Model Warships Capsules (Bandcamp)

No doubt, Leeds-based Michael Waters is an idiosyncratic singer-songwriter, who has issued 4 releases during last 2 years under the likes of Tavern Eightieth, BeatIsMurder, and Bandcamp. For an argue, concerning on his abundant experiences and possibly much collected know-how in various experimental ensembles (Perfect Writing; Shi Toys; Syuzhet; The Amber Sleep; Cedar Trees), it should not make a big heck of his (sub)conscious expressions and stylistic palette. Indeed, it is eccentrically diverse on each of his issues, stretching out to form kinds of striking wholes consisting of wide-rangely used plaintive and sometimes dirge-alike vocal manners encompassed by noise and hiss-infused guitar strummings, which is enriched with glockenspiel snippets, electronics and stereo effects. Finding out his nichè in drifting between the ways of silence and noise, calmness and unrest, dream-alikeness and horribleness Waters` music is compared to such defiant pop acts as Xiu Xiu, Frog Eyes, Belong, Sufjan Stevens, and Martin Grech. By my side I would add the metal-slapping adoreness of Einstuerzende Neubauten, and dream folk-esque invertedness of Pipher, and Barbagallo.

The whole array of the abovementioned elements are proudly represented on Capsules too, though, some new elements are up here for Waters` weird conception to be completed. For instance, through electro-cadenced undercurrents and metallic abrasiveness are brought forth some new grinning facies. No doubt, Model Warship is one of the most powerful representatives in the New Weird Europe movement nowadays.

Listen to it here

9.4

[Artists] Skittle Alley

Club 7
Anorak Records
Series Two Records
Myspace
Lastfm

[Compilation] Artificios 3 (Sincro)

The Argentinian label/experimental electronic music platform Sincro is back after for a while. It is their third compilation consisting of musicians coming from Argentina, Peru, and Spain (Catalonia). Asolaar, GUM, Ivliss, Juan Dub Silva, Mezzo, and Omar Lavalle are the names up there to get set up with an excellent smorgasboard of industrial/noise-infused repetitive cadences, the abstract abysses of noir-esque soundscapes, microtonal/monotonal manipulations, rough audio processing, and the blaze-framed pavements of pulsating glitchtronics. Although you can hear some similarities with the nihilistic approach of the 70/80`s industrial music, the borealic senseless of Pan Sonic, or the frightening neuroticness of Suicide, it is an universe regulated by its own rules. In fact, while it is an impressive compilation, you shall have to listen to its two precedessors as well.

Listen to it here

The Arctic Flow Club 7 003 (Club 7)

Supposedly everyone who is got deeply digged into the discography of the Holiday Records is not surprised at all to hear about such a name as the Arctic Flow, behind it is Brian Hancheck, a profilic musician from Myrtle Beach, South Carolina. Approximately a half year ago he released a pair of singles under Beko DSL as well. However, now it is proper time for another single label Club 7. Hancheck`s soundscape is profoundly dreamy and floating, consisting mainly of subtle indie pop numbers with certain shoegaze influences. On the other way, it could be described as shoegaze music without massive touch of abrasive guitars and psychedelic entering into a chaotic inner world, instead of it used to be reserved for nicely suffusing guitar chords driving over the middle layers of the sound. Though, it can be sounded psychedelic as well. First of all, if you are in to dedicate your time to such British indie luminaries as Slowdive, Ride, and Chapterhouse (especially the last named one) or have listened to music released under the label Slumberland, this release of 2 tracks (Sentiments and Artifacts; King of the Flood) is thought for you.

Listen to it here

8.9

[Artists] Modern Warships

Model Warships/Bandcamp
Tavern Eightieth
BeatIsMurder
Myspace
Lastfm

Plantae Pinguin (Qulture Production)

Plantae comes from Izhevsk, the Udmurtian Republic, the Russian Federation, having previously released the albums Feld, and Distance under the likes of Datenbits, and 8081, respectively. Pinguin does offer 7 tracks within 35 minutes. On the site of Qulture Production, on the record site, the album is being described as "minimal toy techno", "acoustic", and "IDM". No, doubt, any kind of experiments with toytronica, with its mellow sense of fluctuant harmonic crests has been quite popular in those days, giving some different touches and angles of views to our weary listening experiences to be changed, at least a little. In addition to it, however, it can be mentioned to have a cute cartoon-esque coverprint and all the track names are titled in German (Wanderung; Entspannung, Schwimmen; Niedergang etc). However, regarding penguins (or pinguins as a kind therefore showing up its deviation in reference to the IDM-based conceptions), such an infantile soundscape, and folktronic-infused album, it is impossible not to see a connection between Plantae`s recent issue and the minimal approach of Penguin Cafe Orchestra (Pinguin is used to express itself especially on this mode in the beginning of the album). No doubt, all of those samples of unconventional instruments imbued with synthetic cadences do construct an organic whole here. A solid work indeed.

Listen to it here

9.0

[Artists] Fescal

1798
Bypass
Black Square
Fescal/Bandcamp
Lastfm

Friendship Home (Friendship)

The easiest way to describe the Australian Nic Brown`s release would be to put it into a mould being set up somewhere between Panda Bear`s (Noah Lennox) solo works and chillwave-ish point of view. (By the way, one track, being one of the most mellow ones is named Noah_Frienship and Friendship Bands). 11 tracks are tensely fulfilled by pitched or reversed vocals, repeated chords, programmed glockenspiels, half-loaded orchestrations, synth effects, fingerpicked guitar echoes, and epic harmonies as well. On the other side, its methodology is sometimes used to be based upon loose and primitivistic approach which can be admitted as its best at Sexy Bones, or idiosyncratically brassy soulful tunes (Hip). Obviously Optim 2 is a quintessential example of having respectively built up on lo-fi and nicely tuned harmonies. This album might have been a top notch if the balance had more keened to involve more melodies and harmonies into its whole. Lethargically characterized sonic patterns are not for to be the best case for Brown`s music, though.

Listen to it here

8.4

[Artists] Illnathix

Illnathix
Qulture Production
Nihilistic Droid
Shkart
TRASHFUCK NET/Records
Punk Ist Pop
Amduscias
Skrow! Media
Mind Noise Disintegration
Sarutra`s Music

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

Sun-inside Speed Beauty (Section27)

The Ukrainian project`s first track is named as Transparency Palm which might semantically have a reference to Faust`s first, so-called X-ray album, and the album title might referentially be related to krautrock style in a bit broader sense as well, though its surrealistic and shimmeringly sounding approach is more keen to hauntologic and sampledelic outputs rather than come to over for manipulating with motorik and hypnotic conceptions. Indeed, 13 tracks consisting of weird low-end synth effects, have been played out via high-key sonic patterns, though mainly on the lo-fi mode, remembering strongly of Cagey House, and Manuel Buerger sometimes. In fact, weird can be perceived without the weirdest ones. For example, Tragic Ceiling has been brought forth through mystical spiritual music, respectively to the Russian orthodox tradition. This track could be associated with the collaboration acts of Alexei Rafiev and Alexei Borissov (two albums under Clinical Archives).

Listen to it here

8.3

Beko Beko_box3 (Beko DSL)

To speak tongue in-the-cheek of the style "witch house" it may seem to be sounded like the gothic people/dark wavers` chillwave music. No doubt, between the aforementioned styles are obvious similarities (the use of low-end synths, the exploitation of the DIY-aesthetics), while their main difference is drawn by the using of noir-loaded soundscapes/hauntology, and peripheric sonic experiments. The style, by the way, under which categorized bands, at least some of them, love to use different symbols (especially the different way-shaped crosses) in their names, though the most well-known of them, for instance, the likes of Salem, Modern Witch, and oOoOO are restricted in the borders of alphabetical signs yet. However, the label Beko DSL is always used to pretend finding out new bands and styles-subgenres, but their turn toward witch house/drag/haunted house seems to be their first notch, though. This release, consisting of three boxes, and 6 ensembles (Mater Suspiria Vision; d3thplaY; High Park; Residual Prophecy; ZON; lll^◊^lll, can be considered as a fine kind of overview-offering compilation. In any case, a good introduction to the new hype.

Listen to it here

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

Head In Body Not So Empty EP (KLaNGundKRaCH)

Head In Body, the Czech-based project`s new EP sounds most time like a tribute to Suicide, a legendary no wave band from the USA. More specifically, it sounds as the album of a kind of variations dedicated to Vega & Rev`s creepy (anti-)hit Frankie`s Teardrop. Sonically it does mean that certain elements are nicely represented here - psychotic, chopped, and through delay-channelized mutated vocal effects bring forth themselves as the dominating pannel of the sound. On the other side, the EP build up a bit difference, succeeding keep moving elsewhere. And the different elements do base upon the experiments of profoundly low bass drones and brown noise crackles to have brought on the other side, and driving in the wake of Pan Sonic. Anyway, in a good shape balanced ominous album.

Listen to it here

8.8

[Old but important] Negativity Life Is A Dead End (Negativity)

For a while, I have listened to some albums of Negativity leaded by Julien
Jandera from Drusenheim, France offering his poisonous ideas related to
his hating feels regarding life and human kind (actually the coverprint being designed with a hanged man could say it all). 9 tracks of the 12th album, considered as his most brutal ones, consist of angry and ruffle guitar riff waves while biting and grinding vocal lines are in the first place, though, which altogether will make up a lot of synergic trash and black metal monumentums. In fact, although it might sometimes be seemed a bit loose, it may be defined as black metal on the DIY-mode, but it does not sound in the boring way anyway. Moreover, Jandera is probably not a man used to find excuses for deviating from his main line, concerning on one synth interlude, and the finishing track is wrapped in by drone doom madness. Profoundly drone, burningly doom.

Listen to it here

SLUTEVER Sorry I`m Not Sorry (Bandcamp)

By speaking of contemporary girl power in music, you can not bypass The Slits, a British band which sounded as the female counterpart to the Public Image Limited (or was it the other way round, though), blending intensely punk, dub, and dance rhythms. In addition to it not much weeks have passed by since their frontwoman Ari Up (Arianne Foster) was passed away.

The legend is gone, but certain sonic patterns and traditions are left behind. One example of such artistical and rebellious bands is definitely Slutever, a duo from Philadelphia. Nicole Gagliardi, and Rachel Snyder has already won the attention of the press and had a couple of gigs with the Best Coast, and Cults. Behind the music the more surprising fact is that the rest of their life do consist of watching TV (because of reflecting the American Dream at the rate of 90%), and school attendance.

Why their 6 tracks album is used to be a significant one? In the first place, redoubtably rough sonic linearity (noisy guitars, garage sound (in fact, recorded in a bathroom and bedrooms), shrill vocals, whistling feedback, permanent energic overdrive; secondly, the lyrics reflecting the carelessness, selfishness, lack of love, but also searching for it and avoiding of it and the longing for dirty teenage sex. This kind of sound is used to be tagged as shitgaze/shi-fi, and the first part of the word is referred as well. My favorite track is So Prone, with dreamy background and cellophanic guitar sound. This is a kind of release which especially will decorate your first half of a day.

Listen to it here

8.8

Monokle & Galun In Frame (12rec)

Vladislav Kudryatsev & Aleksandr Kumach aka the Arkhangelsk-based combo Monokle`s third album Tesaurus (under Id.eology) was one of the best albums of 2009. Now Kumach has left the band and Kudryatsev is joined by a former beatboxnik and otherwise versatile artist Sergey Galunenko aka Galun and the result does seem even in better way to be sound. 12 tracks give testimony of prominent examples of songwriting, balancing between post-rock, poptronica, chillout, downtempo, indie rock. It is used to be continually dense, and warm, and mostly it is so intensely loaded with dreams that the soundscape does seem a bit lazy in the good manner sounding up very nostalgic and relaxing to my ears, conjuring up gratifying listening memories from the past by approximately 10-12 years ago. The tracks like Crossed Fingers, and Means are reminiscent of the manner by Brendan Perry, and the beatific times when I spent the most of my time in the bibliothek of the Tartu University for listening to Dead Can Dance among others. Regarding the next track (Justalite) I shall have to ask you do you remember Louis Armstrong`s great track We Have all the Time in the World for one of the James Bond-related soundtrack? (It was also covered by My Bloody Valentine). Regarding the motive of this track you can see really close similarity with it. Get At Will remembers one of the toughest work, being grew up from the Estonian underground scene Bizarre`s sophomore album Cafe de Flor (1996, Forwards), especially the track Airs Of Arabia with otherworldly chanting female voice and shoegazers` atmospheric guitar swayings. In a nutshell, one of the best works of the 2010.

Listen to it here

9.8

[Artists] 100percentelectric

100percentelectric/Jamendo
Reverbnation
Lastfm

Phillip Wilkerson Daybook EP (BFW Recordings)

As his first name used to be unusual the englishman Phillip Wilkerson is an important and special name among sonic experimentalists and soundscapers. He has released shitloads of albums during last five years, under such labels like Bypass, Resting Bell, Earth Mantra, Amorphos Music, Justnotnormal, and BFW Recordings as well.

4 tracks released in the start of 2010 are used to sound in a very broad way, involving in epic and warm-sounding choppiness, sometimes it can be distant and anonymous, and even "sexy" would be a correct adjective. Probably the tags as "dreamscape" or "subtle soundfields" are the most proper characteristics to describe the essence of the release. No doubt, the coverprint which illustrates a kind of colourful sphereness does convey the stand of the EP in an excellent way. Wilkerson`s quality is here to be proven again. A great masterpiece.

Listen to it here

9.5

Sky Event Sky Event (pan y rosas sitio)

2 musicians, Hathaway Hester (cello, little instruments), and Keith Helt (guitar, little instruments), are influenced equally by modern out and avant composition as well as contemporary Chicago creative music. As it is said, their soundscape is full of plinks, plucks and percussive slaps surrounded by abrasive chamber and electro-acoustic ambiences. At the half time it sounds really austere and rigorous, the first and third track do reflect more delightful approach. In fact, I can´t give it utterly positive agreement because sometimes it seems obvious that involving in the creative process do offer much more fun than the very output for listeners.

Listen to it here

7.5

[Concert] A Silver Mt Zion Live at La Sala Rossa on 2005-06-16 (Archive.org)

A Silver Mt. Zion (and its various titles), a band from Montrèal, is probably the best known act which is grown out or related somehow to Godspeed You! Black Emperor (formerly as Godspeed You Black Emperor!) and is the most involved band via its members (Efrim Menuck, Thierry Amar, Sophie Trudeau) as well. In fact, the aforementioned musicians have been influential collaborators not only on the post-rock scene but also related to alt-folk and indie circles in the North America during last 10 years at least. However, after GY!BE was going on hiatus, therefore the prime privilege was delegated over to ASMZ. If to compare differences between two bands, in the first place, it is the using of vocals, and the soundscape of ASMZ is inclined more to psych-oriented numbers, and indie music as well. For an argue, it seems a bit slower, having been involved in classical music-based arrangements (eminent cello and violin undercurrents), and via Menuck`s gratingly lamenting and sometimes euphorical vocal manner as well. All of those elements are to be heard in an excellent way on this live session also, recorded at La Sala Rossa in their hometown in 2005. Inbetween the songs you can be a witness for the interactivity between Menuck and audience and jocularities regarding "dudes", iPod and Coldplay, and birdfeeders as well. My cue toward indie music wasn`t arbitrary because of Menuck`s euphorical and lament manner (sometimes simultaneously) and the exploiting of chamber music devices and elements so you are getting to see more the link between ASMZ and Arcade Fire (moreover, they have more common through of recruiting the same musicians, and using the Constellation-related studio Hotel2Tango too).

Listen to it here

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

[Artists] Citizen Flagpole

Citizen Flagpole/Bandcamp
Myspace
Lastfm

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

[Artists] Low-fi

Low-fi
Myspace

...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

Caustic Reverie Remainders (Jamendo)

Have you ever listened to a least one of the fiveteen albums by Bryn Schurman (also know as TheForgotten)? I meant just an one time at least? In fact, Remainders is not an album on its own terms though, being compiled of different tracks having had no locus on the previous albums. In fact, Schurman would be called as the king of metallic drone music, whose monotonic soundscapes and minimal sonic conceptions are paradoxically fulfilled with a lot of warmth and powerfully conclusive feelings. It seems like a logical follow-up to the tradition of minimal composers for nowadays. Or you can imagine it as if La Monte Young or Angus Maclise would have sat behind a computer board and building up some new frontiers within borrowed borealic aesthetics of Tim Hecker. Yet might there be any adjectives to describe the whole in a better way? "Caustic reverie", it would be an obvious answer, though. A lot of impacts are associated with it - the nothern lights shimmers, elemental dust-coloured iceness, epic sub-classical approach, creeping microtonal dirges and subtle hiss-inclinedness. No doubt, it could be thought or illustrated out in other ways also, speaking out the very pictures-evoking soundscapes, or even a new kind of metaphysics (no contradictions between the sounds being contrasted up against the history of human thought and word). It also does sound as a pessimistic approach not being ready yet and probably never to believe in the positivism of technical progressions which is felt into a bumpy nightmare being paralyzed by remote breathes and oncoming steps of malignant robots ready to march on to have a part of destroying the human being as a species for tomorrow. The music of this kind with ambient drone feeling bound up with a pessimistic emotive declination I am used to tag it as "dystopbient".

Listen to it here

9.5

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

[Artists] Difondo

Difondo
La bèl
Myspace
Lastfm

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

[Old but important] Children Of The Drone Compilation no. 8 (COTD)

In fact, the Exeter-based musical group of 10-20 members should be a legendary one, not only having some cult reputation among dedicated music lovers. COTD is through its line-up closely related to the other collectives and projects as well (for instance, A Tiny Window; Ail Fionn; Dongas The Tribe). Their soundscape is involved in hypnotic jam sessions, impressive pictures of art-y folk music, having the closeness to natural and organic soundscape and depthness inbetween and beyond the layers, playing up a lot of meditative psychedelic circuits, thereby constituting up as powerful uniqueness and intelligent variety finally. The array of Exetrians` instruments is similarly impressive one, including the music-oriented instruments, and artifacts as well. However, if you take some time to getting enjoyed them you shall have to reserve a couple of hours, because the most of sessions are up there into this tendency. And the UK-based collective is not limited to the sound conception only - I strongly recommend to you to visit their site and read their argumented views about many phenomena and manifestations (including music business). Let`s them speak and you'll definitely get some (self-) reflection.

Unlike the most of their experiments these are not usually filled in very surreal, darksided feedbacks and echo effects which by the side are injected with gorgeous mystical attitude. But it is the case of Compilation 8. You can meet some free form improvisations, electro-acoustic ambiences, and psychedelic sonic conceptions. And indeed, over a long period some low-end (and shamelessly undervalued) electronic keyboards and electronics/sampling units have been exploited. If Kemialliset Ystävät`s frontman Jan Anderzèn expressed once devout hope that his music would be in certain way to be related to the outer space having its very goal in this way while it can be said that obviously by Matthew Watkins` curated band sounds into the universe for sure. A seemingly simple journey on the one hand, it expresses a static (or in a minimal way sounding) sonic trance on the other hand, within the borders of the high-level articulatedness the progressions of sonic algorithms are getting even more visible with coming to the end. In fact, it does not create any kind of tensions or frictions while flowing into transcendental meditations. In a more concrete way, through comparisons, here is a link of kinship with Six Organs Of Admittance, and Spiritualized to be found, although, in a much deeper embodiment. An astonishingly deep stuff.

Listen to it here

Microcobra Micropopcorn in our heads (XLR)

Microcobra is a 8-bit/chiptune activist-musician from Tallinn, Estonia who had previously released three albums under the labels such as Qulture Production, RUSZUD, and Drill. Micropopcorn in our heads is released under the Estonian label XLR and shows up his affinity toward retrodelic music and old game consoles, also being very keen to samples of such kind of tracks having their origin date from the 90`s or the Soviet era. However, you can sight of drifts having a fuelled drive through smart, camp-y and sometimes slippery taste as well. But it is not the matter in the first place actually - his progressions toward agressive rhythms including some flirt with jungle-paced feeling resulting up in some good impressions (8 Serdec (Telliskivi Hard Mix) ). In fact, though, in the ending part I get a bit of tired riding on it. No doubt, his first release Please, play with me (2008, RUSZUD) is used to sound as his best one continually.

Listen to it here

7.4

[Compilation] 30 Seconds Of Time (Silber)

Silber Records came up with the idea of this compilation from a few angles. People have short attention spans, people love ringtones. Most songs are too long. So they put together this collection of songs 30 seconds long & made them available as ringtones. Some of the usual suspects for their compilations, some new friends, plus where else are you going to hear 46 tracks in 23 minutes. So you have no need to push the skip button to get round to the next tracks. You can imagine and handle it as a weird kind of mash-up album, moreover, mash-up artists are usually not interested in such ambitious experimental rock and indie music, they prefer more to be into easy and supeficial sound, though. The artist roster is Electric Bird Noise, Zanzibar Snails, muscle mass, Pacific 231, Ben Link Collins, Rollerball, Thorn1, Promute, Irata, Charles de Mar, Small Life Form, Notorious Jet Set, Lullabier, The Undermasks, Drekka, Sibyll Kalff, Vestirse, Bryce Clayton Eiman, slicnaton, Miss Massive Snowflake, Subscape Annex, Remora, Moodring, IANTH, mwvm, The Collinses, The Velveta Heartbreak, Fires Were Shot, Yellow6, Mahlon Hoard, & Peter Aldrich.

Listen to it here

[Artists] Radius System

Radius System
Lost Children
Several Bleeds
Myspace
Lastfm

[Old but important] Eukariota Animalia (Fariscal)

Someone Nicolàs B, In Buenos Aires living 26 years old musician, who is recording at home with a guitar, bass, some keyboards, 4-track tape recorder, and a precarious recording technique, making really genuine stuff on his own. Indeed, the way how subtle and lush guitar sounds do shimmer around invisible axis or are arranged to throw hooks here and there, which are sometimes introduced or followed by brown noise-covered short segments or spoken word samples, are made up by the position of a genius. Regarding his guitar works and some experimentation with noise, considering also crossovered lines, he does show up his closeness to Jim O`Rourke; or the monotonic synth lines find out the way up to early Stereolab`s aesthetics. Animalia was his debut release (2007) followed by Un Dia Luminoso (2010). The maximal result with minimal instrumentation.

Listen to it here

Stubborn Tiny Lights VS Clustering Darkness Forever OK The Infinite Regress (Futurerecordings)

The Californian label Futurerecordings does seem like the valley of plenty for music adorers, containing a lot of undiscovered frontiers of pop music, from really deep and sensible ambient music up to astonishing rock conceptions. If you are up there already to start think about post-rock as some kind of fucked-up misunderstanding, I recommend to listen to such bands like Sunlight Ascending, or Stubborn Tiny Lights vs Clustering Darkness Forever OK?

The last named band, a septet, comes from Cedar Falls, Iowa, starting their debut album at an invisible point and ending at a point wrapped up by silence (silence as invisible conversation). However, inbetween it takes course over the rocks, plateaus, and valleys, offering massive guitar riffs, and some lonely piano chords, and subtle symphonic progressions are entered into here to get reached up for epic melancholy and beauty crossing the borders of each other and blending into a whole. The septet`s sound is full of any kind of key and chord changes, for instance, the experiments with emotionally abrasive male vocals do offer some reminiscence of the like of A Silver Mt. Zion, and some march rhythm passages and pitched vocal orchestrations lead up to the Montrèal`s main post-rock icon itself yet. Some people have suggested The Infinite Regress for to be the best candidate for the post rock album of 2010. Indeed, it may be going out in that way. Amazing music.

Listen to it here

9.8

[Artistid] Black Monolith

Black Monolith
Jamendo

Epic Flail Mrbitterness and guilty pleasures (Bandcamp)

Epic Flail`i elik newyorklase Randal Helm`i 5-loolise ning 27-minutilise EP kõva tuum peitub indie rock`is, dark industrial-muusikas ning süntpopis. Avalugu breaking down algab 8-bitise abrasiivse trillerdusena, millele taamal Helm`i väljapeetult kandev vokaal omandab kõrgelennulisuse ning harmooniaküllasuse. Kontrast on sissejuhatuseks igatahes võimas. Käesoleva reliisi puhul on paralleele tõmmatud Nine Inch Nails`i ja Blancmange`iga ning koguni spekuleeritud Joy Division`i ja Henry Cow sohilapse võimalusega. Omalt poolt lisaksin David Sylvian`i ja Darkjet`i gloomilikkuse ning Simian`i indie-elektroonilisuse. Indie ja darkwaveliku segmendi kohtumiskoha pealt on suurim sugulushing pigem hollandlaste Fourteen Twentysix. Tegelikkuses on asi märksa mitmeplaanilisem. Träki Lost gruuvivad psühhrifid langevad Spiritualized`i rokkimistega kokku, sellal kui Helm`i vokaal meenutab David Sylvian`i ja Peter Gabriel`i. Voices from the other side jätkab põhimõtteliselt sama koha pealt, kus Lost lõppes, ainult selle vahega, et EBM-ilik sündimulina rütmilisus hakkab helilistest alakihtidest kuulaja alateadvusse murdma. Lõpuloo Thinking Machines (Here Come The) tiitel ei valeta - masinad ja robopop on kohal - kraftwerkilikult autotuunitud vokaalosast ning elektro- ja elektroonikakaosest kerkib üllitise üks tipphetkedest esile. Teisalt kõik see elektrojurakate segunemine eepilise sümfoonilisusega toob meelde Suede`i "Head Music"-u (1999, Nude) mõnede lugude esteetika (Asbestos, Down).

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9.2

[Vana ning oluline] Deep Magic Balance (Deep Tapes)

Kalifornialane Alex Gray (ka tuntud ansamblist Dream Colour) on geenius. Mitte sellepärast, et ta suudab omi kassettalbumeid sold out`ini realiseerida, vaid tema helikeel tundub kordumatu peegeldusena (muusikute puhul usume, et nad lähevad transsi, pannes oma hingeseisundid albumitele). Kas märgilised viited kosmosele osutavad ameeriklase astraalkehastusele?

Tema debüütalbum "Balance" - reliisitud eelmisel aastal 20-minutilisel tape`il, koosnedes kahest 10-minutilisest träkist - peegeldab monumentaalset staatilisust, võimalike parameetrite ja taustsüsteemide hangumist, transtsendentset mõõdet ja ambitsiooni. Süntesaatorite soojakõlalised (pop)drone`id on vaheldumas mitte vähem sugestiivse kosmilise süntesaatorirütmika ja helklevate trillerdustega. Teises loos kaasnevad ka improvisatsioonilised elemendid, muutumata kuidagi jazz`iks. Meenutab pigem Tangerine Dream`i kaemuslikemaid ning transsi lukustunud hetki ("Rubicon", "Ricochet").

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OL Random Phrase (Error-Broadcast)

Plaadifirma Error-Broadcast kuulub ühte ritta seesuguste plaadifirmadega nagu Comfort Fit, Dusted Wax Kingdom, Fresh Poulp, Broque ning Deepindub, kellede meelishuviks on dub-elementide integreerimine klubimuusika rütmidesse. Moskoviit OL demonstreerib head klassi. Lühikeste träkkidega 6-osaline üllitis on täidetud atmosfäärilise house-muusika ning vilisevate filtritega, paksude dub-allhoovuste, kinemaatiliste rütmide, häälutuskatkete, minimeeritud kajaefektide, vinüülikrõbinate ja muudest kahinatega. Kanaliseeritud läbi efektiblokkide ning filtrite - kord intensiivsemas, kord nõrgemas võtmes. Neil hetkedel, kui venelane keerab ruumi juurde-intensiivsemaks, on huvitav täheldada, kuidas kõik pisidetailid äkitselt ergastuvad. Kokkuvõttes kõlab kupatus kui 24nda tunni muusika kusagil raadioeetris. Suitsune, piisavalt aegluupbiidine/downbeat; ka hüpnootiliselt lummav tänasel udusel hommikupoolikul. Väärt asi.

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9.2

[Artistid] The Shilohs

Cakes And Tapes
Myspace
Lastfm

The Papertiger Sound Everything Matters (Auteur Recordings)

Dan Gelder ja Kerstin Wilson (aka Ker) on naasnud neljaloolise EP`ga. Nagu ikka, teevad nad sulnist popmuusikat, milles kõnelevad sulnid üleminekud, orgaanilised progressioonid pluss värviküllane erksus. Avalugu Atlas üllatab viiulikäiguga, instrumendiga, mida varem nende loomingus kohanud ei ole. Slowdivelikult strummivad ning õrna overdrive`iga rulluvad kitarrid on juba varasemast tuttav element. Can`t see why on link shoegaze`i ja New Order`i vahel, võttes jalad tatsuma ning viies indie-muusika kuldpäevi meenutama. Lõpulugu we`re modern recordists on atmosfääriline heiastus, kus pulbitseva hillitsetuse tagant näib kohe-kohe shoegaze-sein lahti pääsevat. Ometi seda ei juhtu, ning see ei pruugi ka halb olla. Igatahes see töötab. Kuid paradoksaalsel kombel ei jää nimilugu millegi poolest kõrva. Või tuleks ka edaspidi reliisid tiiteldada eeldatavalt nõrgima träki järgi, et kuidagigi sellele positiivset valgust heita?

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9.0

[Filmimuusika] Mihkel Kleis "Oleg"

No nii, Mihkel Kleis, kohaliku proge- ja fusioonlipulaeva Luarvik Luarviku liider ja vabavormilise friikautansambli EDASI! kunstiline juht on seekord hoopis filmimuusikaplaadiga maha saanud (Jaan Toomiku lühifilmile "Oleg"). Arvestades tallinlase multidistsiplinaarsust, varasemaid kõrvalepõikeid (nt Lylian Meister`i isikunäituse "1001" helindamine 2008. aastal), kunstilist aktiivust ja otsingulist rahutust, ei tule sellesuunalised arengud üllatusena.

12 lugu peegeldavad neid locus`i , mida filmimuusikat on tavapärases mõttes peegeldama mõeldud. Emotiivsed helindid, milles väljendub agressiivse segmendi väljenduslikkus, tüüne vaikelulisus ning vaikuse piiride kompamine, on siin meisterlikult esile tõstetud. Barokne ja kammerlik miljöö on vaheldumas minimalistlikult introvertsete noir-passaažide (või suisa madalsageduslike monotoonsurinatega) või süntesaatoritel põhinevate happeliste fusioonrünnakutega; avantprogele iseloomulik repetiivne ning nurgeline perifeeria tõstab kvaliteeti ja hoiab vaheldust ülal. Kuivõrd filmis on palju rongisõitu (peategelane naaseb Punaarmee kroonust), siis MK püüdis rütmide ja kõladega lokomotiivi liikumist imiteerida (nt loos No. 3 võib lisaks rongikellade tilinat kuulda). Ka on kasutatud kitarri ja bassi (pluss efektiblokke). Muuseas, fuzzitud bassi kasutamise mõte sugenes Andrzej Zulawski filmi "Diabel" (1972) vaadates. Veidraim hetk (samas võib-olla ilusaim) kontekstuaalselt on No. 9, mida võib tõlgendada kui gregoriaanlikku naisvokaliisi (hoiame nihkevektorit jõus). Iga kuulamiskorraga erineb album varasemast nähtamatuks jäänud tah(k)u(de) poolest. Leitud on piir, balanss, mida tihtilugu leida ei suudeta - tasakaal kontseptsiooni lopsakuse ja eksperimentalismi vahel, mistõttu manipulatiivne faktor kuulaja suunas suureneb.

Kokkuvõttes tuleb nentida tõsiselt hea teose olemasolu, igatahes seni parima, mida siinkirjutaja Eestimaal AD 2010 kuulnud on.

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Les Marquises Beko_59 (Beko DSL)

2. novembril ilmub prantsuse-USA bändi Les Marquises`i debüütalbum "Lost Lost Lost" (Lost Recordings), mida siinkirjutaja korduvalt kuulanuna võib väga heaks hinnata.

Lyonlased Jean Sèbastien Nouveau ja Jonathan Grandcollot on osalenud vähetuntud indieaktides (Pan Pan Pan, Colo Colo, Immune, Robe Et Manteau), seevastu austinlane Jonathan Graiger on osaline tuntud americana-aktides nagu Shearwater (live-esinemistel), Minus Story ja Hospital Ships (sooloprojekt).

Ei ole kahtlustki, et Les Marquises`i muusikas kõneleb Shearwater`i õhuline kammerlikkus ja hillitsetus ning Hospital Ships`i staatilisus, samas välditakse vihjeid ameerikalikele muusikatraditsioonidele. Samuti Minus Story indie-plahvatuslikkus ei ole selle bändi implikatsioon. Foonina kumab läbi Beach House`i (teine prantsuse-USA kollaboratsioon!) poolt juurutatud minimeeritud popi kontseptsioon. Live-ülesvõttena salvestatud kolisevad trummid, Graiger`i palveks pitchitud kaeblik vokaal, elektrooniline noir, orelite sugestiivne drone ning hingekriipivad (ja pompöössed) orkestratsioonid teevad sellest imetabase reliisi (meenutab kohati Air`i "Moons Safari" aega ja ruumi ületavat ilu). Asi muutub seda üllatavamaks, kui selgub, et süntesaatoritest on salvestamiseks kasutatud üksnes väikese tootenumbriga klahvpille (Yamaha HandySound`i miniorel, Realistic Concermate-650 ning Casio SK-1). Mis veel - debüütalbum ei paku Volcano The Bear`i (Only Ghosts) ja Gareth Brown`i (Comme Nouns Brulons) suurepäraseid remikse ega alternatiivversiooni loost Only Ghosts. Omandage lisaks "Lost Lost Lost"-ile ka see.

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9.6

Friends Demos (Bandcamp)

Jaapani trio teeb laupäevaõhtusse ideaalselt sobituvat popmuusikat. Valguseküllaselt strummivat-strammivat kitarrisaundi, mis on üle igasugu haipidest, mukkahvidest ning grotesksetest poppjobudest, eemal suurte ajakirjade ja webzine`ide fookusest. Aus muusika, noh. Nende ideoloogiline alge näib pärinevat 80ndate jangle pop`ist ning blonde hair indie`st, millele lisatakse natuke juurde dream pop`i (ning ehk ka shoegaze`i) esteetikat. Hoogne, samas sametiselt hägune naisvokaal ja üledraivivad psühhedeelsed klahvkaliinid teevad sellest tõelise maiuspala. Vana kooli indie-asi on igihaljas. Unustad enese ega suudagi aru saada, mitmes ring minemas on. Vist 20nes juba. Sõltuvust tekitav. Ja 4 lugu ning 9 minutit kõigest. We`ll Never Stay Together oma õhkamistes ja unistuslikes käikudes lausa käristab hinge ning lõpulugu Saturday (alles nüüd avastasin pealkirja!) on üks selle aasta träkke-käkke. Äkki peakski kogu kupatuse demokvaliteeti jätma? Näib hetkel peaaegu võimatuna, et "krohvimisega" võiks esteetilist naudingut kuidagi suurendada.

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9.8

[Artistid] Kuollut Muisto

Myspace
Svag, Ond og Liderlig

Randoman Eon (Sublime Porte)

Okan Çoban aka Randoman`i aasta alul ilmunud (esimene päris)album trihvtib minimaalse ja vähemminimaalse helikoe peal, olles seejuures peitunud sügavale dub-kanjonisse (või dub-kosmosesse - kuidas ise soovite). Rangelt masinlikku joont hoidva ning emotsioonidest hoiduva instanbullase muusika on jagatud dub techno`ks, tech-house`iks (Saturated I), dubstep`iks (Saturated II) ning kosmiliseks helimaastikuks (Winter In Space (Sublime Porte Blueshift Remake) ). Kõik eelpoolnimetatud määratlused ei ole siiski stiilipuhtad, vaid üksteisest orgaanilisel viisil läbikasvanud taiesed. Autori kiituseks tuleb nentida, et tema helikeel ei jää kuivaks - maastikud on vürtsitatud industrial-jurakate, häälutussämplite, sündiefektide ning kahinate-sahinatega (vinüülplaadi krõbin, konkreethelid). Sügav, progressiivne, rütmimotoorne ja aegruumiline. Väärinuks kõrgemat hinnet, kui ei oleks olnud toda Undulation-it (verevaene ja sihitult liikuv träkk).

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8.3

[Artistid] Highpersonic Whomen

Ektoplazm
Exogenic Records
Myspace
Lastfm

SLUTEVER Sorry I`m Not Sorry (Bandcamp)

Rääkides girl power`ist muusikas, siis ei saa märkimata jätta, et üleeile suri Ari Up (Arianne Foster), legendaarse post-punk-ansambli The Slits vokalistist liider, 48-aastaselt vähki. Alul eranditult naistest ning hiljem peaaegu naistest koosnenud punt segas punk`i, reggae`t ja dub`i ning avangardi, kõlades kui Public Image Limited`i femiinne ekvivalent (või vastupidi).

Legend on lahkunud, kuid märk on maha jäetud. Üheks turmleva (nais)traditsiooni edaskandjaks on kindlasti Slutever, duo Philadelphiast. Rachel Gagliardi ja Nicole Snyder on juba pressi tähelepanu võitnud ning esinenud paar korda koos Best Coast`i ja Cults`iga. Ülejäänud elu koosneb telekavahtimisest ("sealt peegelduvat 90% ulatuses vastu American Dream") ja kooliskäimisest.

Nende 6-looline debüüt on kahtlemata märkimisväärne. Esiteks - akuutne sirgjoonelisus (toored kitarrid, garaažisaund (tegelikult vanni- ja magamistoasaund), kiunuv vokaal, vilisev fiidbäkk, permanentne energiadraiv), teiseks laulutekstid, mis käsitlevad hoolimatust, egoismi; armastuse puudumist, selle vältimist ja otsimist ning ka igatsust räpase tiinekakiimluse järele. Seesugust saundi nimetatakse shitgaze/shi-fi`ks ning esimesele poolele ka sõna-sõnaliselt vihjatakse. Personaalseks lemmikuks on unistusliku fooni ning tsellofaanse kitarrisaundiga So Prone. Eriti päeva esimest poolt kaunistav kuulamine.

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8.8

[Artistid] Out Of Tune

Out Of Tune
Creative Class War
Myspace
Lastfm

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.

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8.6