Music Reviews



Standgericht: Achtung Disko

 Posted by Marc Tater (@)   Electronics / EBM / Electronica
Industrial Noise / Power Noise / Harsh Noise
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Apr 10 2008
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Artist: Standgericht (@)
Title: Achtung Disko
Format: CD
Label: SkullLine (@)
Distributor: SkullLine
Rated: *****
Although using several German words and names, here comes a release of a UK-based duo now signed to the German mail order service SkullLine. STANDGERICHT offer us a very rhythmically oriented piece of electronic music, they like to integrate old-school EBM ideas with classic Powernoise/Industrial-driven percussive elements. Almost every track on this album moves merciless forward with a strong "Alle Gegen Alle"-EBM-attitude, accomplished with some voice-samples and multiple rhythm pattern programmings. Of course, an obvious inspiration by some militaristic works and impressions documented through several marching beats, sirens, explosion or orders of drill instructors get several insertions too. Here and there it sounds a bit like if early DIVE would meet LAIBACH for a jam session after having consumed some drugs ("Recycled Life"). A small doze of humor is featured as well with the track "We Steal Die Ananas" – although dangerous to rely and sample a legend like a;GRUMH... Please note also the pure EBM-like hidden bonus track. This album means pure entertainment if you have a heart for some retro and veteran-like stuff. Since also this item will be strictly limited, I like to advise to hurry up to purchase it directly from the source.

Kadaver: Running with Scissors

 Posted by Marc Tater (@)   Industrial Noise / Power Noise / Harsh Noise
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Apr 10 2008
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Artist: Kadaver (@)
Title: Running with Scissors
Format: CD
Label: SkullLine (@)
Distributor: SkullLine
Rated: *****
The label release output of Germany’s mail order specialist when it comes to purchase rarities out of the rather experimental music styles, the Augsburg-based SkullLine, has grown during the last few months enormously. It seems that there must be an audience which purchases the mostly strictly limited releases, which all get released in special art and packages. A new addition to the stable is KADARVER, a project cosisting out of the Israel-based musician Michael Zolotov.
The presented music is a sort of Harsh Noise and Power-Electronics, some rminiscences to some Cold Meat-Industry works and to some Japanese Noise-artists like MASONNA for example seem to be intended. This album offers 9 tracks and 45 minutes of torturing and static noise, rhythmically insertions got mostly left out. It’s a bit hard to find in between the walls of noise something like a corsage which could press and integrate a sort of structure into this uncontrollable Noise chaos. A release only designed for supporters of the purest noise assaults and nothing at all for the fainthearted.

Objekt 4: Shades Of Night

 Posted by Marc Tater (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Apr 10 2008
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Artist: Objekt 4
Title: Shades Of Night
Format: CD
Label: Bugs Crawling Out Of People (@)
Distributor: ant-zen
Rated: *****
A new release by this known Ambient-artist, which at least got released under the collaboration of the 4 different labels Sabbathid Records, Basilisk Productions, Regimental Records and Bugs Crawling Out Of People. Since Bugs Crawling did mail out this promotional item I therefore like to refer on their contact to purchase this item – which is a strange one for the normally-diving-into-the-harsh-Powernoise-genre related Bugs Crawling-label. OBJEKT 4 creates musically ambience with cinematic and static layer sounds, several field recording elements and sounds of the daily life. 5 tracks are on here, which at least come on more than 53 minutes playing time, this documents the length of each track. "Spirits Of Soil And Sea" is available in two different versions. You’ll get the fog horns of a far away based ship, while the birds, winds and the usual sound of a natural field recording creates an own melody. Well, this is stuff for people who like to sink in and who are able to switch off all stress and hectic which comes in all days. Quite to Experimental-minded, I’ll miss some toughness and a break out of the endless repetitions

DUBOC, PERRAUD : etau

 Posted by Andrea Ferraris (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Apr 10 2008
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Artist: DUBOC, PERRAUD (@)
Title: etau
Format: CD
Label: Creative Sources (@)
Rated: *****
The last release I’ve been reviewing was a drum plus drum recording, following next is another rhythm section, but the sound and the global result of the combination is considerably different. First off this time the duo is based on drum and bass and differently from Field and Babel it’s not rhythmic music and is also far from pulsing solutions: Duboc’s and Perraud’s favorite game is to twist and shape the atmospheres. By some means the the two twenty minutes long suites featured on this cd revive the spirit of some of my favorite ensembles like Gruppo di Nuova Consonanza, AMM and more recently Civil War, I’m saying that since despite working on "free" improvisation (even if the term for the first two projects was/is really reductive) they had a contemporary classic, avant-garde approach that brought them to play something really out of time. The style of Perraud in particular reminds me of unbeatable Eddie Prevost and obviously some of his best tricks with cymbals, skins, ghost drumming and the "no sound is innocent" philosophy. It’s real, if you pay attention to it, their music is quite clear and outspoken regarding the fact they care really much about every single sound beaten, bowed, played on the record; they "play the room" following the rule number one in the bible the majority of improvisers worship, and they’re doing it really well. Ghostly moods, retained waiting games in order to explore the composition in a patient way, sound after sound everything has to come to surface and take for granted it will surface like a dead body whose lungs are still full of air. The main difference between the first and the second part of the cd is that in the second composition when they decide to play, they go for steady interventions, with that I don’t mean they sound better or more powerfully built, I just wonna say the work sounds in a less ethereal way and they counterpoint silence with more firm playing if compared to the first of the two tracks.

FIELD, BABEL : 50 ballets

 Posted by Andrea Ferraris (@)   Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Apr 09 2008
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Artist: FIELD, BABEL
Title: 50 ballets
Format: CD
Label: Creative Sources (@)
Rated: *****
Drums and percussion plus drums and percussion equals... a percussive recording and you don’t have to be a genius to imagine the result, but wait, it’s hard to believe how good this record sounds if you haven’t given it the careful listening it requires. I’ve no doubt this’ one of the best Creative Sources releases I’ve heard so far: I love rhythm session but I’m also aware of the fact many percussive duos coming from the impro-jazz area are boring as fuck, well this pair is beautifully assorted and I really enjoyed their way of improvising, the how they play the waiting game and how they go straight to the next intersection. I’ve several "solo percussion" releases in my collection and have heard some more, this one is more "old school" if compared to the free-rock style of drummers like David Shea, but it’s also considerably different from that of Han Bennik, I think this drumming duo has its strong personality and that’s the most fascinating part of it. When dealing with an all percussive recording the risk is to get bored in a split second but Field’s and Babel’s journey bring them through many changes of intensity, dynamics and timber. Their approach to drumming tecniques is elegant but what makes this release more interesting then many other similar works is the attention the duo pays to the track construction: they pass from quiet parts or smoothly played solutions to "free-jazz-rock" eruptions but they work in a really complementary way so to avoid sounding simply chaotic. The recording and the spatialization of the drums helps a lot since as I’ve said they’re able to produce an incredible variety of sounds and sometimes you really feel like you’re standing in the middle of the room where the improvisative dialogue happened. Nice.





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