Music Reviews



AGF: Source Voice

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (7520)
Mar 26 2013
cover
Artist: AGF (@)
Title: Source Voice
Format: CD
Label: Line (@)
Rated: *****
Death throes and suffocated laments, which then sound like burgeoning so that you could think about tragedy and pain related to non-communication as one of the most eminent generative sparking of art, seem to permeate "The Human Condition", the very first track of this new release by whimsical East-German musician, sound-artist and poetess Antye Greie-Ripatti, popularly known as AGF and living in Hailuoto (Finland) together with her husband Sasu Ripatti (Vladislav Delay), who focused on voice, regarded as the human instrument par excellence, distinctive characteristic and even political device of each person, for this occasion, as you can easily grasp from the title "Source Voice". The icy Finnish environment she daily experiences resonates all over the record, whereas AGF arranges her voice into the surrounding context till it seems to coalesce with whiffs and severe weather conditions in "Breathing In Lines" and transmuting into a singing ice crystal while shimmering in the middle of a blizzard and gradually turning into a more human breath after a reprieve in the gorgeous "Digital Yoik", which reveals one of the sources for inspiration for this recording, the ancient, mostly wordless form of singing/vocalization by the Sami tribe of Northern Scandinavia. The somewhat spooky vocal deformations on "Hum Pitch Play", the barbed electrical saturation points on "Voice Count" and the entrancing moans of "Kaamos", the only track where voice has not been digitally processed, are likewise mindblowing. The exclusive digital bonus available only through the shop of Chartier's label, "Feed Back", a collaboration with label owner, sounds like the defrosting of a singing nymph of the woods with organic sounds grabbed by means of hydrophones placed on the waterline of some frozen pond.

Kristoff K.Roll: A l'ombre des ondes

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (7519)
Mar 25 2013
cover
Artist: Kristoff K.Roll (@)
Title: A l'ombre des ondes
Format: CD
Label: empreintes DIGITALes (@)
Rated: *****
Headphones become an entrance ticket for a sort of representation within representation by means of this bizarre release by Kristoff J-Camps and Carole Rieussec, who focused on so-called dream narrative, not properly on dreams themselves. Their weaving of really immersive field recordings and inoculated frequencies lies on the perceptive threshold between outer happenings (hoo-ha or voices which sounds like coming from wide halls of consciousness before blackout and random dream assemblage, interferences of television broadcasting, traffic noises, chirping birds, barking dogs and so on are so perfectly rendered that listeners are going to experience a really immersive listening) and inner transfiguration which characterizes the half-sleep and dream states during occasional naps from the viewpoint of a napper, so that auditory stimulations get deliberately warped while each napper reports its own dream as a tagline and preface (in French) to the following sonic probing over the three long lasting tracks. Dreams or it's better to say the deforming lens of dreams look like the real source of sounds, which awakens speechless archetypes, which inhabit inner depths of napper's mind and resurface from the creases of senses while dozing under the perogla of frequencies. The final result is really interesting and the duo is so aware of it, that Carole and Kristoff are planning to buld a proper library of dram narrative by inviting listeners to record their own dream reports and some audio files to request a personal recording session to them. Just check "A l'ombre des ondes" and submit your file into this bizarre library in case you got intrigued by their odd sound concept.

Éric Normand: Data (Lo-Fi Duets)

 Posted by Barton Graham   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (7515)
Mar 21 2013
image not
available
anymore
Artist: Éric Normand
Title: Data (Lo-Fi Duets)
Format: CD
Label: MonotypeRec. (@)
Rated: *****
This may be a first for me. The release I'm reviewing, 'Data (Lo-Fi Duets)' by Eric Normand is somehow very hard to describe despite being a very simple, very raw (I don't mean quality-wise) record. It is a series of 7 completely improvised duets with 4 people that Eric has come across. Christine Sehnaoui Abdelnour graces two tracks providing alto sax treatments; Martin Tetreault provides 'pick-up, surfaces and rhythm'n sound for guitar' on two pieces; Sebastien Cirotteau contributes amplified trumpet to one piece and 'mic in the mouth' to another; and finally Mario Gauthier makes an appearance on the final track with 'analogic synth & objects.' And of course Eric utilizes homemade 'and domestic' electronics, electric bass and 'mics on fingers' throughout the disc. I really wasn't sure what to expect after reading the credits and the description that is actually part of the cover art, but I was excited to give it a spin nonetheless being a huge fan of improvisation, especially from such basic setups. I wasn't let down in the least. From start to finish 'Data' is a fine record, and a fine example of improve noise. It evolves through feedback and input crackling dancing fleetingly with that alto sax (that Abdelnour manages to somehow, at points make sound like a flute); to almost turntable like noises; to squealing rodent-esque sounds (undoubtedly from that 'mic in the mouth'); back to sax notes that parade around like noisy violins with Normand's echo-y and verbed out bass treatments providing and excellent space for them to cry and scream. The final piece is kind of beyond definition. It may be the most interesting, and probably my favorite of the lot. I failed to come up with a logical description of it, but I managed to scribble just three adjectives down on my notepad while I listened: static-y, blistering, perfect.

Jacob Felix Heule & Bryce Beverlin II: Intersects

 Posted by Barton Graham   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (7513)
Mar 20 2013
cover
Artist: Jacob Felix Heule & Bryce Beverlin II (@)
Title: Intersects
Format: CD
Label: Eh? (@)
Rated: *****
This was an interesting one. At first I was concerned about what I was hearing. 'Intersects,' a collaboration between Jacob Felix Heule and Bryce Beverlin II, is a live recording of 2 longform improvisation pieces which begins with sporadic drums and percussion that seem to have little rhyme or reason, which had me reminiscing of a certain scene from 'Joe's Apartment' where Joe makes a less than spectacular drumming debut in a band called 'SHIT.' However, the rocky start is not the only thing this release has to offer. It slowly builds, the percussion tightening and falling in line with Beverlin's random, yet focused arrangement of noises. There is a point where the audio drops to almost complete silence, at which point some electronics are introduced, allowing some droning bass tones to set a backdrop for a little ambient horror, and it's quite wonderful. As time elapses, the noise creeps back in, this time somehow a much more relevant context. The second performance opens with what sounds like a growling bear and an input jack static loop. It grows and grows to a huge monstrosity (using the term in the most endearing of ways I assure you) that fills the senses with waves that bring about a very primal feeling to the core. I think this piece is far stronger than it's counterpoint; at the same time it's also noisier, grimier. It does have its point where it slowly becomes more ambient, and those parts are just as good as the louder movements, however, throughout both pieces, in several spots over the duration of the record, it seems as though volume drops have been employed to suggest a quieter, more ambient atmosphere than perhaps was naturally occurring. I'm not sure if this was on purpose or the fault of a heavy handed compression at mastering, but it can be a bit distracting. That and the intro aside, 'Intersects' is a fine example of longform improve (which I am a huge fan of) that at its peaks doesn't disappoint.
cover
Artist: RMEDL | K11 (@)
Title: Chthonian Music
Format: CD
Label: Cold Spring (@)
Rated: *****
This striking conceptual album and the related sound installation, based on the sound spacialization system I.M.E.A.S.Y. and performed in an ancient Etruscan hypogeum in the archeological park of Cecina, a little town close to Leghorn (Italy), during the spring solstice within the programmatic-conceptual event "Metasound ' Independent Curatorial Experiences in Contemporary Art: from the object up to the event: sound art, multimedia and practice of the art of listening", was initially limited to 50 private copies. Three years later, Cold Spring decided to reissue it in order to avoid the this remarkable sonic artefact could sink into the oblivion of the underworld the involved artists ideally climbed down. The Roman consul Albino Cecina, which gave the name to the above-mentioned town, ordered the construction of a villa, whose ruins can still be visited. The cavity of its cistern and its mysteric tunnels became the perfect location for Chtonian Music project by Italian philosopher, composer and sound artist Pietro Riparbelli aka K11 and Sandro Gronchi, head of Radical Matters, who involved an impressive number of sound artists and musicians from different but somewhat contiguous stylistical ground (Philippe Petit, Seth Cluett, Gianluca Becuzzi, Francisco Lopez, Aderlating, Andrea Marutti, Burial Hex, Christina Kubisch, Deadwood, Francesco Brasini, L'Acephale, Luciano Maggiore, Massimo Bartolini, Nordvargr, Utarm, Y.E.R.M.O) emphasized the sacral function of that ancient place with a sonic performance which sounds like a contemporary devotional rite to the Goddess Demeter/Persephone, the queen of hell and bride of Plouton/Hades and the symbolic representation of "the awakening of the soul and its cyclical path of death and transfiguration" behind her myth, who inspired the religion of the Mysteries, imported by the Etruscans in Italy. After the initial "Mvndvs", where Francismo Lopez immediately catches listener's attention by rendering natural amplified sounds on deep ultra-low frequencies by Seth Cluett and unexpected distorted rumbles which lacerates the apparent stillness like heavy thunders, the five following parts of "Katabasis" sonically describes the descent in the underworld by means of remarkable performative peaks such as the mindblowing raving ascension of Part II with the catchy vocals by L'Acephale and the heady drones by Utarm, the entrancing piano by Burial Hex on the magmatic fog by Andrea Marutti and Pietro Riparbelli in the third part ("Epopteia"), named after the final initiation rite in the Eleusinian Mysteries, the dusky electrical excitement of the first part, the grazing guitars by Francesco Brasini on the immersive virtual underworld moulded by Becuzzi and Bartolini on the narcotic organ and unearthly shouts by Riparbelli, the metallic rolling balls and the resounding crack on the ground which ushers listeners to the end of the obscure journey in the fifth part, before the final representation of "Nuktelia", a sort of supreme demonaltry when wizards with snkes twisted on their arms, moved at flickering light of torches in long orgiastic processions. Due to the high number of guests, under the stylistical viewpoint, "Chthonian Music" harvest from a wide range of styles: dark ambient, doom metal, dark-folk, field recordings, art rock, drone, classical music, musique concrete, ritual ambient flocked to celebrate the mysteries.


Search All Reviews:
[ Advanced Search ]

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