Wednesday, March 31, 2010
Georgia's duo Okinawa Lifestyle consisting of David Datunashvili and Gigi Jikia who is yet a little known to date, though undoubtedly one of the most shimmering pop acts nowadays originating from the borders of the former U.S.S.R. Their music can be classified as part of chillwave/glo-fi movement, being this way as an earmark in the running of the aforementioned style on popularity all around the world. In fact, the Tbilisians, however, pushed already off their debut Roswell Crash EP one year ago. Are they as one pair amongst the first pioneers of chillwave music actually? It might be right this way.
Speaking about the 12-track LP, it is built up on profuse chords exchanges and the evocation of the groove and velvet-alike harmonies. However, in accordance with duo`s previous release the new is more concerned about disgressions and mood swings. For example, the main harmony of the opening Rouge à Lèvres comes out from the middle of abrasive electro industrial chaos. Levan runs through the prism of beatific and glamorous sounds, enough to be regarded as one of the central pieces on it. Tbilisi Presents does offer a hybrid of the noir mood-ish Pulp (Seductive Barry, Weeds II, My Legendary Girlfriend), and Ariel Pink-ish tunes. Actually it is hard to imagine how the pop music could sound even the better way! But you should never say never. Little Place is a blend of funky electro, hip-hop, and rock riff hooks. Goblin Dance mixes sentimental atmospheric layers with a bit of "garbage" sound. Nightwalk and the Sunrise Club have entered into an area of electronic pop music influenced by club dance jitters,which, by the way, is reminiscent of some of the songs from the Estonian cult band Borax on the album Mikroraion (1999). Emotional Experience is used to be to find some balance in-between lounge music and deep house. Ninenda is just a fine track to be ended up with positive mood.
Indeed, it appears it`s very happy time we are living in being sorrounded by so much beautiful music. Hopefully we hear about this Georgian band soon once again.
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Tuesday, March 23, 2010
In a relatively short period of time the New Weird Australia compilations have already reached the fifth piece in a row, which probably does testify the fact that the Australian underground scene has enough power and vitality to subsequently set up the steps to permeate over the world.
Indeed, all around of it is ebulliently colourful. Speaking about any kind of so-called New Weird- movements, for instance about New Weird America or Finnish forest folk, you can find out the connection with folk music. In fact, to find out the link with folk music in Australian counterpart it is actually a bit harder task, though. For example, there is represented the music of Alex Yarbley aka Dot.AY, who have acquired enough notoriety in chiptune/tracker music circles in the last years. Another example and pleasant surprise is meet to Gail Priest, who is known by her confident sound art characteristics and methodology (in the recent case, the minimalist vocal drones are flavoured with spare electronics). However, the other projects are also far from (alt-) folk tunes - a primitive noise (Justice Yeldham, who is described by the Wire journalist Bruce Russell as one of the interesting artists after Iggy Pop to date), Ship Caught has a gothic blend of psych-punk and shoegaze to boom out, as if Joy Division had a very special wish to make acquiatence with the specifics of the Wall Of Sound; indie psychedelia (Crab Smasher), a sort of electronic primitivism (Ripple), a kind of Glass Bead Game with cut and paste formality (Kate Carr), a vanguardistic bunch of glitch-electronics, space rock, digital noise/ambient (Blake Freele, / / / ▲ ▲ ▲ \ \ \). Further, even in the recent context Mookoid`s structure seems to be innovative (Hex River Valley). My personal fancies are the Peace Out!`s psych-electro space noir mania (Running the Sand), so you can label it as `modern` without you could sound ridicolous somehow; and Burning Palms` noisy psych-rock with loudly ringing echo drums (Mockery). Third favorite of mine is The Atlas Room`s Iris , which is used to be similar to Burning Palms, though, having more emphasis on motorik sequences and rooting out the borders between different styles.
In short, Volume Five is a fabulous collection of ideas and sounds. If you want to get some excellent examples of contemporary avant-garde rock music, you should certainly listen to this compilation. Aboriginal spirits have got up to the machines to groove themselves out.
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Monday, March 22, 2010
In my mind, `dark folk` (also, `neofolk`, `apocalypse folk`, `folk noir` as a genre has got to stay as one of the honest in its own. Ever since all of those acts, and some of them especially, which established the borders of the aforementioned styles approximately 20-30 years ago are intended to have stayed on the top level to date. Non/Boyd Rice, Death In June, Ataraxia, Current 93, Werkraum. Unlike black metal music, neofolkers have avoided to get devaluated, maintaining their severe, grim and often politically incorrect image. Indeed, for all of those people who have not had experiences with this sound yet should be get apprised that this music has nothing to do with ordinary folk music, except by the word`folk`.
Spectral Magik is the first and since the last release by a mystical German musician called Grandmaster Abscon ( by the way, who is supposed to use a mask). The album which consists of 7 tracks is probably one of the best - maybe even the most outstanding - I have found within this mysterious world since. Naturally, widely sprawling high arches as the obligatory element sketched by acoustic guitars and atmospheric synths are represented here. Besides that, the mysterious side as well. The first row of the lyrics will say much about it:
//Ich komm zürück aus fremden Welten/Seelen/von einsamen Hören/von verlassenen Tränen//
As confident and credible as by the side of its main elements it is also remarkable by its unusual digressions coming forth distinctly. For instance, Somnium III is fringed by the lightness of organic French estrada music. More specifically - there is no doubt anymore that the leitmotiv is loaned from the evergreenish Love is Blue which was popularized by Paul Mauriat and his orchestra. In true, the track does gradually evolve towards medieval music sentiments. Somnium IV is a stunningly synchronized one of relying on man-woman vocal lines sung in French. Obviously one of the most beautiful ones I have ever heard. Somnium V is getting approach to Einstuerzende Neubauten `s album Silence Is Sexy and its oeuvres recorded in German. Actually, a follow-up will move with Bargeld`s aesthetics arm-in-arm. The last track - as you even yourselves figured it out already - Somnium VII - descends to Gregorian-alike vowel experiments/ethereal sonic layers, neoclassical dark wave structures, impenetrable spoken word declarations.
A sort of mysterious universe. Comparable to the same degree, as the entire Spektral Magik is mystical in its vast goodness. The masterful act really worth for to be discovered by more music fans.
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Sunday, March 21, 2010
Mikhail Lezin and Evgenij Kharitonov are back in business with their dizzy sound experiments again. This time they are accompanied by two another musicians - Konstantin Guro on saxophones and drums and Alexey Karmanov on rhythm guitar. While their last album Vinyl was shaped through sharp cut-ups and sonic fragmentality ,though, Museum Of Modern Chaos directs its focus toward chaotic moments in lush way. It is constituted conterminously conjuring up vivid visual highlights, and indirectly blurring the boundaries between the styles and genres. Guitar improvisation/experimental rock seems to be as a lone house in the middle of an electronic whiteout, which is exciting enough to give it constant try and attention to follow for. At times the conception is fringed by piano music (Opening Museum), and jazz elements (Free Future) either. Duo`s soundscape has aptitude to expand into mechanic (King Of Surf 1) and electronic horror ambience (Museum Of Modern Chaos (Script Type). Another Hemisphere is metallic ambient music riding on gravelly guitar riffs.
Museum Of Modern Chaos is a fascinating album for sure. Also, if you are intended to make up the contrast with this one you should listen to Yoko Absorbing`s another gem Roughly Gently & Special Lowbit Release (2008, Microbit-Records).
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Monday, March 15, 2010
A27`s sophomore album z archiwum.G consists of 6 tracks having the overall longitude up to 10 minutes. The main assumptions of mine? If you've ever had some experiences of experimenting with the sample unit you might probably assume in which way all of this rubbish happened to be recorded. There are stored different rhythms and natural sounds (floating water falling down from the tap, vowel experiments/groans), and some samples dragged out from brass and jazz music at that. Then all of this kaleidoscope is laid on the rhythm function and being mutated through the slice effect mode turning actively the effect control buttons besides it. The result reflects a random array of sounds. The scales being formed of the pairs of the opposites - sparse-dense, anonymous-suggestive, spastic-flowing, relaxing-psychotic, dilettante-skilful. But certainly the most important thing is that the listener will not be bored on this. However, the conceptual premise is a modern case after all, concerning the topics of the `error´ (and the choice of freedom), also representing chaos inside the heads of certain individuals (Golarz Filip and his genious son, Adolf, as it is said on the pitu pitu recordz!`s site). The human being loves to speak to the machine, the robot will mirror it to the others, though, in an inconsistent way. The revel of intellectual machines, which, though, obviously is not intended for dancing.
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Monday, March 8, 2010
Ever since the early days of the 1990s under the leadership of Juan Naveira, the man as a perpetuum mobile, Juanitos has experimented with almost all kinds of the Latin American rhythms, exotica pop, lounge, rockabilly, surf pop and psychedelia evoking a stylistic melange and dizziness in the heads of the listeners. Fabolous brass orchestrations, a rampant shooting through different harmonies and diverse chords. However, at this point I even did not take into account the frontman`s side projects (Limbo deluxe; Miss Emma), the focus of the first is being directed upon the creation of a colourful ska/lounge/ pop/punk/disco hybrid, and the second upon lollipop tunes.
The recent title - Soul Africa - refers to the people of African descent who have found their domicile elsewhere outside the Black continent, having invented new musical styles (dub, reggae, samba) therein, and on the other hand it is not impossible to see the tunes of afrofuturistic soul funk, paying tribute to Fela Kuti who is being the main legacy of the reverences in most times anyway, though. For those who are accustomed to Juanitos`s aforementioned mad wassail may be boxed through a delimited concept at the first sight. I would have to listen to it 5 times before it started to reveal in my soul and heart. Indeed, you need a little patience to get access to that solid album.
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Saturday, March 6, 2010
Behind Nameless Dancers has himself hidden Evgenij V. Kharitonov, one of the main figures from the depths of Moscow underground culture as because he is known as a writer, a poet, a curator, a cultural journalist, who has put himself into practise through such musical projects like Microbit Project, EugeneKha, Yoko Absorbing, and under his own name, either. If you are searching for someone who would be the embodiment of any kind of musical diversity, no doubt, he is a musician by God`s grace. Avant-garde rock, experimental electronics (glitchtronics, lobit/drone), ambient, noise, downtempo, chillout, sound-art, sound collage, spoken word/voice experiments. In a word, experimentalism in a generic sense.
Nameless Dancers `s first album Rain Coffee (2009, 45RPM-Records) was a delicious blend of the rhythms of (disco) house and drum and bass, the moods and colours of lounge music and easy listening as well. However, Kharitonov would not be Evgenij V. Kharitonov if there had no intention to drift the base core of the center outwards.
However, in comparison with the debut album Morning Touche has a lot of examples of having more strong accents on certain sounds. The Russian musician does not make a secret about the fact his project is presented in a way to move outside the present. The music is inspired by showy and glamorous graphical design of the end of the 80s in the Soviet era. Actually all of his music which is inclined somehow to watch back and get some advantage to foresee for future thereby being able to prevent a present nervousness. In recent album is a glamorous transformation over time realized into sound in solid way. Disco house beats are replaced by cinematic rhythms, generic sentiments have reached more timelessness, too. Sound collage schemes are boldly fixed up. You can hear the Soviet time organ grooves, atmospheric future pop, italo disco, by the big bands played light-blue sounds of the Mediterranean area, and latin rhythms as well. Sometimes his soundscape gets up to such a degree of naivity rolling further on easiness. While giving the listens of it the air was fulfilled with fresh breath of the spring being matched with it in an excellent way. Indeed, the the main issue of the rhythms of the spring is embodied in the array of constant change in unexpected directions.
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Thursday, March 4, 2010
A project named Blues for spacegirl (probably named by Thurston Moore`s ambient drone track), headed by Thomas de Bauw, started in the midst of 2008.
His debut album Alice Springs was fringed by acid-filled bubbling walls. It was followed by impressive Theme for August, and Orchester dans le lac du Roi gelé Hiver as well.
The brand new one relies on looped tape recordings in the amount of 70 per cent, approximately. As the result, you can hear less or more loud sounding guitar drone in the background. De Bauw`s conceptual point is directed upon digital editing revolving around generation loss in the data, treating noise as signal.
Concerning more precisely on tracks my first opinion is Needless in Seattle which through its overgrowing layers and the aesthetics of minimalized digital chaos is getting close to such a concept which is tightly related to some borealic wonder. Warm inside yet being in the midst of a whiteout. Also Lost in I Ching, Violet currents, and saffron winds are those tracks which arise above an average niveau. Lathe of Heaven, on the hand, crawls in the vein of the first album, which caustic pattern and some amount of quavering sphericness don`t convince me at all. On the contrary, it is a quite annoying try. The rest tracks of being unnamed is getting have better shapes, though, a thorough moving milky sonic array ushers in tautological mediocrity being so habitual for the most ambient musicians nowadays. Comparing it to Jacques de Villiers`s and slept.`s debut albums, slept, Fennesz`s and Tim Hecker`s works, Eluder`s Drift or Thomas de Bauw`s own Theme for August this acedia will come forth more distinctly. On the other hand, inspite of it the current music has a lot of sonic references regarding grandeur shadows of the aforementioned albums. However, unfortunately the last gig is only there not to be done.
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Wednesday, March 3, 2010
Tuesday, March 2, 2010
Before starting to review the first curiosity of the recent year - Ergo Phizmiz`s colossal, more than 14 hour long (sic!) album The Faust Cycle , it is time for a little stop to give credit to another album released under Headphonica, too.
Although the Puerto Rican drummer Nomar Díaz`s aka Mu.`s album Arecibo Psycodelic Classics 17: Abortos Musicales (2009) have the longitude of 35 minutes (within 14 tracks), it is informatively a fair-sized work. An amusant fact is that the album consists of the sounds which mainly are recorded with the microphone built up on the details of cell phones, and a ball of aluminium foil as well.
Because of having no precise visual review about this process details, I just will have to focus on song structures of it. Generally, I am being quite dubious about those artists who like to bling-bling with curious elements in their creating process as if it would be a new source for extraordinary sound, for instance, browsing Heidegger`s books - as one famous nu-jazz musician described his methodology in the interview for Wire 3-4 years ago. However, does it in fact add any kind of audible meaning to the sound? It is believable and meaningful some kind of metaphysics coming forth from accomplished song structures rather than by wrapping it around something to get some sophisticated or mystical output.
Given that there are some elements of free jazz, it is not just likely jazz, it is more avant-garde, though. Díaz, - there are some helpers too - plays drums and is mainly in a process of crossing samples over natural sounds - the snaps of the Native American shaman dirges and piano chords meet with metallic electro-acoustic beat cascades, thrill and bass, freeformfreakout and electronic layers. There is even one place where he prefers to wring his hands over ethnic drums. Moreso, there is also a true-blue hardcore rock (Demi Moore) presented - though its psychedelic incline. Indeed, the first part of the title, too, seems to suggest to psychedelic hangover, and the other concerns on interrupted song structures. However, I can`t agree with the second part, though. Notwithstanding the array of diverse sounds, the song structures will be clearly articulated and finished off. There are no moments I could think of them in another way. My favorite example is Loubriel's Psycodelic Odyssey, which is based on the array of abrasive synthetic sounds, lone and stubborn bass sequence, slight drumming, and synth passages in the ending part.
In conclusion, after the title it could be supposed that the main corollary of Arecibo Psycodelic Classics 17: Abortos Musicales was to come forth its concomitant feeling of freedom. After the end of the album, it is clear that the sounds were merely a means to achieve it.
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Monday, March 1, 2010
All experimental rock music roads lead to Rome, paraphrasing that byword of which adequately describes the recent case. Indeed, Patrizio Piastra aka edPorth has a lot to offer on his debut album Saying vamos and thinking let's go. In which way could the borders of his sound be dumbed down? If you have listened to Seefeel`s dystopic sound cocoons, you have got the ideas to be already along the half-way of truth (or even a little bit more). Even better results it is possible to reach if to arrive back in time to mùm`s first two albums, though, the man from Rome is intended to have, as it seems to me, a little broader aesthetical ambitions on his pavement. For instance, the title song, which is fringed by delicious harmonic layers in the vein of IDM/indietronica/post-rock/ambient glitch. In the place of Meeting at the utility he is ready to continue on the runways of the British legends - a certain kind of somber tonality will acquire abstract shapes over time, in turn, a lot darker shades swivel around them, though, it is mainly relies on inside higher chords while synth paces will unbashedly getting close to the past of new wave/new romantic bands. Indeed, this is carried out by electronic music of 101 percent yet subjected to the methodology of post-rock music. Though, however, there are a couple of exceptions (with guitars). Eighteen degrees below the horizon is built up on guitars, booming bass lines and massive violins, and Kreuzberg and the sun does crossover glitch beats and guitar chord transitions - the latest ones are just fabulous, working out as a kind of mood trigger let out. Similarly, angelic voices has an important role to play, which more clearly will be cropped out at Kadievka. Your sand does usher in as a kind of crossover of nu-jazz and Balkan rhythms, which getting develop and landing in the networks of glitch and vague scratch effects . Despite of variability all around seems to be congealing. Terminating Long Exposure offers wide-sounding orchestrations, being also one of the highlights on Saying vamos and thinking let's go.
Epic, soothing, masterful, dreamy, timeless are being the first adjectives come up to mind. However, besides our main figure, mùm and Seefeel I recommend listen to Echelon Effect, Monokle, orange crush, and Patrizio Piastra`s compatriots port-royal and The Japanese Gum, and also the brothers-sisters of him on the Inglorious Ocean label as well.
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Chad Golda, a golden boy is back. His stunning debut album (Golda CHAD'S ALBUM) was one of the albums in the year 2009. Abrasive electronics/psychotic dance monster met with (freak) folk music. It was the case as if Mika Vainio had produced starstarstar (formerly known as ***, and ringostar), the band he is involved in. All of those hollow bass sequences opened up new dimensions for the listeners. Now I listened to it after a long period of time again and I discovered even some similarities with electronic tracks (Lions; Unfinished Monkey Business; Deep Pile Dreams) on Ian Brown `s unforgettable debut album Unfinished Monkey Business, and within Golda`s hazy long accords at times it reminds a bit of Angus Maclise`s bewitching drones under the roofs of Nepali pagodas during the 1970s. The phenomenal release, which by its infectiveness, effectiveness, and cutting edge sharpness as well achieved more than Animal Collective have ever reached.
In fact, my moving toward his sophomore album didn`t start well, actually, listening to it 3 months before the official release day. All of what I can remember about it I wasn`t able to listen to Dance Session over two times. Despite of the fact the album's length was shortened to 30 minutes, it seemed to be something by which I really felt myself disturbed. On the other side, no doubt, partly the impact of the first album overwhelmed it.
Indeed, listening to it again is my purpose to get the results for my unanswered questions. Writing does usher in the gig, which in fact continues through the lines of the previous album - motorik electronica/(neo)krautrock finds immediately the recipient, brain chemistry will brim over. The follow-up Two helps me to figure out why I had some complicatons during first listens. It just seemed to be a bit light-minded. Just to take a well-known and well working melody, and lift it up over caustic electro-beats. The sense of humor finally reached me yielding an enjoyable experience ultimately. It was time approximately 40 years ago when Perrey & Kingsley, the space age/lounge pop luminaries, played on analogue synths timeless upbeat melodies. This track is a home for both oddity and familiarity. The end of this one would be a wet dream for any kind of space rockers/krautrockers. 9-minute long Guitars is based upon a monotonous guitar melodic sequence which will is fringed and will be undermined by a sort of destroying electronic music. Sound walls are getting wave and collapse - everything around is going mad! Aging begins with loudly thirling electro tingles - electro-motorik tunes so habitual by the side of Kraftwerk is turned into wickedly sounding nightmare. Not unreasonable, evil is not inherently evil on its own, as behind that you can see Golda`s spooky smile. In the other way - the essence is sustained by an epic drone ghost which enlarges the inner space and add the credibility. A bit more smirk on the American`s pale again can be seen in the ending track Boom That which relies on 2-3 naive notes delivering some kind of primitive electro quarterstaff sometimes changing this course a bit, just as much as to arrive back to repeat button again.
My first assumptions about Dance Session were wrong. The album drifts between a weird sense of mind and enchanting levels of alternative pop music. He did it again!
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