5/17/2011
Woodworkings - Goodbye Homes (2011)
10.0
/Post-rock, Ambient, Experimental rock, Chamber rock, Minimal, Epic, Instrumental, Modern classical, Soundscape, Ambient noise/
Comment: Oh, it sounds so huge...so vast...so... . In a more profound way, this case is about an exhilaratingly infiltrated blend of ambient, modern classical, post-rock-ish fringes, silentful dream-hued noise, filled in with the sense of entropy which will have modified into mesmerizing, melancholic beauty. There can be sensed for listenable and unheardable, for real entities and ghosts either. Goodbye Homes embarks on by the zero point from nowhere, getting an impulse to grow and blossom and finally to get succumbed unheedingly. Like the life story of a person. By listening to the last track I almost started off crying... . In fact, it is not the first and only case by Woodworkings to make out for the issues with the maximum-point rate. And Futurerecodings is previously one of the peaks amongst the labels all around the world.
Hox Vox - Il Cavallo Spaiato (2011)
/Avant-prog, Classical, RIO, Experimental rock, Jazz, Fusion, Avant-garde, Experimentalism, Progressive/
Comment: Gianluca Missero`s (aka Hox Vox aka Turbogrind Terrorizers) new album is really worth to listen to. Actually every recent step by his side needs to be looked back to the way passed along already. The Venice resident has been one of the stalwarts of the nowadays RIO/ avant-prog movement, while being theoretically predictable at this methodical point, however, he has managed to bend his follow-ups into sufficient progressions via off-kilter electronics, changing the metres, adding new patterns and elements. This time the previously known structures are densely laced with drum and bass rhythms and other breaks, fusion, jazz standards, spoken word interventions, samples from the stadium and streets. By the stylistical smorgasboard it can seem unkempt and destructed, yet, on the other side all the developments are apparently strictly controlled. In a word, while being stubbornly mind-evoking and a little contradictive by its speculative aspect, however, this does not flavour the practical side at all. Indeed, it is the sign of a great master.
5/16/2011
Moses Luster and the Hollywood Lights - I`m The Lion (2011)
/Singer-songwriter, Baroque folk, Alternative pop, Electronic, Dark pop, Noir pop/
Comment: Moses Luster is a musician from USA, who previously used to be a touring musician (and the gigs in the casinos as well). However, his recent album (consists of 12 tracks) is an impressive set of dark pop/noir numbers, which is supplemented with crazy synths, dizzy orchestrations, lone pianos, crescending ridges, female voice-backed notches, and densely hitting drums. At times his voice gets to fall nuts, variegated with suggestive falsettos and crooner characteristics, cabaret-tinged half- and full tones, angrily conveyed narrated parts of his (past) life. Indeed, it is not problem for him to be resigned and angry simultaneously. Luster is already compared to Leonard Cohen, Tom Waits, Nick Cave, (and Scott Walker by my side), yet, his sound has lots of junctures with Beirut, Cat Bark Cat, Jens Lekman and other contemporary baroque/chamber folk artists. However, I Won`t Stray and Some Day (a kind of the ballad) are one of the best single glimpses from 2011. I just discovered the release can be classified as the kind of grower.
Damn Robot! - Hunang Skrímsli (2011)
/Post-rock, Electronic pop, Experimentalism, Sound collage, Cut and paste, Weird, Avant-garde/
Comment: Obviously there is more than just one way to find out proper possibilities for translating this sound into minds and words, though. Despite of it, however, it seems to me that the spinal c(h)ord of this album is somewhat related to a post-rock-ish endeavour (probably because of being most frequently represented here) mixed up with fluttering electronic progressions and some unconventional solutions. More profoundly, confronting mellow and harsh, acute and indirect, radio tunings, schizoid samples, rapidly changing sonic episodes, robot pop vocal lines, however, it might be that the conclusion of circumstances happened here all the way allows it to get direction and impetus for. My favorite notch from there is No Slack, But Luckily The Seats Go Back reminiscent of Be There, the collaboration track by Ian Brown with Unkle in 1999. Uhh, beautiful and redemptive.
Fuji Kureta - See-through (2011)
23 Seconds
Lastfm
9.0
/Electronic pop, Club dance, Experimental electronica, Trip-hop/
Lastfm
9.0
/Electronic pop, Club dance, Experimental electronica, Trip-hop/
Comment: Fuji Kureta is a duo from Istanbul, formed in August 2008. This time the singer Deniz Öztürk and the composer Sahin Kureta take on innovative electronic pop in which Björk-like songwriting shadows can widely be recognized (searching for junctures between electronic pop and more experimental approach). Or making a couple of bows to Kraftwerk (What If). In a more direct way, there can be heard for angular beats, drabbling glockenspiel-esque formations, multiply crossbreeded rhythms, trip-hop spasms, dream-tinged vocal lines, some club dance glimpses and much more. By the way, those 8 songs are recorded in French and English respectively. An accomplished workout indeed.
Frozen Geese - The Starseed (2010)
/Space rock, Improvised music, Krautrock, Avant-rock, Psychedelia, Psych-rock, Experimental rock/
Comment: Frozen Geese is a duo from Leeds, UK making up an exhilarating mix of acid-fried psychedelic carcasses, full-scale space rock, psyched-out grey areas, and structured krautrock hypnotism. The last part of the album is a little clamed down, having even some parallels with near-folk sound. Indeed, the connection between Dave Lazonby and Graham Baily works out really well, searching for the balance between improvised sound (chopped spoken word lines, hauting synth effects) and determined sound collages, however, figuring out such soul mates as Ester Poland, Joxfield ProjeX, Kospel Zeithorn, Acid Mothers Temple, and Faust.
5/15/2011
Astma - there will be a McDonald's (2010)
/Industrial rock, Avant-garde, Experimental, Improvised music, Psych-rock, Noise rock, Non-music, Experimental rock/
Comment: Alexei Borisov has obviously been one of the most eminent and well-known names after Sergey Kuryokhin in and outside Russia (and in the area of the former Soviet Union as well) regarding any kind of cutting edge music. Previously known by his participations in different groups and his profound workouts in electronic music, however, his recent workouts for few late years are more closely related to a poet, namely to Alexei Rafiev, and co-musician Olga Nosova. The last named one is involved as the gearhead and vocalist in the Moscow noise band Motherfathers. The album is quite huge consisting of 20 tracks, however, representing a propulsive endeavour taking on innovative industrial rock attacks and noise-core overthrows. More detailly, through those very dense improvised scapes dominantly can be perceived some influences by Einstuerzende Neubauten (exactly the early era of the Berlin legends) and even voice patterns similar in a way to the manifestations of the Fall`s consciousness Mark E Smith. Indeed, on the basis of this delightful appearance of noise (rock) and endless energy can be said that Borisov arrived at his roots again.
Lullatone - Elevator Music (2011)
/Toytronica, Folktronica, Organic electronica, Child music, Electronic pop, Indietronica, Primitive pop/
Comment: Obviously Lullatone do not need a thorough introduction at the moment anymore. Being active since the first half of 00`s the Seymours became involved in making of intiguing mellow electronica-based sculptures spiced up with naivistic approach. Similarly to the past, the recent release is mostly a calm blend of indie and folk and electronica, as if were created with toys and unconventional music instruments. Conceptually the issue bears a practical purpose for listening to while driving in the elevator. At times those naivistic melodies and joyous gears remind of those cartoons of Czechoslovakia (the Mole Krtek; Štaflik a Špagetka etc) by the 60`s-70`s watched in childhood. Really charming and cute indeed. So let`s call it just cutetronica.
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