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

This Lonely Crowd Entangled Chaos (Velvet Blue)

Hooray! Tweedledum, Tweedledee, Humpty Dumpty, Red Queen, and Jabberwock are proudly back. The expectations toward their sophomore release are really high because of their debut album An Endless Moment Eveyday All the Time (2010, Sinewave) being madly energic and artistic through shoegaze- and post-grunge guitars, reminiscent of vocally Billy Corgan`s manner from Smashing Pumpkins. A salient mix of dream pop and power pop.

A new release, new coverprint, new direction, new measures. First of all, Humpty Dumpty don`t search anymore for Corgan-esque abrasiveness in his vocal manner, feeling more soft, murmuring, and dreamy - and often doing it in the cooperation with Red Queen. In fact, the vocal part is diminished, too, and the sound is properly arranged - without the dominance of chaos-driveness, the collapses of mayhems, crazily intense key changes, and driving-in and driving-off effects. Instead of powerful guitars there are rather airy guitars to be represented in consisting of dreamy even lethargic soundscapes, which subtle movement is sometimes "disturbed" by massive brown noise-alike exorced keys of guitars throwing up elemental hooks of the AEMEATT. Yet once time, in comparison with the first album the song structures are more transparent and predictable, thereby being a bit less attractive, though. In conjuction with it the release seems to be too short (4 tracks) also for playing out their transboundary conception in the complete way. But by measured on the absolute scale, it is a solid work, though. And the quintet`s coverprints are still one of the best, too, conveying the spirit of golden age shoegaze music to this day. An eye is resting while watching it.

Listen to it here

8.8

Blezna Árbole (Alg-a)

The soundtrack of my day comes from Asturia, Spain. Blezna is an experimental sound project, inspired by asturian forests and those trees. Behind it is Juanjo Palacios who took care of soundscapes recordings, virtual instruments, plugins, sample manipulations, composition, process, photography and graphic design. Indeed, it is not wrong to be named it as a kind of the-one-man-orchestra, because this does not consist only of vivid and intense snapshots among the trees, where you can predominantly hear the cracks of burning wood, and at a time the rustling of rain which will be overtaken by lighter and darker soundscapes which by this side will be developed into funeral neoclassical orchestrations and even martial-alike undertows. Such a kind of adduction of neutral-minded field recordings and epic classical music developments is not common at all. By its approach Palacios´ work does remind a bit of another spanish composer Bosques De Mi Mente. What else could I add that those brisk eight tracks constitute a sequent top-notch in the long array of the 2010 best releases.

Listen to it here

9.5

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

...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

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

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

Bmind Uncommon Things EP (Tranzmitter)

Jätkame muusikaga Brasiiliast. 23-aastase Jaime de Almeida Simões`i aka Bmind`i aasta alul ilmunud 3-looline (ning 35-minutiline) EP on siinkirjutajat juba pikemat aega irriteerinud kui üsna hoomamatu taies. Iga kuulamisega on üha enam ilmnenud, et see on prog-muusika tänapäevaste mallide järgi. Ei, mitte ses mõttes, nagu oleks sel stilistiliselt pistmist neoprogega, vaid see sätestab ise omad reeglid, olles tugevalt mõjutatud 70ndate aastate intellektuaalsest kitarrimuusikast (a la Adrian Smith, Randy Rhoads, Jake E Lee, David Gilmour). Kaks esimest, pikka - umbes 15-minutilist lugu - kätkevad elemente kesktempolikust trance`st/bubblegum techno`st, millesse on integreeritud keelpilli- ja etnotrummide sämplid, mulksuv psühhedeelne elektroonika, dub`ilik kaja ning loova produktsiooni ja tämbriga vokaliis pluss tõnupedarilik manifesteeriv mana (ah jaa, teises loos lööb kaasa leiblikaaslane Holocaos). Erinevad kihid on kenasti üheks sulatatud, üksteise suhtes nihkuma pandud, võimaldades sünergiavektoril esile liikuda. Emotiivses plaanis on helindid hillitsetud, pigem mängides vastaspooluse võimalikkusega. Lõpulugu (ühtlasi nimilugu) on akustiline, peegeldades noormehe kitarrioskusi - omandatud muusikakoolist nullindate alul -, sisenduslikku vokaalmaneeri ning portugalikeelse laulu kaunikõlalisust.

Kuula albumit siit

8.6

ArnAck To mars (Breathe Compilations)

Liegè`i produtsentide Arnaud Rosoux` ja David Schreder`i (Dio2xide, Kingfisherg) 6-looline debüütreliis on täis seesugust helisegmenti, mis viib mõtted paljudesse suundadesse rändama. (Et reisimuusika, või mis? Marsile?). 34 minutit hõlmaval EP-l võib kuulda sulneid kosmilisi analoogkajasid, õrnalt lo-fi`likke kesktempos rütmistikke, IDM-külgnevusi (kaks viimatinimetatut kombineeruvad tugevalt omavahel) ning manuaalselt klahvkadega laotud bassisaunde (igasgune robustsus ning haavatavus helikeeles muudab kontseptsiooni orgaanilisemaks). Ning ka kosmilise kõlaga minimalismi ja poptolmu ühitavat süntesaatorieksperimentalistikat, mis oli omane 70ndate krautrockalkeemikutele (Elektriktus, Konrad Schnitzler) või siis mõnele 90ndate ja nullindate krautrockesindajale (To Rococo Rot, Kreidler, Tarwater). Teisisõnu, "To Mars" kulgeb sci-fi ja lo-fi vahepeale jäävat niiti mööda. Võtame näiteks Sorry, Dog!-i, mille rohmakalt pinda puutuvad rütmikäigud ei ole ülejäänud helipilti vahetult integreeritud, andes seeläbi kuulajale võimaluse oma ettekujutused ümber mõtestada. (Igasugune muusika, mille "portfoolios" ei sisaldu etteennustamise elemente, on tegelikult ekstraordinaarne). Dünaamiliselt ja (üleüldse sugestiivses tähenduses) on eeskujulikem näide The Mome Raths in my Studio. Väga hea EP.

Kuula albumit siit

9.3

Nihilist Assault Group Russian-American EP (Popdesempregada/Amdiscs)

Ma olin alul päris segaduses, kuivõrd ei suutnud mõista, kas tegu on minevikust tuntud rühmitusega või selle nimekaimuga. Nimelt teadsin ühte kultuslikku noise- ja antimuusikarühmitust, mis on reliisinud kassette ning väidetavalt tegutsenud 80ndate keskpaigast saati. Teisalt, kuigi muusika on üldjoontes erinev, võib ka uuelt EP-lt piirjooni ähmastavaid vihjeid leida. Nüüd on selge, et tegu on Portugalist Coimbra`st pärit projektiga, mille kunstiliseks juhiks on Emanuel Botelho (ka tuntud kui Quit).

On võimalik, et ansambel Stereolab on nimetatud projekti ristiisaks- ja emaks (vihje London`i kollektiivi samanimelisele träkile albumil "Mars Audiac Quintet" (1994)). 6-loolise EP võib tahtmise korral kaheks jagada: ühes osas võib tõepoolest varast ja pikeerivat, shoegaze`ist mõjutatud Stereolab`i (ühele venekeelsele muusikaajakirjale antud intervjuus mainisid Sadier ja Gane My Bloody Valentine`i suurt mõju nende muusikale) kuulda. Surisevate kitarrisaundide ja happeliste orelidrive`de kombinatsiooni vettpidavus peab seegi kord paika. Teine osa, mis tekitas siinkirjutajas segadust, põhineb neofolgilikel elementidel ning konkreethelide ja jutusämplite kasutusel (mis reeglina on popkeskmest väga kaugele jäävate ning sageli poliitiliselt ebakorrektsete ansamblite mängumaa). Tõepoolest, lugude tiitlid ja vihjed ei ole ka poliitiliselt neutraalsed (independent vermont, belgrade-mostar, 9_11 responders bill). Kokkuvõtvalt võib nentida instrumentaalse muusika võimet meeldivaid retrospektiivseid assotsiatsioone tekitada. Muuseas, reliis on üllitatud kahe ilusat muusikat väljastava label`i (Popdesempregada ja Amdiscs) vahendusel. Küllap mõistsite mu vihjet edasiseks tegutsemiseks.

Kuula albumit siit

8.8

[Artistid] Pet Slimmers of the Year

Lost Children
Progarchives
Myspace
Lastfm

Highpersonic Whomen Critical Moments (Ektoplazm)

Soome muusikas on palju legende, kuigi suurnimed pärinevad peaasjalikult underground`ist (eeldusel, et need on maailmas omas nišis tunnustatud tipud). Pan Sonic, Jimi Tenor, Jori Hulkkonen, Vladislav Delay, Paavoharju, Kemialliset Ystävät, Lackluster, Islaja, Haltya ning Highpersonic Whomen. 2001. aastal Jürgen Sachau ja Tommy Sirkiä loodud jätk (tuntud ka kui Frank Further & Jason Space) projektile Haltya võitis kiiresti tähelepanu, kuivõrd nende debüütalbumit "Alternative Energysource" (Thirteen Productions) peeti trance-muusika ringkondades üheks 2002. aasta parimaks reliisiks. Hiljem Sachau lahkus ning asemele tuli Sirkiä võitluskaaslane Markku Luohio projektist Headphonics.

Käesolev album sisaldab 4 träkki, millest üks, Space Elevator, tuleb algusaegadest pärinevalt 12 tolliselt singlilt "Clone Collective". Ülejäänud osised, sh miksvariant loost Critical Moments, olid seni avaldamata. Hüpnootika, psühhedeelia, ämbientsus on allutatud trance`i rütmikale, muusikale, mida tuntakse progressive trance`i, psytrance`i, aga ka psyambient`i nime all. Loomulikult on nimetatute vahel žanrilised erinevused olemas, kuid Highpersonic Whomen teeb seda stiiliüleselt, inkorporeerides ka klubimuusikaga (house, techno, tekno) külgnevaid mõjusid. Samuti ei pääse mööda dub-kihistustest. Siinkirjutaja lemmik on ülejäänud tervikust eristuv lõpulugu Homegrown Human, milles ambient dub`ilikud allhoovused toovad meelde algusaegade The Orb`i, kuigi loo kese kahtlemata koondub meeleolukalt hüplevate meloodikasämplite ümber. Väärt teos.

Kuula albumit siit

8.8

[Artistid] Lather

Lather/Bandcamp
Lather/CLLCT
Myspace

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

Multi-Panel Train Times For Sway (No-Source)

Utrecht`ist pärit Ludo Maas läheneb 2004. aastal salvestatud, kuid muusikatööstuse radaritele nähtamatuks jäänud albumil folkmuusikale tervistavalt nihestatud ülekandega, andes nimetet žanrile uue mõõtme ja vitaalsuse. Tõsi see on, et noore hollandlase muusikat iseloomustab tabavalt multipaneelsuse mõiste, andes seeläbi võimaluse kokkupuutepunktidele ning ohtratele vihjetele.

13-looline album on täidetud meloodikalaadsetest progressioonidest, drone-liinidest, shoegaze`i mikroskoopilistest fookustest, strummivatest akustilistest kitarridest, minimalistlikust elektroonikast ja IDM-rütmikast, lehmakellaindie`st ning lo-fi-laadsest koendist. Vahetevahel paisuvad osad mini- ja kvaasisümfooniateks, teinekord sumbub helijoon kestvasse hillitsetusse (kuigi see on kaunis sumbumine). Eriliselt märkimisväärt on modernklassika ja ambient`i vahele paigutuvad sünkjalt tüüned osised. Omaette väärtus on Maas`i värelev ja varjuküllane vokaalmaneer, kaasates vahetevahel ka amsterdamlanna Pien Feith`i (sooloEP "The Wilderness Sound" aastast 2007, samuti osaline ansamblites The Very Sexuals ning Neonbelle) - kelle vokaal justkui pärineks tänapäeva Põhja-Ameerika eksperimentaalfolgi traditsioonist -, pakkudes suuri momente. Keskmise inditroonilise muusika anonüümsusest kontrastselt eeskujulikum üllitis.

Kuula albumit siit

9.3

Min-Y-Llan/Bagpipe Whiskey The West Coast (Kift Flipper)

Wales`i muusikast rääkides tulevad ennekõike meelde kaks folgipõhjaga eksperimentaalset indie-ansamblit (Gorky`s Zygotic Mynci, Super Furry Animals), paar edetabeleid vallutanud rühmitust (Manic Street Preachers, Catatonia), paar uue aja ansamblit (Los Campesinos, Joy Formidable) ning üks karmima kõlaga punt (Feeder). Suurbritannia mõistes on kaguosa kahtlemata perifeeria - teistsuguse kultuurilisuse kants -, mis on siirdanud olulist ning (teise)tähenduslikku Briti popmaastikusse.

Verisulis plaadifirma Kift Flipper`i kolmas reliis on kahasse kirjutatud label`i kahe esimese üllitise autori - Min-Y-Llan`i ja Bagpipe Whiskey`i -, väidetavalt Pembrokeshire`i krahvkonna parimate technoratsanike poolt. Hip-hop-räppi ning "läänekallast" siit eest ei leia, kuid tulemuseks on 10-looline igati korralik ja mitmekülgne teos, mis avab programmeeritud kitarrimuusika/folktroonika, dünaamilise technopõrke, ämbiendi, downtempo ning moodsa klassika uksi. Nurgelised rütmid, kriipivad keel- ja pseudokeelpillid, nobedalt lippavad klaveriakordid, eepilised orkestratsioonid jpm moodustavad orgaanilise terviku (isegi sel juhul, kui need moodustavad teineteise suhtes ontliku järjestuse). Korraliku viimistluse, ideede eeskujuliku realiseerimise ning sentimentaalse lainetuse kombinatsioon on alati kõrgeid punkte väärinud.

Kuula albumit siit

8.8

[Artistid] PierrotheMoon

PierrotheMoon
Pavillon36 Recordings
The Studio Stereo
Myspace
Lastfm

Tyler Walker Spacefaring Male (Bandcamp)

New York`i situatsionist (rühmitus Improv Everywhere) ja muusik Tyler Walker koos ohtra abiliskonnaga on koonud 12-loolise crossover-albumi. Latiinorütmid ja -meeleolud lähemast ja kaugemast ajast kohtuvad jazz`i, kinemaatiliste teemakatkete, fusion-kokteili, space age pop-hinguse, autotuunitud vokaalide ja spoken word-uuristuste, psühhedeelia/acid pop-faksiimiga - teisisõnu, samuti muusika ning stiilide virvarriga lähemast ja kaugemast minevikust. Kokkuvõtvalt jääb domineerima mõnus lounge`ilik miljöö. Siinkirjutajale meenutab käesolev üllitis ennekõike kalifornialase Eugene Harrington`i albumit "The Life Of Eugene Harrington" (2010, Noecho Records), kus ristati sarnaselt akustilist, happelist ja improvisatsioonilist elementi. Muidugi, varjundeid on märksa rohkem ning seoseid tekib sittakanti. Näiteks tolmused Hammond-oreli käigud loos Crashed teevad põike "mitteloogilises" suunas, suundudes dance rock`i suurkuju The Charlatans`i mängumaile. (Piirame reaalsust, jagame ning määratleme konkreetseid maailmu selleks, et saaksime konstrueerida "normaalsust" ja "mittenormaalsust"). Ah jaa, muuseas, "Spacefaring Male"-i on kirjeldatud kui "sürreaalset kosmosesaundträkki moodsale inimesele". Lepime siis sellega. Proosit!

Kuula albumit siit

8.6

GrobyC Inverse Of A Cyborg (Torn Flesh)

Ukraina duo Jacek (programmeerimine)-Apophis (kitarr) oli kahtlemata aeglase vormistamise ning laiema publiku ette tulemisega - enne debüütalbumi üllitamist jõudsid nad posu demosid üllitada. Esma- ja järelmuljed olid kahtlemata positiivsed - erksad industriaalrock/industriaalmetal/grindcore-numbrid, massiivsed kitarririfid ja rütmibiitid ning tõsine riffide ja biitide tulemöll, jutusämplid ja küberkoletiste mögin, riffide ja rütmide vahel tinklev ja podisev elektroonika, opereerimine rütmikiirustega skaalal aeglane-väga kiire. Üllitise muudab kindlasti eriliseks muuhulgas kasutatav 8-bitine elektroonika, mis ei ole kahtlemata tavapärane võte (ka plaadi ümbrispildilt võib leida vihjeid armastusele kübermaailma ja vana kooli mängukonsoolide vastu). Kompliment on, et ilmselt tuntuim ja legendaarseim 8-bitise ja metal`i ristaja ansambel NESkimos ei suuda siinkirjutajale nii muljetavaldavalt kõlada. Ning tõsiselt - albumi ainus viga on lühidus, üllatab, kui ruttu muusika lõppeb; kuigi 9 lugu, kestavad need keskmiselt 1 minuti kanti. Võinuks siis 4-5 lugu vabalt juurde lisada.

Kuula albumit siit

9.2