Music Reviews



The Slaves: Ocean On Ocean

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
 Edit (7416)
Jan 31 2013
cover
Artist: The Slaves (@)
Title: Ocean On Ocean
Format: 2 x 12" vinyl
Label: The Helen Scarsdale Agency (@)
Rated: *****
There's a wide generation of musicians who are hanging on that idea of frail and fleeting beauty, whose inflection points ideally build an embankment against a supposedly decadent and invasive reality as well as safe mental abodes which could correspond with distant sidereal cleft, vivid remembrances of childhood or maidenhood and other aesthetical escape hatches. The possible stylistical terms for comparison such as Grouper, Cocteau Twins, Cranes or Barn Owl of this likable release by Portland-based duo The Slaves, made up of Barbara Kinzle and Birch Cooper, liaise with many different musical languages for the translation of this mood such as dark, post-rock or math, while it seems The Slaves don't turn their noses up at some sonic hints of witch-house and drone-ambient as the recurrance of quadruplet of bi-tonal based slow lines and the way they transfigure guitars and pads which often sound like equipped with organ-pipes. A sort of self-induced hypnotic suggestion permeates their sonic ravelling so that the pleating of original sound seems to turn into a gust of wind slamming on the doors of crystalline cages by reaching remarkable qualitative peaks and entrancing afterglows in tracks like "Sweet High", "Shadows II", whereas songs like "I'm In Heaven" or "Wild Ride" sound like attempts of reawakening buried alive bacchanals.

Heidi Mortenson: Mørk

 Posted by Barton Graham   Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
 Edit (7411)
Jan 24 2013
image not
available
anymore
Artist: Heidi Mortenson (@)
Title: Mørk
Format: CD EP
Label: Rump Recordings (@)
Rated: *****
After a 4 year hiatus, Heidi Mortenson returns with 'Mork' and a vastly different style of music than her previous works. This is a much more chill, down to earth, organic and dark release than her previous effort. She also returns to her native Danish tongue on this one, which adds a subtle exotic taste as well as a sort of refreshing detach in that the (non Danish speaking) listener can absorb the sound as a whole and feel more of the pure emotion that's represented on this disc.

'Mork' starts out with 'Side A,' which is three songs, all of which combine these minimal, yet meaningful and strong beats, with a relatively small number of layers of instrumentation, but again, very strong, very effective. From fun and quirky yet astringent synth textures, to believe it or not, nearly epic horns that just MIGHT even be appropriate for riding into battle. The vocals are smooth, smoky, seductive and alluring. They pair so perfectly with these songs. Track 3, entitled 'Underkast' (which translates to 'Submission') is the perfect example of all of these traits which combine into a cabaret/almost noir-esque piece which invokes visions of a smoky, futuristic lounge or nightclub with its spotlight shining down on the woman onstage the only source of light, and the band master has a drum machine atop a full sized grand piano style midi controller.

'Side B' which is just a mere two songs, is even more relaxed, slightly more organic and takes off a bit of that digital edge, bringing you back down to earth. 'Alt I Alt' (All in All) is much sadder, more low key and emotional than the first half of the disc. And it's followed by a slow and beautiful solo piano piece that reminds just a little of the album 'Screws' by Nils Frahm. He wrote and recorded the album after breaking his left thumb and was unsure if he would ever play piano again, to which he responded by sitting down, armed with 9 fingers, and began to play and record these little pieces at night. They yielded these beautiful, delicate and vulnerable works; and that is how I would describe the closing of 'Mork.'

All in All (no pun intended) it's quite an extraordinary little EP with almost no flaws, missteps or downpoints.

Night Sins: New Grave

 Posted by Maurizio Pustianaz (@)   Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
 Edit (7404)
Jan 21 2013
image not
available
anymore
Artist: Night Sins
Title: New Grave
Format: 12"
Label: Avant! Records
Rated: *****
Night Sins 'is a band coming from Philadelphia that born in 2011 from members of hardcore bands Salvation and Mother Of Mercy. "New Grave" is their first album released by Italian label Avant! and it doesn't sound nothing like hardcore or such. "New Grave" is a nice nine tracks album which musically is inspired by 80s darkwave. If you are already fans of The Tunnels or The Soft Moon you could easily find yourself comfortable into listening tracks like "Playing Dead", the experimental "Introduction" or "The Eternal Giver". Mixing shoegaze vocal melodies to paced drum machine drumming, powerful bass lines and guitar lines which now are clean arpeggios and then "clouds" of distortions, the duo wrote cool songs which will please the lovers of 80s new wave music as well as lovers of modern indie sounds who'd like to paint their music playlists with darker sounds... As usual with Avant! releases, I'm writing their Bandcamp page where you can listen to the whole album and then make your purchase.

Ballo Delle Castagne: Surpassing All The Kings

 Posted by Maurizio Pustianaz (@)   Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
 Edit (7403)
Jan 19 2013
cover
Artist: Ballo Delle Castagne
Title: Surpassing All The Kings
Format: CD
Label: Blood Rock Records
Distributor: Black Widow
Rated: *****
"Surpassing All The Kings" is the newest Ballo Delle Castagne album and the first one to be released by a different label than HR!SPQR. Issued by Blood Rock Records and distributed by Black Widow, this album probably is their one which sounds more influenced by progressive rock. I don't know if this depends to the fact that all the music have been wrote by Diego Banchero (also active with Il Segno Del Comando, Egida Aurea, etc) but the ten new tracks offer strong hard rock influences (see the guitar riffs on "Il Risveglio" and the following "Il Viaggio" or the massive use of organ) and powerful drumming. While the old recordings by Ballo Delle Castagne where mostly resulting from improvisation sessions, "Surpassing All The Kings" sounds definitely less psychedelic, more focused on on progressive rock and also a bit more experimental (check "Rorate Coeli" which is based on strongly filtered bass guitar sounds, synth noises and Latin lyrics). Checking the songs' titles and the lyrics "Surpassing All The Kings" seems to be a sort of concept album where life and the quest for true self are seen as a long voyage that knows no limits: there's no time and nor matter. Maybe because of this, the opening and the closing songs refers to Gilgamesh, the king of Uruk, two-thirds god and one-third man and to his search for immortality. Harder and stronger than the previous releases, "Surpassing All The Kings" is the best Il Ballo Delle Castagne release to date...

Movement Ten: Movement Ten

 Posted by Marc Tater (@)   Synth Pop / Electro Pop / Synth-Electronica
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
 Edit (7395)
Jan 14 2013
cover
Artist: Movement Ten (@)
Title: Movement Ten
Format: Download Only (MP3 + Lossless)
Label: self-released
Rated: *****
We have here the debut release of a British duo consisting of the music-producer Shadowless Man and vocalist The Sweet Chap. Why they feel the need to hide behind pseudonyms you ask? Well, I really don't know, also their web resources don't offer too much information. However, what counts is the music, and after consuming the self-titled debut of them, I really don't see a reason to hide anything. 'Movement Ten' is a self-produced and self-released 10-tracker, which provides some well-sounding and interesting arranged content to the Electropop-/New Wave-/Alternative-scene. 'Gravity', also released as being the first single out of this album, opens this album and they couldn't have chosen any better one. A catchy song progression with subtle insertions of Electronica- / acoustic-guitar elements and a pure, natural sounding male vocal performance in vein of 'James Blunt meets Synthpop' opens the hearts of the fainted listener. The ongoing tracks are sort of straighter produced: 'Machine Girl' surprises with a robotic sound-effect on the vocals, while 'BWK' celebrates straightness through its pummeling kick drum. One of the best tunes of this overall quite promising album is the Synth-/Futurepop-related 'FTBIA' with its melodic chorus, well-done vocals and its machinated beat-work. Not too much impressed with both following tunes, the marching samples of 'One Hundred Percent' are storming in until the slow Breakbeats starts to lead the scenario. I enjoyed those warm Kraftwerk-ish synthesizer-pads woven into an arpeggio-environment to rule the chorus. 'Monochrome' with its acoustic-guitar undertones is the next one and will represent the bands' third single release after 'Gravity' and 'BWK'. Last track worth a mention is the sugar-sweet album-closer 'Moon Palace', with beautiful male vocals provided in a higher Erasure-like register. Movement Ten are one of the most promising newcomers lately discovered of the British Independent-scene. This album proves a wide taste for musically diversity of the protagonists and leaves enough room for several, similar interesting sounding follow-up releases. Good work, keep it on!


Search All Reviews:
[ Advanced Search ]

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