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Kuvatud on postitused sildiga Pueblo Nuevo. Kuva kõik postitused
Kuvatud on postitused sildiga Pueblo Nuevo. Kuva kõik postitused

1/17/2024

Rafael Cheuquelaf – Camino Interior (2022)



Pueblo Nuevo/Archive.org

Ambient pop Motorik Progressive electronic Art pop Krautrock Indietronica Chilltronica Electronic music

Tšiili muusiku pooletunnine üllitis oli ajendatud koroonasulust; sellal kui pandeemia algas, otsustas ta minna rändama Patagoonia kõrvalistele radadele, kohates seal mitte kedagi ning nähes jälgi hüljatud elust -- mahajäetud maju, sõdurite kaevikuid, okastraadiga piiratud alasid ning loomalautu. Eks ühelt poolt oli üksinduse otsimine haigusest hoidumise eelduseks, teisalt sai ta tuge surelikkusest tulenevatest ängidest ülesaamiseks (jõudis äratundmisele, et surmahetkel on inimesele omane kaduda samamoodi nagu eelpoolmainitud objektidele laiemal skaalal). Ta pildistas Patagoonia ebamaist loodust (kuulake ka Henrik Relve saadet Patagooniast), hiljem ülesvõtteid vaadates ja kõnnumaaI veedetud aega meenutades kasvas välja soov luua muusikateos. Siin see on -- ühelt poolt looduse majesteetlikkust täpselt väljendavad jõulised ämbientsed klahvpillipassaažid, mis kohati lendavad kõrgele horisondile; teisalt on asi komplekssem tänu peenele motoorsele rütmikale ja pulseerivatele bassidele. Kuulsamatest sugulushingedest on kuulda sarnasust nii Tangerine Dream'i kui Klaus Schulze'ga, nii Air'i kui Stereolab'iga, samuti käivad läbi Ash Ra Tempel ja Neu!. Sügavalt kõnetavad kuus taiest nii kontseptuaalselt kui muusikaliselt.

6/17/2023

Celeste Betancur – Secretos del viento (2021)

 
 
  • Experimental electronica 
  • Avant-electronica 
  • Abstract 
  • Live coding 
  • Ambient 
  • Microtonal 
  • Sound poetry 
  • Sound art 
  • Cosmic synth 
  • Ambient
 
Eeldades, et elektroonilise kui pealtnäha võõra ja irratsionaalse fenomeni kasutamise mõte seisneb ellu ja mõtetesse sugeneva absurdi tõrjumises, siis jah, teguviisile antakse nägu ja tegu. Elik mõte. Irratsionaalsst saab ratsionaalne. Celeste Betancur'i 7-loolise albumi helikude vibreerib ja tuksleb, pakkudes minimalistlikku kodeerimist viisil, mis võiks ehk kirjeldada seismoloogilist aktiivsust tegutsema hakanud vulkaani ümbruses. Ka vulkaan on midagi võõrast, mis ei allu ei inimese tahtele ega soovile. Ei jäta valikuvabadust – kas jooksed, või ei jookse enam kunagi. Yellowstone ja teised supervulkaanid vaenulike võõrastena ootavad aktiveerumise aega. Käesolev helind võib olla võõras juba seetõttu, et kõiksugu koormav last on kõrvale heidetud. Helimustrite sagedus loob ehk mingisugustki tuttavlikkust, mille rustikaalne mulksumine saab aeg-ajalt täiendatud inimhääle ebahariliku väljendusviisiga (ohked, sosinad, häälutused). Isegi kitarriga püütakse ühes loos dialoogi alustada, ent see ei ole antud kontekstis kuigi oluline. Hoopis loo "Sortilegio III" kosmiliselt pulseeriv süntesaator tundub valge laevana päästvat kaduvaid hingi keset mürgipilvi ja ebastabiilset maastikku. See album näikse avarduvat iga järgmise kuulamisega, ent sulgen hetkel ukse. 
 
8.5 (7.5-9.0)

9/05/2022

Mono o Estéreo? – CLICSES (2021)



  • Indietronica 
  • Post-rock 
  • IDM 
  • Synth-pop 
  • Psychedelic 
  • Ambient pop 
  • Art pop 
  • Remixes 
  • Krautrock 
  • Cosmic synth 
  • Motorik 
  • Alternative dance 
  • Electronic music 

Tšiili duo Mono o Estéreo? (Loreto Ríos Montecinos ja José Toro Concha) albumi "Clics" (2017) lugusid on võtnud remiksida artistid Francisco Pinto, Usted No!, René Roco, Polwor, Lars from Mars, Mika Martini, Gabriel Vigliensoni, Niñosindigo, Elmapa, Uará, Cos Mozz, Animales de Costumbres, Mario Z ja Futuro Fósil. Kuivõrd duo on tuntud indi- ja elektroonilise muusika segajana ning teisalt tulevad remiksijad samast muusikalisest osakonnast, siis võib seda remiksalbumit esitleda ka kui leia neilt piltidelt 10 erinevust. Teoreetiliselt küll, ent tegelikult remiksalbum rikastab originaali märksa rohkem – mis tõele au andes on üsna keskpärane inditroonika-/postrokkalbum. Kes Tšiili plaadifirma diskograafiaga on sina peal, siis teavad neid artiste kui võimekaid, loomaks huvitavat muusikat. Kahju ainult, et Baradit'i siia panustama ei ole tulnud. Muidu üheplaaniline (elektrooniline) indi vaevutuntava latiino puutega omandab hoogsad tantsuvaibid, motoorse roki psühhedeelse kihi, pakkub varieeruvaid ämbientpopi ilmeid erinevatest rakurssidest. Erinevad rakursid tähendavad ämbientpopi segunemist süntpopiga erinevates vahekordades. Ühes loos võib koguni kuulda vibrafoni (või on see hoopis marimba?) mängituna läbi kõlatunnelite. Vahet ei ole, kuna see ei väära Iummavat eksootika(sünt/ämbient)poppi Animales de Costumbres'i esituses. Nii see ketrab ja ketrab, kuni võib tõdeda, et tulemus on igati OK. 

8.0 (7.5-9.0)

7/18/2022

Baradit – Monophonic Songs (2021)



  • Kraut-electro  
  • Cosmic synth 
  • Electronic music
  • Kosmische Musik 
  • Electro pop 
  • Alternative dance 
  • Neokrautrock 
  • Techno pop 
  • Synth-pop 

Tšiillane Felipe “Baradit” Stevenson on olnud mitmekülgne mees – tootnud audiovisuaale, asutanud netileibeli EPA Sonidos ning loonud kümmekond albumit; viimasega alustas ta juba 90ndate lõpus, seda omaenda plaadifirma all, ent viimaste üllitiste kodu on olnud teine Tšiili leibel Pueblo Nuevo. Sarnaselt oma varasemale loomingule kütab mees kinemaatilisi tehnobiite, milles kajavad vastu Ruhri piirkonnast pärit motoorne apatši biit ning teisalt Berliini koolkonna kosmiline alkeemia. Kui ansamblile Neu!. On ette heidetud, et oma neljanda albumi loomise hetkel 80ndate keskpaigas oldi jäädud ajale jalgu ning samasse ajajärku ja hiljem jääb Tangerine Dream`i üle irvitamine, et tegeldakse üksnes enda pillipargi uuendamisega – justkui kääbused keset kosmosemasinat meenutavat süntesaatoriparki –; ning samas looming on üha mandumas. Nojah, Kraftwerk`il on läinud paremini, kuna üksnes “Electric Cafe” olevat olnud vanamoodne ilmumise ajal. Baradit ongi nimetet ansamblite ristand-uuendus, hoides samaaegselt kosmilisust ja rütmilisust-tantsulisust oskuslikult tasakaalus. Palju noodivahetusi, palju käike, palju tämbrilist mitmekesisust; teisalt ka minimalismi pesukausis veetakse näpuga mööda äärt. Klassikaline laulukirjutamise struktuur on kõrvale heidetud – pompöössete refräänide asemel aretatakse-arendatakse üksikut nooti või käiku, mis on kohalviibiv(ad) konkreetse kompositsiooni vältel. Omaette küsimus on, et kuidas selle vältel kuulajad aega tajuvad, ent – kuivõrd on oluline teada aega kosmoseraketis? Muusika on loodud peamiselt monofoonilise elektronklahvka Korg Monologue`iga; ruumilised helid on välja võlutud Arturia Solina emulaatorist ning rütmika taga on legendaarsed Roland`i rütmimasinad. 

8.5 (7.5-9.0)

4/29/2022

Gozne – MCMLXX (2021)



  • Ambient 
  • Modern classical 
  • Post-rock 
  • Space music 
  • Ambient techno 
  • Art music 
  • Post-classical 

Kahtlemata peenetundeline album, milles põimuvad kesktemporütmid ämbientsete arengutega kõrgemates sfäärides. Tundub, et isegi kitarrikajad on mitmekesistamas struktuure ja laiendamas panoraame. Ning elektroonilised piiksatused valgussähvatustena hiiglaslikus avaruses. Sellel albumil on dünaamika ja staatika harukordselt põimunud – peaasjalikult väljendub see teatud elementide väljajoonistamises keset voogavaid-pulseerivaid hoovusi. Ning võimendades seeläbi üksteist. Muidugi oleme seesugust muusikat varemgi kuulnud-kuulanud – alates Brian Eno'st ja Max Richter'ist ning lõpetades Nils Frahm'i ja Labradford'iga –, aga see veedetud aeg on elav ja tervendav. Kummastaval moel kuuldub siinkirjutaja peas varane Kraftwerk ning kolmanda albumi aegne Neu! (nt lugu "Isi") - järelikult nimetet artistide loomingus oli midagi sfäärilist ja teisalt vaevutabatavat motoorset gruuvi. Aga see midagi on pigem mainitet helitahkude põkkumine ning eraldumine üksteisest. Ning sellest johtuv eruterve pinge. Mida kõike me ei ole siis varem kuulnud-kuulanud? Ning teisalt Herakleitost järgides tuleb nentida, et ühte ja samasse jõkke ei ole võimalik kaks korda astuda. See vool, see jõgi on imetabane ja ülendav. See tunne ei hääbu, see tunne ei valeta. Tšiillase Eduardo Yáñez Torres`e  neljaloolise meistriteose on üllitanud tema kodumaa leibel Pueblo Nuevo.

9.0 (8.0-9.5)

2/22/2022

Pablo Gómez Bate – Construcción Social (2021)



  • IDM 
  • Deep house 
  • Sampledelic 
  • Electronic music 
  • Experimental techno 
  • Sound collage 
  • Ambient techno 
  • Experimental electro
 
Pueblo Nuevo-nimelise Tšiili plaadifirma resident konstrueerib ja dekonstrueerib, varieerudes rütme ja manipuleerides sämpleid. Meenuvad kahtlemata Aphex Twin'i heliteosed (milledes on helilist primitivismi ja näputäis provokatiivsust), kuigi heliline palett on märksa avaram – lisaks tehnomuusika pehme- ja kõvatuumale liigutakse kuhugi Mouse On Mars'ile mingitel perioodidel meeltmööda olnud delikaatse krautroki ja postroki puudutuse nimbusesse; liikudes edasi pakutakse kuulajale pealtnäha meelevaldseid helikollaaže vinüülplaadimängijaga manipuleerimisel. Albumi lõpp on konventsionaalsema muusika – haussmuusika päralt (nt "Jajause" on kaunis deep house-sillerdis). "FM10" albumit lõpetava loona loob eelmisega kontrasti - suht madalsageduslik eksperimentaalelektro, mille esiotsa dementset rütmistruktuuri tasakaalustab sensuaalne – et mitte öelda seksuaalne – naishääl; hiljem kompositsioon omandab tavapärasema struktuuri ja vaibi. Kokkuvõtvalt – normaalne moodustis.

7.5 (7.0-8.5)

10/17/2020

Hola Papá – Too Far with my Crazy Loser girl (2020)



  • IDM 
  • Electronic music 
  • Experimentalism 
  • Sampledelic 
  • Avant-garde 
  • Spoken word 
  • Electro 
  • Micronoise 
  • Synth-pop 
  • Digital hardcore 
  • Glitchtronica 

Segased inimesed on muusikas alati teretulnud. Ja eriti teretulnud on nad siis, kui nad on seda teinud poliitikasse suundumise asemel. Hola Papá viielooline reliis kõlab justkui otsustamatu muusik ei ole osanud või ei ole olnud kindel valimaks üht kindlat suunda ning toppinud kõik ühte suurte patta. Süntpopp, intelligentne tantsumuusika, digitaalne (kõva)tuum, mikro- ja makroskoopiline müra, elektro ja eksperimentaalelektroonilised tendentsid. Vabas vormis friikimine/positiivne kõrvalekaldumine, säilitades ühelt poolt perifeerse, teisalt kindla suhte popmuusikaga (nagu kunagi Throbbing Gristle, Cabaret Voltaire, Clock DVA). Piire žanrite vahele ei olegi võimalik tõmmata, kuna stiilid on üksteisesse sulandunud või muutuvad märkamatult. See on teretulnud transgressiivsus või teisisõnu elektrooniline aktselereeritus eesmärgiga tõestada eimidagi. Ja seeläbi aktselereeritus kui kulturoloogiline hüpotees hääbub ja järele jääb puhas muusika. Hääbub ideoloogia kui mürgine mõttestik ja tõuseb esile vibroakustiline efekt, mis läbib füüsiliselt keha. Ideaal peaks olema muusika funktsionaalsus puhtal kujul – šamanistlik muusika. Vähem sõnavahtu, rohkem akustilist vaibi – nagu ütles vanarahvas sajandite eest. Kõik oli hoopis teisiti, kuid õõnsaks võttis seest, onju. Üllitise on väljutanud Tšiili leibel Pueblo Nuevo. Eks väljutab ka kuulaja, kui ei suuda sellega hakkama saada. Loodetavasti ikka suudab, kuna siin on küllalt huvitavaid momente.

8/02/2020

Pablo Gómez Bate – Conflicto Bélico (2020)



  • Electronic music 
  • Avant-jazz 
  • Drone 
  • Electro-acoustic 
  • Ambient drone 
  • Experimental techno 
  • Ambient techno

The Chilean imprint Pueblo Nuevo used to release intriguing crossover issues of different genres and Pablo Gómez Bate's 6-notch one has been managed to run across disparate landscapes like IDM, jazz (in-between cool-Miles, and fusion-Miles), electro-acoustic morasses, (ambient) droning, elaborated vowels amplified into abstract noises, simplistic toytronic fantasies, and every kind of sonic trash can dance which used to loop alone and constitute colourful kaleidoscopic patterns with one another. Something comes in, something goes out, something staying in place, something disappears, something goes wrong, something transforms into a chimera, something...never mind. All is truly possible in a dreamy state of mind, all will then be cancelled in the non-existent state of mind. The highlight of the issue is dynamically progressing Pachita, the aforementioned state between differently played trumpets of Miles Davis.

5/02/2020

Ethernet Orchestra – Oceans between Sounds (2020)



  • Improvised music 
  • Avant-rock 
  • Avant-garde 
  • Free jazz 
  • Modal jazz 
  • Cool jazz 
  • Trance music 
  • Experimental rock

Comment: it is asserted at their home site Ethernet Orchestra is an Internet-based musical ensemble that explores intercultural improvisation through networked musical performances on the web. These 132 minutes are executed by such artists as guitarist Chris Vine, trumpeter Roger Mills, Hervé Perez (saxophones, laptop, shakuhachi), piano player Holger Deuter, Moorin Khuur player and throat singer Bukhchuluun Ganburged, and in one track by deceased Richard Lainhart (1953-2011) who was being renowned due to experimentation on modular synthesisers and implementation on extended performance techniques. Additionally to the aforementioned names there are involved more musicians, in fact (look at the credits of each composition). More profoundly, this set of 16 tracks being formally embedded on 2 discs is a realization of a telematic real-time collaboration in different locations across the Globe. It is based on sessions during a span between 2014-2019. Musically it is an irresistible take on different modalities of jazz, a variety of (trance/space/progressive) rock-related things and improvised music in general. It is like a meditative exercise, effortless steps forward to find out peace from within oneself and then invoke benevolent ghosts to come out and provide the human kind with external enlightenment. In symbolist meaning, this enormous act in terms of time and technical fulfillment allows one to move down the bank of imaginary river which will ultimately end at the confluence with Styx, the river for dead ones (I guess it could be located somewhere in Southeastern Asia). In other words, it is a purgative trip toward the Meaning, toward the Threshold. The riveting outing is a part of the discography of Pueblo Nuevo, a Chilean imprint.

4/10/2020

F600 – El Color que cayó del Cielo (2020)



  • Spoken word 
  • Sound art 
  • Dark ambient 
  • Experimentalism 
  • Conceptual 
  • Avant-garde 
  • Ambient 
  • Sound poetry

    Comment: I guess many people today are following as similarly the sites regarding the numbers of Coronavirus as they did before following the sport results of different leagues. The latter one does not include horror additionally to more or less perverse sort of excitement, though. The former one is followed with intention to get information of getting downward or getting permanently upward and upward and upward. Of course, it is relevant to stay at home and reading H.P. Lovecraft, for instance. El Color que cayó del Cielo (The Colour out of Space) consists of a couple of lengthy compositions made up of the storytelling and a murky soundscape backing in up. Slowed-down and warped cellos, awesome cathedral organ-drenched glimpes, merciless glacial flickers which are metastasized with throbbing crackles, quivering electronics and indecipherable vowel units created by Miguel Conejeros aka F600 whose music is to support Mauricio Garrido`s concept in words and visual art by following the formidable, and indirectly misanthropic vision of the horror legend. The indirect misanthropic concept can be interpreted as a downplayed, rather realistic state of human capabilities in a situation of catastrophe. We have no possibility to run away elsewhere. If you have a lot of bread you can buy an indulgence for a flight to Mars. As I said just the indulgence paper. Nothing more to get in a near future. As the same situation as in the Middle Ages (and we call it the Dark Ages, isn`t). We are nothing more than just bare scintillae on the scale of Outer Space. By talking about the virus there is another threat which may be the most subliminal and paralysing – it is not about the biochemical nature and determined pathological pattern of the Coronavirus it is also about the wisdom/singularity and adaptive behaviour of the disease. And if behind it is the Nature as an autarkic whole which woke up from hibernation after the human kind had crossed invisible red thread then what adverse will be happening next? Given that do you remember another classic Solaris by Stanislav Lem? The revengeful ocean as an autarkic whole? Of course, it is just a possibility, however, as possible as God sitting on a cloud or as an inveterate tippler in a bar (at Acid House).  All in all, a superb issue I guess for H.P. would have admitted.

    7/28/2019

    Baradit – Revolución Tecnológica (2019)




    • Synth-pop 
    • Alternative pop 
    • Electronic music 
    • Electro pop 
    • Kraut-electro

    Comment: On the sleeve of this 8-track outing being released on the Chilean imprint Pueblo Nuevo is depicted a stylophone, the miniature stylus-operated keyboard which was invented in 1967 by Brian Jarvis and introduced by such luminaries as John Lennon, David Bowie and Kraftwerk. In principle, the instrument conjures up a buzzing, thick drone-drenched sound. Additionally, the old and analogue electronic keyboards undergo a renaissance. All what is closely related to the music I guess it can be considered acceptable regarding technological progression and mechanical triumph. Or can we in fact? For instance, in the USSR the military complex built up synthesizers at idle time. It is like laundering money to have a spotless, moral outlook. By philosopher Lewis Mumford the aforementioned mechanical triumph has gone on side by side with social distraction regarding a historical horizon. We are subjugated to such confused pragmatic abstractions as money and credit and certain kinds of political systems we used to think of them as things on their own or as clear realities though they are strictly human related and thereby contingent. All that bad happened because of having no counterbalance to the technological triumph. We ardently used to believe in that by avoiding thinking of possible adverse effects. The sort of inferior stuff which is considered superior than the phenomena deserve to be. It is the reason why the moral life and principles deteriorate because the people are stupid enough by having no common sense to distinguish the real entities from the sphere called doxa if to employ the terminology of Plato. Indeed, we are still living in a cave where shades overwhelm our senses. Could it be said about the music as well I would like to say no. Music and the art in general leap over the progressions and regressions, over the ebbs and tides by avoiding instrumental values of which final purpose and real nature may be quite unclear and even self-destructive at worst. Baradit's release is a fine example of poppy tendencies and smooth compositional threads by getting formally inspiration from the 80s synthetic aesthetic and on the other side being cranked up by the stimulus of krautrock, the style of being analogous to the belief in an endless motion. Of course, the real idea can be perceived by listening to old krautrock releases, today's formats and ideas are quite petrified just by following some remote echoes of the idea of the style. In a word, it is a retrospective, enjoyable listening.

    9/11/2018

    Gozne – Fin del Tiempo (2017)




    • Kraut-techno 
    • Motorik 
    • Minimal techno 
    • Electronic music 
    • Techno pop 
    • Ambient 
    • Deep techno 
    • Electro-acoustic 
    • Drone

    Comment: these 8 tracks clocking in at a 46 minute are set up to provide an example of techno music at the artist`s own disposal. The main instrument is a thick bass line which is arranged in different forms and through different frequencies. It reminds of the era when Kraftwerk intended to shift from guitars, a flute, an organ and the drums mixed experimental rock format into an overtly synthetic apparition (by denoting such outings as Ralf und Florian (1973), and Autobahn (1974)). Undoubtedly Gozne`s motorik impresses me because if you have grown up or at a time rejected other styles by listening to Faust, Neu!, and early Kraftwerk this profound motorik trace is put deeply into your perception. It is not only hypnotic, it is transcendental because it is seminal all the time - in other words - it is ahead of its time. It is proud, it is reluctant, it is self-confident because its value is distinctly delineated in the history of pop music. And as you can see by the recent case the influence continues to grow further. Of course, while talking about and trying to understand the contemporaneous filter should be added in between to get a proper comprehension. At Fin del Tiempo the listener can hear different variations of it – stubborn techno pop at EL FIN (Ez. 7.2); TIERRA NUEVA (Ap. 21.1) is the most disorienting composition within it due to those squeaking-squealing concrete sounds as if coming outside your headphones, from the street or as if someone is ringing the doorbell of your apartment. So I took away the headphones to make difference… . Secondly, it is an exuberant, undulatory ambient track and because of it being distinctive from the rest. In truth, the opening track EL HADES (Ap. 20.14) is quite similar thanks to those high-pitched yet lone electronic chords atop space-y droning. By its form it is rather an example of electro-acoustic music. This impressive brace of tracks is a part of the discography of Pueblo Nuevo. Both of them are the Chilean ones.

    8/27/2018

    Baltazàr – After Kanzai (2018)




    • Noise 
    • Avant-garde 
    • Experimentalism 
    • Post-industrial 
    • Leftfield 
    • Electronic music 
    • Freeformfreakout 
    • Improvised music 
    • Electro-acoustic 
    • Psycho-acoustic

    Comment: in truth, this is obviously the first issue coming out from Cuba being appeared at RMH. Indeed, Fidel Castro is dead and Cuba, Island of Freedom is not the same anymore as it has been for decades beforehand. One of the new signs is this 10-notch whole due to its highly provoking and unnerving nature. Honestly, I didn't expect to find it from Cuba. By immersing in noise torrents and frantic electronic appearances (for instance, spasmodic electronic flickers and saturated improvisations and abstract signal-alike beeps). On the other side, the frenetic side is a bit balanced by string instruments though the nature of it is also harsh rather than gentle. At times the listener can hear silently flowing sampledelic undercurrents as if bearing a hidden message. This highly galvanized release is a part of the discography of a Chilean release, Pueblo Nuevo.

    5/01/2018

    Lluvia Àcida – Ciencia Sur (2017)




    • Synth-pop 
    • Alternative 
    • Electronic music 
    • Techno pop

    Comment: this set of 8 compositions is inspired by the beauty of Patagonia, the beatific southern joint part shared by Argentina, and Chile. Lofty mountain tops and deep crystal clear lakes are to be visualised through the electronic soundscapes. The artist combines the sounds of synthesisers with sounds coming from unusual sources (electromagnetic emissions of laboratory instruments, conversion into sound of fossil images by using a special programme). In reality, it is not an abstract result, instead of it you can enjoy poppy, catchy synthesiser led motives with organic yet not exaggerated electronic effects. It can be admitted the conceptual and initial premise is even more intriguing than the real, sonic output. One may expect more alien-alike, unusual sonorous experiences. In fact, all is finely balanced and integrated one cannot take part in very machine driven interruptions. The fine issue is a part of the discography of Pueblo Nuevo.

    3/30/2018

    Alejandro Albornoz-Mika Martini – Two Chilean Blokes In The Soundhouse (2017)




    • Abstract 
    • Experimentalism 
    • Electronic music 
    • Avant-garde 
    • Improvised music 
    •  Electro-acoustic 
    •  Avant-electronica 
    • Psycho-acoustic 
    • Micronoise

    Comment: as the title hints at this 11-track outing the whole seems to be interesting or at least playful. By thinking of a soundhouse I can imagine a huge apartment filled in with massive analogue synths you need at times the ladder to implement all the applications of the machines. The two Chilean blokes provide a frantic blend of electro-acoustic progressions, gurgling and glitched-out noises, pulsating frequencies, vowel experiments, randomised piano chords and something else of which could be pigeonholed after you would have listened to it. It was recorded in one of the studios in Sheffield, the home town for such important avant and pop combos as Cabaret Voltaire, and Pulp, respectively. It is improvised music after it is edited, it is live music after it is cut into a bunch of 12 different tracks. Yeah, it is a shiny, mind-provoking outlet being issued on the Chilean Pueblo Nuevo.

    9/01/2017

    Bruno de Vincenti - Jorge Castro (Fisternni) - Vlisa (2017)



    • Electronic music 
    • Minimal techno 
    • Deep techno 
    • Improvised music
    • Alternative

    Comment: these 894 seconds are imbued with sultry magic supposedly thought for consuming at the midnight though in fact it works out at any time of the day. It is a collaborative act between three Argentinian musicians wherein you can perceive minimally sequenced rhythmic structures and synthesised pads with sublime voices and fragile glitched-out bits. It can be said one is probably not able to discern the final part and the finishing part of the composition especially if you have been listening to it endlessly in a row. All of that seems to fade into each other seamlessly, it is like an aural shape of the perfect geometrical element as the ring. It is an astounding sci-fi lullaby for your uneasy spans to fall finally asleep. The issue is a part of the discography of the Chilean imprint Pueblo Nuevo. There is a big chance to meet it sometime at the end of the year again at least at Recent Music Heroes.  

    7/23/2017

    Luis Marte / Poltamento – Movil/Inmovil (2017)



    • Modern classical 
    • Alternative 
    • Electronic music 
    • Jazz 
    • Crossover 
    • Improvised music

    Comment: a Steinway grand piano meets electronic software setups on Movil/Inmovil, the collaboration between the Chile and Argentina-based artists Luis Marte, and Roger Delahaye aka Poltamento, respectively. A huge, real instrument meets a virtual, physically nonexistent one. Yet strangely they do meet each other without any complications. The piano chords are predominant leading this subtle 5-track course being accompanied by volatile electronic bubbling, reverberant glitches and the breakable space between these compartments. Call it an instance of a drift between modern classical sensitivity and a (cool) jazz music formation. Given that electronic music is an essential part of modern classical music anyway. Pueblo Nuevo, a Chilean imprint proves with it to have an important place in the world of a thousands of record labels.

    7/05/2017

    Baradit – Electro Lines (2017)



    • Ambient pop 
    • Electronic music 
    • Synthwave 
    • Alternative 
    • Krautrock 
    • Electro pop 
    • Crossover 
    • Yacht pop

    Comment: it is great pleasure to be back again at the discography of a Chilean quality imprint, Pueblo Nuevo. Baradit's 9-notch issue is a fabulous blend of futuristic funky rhythms with gleaming shades and smouldering downtempo vibrations and decelerated ambient echoes. Moreover, one can hear iterative, motorik rhythmic structures and minimalist progressions which remind of Neu!, and an early Kraftwerk. At times it is highly moody and sunshiny, for example, at Crita, resembling strongly yacht pop drives. And of course, there are also represented electro pop elements but it is a fact of obvious kind that electro pop is represented everywhere in music today. Lots of synths, some guitars, iceberg tinged epic orchestrations, spidery cadences make you feel the whole is somehow special.

    5/06/2017

    F600 – Dos Puertas y un Puente para una Banda Sonora (2016)



    • Electro-acoustic 
    • Avant-garde 
    • Improvised music 
    • Experimentalism 
    • Post-industrial 
    • Techno

    Comment: if to compare F600`s previous issue At Home Like a Tourist (2015, Pueblo Nuevo) to his recent one the new one is a little bit different case. At At Home Like a Tourist the listener could enjoy dub techno, ambient, electro pop, dubstep, and electro pop patterns but the recent one is wrapped up in electro-acoustic reverberations and incisive digitalized sounds. Indeed, it is also a rhythmic case but it is definitely different. It is a sort of abstract techno if the rhythms start to take shape. At times the sounds are boosted with thick, low frequency-ranged drilling synths. By the way, the album consists of two long tracks with total extent of a 32 minute. Similarly to the artist`s previous issue the recent one is a part of the discography of Pueblo Nuevo. 

    4/18/2017

    Cafeina Kid – Neko (2016)



    • Breaks 
    • Electronica 
    • Remixes
    • Click And Cuts 
    • Minimal techno 
    • Mood music 
    • Alternative 
    • Sampledelic 
    • Techno 
    • Deep house 
    • Chilltronica 
    • Glitch techno

    Comment: similarly to Frenic`s Monomyth: Separation (2015, Dusted Wax Kingdom) the album I commented yesterday Pablo Cornejo aka Cafeina Kid`s 12-notch Neko seems to be a quite similar case. More concretely, it is based on tiny samples, rhythmic iterations and loops and relevant sonic effects which are merged into a moody whole. In comparison to the Frenic`s issue it might be less influenced by the trip-hop and hip-hop art though those influences might just be more buried. Cafeina Kid provides more techno inflected rhythms and at times even more bouncing rhythms in the background. The favourite of mine are related to more gleaming reflections in rhythm and timbre (for instance, at Qubeat). At times the listener can discern click and cut/glitch induced clippings and rubbish bits within the compositions (Amèrica Latina). For me it is much more interesting rather than listening to the kind of hi-fi yet annoying composition. At Conclusión parcial: cascada in the pathway is paved by jazz and deep house littered rhythms and motives to call forth bittersweet memories and painful yet tickling yearning in a listener. Furthermore, Cafeina Kid likes to add wobbly ethnic samples to make it change into a more offbeat result. The outing will have been finished off by another deep house track (BioBio (Hernvn remix)]. This very outstanding outing is a part of the discography of the Chilean imprint Pueblo Nuevo.