Music Reviews



Zu: Carboniferous

 Posted by Marc Urselli   Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Jun 13 2009
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Artist: Zu (@)
Title: Carboniferous
Format: CD
Label: Ipecac recordings (@)
Rated: *****
Zu is one of the most interesting bands to come out of Italy in a long long time. A baritone saxophone player, a bass player and a drummer who also does electronics and Mellotron, is the Rome-based personnel who fuel the fire that burns within Zu, with a flame so high that even even Mr. Bungle/Fantomas' Mike Patton and Melvins' King Buzzo have taken notice and lend their talents and abilities to "Carboniferous" (along with a bunch of other local collaborators). Zu has also previously collaborated with Damo Suzuki, Thurston Moore, Mats Gustafsson, Guy Picciotto, Jim O'Rourke, Eugene Chadbourne, No Means No, Karate and many more, so obviously they understand the importance of exposure and cross-pollination, which is something their music thrives on, is full of and is based on. "Carboniferous" (released on Patton's label Ipecac) is equal parts heavy metal, avantgarde jazz, industrial experimental music. The sheer fury and sonic assault of the rhythm section reminds of Neurosis, Zorn's Moonchild/Crucible, Melvins or even Sepultura at times but the addition of the deeply resonating bari really takes this to a place where no one has (or very few have) gone before. Obviously when the sax whales and screams incessantly it's hard not to think of Zorn's amazing playing, but then when it blends in as part of the overall mood or of the percussive patterns it almost sounds a little bit like Lou Reed's latest incarnation of the Metal Machine Trio. Needless to say the pieces where Patton lends his voice are incredibly powerful and anthemic (in the first of the two he screams Moonchild/Crucible style but in the closing piece of the CD he growls and regurgitates and even manages to sound like a cross between a didgeridoo and a tuvan throat singer).
Overall I love this record. It is different from what's out there, diverse within, powerful and aggressive but innovative and interesting at the same time. Highly recommended if you like extreme stuff that's out there and yet lets you do some head banging!

YUMMA-RE: EDEN

 Posted by Mariano Equizzi (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Jun 13 2009
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Artist: YUMMA-RE
Title: EDEN
Format: CD
Label: MY KINGDOM MUSIC (@)
Distributor: AUDIOGLOBE
Rated: *****
YUMMA-RE are the new ADD N To X but more organic-rock-based, we can hear inside Talking Heads, King Crimsom with a female approach, for sure inside their art there is nothing of USUAL and COMMON, these kind of concept are banned in this great project. Yumma-Re are Portished with the sense of irony of Talking Heads and the acid style of ADD N To X: Yumma-Re is pure Genius! The artistic path they follow seems driven by the god of Chaos in person, and I confess that I like it. Every track is a remix of the track itself with at least 5-6 genre!!! This work is an experience difficult to explain and it's something really nice to hear. It's a STRAY kind of music that is not only played is a challenge for the listener to feel all the musical sensations YUMMA-RE plays with and in the same time is vital, is not a menaceful of obscure, it is music perfect for a noir film based in Mexico or in a place where there are no limits for excess. The last track, a sort of PALOMA under LSD is a master piece of "cruelty" :) They soar among JAZZ, New Wave, Electronic, Glitch they are sons of the modern sound engineering and in the same time they seem to surf on you tube in a lysergic state. This band is really something new and powerful, they are put in their art the messy culture we live; they make a zapping with music and styles; and I think that are more more more funny than Portished. Plus they are Italian: congratulations ragazzi!

LAMBURG TONY: Hip Hop Nation

 Posted by Mariano Equizzi (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Jun 13 2009
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Artist: LAMBURG TONY
Title: Hip Hop Nation
Format: 12"
Label: ESCHO (@)
Rated: *****
That's JAZZ a new "new" thing and I think that this very interesting artist did not think about his art in this way. In the press release they are talking about DANCE, exotic and poetic dance tracks. Never MIND! That's pure free jazz and I love it because Lamburg's music is built up with an approach really ""naive"" but esoteric. Indeed this electric jazz musician instead to use Ableton Live and other hype software uses: SONY TC 129 analog tape recorder (I am a collector of this kind of Tools and I can understand this choice), an old Aptiva with Win95' (!) and a DOS music software Scream Tracker3 (!!!!). Lamburg Tony records on tape flutes, bells, pianos and toys and then uses this analog sound in his composition. The result is brilliant, breakbeat-like, schizophrenic and definitely ORB Style a sort of naive version of Bitches Brew something more near to the new thing of Jazz of the 60ies than electronic dance music. Best track: the third! This is not music for club is music to write a strange sci fi book like those written by William S. Burroughs, I suggest to Lamburg Tony a next step : to cut up analog tapes like WSB did it and in this way He inspired even the great Ornette Coleman. Lamburg please, don't stop this trend and let's hear the giant of Free Jazz you are in that tradition, follow it better and better and tag along this analog adrift, leave Ableton LIVE to the samples maniacs.

BLEEDING HEART NARRATIVE: All That Was Missing We Never Had In The World

 Posted by Maurizio Pustianaz (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
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Jun 11 2009
cover
Artist: BLEEDING HEART NARRATIVE
Title: All That Was Missing We Never Had In The World
Format: CD
Label: Cold Spring Records (@)
Rated: *****
Originally released the last year on Tartaruga Records, ALL THAT WAS MISSING WE NEVER HAD IN THE WORLD, is the debut album by Oliver Barret's project Bleeding Heart Narrative. The twelve tracks of the release (on this Cold Spring reissue there's a short bonus track titled "Blueskyward") are in balance from orchestral noise rock, psychedelia, power noise (see the distorted orchestral opening tune "Bhn") and chamber shoegazing. Composed mainly by several layers of piano and strings filtered through reverb, the tracks are able to create moments where melancholia and a particular kind of romanticism are mixed. See for example "Black glass", where piano and melodic vocals form a proper song where sounds seem to come from another world. Listening to ALL THAT WAS MISSING WE NEVER HAD IN THE WORLD I have the same feeling I had listening to Slint records where tension and despair blend. Have you ever realized what kind of sound could produce a breaking tendon? I think this album is the answer...

STEPHEN FLINN : architect of adversity

 Posted by Andrea Ferraris (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Jun 10 2009
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Artist: STEPHEN FLINN (@)
Title: architect of adversity
Format: CD
Label: Creative Sources (@)
Rated: *****
A drummer and a percussionist here, I've never heard any recording of mr. Flinn before and honestly I find his style is really interesting. This cd features a collection of short recordings where Flinn shows while having his own approach he can give us a varied series of compositions. I dunno if he's worked on the post-production or he managed to put effects on while performing this music live in studio (I mean if he has used electronics or analog-acoustical interventions), by the way while showing he's not too far from many electro-acoustic releases on the same label, he has created his own personal voice. Here and there I got the impression it was some sort of contained Chris Cutler, but beside this impression the corpus of the whole work is quite far from Cutler and presents a diverse assortment of scrawls. You pass from electro-acoustic short rides to bass drums, from metal sounds to scratched squeaking sounds and furthermore you have bells, brushes, cymbals, drums, hand-percussions, chains, toys, compression springs and a variety of things he also portrayed in the picture he put on the front cover. I think he's been really smart in editing tracks this way and in giving us just the best portion of these short performances, I also assume he's also pondered meticulously the tracklist infact you have tone and atmosphere changes from track to track. When working with bass percussions he goes really close to some contemporary classic drumming but in the rest of the recording you have that ludic approach you also have with other smart heterogeneous drummers like Francesco Cusa or Mirko Sabatini and that's great since it shows beside being serious experimental/improvised music it can also be ironic, on the other hand it shows a genuine interest for sounds including ordinary objects, everyday things and so on. Probably who's into contemporary experimental drumming and percussionism may say Flinn follows the footsteps of many musicians approaching "percussions" in a different way, I can simply reply even if it's true, after having listened a ton of recordings like this, in a few seconds you can't but notice he's both style and good taste for musical solutions.




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