmur (@)
Rated: *****
According to the linear notes this release is inspired by "the numerical representation of life and the sensorial stimulation, achieved by combining data into binary format, replaces human primordial needs [..] Transfer is a sonic reflection about all affective phenomena which come out by the use of digital interfaces". Honestly, it's true that digital sharing and recording of things is an important part of our life but, instead of similar (in intention) works ad Ikeda's "data.matrix" where musical output is indivisible from the artwork from his comprehension, musically speaking this album is a filtered drone oriented release similar to the last outputs from Stephan Mathieu as it share the same research for dreamy soundscapes.
"February - Seek" opens this release with a gentle drone slowly evolving and colored by subtle small noises. "Seadawn - .Ksd" is based evocative samples above the carefully constructed soundscape featuring also an orchestral initial tuning. The first minutes of "Sad - Jitter" are constructed with noises until the drone fill the musical infrastructure. "Hatsuyuki - D Quant", the longest track of this release, is constructed upon four drones that sequentially enter the canvas until the last slowly ends.
This release doesn't follow any new territories but it's carefully written and produced that it will be enjoyed by all fans of this kind of musical research. Recommanded.


Search All Reviews:
[ Advanced Search ]

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