11/05/2010
Manuel Buerger The Midi Opera (Shalom Salon)
No doubt, Manuel Buerger`s The Midi Opera is a thankworthy output, dedicated to the midi file format, which has been boycotted by the predominant part of computer users. However, played on an inbuilt synthesizer of a computer Buerger does offer 15 short tracks of a very short longitude, going their way through a lot of peculiar sonic details reminiscent of space age pop tunes back to the 60`s and 70`s. Played up in a fine mode you can be caught driving on a route of weird sample flushes, high-pitched chords, roughly sounding caustic swirls, sublime glockenspiel combinations, in a primitivistic way conjured bubblegum funk and trance beats. Moreover, it might even be considered a bit mocking regarding different styles and currents (for instance, some prog-rock-esque eagerness at Tuburalbells). Though built up in a rough way, it does sound lushly because of being squeezed into a polyphonic result, being caught between format and nostalgia. For an argue, compared to his contemporaries his work gets the spot really close to Dave Keifer`s (aka Cagey House) compositions, though, Keifer is used to exploit more haunting samples. In a short, it is a funny and serotonine-pumping work, being a pro-flag for the midi format for sure.
Listen to it here
9.1
11/04/2010
...And The Earth Swarmed With Them The Fading Voice Of The Old Era Speaks To Us, But Where Are The Ears Left To Hear It? (Hawk Moon/Bandcamp)
The long-named bands with even longer album titles are used to be having a reference to... . To what exactly, I mean, actually?
The four-track debut release, not including their demo issue approximately 6 months ago, by the Essex-based band, consisting of Mitchell G. Johns (guitars, bass, keyboard), Ted Parsons (drums), Kat Stanbridge (vocals), Chrysa T (vocals), Jeff Ball (violin). Quartet`s high-chorded guitar pieces, solid channelizing into sublime sonic upturns and crescendos, middle-paced and low-paced tempos, obligatory march rhythms, and in-chamber noir-drifting ambiences; indeed, after broody low-key shuffles around there it is going to have epic turns into instrumental trance-evoking soundscapes. Infinite drifts inbetween silence and noise, (as one of the main concepts of music is used to be), inbetween ascents and slowdowns. In short, the array is not surprising if you are used to get involved in post-rock tradition, though, there are some unexpected moments hitting against your experience and premiss-swamped networks. For instance, using the female vocalis not an usual pattern, moreover, in the ending track The Slow Decay Had Already Begun Kat Stanbridge has embodied into a role of a soprano fury directing the band`s conception across on the other side, being rather placed closer to the likes of symphonic metal acts (for instance, Diablo Swing Orchestra, and Nightwish) than the epicness of instrumental (post-) rock music. By the way, the album is fringed by some peripheric pop luminaries: In addition to Ted Parsons (Jesu, Godflesh, ex-Swans) behind the drums, the album is mixed by Justin Broadrick, and mastered by James Plotkin. In a nutshell, even it might be seemed a bit decayed it is a strong work yet. Take your time out and concern on it.
Listen to it here
8.4
Inverness Somewhere I Can Hear My Heart Beating (Psicotropicodelia/Jamendo)
The southern side of the American continent is and has been full of great artists, and Inverness is undoubtedly one of the best entries I am being honoured to listening to.
Four friends from Sao Paulo are there to push their idiosyncratic conception forward - Lucas de Almeida (voice, guitar, sampler), Marcio Barcha (drums), Mateus Perito (voice, guitar, sampler), and Flávio Fraschetti (bass) are joined together to create the experimental rock band Inverness. The name comes from a dream, a successive theme in the group's work.
However, four organic instruments (voice, guitars, bass, drums) plus samplers do constitute up a very reminiscent instrumental array of My Bloody Valentine, though, their intention is inclined to be going in a bit different directions. Besides lush noise outbursts, strumming beauty of guitars and fabulous cinematic orchestrations you can hear shitloads of different influences via intense sampling synthesis - from hazy sunshine pop and doo wop-infused easy listening and techno vibes to psychedelia and sub-ethnic music numbers (involving in new age-y flute passages and weird vocal manners). If you are not satisfied yet searching for some solid ground, to find out some examples, I maintain you to make some steps toward The Avalanches, and The Guillemots as well. 10 tracks full of fucking greatness indeed, being one of the best killers of the 2010 so far. Obrigado, lads!
Listen to it here
10.0
11/03/2010
Caustic Reverie Remainders (Jamendo)
Have you ever listened to a least one of the fiveteen albums by Bryn Schurman (also know as TheForgotten)? I meant just an one time at least? In fact, Remainders is not an album on its own terms though, being compiled of different tracks having had no locus on the previous albums. In fact, Schurman would be called as the king of metallic drone music, whose monotonic soundscapes and minimal sonic conceptions are paradoxically fulfilled with a lot of warmth and powerfully conclusive feelings. It seems like a logical follow-up to the tradition of minimal composers for nowadays. Or you can imagine it as if La Monte Young or Angus Maclise would have sat behind a computer board and building up some new frontiers within borrowed borealic aesthetics of Tim Hecker. Yet might there be any adjectives to describe the whole in a better way? "Caustic reverie", it would be an obvious answer, though. A lot of impacts are associated with it - the nothern lights shimmers, elemental dust-coloured iceness, epic sub-classical approach, creeping microtonal dirges and subtle hiss-inclinedness. No doubt, it could be thought or illustrated out in other ways also, speaking out the very pictures-evoking soundscapes, or even a new kind of metaphysics (no contradictions between the sounds being contrasted up against the history of human thought and word). It also does sound as a pessimistic approach not being ready yet and probably never to believe in the positivism of technical progressions which is felt into a bumpy nightmare being paralyzed by remote breathes and oncoming steps of malignant robots ready to march on to have a part of destroying the human being as a species for tomorrow. The music of this kind with ambient drone feeling bound up with a pessimistic emotive declination I am used to tag it as "dystopbient".
Listen to it here
9.5
11/02/2010
Ballpen The dreams trilogy (La bèl)
In recent years, among others, I am used to get deeply involved in music of some Italian labels having stylistically been offering different yet conceptually cutting-edge outputs. More specifically, every release under Barbie Noja, Chew-Z, Kill Mommy, Zymogen, and La bèl is an unexpected one and really worth to give a try. In fact, concerning specifically on in Italy residing projects I have discovered such ones like The Last Meredina, Nicola Ratti, con_cetta, Christian Alati, Barbagallo, The Japanese Gum, Menion, Elisa Luu, Difondo. By the side, speaking about the music from the Apennine Peninsula in a more general way, it would be a kind of crime not to mention the likes of Hox Vox, Ornitology, Les Dix-Huit Secondes, The reason is clear - because all of these aforementioned bands have put on their very own mentality to some Anglo-American influences. However, it seems so that there are two geographical peripheries in Europe which are really rich by their innovative music - Finland (their powerful avant-garde folk experimentations, so-called forest folk) and Italy. In the context, no chance to get over by Kraftwerk - Eleganz und Dekadenz Europa endlos
Actually the array will be completed with adding of Ballpen, the project of Alessandro Coronas, conjuring up really interesting and intimate dream-alike soundscapes. (And other billions of strange and funny combinations of the puzzle-pieces of my life - as he says himself) 11 tracks do search for their place and borders hovering between folk music, cowbell indie, sub-IDM beats, chamber music, dream pop, child music, even the classical approach of minimal, sometimes really minimal sonic palette (which is not suprising because of Coronas` conservatory-related background). Of course, the easiest way to chart the whole it would be tagged as "folktronic music", and indeed, this is correct on its own - at least partly. For example, fabulous tracks Anna Lisa goes to bed, and The magazine dream. On the other hand, all of those slowly progressing chamber music lines built up to half-evolved crescendos, intimate sonic insights and introspections, a lot of key changes, subtle minimal electronic and glitch-y ghosts-infused undercurrents are up for to eliminate stylistic walls around its concept and allowing to bring forth a lot of transcendental feelings for a subject. Listening to this I can remember (or it is remembered by) for some soul mates - Oscar Hallbert (Sweden), and Thuoom (Finland). Altogether, a great composition indeed.
Listen to it here
9.7
11/01/2010
d.Forma mecanica de fluidos (Format Noise)
Format Noise is such a kind of label which has not been very keen to issue a lot of music. Thereby some albums having released per a year are really expected for. A lot of (good) artists I have discovered for my great pleasure are often be found from here. No doubt, d.Forma (from the USA) is a pro-sided project as well, with a long tenure yet, having released its first outbursts in the first side of the 00`s.
6 tracks, having their drive through noise-infused industrial and EBM beats. Experimenting with various pace speed changes-effects, on different levels of uncompromising hard beat intenseness, d.structed and nihilistic electronic structures and gloomy neoclassical ambiences behind it do make up a lot of impressions from the start to the very last seconds. The favorites of mine are the starting track Eight, and Mine. In a nutshell, this is the music on the ground of pop periphery while it is enjoyable enough.
Listen to it here
8.7
[Old but important] Children Of The Drone Compilation no. 8 (COTD)
In fact, the Exeter-based musical group of 10-20 members should be a legendary one, not only having some cult reputation among dedicated music lovers. COTD is through its line-up closely related to the other collectives and projects as well (for instance, A Tiny Window; Ail Fionn; Dongas The Tribe). Their soundscape is involved in hypnotic jam sessions, impressive pictures of art-y folk music, having the closeness to natural and organic soundscape and depthness inbetween and beyond the layers, playing up a lot of meditative psychedelic circuits, thereby constituting up as powerful uniqueness and intelligent variety finally. The array of Exetrians` instruments is similarly impressive one, including the music-oriented instruments, and artifacts as well. However, if you take some time to getting enjoyed them you shall have to reserve a couple of hours, because the most of sessions are up there into this tendency. And the UK-based collective is not limited to the sound conception only - I strongly recommend to you to visit their site and read their argumented views about many phenomena and manifestations (including music business). Let`s them speak and you'll definitely get some (self-) reflection.
Unlike the most of their experiments these are not usually filled in very surreal, darksided feedbacks and echo effects which by the side are injected with gorgeous mystical attitude. But it is the case of Compilation 8. You can meet some free form improvisations, electro-acoustic ambiences, and psychedelic sonic conceptions. And indeed, over a long period some low-end (and shamelessly undervalued) electronic keyboards and electronics/sampling units have been exploited. If Kemialliset Ystävät`s frontman Jan Anderzèn expressed once devout hope that his music would be in certain way to be related to the outer space having its very goal in this way while it can be said that obviously by Matthew Watkins` curated band sounds into the universe for sure. A seemingly simple journey on the one hand, it expresses a static (or in a minimal way sounding) sonic trance on the other hand, within the borders of the high-level articulatedness the progressions of sonic algorithms are getting even more visible with coming to the end. In fact, it does not create any kind of tensions or frictions while flowing into transcendental meditations. In a more concrete way, through comparisons, here is a link of kinship with Six Organs Of Admittance, and Spiritualized to be found, although, in a much deeper embodiment. An astonishingly deep stuff.
Listen to it here
Tellimine:
Postitused (Atom)