Music Reviews



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Artist: Scheerling, Thaumaturgist (@)
Title: Vertoeven LVI / Mysteries Van De Droom
Format: Tape
Label: Oggy Records (@)
Rated: *****
Let's dig deeper in sonic world's underbelly that is often so 'under' that some of you could think weird things related to them (occultists, aliens, mad psychiatrists making experiments, ghosts or whatever omitted to get credited as producers...). Fans of the darkest side of drone-driven music and gloomy ambient will be maybe delighted by the listening of "Vertoeven LVI" on side A of this split tape release, filled by Dutch sound artist Bert van Beek aka Scheerling with four acousmatic drones (lasting five minutes each) - mostly driven by effected scorched guitars, but also featuring whisper-like sounds, whooshing noises that got often used by tape art and metallic hits -. The abrasive first track "Schemmer" sets the ground for the hypnotical "Guurn", where some of the above-listed aural entities have been immersed into a dilated reverberation, which makes them feel like coming from some parallel dimension. The third movement "De Danne" - my favourite one - is a combination of tricks of the first two ones, as both slightly scorched guitars and reverb-puffed bubbles got joined, and precedes the final "Tehoape", which sounds like a cathartic reprise of the initial "Schemmer". I read somewhere it got inspired by the translation of some poetry of Dennis Gaens, but it's a detail that doesn't help me in explaining nuances I didn't catch due to the fact I didn't find anything in English or other languages I understand, so that I can only say it's an entirely recommendable listening. Likewise absorbing the sound that Thaumaturgist spread over two 10-mins lasting tracks on "Mysteries Van De Droom": this guy used some briquettes and pellets of acid-house and Berlin techno to develop a seemingly lo-fi sound (more sedated and uplifted on this first part, slightly morbid and psychotic on the second one, landing on those fractured bleeps you can hear when some old Korg drum machine is close to tilting), that could vaguely surmise some industrial techno experiments of the late 80ies.

Golden Oriole: Golden Oriole

 Posted by Stuart Bruce (@)   Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
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Mar 20 2017
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Artist: Golden Oriole
Title: Golden Oriole
Format: LP + Download
Label: Drid Machine
“Funky concrète” is the tagline of this mysterious release, in a supremely brief press release that only acknowledges Golden Oriole as “members of Staer + Tralten Eller Utpult” but won’t name them or even discuss the work.

And true to that description, this is a 25-minute soundclash. One half long ambient metallic drones. The other half distorted is funk instrumentals consisting of a solid real-drum rocksteady groove and a 70’s-esque bouncing bassline that’s been crushed and noised. The opening track “The Approaching Of The Disco Void” initially starts with the former, then the latter cuts in abruptly. The two halves co-exist, but to say they compliment each other would be an overstatement. Even at my most open-minded this sounds like two unrelated records being played simultaneously. Six minutes in, everything drops, switching tack to a sort of dark lo-fi blaxploitation chase music with the right ingredients but with the funk replaced with fury.

Second track “The Trilithon” is more coherent, a jazzy fusion of the same thick bass and drums with a more complementary set of electronics. Final track “The Pyrite Wink” is more off-kilter, with a less accessible groove in a changing time-signature and siren-like synth alarms on full blast. Some structure forms in the second half with steadier kicks but ultimately I’d enjoy this track more if the drone elements- which on their own I’d probably like- weren’t there.

This is grungy and difficult stuff with attitude. Somehow the combination of the garage band ethos and the sustained and confrontational avantgarde sounds doesn’t quite gel for me, but it should be praised for raw energy at least.

My Silent Wake: Invitation to Imperfection

 Posted by Steve Mecca   Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
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Mar 15 2017
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Artist: My Silent Wake (@)
Title: Invitation to Imperfection
Format: CD + Download
Label: Opa Loka Records (@)
Rated: *****
It seems like only a short while ago I reviewed My Silent Wake's 'Eye of the Needle' album, and here they are already again with something brand new and quite impressive to boot. Those that haven't been paying a lot of attention to MSW lately might think they're still a UK Gothic Death Doom Metal band. They're still in the UK, but the Gothic Death Doom Metal aspect has been put on the back burner for the time being. While 'Eye of the Needle' was atmospheric psychedelic dark ambient, 'Invitation to Imperfection' is largely acoustic darkwave; that is to say, the acoustic elements are most prominent. Inevitably there will be comparisons to Arcana, Dead Can Dance, The Soil Bleeds Black, and other similar artists, but My Silent Wake is really now in a league of its own. According to leader Ian Arkley, very little of this album was recorded in a normal studio, much of it with a hand-held recorder, and most parts recorded directly after being written, which didn't allow for spit 'n polish, hence the title 'Invitation to Imperfection'. It was also recorded in various locations thus not giving it a uniform "feel". The idea was to "place more of an emphasis on atmosphere and feel than anything else." To that end they succeed, and it is quite remarkable for having an eclectic ambience all its own. The lineup for this album is a bit different too. Normally MSW consists of Ian Arkley, Simon Bibby, Addam Westlake, Gareth Arlett, and Mike Hitchen. This recording features Ian Arkley (noises, cello, shakers, percussion, mandolin, Risset drum, acoustic guitar, zither and zither with cello bow, chimes, natural manipulated sounds, household items, voice, keys, and field recordings); Andy Stamp (violin, plucked violin); Simon Bibby (keyboards, acoustic guitar, voice, pump organ, glockenspiel); Craig Evans (jouhikko and throat singing); Misty Blamire (djembe); Alana Bibby (voice); Mark Henry (percussion); Luke Kilpatrick (tin whistle, wooden flute, percussion, didgeridoo, karimba and occarina); Gareth Arlett (percussion); Marc Ellison (bass); Addam Westlake (double bass drone, singing bowls, Erhu). Once again, Attrition's Martin Bowes mastered the album, and added synthesizer touches here and there. Of course not everyone plays on every track, but surely you get the idea of what this might possibly sound like from the instrumentation.

Over the course of the fourteen tracks on this album the listener is treated to neoclassical darkwave ("Vorspiel"); psych dark ambient tribal ritual ("Helgar Kindir"); martial neoclassical with a Middle Eastern flavor ("Volta"); mystical folk ("Bleak Spring"); Renaissance revelry ("Tempest"); semi-industrial dark ambient ("The Fear"); somewhat traditional neofolk ala Death in June ("Lament of the Defeatist"); ghostly darkwave dark ambient ("Aventurine"); magickal neofolk ("Song of Acceptance"); cosmic ambient ("Nebula"); funerary mood dark ambient ("You Drift Away"); darkwave ambient drone ("Cwiclác"); wordless sailors' lament ("Return of the Lost at Sea"); and finally, a 20 minute walk in an enchanted Elven forest ("Melodien der Waldgeister"). In terms of aura and atmosphere, 'Invitation to Imperfection' is really something special. Arkley and crew have managed to create a unique listening experience that is without pretension or contrivance that transports you to other realms. Largely instrumental (only a few songs have vocals with lyrics, and those are generally subdued), this work though diverse in form, still maintains a consistent flavor throughout. A good deal of it recalls another age, centuries ago as it conjures ghosts of the past. 'Invitation to Imperfection' is one of those albums that will probably never find widespread appreciation but is most likely to spawn a devoted cult following. And as far as that goes, you can definitely count me in. Highly recommended!
Mar 10 2017
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Artist: X-Navi:Et (@)
Title: Technosis
Format: CD
Label: Instant Classic (@)
Rated: *****
Despite the fact the phenomenon is still evolving, the theme of consequences of technology on humanity and the (also biological) mutations related to this unprecedented technological acceleration as well as the development of an addiction to technological devices is not so new as a plenty of sociologists, anthropologists, psychologist and many other expertises in different branches of human knowledge wrote a lot about this subject, but the way by which such a fear got translated into sound in this last output by Polish producer Rafal Iwanski (I already introduced many projects he's taking part of such as HATI, Innercity Ensemble and Alameda 5) is fascinating. The title "Technosis" itself is a quotation of the definition ("civilization disease related to technology"), taken from "Philosophy of Civilization", an essay by Polish philosopher and educator Jozef Marian Banka, who keeps on studying this phenomenon. The opening track "Matnia" (Polish word for the French expression "cul de sac", referring to a path of no return) immediately sets the mood by a well-balanced mix of rising crippling percussions and thrilling sounds (close to the ones you could hear in horror movies when the watcher expect the appearance of a dangerous entity from some dark place of the scene); the breath you'd hear in the following "Ex Homo Sap" seems to render the above mentioned human mutation with the burden of concern that it could imply, while the following "Oto Technosis" sounds like the summoning digitalization of some old African tune. The whispered murmuring of Ewa Binczyk in the sinister mist evoked by the sonorities that Rafal assembled in "Medium" could mirror that diaphragmatic phase when the expected changes are still in progress but could let you guess what the next stages are going to bring about. Rafal wisely absorbs different ethnical influences in this unusual rendering technology-driven civilization disease: besides the previously sketched connection of the described tracks, it becomes clear in the following "In Extremis" as well as in the disquieting chimes of "Orient: Melancholia". All ethnic percussions you could recognize in his melting pot (an Irish bodhran, a South African mbira, a Chinese hulusi, an Egyptian zummara and a Moroccan bendir) are real, but the whole release is made by real entities: a relevant feature of Rafal's sound in "Technosis" is the total lack of field recordings, synths, samples or drum machines (besides the list of ethnic instrument I already mentioned, he just used Shanti chimes, bells, metal objects, contact mics, analog filter machine, a tone generator, a loop system and so on ) and such an aspect can be logically related to the conceptual framework of the album. The natural soundscape in "Pseudo Ambient" could be considered as another claims of forgotten human roots, while the final "Alchemy of Sounds", whose length (23 minutes and 23 seconds seems to be a desired aspect, due to the "esoteric" meaning of number 23), could keep on feeding the in-depth meditation a listener could be absorbed by. Do you remember the "fearful symmetry" of William Blake's tiger? Well, "Technosis" could be the roaring of that tiger in a sense. After its genetical mutation, of course...

Babils: Ji Ameeto

 Posted by Stuart Bruce (@)   Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
 Edit (9658)
Mar 06 2017
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Artist: Babils
Title: Ji Ameeto
Format: LP + Download
Label: Sub Rosa
Babils’ fourth album, their first without founder member Michel Duyck, is a pair of sixteen-minute-long prog-rock wig-outs that hark back to the 1970’s heyday. Gently distorted guitars fed through rich analogue effects, rasping indistinct trumpet noises and muddy reverb-soaked vocals hanging on a string in the vicinity of lyrical structure, are constantly underpinned by a regular 4/4 bassline and steady live drumbeat that keeps everything at least vaguely grounded and prevents each piece from wandering into the stratosphere of soundscapes.

Each track starts off with a structure that’s almost pop music- French vocals on the title track, and sometimes hard-to-distinguish English lyrics on “C'est la raison pour laquelle nous ne cesserons jamais de recommencer”- showing that a steady groove and song structure is the seed from which each improvised adventure grows.

This is a release with more than one foot in the past, it’s practically prog nostalgia. Extremely brief glimmers of what may be more modern effects processors don’t shatter the illusion. An indulgent LP to enjoy with long hair, tweed and a lava lamp.


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