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Kuvatud on postitused sildiga 2014. Kuva kõik postitused
Kuvatud on postitused sildiga 2014. Kuva kõik postitused

2/18/2024

Between Two Waves The Second Wave (2014)



Eardrums Pop

Indie pop Alternative pop Twee pop Psychedelic Electronic Jangle pop Doo wop Synth-pop

Nullindate lõpus-kümnendate alul oli kolm väikest netileibelit (Bad Panda, Eardrums Pop ning Beko DSL), kes tõid iganädalaselt kas singlite või EP'de näol uueilmelist indimuusikat tuhandete kuulajate manu. Vahetevahel ilmusid ka kogumikud, mis andis tavapärasest rammusama kuulamiskogemuse. Võib-olla norrakate Eardrums Pop oli rohkem traditsioonilisema indipopi orientatsiooniga, mis tähendas peaasjalikult belleandsebastianlikku kurva alatooniga ent sillerdavat poppi; mille juured omakorda peituvad 60ndate psühhedeelias a la Love ning C86-liikumises. Eriti Sveamaa paistis sellesuunalise bändirohkusega silma. Nagu ikka -- kitarrid, klahvpillid ja sulnid vokaalid panustavad popvalemisse. Lihtsalt proportsioonid instrumentide vahel varieeruvad. Näiteks mõni lugu sisuliselt on elektrooniline/süntpop. Valdavalt muretu lõõritamine. Mis siin ikka rohkem jahuda -- kogumike mõte ongi, et kuulaja saaks asja lõdvemalt võtta. Spordist analoogiat otsides võiks seda võrrelda iluuisutamise galavõistlusega. Igaüks saab midagi endale välja noppida või kõrva taha panna. Kuigi ma vaatlesin ainult Volume B-d, siis tegelikkuses koosneb see suisa kolmest volüümist -- hea kuulata päiksepaistelisel pühapäeval.

1/17/2022

baker / ritch – articular facet 5.3 (2014)



  • Improvised noise 
  • Avant-garde 
  • Noise
  • Sound art 
  • Psycho-acoustic 
  • Experimentalism 
  • Abstract 
  • Drone 
  • Non-music

See 4-looline üllitis Chicago eksperimentaalleibeli pan y rosas discos`e alt sobitub väga hästi minu veregrupiga. Tõsi, kõigepealt pidin kontrollima helisüsteemi korrasolekut, kuna tekkisid teatud kahtlused heli kulgemise loogikas. Siin on madalat ja keskmist, siin on hillitsetust ja poolenisti vabakslaskmist (s.t kontrollitud müra). Aga see kontrollitud müra võtab aeg-ajalt veidra kuju – justkui alamõõdus sümfoonia kerkimas eikusagilt, vaarudes elliptilisi poognaid võttes ning siis välkiirelt ühest stereokanalist teise tormates. Nõukogude ajal seesugust muusikat mängivad artistid ei oleks mitte ainult ansamblite registreerimiskatseid läbinud, vaid oleks pistetud hullarisse. Väga mässuline on see, mida teevad Jim Baker modulaarsündil ning Sarah J. Ritch tšello, kitarri ning elektroonikaga. 

5/4 (3.5-4.5)

9/23/2021

Monolog – Rockstar Heaven (2014)



  • Sophisti-pop 
  • New wave 
  • Soul 
  • Soft rock 
  • Chamber pop 
  • Electronic 
  • Art pop 

Hollandi kolmikut – kuhu kuuluvad vennaksed Bas Lookman ja Ramon Lookman ning Gerrit Elbrink – näikse omavat erinevate muusikaliste maitsete spektrit. Või õigupoolest paletti, millel erinevad värvid omavahel segada ja tundlikuks popiks realiseerida. Pealtnäha on see lihtne pop, aga lihtsa popi maitsekuse määravad ära pisiasjad, et määratleda seda kas lihtsa või lihtsustatuna. Teisisõnu, pealtnäha lihtne – nagu käesolev 8-looline album Humanworkshop`i all – võib ilmneda mitmetahulise ja mitmedimensioonilisena. Lihtsustatud muusika eesmärk ilmselt on naelutada reaktsioonilisi ideid ja kontseptsioone, olles pigem (raha)poliitika kui kunst. Monolog mängib paljude stiilidega, andes neile sädeme meloodiate ja harmooniate ankurdamisega. Eks see ole Bowie-järgne muusika, kus Briti legendi vormilis-tehniline lähenemine on loome aluseks, samas Bowie taotlus inspireerida ja šokeerida on käesoleva ajastu kontekstis mõtte kaotanud. Bowie muusikat ole kriitiliselt nimetatatud ad hoc-popiks, mis laias laastus tähendab, et tegeldud peaasjalikult on vormiga; seda toetav laulukirjutamisoskus on olnud pigem nõrk. Hollandi kolmik paraku ei saa ka ilma banaalsusteta läbi – diapasoon on piinlikust ülendavani, juustuvurrist sfääride muusikani. Ilmselt dünaamika madala ja üleva vahel ongi albumi eesmärk ja sisu.

9/11/2021

Guy Birkin – Bits (2014)



  • Drone 
  • Organic electronica 
  • Experimental techno 
  • Electronic music 
  • Post-classical 
  • Musique concrète 

Nottingham`i tüübi neljalooline üllitis basic_sound-nimelise netileibeli all uurib vähem- ja rohkem põrklevaid rütme, süveneb droonjasse hingeellu ning kaardistab kaasaegse klassika äärealasid. Siin ei peitu läbivat narratiivi, pigem on see juhuslik huvitumine ühest, teisest ja kolmandast (heli)sfäärist. Veider on mõelda, et veel paarkümmend aastat tagasi seesugusest muusikast oleks vaevalt niimoodi mõeldud. Kas seda muusikakski oleks väga peetud, julgen kahelda. Ise julgen vastupidises kahelda – konkreetselt maitsetu EDM ja häbitu Hi-NRG näitel. Ka seesugust saundi on vaja – esiteks inimestel on vajadused (kuigi mitte otseselt muusikalised) ning teiseks on sellel hoiatav tähendus. Kõik muutub ajas, muusikaline tekstuur ja veelgi enam inimeste taju ja arusaam ühe või teise helilise fenomeni osas. Eks omal ajal said industriaalmuusikud laval peksa – on kahtlust arvata, et nendeks olid punkarid, kes ise omaa rust võitlesid väikekodanluse vastu. Irooniline ja paradoksaalne, on ju? Hea album, isegi kui see ei ole meelierutavaim süda eelpoolnimetet plaadifirma kaustas.

1/22/2021

Poon – Poon (2012/2014)



  • Avant-blues
  • Improvised music 
  • Noise 
  • Drone 
  • Freeformfreakout 
  • Abstract 
  • DIY 
  • Outsider music 
  • Psychedelic 
  • Lo-fi 
  • Bedroom music 

Poon. Poon? Poon keda? Poon mida? Poon millega? Poon millal? Tartu müraküllase avangardi üks esindajaid (NE!, Autharktos, Martiini) poob oma debüütalbumil nii et vähe ei ole. Mulle meeldib mõelda, et ta poob tänapäeva popmuusikat, millest siinkõneleja saab mingisuguse aimduse tänu saadetele Muusikanõukogu ja Muusika sinu kõrvadele. See on masendav, mis sealt valdavalt kostub. Rämps. Poptroonika vaimselt mandunutele. Inferioorsus. Inferno. Elutus, viljatus, klišeelikkus, artistlikkuse puudumine, hapnikupuudusesse produtseerimine. Poon'i 16-looline (Trash Can Dance'i kassettversioon sisaldab kahtekümmet lugu, st nelja lisalugu) album kõlab kui vastumürk sellele. Tõmba oksa, raisk! Ja vastumürk mürgile antud kontekstis ei ole mürk. See on puhastav kogemus loomerõõmust, loomise protsessist ja väljalastud esteetilisest purakast. Salvestatud kitarri, harmooniumi, taldrikute-pottidega. Kasutatud arvuti operatsioonisüsteemi salvestusprogrammi, edastamaks ulgu ja sõnumeid alateadvuse piirimailt. Millest olulisim on vist "lase kui leebe tuul/ja keegi ei saa mind takistada". Captain Beefheart potinõude keskel musitseerimas. Heitke see kuradi Ableton Live masterdamisprotsessis kõrvale ja miksige mingi muu programmiga. Isegi Mart Avi viimane album ei ole sellest šabloonsest patust prii, olles tema nõrgim. Ühesõnaga – poodud.

6/07/2020

Kroma – Siin kus lõpeb Maa (2014)


  • Kosmische Musik 
  • Electronic music
  • Progressive 
  • Space music 
  • Cosmic synth

Viimased uudised Minneapolise-nimelisest linnast Ameerikamaal edastavad, et osa rahvast ei taha enam politseid kui institutsiooni. Oleksime justkui jõudnud valgustatud seisundisse, kus ei oleks vaja ei politseid, kohtuvõimu ega valitsust. Robert Nozick'i klassikalises teoses "Anarhia, riik, utoopia" käiakse välja idee, et sarnaste huvidega inimesed võiksid koonduda kommuunidesse, kuid konfliktide vältimiseks erinevate kogukondade vahel tuleks palgata turvafirmad või mingi sarnane vahendav institutsioon. See peegeldab seda, et inimene on loodusest eemaldunud; konflikte ei suudeta loomuldasa isekeskis lahendada, erinevused on lepitamatuks kasvanud. Ma ei ole kindel, et inimkond oleks hetkel valmis jõuinstitutsioonidest loobuma; ei ole valmis, asemele tuleks üksnes rohkem vägivalda. Küsimus on eskapismis – kuidas põgeneda üksteise eest, kuidas vabaneda humanistlikust õudusest. Inimese kui olendi loomuse ja kui isendi ilu esilekerkimiseks oleks ideaalis vaja olukorda, kus tsivilisatsioon hukkuks ja inimene loodusliku liigina võiks tuhandetes kordades vähem asustada Põhja-Ameerika ja Aasia põhja- ja lõunaosa, Ida-Aafrika murranguala, Amazonase vihmametsa, Mikroneesia ja Paapua paradiislikke kaldaid. Alasid, kus oldaks vastamisi ülekaaluka looduse stiihia ja iluga, mis ühelt poolt annab loodusele võimaluse ja teisalt sunnib inimest keskenduma olulisele, mitte tegelema seinast-seina lolluste ja puudustega (majandusnäitajad, lõputu võlaorjus, tööpuudus, nipsasjade ihaldamine, (kontseptuaalne) ülemõtlemine, ühte ideoloogilisse sohu vajumine ja (ideoloogilised) sõjad, saastatus, drastilised meeleolukõikumised, enesetapud, upsakas egoism, sookvoodid- ja neutraalsus, rassiprobleemid, silmakirjalikkus, vähemused ja põgenikeprobleemid jne). Teisisõnu, kui suudame end kõigest sellest piisavalt distantseerida ja selge pilguga hinnata, siis võime südamerahuga tõdeda, et elame hiiglaslikus vaimuhaiglas. Eksistentsiaalses mõttes – suhestatuna loodusega – on käesolev olukord kõigest agoonia pikendamine. Inimene kui loomaliik peaks lähenema loodusele, peaks muutuma loomalikuks-loomulikuks. Teine võimalus oleks kosmosesse põgenemine, aga seda võimalust ei ole ega tule – mis kuidagi ei korreleeru piletihulga ja -hinnaga, mida Elon Musk'il on õnnestunud ullikestele miljonite eest maha müüa. Märgatavalt odavama ja käegakatsutavama kosmosereisi saab hankida Antti Turpi ehk Kroma muusika vahendusel, mille pealkirjad viitavad varasematele põgenemistele (nt Lem'i "Solaris", Verne'i "20 000 ljööd vee all"). Ainuüksi plaadifirma Trash Can Dance poolt üllitatud kassettväljaande kaas teeb südame soojaks – Mirabilia raamatusarja stiilis kujundatud skafandris eskapist jälgimas ekraanilt iludust nimega Maa. Kõrvuti leibelikaaslaste Trent Hawkins'i ja Day Of The Triangle'iga on Kroma korralikult panustanud teadvuse avardumisse ja puhastumisse-korrastamisse. Tõepoolest, sõna "kosmos" ja ka sõna "kosmeetika" pärinevad etümoloogiliselt ühest ja samast kreekakeelsest sõnast "kónsmos", mis osutab korrastatusele või korda tegemisele. Atmosfääriline korrastatus, mida hoiavad alal pulseerivad (analoog)süntesaatori rütmid ja kaunistavad sünteetilised arengud ülakihtides ja eemal/kaugustes. Hea on olla kosmoses, veel parem lokaalselt kodus. Vaimselt ja füüsiliselt terves kodus.

11/26/2019

P.P. Roy – Watch The Dough Nut Not The Hole (2014)




  • Sampledelic 
  • Plunderphonics 
  • Lo-fi 
  • Electro pop 
  • Acid 
  • Chilltronica 
  • Easy listening 
  • Avant-pop 
  • Electronic music 
  • Mood music

Comment: to peel this 14-notch properly away there are many possible ways to go. Just let it go, many listening times in queue, to get a vague impression in your heart. And thereafter you can get a chance to analyze it more properly. The same effect may be coincided with such plunderphonic luminaries as Vicky Bennett aka People Like Us, Pogo and Ergo Phizmiz, however, any new case is extraordinary (indeed, the crucial question is about how to handle this enormous set of informative bits which used to succeed rapidly to each other). At times those lysergic wry synth progressions used to keep the pace with the assistance of wonky, a bit weary rhythmic shuffles, and then the previous hectic stylistic element will transition into a laid-back, easy-running development which is up there to create a stunning gravity-free atmosphere. And then the artist blends seamlessly all the lines between genres. In fact, P.P. Roy fulfills it all the time. A widely used deed in last years within the experimental music scenes has been the sampling of ballroom music and other elderly, slightly haunting sounds – here are also represented high-pitched female vocals and exaggerated yet flair orchestrations. I can see nothing else but every element lives up to the expectation. The impressive outing is a bit in the discography of Upitup.

12/15/2018

Burdeos – S A U D A D E (2014)




  • Techno pop 
  • Electronic pop 
  • Ambient pop 
  • Synth-pop 
  • Post-disco

Comment: Burdeos is an artist from Seville, Spain whose 8-track issue is an exuberant electronic progression through lofty synthesiser developments and a churning rhythmic programming. It used to be a gentle mix between the fluctuating melodic and the bouncy formative side. Some hisses and glitches, sawtooth-shaped shards and rusty synths and robotic voices are set up to add an additional value to the emotionally suggestive threads. As the artist says 'Saudade' is a word difficult to define, which expresses a sense of melancholy, yearning or longing. A beautiful memory for what has been lived and painful because will not come back. All in all, it is for you to decide whether you could feel bittersweet memories or striking rebounds while listening to it or not. The subtle outing is a bit in the discography of Miga.

11/30/2018

MOnOnOmOnOOtO – 架空の洞 (2014)



  • Indietronica 
  • Art pop 
  • Electronic 
  • Alternative 
  • Ethnotronica 
  • IDM 
  • Drone

Comment: this set of 6 compositions is based predominantly on rhythmic backbones, veering away from programmed angular cadences to more soothing exquisite rhythms to tabla and other ethnic drum induced percussions. Frequently the artsy rhythmic configurations are accompanied by dreamy droning, arousing electronic effects and more atmospheric, lofty electronica. One can enjoy a playful borderline between volatile shades and more visible structures. The subtle issue is a part of the Japanese imprint Ceramic Records.

10/23/2018

Sotra – Wayfarer (2014)




  • Kosmische Musik 
  • Space music 
  • Post-rock 
  • Electronic music 
  • Alternative 
  • Ambient pop

Comment: by listening to this handful of compositions by Sotra on Ukraine-based imprint, u|torn I got the idea that Kosmische Musik is by its method quite similar to post-rock. Or vice versa, because Tangerine Dream, Klaus Schulze, and Ash Ra Temple had existed (or have been existing) long before in comparison to Talk Talk, GY!BE, Explosions In The Sky, Mogwai, Tortoise. All those slowly progressing synths and intention to create a delicate mood around the listener throughout the mostly long-running compositions. Of course, electronic devices to conjure up the aforementioned elements are different and it influences the result. At Wayfarer one can hear blinking sounds coming from a lunar echo sounder and bumpy Moog soup on the bottom and glistening analogue synth-based overdrives here and there. The apotheosis comes at Go North with those tense keytar-alike acidic outbursts. Very solid indeed.

9/10/2018

Muhr – Nod Your Head Don't (2014)




  • Mash-up 
  • Sound collage 
  • Mixtape 
  • Hip-hop 
  • Rap 
  • Electronic music 
  • Remixes

Comment: it is quite surprising to find Vincent Fugère is such position to introduce his new beginning. It is miles away from previous doings, far away from exquisite electronic music, vivid post-rock, and hazily borderline modern classical music. Yeah, this mixtape based on 35 minutes consists of hip-hop beats, rap rhymes, thick bass lines, abrasive sonic progressions and sprawling electronic spaces. Propulsive moments are variegated with more laid-back, even dreamy glimpses and thereof creating a dynamic feel of deliverance throughout the course. Additionally to his own oeuvre he employs other artists` music like Jay Z, Arvo Pärt, Millimetrik, GY!BE, Dinah Washington, Julie London, and Max Richter. In these cases the Montrèal-based artist edits or remixes them. All in all, it is a creditable introduction toward a new future.

9/07/2018

Go Genre Everything – Ghost Dreamer (2014)




  • Krautrock 
  • Improvised music 
  • Avant-garde 
  • Experimental rock 
  • Psych-rock 
  • Avant-rock 
  • Trance rock 
  • Space rock 
  • Doom rock 
  • Drone rock

Comment: this album of 9 tracks is about those human beings who used to imagine the ghosts really exist and because of that they also can be considered ghosts. Actually the combo can also be considered a phantom band because it is quite hard to discover some definitive information about them. First of all, the Australian Go Genre Everything used to exclusively release their sound under the domestic imprint Munchiegohilarious (you can find out approximately 10 releases from within). Formally it is a skewed release because 4 tracks are longer than 13 minutes and the rest of 5 tracks each of them used to be shorter than a span of 6 minutes. However, musically these 85 minutes are going to alter your mind due to those knee-deep psychedelic improvisations, and hirsute noisy soundscapes with such graters as haphazard, free-form drumming, dada-alike speech sound, didgeridoo-induced drones, loopy guitar-driven walls, lycanthropic growling and howling. If it seems to be wild and setting you free at the same time, then something it is still inside you you will have not cut primordial natural roots yet. The predominant rhythmic pattern of the issue is thick and groovy as if providing a dance-appealed material for the doom, space and krautrock-septic geeks. Hypnotic and baneful. More profoundly, killing boring feelings and tedious life aspects. All in all, it is overcoming and diving you potty in a positive sense. It may involve even more – it can be depicted as a pilgrimage through the purgatory where the intention and the ambience do encounter and interact with one another. Or a process of exorcism. By kindred souls there can be drawn parallels upon the likes of AXXONN, Circle Of Lebanon (both artists come from Australia), TFSL, LFC, Outer Gods, Ashtray Navigations, Vibracathedral Orchestra. In fact, the album`s sound used to partially connect to even more artists, from the dada music and freaked-out acts to free jazz and drone music to noise and sound art. A cut above for sure.

7/30/2018

Maxim Trianov – A Chance To Remember (2014)




  • Improvised music 
  • Experimentalism 
  • Avant-rock 
  • Electronic music
  • Guitar ambient 
  • Post-rock 
  • Experimental electronica 
  • Crossover 
  • Electro-acoustic

Comment: Maxim Trianov is a musician from Kharkov, Ukraine whose 7-track issue (clocking in at a 48-minute) is predominantly an immersive thought through electric and acoustic guitars and electronics induced effects. Undoubtedly the main heaviness is set up by the guitars in different forms – at times it is set out as organic, subsequent progressions through the chords, at times it involves more incisive interruptions based on effects unit and effect control devices. As if getting obsessively into the essence of a sonic minutia to be explored. At times there are set up a dialogue between the guitars and a lurking atmosphere as if lashing the ghosts around and inside him. Electronic music is foremost set forth at The Morning After which is a platform to meld together glitched-out electronica and slamming electronic beats with broad progressive rock sweeps. The finishing track Outro is the electro-acoustic example. What I should say – imagine Slash were partly abandoned his rock star ambitions to play guitars in a more experimental mode. Of course I do not complain at all – Slash is a great guitar hero, and this case is an album of Maxim Trianov, who is also a great artist. This mind-provoking issue is a part of the discography of Nexsound, a Ukraine-based experimental imprint.

6/20/2018

Frank Silver – Invitation To Love (2014)




  • Glo-fi 
  • Chillwave 
  • Alternative pop 
  • Indie pop 
  • Art pop 
  • Post-pop 
  • Synth-pop 
  • Indietronica

Comment: that outing makes you fall in love. By its spaced-out timbres and captivating melodies and blissful harmonies which used to endlessly whirl around your intimate zone and you have no power and wish to resist against it. Undoubtedly it is an ideal example of the so-called ideal pop. All the beautiful things seem to come from inside this 5-track whole – endless dreams, bittersweet, tickling perceptions, whatever more else you could find fro behind these thick orchestrated synths, pulsating rhythms and diffuse vocal delivery. Chillwave as a genre was being fabulous having been existed from the end of the 00s to the first years in the 10s. It was like a derivative of dream pop by finding a new direction toward synth-pop. It is a top tier within the genre though like a swan song of the deceased style. Mandatory stuff by any means.

5/24/2018

Hundra Fåglar – Svågerpolitik (2014)



  • Post-rock 
  • Art rock 
  • Chamber rock 
  • Epic

Comment: the release comes out of Sweden, it is an instrumental release without any possible spoken suggestions yet quite fragmented music provides enough suggestions for. From frozen chamber music and piano tapped induced dreams and iterative effect loaded and shifted guitars to dim synthesised flickers and a glockenspiel driven still life. Indeed, the result is rock music, more profoundly, rock music as a state of art.

3/05/2018

Roberto Daglio - Coll.of Coll. Two (2014)




  • Yacht rock 
  • Mood music 
  • Jazz pop 
  • Lounge 
  • Easy listening

Comment: this set of 4 tracks is the follow-up to the same titled issue though I have not listened to it yet and because of that I have no chance to compare the two ones. However, it is not a problem. So much as I have listened to it so far it is obviously the most moody and easily running issue getting inspiration from cloudless sky, and deep blue ocean. Yet the listener cannot deny the impact directed to the body – so you could imagine a romantic club somewhere nearby the beach being coloured by the sunset and being the place for romantic meetings. Roberto Daglio also makes reference to his famous compatriot Ennio Morricone at Seed of Peace which is an angelic masterpiece. The Mirror includes an acidic, psychedelic development giving the track a catchy outlook. You can draw parallels upon such masterminds as Bruno Nicolai, and Paul Mauriat as well. Yet it is an outstanding success by Roberto Daglio himself.

12/02/2017

Yoshida Com – Onna No Kanojo (2014)


  • Electronic music 
  • Synth-pop 
  • Shibuya-kei 
  • Lo-fi 
  • DIY 
  • Electro pop 
  • Alternative dance 
  • Acid pop

Comment: this handful of tracks had been created approximately 3 decades ago in Japan on low price yet effectively propelling synthesisers and a drum machine called Alesis HR16. Light-hearted melodies, slightly extended and mutant chord ends, and naive yet catchy cadences with a slight tin-tinged flavour and occasional acidic attacks are composed in a way which can very certainly be considered as Japanese. At times it chimes like an example of pre-electroclash via rough simplification of post-punk music (especially at Scene 7). Thanks to Upitup for finding and exposing the Japanese DIY maverick to a wider audience.

10/29/2017

FET.NAT – Purple Empereur (2014)



  • Alternative rock 
  • Indie rock 
  • Improvised music 
  • Art rock
  • Crossover 
  • Post-punk 
  • Avant-rock 
  • No Wave

Comment: this set of three tracks (classified as B-sides) from Hull, Quebec, Canada is a provoking rock example with crashing guitars, screaming and weeping vocals in French and a minimised amount of electronic music. That's weird in its dadaist approach while being somehow lofty at the same time, that's also artsy and inspiring. It harks back to an experimental compartment of post-punk (in fact, post-punk as a style was being mostly experimental and seminal anyway) to such combos as Ludus (a favourite combo of Moz), and This Heat, but by contemporaneous combos it a little bit resembles ranting Fly Pan Am, another French Canadian combo. The issue is a part of the discography of E-Tron Rec., and Boiled Records.