6/13/2012
Tracky Birthday - Animal Audition (2008)
9.2
/Hip-hop, Sampledelic, Crossover, Funk, Sound collage, Tracker music, Conceptual, Chiptune, Indie, Alternative, Bubblegum pop, Electronic pop/
Comment: undoubtedly this 11-track album is rich in information and fun, more detailedly, veering away from ironical half chanting word game and mimicking bubblegum funk-esque (and P-Funk) maze and bent Latin vibes and tango cadences (a la Senor Coconut) to great Lee Hazlewood-inspired psychedelic indie pop and glitchy chiptune-ish beat sequences and blending beats with advertising. These pieces have been managed to provide lots of references regarding the symbols and idols of popular culture. Witty and intriguing by any means.
Knolios - Toile (2012)
9.0
/Club dance, Rave music, Acid techno, Trance/
Comment: if to trying to tag this 2-piece issue from Ukraine it would be categorized as "acid techno" or "acid trance" and harking back to the heydays of rave music nights. This pair of tracks are filled in with dynamical rhythm propulsions and shimmering synth pads thereby being uplifting and mesmerizing at the same time.
Glory Bound - This Too Will Fade (2011)
8.4
/Pop rock, Hard rock/
Comment: this set of 4 tracks sets up an issue of pop rock which used to run on clear-cut song structures based on quasi angry, shouting vocal lines and secure heavy guitar propulsions. Though the tradition of such kind of music is being widely practised and quite predictable the result is well accomplished. It can be compared with the likes who have had huge commercial success over the years (Bon Jovi, for instance).
6/12/2012
Dictaphonia Microcassette Compilation Volume 1 (2009)
9.2
/Avant-garde, DIY, Abstract electronica, Compilation, Experimentalism, Noise, Experimental electronica, Psycho-acoustic, Electro-acoustic, Acousmatics, Non music/
Comment: this compilation consists of 25 tracks each of them is produced by different artists (the most of them originate from USA, and a pair of artists come from Canada). The most well-known representatives presented over there are probably Big City Orchestra, and Hal McGee. All these relatively short-running pieces are genuinely experimental ones, setting up a blend of concrete sounds, frantic acousmatic visions, homemade low-end frequencies, noise-infiltrated endeavours and so on. However, the listener can perceive different accents, sometimes being more spotted upon analogue synth-relied effects, at times being more noiseful incantations or glass bead games-centered electro/psycho-acoustic outlets. Frequently you can catch yourself from thinking it is like a way of how early electronic music would chime once upon a time. In a word, this is mandatory for every meloman who likes to discover the boundaries of the sound.
*** - Soul Tide (2008)
9.3
/Alt-folk, Indie folk, New Weird America, Experimental folk, Folk indie, Psychedelic folk/
Comment: *** was a combo from Michigan, USA who had composed subtle alt-folk music in the end of the 00s. This issue was their sole effort under this name including 11 tracks full of chiming, soulful harmonies, fanciful vocal endeavours and intriguing, electronically shaped instrument-based voyages. Thereby the album searches for the balanced, organic shift between the old tradition of Americana and more contemporary moulds regading the New Weird America movement. At first the trio (Chad Golda, Dylan Rogers, Mike McConeghy) was being known as Ringo Star, though, ultimately they changed their name to starstarstar, however, issuing an album called Electric Goose and The Nylon Moose, one of the hidden gems of the 00s. In addition to it, I recommend to listen to Chad Golda`s solo efforts. These ones are really worth to give them a try.
The Peach Tree - Children of Cain, Night-Loving Creatures, Prepare Thyselves for 2012 (2011)
8.8
/Neofolk, Neoclassical, Crossover, Dark folk, Singer-songwriter, Electronic pop, Goth synth/
Comment: the Melbourne-based prolific singer-songwriter Angus Maiden takes mainly on dark folk-inspired guitar chords and electronic manipulations or occasionally mixes up both of them with each other. More profoundly, his soundscapes used to base on essentially heavy punching adorned with synthetic undercurrents, commonly feelingless singing and saturnine goth rhythms and abrasive guitar arrangements.
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