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Kuvatud on postitused sildiga enoughrecords. Kuva kõik postitused
Kuvatud on postitused sildiga enoughrecords. Kuva kõik postitused

12/15/2023

Mitseliy – Forgotten Pine Trails I (2023)



Enough

Microtonal Ambient Musique concrète Ambient drone Dreamwave Space music

Peenekõlalised hõllandused, pakituna viielooliseks albumiks, millest kostub läbi nii ämbient, konkreethelid kui droonmuusika. Kohati omandab kergpsühhedeelse varjundi, avardades hinge- ja vaimuruumi. Suur küsimus ämbiendi puhul on ühe või teise albumi poolne kõnetamine -- on selles piisavalt vaimusügavust ja emotiivsust või on tegu pelgalt helirondiga (eks see omakorda ole kunstlik konstruktsioon -- puhtaid vorme sisuliselt ei esinegi). Ka rondistatud heli võib tinglikult, st teatud eluhetkedel või situatsioonides kõnetada, ent enamasti mitte. Vene artisti Mitseliy muusika kõlab kohati simulaakrumina kosmoselennule, milles Maa päritolu tuletatakse meelde üksikute linnulaulu fragmentidega. Hästi produtseeritud, ent liiga ulme -- vajaks rohkem olmet, rohkem rikkeid, roostet ja vastuolusid, mis sellesse masinavärki mõrasid tekitaksid -- isegi kui see viiks kosmoselennu katastroofini. Kokkuvõtvalt on käesolev ikkagi auhinda väärt.

11/01/2022

Elvii Marten – Mohelemenc (2022)



  • Free jazz 
  • Avant-jazz 
  • Improvised music 
  • Experimentalism 
  • Electronic 

Džässmuusika mõistmise ja mõtestamisega on nii ja naa. Ühelt poolt on jäts kogu aeg kaasajastunud ning kas jagunenud paljudeks harudeks või moodustanud teiste stiilidega ristandeid; teisalt jääb küsimus muusikastiili olemuse järele, kuivõrd erinevus tavalisest poploost on struktuuriliselt vägagi erinev. Ilmselt ka emotiivne konverteerimine on teistsuguse iseloomuga. Üheks küsimuseks on, et kuidas jätsu peaks hindama? Kas selleks kasutada popmuusika hindamise standardeid või peaks jätsu jaoks spetsiifilise (kirjeldamis)keele välja mõtlema? Läheb vist liiga keeruliseks. Ehk piisab, kui esimese eeldusena kaardistada konkreetse taiese piirid ja võimalik intensiivne siht. Kuigi jah, lõpliku hinnangu annab kuulaja isiklikust heaolust lähtuvalt, mis omakorda põhineb isiklikul muusikalisel kogemusel ja kvalitatiivsetel standarditel. Ilmselt ka võrdlusmoment artisti varasema looduga, samuti kaasaegsete ja eelnenud žanrite viljelejatega ei ole tähtsusetu. Leedu eksperimentaatori Martinas Rakshtinas'e järjekordne džässalbum võrreldes tema sel aastal varasema looduga (Martin Rach And His Imaginary Band`i nime all suurepärane album "Year of the Goat") on aeglustatud, ehk ka nurgelisem ja happelisem – mitte et elektroonikat oleks rohkem (seda siin jätkub, ilmnedes erinevates variatsioonides), aga puhkpille on korralikult väänatud ja tükeldatud. Ebatavaline vabajätsualbum on see 8-looline, kuna hoog on maha võetud ning heliepisoode vaadeldakse suurendatult ja kaemuslikult. KorralikuIt lõikav kuulamine, mida ei peakski eelmise albumiga võrdlema, vaid arvama sellest kui järjest (hoolimata tõigast, et on väljastatud teise pseudonüümi all). Kindlasti isiklik eksperimentaalelektrooniline taust ja mõtlemine annavad asjale teistsuguse tunnetuse. 

8.0 (7.5-8.5)

5/21/2022

Edgeist – Outer (2021)



  • Kraut-electro 
  • Neokrautrock 
  • Electronic music 
  • Space disco 
  • Kosmische Musik 
  • Motorik 
  • Cosmic synth 

Moondog, üks omapäraseimaid artiste muusika ajaloos, olla väitnud, et tal kulus viis kümnendit leidmaks helisid, mis on kooskõlas MegaMõttega – ilmselt siis universumiga ühekssaamist. Kuulates seda Portugali plaadifirma enoughrecords all välja antud Prantsuse artisti üllitist tekib mõte, et see on ühe traditsiooni lõppmäng. Õigupoolest kahe traditsiooni ühtimine ja lõpetamine. Motoorsed rütmid lükkamas edasi poolläbilaskva sädelusega sündikarusselli – krautrokk ja kosmosedisko on sujuvalt ühildatud ühte keermesse. Kui mõelda Kraftwerk'ile ja sellestsamusest eraldunud duole Neu!, siis kuuleme wagnerliku vaimu ja traditsiooni edasikestmist. Suursugusust. Puhastavat ülevust. Oleks Richard elanud tänapäeval, teeks ta seesugust muusikat? Võib-olla. Tantsumuusika, milles tantsule kutse ei ole siiski esmane. Permuteerunud tantsumuusika, mis opereerib kasinate vahenditega, ehkki suudab pakkuda piisavalt intellektuaalset varieeruvust ja ülevust. Mingi traditsiooni trajektoor lõpufaasis muutub paratamatult ahtaks – saab lõpule viidud. Teisalt kõige huvitavamad ja elavamad albumid-fenomenid reeglina on liikumise alg- ja keskosas. Ka nii oli krautrokiga. Ja ust peab oskama elegantselt enda järel sulgeda.

7.0 (6.5-8.0)

5/03/2022

Paperclip Crown – What Are Paperclips Made Of (2021)



  • Post-industrial
  • Avant-garde 
  • Modern classical 
  • Abstract 
  • Experimentalism 
  • Micronoise 
  • Minimalism 
  • Experimental electronica 
  • Hauntology 

Teeneka Portugali plaadifirma enoghrecords'i alt on ilmunud üks suhteliselt lühike, ent intrigeeriv üllitis. Kui välja arvata üks kitarriplõnnimise saatel mängitud lugu (mis võinuks lisamata jääda!) – mille keskosas lisanduvad albumile nii elektroonilised kriiped kui albumile nii iseloomulikud sahinad ja prügistatud helindid. Stiilimääratlused (moodne klassika ja abstraktne tehno näituseks) ja põiked erinevatesse žanritesse ei pruugigi olla siin eesmärk omaette, vaid lihtsalt opereerida eelpoolmainitet perifeersete helinditega. Uurida selle võimendavat ja võimestavat iseloomu – nii füüsilises kui psüühilises võtmes. Tegelikkuses see perifeeria on albumi kõige etem osa – tekib metafüüsiline huvi kuulda neis sagedustes midagi intrigeerivalt ebamaist. Ilmselt sarnane tunne raadiosageduste püüdjate-dešifreerijatega, kes lootsid läbi raadiolainete rägastike lisaks vaenlase jutule kuulda ka tulnukalikku. Ent oskuslik madalate sageduste võimendamine juhatab kuulajale ka psüühilises plaanis õige otsa kätte. Selleks ei ole tarvis istuda suletud ruumis ja kuulata pikki tunde madalsagedusi nagu kord Pan Sonic'u mehed olla teinud. 

7.5 (6.0-8.5)

9/19/2021

A.J. Kaufmann – Silent Revolution, Deafening Meditation (2020)



  • Post-punk 
  • Indie rock
  • Noise rock 
  • Lo-fi 
  • Art punk
  • Outsider music 
  • Psychedelic 
  • Rockabilly 
  • DIY 
  • Alternative rock 

Täna saanuks Onu Bella 60-aastaseks. On väga vähe neid artiste popmuusikas, kes tõsiselt korda oleks läinud. Muidugi lisaks ka Mark E. Smith ja Glenn Branca. Mehed, kes lõid midagi erakordset, olles eelnevalt minevikust õigesti aru saanud. Huvitav, et kõik nad surid ühel ja samal aastal ning sama haiguse tagajärjel (vastavalt 2018 ning vähk). Muideks, täna on sünnipäev ka Jarvis Cocker`il, kes seisab minu edetabelis neile kõige lähemal. Mäletan Bella saateid R2-s. Osa neid olid reisisaated, k.a Londoni päevikud. Ka see 16-looline üllitis on inspireeritud ühe poolaka viibimisest Suurbritannia pealinnas, muusikaliselt ratsutades kunstilise pungi elik postpungi-nimelise lohe seljas. Muidugi on siin ka postpungist edasi arenenud alternatiivrokki – nt primalscreamilikku bluuspsühhi ja rockabilly`t aastast 94. Hea on, et artist ei aja asja hermeetiliseks ja tõsiseks, lastes struktuuridel ja helikvaliteedil siin-seal lihtsalt ära laguneda. Tõmmates piduri maha enne, kui asi tõsiseks muutub. Roheline, korduvkasutatav ja DIY. Muutumata silmakirjalikuks nagu rikkad Lääne-Euroopa riigid, kes räägivad rohepöördest, aga forsseerivad metsade mahavõtmist peamiselt vaestest riikidest nagu Rumeenia (dokfilm “Lageraie – Euroopa hääbuvad metsad”). Eriti masendav on, et metsa mahavõtmist ajendab inimeste mõttetu tarbimine nagu paberrätikute nõudlus. Paberrätikud tuleks tavakasutajatele üleüldse ära keelata! Nõukogude ajal nuusati nina riidest rätikutesse ning ei olnud see kuidagi ebahügieeniline. Nimetatud halb harjumus-fetiš (et mitte öelda kuritegelik vajadus) tuleks inimestest esimese asjana välja juurida, sest see on ökosüsteemide ja looduskeskkondade arvelt! Albumi on üllitanud Portugali leibel Enoughrecords.

8/07/2021

ANT GM – Pekulliar (2019)



  • IDM 
  • Electronic music 
  • Deep house
  • Ambient techno

Pealkirjale viidates ja sisule osutades küsiksin vastu, et on siis see Hispaania projekti kolmelooline tõesti (nii) immelik? Ja kas peakski olema immelik? Oma eriilmelise loomuse poolest – ulatudes subliimsest IDM rütmialkeemiast haussmuusika sünkjashägusate hõllanduste ja eksistentsialistliku aegkontiinumi kujutamiseni elektroonilise muusika võtmes – meenutab see kõhklustest-mängulisusest tingitud üllitis elektroonilise muusika suurkujude Aphex Twin'i ja Autechre'i algusaegu. Ent see mängulisus kannab igati välja – see on loodud ilma kõhklusteta. Lisaväärtust lisab lugude kulgemine sahina saatel. Ja ärge unustage, et noise reduction-nupud on saatanast! Õnneks kaasajal on sahinad-kahinad niikuinii legitimeeritud. Üllitaja on Ibeeria poolsaare väiksema riigi oluline plaadifirma Enoughrecords. Ei saa eraldi märkimata jätta, et "Ether" on superhauss.  

7/26/2020

Globobscuro – Morphism of a Dream Anthology (2019)


  • Post-industrial 
  • Industrial music 
  • Avant-garde 
  • Experimentalism 
  • Electronic 
  • Psycho-acoustic 
  • Micronoise 
  • Acousmatic music 
  • Electro-acoustic 
  • Dark ambient 
  • Illbient 
  • Spoken word 
  • Neoclassical 
  • Dark wave

This anthology of 42 tracks embraces the Italian experimental musician Emiliano Pietrini aka Globoscuro's works and collaborations with such artists as Sean Derrick Cooper Marquardt, Nina Maroccolo, Lutz Thuns, Peter Wullen, Ilaria Fierro, Serena Zingoni, Una Lee, Imi Gavin, Cousin Silas, and Øystein Jørgensen musically ranging from frantic old school industrial and malignant illbient and exquisite noise/micronoise to musique concrète and electro-acoustic experiments, however, going so far as to reach a desirable, ennobling point. These albums did solidify the status of such imprints as Noise-Joy, Enoughrecords, Kaos Ex Machina Promotions, Smell The Stench, and Hortus Conclusus. Being mostly characteristic to Italians he is also able to imbue these very extreme ideas of peripheral sounds with an emotive ingredient thereof resulting in some sort of purgative mysticism as if there were a hidden portal between ancient and contemporary world. If we also could physically overcome the burden of entropy we could travel back in time and go back to our heathenish roots. We have lost our touch with Nature, with our very genuine source. Lost souls as we are because we have been indoctrinated with such nonsenses as ancestral sin, and holy trinity. You know, Holy Trinity were in fact Socrates, Plato, and Aristotle as the three most smart and inspiring men in history I can admit it. In a word, being mentally and naturally a disciple of old school industrial and on the other side exploiting contemporary digital technology one can perceive an artist going beyond the nowadays limits by crosscutting these styles in his own way. I am very convinced his soundscapes will ring ahead of its time in many decades.

2/02/2020

Chuzausen – Corrupted Projects (2019)


  • IDM 
  • Electronic music 
  • Electro pop 
  • Chiptune 
  • 8-bit 
  • Bitpop 
  • Alternative dance 
  • Robot pop

Comment: first of all, this great album is issued by a Portuguese imprint, Enoughrecords which is apparently the oldest netlabel being active so far. All other netlabels which started earlier and some of those which would embark on later than 2001 are unfortunately defunct now. However, here it is an elegant gross of jagged intelligent dance mould – sorry, music – from neighbouring Spain which is spiced up by galvanized electro riffs and noisy chiptune undercurrents. For instance, an astounding track called 2000 Problems which almost sounds like an electro(nic) version of Gang Of Four (RIP Andy Gill). Superb cyber punk composition where brittle electronic fabric and air are exquisitely balanced to go ultimately up to an ecstatic dance-appealed apotheosis. However, merry companion by robots can be met everywhere throughout the course of this 9-track outing. Even more, it may sound like an indulgence for a fully mechanic world to come when human race could not keep the pace anymore and robots are singular enough...to single out. And those joyous samples from vintage TV adverts just accentuate a steep gap between the different eras, between the past and future. Forthcoming dance party based purely on reason. Pure reason is a pure fun.

11/25/2018

Tony Diana – Orbis Alius (2018)




  • Dark ambient 
  • Electro-acoustic 
  • Post-industrial
  • Art music 
  • Space music
  • Abstract 
  • Electronic music 
  • Neoclassical

Comment: this 10-track issue consists of the collaborations by Tony Diana with different artists like Glen Sogge, Boson Spin, Tyler Jones, Darien Davis, Anthony Armondo, Lambmother, and Sergiu Salagean. In overall, the impression is mind-blowing due to intensifying and magnifying progressions based on murky ambient-infused landscapes, massive electro-acoustic rattling, spaced-out vocal ruffles and gleaming synthesised tentacles throughout the course. At times those impregnable blackened walls will be traded either for more softened rhythms or stellar sonic effects. What it would be like to travel to another dimension with music and then back again. You can hear it, you can feel it. Play it loud, partake physically and mentally in it. I guess the ultimate experience would be something mystical and out of this world. The powerful issue is a part of of the discography of a Portuguese imprint, Enoughrecords.

9/30/2018

Open Work Stocking – Intrude into the Grey Slush (2008)




  • IDM 
  • Electronic music 
  • Alternative 
  • Epic 
  • Experimental electro 
  • Ambient noise 
  • Experimental techno 
  • Kraut-electro 
  • Kraut-techno 
  • Alternative dance 
  • Art music

Comment: Open Work Stocking is the Russian producer Anton Tatarinov and this 6-cut issue is his debut release under the Portuguese imprint Enoughrecords. Quite much has changed since the year of 2008 yet it is a very solid result full of gentle melodies and lofty progressions while employing the sharp sounds of noises, glitches, unnerving pulsating electronic rhythms. Intellectually merging together the Detroit-based techno and electro tradition and Cologne and Dusseldorf-based IDM/techno/neokrautrock legacy to pop out somewhere in Russia. Additionally, it is keenly a dance-appealed case and those lightweight orchestrations remind of Arthur Russell. Ultimately I am going to say – it is absolutely stunning being perfectly balanced between the experimentally sophisticated and emotively full-fledged one. It must have towered as an IDM classic.

5/10/2018

Sann Gusmão – Emaranhado (2018)




  • Ambient noise 
  • Guitar ambient 
  • Art music 
  • Musique concrète 
  • Field recording 
  • Epic 
  • Avant-garde 
  • Illbient 
  • Experimentalism 
  • Dark ambient

Comment: imagine there would be such a kind of artist on the stage of Eurovision by poisoning the lousy taste of the present superficial audience. Hiss and microscopic noises coming through very huge loudspeakers would spread everywhere and conquering the senses of the audience on 120 decibels. This could be an apocalyptic, transcendental experience for them by indicating what would happen if they continue live a decayed life. Like standing face to face with the Grim Reaper who moves his scythe like an electric guitar and as a consequence cranking up the decibels. All would be bleeding – their ears, eyes and noses. Through pain and smell of blood they could experience majestic beauty of mixed machinery and lost humanity once generated by heroes. Indeed, this bunch of 9 notches is the ennobling chaos of a managed process. You can enjoy different sonic monoliths over there, at times more abstract, at times more emotions filled soundscapes. All of that sounds fairly in an elemental way. With regard to Portugal, it is the case indeed, because the artist comes out of Portugal and is a part of the discography of a Portuguese imprint, Enoughrecords. For sure, one of the most impressive and consistent and multi-layered issues in 2018 so far.

11/22/2017

Jupiter Makes Me Scream – Tuesday Morning Huricane EP (2008)



  • Post-rock 
  • Art rock 
  • Alternative rock
  • Crossover 
  • Electro-indie
  • Experimental rock
  • Ambient rock 
  • Synth-rock

Comment: my first impression was it is an arty-farty issue while hearing superficial piano chords moving in front of the scale. In fact, those piano chords were not so superficial and many more layers would be get added to the mix. So ultimately it can be admitted it is very far away of being superficial and simplistic. Karolis Burzinskas who is behind the project adds craftily not only emotively accentuated piano chords and orchestrated templates to the mix but also manipulates with synth-based and funky cadences here and there. For instance, at Sunshine Radio it evokes memories about such Soviet synth-led combos as the Latvian Zodiac (it is still a favourite of mine), and the Lituanian Argo. Of course, If you wish you could also draw parallels upon such post-rock luminaries as God Is An Astronaut, and Bark Psychosis but it is indispensable anyway. As well as those thoughtful and picturesque extended piano chords and orchestrations remind of a late Talk Talk at This Girl. However, Karolis Burzinskas` handful of tracks is an ennobling outing where different kind of shifts between the styles and tempos pitch a game. And the cover print is truly heart-breaking. The release is a part of the discography of Portuguese imprint Enoughrecords, and also a part of the discography of Japanese imprint Bump Foot.

10/29/2017

Alex Mason & The Minor Emotion – Soul Breaker (2017)



  • Modern classical 
  • Contemporary classical 
  • Neoclassical 
  • Post-classical 
  • Epic 
  • Art music 
  • Chamber music

Comment: this 9-notch issue comes out from Russia, it is a collaborative issue between Alex Mason, and The Minor Emotion. Its formula is simple – lone, minor piano tapped chords being accompanied by soaring synthesised orchestrated progressions which at times are being bent into murky, neoclassical sadness. Emotionally it is hard to measure the impact of the whole upon the listener. Undoubtedly it is epic but on the other side it might be a bit anemic to feed one's the most profound, transcendental ideas. If you need more vivid colours to be inserted into your every day's life then you have to listen to it while watching outside from the window or just walking in the middle of autumnal beauty and decay. Indeed, maybe concrete sounds and sonic effects could add a more organic touch to the whole. The result is a bit flat out in its sheared and predictable dynamics and two dimensional shift. The outing is a part of the discography of Enoughrecords.

10/22/2017

ps – Volatile (2017)



  • Experimental electronica 
  • Glitchtronica 
  • Avant-garde 
  • Experimentalism 
  • Ambient noise 
  • Drone 
  • Ambient drone 
  • Electronic music 
  • Spoken word 
  • Sampledelic 
  • Post-industrial 
  • Leftfield 
  • Psychoacoustic

Comment: this issue of 11 tracks is psychotic, strongly filled out with desperate vocal samples and violent filled dialogues from different motion pictures being backed up by sinister yet blissful soundscapes being in turn filled in with glitchy "errors", and frequently interrupted static providing you a starkly disturbed sonic picture while paradoxically maintaining its picturesque image. By casting the light upon the titles it is mostly about blood and cuts and stillness. As if getting an audible, almost physically tangible bridge from within an unnerving psycho-neurological ward. If to compare it to the artist's release which was recently reviewed at RMH, Finding My Own Way Back Home, the recent one is not about the hiss imbued walls and supportive prodigious power dictating the whole, it used to lurk after you searching for your cerebral traces to overtake it and then modifying it into psyched-up ones. And then the past is going to come ahead of your present to govern the future of yours. Overwhelming by any means. Similarly to Finding My Own Way Back Home it is a part of the discography of enoughrecords.

10/20/2017

NNY – offear.ep (2004)



  • Electronic music 
  • Experimental electronica 
  • Alternative 
  • Drone 
  • Minimal techno 
  • Glitchtronica 
  • Micronoise

Comment: this set of 5 compositions created by Portuguese artist Jerome Faria aka NNY is certainly the kind of electronic music but it is problematic to pigeonhole it in a certain way. Maybe it is just about a physical vibe, to get your change in mood through moving of the sounds from one channel to another. And vice versa. A traffic of gentle and noisy sounds to pass by each other. I couldn't find out any narrative of it. When you have stopped listening to it you could remember just a little bit about the whole. Maybe there were up some shrieks, some noises and glitches, some spans of silence, some kind of talking. You cannot remember nothing but the issue is intriguing and you have to listen to it again to figure it eventually out. It is uneasy to think it off. So your presence is essential for that outing. Without your experience it does not exist in fact. It is a mental terrain which is going to blossom at the presence of the listener. The release is a part of the discography of enoughrecords.

10/18/2017

ps – Finding My Own Way Back Home (2017)



  • Avant-garde 
  • Experimentalism 
  • Minimalism 
  • Leftfield 
  • Noise 
  • Ambient noise 
  • Microtonal 
  • Drone 
  • Ambient drone 
  • Abstract 
  • Illbient 
  • Dark ambient 
  • Epic

Comment: this batch of 10 compositions can be considered as one monolithic track because it consists of very minimally changed phases as if My Bloody Valentine were standing somewhere under a tremendous waterfall. Yet it is the album having nothing to do with shoegaze. Because My Bloody Valentine under an imposing waterfall can not be a shoegaze case at all. Glenn Branca to be set up under a waterfall? More profoundly, you are directed to a hiss loaded droning universe of energy where you can make decisions on sonic intensity, energetic consumption and burning and mere, almost invisible dodges only. However, it is enough to make difference. Furthermore, even if you thought of it as something excessively primitive at a first glance you soon got realized of it as quite sinister and totally overwhelming. At some point you are not reflecting upon it, it reflects upon you. That's the case. Behind visible sonic carpets one can perceive even more invisible ones which used to resonate with one another and thereof produce new templates again and again. There are connected the physical and mental power of music as a phenomenon. Real, existing sounds are created in the way to induce chimeras and phantasms. Vectors, inner impulses and inertia are seamlessly intertwined into ghastly landscapes. Call it hisswave on its own way. And although it seems to be ominous it is beautiful and wondrous either. This stunning release is a part of the discography of the enoughrecords, the legendary Portuguese imprint.

8/14/2017

Marrach – Swing With A Black Dog (2017)



  • Jazz 
  • Electronic music 
  • Improvised music 
  • Cool jazz 
  • Film noir 
  • Alternative 
  • Mood music

Comment: Martinas Rakshtinas, the pride of the Lithuanian underground music is being known under a swarm of pseudonyms which in turn does mean he has been a prolific artist for the last 2-3 years. Lately I had reviewed one of the issues by him under the nom de plume Mirth Naarc and the outing was named FX (2016, Free Music Archive). The 3-notch issue entitled ominously Swing With A Black Dog and thereby tipping off about the parlous allusions with the Lucifer is a turn of 360 degrees in comparison to FX. The last mentioned release was techno, electro and experimental hip-hop blended one though which ultimately turned into quite oppressive by its mood and outfit. The album in consideration is musically slowed-down, smoky and noir tinged behind that sonic curtain the Devil is playing with human beings and their souls as marionettes. Bold minor chords on a piano are backed up with volatile trumpet played tooting and kit drum shuffles and superficial electronic effects atop and behind it. The predominant silence induced layers add seductive touch to get craftily immersed in the rest set of layers. Another impression is as lofty as well due to Miles Davis is playing woeful cool jazz numbers in front of the Fallen Angel himself. The outing is a part of the discography of a stalwart Portuguese imprint, Enough Records (or simply enoughrecords). In a nutshell, the whole impression is emotionally striking and at the same time showing us something coming out from the pit. Put a spell on you.

11/28/2016

Jared C. Balogh – A Change Equals A Rest (2016)


  • Post-classical 
  • Downbeat 
  • Modern classical 
  • Mood music 
  • Avant-garde 
  • Experimentalism 
  • Art music
  • Post-jazz

Comment: Jared C. Balogh continues to flesh out his concept of post-classical music which was also clearly discernible on his previous issue Awkward Balance (under the pseudonym Life Like Thunderstorms). As you can see there is up some logic (about strongly searching for balance) between the two titles. Emotionally it is a restrained one as if moving in a multiple stream of configured elements which do have a subdued power and having possibility to appear differently. At times one configuration used to predominate over other ones, and vice versa. Because of that it can be called the artsy sort of mood music. It is mind-provoking and soothing at the same time due to being partly driven by velvety downbeat rhythms and immersive electric piano chords. It might it is a sort of (post-)jazz music. At Let's Spoon To This Mello Storm one can hear some similarities with Tortoise, for instance. It is even more calm if to compare it to Awkward Balance. However, it is somehow lurking otherwise. The issue is a part of the discography of Enough Records (but it is also available at Jamendo, and Free Music Archive)

8/03/2016

Marrach / Bad Poet / Chtin Mara – Opus Oratorium (2016)





  • Hip-hop 
  • Rap 
  • Free jazz 
  • Improvised noise 
  • Downbeat
  • Crossover
  • Industrial-hop 
  • Leftfield 
  • Avant-hop 
  • Experimental hip-hop 
  • Spoken word

Comment: this is an arousing yet not ordinary issue of a handful of pieces clocking in at a 24 minute. As you have already figured out behind the project are three musicians/mc`s whose music used to base on striking poetry like The Last Poets but whose profound thoughts are backdropped by free jazz, improvised noise, slowed-down beats thereby chiming like a slowed-down and more acoustic form of Death Grips. At times the message is warped through sonic effect blocks to change it even into more obscure (for instance, at Habitus Poeticus). In general, by listening to the issue one can discern endless undulation from start to end, from top to bottom. They themselves call it “tripstep” it might be because they are represented threesome over there. On the other side, it might be because the three stylistic whales on which the issue used to stand upright are hip-hop, jazz, and electronic music, and the styles are seamlessly crossed with one another. The issue is a part of the roster of the Portuguese imprint enoughrecords. In a word, let’s enjoy an ideal form of hip-hop music.

6/05/2016

Seazo - Deterministic Chaos (2016)




  • Drum and bass 
  • Chillstep 
  • Experimental electronica
  • Modern classical
  • Ambient techno
  • Dubstep 
  • Leftfield
  • Breakbeat 
  • Experimental electro
  • Ambient noise
  • Illbient


Comment: the Norwegian Seazo's album Deterministic Chaos consisting of 12 tracks is based on an intriguing idea to mix up electronic rhythms and wide ambient plateaus with noises, electronic effects, and hisses. I guess such a perspective might frighten an average listener because the word "noise" is mostly associated with harsh sounds, inarticulate compositions and disoriented feelings. Since My Bloody Valentine's Loveless and later Tim Hecker showed up that noise elements in music could highly be sensual/sexual and even majestic, respectively. In fact, the same facts are repeated by Seazo either though doing it in his own way. Indeed, as I alleged earlier the artist's interface of the aforementioned stylistic elements makes difference. One could enjoy enchantingly spacey electronic progressions at Bipolaris; the same could be said about Red Cumulonimbus – it is hardly believable that ambient music and adjacent elements of it can sound so freshly and full of life. Day Drumming is as fabulous as the previously mentioned piece though drawing on the atmospheric breakbeat/drum and bass sequence. In truth, it is an instance of dream and bass rather than drum and bass. Crying Forest Spirits deserves its name because all those noises and rhythmic elements seem to be animated to puncture one's soul and heart. The rest of the album provides no fillers preserving its exquisite quality and playful expression. For instance, Drunk Clown could freely be a characterization of Krusty The Clown in respect to those twisted, highly playful electro vibes. All in all, this outing must be heard. This is bigger than life. Your life. One of the best albums in 2016.