10/07/2011
The Stalactites - Dark Matters (2011)
Bandcamp
8.8
8.8
/Instrumental rock, Post-rock, Chamber rock, Experimental rock, Epic/
Comment: instrumental post-rock embellished with the fringes of chamber rock/classical/symphonic music. 11-track issue does have lots of festal moments crafted by Johnny Benoit, Sophie Hebbelynck, and Rudy Hellio. Guitars, drums, and violins are their friends.
Adriano Orrù – Hèsperos (2011)
La bèl
8.7
/Chamber music, Improvised music, Experimentalism/
8.7
/Chamber music, Improvised music, Experimentalism/
Comment: Adriano Orrù provides six tracks all played with the help of a double bass and some additional devices. Actually it is much more above you than usual chamber music used to represent cutting edges for. More profoundly, it is filled in with frenetic jam sessions which ultimately seems to be intricate and highly energized.
10/04/2011
10/03/2011
Catherine Corelli - Take Da Jive (2011)
/Art pop, Crossover, Downbeat, Hip-hop, Symphonic metal, Soul, Electronic pop, Pomp pop/
Comment: Catherine Corelli from Moscow, Russia is back again. Her new release is a frenetic hotchpotch of diverse genres veering away gothic symphony-induced mist and and fragile soul and swinging funk and whimsical art/chamber pop. Some downbeat and jazz-like numbers are settled over here either. Certainly CC`s tricky and variable (vocal) timbres are highly enjoyable and filled in with vast passion, however, frequently manipulating with her own listeners. The closure track C#Stars is well elaborated and sensually expressive. All in all, it is a spectacular 12-track enterprise thought principially for everyone.
Bizarre - Cafè De Flor (1996/2008)
/Dream pop, Shoegazetronica, Chamber pop, Electronic pop, Experimental indie, Art pop, Crossover, Alternative pop/
Comment: Tartu indie combo Bizarre`s Cafè de Flor is absolutely favorite album of mine ever made on the ground of Estonia. It was issued in 1996, during the tumultuous period in the midst of 90`s when the Estonian indie/alternative scene reached its peak (Dallas; Metro Luminal; Dreamphish; Chance; Vennaskond; Lobsand Dorje; Una Bomba) but this 8-track album was just an idiosyncratic gem. Furthermore, I have had a loads of bittersweet memories related to this album (initially issued as the cassette format only) from these nostalgic times. How would it be described for? It is very simple actually - you could imagine it as a possible and logical follow-up to MBV`s seminal album Loveless. More profoundly, lots of sultry dance beats, gooey jungle pathways, picturesque dream pop-ish overthrows, formidable yet heartbreaking guitar waves and glides, sensual and seductive vocal lines above it function to glimpse like a Morgan le Fay or a blissed-out flashback. Every piece on it does have potent virtue on its own - the issue is a never-to-be-forgotten legacy conveying the harmony between the realm of idea and shape. One of the biggest albums of 90`s and all times waiting to be appreciated in the future.
Bob Ostertag - Motormouth (2011)
/Abstract techno, Experimental electronica, Breakbeat, Conceptual, Avant-garde, Experimental techno, Minimal techno/
Comment: legendary academically trained electronic music composer Bob Ostertag (born in 1957) is back with his brand new one. Here are represented 10 tracks based mainly on propulsive, thudding bass gears which by its structure are quite restraint, however, playing the effect through the merest changes and craftily hidden basic algorithms. All in all, it is a sort of intellectual techno and adhesively experimental breakbeat-ism thought for those melomans who used to adore the sound by Autechre, Future Sound Of London, and Aphex Twin. By the way, all the sound is played up with the help of one modification of the legendary Buchla synthesizers.
10/02/2011
Pumps - Pin in the Map (2011)
Death To False Hope
Bandcamp
8.2
/Happy punk, Pop punk, Hardcore punk, Easycore/
Bandcamp
8.2
/Happy punk, Pop punk, Hardcore punk, Easycore/
Comment: Pumps is a quintet from Brooklyn, Big Apple, pumping up the grids of pop punk and hardcore punk all of that mixed up together. More concretely, just shouting verses in chorus are flung out backed up by the hum of lots of noodling guitars. Very straightforward and without any surprises and compliments (except one man desperately crying "f.ck you" at City of the Damned).
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