Hugo Girard, the main human element behind the project Vromb, has had various delays and setbacks concerning the release of his latest full-length album. As his fans became more and more impatient, Hugo decided to release a 40 minute EP (of sorts) featuring 5 new pieces, exclusive to this release.
I was personally warned by Girard himself that the tracks contained in "Interlüder" featured some of his more commercially-viable/user-friendly material to date. Heeding the warning, I carefully immersed myself in another Vromb environment, quickly figuring out why Hugo labeled his own CD as "more commercial". It appears the ever-evolving Vromb has decided to try a crack at generic and club-oriented basic rhythm patterns. Has he succeeded? It all depends on the listener's point of view.
I can't speak for other Vromb fans, but the so-called "user-friendly" aspect of this release wasn't prominent through the dense and ever-shifting waves of electronic ambiences, sequences, and generally high-tech/low-brow to actually merit a specific labelling. Granted, folks who did not like Vromb's "shift" between his first and second albums will probably not be too impressed by "Interlüder", but if you enjoy the repetitive techno "thump" with your electro-insectoïdal drones, then you'll be in Vromb paradise with this release.
Seperated in two blocks, the five pieces of this CD are at times similar to each other (in terms of basic structuration) , yet retain enough unique originality to be easily identifyable between each other. A deffinite must for all Vromb fans, and highly recommended as a starting point if you are not yet familiar with the Vromb sound. My personnal highlight is the minimal "Carnaval", which reminds this reviewer of a distant and mechanical re-interpretation of the carnavals in Rio.
THis wonderful little CD packaged in a simple yet highly effective (and postage-friendly) pouch concists mainly of of older recordings, originally released on "The 731 Doorways" cassette, from The Ceiling (ex-DDT). One piece ("Sonic Recourse") was previously released on the "Xcreteria volume one" compilation tape, and another ("Basements") was released both on the "Anathemata" compilation tape and later as a re-worked version on the band's "A Grainy Shade Of Ambient" 12" EP. One piece ("Bubonic Horse") is previously unreleased.
Essentially, those who missed out on the limited print run of "The 731 Doorways" cassette can get up to speed with this CD, while those who were lucky enough to get a copy of the original tape will find that the sound quality as well as the "bonus material" on this CD is superior to that of the original cassette. Perhaps the mixing was performed slightly different, affecting thus the final sound.
CHRONIC REMORSE was Paul Verman and Jim DeJong. If I'm not mistaken, they both decided to release "studio" material after a few live performances which prooved the dynamic between the two was right. In any case, "The Short Wave Appreciation Society" offers the listener very eerie and dark oscillating sound waves, textures, and alot of noise processing and, yes, radio transmissions. A difficult listen but well rewarded with originality and energy. Much harsher when compared to the "A Grainy Shade Of Ambient" EP, yet the movement and audio texture push this release beyond the realm of pure harsh noise, yet will please fans of the later who are open-minded about their noise.
Although the one-maned project known as DELPHIUM is usually categorised in the dark-wave experimental slow industrial rhythm section, the "Darkfloor EP" (released by THE CEILING) represents a new turn in the band's already varied discography.
This EP features three seperate pieces, each with its own clour and flavour, if you will. "Green Lane With Delphium" features very oddly cut-up drum-n-bass / jungle beats, with some phat and freaky synth lines and sequences to add more rhythmic dynamic to the mix. Slightly too off the edge to be anywhere club friendly. The other two pieces ("Bleep 27" and "Kill.All.Scooter.Riders.") feature more weird cut-ups and keyboard manipulation, but the techno-influenced beats are somewhat more straightfoward in their delivery. Yet, even with a rather "simple" and repetitive drum track, the songs can't be played in normal discotheques unless the DJ wishes to clear the room of all house-music lovers.
In essence, this reviewer can't really think of any other category to put this little gem into, but I have faith that people into a different, more edgy techno D&B will find this release to their liking. I certainly did!
This odd vinyl record LP comes courtesy of THE CEILING records, one of Canada's buisiest and more interesting independant electronic-oriented labels. The LENS CLEANER TRIO is Jose Marchi on guitars, Marcelo Aguirre on drums and voices, and finally C.D. who provided the synthesis and montage for this release.
"C.D. + Lens Cleaner" is a very different and hard to categorise release, even for a label as diverse as THE CEILING. As far as this reviewer's ears can make out, live improvised sessions were first recorded, then heavily processed and mixed in the studio, creating thus a very experimental and electronic-sounding record, even if the main instrumentation consists of drums and guitar. Perhaps the best and generally safest way to describe this record is a very heavily 70s space-rock influenced record which also plunges head first in today's modern noise and illbient textures.
There are portions of this release which are stronger than others, but if the weak spots are indeed making themselves present, they usually don't last for very long. My personnaly favorite moment is somewhere towards the middle-end of the second side, where a very dense yet relaxing atmopheric wall is created and manipulated.
Printed on black vinyl and with a total playing time of about 35-40 minutes, this release is sure to please folks looking for something different and unclasifyable.
Those who have followed the evolution of the defunct Canadian label DOOMSDAY TRANSMISSIONS will most probably already be familiar with both THE INFANT CYCLE and DRONAEMENT. Even after DDT became THE CEILING records, one could just as easily accept older catalogue items to familiarise themselves with the sound.
"KLAB (phonorecord)" is a split release for both projects, as well as each project's respective label. Don't think there is any kind of studio intervention here preventing the bands from releasing their true sonic art. In fact, "KLAB (phonorecord)" is quite a treat to folks who may or may not be fans of either labels/projects.
The first side of this vinyl LP features the main sounds of DRONAEMENT (Marcus Murkes), with some added material by TIC (Jim DeJong). The two long tracks on this side ("ER-9 Noise Transmission.wav" and "33 1/3 rpm Acoustic Transmission.wav") flow easily and indiscernably into one another, creating thus a 20 minute audio soundscape of soft-like and textured digital ambience, with some semblance of rhythms poking in here and there for good measure. Perfect late night sleep when there's not too many other noises happening in the vicinity.
Side two is credited to THE INFANT CYCLE, yet the line-up also prominently features DRONAEMENT contributing as much sound sources as TIC. "I-Meant-A-Drone.pop" features more hazy smoke-filled audio soundscaping, but a cut-up funk beat gets the foreground. This repetitive and somewhat hypnotic rhythm is apparently crafted from "manually altered vinyl", which brings to mind what these "D.J."s in club and hip-hop music are supposed to do... except there is nothing DJ or hip-hop about this piece, and the final result is another late-night jam listening experience, but with a bit more beat to keep thing moving.
If you have access to a vinyl/record player and can play it without having too many interuptions, this release is a winner, with top-notch production and great sound quality. Printed on clear vinyl.