7/17/2012
Insub Meta Orchestra - archive #1 (2011)
9.2
/Acousmatics, Psycho-acoustic, Electro-acoustic, Noise, Improvised music, Avant-garde, Experimentalism, Microtonal, Musique concrète, Conceptual/
Comment: the lineup of Insub Meta Orchestra consists of a formidable amount of artists who used to exploit unusual instruments and "instruments" in addition to the conventional ones. For instance, besides guitars, violin, saxophone and laptop the listener will get aware of the presence of theremin, tone generator, tennis racquet (sic!), and buzuki. On the other side, in rough sense this 6-piece album can be considered a cooperation (or exploration of) between acoustic and electronic sonority which is tightly spiced up with the snippets of concrete sounds and amplified sonic effect-relied washes. This erratic universe results in flourishing psycho-acoustic noises and cagy microtonal contemplations where the inner borders are blurred and could only be fixed contingently. Is it an instance of meta sound then?
Major Crimes - Monsoon (2012)
9.1
/Leftfield, Alternative pop, Bedroom pop, DIY, Experimental indie/
Comment: behind this Adeliade, Australia-based group hides himself Brian Bonz and his numerous collaborators and friends at the time of recording sessions. Their 4-track publication stands at the crossroads of new and old, between modern and traditional, between bedroom/DIY aesthetics and "established" music. Basically it is instrumental psychedelic pop showcasing slight soul and funk ingredients based on spatial guitar chords and wah wah based effects and programmed rhythms in the background. This album could be considered a solid chain between Ariel Pink, and the mid-period CAN or hypothetically Jimi Hendrix and Sly & The Family Stone mixed enterprises, for instance.
Ze German – White Label Techno (2011)
Depth
8.4
/Techno, Club dance, Rave, Trance techno, Electronic pop/
Comment: this 4-track issue takes mostly on trance mixed techno which is directed toward party and rave peoples using swift paces and acute frequencies. More detailedly, potential arty aspirations are quite minimized and more power and electricity is accrued instead of it. Almost every notch on it involves samples from other artists` compositions (Musique, Yaz, Robert Tepper) thereby providing quite loose, even sampledelic transitions to other directions. These pumping beats can be thought to be an optimal subject played both in the abandoned factories and at the Freedom Parade. Let`s call it either street or stadium techno.
7/16/2012
The Plastic Jazz Orchestra - 39° (2012)
9.4
/IDM, Experimental electronica, Nu-jazz, Indietronica, Avant-electronica/
Comment: TPJO was established by Bernd Burnson as an ensemble electronique for modern music in late 2006. Although soon thereafter he passed away his ideas do perdure. Indeed, the rhythms and beats coming out of it are poignantly composed, however, having a loads of hints at different genres and fields (indie, jazz, IDM, tango). At times it comes out as quite joyous entertainment, sometimes, on the contrary, providing more epic gliding and shifts. If you are interested in to get the more detailed comparisons for it then you can think of it as an example of how Bang On A Can could sound under the umbrella of Warp Records.
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