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Kuvatud on postitused sildiga Clinical Archives. Kuva kõik postitused
Kuvatud on postitused sildiga Clinical Archives. Kuva kõik postitused

7/22/2011

Sandro Marinoni - Borderline (2009)



/Bebop, Modal jazz, Free jazz, Live session, Hard bop, Improvised music, Cool jazz/


Comment: Borderline is Marinoni`s follow-up to Ten Little Songs under Clinical Archives (his is also known as part of Flames). His tenor saxophone play is clearly dominating - introducing soothing themes and conjuring up suggestive solos, which at times is intervened with bubbling and whistling, twirlingly running electronics by Stefano Roncarolo). These 9 songs represented here veer from bepop and hard bop to free improvisation/free jazz and cool jazz. By any means, these 41 minutes are really worth to give it a try.

7/08/2011

Dmyra - Imagine Away (2011)



8.8

/Art-folk, Electronic, Dark pop, Singer-songwiter, Experimentalism, Noise pop/

Comment: Undoubtedly Robert Demes II is being one of the most profilic artists on Clinical Archives to date. A musician coming from the USA while now residing in Costa Rica is approved by mixing up folk/indie folk with refined electronics. His recent issue of 15 tracks (plus a bulk of bonus tracks) is an intricate mix of restrainted folk, brooding electronic, noisy developments, soothing near-ambient notches and crafty experimentalism. Even some jazz-based numbers in-between all of that can be detected for. All in all, he seems to be enstranged from his initial indietronic approach.

6/26/2011

Opa! - Nakurlah (2011)



/Brass pop, Avant-pop, Reggae, Soviet pop, Experimental pop, Kitsch pop, Crossover, Klezmer/


Comment: Although it might be the most pop-appealed notch in the discography of the Clinical Archives so far, however, it is enough experimental to have either a few common points with the chart-based acts or on the other side just shamelessly shuffling it with vanguard-ish influences. For instance, the kick-off track Ring Tone starts out as a indirect hint at an announce of the harmfulness of mobile phones (the direct admission of causing the various types of brain tumours by the WHO approximately 3 weeks ago) which later will acquire the early pop pattern of the krautrock legend Faust with the addition of a loads of lush brass developments. Moreover, it is also classified as klezmer pop mixed up with soviet and kitsch pop. All is correct if to add to it the exploitations of reggae music either. Zenit is a fan song intended for supporting of the famous Sankt Peterburg`s football club Zenit (the best soccer song after the Lightning Seeds` Three Lions). Indeed, as the whole, it is a enormously catchy and glistening pop music. And nostalgic in some sense as well.

6/16/2011

Fake Plastic Heads - keeping an eye on the ones who deserve it (2011)



/Avant-industrial, Experimentalism, Avant-garde, Power electronica, Psych-acoustics, Spoken word, Noise, Non-music, Avant-electronica/


Comment: 37-years-old Charles S. Kozmanovic aka the c aka lee01 can be considered a singer-songwriter, yet he is a very peculiar kind of singer-songwriter from Germany. Those 15 notches which are dominantly wraith-embraced ones showing up the darkest corners of the consciousness of a human being. All is wrapped up in a high-resoluting yet "soothing" forge of noise and industrial sound, it is like Freddy Krueger who used to told his "subtle" lullabies to the rest of the world. By a more historical side, falling into an array of the predecessors, it can be compared to Coil and the madness of Einstürzende Neubauten drifting between the destructivism and constructivism. Yet, keeping an eye on the ones who deserve it is an original one demonstrating a potent merge of spoken word and sonic palette - it is the kind of grower. For all the noise music lovers, power electronica and avant-industrial adorers, however, this issue is an obligatory one. And search for the man`s previous albums drone_iv, and ldf1st (at Jamendo) either.

6/13/2011

Baristik Mi Gostembil Project - Gostembil Sessions (2011)



/Art-pop, Experimental pop, Crossover, Improvised music, Chamber pop, Avant-garde, Jazz, Oriental, Trip-hop, Toytronica/


Comment: The Uskudar/Istanbul-based trio headed by Baris Demirel does bridge the Western musical experience with the Oriental-relied ones. Indeed, it is a subtle patchwork/crossover publication of a vast range of sounds and appearances - from Gainsbourg-esque sensual pop to the most intimate moments on trumpets regarding the music by Miles Davis. Furthermore, threatening programmed beats accomplished with a suggestive lead motive seems to fluttering toward Bristol and thereafter moving on to create a mix based on the sounding of toys, the chords of melodica and street sounds. The first track Sessiz Cumbus sounds as if a Turkish version of chamber pop music (or an equivalent for Penguin Cafe Orchestra). Indeed, Gostembil Sessions is a wondrous set of 7 tracks.

5/21/2011

Utrovortu - Byt' kak myshi-polevki (2011)



/Avant-rock, Krautrock, Improvisation, Free jazz, Conceptual, Dark pop, Singer-songwriter, Experimentalism, Experimental rock, Avant-garde/

Comment
: This interdisciplinary collective coming from Saint Petersburg (Sankt Peterburg), from the northern capital city of Russia was previously known as The Pigeons and the Insane Porridgemakers (having issued albums on Clinical Archives as well). However, they used to be previously very insane, making out an impressive patchwork of diverse styles. In principle, all is built on borderless improvisation, veering from experimental pop and freely floating krautrock a la Faust (the first contemporary indie band of the world) to free jazz and bucolic singer-songwriter-ism and just dark-hued pop (even darkwave). Moreover, some explorations within electro-indie/synth rock and space rock and free jazz and dense sonic effect compartments are also carried out herein. In the second part of the issue can be detected for the rhythm experimentation on the Casio Tonebank synths (cheap but very effective keyboards) either. In a nutshell, the Byt' kak myshi-polevki embodies a finely balanced yet very intriguing album. Actually this is all what we can expect from the music, isn`t?

5/20/2011

Sandro Marinoni - Don Baltasar (2011)



/Jazz, Improvised music, New age, World music, Chillout, Experimentalism, Crossover/

Comment: Sandro Marinoni is a flute, saxophone and trombone player from Italy who has been active for a pair of decades (embarked on as a member in different groups), having been especially active during the last 3 years. Upon arrived at the umbrella of the Clinical Archives label again, he offers us a delicate submission of new age, laid-back soothings, ethnic music explorations, cool jazz and modal jazz-based snippets, atmospheric near-ambient progressions, and whimsical electronic shapes (being separated or mixed up with each other). By splashing in the midst of such classically trained experimentalists, however, it is very hard to find out the distinctive line between improvised sound and determined music. On the other side, yet, it does not make any difference at all.

5/07/2011

Joxfield ProjeX - Hypnotic Wash Up (2011)



/Kosmische musik, Krautrock, Psychedelia, Avant-rock, Fusion, Progressive rock, Space rock, Dance rock/


Comment: One of my favs (from Sweden) are back with a brand new release...it reminds me of the first CAN`s issue I have ever heard - CAN (1979), which is used to be ashamedly underrated by the musical press worldwide. More detailly, those subtly flowing, high-ridged guitar riffs are pulled off to the frontline, slightly danceable spaced-out washes ride into a listener`s consciousness, subdued autotuned vocals, altogether making lots of sense through dynamic jamming sessions. Space-funk, kraut-fusion etc... Hipernotik.

4/03/2011

Phillip Wilkerson - New Smyrna (2008)



/Ambient, Downtempo, IDM, Experimental electronica, Minimal electronica, Avant-electronica/

Comment: The US-based producer/musician Phillip Wilkerson started off his recording career in the ending part of 2005 since it being very profilic, i.e having issued more than 10 releases during this short-running timespan. However, this production of 12 tracks refects upon vigorous progressive music ideas within the realm of ambient- and IDM-based experiments. Most of the tracks are used to be long-running ones, toying with minimalist changes, austere grooves and repeated patterns, which at times will develop into full-scaled hypnotic treats. Moreover, it is really tense and gets growing to the point where it is problematic to distinguish the "real" sounds from the manipulations of your consciousness. A high-qualified output indeed.

3/22/2011

Ugol Ratmanova - Oregon (2011)



/Sound-art, Noise, Live recording, Improvised music, Experimentalism, Avant-garde, Electro-acoustic, Illbient, Industrial/

Comment: Digital sound processing in nowadays situation can be considered as a sword with two razors. Some musicians are able to take advantage of it, the other not. However, Sergey Kniazkov and Igor Orlov could reach this challenge out partially. There can be detected for some patterns-aspirations behind the duo`s doings, yet the most part of the soundscape has lacked clear-cut arrangements on timbres, thereby mostly sounding as an array of chords just following to each other, or an instance of into one-pressed audible bunch anyway. Only Muddie Venture and Recession Whisk can make some difference from the residual part.

3/06/2011

Falco Subboteo - Pigged Rubble (2010)



/Live recording, Electro-acoustic, Avant-garde, Improvised music, Free improvisation, Free jazz, Turntablism, Freeformfreakout, Experimentalism, Psycho-acoustic/


Comment: How to come to grips with this 3-tracks album by a duo consisting of Val Perona (violin) and Gwilly Edmondez (tape/vinyl/samples)? Actually it is not needed to get as listening to this is pure fun on its own. Still, by its sonority it firstly reminds of free jazz via fastly changeable violin chords and playing techniques, on the other side it is a loosely formed output showcasing fine pitch-effect-based experiments on tapes, turntables and samples. Galopping near-rhythm sounds, warped chords, abrasive electronics, "uncontextual" dodges of samples, vocal interventions and much more make up a solid whole in any cases.

2/28/2011

Alexei Rafiev, Alexei Borisov, Olga Nosova - Demon Onegin (2010)


Clinical Archives
Archive.org

8.6


/Spoken word, Conceptual, Avant-garde, Minimal electronica, Mystical, Microtonal, Avant-electronica, Experimental electronica, Downbeat, Noir, Freeformfreakout, Minimal techno, Dark ambient, Illbient, Electro-acoustic/

Comment: Duo Rafiev-Borisov continues their way offering a blend of spoken word and digitally processed austere sounds. This time the duo is complemented by Olga Nosova who operates with electronics and sonic effects and plays bass and drums. More concretely, the album is revolving around the texts of great Russian poets Pushkin and Lermontov, which is wrapped up by bent human voices, exalted and resigned declamation, dense drill-alike snippets and its hisses, and of course, "faulty", constantly interrupting electronic soundscapes. It is a spasm-filled oeuvre, moving inbetween acoustic shades and electronic luridness. All in all, at times rigid, sometimes playful.

2/11/2011

Pamba Lost Tapes (Clinical Archives)


The brothers Lenhart from Serbia started off in 1999, having before it played in the line-ups of different groups (Random Group; Pessimist). The recent issue consisting of 10 anonymous tracks is a decent case about rigid, even filthy guitar-lead penetration and its whistling feedbacks and whimsically caustic sounds of analogue synths and occasional assistance of a rhythm machine fluttering in the area of spaced-out rock jams, dadaistic patterns and nihilistic noise blowouts (which sound will be progressed into the sort of alarm sirens at times). In fact, all of tracks are recorded in live. Imagine a kind of formula which bases upon the early Einstuerzende Neubauten meets Gong. Or CAN`s live sessions fronted by Damo Suzuki. Yet, those descriptions are only some of the many possibilities. However, the track Untitled 06 does carry the most genuine hallmark of their brand.

Listen to it from here

8.8

1/27/2011

Children Of Ishizuke Tree Chameleon Straship (Clinical Archives)


In the first place I want to admit that the more I listen to this double LP (in total of 112 minutes) the more I fall in love with it. A duo from Minsk, Belarus, makes a subtle guitar-based dream pop music. If you are keen to draw parallels upon in a big manner, indeed, it sounds as if an equivalent version of post-rock version of Mercury Rev`s Desertoir Songs (1998) at times, altogether being described as ambient rock or atmospheric post-rock. Moreover, a sophomore album by Alexander Haletski and Marina Bartosh incorporates the elements of repetitronica, void-filled ambient/dystopbient/dark ambient, soothing drone wraiths, spoken word tunes and even some distant echoes of the ethnic music from East Asia. Alternatively, it might be a kind of lo-fi music in the midst of ambient shimmerings or a sort of underweighted My Bloody Valentine as well. This is an album through the essential touch!

Listen to it here

9.4

1/07/2011

Bosques de mi Mente Otoño (Clinical Archives/CRLM Office)


The Spanish artist Bosques de mi Mente (translated as Forests of my mind) is being one of those one-man projects having got huge response under Clinical Archives, CRLM Office, and Jamendo. Since 2007, as a "home artist" therein, he has released 5 albums to date. His music is spotted mainly upon the piano-based modern classic backbone, fringed at times by strong found sound and post-rock influences.

Otoño is a record with the longitude of more than 100 minutes of 27 tracks relied entirely upon live improvisations, recorded during 6 days of the fall of 2010. Aside the silence as impossible conversation (as it was sung by Malcolm Mooney of CAN by-and-by) there are intimate yet affective, mainly minor piano chords, spoken word snippets and wide-range samples (from baby babbles and adult people clashes to elderly individuals` memories), musique concrete-drenched flickers and some violins by Sergio Trujillo, all in all filling in your listening times with the restraint sense and playing up the sparse environment over you, thereby offering a sole realm for thinking of your thoughts and planning your future deeds. Of course, some more radical turns and dodges are up here to be driven into huge impact (Berceuse Macabre) All is rolling on in a silent and minimal way, indeed. It might not be Bosques` best notch but a very solid one nevertheless.

Listen to it here

8.8

11/19/2010

Joxfield ProjeX Numbers & Letters (Clinical Archives)


Yet one year ago the Swedish pop music seemed to have strongly been associated with the sound of fields, sunshine and colourful flowers. You even know, such beautiful and safe, yet masterful and well-produced conceptions which fulfilled the task of muzak in the certain way. (The muzak as music is such a kind of listening object which is used to be predictable, i.e, keeping to live its own life from the very start without needing much attention and reasoning anymore). However, all my premisses were changed since I heard Joxfield ProjeX, by Yan and Oax leaded ensemble which showed up really deep and ungraspable point of view.

In fact, there has been a lot of albums within a year: Bits And Pieces# 1-13; Picnic; Virtual Dreams & Realities; Shimmering Mah No 1; Phantastique; and recently, Oddities And Rarities 2005-2010. No one of them were failed. Moreover, all the aspects of serious and intellectual-minded rock music were profoundly investigated on the aforementioned issues: from the progressive rock to the open-minded and over-the-edge-pouring space rock, ambient techno and kosmische musik conceptions.

A new one is compiled of 24 tracks (or 3 CD sets), including cooperation snippets of such luminaries as Pat Mastoletto, Geoff Leigh, and Kenji Siratori among other guests. It might be seem in comparison with the duo`s previous works it does sound more free jazz-y, incorporating the elements of pompous electro-rock/baggy-ish breakbeats, in Japanese spoken word, dream-loaded and hazy flute improvisations, ragga-rhythms and tanpura-sitar drones. However, it is obviously the first time when a release by their side seems to be a bit loose (or extrovert as it is already said), sometimes "uncomposed", based mainly on free improvised jams, or on the other side, sinking into the mould of avant-prog bottom. On the last third of the album, however, it smashes its head spot getting intensely to haze its boundaries and breaking on the other side. Though my top notch and recommendation is previously Oddities And Rarities 2005-2010, yet, those 24 tracks are very important part to get completed the whole regarding Joxfield ProjeX`s sound and conception. The whole picture of them became even more indistinct. And it is excellent, of course. By a Joker`s point of view indeed.

Listen to it here

9.2

10/12/2010

Joxfield ProjeX Smorgasbord - Oddities and Rarities 2005-2010 (Clinical Archives)


Oax ja Yan on tagasi - kaks pöörast Rootsi vanameest on tagasi. Ning reeglina mind ei huvita, mida vanad muusikud teevad: mind ei huvita, mida teevad Robert Fripp ja Holger Czukay, isegi Morrissey, Brett Anderson`i ja Jarvis Cocker`i tegemiste vastu ei tunne enam huvi. Kuid nende kahe 60ndates aastates pässi toimetamiste vastu küll huvi ei rauge. Nad on vana kooli esindajad, sündinud mõned aastad pärast II Maailmasõda, aga teevad paljudele tänapäeva muusikutele silmad haledalt ette. Mehed on vinged tegijad, sest nendega on viimasel aastal kampa löönud King Crimson`i Pat Mastoletto ja tunnustatud küberpunkar Kenji Siratori (viimane on ka käesoleval albumil esindatud).

"Smorgasboard" on kahtlemata selle aasta oodatuim reliis siinkirjutaja jaoks. Ning taaskord ootusi ei peteta, purustades kuulajate parimadki ettekujutused sellest. 12 träkki aastatest 2005-2010, mis keskenduvad "rariteetidele ja veidrustele". Tõsi, see lisandus on suht tautoloogiline, kui olla duo varasema loominguga kursis. Taaskord balanseerimine ruumilise ekspansiivsuse, krautrock`i-kosmische music`i psühhedeelse lõpmatusemärgi ning hüpnootilise elektroonilise voolu vahel ja peale. Ning kui räägime lõpmatusest, siis mina olen seejuures väga maine. Ei ole mõtet kompositsioone eraldi esile tõsta, hoolimata tõigast, et need erinevad üksteisest oluliselt - nii elementaarselt kui emotsionaalse nurga alt. Lihtsalt see saund on lõpmatult, kosmiliselt hea. Ma ei tea täpselt, mida võib tähendada "kosmiliselt hea", aga selle albumi põhjal arvan seda aimavat, kuivõrd saund on autarkiline ning transtsendentaalne. Tuleb lihtsalt aeg maha võtta ning lasta helidel emotsioone ning vaimu laadida. Ning kui vaadata plaadiümbrist ning plaadifirma Clinical Archives`i diskograafianumbrit (402), siis tundub asi veelgi ulmelisem. Your inner space is our outer space.

Kuula albumit siit

10.0

9/28/2010

Trio Argentino de Bajos - Mundo Material (Clinical Archives)


2002. aastast tegutsenud Argentiina trio (Hèctor Pegullo, Ricardo Basaldua, Pablo Federico) mängib valdavalt instrumentaalset kitarrimuusikat jazz`i võtmes. 13 lugu 65 minuti sees. Vaikne kitarrinäppemuusika, nailonkeelte sünergia, neutraalsed motiivid, hillitsetud meeleolude vaheldumine mõõduka ning märkamatu improvisatsiooni saatel. Valdavalt kodanlik saalis-tunnustavalt-aplodeerimise muusika (vaimusilmas kangastuvad pildid krimpsus poose ja ilmeid manavatest muusikutest). Mõned vürtsikamad hetked eristuvad seetõttu selgemalt - nt Resolana või lõpetav kaver Madonna loost Material Girl (1985). Kui välja arvata viimatinimetatu, siis ülejäänud vokaalosad on hispaaniakeelsed joigumised (nt En esta soledad, De Madrugada). Siinkirjutaja lemmik on Demasiado cerca de tu sonrisa, kus kordusmotiiv vaheldub enniomorriconeliku teemaarenduse ja kergusega ning samuti keskmisest enam meelolu loovad Cuandombe ja We go to Pipinas (mariachi-motiivid). Nagu Brian Eno kord vihjas, et palju kitarrist ikka saab erinevaid helisid välja võluda (sellel on 6 keelt ning popinstrumentidest ilmselgelt võimsaim traditsioon). Kokkuvõttes võib nentida, et valdavalt omandab käesolev seesuguse klaaspärlimängu mõõtme, mis esmajoones oleks lahtimõtestamiseks mõeldud akustilise kitarri friikidele ja matemaatilistest skeemidest lugupidavaile kriitikuile (paberit ja tinti puudutab see kahtlemata rohkem kui aju emotiivseid punkte). See ei ole väga emo-muusika.

Kuula albumit siit

8.3