- Noise
- Electro-acoustic
- Avant-garde
- Experimentalism
- Industrial
- Spoken word
- Psycho-acoustic
- Post-industrial
- Radiophonic art
Kuvatud on postitused sildiga 1998. Kuva kõik postitused
Kuvatud on postitused sildiga 1998. Kuva kõik postitused
12/01/2018
No Nitz – Conversation (1998/2018)
8/26/2016
Вежа Хмар – Ритуал (1998)
- New Weird Ukraine
- Avant-garde
- Illbient
- Experimentalism
- Drone
- Post-folk
- Ambient drone
- Minimalism
- Soundscapes
- Abstract
- Post-psychedelic electronica
- Leftfield
2/19/2016
Klangstorm - Live at The Custard Factory on 1998-05-14 (1998)
- Krautrock
- Fusion
- Improvised music
- Funk rock
- Live session
- Ambient
- Psychedelic rock
- Jazz rock
- Experimental rock
- Space rock
Comment: the Klangstorm`s 32-minute gig at The Custard
Factory in Birmingham, United Kingdom almost 18 years ago (it was the heyday of
Britpop then over there) starts off with an vignette of ambient music which soon will
erupt into a bass, drums and guitar induced propulsive soundscape. Indeed, the
bass guitar used to thud properly and the drums add additional rhythm power to
it, the solo guitar used to lead the improvised parts throughout the course.
Indeed, there are up a lot of key changes and tempo changes which provide
volatile nature to the whole. Furthermore, at a 14 minute all the aforesaid
elements used to collapse into an airy, ambient interlude by synths which are
accompanied by mercurial guitar flows and more serious, monotone bass chords
beneath. All of that eventually results in the funky jam thereby reminding of a
mid-period of the Teutonic legends CAN. Indeed, Robbie Wood`s guitar playing
resembles Michael Karoli`s one conveying different patterns through frantic changes
in chords and chilled out incantations. In a nutshell, the whole is an
enjoyable jam being the first in a series of the quintet`s sessions at The
Custard Factory. It has a historical value for sure.
7/16/2012
Вежа Хмар - Плач (1998)
9.2
/New Weird Ukraine, Neofolk, Lo-fi, Weird folk, Avant-folk, Dream folk, Experimental folk, Dark folk, Anti-folk, Free folk, Improvised music/
Comment: this 17-piece issue is a hidden gem having already been recorded in the ending part of the 1990s. This Ukraine-based musical group takes on a quirky kind of folk music which pours out ghastly vowel lines and effects, trance-induced drums, elusive (mini)-orchestrations, silentful monotonously bouncing bass chords, and some expressive keyboard drones (one track includes even the samples by Kraftwerk). The whole is an organic drift made up of both improvised approach and deliberated tactics. There can be drawn parallels upon the representatives of dark/neofolk, New Weird-related and the Finnish forest folk scenes. In a word, after listening to the release you can feel it was a truly elusive, unforgettable experience of the folk shamanism. Purgative and relieving in any cases.
8/27/2011
Psychic Enemies Network - P.E.N (1998)
/Post-rock, Ambient, Experimental rock, Epic, Avant-rock, Electro-acoustic, Sampledelic, Crossover, Experimentalism, Ambient rock, New Age, Improvised music/
Comment: This album is a monster. Firstly, its duration is about 90 minutes, on the other hand it veers from vibraphone and xylophone-driven post-rock (a la Mercury Program, and The Dylan Group) and sonic effect-loaded experimentalism to murky ambient patterns and bouncy, cinematic improvisations. More concretely, some chords and snippets are speeded up/slowed down/stretched out, there can be detected for reversed guitars and vocals, witty warped samples) Yet, all of that is somehow zipped through the distorting mirror. In Its Streets offers an unsettling yet highly epic storytelling covered with metallic grit (reminiscent a little of GY!BE). The last track is a remix of In Its Streets by aboombong aka Icastico, an unsung legend, who has been involved in numerous experimental music acts during the last 3 decades (visit the Pen & Mallet site/blog curated by him). In a nutshell, this 13-track album is a hidden and undiscovered yet distinguished chapter in the history of pop music.
4/04/2011
jgrzinich – time’s arrow landing (1998/2009)
/Abstract, Found sound, Drone, Ambient, Musique concrete, Ambient drone, Sound-art, Experimentalism, Non-music, Acousmatic, Avant-garde, Experimentalism, Microtonal, Minimalism/
Comment: John Grzinich comes from USA, though, having shared the residing place between his native country and Estonia during the last years respectively. However, besides being a builder of amplified piano wire instruments he is known as an avid music enthusiast, theorist-philosopher, sound-artist and the organizer of different installations and workshops.
This set of 4 long-running tracks has managed to running on ambient approach, concrete sound-relied fibrillatings and elementally droning hiss-backed sonic tissues (generated with an old sine wave compressor), however, either being lopsided toward different parts or being "pliable" enough to be overgrown into each other at times. All in all, the release seems to be searching for a transitional area between the nature and machines, however, cleansing a listener`s mood and bringing into order his/her thoughts.
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