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Kuvatud on postitused sildiga Trash Can Dance. Kuva kõik postitused
Kuvatud on postitused sildiga Trash Can Dance. Kuva kõik postitused

1/14/2024

Pinktool – 2000-2011 (2022)



Trash Can Dance

Jungle Breakcore Alternative dance 8-bit Rhythmic noise Tracker music Acid techno Psychedelic Electronic music Sampledelic Electro pop Synth-pop Sound collage Freeformfreakout Acid house

Silver Lepik elik Pinktool paneb korraliku peo neil kolmel kassetil püsti. Madal ja kõrge, risune ja puhas kohtuvad siin -- mis on loodud eestimaise muusikaprogrammiga Sound Club. Meloodiates on kitši,  umpa-umpat ja enese üle naermist; aeg-ajalt ka idamaist rõhuasetust. Teisalt rütmilises dünaamikas on loogiline järjepidevus - 8-bitised rütmid arenevad breikbiidiks ning trummiks ja bassiks. Nii muusikaliselt kui ajaliselt ei jäänud happetehno- ja hauss algusaegadel kuigi kaugele (minevikku). Žanriliselt on asi veelgi kirevam -- tantsumuusika keskmest liigub asi koguni rokkmuusika äärealadele. Või miks koguni -- loomulikult nii peabki! Peaasjalikult on asi intensiivne udjamine -- sedalaadi mürarohked ent pop-puutega biidid on üks mängulisemaid ja elegantsemaid, mida siinkirjutaja on Eestis kuulnud (Mürgelmaschine tuleb lisaks meelde). Teisalt on vahel tunne, et muusika oleks justkui salvestatud pooleldi katkise helipeaga magnetofonile -- heli kerkiks esile justkui ühest küljest/kanalist ja on tajutav teise külje/kanali õrn kaja kusagil eemal. Igal juhul on see tervitatav. Kolmas kassett on veidi teistsugune nii vormistuselt, muusikaliselt kui koosseisult -- lisandunud on Neeme Lopp ja Martin Kauber. Osaliselt on need laivülesvõtted, muusikaliselt kas rokivad või tripivad; kuigi lugude struktuurid on lihtsustunud, kostub sellest jätkuvalt läbi algusaegade pinktoolilik pujäänlikkus. See on klassika -- selle juurde olen korduvalt tagasi pöördunud ning uusi aspekte avastanud. Hiljem on Silver Lepik teinud muusikat nii oma nime kui ka Crash Test MONEY-aliase all.

12/15/2023

Fake Area Code – II (2023)




Bandcamp/Trash Can Dance

Noise rock Avant-rock Progressive electronic Neo-psychedelia Kosmische Musik Experimental rock Electronic Neo-psychedelia Freeformfreakout Space rock Improvised music

Eesti mürarokil läheb ilmselgelt kenasti -- Zahir jätkuvalt tegutseb ning sel aastal ilmusid albumid nii Fake Area Code'il kui hiljuti Other Eyes'il. FAC'i teine (muusikakriitikute klišee on, et raske) album jätkab müramist rohmakate (aju)kaablite ja lootusetult sassi läinud efektiplokkide vahel. Ikka vokaal, süntesaatorid ning trummid tekitamas toorest psühhedeeliat, milles on nii pinget, ängi, viha; ning lõppeks toimub vabanemine. Toorest liha tarbinud budist palveid ladumas. Või siis ümber pööratuna -- näiteks teise loo alguses, mis kõlab Klaus Schulze, Ash Ra Tempel'i kui Tangerine Dream'i valdustesse sisse murdmisena; et sealt hakata edasi tembutama nii vokaali, trumme kui elektroonikat keeristeks keerates. Sealses labürintjas ruumis leiab igaüks endale oma nurgakese. Mingil hetkel hakkavad tektoonilised sündibassid kogu kupatust hüpitama -- noh, hea ja halva tundmise kaev variseks maa sisse. Lõpulugu prääksub-vigiseb-tuuseldab kui ahvikäpp orki turjal. Ei viitsi enam punne albumitele lisada, aga see on kindlasti üks selle aasta rokialbumeid.

12/24/2022

Ägakäken – AxLxBxUxM (2022)

  
 
  • Avant-metal 
  • Drone 
  • Extreme metal 
  • Death industrial
  • Gorenoise
  • Black noise 
  • Dark ambient 
  • Ambient drone 
  • Crust punk 
 
Ägakäken'i arvustamise alustamiseks oli vaja teha jõupingutusi. Nimelt ei saanud kuulata uues seadmes, mis millegipärast ei ühildunud sinikikuga ega ei olnud sellel ka kõrvaklapipesa; mistõttu tuli kolida vanasse aparaati, et naabritel jõulumeeleolu mitte ära rikkuda ja verivorsti kurku ehmatada. Vaikselt ei ole Ägakäken'it mõtet kuulata, sest energia ja füüsiline laine on osa selle duo identiteedist, mis on arhailine, armutu, küüniline, toores ja roostes, mis tasapisi kokku loksunud 10235 aasta vältel. Kui pidada silmas talvist pööripäeva, siis tegu igati kohase helindiga. Nimi "Ägakäken" kõlab kuidagi võikalt ja sarnaneb kõlaliselt sõnaga "kägiveen", mille rebenemiseI on surnud nii mõnigi loll ja tõbras. Täpsemalt olen viimase kahe kuu jooksul vaadanud seriaali "1000 viisi suremiseks", mille iga episoodi lõpumoraali asemel võiks lihtsalt mängida Eesti duo muss. Vähem targutamist ja rohkem uute meeleoIude loomist! Käesolev album eelnes teosele "Seksiori Indrek", mida pean üheks selle aasta parimaks albumiks (tegelikult kõige paremaks). Ent see ei jää Intsu-albumist palju maha. Ent siiski. See on positiivne nietzschelikust filosoofiast kantud meeldetuletus – suru nõrkused ja meeleheide alla ning küta täiega edasi. Ei andesta ühiskond ega ka lõpuks sina ise endale. Et ühiskond võidaks, tuleb kõigepealt ise(ennast) võita. Nagu ütles üks tark mees René ligi 4 sajandit tagasi – valluta end! Samas viha tuleb millalgi ja kusagil välja valada – positiivses kunstilises vormis. Nende kärisev-põrnitsev metall on kokku joodetud tumemürast, toonelaindustriaalist, mudakoorikupungist, ängistatud hümnidest. Ent nad seadsid sisse huvitava traditsiooni – kogu selle mürgli keskel on üks pika kestusega õhuline (kuigi pahaendeline) tumeämbient/droon-laks. Kuigi lühike lõpulugu on raugel kidraplõnnimisel põhinev nõrkushetk, oli see viljakas sõnnik võimsale järjele. 

7.5 (7.0-8.5)

10/09/2022

Tont – Biomass (2022)



  • Drum and bass 
  • Ambient dub 
  • Organic electronica 
  • Psychedelic 
  • Dreamwave 
  • Field recording 
  • Musique concréte
  • Downtempo 
  • Experimentalism 
  • Avant-garde 

Eesti keele seletav sõnaraamat sedastab, et tont on ebamäärane üleloomulik olend, kuri vaim, koll, viirastus vms. Tont kiusab, ehmatab, hirmutab inimesi. Arvestades Siim Kuusemäe kiindumust loodusesse ja loodushelidesse, siis pigem ta kehastub seesuguseks tegelaseks, keda lõunaosariikides tuntakse essütäjä (eksitaja) nime all. Metsavaim, kes salakavalalt meelitab metsas eksleja veelgi sügavamale ja ohtlikumatele metsaaladele (sood, rabad, laukad). Artisti helid on vastupandamatult meelitavad ja unenäolised – tekitavad poolärkveloleku tunnet, mis samas tekitab kuulajas ka mineviku suunas liikumiseks tundmusi, otsimaks ja leidmaks positiivseid mälestusi pidepunktidena. Tõsi, albumi teine pool ilmneb märksa rütmilisema aluspinnasena, kus juba varasematelt albumitelt tuttavlikele downtempo- ja dub-rütmidele lisanduvad aeg-ajalt trummi ja bassi sagedused. Ent see ei ole trumm ja bass ei stiililiselt domineerivas ega ka konventsionaalses tähenduses (mis ruttu muutuks tüütuks). See on kaunistus, mis loomuldasa sulandub ülejäänud tervikusse. Vaevumärgatav, ent tõhus. Kuigi eelmisel albumil „Džunglirada” oli ilmselt hunnituid hetki rohkem, tuleb möönda, et on hüva teos küll. Sobib nii kartulikoore identiteedi, eksootika-müstika kui ka universaalse tundmuse poole püüdlejatele. Selle albumiga (eelneva loomingu taustal) vääriks Tont aasta alternatiivartisti tiitlit.  

8.0 (7.5-8.5)

1/22/2021

Poon – Poon (2012/2014)



  • Avant-blues
  • Improvised music 
  • Noise 
  • Drone 
  • Freeformfreakout 
  • Abstract 
  • DIY 
  • Outsider music 
  • Psychedelic 
  • Lo-fi 
  • Bedroom music 

Poon. Poon? Poon keda? Poon mida? Poon millega? Poon millal? Tartu müraküllase avangardi üks esindajaid (NE!, Autharktos, Martiini) poob oma debüütalbumil nii et vähe ei ole. Mulle meeldib mõelda, et ta poob tänapäeva popmuusikat, millest siinkõneleja saab mingisuguse aimduse tänu saadetele Muusikanõukogu ja Muusika sinu kõrvadele. See on masendav, mis sealt valdavalt kostub. Rämps. Poptroonika vaimselt mandunutele. Inferioorsus. Inferno. Elutus, viljatus, klišeelikkus, artistlikkuse puudumine, hapnikupuudusesse produtseerimine. Poon'i 16-looline (Trash Can Dance'i kassettversioon sisaldab kahtekümmet lugu, st nelja lisalugu) album kõlab kui vastumürk sellele. Tõmba oksa, raisk! Ja vastumürk mürgile antud kontekstis ei ole mürk. See on puhastav kogemus loomerõõmust, loomise protsessist ja väljalastud esteetilisest purakast. Salvestatud kitarri, harmooniumi, taldrikute-pottidega. Kasutatud arvuti operatsioonisüsteemi salvestusprogrammi, edastamaks ulgu ja sõnumeid alateadvuse piirimailt. Millest olulisim on vist "lase kui leebe tuul/ja keegi ei saa mind takistada". Captain Beefheart potinõude keskel musitseerimas. Heitke see kuradi Ableton Live masterdamisprotsessis kõrvale ja miksige mingi muu programmiga. Isegi Mart Avi viimane album ei ole sellest šabloonsest patust prii, olles tema nõrgim. Ühesõnaga – poodud.

12/27/2020

Tont – Džunglirada (2020)



  • Ambient 
  • Avant-garde 
  • New Age 
  • Organic electronica 
  • Acousmatic music 
  • Spoken word 
  • Field recording 
  • Musique concrète 
  • Art music 
  • Sampledelic 
  • Experimentalism 
  • Post-rock 

Kuulasin Tondi albumit kahe eestimaise indiklassiku - Dreamphish'i "Garlic Icecream'i" (1997) ja Borax'i "Tallinn" (1996) vahel. Nimetet (kassett)üllitised on jätkuvalt väga südamelähedased, kunagi seotud lootuste, vabadus(tund)e ja usuga, hetkel omades sügavat nostalgilist ja jätkuvalt kunstilist-emotiivset väärtust. Kuidas see Siim Kuusemäe loominguga võiks seostuda? Kujutan ette, et aastakümnete pärast võivad Tondi kassettväljaanded (Trash Can Dance'i kompromissitu järjepidevus!) olla samasugused klassikud nii mõnegi hetkel hilisteismelise jaoks. Miks mitte ka siinkirjutaja jaoks... .
"Džungli" all reeglina mõistetakse läbimatut troopilist vihmametsa, mis avaldab kustumatut mõju sealviibiva inimese psüühikale ja füüsisele. Vähem teatakse, et on olemas ka parasvöötme vihmametsad, peaasjalikult Kanada lääneosas Briti Columbias, mis sademete hulga ja massiivsusega ei jää troopikale alla. Mulle tundub, et Tont rändab nii siia kui sinna, ja kolmandaks jääb alateadlikult kohale – kodusesse Eestisse ja mälestustesse. Kogu see intensiivne kajadesse uppumine on kui läbi mälestuskihtide vajumine ja varjude liikumine; mingi sisu otsimine, mis – tõsi küll! – võib osutuda püüdmatuks sinilinnuks. Eks mälestused ole seotud tehnika ja konstruktsiooniga, nagu ka muusika; ning omavahelisel põkkumisel võivad vägagi vilja kanda. Oluline on tohutu vabadusiha, mis albumit läbib – inimolemise käändumine allikasse, kust me kõik pärineme ja vähem või rohkem alateadlikult seda endale teadvustame ja selle poole võngume. Loodus on suurim kunstiteos ja asi iseeneses ning "Džunglirada" selle meisterlik peegeldus. Vari koopaseinal võib tõepoolest lummav olla. 

11/29/2020

Timo Petmanson – Voyage to Neptune (2020)



  • Library music 
  • Alternative pop 
  • Jazz rock 
  • Easy listening 
  • Cinematic 
  • Space pop 
  • Fusion 
  • Lounge pop 
  • Psychedelic 

Kellele ei meeldiks reisida... . Käia paar korda aastas planeedil Neptuun ja külastada selle kaaslasi, ammutada sealt jõudu ja inspiratsiooni kunsti loomiseks, olla empaatiline ja osavõtlik. See on astroloogiline lend, mis seotud Päikesesüsteemi eelviimase planeediga (siinkirjutaja jaoks on planeet Pluuto jätkuvalt üks Päikese poegadest). Muusikaliselt on Timo Petmansoni kümnelooline album võrreldes kahe aasta taguse üllitisega "Hacker Songs" hillitsetum-mõõdukam ja rohkem vaibile keskendunum; ei ole selles teravaid – et mitte öelda kramplikke – rütmilisi nükkeid, pigem liikudes alale, mille eest esiseisjaks Maarjamaal on viimastel aastatel olnud Misha Panfilov; muusika, milles kohtuvad retro ja futu, tekitades ühe tohutu helilise kontiinumi fuusionist, progest, library music'ust, lounge pop'ist, kosmosepopist, psühhedeeliast ja easy listening'ist. Tõsi, käesoleval albumil on ehk rohkem tajutav kosmiline kontseptsioon, mis iseloomustab teisigi Tallinna põrandaaluse leibeli Trash Can Dance artiste nagu Kroma, Trent Hawkins ja Day Of The Triangle. Elegantselt krampliku rütmimustri puudumist siin kompenseerivad ülendavad meloodilised tõusud ja hingelõikavad harmooniad, mis vaalutavad vahedalt nagu hiigelmagnetist lükkuv rakett läbiks radioaktiivset vööndit.

10/30/2020

Huerequeque – Huerequeque (2020)


  • Dub 
  • Lo-fi 
  • Sampledelic 
  • DIY 
  • Electronic 
  • Ethnotronica 
  • Psychedelic 
  • Remix
 
Madis Kõivu esseedest ilmus kogumik “Luhta-minek” 15 aastat tagasi. “Luhta-minek” on hea termin Rakvere tüübi huerequeque viieloolise üllitise iseloomustamiseks. “Luhta-minek” võiks iseloomustada eestlase rustikaalsust, ugrilikku looduslähedust ja - armastust. Paljaste jalgadega keset märga niitu-karjamaad varasel hommikul, ümbritsetuna uduloorist ja sookurgede hõigetest. “Luhtaminek” teisalt võiks viidata uutele mõjudele avatusena, kaugete maade mõjude absorbeerimisele ja ristamisele millekski uueks (ja mitte-puhtaks). “Luhtamineku” tõeline väärtus seisneb pigem tehnoloogilises hälbimises – steriilse, kaasaja salvestamistehnoloogia ja - ideoloogia tahtlikus eiramises (ka jaatamises) vastavalt oma suvale. See on iseseisvuse ja mässu manifest. Vastavalt oma suvale tarbimises, loobumises ja tähenduste ja (konventsionaalsete) eesmärkide moonutamises. Ei ole ju mõtet Ableton Live`i rohkem kui viiesajaleheküljelist manuaali läbi lugeda ja pähe toppida, piisab vaid mõne triki ja efekti järjepidevast kasutamisest. Lohiseva rütmiga, raskelt sämplitest pikitud ja industriaalse alatooniga dub-kajaefektid loovad kummastavalt troopilise tunde, justkui luhas seismise hetkel varahommikul udus valitseks võdisemapaneva 10 soojakraadi asemel 30 kraadine leitsak. On see ilmsi või eksisteerib tõesti kusagil selline koht? Vahet ei ole – siin on see heli-koht. 

6/07/2020

Kroma – Siin kus lõpeb Maa (2014)


  • Kosmische Musik 
  • Electronic music
  • Progressive 
  • Space music 
  • Cosmic synth

Viimased uudised Minneapolise-nimelisest linnast Ameerikamaal edastavad, et osa rahvast ei taha enam politseid kui institutsiooni. Oleksime justkui jõudnud valgustatud seisundisse, kus ei oleks vaja ei politseid, kohtuvõimu ega valitsust. Robert Nozick'i klassikalises teoses "Anarhia, riik, utoopia" käiakse välja idee, et sarnaste huvidega inimesed võiksid koonduda kommuunidesse, kuid konfliktide vältimiseks erinevate kogukondade vahel tuleks palgata turvafirmad või mingi sarnane vahendav institutsioon. See peegeldab seda, et inimene on loodusest eemaldunud; konflikte ei suudeta loomuldasa isekeskis lahendada, erinevused on lepitamatuks kasvanud. Ma ei ole kindel, et inimkond oleks hetkel valmis jõuinstitutsioonidest loobuma; ei ole valmis, asemele tuleks üksnes rohkem vägivalda. Küsimus on eskapismis – kuidas põgeneda üksteise eest, kuidas vabaneda humanistlikust õudusest. Inimese kui olendi loomuse ja kui isendi ilu esilekerkimiseks oleks ideaalis vaja olukorda, kus tsivilisatsioon hukkuks ja inimene loodusliku liigina võiks tuhandetes kordades vähem asustada Põhja-Ameerika ja Aasia põhja- ja lõunaosa, Ida-Aafrika murranguala, Amazonase vihmametsa, Mikroneesia ja Paapua paradiislikke kaldaid. Alasid, kus oldaks vastamisi ülekaaluka looduse stiihia ja iluga, mis ühelt poolt annab loodusele võimaluse ja teisalt sunnib inimest keskenduma olulisele, mitte tegelema seinast-seina lolluste ja puudustega (majandusnäitajad, lõputu võlaorjus, tööpuudus, nipsasjade ihaldamine, (kontseptuaalne) ülemõtlemine, ühte ideoloogilisse sohu vajumine ja (ideoloogilised) sõjad, saastatus, drastilised meeleolukõikumised, enesetapud, upsakas egoism, sookvoodid- ja neutraalsus, rassiprobleemid, silmakirjalikkus, vähemused ja põgenikeprobleemid jne). Teisisõnu, kui suudame end kõigest sellest piisavalt distantseerida ja selge pilguga hinnata, siis võime südamerahuga tõdeda, et elame hiiglaslikus vaimuhaiglas. Eksistentsiaalses mõttes – suhestatuna loodusega – on käesolev olukord kõigest agoonia pikendamine. Inimene kui loomaliik peaks lähenema loodusele, peaks muutuma loomalikuks-loomulikuks. Teine võimalus oleks kosmosesse põgenemine, aga seda võimalust ei ole ega tule – mis kuidagi ei korreleeru piletihulga ja -hinnaga, mida Elon Musk'il on õnnestunud ullikestele miljonite eest maha müüa. Märgatavalt odavama ja käegakatsutavama kosmosereisi saab hankida Antti Turpi ehk Kroma muusika vahendusel, mille pealkirjad viitavad varasematele põgenemistele (nt Lem'i "Solaris", Verne'i "20 000 ljööd vee all"). Ainuüksi plaadifirma Trash Can Dance poolt üllitatud kassettväljaande kaas teeb südame soojaks – Mirabilia raamatusarja stiilis kujundatud skafandris eskapist jälgimas ekraanilt iludust nimega Maa. Kõrvuti leibelikaaslaste Trent Hawkins'i ja Day Of The Triangle'iga on Kroma korralikult panustanud teadvuse avardumisse ja puhastumisse-korrastamisse. Tõepoolest, sõna "kosmos" ja ka sõna "kosmeetika" pärinevad etümoloogiliselt ühest ja samast kreekakeelsest sõnast "kónsmos", mis osutab korrastatusele või korda tegemisele. Atmosfääriline korrastatus, mida hoiavad alal pulseerivad (analoog)süntesaatori rütmid ja kaunistavad sünteetilised arengud ülakihtides ja eemal/kaugustes. Hea on olla kosmoses, veel parem lokaalselt kodus. Vaimselt ja füüsiliselt terves kodus.

12/10/2018

Day Of The Triangle – bizarre world of non (2018)




  • Kosmische Musik 
  • Electronic music 
  • Alternative 
  • Synth-pop 
  • Ambient techno 
  • Cosmic fusion 
  • Soundscape
  • Crossover 
  • New Age 
  • Deep house

Comment: I can remember for Day Of The Triangle's albums called Salvia Sundays, 48, and Chair Conspiracy could be considered one of the best albums in 2015. And today I can say that bizarre world of non is the favourite release of mine in 2018. Within the Estonian underground scene Tartu-based artist's music was something truly remarkable to provide such a refreshing sort of cosmic breeze up to one's wearisome globe (by the Estonian artists Trent Hawkins and Tont can somehow be compared to it in stylistic and sensual manner). And it still does in the same way 3 years later up to one's cerebral convolutions by trudging across a mystical universe with pulsating rhythms, spaced-out synthesised cascades, and amusing vocal arrangements and tectonic yet transcendental drones. It may remind a bit of The Orb's masterpiece called Orblivion but just for a second (by the way, it starts off with a bouncy synthwave rhythmic metric to develop into an exuberant electro and tricky yet full-fledged (contingent) synth-pop and astral techno and deep house mixed soup as if produced by an outsider mastermind). What's the difference between it and the artists of the so-called Berlin School? The synths and soundscapes represented over there are more warm, less hollow and more timeless. As if reflecting upon the working process of cosmic furnaces full of colourful transformations, supernatural changes, and lush heat emitting. Indeed, one obviously cannot pin down the exact period and place of these sonic progressions. By changing the side of a copy of the tape (indeed, the tape is issued as a limited edition under Trash Can dance) the listener can hear more enchantingly iterative New Age-y hovers as if depicting a flamboyant world beyond the reach and power of our most potent telescopes. Could you see the apparition of Creator? As I already said these 8 tracks do constitute the best issue in 2018.

11/14/2018

Aigar Vals – End Game (2018)




  • Shoegazetronica 
  • Synthwave 
  • Post-punk 
  • Alternative rock 
  • Ethereal wave 
  • Epic 
  • Dream pop 
  • Indie 
  • DIY 
  • Art pop/rock
  • Crossover

Comment: Aigar Vals is known as the drummer from such Estonian dance-appealed indie groups as Badass Yuki, and Junk Riot. End Game is his debut album some weeks before his band mate from Badass Yuki Mart Avi would release his fourth solo outing OtherWorld. 8-notch outing is an intriguing drift between cinematic synthesised developments and epic panoramas – oh yeah, it is so beautiful! - and on the other side, it is more about undulating yet warped electronic shoegaze. Let's say – it is an example of unconventional shoegaze. Indeed, I would like to avoid the term nugaze because nugaze used to relate to something superficial and volatile and secondary in my mind. Most of those bands are produced and channelized into a very similar product. All those guitars, drums, and synths are packaged tightly into a sparkling yet empty box. One can feel lo-fi and DIY-tinged (at times elegantly awkward) attitude within the whole by adding an extra charge to it. Additionally there are up bold bass lines, stomping piano chords and heavy drum fringes here and there thereby drawing parallels upon the electronic post-punk/synthwave scene. Thirdly, those decelerated a bit murky soundscapes remind a bit of such ethereal wave juggernauts as Lycia, Autumn's Grey Solace, and Love Spirals Downwards. All those unforgettable halcyon hours spent behind heavy curtains sometime in the past. However, in the context of Estonian music it is absolutely singular, absolutely extraordinary. I like it very very very much. The issue is a part of the discography of Estonian underground (mostly) tape imprint Trash Can Dance (best regards to Trash as well!).

4/15/2018

Ilya i Alisa – Winter Invocation (2007)




  • Micronoise 
  • Avant-garde 
  • Drone 
  • Microsound 
  • Experimentalism 
  • Leftfield 
  • Spoken word 
  • Alternative 
  • Acousmatic music 
  • Electronic music 
  • Field recording 
  • Musique concrete 
  • Art music

Comment: Ilya Bogatyryov aka Ilya i Alisa as his one-man-project can be considered as one of the most enchanting and mystical groups to have ever been existed in Estonia. Previously I have commented about How I Entered The Dark Forest (2010) which was a true miscellany of post-punk, drone, dream folk, ambient, progressive rock, spoken word but the recent case is more austere but it does not mean it is somehow less profound and more superficial. The aforementioned releases are issued on tapes by Trash Can Dance, a Tallinn-based underground imprint. Winter Invocation is a short release of approximately 20 minutes. I guess the winter in 2007 was fragile with regard to the title. Unfortunately I cannot remember it anymore. The issue consists of electro-acoustic noises and drones creating the background mostly for female singing and chants in this way. Yet the words are not sufficient enough to bring forth the depth of the release. For instance, if you listen to the abovementioned microscopic noise soundscape I assume Snow Queen also appears in the background. It is ennobling and somehow frightening at the same time. It's beautiful in its uncompromising, anti-pop bearing. It is beautiful, beatific ugliness. So yeah, listen to it and get a copy of the tape if possible which ultimately will cost much money.

9/15/2017

Cuubik. – to James (2016)



  • Indie pop/rock 
  • Alternative pop/rock 
  • Dream pop 
  • Lo-fi 
  • DIY 
  • Psychedelic rock

Comment: in the 90s there had been the vital indie guitar pop/rock scene in Estonia full of urge and naivety. Probably the most well-known ensemble was Röövel Ööbik, the first combo coming out behind the Iron Curtain to had appeared in John Peel show and had their own session. However, there had been existed such combos as ÖÄK, 1983, Dallas, Dreamphish, Bizarre, The Chance, Afternooning Plague Family, Bimini, Borax, FM Violet, The Choice, Jim Arrow And The Anachrones. In the 00s most of the collectives ended their tenure and new combos were more professional and unfortunately boring and lacklustre. Cuubik. is a contemporary group yet their soundscape sounds very authentic in comparison with the aforementioned era. The members of the combo call their sound fake indie yet it disorienting description. It is an instance of indie/alternative pop/rock at its finest and genuine meaning. It is more than a little bit lo-fi and DIY, it is a little bit dreamy, it is a little bit psychedelic and even employing electronic and dance-appealed sounds at times. I feel myself truly fascinated while listening to these slightly drowsy yet highly enchanting compositions. Highly nostalgic and refreshing at the same time. I do not miss the 90s but I am always ready to rememebr it with a positive word. One can find out a couple of great tracks from within it (Philosophers, Mindgame Mastermind, You and You). You can get a shortened version of the album on tape as well being released on Trash Can Dance.

8/17/2017

Tont – Vaba Vesi (2017)



  • Ambient 
  • Abstract 
  • Experimentalism 
  • Avant-garde 
  • Field recording 
  • Alternative 
  • Organic electronica 
  • Musique concrète 
  • World music 
  • Ethnotronica 
  • Spoken word

Comment: Tont (Ghost) is the project of Estonian traveller and musician Siim Kuusemäe whose subsequent outing has been managed grossly in a similar way as his previous ones though there are up some different characteristics as well. So it can be said the artist's physical and mental journey goes on. While I am writing this comment I am not listening to a digital copy of it but an exemplary of the limited edition of 48 tapes entitled Vaba Vesi (Free Water) being released on Tallinn-based underground imprint Trash Can Dance. It starts off with reciting one extraction by the Estonian writer Arvo Valton who states that the thought of travelling can be equalled with the thought of living and the experience of travelling makes one feel more excited about and more empathetic and being an integral part of his/her development. It is the most humanity-related phenomenon. It used to correlate with the thought of Heraclitus, the pre-Socratic philosopher from ancient Greece who stated all is moving around and there is no chance to step into one and the same river twice. Similarly Tont has not done it before and does not do it the recent time either. Or is not allowed to do it. Additionally, by Heraclitus Tont may be standing at a crossroad because additionally those prevalent sultry field recording based sounds and shamanic rhythmic patterns one can also hear a more abstract composition at the self-titled track as if hearing passing by the cars at a remote distance while staying somewhere in the middle of the forest. In another piece called Sume Tont exploits more synthetic, artificial templates to create a clear-cut ambient composition in the traditional sense of this word. In a word, Tont issued a subsequent purgatorial outing which can be admitted a best recording in a year. In 2017, more profoundly. Besides his solo albums I recommend put ear on a project, Allinn (at Bandcamp), he has also been get involved in.

12/05/2016

Trent Hawkins – Ninnananne/t2helaev (2015/2016)




  • Kosmische Musik 
  • Krautrock 
  • Ambient 
  • Synthwave 
  • Electronic music 
  • Alternative 
  • Art music 
  • Mood music

Comment: indeed, by now I decided to review two issues by an artist within one comment because I am listening to a tape which physically includes both of them being issued by Tallinn, Estonian underground imprint Trash Can Dance (a print-run of 36 tapes; soon in next days it will be officially announced for sale). Trent Hawkins is the pseudonym of a guy from Tartu, Estonia who is also known as the drummer of a local stoner rock group, Smõuk. However, substantial guitar riffs and oppressive psychedelic noodling of desert rock is jettisoned for floating synthesisers and ticking rhythms which are up there to depict something otherworldly and beatific. I like the artist's pure aesthetic of Kosmische Musik where all the elements are enjoyably aligned to constitute a logical whole with enchanting space between and around. It might slightly remind of some works by M. Geddes Gengras under Umor-Rex where one can discern similar perceptions of mathematical relations and measures between the establishing sonic elements. Furthermore, it is as pristine as one counterpart could be against lousy aspects surrounding us in our every day's life. A sort of music for escapists. Similarly to the American musician's soundscapes the recent one is also the grower. At first glance it might seem a little bit lightweight and even superficial but it is the deceptive impression. At first one needs to take some time for warm-up to comprehend this hippy of ambient music (the description by the label boss Gert "Trash" Moser). Or maybe not, though. All in all, both of them are fairly fine ones. After listening to these ones I am sure you will be listening to Trent Hawkins third issue (3) either (also available in tape format on Trash Can Dance).

5/16/2016

Ilya I Alisa – I Entered The Dark Forest (2011/2015)



  • Post-punk 
  • Alternative rock 
  • Drone 
  • Electronic music 
  • Art rock 
  • New Weird 
  • Avant-rock
  • Progressive rock 
  • Dream folk 
  • Spoken word 
  • Avant-garde 
  • Experimentalism 
  • Ambient


Comment: Firstly, it is an unusual case; it does mean one has little chance to find out such sort of music daily because there is little such kind of music around. If I’m saying it is either a case of art rock or progressive rock then I have described it partly only. Secondly, it is an idiosyncratic case getting its boost and apparent inspiration from the Russian culture, from its glorious part, which is antagonistic to its inferior, the so-called blatnoi (thug) culture, which cropped up in prison camps in the Soviet Union during the dictatorship of Joseph Stalin. More profoundly, the issue is highly dreamy as if a reverie stuck between reality and a hypnagogic state. At times it is imbued with naivety yet fortunately it will not turn to be pathetic because the nature of the issue is candid and properly emotive. If to trying to date it this would probably have happened in pre-historic times when reality and dreams and fears come into one, when imagination and real things had had a common part. And one had to come along with it. Of course, the forest was the uppermost ambience and catalyst for such sensations to Slavic and Finno-Ugrian tribes. In a word, it was a realistic place, it was a hyper-realistic, and it was a surrealistic place at the same time. Furthermore, it seems to be filled with a religious content though being laid down implicitly, not in a raucous manner. For me, Ilya I Alisa embodies a modern touch by sketching it quite similarly to Animal Collective in the USA who had principally done it on their two first albums. Of course, by saying it I admitted a little coefficient to the proposition. Last but not least – by listening to this 12-track issue on the tape, which is a part of the catalogue of Tallinn, Estonian imprint Trash Can Dance, it was something of a ritualistic act to change the sides of it. In a nutshell, it is a staggering outing by Ilya Bogatyryov, which was firstly issued digitally in the beginning of the 10s.                           

12/28/2015

Day Of The Triangle – Salvia Sundays (2015)




  • Kosmische Musik
  • New Age
  • Space music
  • Ambient drone
  • Soundscape
  • Psych-rock
  • Electronic music
  • Motorik
  • Ambient
  • Krautrock

Comment: the year of 2015 has been a fruitful year for the Estonian alternative music scene because of many astonishing issues has been released throughout the year. For instance, Mart Avi`s Humanista, Tont`s Rändurvaim, Mavra`s Mavra (though it is a re-issue), Kroma`s Prince of the City. In fact, many albums are waiting to be listened to. For instance, Djerro`s XXmagick, Taavi Tulev`s Rand, Janek Murd`s Kuidas ehitada kosmoselaeva?, Ratkiller`s Comfortably Declined, She Bit Her Lip`s Viiv, Mikk Rebane`s Fragment, and Particles, Florian Wahl`s Sugar Trip. The biggest discovery for me was Day of The Triangle`s two albums Chair Conspiracy, and Salvia Sundays both of them have been released in 2015. There is little known about the artist but he is living in Tartu and is (was?) the keyboard player of one quite fruitless progressive rock combo. Fortunately he decided to launch his creative abilities with the listeners for whom it is great pleasure to listen to a fairly impressive music created in a time span between the years of 2009 to 2013. First of all, it is something of Kosmische Musik where synthesizers are set out to hover in a hyper-realistic realm. More profoundly, one could discern glacial ice-alike glimpses moving across the path between two channels and amplifiers. Mind-boggling sound effects are pushed to the fringe of the soundscape. At times those layers are mixed up with sublime concrete sound ones being supported by more and less motorik driven rhythms below. One might even suffer some vertigo due to those moving poignant noises to create some exuberant vamps within the soundscape. Nowadays the term “New Age” is mostly used as something wearisome and old-fashioned which may sound even ridiculous in some cases. However, Day of The Triangle`s exploitation of these seeds within the sophisticated melting pot is being far away from it. It could be compared with a wondrous, otherworldly dream of which you could remember faintly after restless sleep where fiction met reality in a warped way. Furthermore, stylistically this batch of compositions is a little bit more than a notch within the compartment of electronic music. One is sure the listener could also hear some influences coming out of more guitar oriented but heavily motorik rhythm propelled krautrock (Neu!, Faust) and psych-rock bands. Although these indications are obviously in minority they are represented over there though. In a word, it is a must be outing waiting to interact with your impulses coming out of your cerebral convolutions.

12/20/2015

Tont – Rändurvaim (2015)




  • New Age
  • Organic electronica
  • Dark ambient
  • Sound art
  • Experimentalism
  • Space music
  • Electronic music
  • Live session
  • Avant-garde
  • Art music
  • Musique concrète

Comment: it cannot be wrong by assuming that The Estonian sonic maverick Tont (“Ghost”, “Spectre” translated in English) brand new ones are events by itself. They are always different, always the same. The topsoil of his issues are different kind of drums which used to loop through reverb and delay heavy effects juxtaposed against found sounds being previously recorded in nature worldwide. The motto of his brand new album Rändurvaim (which could be translated the soul of a pilgrim, i.e the person who likes to travel) is the soul of a pilgrim exists in any of us. It seems that the pendulum in Tont`s life is switched to move diametrically to the opposite side in favour of nature. Fortunately Estonia is a patch of land where the human being could practice such a life. Ideologically and musically it seems to be bounded even more with nature than the artist`s previous outings. Given that the lyrics are all about a stark gratification of natural world and more and less indirectly about escapism from within the civilization which used to absorb and squelch the human being. It might be it is accidental that this bewitching issue had partly been  recorded in Lapland the sultural area being famous due to shamans living over there. By regarding the coverprint of the issue on can figure out correlation with one row on the sleeve by stating there is an ice-coated lake under your foot, there is green colour dancing in heaven. Musically he has reached more spotted abstract, dark ambient and electronic compartments having in turn abandoned doom rock and dub music elements. Moreover, one could hear soothing sounds as if coming out of the engine of a space rocket having stabile gear while flying across Outer Space. However, New Age-y attitude and flutes in the artist`s music are still up there. Emotively it is uncompromisingly consistent from the start to the end. It could be said Tont`s issue is a functional instrument to conjure up one`s dreams. By considering the aforementioned rows the outing could relevantly be described by using adjectives thought to describe the leaf margins of different species of trees, for instance. More profoundly, it is at times lobate, at times crenate, at times serrate, at times ciliate. On the whole, I can feel myself as a happy person who owns an exemplar of the limited tape edition (48) on Tallinn-based underground imprint Trash Can Dance (additonally embracing live versions of a couple of compositions). Additionally I recommend to listen to the artist`s previous issues and Allinn`s music wherein he is also involved in for a while.

12/11/2015

Kroma - Prince of the City (2015)




  • Kosmische Musik
  • Space music
  • Cosmic fusion
  • Chilltronica
  • Electronic music
  • Synthwave
  • Soundtrack

Comment: Antti Turp aka Kroma`s music is tipped on the strength of his previous issues of the likes of Otsi mind Merkuurilt (2013, Trash Can Dance) and Siin kus lõpeb Maa (2014, self-released/Bandcamp). Prince of the City continues obsessively to search for detailed, elaborated soundscape though the result eventually will be quite relaxing and soothing. Indeed, the aspects of creating ambiance are craftily poised with accomplished chord genesis. Mid-tempo rhythms are merged with glacial-alike sonic glimpses as if an alien shuttle waiting for a suitable moment to get started from an Arctic ice glacier into the Outer Space. Indeed, the thought of it is epic and sublime and Turp`s music supports properly this idea. On the other side, I guess the title hints rather to the urban environment though I can only imagine the album to be a soundscape for the sleeping city being lightened by halves. Musically it seems to be steeped in Kosmische Musik tradition, New Age music, motion picture soundtracks and slightly fusion and progressive music tinged formulas. By the way, a couple of compositions are produced by another Estonian electronic music mastermind called Galaktlan.


1/11/2015

Kaarel Mihk – Vaade (2014)




/Noise, Experimentalism, Psycho-acoustic, Post-industrial, Non-music, Spoken word, Space rock, Electro-acoustic, Lo-fi, DIY, Musique concrete, Avant-garde/

Comment: Kaarel Mihk is an Estonian noisenik who has issued all his 4 issues in 2014. The recent issue is part of discography of Trash Can Dance, a DIY music label from Tallinn, Estonia. Mihk`s 7-track issue used to extend from dull-coloured electro-acoustic and concrete sound blended sonic examples and restrained spaced-out and industrial drenched landscapes to more power electronic jams, straight up pink noise and piercing brown noise torrents and even hirsute guitar-induced noise rock (actually it is rather space rock) appearances. At times he exploits spoken word pieces and samples or something like that – however, those are heavily distorted and mutilated. The result is thought-provoking and upsetting being a refreshing entry into the sparse Estonian noise music scene.