Music Reviews

Burial Hex: Book Of Delusions

 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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Jun 29 2012
Artist: Burial Hex (@)
Title: Book Of Delusions
Format: CD
Label: Cold Spring (@)
Rated: *****
Some people think that the noblest form of art descends from deep suffering and pain. I'm not 100% sure about such an axiom, but releases like this one by Clay Ruby aka Burial Hex can push me closer to that percentage. In spite of light aversion for esotheric references, I appreciate Clay's skills in giving a certain theatrical makeup and a vivid dramatic power to his music and he could boast about having established himself as one of the most talented producer of current industrial scene after the issue of "Book Of Delusions". It seems that this release comes after a very negative period, which compelled him to summon an unspecified ancient force of protection and vitality, and even if he put a curse on everyone who's going to listen "Book Of Delusions", so that there will be something, mischief afoot on their life, supposedly, I could defy risk just to appreciate his artefact. I really don't know why but the very first thought when listening the first torn shouts of the initial "Final Litany" recalled to my mind the deliriums of "A Season in Hell" by Rimbaud, while resounding thuds, sinister squeaks and disquieting clicking of the following track "Urlicht" seems to evoke the desperate call for help of the homonymous German folk song, which slides little by little into the frightening "Crowned & Conquering Child", a clear reference to some beliefs of Crowley's Thelema as the title is one of the epithet of Horus or Ra-Hoor-Kuit, a ritual song whose electronic ebullience has been forged by Nathaniel Ritter where it seems a sacrificial prayer benefits from a chat with the deity while experiencing agonizing tribulation - vocal performance is so impressive that it seems that it was recorded during an ablution in a pool full of hot oil -.

During 15-minutes lasting listening of the title track, based on the hypnotic crossbreed of techno pushing beat, guitar gashes and punchy cuts, whose fierce heat reminded some tracks by Psychic Warriors Ov Gaia or even Underworld, some words of the homonymous book by legendary Romanian writer Emil Cioran could be the most suitable way to describe it: "The dramatic moment of the individual existence culminates always in the struggle with time. This struggle, however, is without escape, because the being touched by temporality, once having conquered eternity, inevitably regrets time. The desire to flee from time is found only in people ill with time, people who are tied too strongly by the bonds of fleeting moments. Redemption is such an inconsistent aspiration because of the regret experienced by those who are after the joys, surprises, and tragedies that the world, which lives and dies in the meanwhile, has to offer. If there is a temporal pressure, there is also, none the smaller, an infinity pressure.". The absorbing damned piano stroking keep the tension up while the same devilish voice which dubbed Horus in the above-mentioned track recite "Indra (God of Storm and Battle)" by Gustav Holst, whose "Vedic Hymns" have been reprised in the following track, "Storm Clouds" (my favorite one), where heartbreaking anguished cries on a moving piano looping melody and Troy Schafer's suspensive violin are going to rise listener's emotional pathos, as well as in the following "Go Crystal Tears", orignally included in his previously release with Zola Jesus together with the final track "Temple Of The Flood", based on a song by John Dowland, a meaningful entreaty against some woman's indurate heart, "whose frozen rigour like forgetful Death / Feels never any touch of my desert:/ Yet sighs and tears to her I sacrifice,/Both from a spotless heart and patient eyes", whose genuine interpretation by Clay Ruby is really astonishing.

Diatribes/Abdul Moimeme/Nuno Torres/Eduardo Chagas/Ernesto Rodrigues: Brume

 Posted by Vito Camarretta (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Jun 27 2012
On the occasion of the remarkable goal of the 200th release, Creative Sources label manager Ernesto Rodrigues propose the result of an artistic partnership, recorded in Lisbon on 6th February 2011, between some regular collaborators of the label - Nuno Torres (alto saxophone), Eduardo Chagas (trombone), Abdul Moimeme (prepared guitars) and himself on viola - and the synaesthetic electroacoustic Swiss project Diatribes, whose aim according to the intent of their heads, talented drummer Cyril Bondi and experimental noise artist Laurent Peter aka D'incise materializes in a sound where construction and deconstruction run side by side. During its five long-lasting tracks, Brume (French word for "fog") unravels intriguing sonic skeims, where different instrumental voices come before a sonic space which looks like wooly, mysterious, somewhat sinister and saturated by an electronic undercurrent, an authentic sonic thich fog where different elements seem to play hide-and-seek, so that they're not easy to be recognized due to extended techniques applied on them, whereas recording of objects by D'incise sounds particularly enthralling and plays a central role in the recording - not only because he finally gave a certain musical worthiness to plastic bubble wrap, whose typical popping sound after compression and rupture appears in the middle of the second track! - as it's likewise enthralling the way different voices become gradually amalgamated by a sort of ever-growing gelatin like they explicate a kind of acoustic polysyndeton.

S/S Motsol: Parallel Pleasures

 Posted by Vito Camarretta (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Jun 26 2012
Artist: S/S Motsol (@)
Title: Parallel Pleasures
Format: CD
Label: Creative Sources (@)
Rated: *****
S/S Motsol is an experimental ensemble born from the creative flair of a couple of Norwegian tightrope walkers, Stale Liavik Solberg on drums and percussion and the funny vocalist Stine Janvin Motland - the name of their project arguably derives from a combination of their names and surnames -, who decided to draft a number of other skilled musicians from Oslo and Stavanger improvisational lairs for this collection of ten untitled stunts. After the first track where Solberg and Motland interplay on stunning expressive thresholds - it's really astonishing Motland's vocal metamorphosis when she let jog her uvula ranging from neurotic hiccups and obsessive syllabling to stinging squeaks - and three abstract digressions when they let slide guest musicians on the sly, waves start to ripple on the fifth track when it seems that Motland's chocking shouts have been caused by her "fight" with the first instrumental storm by horn players, led by Nils Henrik Asheim's piano, whereas the sixth track sounds like the moment where all fighters try to soothe wounds and maiming with overstretched horns and melting laments and the seventh track like a gradual rehabilitation before the final astonishing battle, so that in the eight track Solberg's ticking drums caparisons Klaus Ellerhusen Holm's alto sax, Asheim's piano and Per Zanussi's bass before the last explosive sonic combat. Such a listening experience couldn't be but gripping!

Richard Barrett & Han-Earl Park: Numbers

 Posted by Vito Camarretta (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Jun 25 2012
Artist: Richard Barrett & Han-Earl Park (@)
Title: Numbers
Format: CD
Label: Creative Sources (@)
Rated: *****
You can easily imagine an accountant, a computer expert or an operational researcher in the act of falling prey of frightening hallucinations after a session of intensive work on numerical models, impressive balance sheets or other number-covered screed and their colossal equations or string while getting turned into ominous entities which paralyze their own maker in order to obsess, harass and torture him till death while listening to this amazing and fuzzy release by Welsh electronic musician and performer Richard Barrett (some well-trained listeners could know his collaborative project FURT with Paul Obermayer as well as his work within the Elision Ensemble) and guitarist, improviser and very talented performer Han-Earl Park. By means of an intricate web of sonic hiccups, scrapes, scouring, gluts, gargles and cuts, they build an acoustic lucid computational delirium, whose trajectory is impossible to outguess. Track titles ("tolur", "tricav", "ankpla", "uettet", "creens", "11......" have been taken from the final section of the below-mentioned poem) but arguably its bizarre performative approach as well, have been inspired by same titled extended poem by defiant English poet Simon Howard, first published as a digital issue on Mark Cobley's blog The Red Ceilings and then on paper by The Knives Forks And Spoons Press.

Svart1/Raimondo Gaviano: Praha

 Posted by Arnaldo Pontis (@)   Industrial Noise / Power Noise / Harsh Noise
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Jun 25 2012
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Artist: Svart1/Raimondo Gaviano (@)
Title: Praha
Format: CD
Label: Mrtvaja Records (@)
Rated: *****
SVART1 is the pseudonym of Raimondo Gaviano, an Italian musician who lives and works in Sardinia. The title of his latest work that I present today is Praha.
Svart1 is a representative member of best music scene into this big island of Sardinia, located at the center of Mediterranean Sea, which has especially into experimental grey-area and around the electronic music, some known musicians and also many followers and fans.
This last work of Svart1, titled Praha, is a limited edition CD produced by a non-Italian label, the Mrtvaja Records, a small and independent Bosnian label, born in 2009. The Mrtvaja label produces really fine limited editions of works of experimental electronic and electro-acoustic music. Svart1, in this case, works for Mrtvaja Records but hi has realized various productions for others independent labels and also more self-realised productions. All the discograpy is visible on his personal website. Svart1 during his career have also many collaborations with other artists of the Italian and European electronic scene.
Gaviano, as I said earlier, working in Sardinia like many other electronic musicians his countrymen and also for this reason is really used to have a necessary great productive autonomy and often also move beyond the narrow confines of this island to interweave many contacts and collaborations with others musicians who working overseas.

This work Praha is an example of this easy "way of life" to migrate overseas for Sardinian artists. Praha contains a recent live of Svart1 recording in Prague (at the Cafe V Lese during March 2012 for an event organized by Arkham Productions (
The Arkham is one of the most renowned cultural promotion agencies of that city and, on the same occasion, also the Czeck artists of the Seismic Wave Factory performed a live with the VJ's of the Fuck TV project (you can found some infos about those projects on

This album Praha is a very good work for me. And his tracks are a perfect testimony of the genuine and sincere approach to the electronic music of our Svart1. A careful listening to this record reveals very positive for the mind as a persuasive mantra, at times more hypnotic, familiar and comfortable for discerning ears as a carpet of self-constructed rhythms that are never predictable or consistent.
For example, into the opening track, an audio sample of a simple running sewing machine turns into a cyclic pre-apocalyptic drone portends an impending flood. And all the work is a successful and enjoyable example of the best minimal noise with grafts of electronic ambient that are always expertly blended to work together without any mannerism.

A great job so this Praha, which I recommend, however, to hear before a random search on Youtube videos work by Svart1/Raimondo. Because the artistic research of Raymond Gaviano is never just or only music. And for this reason surely a single CD audio is not able to give a full idea of his works. For those, like me, who knows and follows it from many years it is difficult to separate these two aspects of sound and video image which, in this case, are always intimately linked.
The self-produced video by Raimondo Gaviano, run behind him during his live performances and are little masterpieces. Each concert, for the spectator, is indeed a beautiful multi-sensorial experience that is based on the close union between music and the video processing of extreme or dreamlike images that emphasize and amplify fueling our imagination in a growing fact of endless cinematographic references and citations.

Finally i recommend also you to not stop only at this album Praha, last work of Svart1/Raimondo Gaviano, because I hope, after this review, please you to go on the net, for a search around his other works.
Because Svart1 is a complete artist. A good electronic musician but also a great video maker and a fantastic manipulator of digital images. The post-industrial atmospheres that his work created for us, by masterly use of a thin, black and white very dry, or with a color change into a soft focus often dissolving in a strong light and dark, thwarted and diverted, are the best description possible of the ruined worlds that surrounds us and surrounding our post-industrial way of feeling this strange modern life. You have to see the work of Svart1 not just listen.

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