5/12/2012
árbore - Apenino & Raro (2006)
9.0
/Free folk, New Weird Europe, Weird folk, Indie folk, Experimental folk, Drone folk, Avant-folk, Freak folk, Sound art/
Comment: àrbore, the Spanish-based musical project provide 9 notches, all of them are instrumental and genuinely experimental progressions. In addition to treated guitar-based outlet a wide array of instruments are proudly represented there. For instance, arpeggio-laden guitar chords are accompanied by melodica-based drones and glockenspiel-based subtlety can be found from there. Furthermore, the whole starts off with sophisticated sound art-esque developments which can be categorized "abstract" if to regard folk-tinged things in narrow sense of this word. On the other side, àrbore`s sound does not follow the common understanding of folk music at all thereby rather being a solid representative of the New Weird Europe scene.
Wreck And Reference - No Youth (2012)
9.2
/Post-metal, Avant-metal, Screamo, Hardcore, Experimental metal/
Comment: I can assume that Wreck And Reference`s previous (debut) album Black Cassette was one of the most fabulous albums in 2011. Without any doubts for sure. However, on their sophomore album they used to abandon their suggestive DIY/lo-fi/and noise-deflected post-metal approach, however, replacing it with more "serious", straightforward elements of metal or the genre-close details (screamo, hardcore, ambient, and elusive orchestrated fillips). Indeed, the listener is challenged of how to fit her/himself into new and a little startling shapes and patterns of the Californian ensemble. The more you listen to it the more natural and organic this 10-track album used to change for. Although the debut release was a more exclusive one the brand new one is very good as well.
Hurtato Bros. Royal Marimba Band of Guatemala - Aida Selection (1916)
10.0
/Exotica pop, Conceptual, Classical music, Covers/
Comment: in the first place, indeed, it is a classic one because Giuseppe Verdi`s Aida gets covered with the assistance of marimbas by a Guatemalan ensemble over there. However, one of the most well-known motives of all eras gets accomplished in a fine way by any means - it has managed to restrain a possible canto, it is full of variegating colours and moods, it is soothing and exciting at the same time. Of course, this thick hiss surrounding the chords used to add lots of charming, mysterious feeling to the whole. In a word, let`s call it an instance of conceptual exotica pop. Thirdly, it is an example of pure heritage - it was recorded in 1916, the year when my maternal grandfather was born. Holy shit.
5/10/2012
Wyrm - Paramount (2011)
9.0
/Doom metal, Post-metal, Experimental metal, Epic, Avant-metal/
Comment: this issue involves 4 long-running compositions by Bryan Ferguson who mixes up the aspects of epic, high-register-loaded doom metal with thick crackling and some innovative electronic progressions. Of course, below the clearly visible the listener can perceive suggestive minimal sonic piles which used to repeat and grow simultaneously.
Knife City - Knife City (2012)
9.0
/8-bit, Tracker music, Chipbreak, Psychedelic dance, Bitpop, Nintendocore, Primitive pop/
Comment: Knife City is the nom de plume for Luke Silas who used to fuse essentially catchy rhythm patterns with 8-bit/chiptune/chipbreak templates. There are up a handful of notches which provide a kind of alternative for your usual imagination about dance music. More profoundly, it showcases short pace cycle tendencies and offhand frequencies regarding all of that which used to be produced with the help of Gameboy consoles and vintage programmes-plugins. On the other side, it is psychedelic and acute making your feel good. In any cases, Just Trash is the outstanding track on the album.
Hanetration - Tenth Oar EP (2012)
9.2
/ Avant-garde, Neoclassical, Neofolk, Drone folk, Experimentalism, Avant-folk, Improvised music/
Comment: there are represented 4 notches which used to come out like the reflections through broken pop mirrors. Indeed, it is a little bit out of pop where the listener can perceive hazy compositions involving ghastly, neoclassical/neofolk tendencies which in turn are brought forth with droning harmonium-alike instruments which are backed up by slight cadences on the background. Yet, it is just one tendency regarding the album. The listener can perceive hatching some influences by Penguin Cafe Orchestra, and Daniel Figgis from this egg now and then. Furthermore, some improvised, freeform explorations are up there as well.
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