Music Reviews



Koji Asano: Polar Parliament

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (6898)
Feb 28 2012
cover
Artist: Koji Asano (@)
Title: Polar Parliament
Format: CD
Label: Solstice
Rated: *****
As I said while reviewing "Solstice Eclipse", a title who can be misinterpreted as a possible elegant way to wriggle out of the scene, Koji Asano's game is not over at all and "Polar Parliament", his 46th release, is the best proof this fecund Japanese sound artist could produce. I could say Koji looks like having polarized this release not only as he splitted it into two very long drones, so that setting two opposite polarities, but it seems that these two drones have different physical-chemical properties so that someone could imagine he carried out a rheological experiment or a sort of electrophoresis on his sound-machine's viscous exudates. The first drone has been built on tiny variations of a single sound, which could remind some listeners of their recent scaling and root planing to remove plaque from teeth, as it's similar to the sound produced by an energic brushing on teeth but it could also be associated to different images such a strong pressure during a convulsive drawing with a pencil on a sheet of paper or deposit removal from water pipes by acids; such an hypnotic sonic homogeneity has been just occasionally broken by extrusions which sound like surfacing this corrosive stream. The second movement features bubbling liquid sounds, which rises trepidation of listening experience till the moment when after some hits which are similar to the noise of locked doors they are transformed into something close to effected train chuffs or helicopter's blades, so that its dynamics are aybe more catching than the ones in the first movement. "Polar Parliament" could be interpreted in a different way as well, as suggested by some clues of the release: many reviewers had some troubles in explaining the choice to put the wheels of a garbage bin on the cover artwork as well as the one to enclose a packet of kleenex with a sized portrait of Mr.Asano inside. A possible explanation could be based on some references to the urban riots occurring in reaction to the way some governments controlled by bankers opted to afford financial, economical and social crysis and consequent "polarization" of societies so that those garbage bins could refer to the typical way protesters use to build barricades and that packet of kleenex an help by Koji against tear gas!

Marjolaine Charbin - Frans Van Isacker: Kryscraft

 Posted by Vito Camarretta (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (6892)
Feb 27 2012
cover
Artist: Marjolaine Charbin - Frans Van Isacker (@)
Title: Kryscraft
Format: CD
Label: Creative Sources (@)
Rated: *****
It seems the listening space gradually takes on a dark grey hue in the first track, where tonal tumbles on keys of Marjolaine Charbin's prepared piano, broken by sudden piercing musical syllabes and high-pitched stridor by Frans Van Isacker's alto saxophone and violent hysterical outbreaks on piano as well as pauses where silence seems to be violated by sibilating sonic veils, till the moment when all voices sound like getting dumb and swallowed up by a bubble of silence. The listening experience these Belgian improvisational musicians build looks like centered on tenuous modulations of noises, which are close to the threshold of imperceptibility just like a stifled emotions whose repression can turn it in a deafaning shriek, which manages to talk to the listener and stimulating its imagination through intriguing and somewhat disquieting gauges of asphyxiating noises, sounds and silences in plaster. Some recordings seem to mirror and report a kind of sleep disorder as suggested by some sonic clues, such as the confused nightmare evoked by piano dissonance and a breathe close to the one of a strong snoring in the fourth track or the squeaking not so dissimilar from the one made by some rusty links of a bed base in the third track. Even if it sometimes could sound too odd and clumsy, Kryscraft includes many really immersive and interesting cues.

Hoarfrost: Puppets Of The Divine Coroner

 Posted by Andrea Piran (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (6891)
Feb 26 2012
cover
Artist: Hoarfrost
Title: Puppets Of The Divine Coroner
Format: CD
Label: Zoharum (@)
Rated: *****
Almost oddly enough the linear notes, readable at the artist's website, instead of the usual words about how the record is made is a long reflection on human condition in modern times. These words sounds as the offscreen voice in some films, a way to further explain the message underneath the development of the work.
An old woman chant introduce the listener to "Homo Sacer" when suddenly the ritual beats and the soundscape set the overall mood of the track. "Prisoner Of The Present Time", the chosen track for the video included in this cd, is constricted as a recording from some strange movie using some found vocal in a meaningful way. "In An Endless Progress" is made out of strange noises that evolve in search of some kind of rest while "Neurotic Necropolises", the longest track of this release, relies in more descriptive territories with spoken words sounding as a confession. "Swoosh Of An Epithelium" is evocative in his search of an oppressive mood above some kind of mechanical samples. "Dies Irae" seems reprising the introducing chant of the first track as to close a circle in this desolate view of modern society.
Even if there's nothing really new in this musical output, the coherence of the construction of this record gives the impression of a really conceived work and this is not an usual thing those day. It worths a listen for all dark ambient fans.

Abdul Moimeme & Ricardo Guerreiro: Khettahu

 Posted by Vito Camarretta (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (6868)
Feb 17 2012
cover
Artist: Abdul Moimeme & Ricardo Guerreiro (@)
Title: Khettahu
Format: CD
Label: Creative Sources (@)
Rated: *****
The performative approach this duo made up of by Portuguese guitarist Abdul Moimeme and electroacoustic composer Ricardo Guerreiro on this recording is somewhat atypical even if it's not totally new: it's based on the temporal postponement of the two performers, as Ricardo's machines treat (or I'd better say they swallow, partially digest and then spit out) what they grab from Abdul's timbrical digressions on his two electric prepared guitar, which he manages to play simultaneously, so that it seems they hold a sonic dialogue where they fill the listener's space and change the setting in a very funny way without breaking the rules of improvisational music (I sometimes prefer to call them precepts!), as this performance was entirely recorded during one session in Namouche Studios in Lisboa on 19th June 2010. Workout's result is really remarkable, a circumstance which might be explained by reciprocal musical deep understanding, an important help to the blending of their trades... Therefore I should not be impressed by the balanced dosage of digital and analog, as computer "voice" is never intrusive or untimely even when Guerreiro manages to unfold sonic plots in a more distinguashable or when he manages to blunt geometries evoked by the sinister squeking of some guitar clips, plane or alternatively sharp metallic extrusions, nebulize pulse after pulse more stressed streaks, before finding refuge in the silent protection of something close to white noises, so that it sometimes looks like seize some Abdulìs thunder by the hair in order to let them reach some harshness without getting too cacophonic. A listening experience to be tried!

Plaster: Platforms

 Posted by Vito Camarretta (@)   Industrial Noise / Power Noise / Harsh Noise
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
 Edit (6866)
Feb 16 2012
cover
Artist: Plaster (@)
Title: Platforms
Format: CD
Label: Kvitnu (@)
Rated: *****
Another very good release delivered by postman in a packet with Ukranian stamps from Kvitnu, the industrious label by greatly respected artist Zavoloka bears the signature of Plaster, bicephalous electronic freak born from two skilled Italian sound forgers, Giuseppe Carlini and Giancarlo Hashem Moniri, whose headquarters are in the chaotic Rome, a metropolis where there are the best conditions for electronic musicians' inspiration (alienation, sociopathies and a rich sample collection of behaviourial disorders and mental diseases, multiculturalism, contradictions, impressive cultural and social asymmetries, urban brutal landscapes, human feelings' slaughterhouses and so on), but where there're just some small hotbeds for electronic music, which are still too small to be considered as a scene. In spite of such a situation, Rome sometimes delivers some very interesting stuff (I could mention Lory D, D'Arcangelo brothers, DSP recordings for instance...and some of you knows some of them reached important goals such as signature with legendary labels like Rephlex) and Plaster could reasonably be considered one welcome gift from that scene. The method they use in order to assemble their electromechanical structures seems to be more or less the same for each track as Plaster like gradual ascensional progression according to a compositional scheme based on the crossbreed of deep bass tones (looking like a mechanical unlabored ventilation, a sort of robotic eupnea, or an involuntary muscle contraction...) with subtle, cinematic and more or less highlighted sonic swarm, reminding to me the style of projects such as Autechre (many click'n'bleeps whirls recalled to my mind their masterpiece Tri Repetae), Hecq, Ltd.Noise or Denny Almonde, a scheme which seduced many notorious bands as well (Depeche Mode, Young Gods, Nine Inch Nails and so on), overloading speakers till peaks of saturation. Sometimes they depart from crystalline sounds, but instead of cleansing frequencies it seems they like to zoom on impurities, so that if you follow the progression of a bass tone, listeners could almost renderize its gradual indentation, especially in tracks like "Rearline", "Component" and "Double Connection" (a track where Christina Gasparetto interprets a sentence taken from "The Power of Now" by Eckhart Tolle). The conceptual framework explaining the title (Platforms) they have chosen refers to a mental journey through the flow of music, where each track turns into a sort of platform, i.e. a point where listeners can stop or start again and again like in life through routes, with large or narrow corridors, obstacles, blurred visions, confusing or neat directions and so on. A nice way to describe their release, but I'm sure many listeners will appreciate it without embracing such a perspective. The Cd has been enhanced with the inclusion of a videoclip by David Terranova, titled "Lydia K", looking like the vision of a dancer who gradually lose the perception of space. I warmly reccomend Plaster's sonic prophylaxis as well as I could reccomend to pay attention when pulling cd out from its card package!


Search All Reviews:
[ Advanced Search ]

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