Music Reviews



GIANLUCA BECUZZI : eternally now

 Posted by Andrea Ferraris (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Dec 08 2011
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Artist: GIANLUCA BECUZZI
Title: eternally now
Format: CD
Label: Lisca (@)
Rated: *****
The eternal return of Gianluca Becuzzi, right after a solo tape for the Silentes Tapestry collection and a new Grey History release here we go with a new full length." Eternally now" comes out on Lisca records, this young italian label now has a catalogue with a good number of interesting releases, they produce mostly electronic and experimental music and they slowly got my attention with what they've put out so far. Somehow this new solo release by Becuzzi has brought my mind back to his Kinetix days, but this man hailing from Tuscany beside developing his own personal style has evolved considerably, I think his many collaborations with Fabio Orsi have been fruitful in terms of musical evolution. Let's say Becuzzi has rediscovered his own roots, sure he's not left his electronic contemporary style back home, but you can bet these five tracks have that same feel he has on the Silentes tape even if we're speaking about two different works. While on the tape he was working on something heavier and way more tribal, here Becuzzi opts for something more dilated, he also gives the impression this music you're listening to is coming from afar. Some reverbed metallic percussions/sounds, some electronic sounds, a "distant menace" but its slowly approaching. Becuzzi's industrial background is imbuing everything in an interesting way: "lost in an industrial forest...while somebody is coming to get ya!".

Erik Carlsson: The Bird and The Giant

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Dec 07 2011
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Artist: Erik Carlsson
Title: The Bird and The Giant
Format: CD
Label: Creative Sources (@)
Rated: *****
A provision of subdued delayed bells, sporadic metallic clanging and other percussive muted tolls blended together with a sort of abyssal breathe, arguably derived from the echo of the mentioned bells, which could infer imagination into an almost motionless percussive performer, hitting its instruments while braving the stronf friction by some dense liquid from the bottom of a pool, and quite close to the music which normally accompanies Buddhist or Shintoist rites, of the track wisely titled "Could be emotional" introduce the listener to the second solo album by the talented Swedish percussionist Erik Carlsson. Its interesting experimental appeal travels through different directions: whereas the second track "Heavy rest" shows a more concrete approach - it's funny to imagine Erik playing pinball with his sticks on wooden and metallic percussions -, on the following one "Hope, perhaps feelings" there's another immersion in that kind of sound dilations he arguably manages to record with the support of a multitrack bowing sonorities with that slightly hypnotical suppleness which is going to intrigue the listener. That ritual dimension looks likehaving been reprised in "The dead spirit" where an entrancing crystalline labyrinth of clicks, tolls and drop-like hiccups aregoing to bring the listener into an imaginary cave rich f brightful charmstones. Some sinister white noises or radio frequncies interceptions begin the fifth track "Something else somewhere", where Erik climbs the steepest experimental peaks by subdividing his "subject matter" into microtonal impulses which give the idea of some transmission of a parallel and unknown universe, a rarefaction which reaches its apex in the sixth hidden track and arguably in the heavy breath (sounding more like a snoring with occasional disquieting high frequencies) keeping it separate from the rest of the recording. Highly reccomended listening!

Ogni Videniy: Tajushie

 Posted by Steve Mecca   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Dec 04 2011
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Artist: Ogni Videniy (@)
Title: Tajushie
Format: CD
Label: Vetvei (@)
Rated: *****
Last review of the slew of releases received from the Russian Vetvei label (no particular reason it's last; it just worked out that way) is Ogni Videniy's 'Tajushie'. My first experience with Ogni Videniy was on '2137', a collaboration with Six Dead Bulgarians. Although along the same acoustic-ambient lines, this album is quite different. It consists of a single piece only seconds over a half-hour in length. The basic elements used are singing bowls, bells, wind chimes and field recordings of water- lapping, noise washes, etc. There is also some use of voice and other minor unidentified acoustic sounds.

Remember (if you're old enough) those 'Environments' series of LPs from the 1970's? There was one called 'Wood-Masted Sailboat' and there is a degree of similarity in this recording. Throughout the piece you feel like you're afloat, and the bowls/chimes/bells give the impression of a boat's bell or buoy sounding quietly in a gentle wind. Other sounds give the impression of creaking wood or (possible) shipboard nautical activities in places. Still, it has a surreal rather than the realistic quality of the Environments LP, which was an actual recording of a boat on the water. 'Tajushie' is much more open to interpretation, but there is no doubt that this is an aquatic-based ambience, and a relatively calm one at that. There is not the variety of sonics or form that was on Ogni Videniy's '2137' collaboration, but then I don't believe this was intended to explore those regions. The subtlety makes up for it though, and you'll probably find yourself discovering new sounds within the piece you didn't notice at first. It's a nice pleasant trip; perhaps the antidote to land-locked moods. Another Vetvei release packaged in a colorful abstract 6-panel artwork by Vresnit.

Altenburger, Blondy, Gauguet: Vers l'Ile Paresseuse

 Posted by Vito Camarretta (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Dec 02 2011
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Artist: Altenburger, Blondy, Gauguet (@)
Title: Vers l'Ile Paresseuse
Format: CD
Label: Creative Sources (@)
Rated: *****
In spite of its peculiar transgression against canonical academic rules and standards, improvisational music, particularly when performed by a group of musicians, entails a certain harmony between performers. It's quite clear since the first minutes of this recording that the blending between Bertrand Gauguet (alto and soprano saxophone), Frederic Blondy (piano) and Martine Altenburger (cello) is not only working, but it borders on the mystical. Such an amalgamation has been fostered by the fact Blondy and Gauguet know each other quite well, but it's astonishing Altenburger's cello manages to work as a glue while the sound bursting out from this combo rolls on, showing a great sensitivity and a noteworthy versatility - I particularly enjoyed the moments when her cello "wedges" itself into the bold experiments with breathe by Bertrand and obsessive and tenebrous hitting on very low tone's key by Frederic such as in the lovely "Dans les plis du vent" and those ones when she produces funny sounds through cello, which looks like a whistling tea kettle or a creaking door here and there -. In the initial track "La montagne ne porte pas le nuages", the rendering could sound quite fragmentary, but you will notice there's a gradual rising of tension: they reach some dramatic peaks adding layers and layers by following an imaginary disjointed path, during which the performers look like refining their "dialogue" in sketches which could be thought as frames of the same scene, till some brief moments when their instrument abruptly erupt. Beyond the technical aspect - arguably most of listenrs are going to enjoy Gauguet's and Altenburger's as the "presence" of Blondy's piano has mainly the role to set the general tone, a difficult task, which has been accomplished by the musician -, what is remarkable of this combo is their cinematic skills as they are able to describe a sort of spontaneus journey towards an imaginary lonely dimension througout absorbing changes of mood, cromatic mutations kust like a poetry whose delicacy can easily turn into something abrasive by using a musical language which often sounds skeletal despite its erraticism.

Joe Williamson: Hoard

 Posted by Vito Camarretta (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Nov 30 2011
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Artist: Joe Williamson (@)
Title: Hoard
Format: CD
Label: Creative Sources (@)
Rated: *****
Both the portrait this Canadian doublebass player picked up in order to introduce his release and his eccentric way of playing his plumbeous instrument could suggest Joe Williamson's sound could really be considered as post-industrial: on one side a pile of scrap-iron mainly made up of a plenty of trashed appliances such as washing-machines, air conditioners, stoves, microwave ovens, an artificial mountain which can be considered as the most visible impact on landscape (not only physical, but also cultural) inherited from the agonizing consumeristic era based on serial industrial production, on the other side a musical simulacrum, the one rendered by Williamson (now residing in Stockholm), whose sound seems to be reduced to a heap of debris. The way he plays the doublebass, based on the overpressure of the bow and arguably on vertical scratching of the strings and extended dwelling on arch passages, as well as the way he recorded this 2-(very long)tracks album, whose powerful vibrations have been grabbed thanks to the placement of the microphone very close to the instrument, results into an astonishing sound, giving the idea of a perpetual shrivelling, an endless crumpling of an undefined material, whose shape can be continuosly transformed, but not perished at all. While the first anthem, wisely titled "Inadvertent Attraction of Suspicion", sounds like a vortical intertwining of nerves and rubbles, the title-track could be similar to something between a noisy grumbling and an irritating snoring. In order to appreciate this bizarre recording, forget melody and rhythm and focus on texture and sound and you will agree with me when I say Hoard could be considered as the final and very sensual result of a process, where the words "destruction" and "creation" become synonymous just in order to bow to necessity!


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