A B C D E F G H I J K L M N O P Q R S T U V W X Y Z    *   1 2 3 4 5 6 7 8 9 0

* 0 *

back to top

- 047 - 'Elva' - cd - by Maxymox 2012 -

047 The Swedes are born embryonically and 047 by chance in 2001 by a trio of chip-music composed by Sebastian Rutgersson, Peter Engström and Niklas, aka Soda respectively, 0 - Salkin, 4 - Pricky, 7. The debut came true with the album "Wheel du fira HJUL MEJ med?" extracts from which were least three tracks leading from the important radio show broadcast on a regular Syntax Error. The style adopted by the band at the time, especially in live-performances, was a crucial score, developed with electronic synths and Game Boy; continuing to play live during the years 047 finally signed up to a record deal with Scandinavian label Killing Music, and thus comes to the important realization of albums titled "Robopop (Vi Tar Cdn Dit There Kommer)" licensed in 2006. Following the exit from the project of Niklas and a long series of concerts, the protagonists reduced and the current line-up that cites only Sebastian and Peter completing the ep of 2009 "General Error", which is followed by this recent album "Elva", a nearly ten tracks mostly instrumental, characterized by a very upbeat electronic sound system, full of sound from video games, from which three singles were selected, interpreted by many guests, inherent to a style decidedly eurhythmic electropop, feasible alternative in radio and dancefloors. Open the circle of the titles "Spekerod", introduced initially by warm pads blended following the Formal agreements such as programming of downtempo melancholy of synths, so elements that create an atmospheric blend of electronic and emotion. "Do not Stop" drives instead rhythmic much more dynamic and snappy, keyboard publications poponendo structures similar to the joyous flight of swallows cloudless spring sky, while the subsequent "Let You Go", extrapolated from the album's first single, includes the vocals of Swedish songwriter Tomas Halberstad, guest in this lovely song in the procession electropopper and catchy, neatly dictated by the drum machines and programmed sounds which mixing originates adjacent to the electro-acoustic dance 80's. Effects of Game Boy, fast drumming and sequencers, all set of parameters to be cheerful technologica build minimal-ballad "General Error", which is followed by the beautiful voice of pop singer and songwriter Lisa Pedersen, who sings "Everything's Fine" song chosen by the 047 as the second single, which is also obedient to a score melodiously synthpop-dance oriented. "Trekker" opens with vocal loops and the base percussive mid-tempo paced developments surrounded by keyboards and programming brilliant inlays, as well as the evanescent choral which heralds the beginning of "Keep It To Yourself", third single, gives way to excellent vocal support given to Gustaf Spetz, Swedish musician vocation indie / pop / alternative rock band and a member of zouk Scandinavian Eskju Divine, which in this specific juncture alongside a hit from electropop, planned with meticulous attention to harmony and irresistibly danceable, whose combination provides percussiveness synthetic mid-tempo, breezes and synths capturing a refrain, all in a track you instantly ditingue passion for electronics and aesthetic refinement. "Pirogs Of The Caribbean" proceeds spreading dry beats of drum-programming through a careless punctuation Game Boy effects and electronic processing by the melodic tones flow with ease on mathematical rhythmic lines. A playful Japanese techno-pop is heard in "Kanpai!", Nice and vibrant device similar the soundtrack of a video game adapted to dances carefree in advance on the final stretch of the album, "Goodbye, But Why" last episode of pop instrumental submitted to the electronic movement, in turn constructed with galliards sounds of synths galvanized by a percussiveness alacrity and ipulsi minimal- sequenced. Hard bordering on mainstream without give him full, "Elva" communicates a musical lightness and crystalline, easy to are treated as free-form electronic impulses enhanced by good timing and melodies of "easy". Moreover, the presence of three singles accurately designed greatly increases the preciousness of the album, giving not only the characteristics of O47 good manipulators dell'artificial-sound, but to close observers of the most exciting trends to track. Release every electro-audiophile inclined to have less demanding solutions listen and hopefully at least once in his own dense archive: synthetic pleasures without end!

" 3 "

torna su

- 3 Cold Men - 'A Cold Decade' - cd - by Maxymox 2012 -

3coldmen That of the Franco-Brazilian 3 Cold Men is a return in style, designed after the four years between the previous album "Photogramm" by This new release enhanced by high-sounding names and circumstances. The line-up of electro-trio initially lists the name of Alex Twin (keys), and versatile composer d.j. trend indus / darkwave also integrated in staff of Wintry, shared project with vocalist Anne Goldacker coming from the Obscyre. Alex is also present in the ethereal design / electropop / ambient named Individual Industry as well as in pecadores, act-project nature of industrial / dark-electro. The second member of the 3 Cold Men is Maurizio Bonito (progs), which constitutes the aforementioned Alex Individual Industry, while the third element, Franck Lopez (vox), was among the founders of the historic French Opera Multi Steel platform, devoted since 1983 to minimal sound-wave. The repertoire of the band record cites first a distant Cycloon participation with the compilation "Waterskills", published in 2004 for the label Sequenced Sonic Interferences, an event later in the identical year and for the same label from the first album, the double "The Three Cold Men," official debut that, despite some slight inaccuracy instrumental, aroused at the time a decent level of interest by means of capturing traces in electro-synthpop style, such as the eponymous "The Three Cold Men," "Your Face", or the beautiful "Do not Pretend." In 2005, the band planned for the label Lado Z The remixed album, "Urban RMXS" integral excerpts dall'antecedente release and assigned to the revision of important artists, among which Theatre People, Celluloid, Nouvelle Culture and Foretaste. The full-length "Photogramm" of 2008, preceded by the digital single "Piktogramm", was dismissed from home Brazilian Wave Records and constituted a further step towards a technologically sound more distinct, perceptible effect especially attractive chapters such as "My Greatest Greta" and "The Rain On Seattle", both contained in a very intriguing tracklist shines in which also the excellent remix of "Crossing Waters" reworked by XPQ-21. It 's the turn of the recent "A Cold Decade", published in two versions appointed by Wave Records: A set of ten tracks and a limited edition double with thirteen remixes concocted a series of projects including Mechanical Moth point out, People Theatre, Novastorm and Florence Foster Fan Club Here we describe the sound characteristics of the format "regular", beginning to highlight the dall'artwork concept inspired from the era of neo-nineteenth century, while from a musical standpoint, "A Cold Decade" is perfect as an album rather different from its predecessors: it almost completely renounces the former danzerecce easy formulas mainly for the benefit of sound introverted, obsessive and somewhat enhanced by a cultured refinement, detail materialized by unpredictable vocal polyphony mixed with minimalism and programming keyboards ricreanti environments post-John Foxx, further enhanced by the masterful work of mixing performed by Martin Bowes of Attrition. The credits also refer to the names of bassists Franz Torres-Quevedo and Katrina K, the latter also used as a function of vocalists. The album starts with so The opener "I'm Afraid", a synthpop obscured by the low tone of voice Franck soaring backing vocals and unreal on the diaphanous retrospective keys-programming, in advance of electronic solutions and expedite more equally alienating featuring "The Hallali", focused on the spectral chorality Franck Lopez in combination to that of the supporter-vocalist L. Robin from the Opera Multi Steel, modulations that circle around an arid core electro-percussive and sparse pads. "She, Butcher," pop visionary technology, articulates its structure by integrating atonal litany uttered by Franck to a skeletal set of keyboard-driven electro-drumming and twenty, while the subsequent "Smile Heavy" prepares percussive fireworks mid-tempo song with a hypnotically ethereal. "Le Vent D'Avril" is announced, and continued to be essential modules and programming keys in tune with those belonging to the retro-synth-wave by John Foxx, direct source of inspiration here lauded by 3 Cold Men through a song from the atmosphere heavenly, melodic succeeded by the stiffness of "Effie, Lady, Berry!", described by circular sections of track programming, synth and singing, periodically extended to a classical refrains. Vocalizations are lapped by the elusive melody enchanting calmness tastieristica and skinny rotations the drum-programming: everything in "Shabbat Mater", passed by the following linear beams of percussive "The Four Horsemen", a similar episode Running in the night, punctuated by rhythmic scores of bass in a rigorous context of breathless voice, whispers and key. "Ennemis Sphériques" corresponds a minimal electro-wave song-style 80's vocal-instrumental dall'ingranaggio monochrome and tonal scales of stratified progressively increasing high, until it reaches the closing track, "J'ai The Sentiment", traveled by the romantic redundancy of the song of Franck widespread among elegant piano touch, lysergic key agreements, mechanized drumming and bass lines buttons. The impression arose after listening to this album is work by the tight sound, severe and non-conventional, oblivious to the ordinary canons but closer to the recovery of a sonic technology from the old school basic statement, played with finesse and aesthetic refinement, "A Cold Decade", although not easily interiorizzabile an album, impressive in its Grace placed next to a black poem recited by a minstrel visionary. Release addictive, or, as seems Franck Lopez, "très intéressant".

" A "

torna su

- Access To Arasaka – "Geosynchron" - cd - by Maxymox 2012 -

accesstoarasaka Another miracle from the label Chicagoan Tympanik Audio release of this album was created by American Rob Lioy, aka Access To Arasaka, operating in multiple sectors world class electronics / ambient / IDM / glitch / downtempo. The character now under consideration is rightly considered one of the best interpreters of that thin line between abstraction technology, elements condensed into a sophisticated blend of acoustic and tricks soundscapes that have taken on a first publication in 2007 by underground consist of sixteen digital tracks entitled "Metax" fired from the label Danish Illphabetik. The productivity of Rob lists at least eight ep's, all made in the form of mp3, but the emergence of the artist came in officially 2009 using the full-length "Oppidan" through which Access To Arasaka was built among the artists signed to the authoritative Tympanik Audio, brand still maintains its productions. The next bizarre and "Void ();" album of 2010, showed all the formidable ability to calculate sound inherent in the protagonist, anticipating this recent "Geosynchron" which reserves the right to cross new frontiers electronic universe. The sound consists of Access To Arasaka is amazingly deep gaseous and at the same moment, in perpetual balance between emotion and algebraic reasoning: it is a avant-garde style firmly anchored to the concept already belonging to the two previous ep's, "Aleph" and "Orbitus", both published in 2011 by more Tympanik Sound. Idealistic and dedicated to the conquest of the values ​​of justice, the album outside the bitterness resulted from innumerable difficulties in achieving this goal, providing a sound specifically engineered to enhance the desire for revenge. "Geosynchron" of thirteen episodes quesi totally instrumental of which the brief "Rhea" is the opening track from the solemn dark-ambient musicality that leads to the next "Ixion", atmospherically built through gaseous electronic interference and micro-dissection percussive wrapped extension of the pads. "Talitha" gravitates around sidereal expansions keyboard publications traversed by impulses from the minimal path unpredictable, the whole path of abysmal waves keys, and in succession by a dense network of IDM rhythm, while "Oberon" scans hundreds of microscopic fragments electro-percussive structuring an unstable percussiveness down-tempo / glitch soundscapes enveloped by expansions and distant reverberations. The majestic slowness "Naos" is comparable sink into the cobalt blue waters, within which echo magical suspension, split drumming and current keys. "Cursa" laps re-oriented by banks ambient keyboard-thickening dark background of strings and a dilated anticipanti the next sonic twist represented by "BS-2X", antisolar track, surrounded by inextricable IDM beats the speed variable between replicate torturously endless loops the key. Jamie Blacker, also a musician from orbit Tympanik and better known by its rhythmic design / industrial / noise referred to as ESA, lends his voice in the charming "Lysithea" quietly interrupted by e-metronomic beats, pads concentrically expanded and a shamanic chant slowly absorbed by the immensity of the sound. "Alcyone" is a brief efflorescence of technology, electronics / ambient / IDM poured into a rhythm song from wounds that run between smasmodicamente mists of keys, sounds pass by the entrance of "Kaguya", written instrumentally through a sophisticated calligraphic IDM / downtempo by the hypnotic power, whose foundations are based generally on the rise in gas pads interspersed by a minimal convulsive percussiveness. "Sao" snappy fractures transmits electro-rhythmic, moving up to record a diagram percussive alien on air emissions of the keyboard, while the following "Rana" channels in its structure a long period of micro-torsion-breaks percussive interludes and evocative sound astral. Complete track-list "Polaris," Monolith root dark-ambient / dark-electronics, a piece of forged through cuts in the narcotics keyboard timbre increasingly corrosive and darkly alonata by noises coming from electronic circuits being operational. Album qualitatively sublime, full of sound sophistication and infrastructure that flood the space around vetrizzandolo gradually. The rhythm-machine assumes the dominant driving force able to slice and chop the lethargy of the pads, animating them using spasmodic breakdowns and percussive fervor of micro-programming. Access To Arasaka fully attains the ambitious goal that "Geosynchron" was conceived, that seduce the listener through irretendolo intellectualism of a wonderfully complex and original music. The immensity was soon turned into sound.

 

back to top

- Adrian H And The Wounds - "Dog Solitude" - cd - by Maxymox 2012 -

adrian U.S. Portland, the project Adrian H And The Wounds integrates into your own style upset refractions gothic-dark-rock typical of the Bauhaus and claustrophobic alienation of Joy Division, as well as depressed and troubled soul elements-the psychedelic Nick Cave and Tom Waits that the band distributed large quantities in the music, until they are hymns dedicated to solitude, the gloom of sleepless nights nightmares dominated by ethyl, to damned love, broken, or discomfort, described in its most interior and painful. The modus operandi adopted by the protagonists is a hybrid difficult to categorize, a twilight shot, toxic combination of acoustic instrumentation and synthesis by the slow pace, dialoguing with a hoarse voice and icily determined by Adrian H (piano / Vox), which is added to the lineup of The Wounds, or Broken Heart (drums), Shiggy (bass), Kelby Patterson (Keys) and The Raptor (sax), with contributions backing vox-Darcy McMullen. The ensemble discography mentions this second release "Dog Solitude" preceded published in 2009 by the debut album for the Lest We Forget and bearing the same name as "Adrian H And The Wounds". The distribution of the two works has been characterized by a dual channel has entrusted the task of disseminating Projekt Records in North America, while in Europe, particularly in the latter Full-length, the grant is currently curated by the excellent Danse Macabre, a label is always receptive to everything that appears alternately and sonoricamente obscure. Twelve titles to explore, including two bonus remixed to sound exciting concatenzazione highly expressive, often moving but permanently marked on shades infused with bitterness and nostalgia, whose first act is offered nightly from blues "Memory", orchestrated by sections suffered Battery, poignant touch of piano, saxophone, which draws the mind full of light and shade, and spleen, especially the voice of Adrian H, charge of infinite demoralization. In "That Hurts" aseptic lines run parallel to drum machines, bass and rotations of a complex sound-tending the menacing, accentuated dall'algida harsh voice of the singer that ripples the surface. The sax, star of "Hoist That Rag", winds elegantly homonymous song by Tom Waits from the album "Real Gone" from 2004, now proposed as dark blues-jazzy, audible in the smoky shadows of a local semi-desert on the outskirts, ideal location for this sad-song composed by percussiveness also slowed, piano, keyboard, of course, the cavernous vocals of Adrian H, which press on obsessive atmosphere tinged with black. "Dog Solitude" strengthens the preference for acoustic Electric form a gothic-rock album that gives the name, infecting the air with cryptic phrases, roaring bass lines, programming, guitars and rhythm based on mid-tempo riff from the cadences and powerful dry. The original light-heartedness that characterized the classic song "Chim Chim Cher-ee", written in 1964 by Allan Sherman for the soundtrack of the movie "Mary Poppins", the staff undergoes a deconstruction of the cover band, or a psycho-waltz that masks a deep gloom over the apparent lightness of the procedures, enjoying hours of the addition of saxophone, percussion beats style jazz and finally the usual rough voice of Adrian H from marching to the rhythm track in this psychotic transposition. The next "Nasty", beautiful, has a base of rocking drums, keys and piano, on which runs a wicked voice and refrain electric guitar, while "What She Wants" calm stretches of micro-programmed beats and embroidery piano, awaiting the imminent development dictated by trails keyboard publications, from sensual backing vocals of Darcy-woven hoarse unmistakably those of the protagonist, in an ethereal embrace sound dipped in the shadows. "Bad Man" raises decadent cabaret scenes in a provincial psychodrama includes bombastic sonic details jazzy sax, organ, piano, keys and drums from the martial step, repetitive, all smoothed by scraping voice, sibilata by Adrian H. Even more attractive, the aura emanating from the next "The Night My Mother Screamed" expands the space of a planned music by drumming, piano, keys, guitar and vocals cryptic due to a rock-gothic poisoned by merciless conflicts between mind and spirit. Follows the slow psychedelic belonging to "Border Patrol", reprise the homonymous track nestled in the album "Private Hell" in 2004, forged by the Austrian Wolfkind Bain, at the time interpreting his side-project matrix indus / electro called Novo Homo to which Adrian H And The Wounds have dedicated this tribute reinterpreted based electronic softly, with reverberations effettati, chanting piano, saxophone, heartfelt, and echoes the records of vocalist Being dark filtering. Finishing listening to the disc comes with two bonus tracks mentioned, the first is represented by the mix of "Straight Leg", "a danceable electro-rock and the blood drawn on programming, guitar and drums, arranged by Entium, which is the side project Geoff Tripoli, a prolific remixer and member of the band electro-idm-called industrial Monody. Last track, the neurasthenic "Cookies And Cocaine (Crackolate Chip Mix) "transmits sincopatiche fractures drum and bass and breakbeats hallucinated, noise in the background and hypnotic repetitions issued by Darcy, which step the same time the sharp dialogue of Adrian H. Album challenging but rewarding. Disillusionment, regret, feeling violated, the thoughts that scorronono dall'attimo where the sun sets until reaching, after endless hours of dawn, event surprising that the sleepless brooding gaze, lost in a fixed emptiness. Only those described some of the feelings in this extrapolated intended to release all those who do not find yourself more and claiming a means, a tool that can translate into music the voice of isolation it devours them, night after night: "Dog Solitude" and will arrive in order for them a companion for life.

 

torna su

- Agent Side Grinder - "Hardware" - cd - by Maxymox 2012-

agentsidegrinderjpg Analyze past and present of this electro-Swedish ensemble is equivalent to review 2008 to present the huge number of styles and undertaken grafted together by the intelligence from this training pentagon whose names and responsibilities are: Kristoffer Grip (vox), Johan Lange (synths / drum programming), Henrik Sunbring ((synths / drum programming), Peter Fristedt (sampler / tape loops / modular suitcase / synths), Thobias Eidevald (bass). EBM, post-punk, electronic minimalism, electropop, sides are lapped by the protagonists in a large record company productivity: build self-produced and anonymously titled "Untitled" in 2008 he signed the debut fired by Dutch label Enfant Terrible, followed by "The Transatlantic Tape Project" of 2009, published on cassette label conterranea Hasten & Korset, ultra album full of brain-alchemical Sixties psychedelia, ambient and experimental old school-era 80's. Also for the Enfant Terrible and Klangarkivet was released the same year "Irish Recording Tape," featuring works by less cumbersome and solutions-oriented solutions to post-punk Joy Division, attached to the iron discipline of industrial-sound. The tape-release, "Live In Switzerland" of 2011, proposed to turn the Klangarkivet seven tracks recorded at Les Docks in Lausanne four of which belong Suicide the American duo of Alan Vega and Martin Rev. The latest and third album "Hardware" now reviewed by Vox empyrean, is re-distributed by the label Scandinavian Klangarkivet and is interposed between the previous title and the minimal synthpop-tape "Live Targets", followed dall'autoprodotto very limited edition "Two Nights With ASG" nature of indus-wave-etched rock and the Paris Club. In parallel, in 2011, went on the French label Manic Depression Records, a double compilation, "Industrial Beauty", which gathered in the two-volume selection of the best recorded in the studio by the band, with the addition of live and unreleased material. The eight tracks of sound heard in the full-length "Hardware" analogy combines the rhythmic and pitch accents voice of Depeche Mode with the calculated coldness of Kraftwerk, Merged, in lower doses, the harsh penalty belonging to the industrial-oriented Einsturzende Neubaten: This unusual mixture is already perceptible in the first track of the album, "Look Within", in which a nervous tick marks with mechanical regularity hypnotism issued by the programming and the song off of Kristoffer. Even more alienating, "Sleeping Fury" algidamente flows propagating vocal inflections depechemodiane post-harmonies and minimal synth track on a robotic drum-programming, while the subsequent "Rip Me" offers sound mid-tempo electropop softened by a circular staircase to the automatic accompanying notes which issued from synthetic vocalist. "Wolf Hour" introduces the participation of guest vocal Henric De La Cour, leader of the Swedish projects in gothic-style pop / indie-rock and Yvonne Strip Music, a track from obvious curvature electronic-voice-inspired 80's, repeated especially in the slow and fractured rhythmic cadence of this song emphasized by touches of bass, keyboards, melodies and vocals strikingly similar to formulas capturing most of early Depeche Mode. Then comes a "Mag 7" wide on a monolithic drum-programming by the effect-inducing hypno-strewn space noises, bloodless synth harmonies and the vocals of Kristoffer who utters the texts algidamente rational tone. It 's now the turn of "Pyre", the second track that guest-Swedish project called SKRIET, prone to psychedelic genera- rock / modern-electric blues, plan forms of atmospheric electro-dark maneuvers of drum-programming, bass and vocals in the procession morbidly slowed, sometimes spooky. The following "Bring It Back" and his hard-electronics industrial pattern adorned with live percussion, guitar and bass and a corrosive hardness voice stronger. Complete the rotation kraftwerkiana "Stranger Stranger", a song very interesting result of the merger between cold replications of sparse bass-lines, and minimalist vocals percussiveness dynamically link up contacts with the 80's electropop. "Hardware" is the sublimation rearguard adapted to modern electronic records from the essential configuration, often narcotic, the Agent Side Grinder then draw up a track-list of important stature that underlines once again the wealth of talent that the underground is filled. Do not hesitate to declare that owning this disc will be source of pride for the collector.

 

back to top

Alter Der Ruine - "Son Of A Bitch" - cd - by Maxymox 2012

alter From Tucson, Arizona, Alter Der Ruine decline since 2005 a powerful paradigm resulted from mixing between power noise, industrial, hard-techno and electro. As often happens in the most dynamic ensemble, Alter Der Ruine have suffered some adjustments over the years, through further recruitment and subsequent departure from the scene by three elements, Stuart Slimp, Xian Austin and Robert Sidwell, the events marked by an intricate jungle re-design tactics which confirms distilled currently only three major players such as official representatives of the line-up: the mastermind Michael Jenney, Jacob Rouse and Michael Treveloni. The archive record issued by the project initially appointed "The Ruine Process", self-produced album in 2006 style electro / rhythmic-noise, whose track-list appeared the episode "Betrayal" written and sung by the voice of Squalor coming from HexRx. The 2007 in turn was marked by three major events: the first on the signature with the Sistinas, label based in Los Angeles, specifically in electronics and artifice of the release of the excellent album "State of Ruin", a work characterized by greater attention to the industrial sounds and including the remix of the homonymous "State Of Ruin" track masterfully reworked by Assemblage 23, the second event was the next release of "State of Ruin Limited Edition Remix ", a collection of rebuild-tracks assigned to projects such as Haujobb, Noisuf-X, Caustic and One Level Down. The third event proved the simultaneous publication of the ep's "Something Old" and "Something New". The style now heavily focused on technology-oriented industrial was progressively added in the music of the band to such an extent as to obtain a bookkeeping at the Crunch Pod label Californian traditionally dedicated to the production of harsh electronics which dismissed the album "Giants From Far Away" in 2008, mastered by Jan Lehmkämper, aka X-Fusion, at the Arizonan Black Sheeep Audio studios. The repertoire of Alter Der Ruine also mentions a large number of appearances on compilations such as "Songs in the Key of Death: A Compilation Deathkey", or "This Is Why We Can not Have Nice Things", as well as the famous genealogy "Das Bunker" but also a large number of remixes that the platform has produced for artists such as The Gothsicles, C / A / T, Electronic Brain, Autoclav 1.1, Inure and Nachtmahr; mention the inevitable tendency of the band to the side-projects, drive materialized by three members in particular through the design Dust Is Noise synthpop and electro-clash act called Attack Decay Release. Vox empyrean analyzes here latest album published by the band, "Son Of A Bitch ", a work which more than any other Alter Der Ruine planned by documenting the perfect interplay between electro and industrial while not giving up the introduction of experimental noise, especially in the rhythmic, often show a markedly twisted and syncopated.'s Ten traces assume conntotati different in relation to the inspiration suggested at the time of their creation, with danceable sound patterns and characterized main take in an atmosphere tense, guttural vocals from incattiviti or delineated by cold emission spoken voice mode in combination with psychotic modulations and synthetic-noises. Corresponds precisely to this description, the first act of the album, "Who The Fuck Is This", first introduced based on a extemporaneous monologue in white hit from there to the hardness of short percussive drum-sequencing and cavernous voice of the singer. "Really?" predisposes a hyper-kinetic rhythmic character of industrial carpet on which germinate sharp overlapping programming, sudden interruptions with fast shots and loops, while the subsequent "Boozetooth" prefers less rigid spreading a lithe electro-drumming with full bass and harmonies crossed by unknown number of effects with short segments of aseptic voice tones. "It Speaks" is a funk-Elecro the elastic percussive, danceable, skeleton that supports the calculated hatching of programming and singing by the vocalist pronunciation accents hours contracts, now smoothly melancholy. "Lady Jamz [Part 1]" assumes the role of brief interlude between licks, slow-tempo drums, saxophone, dilated flows synth and vocal distortion, all as an advance for its continuation constituted by the wild "Lady Jamz [Part 2]", a track saturated industrial energy, overwhelming electronic tricks and bpm's that touch the hypersonic speed. The winding apparatus designed for rhythmic "You Owe Me Blood" is first matches in a hybrid electro-jungle that in the development phase is transformed into hard-industrial by dry and darting scans percussive, fractures sequencing, lightning-fast take-offs, braided lines, black-outs and still further flagellants drum-beats and splashes of vocal loops. "Ghosts" has harmonies free from intricacy offering a relatively lively melodic electropop, built on danceable drum-programming and a firm hand, strongly affirmed, details anticipanti the following "The Bread Snake Of Lamb's Lion", a chapter which raises feverish rhythmic industrial densely intersected by outages, reboots mid-tempo, convulsions electro-programmed chases and exhausting between noises, loops and tribal choral post-apocalyptic. "Snake Oil", a piece of tail, offers a sleek electro-funk contaminated with industrial influences, module built on vocals and musicality effettati articulated by a sobbing concatenation of programming and acidity tastieristica. Album shaped sonic complex faultlessly designed to hearings mature and unconventional. The partnership between the impetuousness of industrial and unpredictability of the formulations devised by electronic trio Jenney / Rouse / Tereveloni make "" Son Of A Bitch "an original release that played musically and in a very realistic nevrastenie of our times through the vehemence of a sound transfigured upset. The access door which leads to hysteria.

 

back to top

- Arcana - "As Bright As A Thousand Suns" - cd - by Maxymox 2012

scharz Band charismatic, of great artistic value and highly representative in the scene modern-classical/medieval/ambient, the Swedes Arcana touches the finish line of the seventh album-release distribution entrusting the excellent Canadian label Cyclic Law. Led by the dark Peter Pettersson, aka Peter Bjärgö (vox-melodies-lyrics-choir-instruments-recordings-mixing), musician recently treated by Vox Empirea with his solo album " The Architecture Of Melancholy " as well as creator of the side-project martial-industrial called Sophia, the band of Arcana has been active since 1996 forming a sort of experiment in continuous progress, detail confirmed during its evolutionary path from the entry and exit of various musicians as keyboardist Stefan Eriksson, each of which has contributed time building the unique style that characterizes today this design. A vision poetically dark and melancholy medieval age stylistically parallel to that played by workers such as Dead Can Dance, Black Tape For A Blue Girl, and to some extent also Cocteau Twins, permeates currently writing composition of the group, in the same way that distinguished itself in the past the first three creations of the early-Arcana, in which songs hovered over the enchanting voice of Ida Bengtsson, replaced in 2001 by Ann-Mari Thim, singer and songwriter perpetually active on the staff which, together with Cecilia Bjärgö (vox-choir-lyrics) settled in 2003, Mattias Borgh (percussion- choir), introduced in 2006, with the live performers Núria Luis (violin) and Sergio Martinez Gamez (additional intruments), the latter coming from the artist experiences at Narsilion, Der Blaue Reiter and Endless Asylum, form today available to the line -up. Universally recognized as one of the best platforms gravitating in the genre, the Arcana show on records their debut album "Dark Age Of Reason", published in 1996 by the famous Cold Meat Industry, Scandinavian industrial-ambient label also responsible for the subsequent thematic publications: the album "Cantar De Procella" and the maxi-single "Lizabeth" in 1997, the latter printed in a limited edition, as well as to "... The Last Embrace" and the rare "Isabel", both released in 2000, and Finally, "Inner Pale Sun" with "Body Of Sin", respectively mini-album and single of 2002. It was founded by Peter Bjärgö of his own label Erebus smells, specific sectors industrial-noise/dark-ambient/neofolk, generated in 2004, the album "Le Serpent Rouge", a work marked by a significant enhancement of acoustic instruments, followed four years later by the full-length "Raspail" released in Europe by the German label Records from the U.S. and overseas KALINKALAND Projekt, work positioned again to the music of Arcana visionary formulas medieval-oriented. The second production of the brand Erebus smells you concrettizzò in 2011 with the limited-edition album "A Passage Silencieux", defined as "sister-release" because it re-proposed in five acts, the new electronic version of the tracklist included in the previous "Le Serpent Rouge ". The ep "Emerald" of 2012, which is also available in limited edition, this heralds the album "As Bright As A Thousand Suns", a fascinating creature whose sound encompasses a multitude of variations and stylistic impression different from past episodes , expressed particular support from the contemporary dell'hurdy gurdy, strings, assorted percussion, piano, and a more widespread vocal section assigned to Cecilia Bjärgö and the soprano Ann-Mari Thim. The new album, released in two thousand units, offers himself as a digipack six panels in which are embedded dark but evocative images taken by Cecilia, the contents of the tracklist begin dall'onirica introduction harpsichord-piano arranged by "Somnolence" short track as atmospheric, followed by the fascinating textures neoclassical-medieval raised from "As The End Draws Near", an episode whose solemnity expressed by sections keyboard publications and ropes unifies the low vocal tones of Peter and the feminine background choral supported by Ann-Mari. An impressive scale guitar accompanied by hypnotic percussion Levantine are the supports on which it stands "Inceptus" instrumental song enhanced by partitions male and female voice, sounds anticipating the next "Medea," a sad gothic-neoclassical celebration built with rare skill by the haunting vocals by soprano Ann-Mari light of immense inlays pick and noble trails traced on the keyboard. The slow drum beat by Mattias Borgh now meets the gloom s pread by Núria Luis violin, combination keyboard-accompanied by long chords, dissonances, and murmured phrases by vocalist above which hover emissions sad choral everything in "Leave Me Be". Medieval-style solutions as the shamanic ones from Dead Can Dance can be heard in the dark breakdowns of "Infinity", among whose prospects meander rarefactions voice of Peter, while the delicate arpeggios that border the next "In Memoriam" exalt the infinite longing uttered by vocalist , both committed to evoke mediaeval atmosphere combined to slow pace of the drumming and the austere mantle drawn from the keyboard. Peter's voice travels symmetrically to the base-percussive harpsichord built for "The Shadow Fading" track full of mystery and recalls the era, chivalry, seats in advance namesake "As Bright As A Thousand Suns", a song whose magnificent structure is equal to the title entrusted to it, a composition of beauty engraved marble harmonies spoken imperiously by Peter surmounting the snare drum stand d eveloped by Mattias, the pinch of the dulcimer and the splendor radiating from the keyboard. "Vinter" concludes the sequence of the songs displaying a piano theme accents heavy, decadent, with staccato and overflowing with despondency. State of the art at the highest level, s imilar to poems faded harmonies, passionately expressed: "As Bright As A Thousand Suns" flaunts grandeur and inspiration establishing itself as an album whose modulations make vivid dreams as reality. Surrealism neoclassical echoes romantically medieval prose jointly to the charm of dark lyrics and vocals, creating a work of exceptional grace, a sound object that knows how to break through the crowd of fans between them winning a position of absolute importance. A thousand suns may shine for a thousand years now and always for Arcana.

 

back to top

Argheid - "Gottloses Unterfangen" - cd - by Maxymox 2012

argheid An umpteenth wonder of icy neoclassical / martial / industrial / bombast beauty issued by the prodigal label SkullLine, this "Gottloses Unterfangen", the debut album of the German one-man project Argheid played by Mathias Suska since 2008, the protagonist of the previous design martial / industrial called Bunkertor, the one under whose name he published in the same year the self-produced demo-release titled "Der Letzte Tropfen Blut" and, in the same period, eight digital tracks embedded in the work "Todeskampf". The biographical informations about the artist are fragmentary and not allow special insights, but they enhance the look in their conciseness militarily orchestral inherent in her music which conceivably treat more introspective questions and considerations man poses to their ephemeral existence, regarding them the meaning of life itself and the unsolved mystery of Death. These important arguments and their fascinating impose meaning musically a style of reference suitable to accommodate them and able to emphasize the symbolism. Argheid through the inflexibility of martial symphonies, is able to express and convey with the sense of strength, grandeur and rigor soldierly elements conveyed in this album printed in 2011 in three versions, all in a very limited edition: the format "regular", that analyzed today by Vox empyrean, has four hundred copies, while the double-CD set containing the second album "Argheid Remixed" of eight tracks numbered seventy copies, and the third, published as "Woodden box" thirty. The tracklist included in the official format of "Gottloses Unterfangen" contains eleven songs created by Argheid between 2009 and 2011, all meticulously maintained their shape well proudly orchestral and full of pathos, sounds that highlight the crucial role of keyboards emphatic and solemn march from percussion patterns, elements that are rampant in a musical epic, vibrant power and glory in a grand symphony riot of notes constantly supported by the martial beat of the drum. The grandeur just described is experienced in opening stage through the homonymous "Gottloses Unterfangen" track from the short playing time and made rigid touch of key, waiting fervor governed the evolution that will take place later through a magnificent set of pads, Rolled dall'incedere soldierly and brooding vocal loops. Even more on the construction Symphony "Bataillon" stands head and eyes dominated by pride of formulations keys, drumming percussive proclamations military bases and cold, all evoking a realistic grand boulevards of white marble on which governed beats sync up with squads in full uniform. The penalty is mixed giving rise to melancholy "Hexenbrand", a song created by the genius of Argheid adhering a sad Neoclassicism created from piano to martial expressed by the haughty and rolled orchestrations keyboard publications, all segmented by a hand whose inflexibility is well suited to the pomp widespread atmospheres. It 's the time of "Spear Of Destiny" by vocalizing loopata film in combination to preziosismi raised by keys, which tightened choral dialogue intertwined with percussion from feree dramatic work, solutions pass from "Momento Mori" and its triumphant set of drums and symphonies keyboard publications, designed by raging winds of war which shaped harmonically the algid neoclassic beauty of the concept. Elucubrate quotes from German philosopher and writer the twentieth century Friedrich Hielscher are now pronounced menacingly from Argheid in "Wir Rufen Deine Wölfe "episode in which pattern is replicated militarily dry rhythmic procedures and a regal gloom explicated in the intonations of the keys. The album version of "Innocent Eyes" continues the tracklist dissolving the sense of tension to the benefit of a pentagram neoclassical more romantic but always surmounted by the calls martial grafted into percussive and stately scores keyboard publications, a poem that this Argheid dedicated to his sister Leni. "Wie Das Leben spielt" looks like yet another jewel of sonic-military uplifting opalescent eufonie of keys accents pervaded alternately nostalgic and indomitable determination, drive punctuated by deep vibration of membrane percussion in a track characterized by an extraordinary intensity. Inflections instrumental wind belonging to the next "Feuerreigen" reveal ancestry neo-folkish tightly coupled with drumming a warrior and the beautiful inlays processed by the keyboards, all concentrated in a martial-song, reaching the peak of beauty. "Ritus" dark and disturbing symphony of percussion combative and heavy textures, keys, fills the space with dramatic resonances which approaches ideally enchanted convulsive time before the long-awaited conflict by the two armies antagonists, a sort of hymn of preparation for war, before the final song "Abschied" gently carried by the celestial harmonies of the keyboard, the same that are extended to describe Luminescent arches under which tuoneggiano the low modulations of the drum. Extolling the effigy of SkullLine, Argheid plays acoustic and surrealism with his own visions martial externalizing the intention to share with the listener sensitive intervening exactly where he holds the ability to imagine himself through the imaginative scenarios evoked by the sound source, environments that the album "Gottloses Unterfangen" oriented towards symphonic-militaristic liturgies, dissolving the essence in a diagram impeccable composition. Splits percussive mark tracks that instill a sense of order, the majesty propagated by keyboards with frescoes icy pavement grace orchestra to great effect: this is a work sublime, unmissable, to possess.

 

torna su

- Artemius - "Short Winter" - ep - by Maxymox 2012 -

artemius Character artistically shy and firmly tied to nostalgia 80's synthpop / electro-wave, represents the Artemius talented fringe players underground webzines like Vox empyrean like to present to their readers. Geographically located in Ferrara, the only publicly-project external only a fragmentary biography by which they sense are the hallmarks of his concrete personality, honest and idealistic at the same time, as well as largely receptive to the emotional sphere. The combination of these elements inspired by the creativity of Artemius which it pours into the quintessential instrumental tracks composed mainly through the interplay between synths and programming, with results which, although still limited to a subdimension self-produced, they get to the balance between the electronic memories of an era considered memorable and twilight shades also belonging to the same wave, it was glorious. I described these characteristics in my review dating back to 2010 relative to the previous ten tracks "Old Clocks", in possession of extended release virtuality to optimize and convey in the direction of an expected official product worthy of the musician. After two years we find again Artemius starred in three episodes of the new features almost mirror image of previous work, albeit with tangible progress in the choice of harmonies, the latter built through extensive use of keyboards programmed rhythms and mixing which creates a clear sound electronically as well, but to a lesser extent, moody, darkened by threatening notes more that reveal the dark quell'insopprimibile inclination inherent in the soul of the artist. "Slow Sunday" is the first chapter in the short-listenable track-list, a very atmospheric song, the electro-wave characteristics typically oriented arranged on a percussive mid-tempo and aircraft touches of keys. "Hungry" predisposes instead a dynamic synthpop sequenced by shining pulses of programming which modulate replication acts as a backbone for capturing spatiality keyboard publications, while the closing "In The Mirror" spreads a circulation of notes alienating, ghostly synth-generated and supported by livid scans of drum machines, for a track cataloged as a grim combination of dark-electro and darkwave minimal. Personally I think the compositional style of Artemius now decoupled from the stage "embryo" and ready to be adapted to a more evouto, spaced by aura unfinished work that surrounds the music for this author. Still to be defined, as I have made known, its actual and future intentions I hope you will soon push beyond sporadic exploits no practical purpose. Now that the credits received from Artemius predispose to optimism, I urge the artist to recruit a vocalist who can donate to the physical facilities, enhance the range of sounds acora making them stronger, and finally obtain a Providence, earned a contract with a label. Will and a good dose of luck are the primary elements that will lead eventually This applies to pioneer what has long wait.

 

back to top

- Artesia - "Wanderings" - cd - by Maxymox 2012 -

Artesia To advance in the universe of sound Artesia French equivalent to experience immersion in a musical fairy tale made up by ethereal lyrical forms corresponding in turn to a whirlwind of styles that reach the same extent the forfeiture of the gothic, the seraficità dell'heavenly-voxes, as well as formulations neoclassical character dark and deeply nostalgic. Time ago I reviewed two albums of the project, respectively, "Chants d'Automne" dating back to 2007 and the subsequent "Llydaw" in 2009, perceiving in them a strong attitude in giving life to sound evocative and captivating, extraordinarily rich in melody and sophistication, a gift through which the two protagonists Agathe M. (Vox / synth) and Gaëlle D. (violin) - the latter just now returned in line-up after a temporary replacement carried out by Coralie - have created a valuable mini-discography that also mentions the official debut of 2005 of full-length titled "Hilvern", created with the participation of guest Loïc C. on percussion and guitar, a character also present in previous five-track demo of "L'Aube Morne" sold-out of 2004 hours. Concludes the list the first embryo of eight demo tracks "The Eveil De l'Âme" conceived in 2003 only by Agathe, implementation has not been distributed at the time by imperfect resolution audio. The new, fourth album of Artesia is now under review "Wanderings", released by the excellent label Prikosnovenie like its predecessors, and forms part of the collection called "" Grimoire des Fées ", which continuation of the artistic journey undertaken by the duo to explore forms of sound even more atmospheric and technically cured, those hours made by the expert executive Jean-Charles Wintrebert, member sections drums / cello goth-rock band known in the Alps and Demian Clav currently recruited from Artesia in this album as coordinator of the orchestration and mixing, a task that the musician turns into real operations that contain enormous grace and suavity. The packaging of the work, elegantly designed version digibook, he reveals the extent of visual content, presenting the Inside a booklet with texts and images that match up very impressive in terms of intensity to the sound that comes from the nine tracks listen. "A L'Ombre Des Grandes Forêts" start spreading the sequence feminine vocal liturgies solemnized in the final by a substantial input from keyboards epic movie, meeting and then the celestial namesake "Wanderings", lying on the dualism of choral vocals in combination with melancholy streams violin, hot pads, piano and slow fractions of drumming. "Aerial" reflects the transience of the Autumn leaves carried by the wind, exposing the airs of genuine yearning song sad piano caressed by emission of voice, violin, synth chords and noble. The soft arpeggios harmonize "The Summit Of The Tree" embrace the gentle tones of voice Agathe creating a heavenly melange of sounds and bells that flautati ideally evoke otherworldly scenarios, such as "Lying On The Grey Foam" elevates a moving hymn further enhanced by slow but solemn emphatic percussion and violin embroidery. The staff from its soundtrack to "The Gaels" would fit perfectly, exalting, to a context film that legendary immortals of ancient landscapes, sweeping valleys shrouded in mist and crossed by heroic knights, all developed in a surreal violin theme from deep drumbeats. Low notes of the piano, the four strings of the violin by Gaëlle archeggiato that release agreements filled with grief and Agathe's voice intoning spleen singing: these are the elements that make up "Dreary In My Thoughts", a song that previous The next "Quiet They Are Now" episode emanating an aura of sublime drop between a relaxing climax of piano, violin, choir bells and delicacy. A "Tristesse" I recognize the merit to bring together the entire elixir "Wanderings", contraddistinguendone the propensity for nostalgia so subtly dark, the fine neoclassical style and grace singing, condensed in tearful detail procedures synth, violin, piano and vocals gothicheggianti, which conclusion to an album that celebrates and illusory sounds princely compositions similar to using timeless tales. The voice dell'alseide Agathe ensnares with its extreme poise and sensuality, describing mystical iconography and legends telling of imperishable, woodland creatures and spells, contexts moving appropriately succinct, neat architectural symphony, a safe harbor for visionary souls. Yet glory and honor to Artesia our ladies dispensing of wonders.

 

back to top

- Autoclav 1.1 - "Embark On Departure" - cd - by Maxymox 2012 -

autoclav The exceptional skill in maneuvering elegantly sound technology combined with an inexhaustible creative genius and a brand new look-hair, are the elements that distinguish the artistic identity of Tony Young, a prominent scene in the electronics / IDM recently interviewed by Vox empyrean. The interested reader to the biography on the solo-project Autoclav 1.1 can then connect to the appropriate section to draw from it and other news curiosity that fully complement the profile of this important industry player operating in since 2004. What makes his creations is able to liquefy separately classicism, industrial and precious fragments subtleties of Intelligent Dance Music, ricomponendoli in a single, evocative computerized scoring that relates simultaneously with the emotional and cerebral, foundations poured by the artist in music mainly instrumental, with occasional participation in various albums of guest-vocalists: It-clings, Rachel Haywire (Experiment Haywire), Emilie Verbieze (Riotmilloo) Martin Bowes (Attrition), Kate Turgoose and Claus Larsen (Leæther Strip). Considerable over the years also the external contributions merged to Tony both in the edification of the individual tracks, both in the award of remixes that close three of its best full-lenghts; as regards the various study- collaborations, both electronic and acoustic in nature, can be reported in publications of the credits by Gareth Bawden, Pneumatic Detach, DJ Squeakypete, Jamie Blacker (ESA), Dave Pybus, Lorenzo Macinanti (PRXS), Andy Davids (Xotox), Don Hill (Millipede), Mike Morton (Displacer) and Jacob Rouse. The remarkable series of remixes in the related albums instead notify the signatures of Keef Baker, Displacer, ESA, Scrap.edx, Epidemic, Triax, Pneumatic Detach, Slacknote, Iszoloscope, Eva / 3, Noise / Girl, Unter Null, Stendeck and Detritus. The initial recordings of performances were conceived in 2005 by Tony the ep "No Protocol" published by the label Diskus Fonografika Mexicana, which he immediately followed "Indelible," also in ep version and licensed by California Nein Records, which at the time the two experiments designed a sound system can be placed in a multiple dimension of ambient / electronics / IDM and very dark and surreal rock changed into different forms and effective in the first album, "You Are My All And More", published by the American Crunch Pod and marked predominantly melancholic synth harmonies inserted between dynamic post-industrial, and glitch sounds disembodied extolling The concept of the work dedicated to the suffering that prevailed in those days the spirit of Tony. Introspection is the component for the next "Visitor Attractions", 2006 entrusted the album of the same label with the aim of representing key sonic the negativity of human character, portrayed through complex rhythmic structures intersected by fading electronic-IDM, and underscores the pads full of atmosphere. The collection of remixes "Broken Beats For Broken Hearts", released in 2008 by Hive Records, offered fourteen tracks reworked by retired names like C-Drone-Defect, Electronic Brain, Iszoloscope, DJ Hidden, Wast3, Lith, Slacknote, Mothboy, Keef Baker, ESA, Eva / 3, Alter Der Ruine Oil and 10, giving the same time the publication of "Love No Longer Lives Here" release that he signed the first agreement between Autoclav 1.1. and the famous label of Chicago Tympanik Audio Ideally probing the human spirit but also desirable aspects detecting dark glimpses of light, vibration that materialized through artist cultured and electronics, compared to previous designs, more advanced, rendering further strengthening of sections of piano and guitar. The sound setting from "Where Once Were Exit Wounds" album released in 2009 by more Tympanik Audio, proposed a multi-jointed log inextricable rotations e-drumming, powerful contrasts of synths and a harmonic feast originated from the need to communicate through it all the intensity of feeling the most poignant, literally transported into a musical electronic chart button. "All Standing Room In The Goodnight Saloon "recovered again in 2010 the technology-oriented dark transfused in the past eleven tracks melodically compelling, the percussiveness strictly convulsive, interspersed with flashes of guitar and piano very fine embroidery. And 'then the turn of the recent "" embark On Departure "dated 2012, Vox empyrean album notable for the high quality of its content devised by the compact score IDM / industrial / electronics that hours will analyze in detail each of the twelve tracks on the list. The synergy between Autoclav 1.1, Jacob Rouse (Alter Der Ruine / Dust Is Noise) Sections piano and Michael Morton (Displacer) machinery that generates the opening track "Lights Out", processing mid-tempo style and saturated involvement, with its atmospheric synth and piano procedures related to hypnotic percussive lines. Then comes the next "This Could Be You ", a song recorded by an electro-mechanical plant and danceable rhythm that scans the time surrounding himself with long pads and punctuation sequenced, while the consecutive "Nine" slow down the bpm dilating sound through a space capturing keyboard and piano. "Recent Conversation "congegna a swirling, fast percussiveness industrial / IDM parallel to the long synth chords, elements that magnify this track that I consider among the best ever by the entire repertoire Autoclav 1.1. Avanguardisticamente romantic, "Tick.Tock" gently spreads piano, the rarefied whispers of vocalist Kate Turgoose and bright synth scales that chase each other running with millimetric precision between the gears of the drum-programming, allowing up to aggression later electro-industrial mid-tempo of "Scars" track which bear the distorted voice of Claus Larsen, aka Leæther Strip, which hooked into the sound sfregiandolo and combining the bitterness of his tone not only the powerful electric guitar, but also to a glittering embellishment of piano and loops. The feminine vocals heard in the introduction of "Inhale / Exhale" are charged with mysticism draw as a result of the dry-linearity of the rhythm sequencing every coming and going of the nostalgic piano ornaments. And 'the time of "No Running Away From This" track at low speed drum, so irresistibly drawn by the languor of synth- patterns, piano and drumming in the second half of the song slows further in speed, distorting the beats and ending in a fascinating interplay between piano and electronic percussiveness, which articulates the same coldly "foolishly Sentimental", directing it towards trajectories electro-industrial pads and crossed by gentle touches of piano. "Three Hours" shows a diagram sounding mid-tempo rhythm and changeable, with exchanges of riffs in support of intriguing arrangements and the inevitable piano keyboard. Extraordinarily beautiful, "Today Is The Day" offers a listening lush piano sonatas interspersed with tracks and drumming-pressing and danceable, all swept from the columns of air that tastieristica reinforce the melodies of the song. The last chapter of the album is "Stop The Clock", segmented track electronically-minded beats rock on which flutter Extended partitions of synth and piano, in fulfillment of this fascinating full-length with the same grace of a bas relief submerged. Tony Young reconfirms a great artist, influencing again significantly in the more advanced among the branches of electronic music: "embark On Departure "is oxygen and 1.1 Autoclav breath.

 

back to top

Autunna Et Sa Rose - "Phalène D'Onyx" - cd - by Maxymox 2012

autunna Of special meaning is the latter, the fateful release of the collective-neoclassical theater emilano Autunna Et Sa Rose, whose identity details are available in the "interviews" Vox Empirea. Before focusing on the track listing of the album "Phalène D'Onyx", it is worth remembering the multistilistico track record built by this remarkable project founded in 1994, experiments melodramatic sound that took shape in physical form in 1996 through the full-length fired from Ederdisia, "Sous La Robe Bleue", harrowing tale of passion and pain dall'epilogo deadly. A different but equally intense nature inspired the later work, "Neither ... The Être Eternel" album biphasic published for the Metaluxor and completed in 2000, the essence of which searched in terms symphonic romantic meaning of Death, destrutturandone the archetype dating back to ancestral interpretations and proposing it in an expression then unpublished, in perpetual balance between the dreamy, spiritual and regulated by Nature herself, allowing the listener through orchestral-style narrative, to live out the full power of communication as well as to perceive the ineffable awareness of the "Truth." Boldness and polychrome sonic, characterize "Sturm", dated 2002 and engraved cultured realization for the label Materiali Musicali, by which the Autunna Et Sa Rose officially structured with the criterion of "Teatromusica" within songs inspired by artistic and scientific elements : annotabile in the credits of this release the valuable cooperation extended by musician Steven Brown, the legendary front man of Tuxedomoon. "Odos Eis Ouranon (Strange Lights / Logos)" was the title chosen for the double digipack published in 2005, with eleven unreleased live performances of the ensemble parallel those of Ataraxia, who introduced a performance essential pillar of the future and current line-up represented by Sonia Visentin, whose magnificent soprano extensions are distinguished from that time on, many of the most important creations of Autunna Et Sa Rose. Exactly a year later came the album "L'Art et la Mort", a record that I had the opportunity at that time to review positively and bearing the effigy of the Ark Records, a collection of tracks from artists of the wave / gothic / industrial entirely revisited in a cubist. The recent "Phalène D'Onyx", the work carried out for the second time to mark Ark Records, outlines its consistency of fifteen different prose from which it expands its musical corpus, the latter devoid of any explicit harmony and designed sull'intricatezza and an alienating minimalism. Intimate and wrapped in a blanket of decadence and romance, the album portrays ideally the gradual rise of a soul whose original nature, confined within the limits of a painful undersize rejection of its essence, is finally the coveted raison d ' be through the intercession of love. Impressive also deployment of actors involved in the development of the album: Stefano Bertotti (clarinet), Antonio Bianchi (percussion), Gianluca Lo Presti (electric bass), Silvia Mandolini (violin), Stefano Bertotti (violin), Catherine Caminati (purple) Simone Montanari (cello) and Xavier Tesolato (grand-piano - electronics - entries - poems / composition) form the orchestral section, while the aforementioned Sonia Visentin (soprano) together with Matilda Secchi (mezzo-soprano) and Sergio Scarlatella (narrator) are the allocation voice. Highly sought after in its arrangement, the tracklist is divided into seven pieces connected to eight interludes such as "intangible barriers ..." assumes the function of an overture narrated by Sergio Scarlatella tones and emphasis overflowing with dramatic pathos, words embedded in a background atmospheric electronics and filtering of low so suggestive as to involve the entire imagination of the listener. "Seele im Spielkartenschloss" visionary poem assigned to the dialogue between cello and piano, incarnana symbolically the loss felt unreal wander inside a castle of cards, as well as the interlude 'swinging Luna Mia ... "staged an interchange of phrases Sonia Visentin between opera and Matilde Secchi without instrumental accompaniment, which are exclusive performers leaving only the beautiful overlays soprano and mezzo-soprano. "You Suffered A Throbbing ..." continues the path showing off brooding, autumnal counterpoint piano and cello ready to chase each other in quick escapes, sounds anticipanti the next "Toujours Toi Dans Mes Reves ..." sadly short interpausa recited by Sergio Scarlatella whose voice, passionate and shadowy, strokes and rarefactions electronic one-touch floor. Restless partitions violin and cello duel madly in "Wrap Already Rami ..." combining a sparse flow of mail, allowing the input to the next "Iridescent ..." interlude from high mezzo-soprano Matilda by Secchi noble accents singing scattered in a score from the piano heavy notes. The instrumental "rustling Dreamed Of Freedom ..." is a song composed by deadlifts percussive blasts of synthetic clarinet and alchemy, all recreating a climax dominated by anxiety and a sense of the dark, while the following passage entitled "Beautiful and delicate ..." he stands between the peaks feminine and aristocratic tone of the soprano Sonia Visentin superimposed on aerial formulations mezzo-soprano Matilda Secchi. It 'time to "Whisper Melodious ...", the track where the vibrato archeggiare cello describes nostalgic dishes embellished with sporadic whispers, solutions pass from "Flaming Folate ..." interval starred with pensive sadness among the breezes blown by the mezzo-soprano singing. Once again, the vocals acute disseminated by Sonia Visentin incorporeal hover over an emaciated symphony composed on this occasion four violins, passed in expression followed by "Nightingale ... Soave Candido", polyphony assigned to the report soprano-mezzo-soprano sung by Sonia Visentin and Matilde Secchi, whose gaseous evolution range with the same lightness of the wind. "In the teeming atmosphere ..." stand evanescence piano and cello over which gravitate the contortions penetrating voice of the soprano anticipanti the final segment of the work, "From Persistent Waterfall ..." outro poetically described by the stately voice of the narrator associated with leaden waterfall of notes generated by the keys of the piano, both physical and recorded. Album that makes the non-immediacy of its peculiar base, offering it a sonority aimed at an audience musically advanced and able to extrapolate fully internalized the subtle energy content. The asceticism inherent in every single step of the release transpires just below un'orchestralità emaciated, letting the responsiveness of the listener to distil the origin and the innumerable forms. Music, drama and iconography are therefore the cornerstones of New Varieties Autunna Et Sa Rose: then sharpened the senses and stop the train of thought so that they captino every act, every flutter of "Phalène D'Onyx". All your soul is finally open to this sound being incorporated fully to its magic. You will be part of it.

 

back to top

Avoid-A-Void - "Musique Noire" - cd - by Maxymox 2012

avoid German power-duo formed by the perfect combination of the audio producer Rico Hüllermeier and the vocalist Falo. The Avoid-A-Void are integrated part of that specific orientation widely described in the annals of the electronic music: "alternative-synthpop" is the term most stylistically appropriate to describe the sound conceived by the project, as demonstrated in 2009 through the twelve-tracks of "Abyss Desires", debut album positively perceived by the media and an increasingly demanding audience of modern electro listeners. Supported from their starting times by the phenomenal synergy between Echozone and Bob Media Distribution, the project publics pridely this latest full-length "Musique Noire" directing the tactics in especially to the fans of the technological-pop adjacent to De/Vision, Mesh and Camouflage, by optimizing the subjugating power of the Falo's vocals along with instrumental solutions of impeccable perfection, denoting in this way a further, sharp rise in quality than the already appreciable debut release, as a result of three years spent planning sounds characterized by a greater refinement and a register full of harmonies electronically capturing and without filling tracks: each one of the ten songs, in fact, can be considered as a potential hit, detail that makes the tracklist as a sequence with a strong incisiveness. Proceeding with the analysis of the disc, the first encounter is with the cathartic essence of "Musique Noire", the same titled episode created by techno-pop patterns extended by icy synth beams, robotic drumming downtempo and filtering vocoder. The very essence of the work reveals fully itself instead through the beautiful "Within Myself", definitely specular with the melodic synthpop-oriented strategies devised by De/Vision, now staged by pulsing, danceable bases midtempo connected to the fluidity of the crystalline sequencing and, especially, to a chant form whose refrain ensnares instantly emphasizing even more the song with the typical accents of the Berlin duo composed by Steffen Keth and Thomas Adam. The procedures of the subsequent "Nothing" confirm the high state of the synthpop art reached by Avoid-A-Void, concise and expressed with great harmonic choice by means of a flexuous drum-programming, sober sequenced embellishments, tracing of keys and the terse vocals spoken by Falo, as well as the following "Untouchable" it galvanizes employing rhythmic accelerations in parallel to which are aligned acid emissions of synths and the clean singing of the vocalist, all this for a synthpop able to exert to the hearing an irresistible charm. Equally intriguing, "No View" is a techno-pop of the pecussions linearly dynamics and danceable, on which they rise with harmonic vocals resolutely the open vocals and the futuristic suggestions of the keyboard, while the next and even more compelling "Yearn For Your Proximity" symbolizes that kind of electropop whose listening, which occurred even after several years from the first one, it's capable of arousing the same, penetrating enthusiasm as ever, and this thanks due to synchrony between the lithe rhythmic propulsion of drum-programming midtempo and the flow of the singing melodies stratified by Falo with particular aesthetic choice, a factor that is expressed in all its power in the great refrain, drawing together the key a series of agreements inevitably polarizing. It's now the round of the fast "S Got Kryptonite ", based on the resolute, danceable scans of the drum-programming and vocal-keyboard counterpoints that hook the listening with disarming immediacy. "Flowers" slows down the percussive implant settling into an electropop scheme similar to one De/Vision-minded, always full of fascinating sounds, this time full of a wistfully romantic mood enhanced by a pneumatic midtempo cadences, by the smooth and emotional surface of the vocals in addition to atmospheric resonances of the keys as well as the subsequent "Who Cares", enchants with its synthpop musicality impeccably accompanied by every possible refinement designed for attraction, features that stimulates in the listener the urge to click again the "play" button of the player at the end of the song: this specific action has determined primarily by the desire to repeat the refrain that Falo sings with a deep voice and assembling the passionate singing to the substantial keyboards section. In closing, "Love Was Dead" creates a sonic climax full of considerable melodic richness, offering itself as a midtempo confined in a dancing, great techno-popish dimension reproduced accurately by the drum machines, by the seductive chant and by the icy magic sprung from the key coverage. Ten infallible, precious songs. The elegant technicalities that presided over the composition of the album "Musique Noire" translate themselves into a tracklist overflowing of synth-appeal, voice refinement danceability and everything more musically inviting your fantasy can imagine. The Avoid-A-Void summarized in this second significant chapter of their discography the best electro-melodic archetype of this last decade, overhanging by many lengths the average and ensuring an explicitly positive rendition. The very danceable rhythmics, the sound system and the Falo's chant shake the listening setting up the whole work with functional geometries presented to the audience in the form of pop-electronic wonders finished by evolved class and a perpetual search for the absolute beauty: when, at the end of the album, the silence will appropriate again of your room, the notes of this release will continue to resonant in your memory. For a long time yet.

* B *

back to top

- Brigade Rosse - "Nachts Am Fenster" - cd - by Maxymox 2012

brigaderosse Occult Berlin duo originally tending to a multiple set of minimal-dark-electropunk-synthpop-EBM, surrounded by an impenetrable aura of anonymity already perceived by masking that hides the face of the protagonists Tandy TRS80 (synths) and Karl Werner L. Koch (vox), whose overt ideological orientation leaves no room for compromise or interpretations. The lyrics and the sound produced by the Red Brigade forward very effectively alienating the feelings caused by social problems like poverty, drugs, sopprusi, inequities, contradictions of the modern bourgeoisie and economic decay, expressed musically through the arguments made sense of anger and depression appropriated in the new working class subculture. Focus on records from 2009, the plan mentions an initial 7 "limited edition vinyl entitled" Weltgeist "fired from Hertzschnitt, seguto in the same year the album" Entzauberung Der Welt ", a work which marked the first agreement with the brand Germanic Plastic Frog Records : in the tracklist of the disc stood out also the excellent performance of electro-project founded by Philipp Münch, the The Rorschach Garden, remixatori the song "Interzone BRD", plus a list of eight more episodes wave-style synthpop-minimal. the label Magnetic Tape Disorder was given the release of "Live At Danzclub Dazzle" album recorded in Berlin in February of 2011 at the eponymous local release followed in the same period "Tatort Neon", a second format vinyl 7 " mastered by Sven Wolff of The Dust Of Basement, Essexx Patenbrigade and distributed by Plastic Frog Records, composed of two tracks of which one, "Psychotop", it appeared in a version magnificently reworked by the inspiration of The Psychic Force. This "Nachts Am Fenster" is the most recently published work of the Red Brigade in 2012, a full-length structure of thirteen songs that still bear Sven Wolff's participation in the recording and mastering as well as the names of the guest-remixers and Serpents , for the second time, The Psychic Force. The release of the album is re-assigned to the Plastic Frog Records, the official label of the Red Brigade, who developed a list of thirteen songs that take direct origin from "Wir Sind Die Toten" and its essential form electro-downtempo rhythm punctuated by programming, embellished with ornaments synthetic keyboard and a thin sequence of loopati vocals. "Im Rausch" is a trace-minimal synth-wave propelled by dry electro-percussive beats accelerated pace from cloaked pads and elementary rotations of programming, all dominated by the voice of Karl set to be killed and dark tones, noise prior to the next " Kein Feuer ", episode synth-wave compound by rapid divisions of drum-programming by dry consistency and long keyboard-driven arrangements that encompass the gloom speech uttered by the singer. "Mit Dir Allein" favors a rhythmic pattern and thickly dotted shipped by sequencing as a source of energy supporting the human and robotic vocals that alternate between spatial electronic pulses, as well as the following remixed version of "Roentgenaugen" marks the time sped through an artificial drumming-and-dashes of synth programming on which it spins futurism represented by emissions of singing interspersed with extraterrestrial ice uttered by no less than Karl, sounds reprocessed by the German EBM-industrial band called Serpents, the creator of this remake stylistically identifiable as a mixture between new wave, minimal electronics. The brief interlude "Keine Teleschirme" is only exposed a narrative voice and thoughtfully crossed by whistling of wind in advance of the next "Puppe Aus Luft," pervaded the essence of post-Kraftwerk manifested by filtering voice and electronic-governed formulas synthpop sfoggianti uptempo percussive minimalism chased by gentle touches of the keyboard. "Weisses Rauschen (Keine Trauer)" offers a tense interplay between the voice of Karl, the obsessive, accelerated circularity of the drum-programming and inorganic wakes of the synth, as enacted by the refractions "Tatort Neon (Album)" again confirm Once the inclination of the Red Brigade turned to technopop minimal mid-tempo and futuristic eufonie keyboard with a human voice to a third robotic emissions. "In Every Face" is lit entirely by artificial sound enhanced by melodic synths that describe placement of notes in scales playful contrast to the bitterness voiced by Karl in a firm voice, while the following "In Schwarzweiss Leben" is offered as an electronic pop the diagram employing a fast succession of straight lines to form a button on the keyboard publications which take body mist, waves of modular sequencing and a hand off, diffuse tones culled from Karl followed by those with no emotions from the voice filtering. The project indus-German EBM remix of The Psychic Force now "Im Rausch" enriching more electronic arrangements and a more danceable rhythmic step, while the concluding "... Sendet Euch Ein Mensch Gruesse toter" extends a reflective monologue in German that recrystallized from there a short in total silence for a long juncture propagated minutaggio until the emergence of a beautiful synth-wave pattern created by a militaristic,-based mid-tempo drumming, opaque keyboard and singing streams framed by Karl which alternates with a second automated, soulless, sinking back into oblivion of silence finally re-emerging for a final, brooding soliloquy. The power-duo album with the Red Brigade "Nachts Am Fenster" demonstrates resourcefulness and talent for deftly maneuvering the electronic sound, tramutandolo at the same time an instrument of counter-information and a mechanism by which music is banished the splendor, for the benefit of acoustic lienari, monolithic and technologically compelling in their simplicity. For the listener evolved in the Third Millennium.

 

back to top

- Brotherhood - "Turn The Gold To Chrome" - cd - by Maxymox 2012 -

brotherhood The Swedish gothic universe is glorified today through the new star called Brotherhood, a duo represented mainly by multi-instrumentalist and musician Stefan Eriksson Micke Lönngren, each of which holds a solid curriculum developed artistically over the years. Stefan, as well as a vivid work of sound engineer and producer, has spent the membership as a keyboardist in the martial-industrial project called Sophia, as well as integration into the alternative-rock band in the Electro-platform and Cardilax Mem However, the most important stefan is attributable to the initiative undertaken by Peter Bjärgö for a decade in Arcana, neoclassical design was originally hired by Cold Meat Industry. The stories about Micke Lönngren mention especially his talents as a singer and "Artists and Repertoire" for the label Diesel Music, famous for being the most publicized among Swedish labels of the last half of the nineties. The two players reached the mutual relationship that appointed in 2007 with the name Brotherhood, strong charge of inspiration comes from Stefan patterns gothic to Joy Division / Sisters Of Mercy / Clan Of Xymox, and above all by the desire to vary the musical form proposal until the time through endless emulations. For this purpose, the project employs a staff of structured nostalgic harmonies of bass, synths and guitars along with penetrating vocals, elements that turn into unforgettable live stage performances also supported by live-Martin Roos guests, outstanding guitarist Kent, in addition to Johan Moren coming from Memento Mori, the band dating back to the Swedish post-punk scene of the 80s decade. The debut album "Turn To The Gold Chrome", published independently by the Brotherhood and mastered by Peter Bjärgö at Asham Room, consists of nine tracks which start from "End Of Time" and his agreement extended guitar introduction that they Following the swing drumming, solid bass-lines, rotations, and the low laces keyboard-vocalist of the modulation of charming song that fills the darkness. "Abigail" is a constellation formed by the dark gothic mid-tempo drumming and guitars of granite, adorned with an incisive tone singing a refrain that alternates very melodic, everything in advance to the next "Heroine", which celebrates the track very interesting Rite of decadence through a close dialogue between bass and drums mid-tempo, structure, around which revolve the dark tones of the vocalist entered into a set of atmospheric guitar and keyboard publications trails. It 's the turn of "Lost", a song inspired by the gothic shadowy tactics of Sisters Of Mercy played on the hour harmonious interplay between acoustic guitar arpeggios and the stories woven together by the second line guitar that accompanies the electricity intensity of the singing propagated by guest singer and vox-Södling Emma. "So Many Stars" is a downtempo formulated by a rhythmic bass line, which, together with the beats of drums, creates the basis upon which the vocals hover sadly faded decorations and guitar, while the initial segment of "Sleepwalking" reveals once the nature romantic and gothic- pop that characterized the development track focuses specifically on the graceful evolutions of the keyboard and voice melodiously, overlaid by the pulse of the bass and guitar inlays emotional. "Over And Over" retrieves the marble interplay between strings and drumming forging a track in which switches the attractive segment of singing, vocal arrangements and key-effettati voltage to the electric guitars and diffused from the bottom, the same as in the next "Shame "compete in speed with the trajectories snappy electro-percussive choreography and beautiful gothic voice and keyboard modules skinned cyclically dall'abrasivo fervor of the strings. A rhythmic drumming from mid-tempo beats introduces the final "Question And Answer", an episode that patrols again horizons through a pop-gothic musical obscured by low and thoughtful phrasing of vocalist in stages to open graceful guitar harmonies together to ' books displayed interpretants the poem penned by American writer Charles Bukowski. Among the many proposals on currently available generis, Vox empyrean has selected the Brotherhood of "" The Turn To Gold Chrome "for their well established verve of classic perspectives belonging to the most famous rearguard strategy that interposes itself admirably to the Swedish duo sounds current and full of attraction such as listening, keeping intact the atmosphere and the nucleus of a typical style that has indelibly marked this subdimension dell'obscure-rock. Now that listening to the album is done, I can say with satisfaction that another page in the largest gothic-style book was written.

* C *

back to top

C.DB.SN - "At The End Of It All" - cd - by Maxymox 2012

cdb The cryptic sequence of letters C.DB.SN is the abbreviation of the coded name of Chase Dobson, electronic musician from Denver adhering to the legendary label Tympanik Audio. The sound played by the artist followed technically in 2006 first formulations post-industrial, minimal-techno and post-rock, followed gradually by instructions contained in the module IDM-glitch/ambient incorporating in their structures a strong emotional appeal, tactical choices expressed by harmonics laptop and field recordings propagating known extremely weather, punctuated by drum-beats and unpredictable granular fractures dubstep. Of considerable skill and worthy of being highlighted in the pages of Vox empyrean, C.DB.SN lists on records the debut of seven tracks "Into the Deep" fired in 2008 by label Elseproduct based in Colorado, followed by equity release on four compilations: "4AMCATATTAQ: Experimental Dance Breaks 36 "published for the Plastic Sound Supply in 2010," "Furtherscape - Wounds Of The Earth vol. II ", published in the same year by the homonymous label Wounds Of The Earth, Head again in 2010 on the publication of the next chapter, "Wounds Of The Earth vol.III." In 2011 C.DB.SN joined the famous collection promoted by Tympanik entitled "" Snowday - Emerging Organisms vol. 4 "confronting artists IDM-electronics such important resonance between all Stendeck, Access To Arasaka, kilowatts, and Displacer Architect, remixing masterfully for the latter his song "Pure" episode included on the compilation "Upload Select Remix.2" also fired in the 2011 by Hymen Records. To all that followed the digital-split ep "Covalent States" shared with the Scaffolding project, published in 2011, always for the label Plastic Sound Supply, work and succeeded in same prolific year this debut-album "At The End Of It All". Besides the regular version, analyzed by here soon, there is a second edition totally rebuilt, "At The End Of It All Remixed, which was attended by the following workers: Tineidae, Architect, Larvae, Sean Byrd, Worms Of The Earth, Displacer, Access To Arasaka, Consolectrl, Anklebiter and Herod. Focusing then attention to the full-length debut there was a tracklist consists of eleven steps, first of which is "This Stillness Of Hours", a downtempo extraordinarily captivating, full of suggestions electronic keys and sampling plan hatched by deadlifts percussion and tricks cosmic. In this passage is followed by Twilight "... At The End Of It All" episode of immeasurable beauty, polyrhythmic structure of micropulses IDM-oriented encircled by flocks of effects and a stereogram for keyboard-guitar whose chords reverberated evoke the sweetest melancholy. ' Artificial Intelligence ", cold device IDM-industrial, prepares a snappy percussive movement downtempo-midtempo composed micronizzazioni hyper-sequenced, and drumming-button, rework loopate voice and punctuation synthetic uncountable. "A Map Of The Human Heart" patrols in turn territories IDM adorning the path of elegance and futuristic sounds, combination expressed through rapid scale atmospheric pads and keyboard publications under which unfolds with a robotic linearity graph consisting of intermittent rhythmic midtempo tone from roughly unstructured. And 'round "A Silent Sea" which, as the title suggests, aimed at spreading acoustic reproduction ideal images of dreamy, a motionless universe water breezes generated by electronic laptop, keyboard-bass chords, sequencing and percussive IDM-downtempo created through dry bpm by the pulse interrupted, everything to completion of a track perfectly capable of transmitting Synthetic ecstasy. "Airport [Never_Land]" mesmerizing sound using high technology applied to form a dense ambient electronics-artificiality and contemplation, elements generated by long extensions and key plan evanescence moves beyond which the operator of a percussive drum-machine marked by tremors and slow beats effettati. Of opposite charge, "Transmit Data" describes ellipses IDM-driven mechanisms uptempo percussion-keyboard-extraterrestrial formulas designed on e-drumming similar to stroboscopic flashes, glacial electronic drives, rarefied agreements by tone and a dark nebula of rumorismo post-industrial, all anticipating the subsequent "Is Certain The Plague Of Fables "intense track, intersected by electro-visions converted audiograms IDM through fractures midtempo and prolonged effects of ionization, the components on which tower emotional pads that make the episode a perpetual balance between human emotion and calculation mechanized. The shaking rhythms in the plant sonic "Seven Days Warning" are scattered in the form of micro-dall'incedere asymmetrical lines and markers from a tangle percussive dynamism darting, in this combination with cold currents of electronic matter and acid computerized textures. "The Falling Stars Cold "is a short track as passionate technology, a kind of poetry recited by cutting-edge equipment that Chase is skilled manipulator, hate artificial expanded by flows keyboard-driven, sequencing and slow splits percussion, acoustic solutions, within which the synthetic draw an indescribable feeling of relaxation and nostalgia. The epilogue of the work is entrusted to grand "As If December Never Happened" track hyper-processed by intricate percussive keystrokes IDM-midtempo simultaneously thrilling handwriting keyboard publications, riveberi piano and progressive crystallization of the ground electronic, in a brilliant piece of harmonic complexity and grace. This inexhaustible C.DB.SN composition allowed the project to comply with what I call a spectacular rise artistic toward the continuous search for new strategies that they know the IDM combine melody, futuristic feeling and technicalities. "... At The End Of It All" surprise pleasantly the advocates of Intelligent-sound making them grasp the subtle nuances that adorning its intoxicating harmonies together futuristic pattern inherent in every angle of the album: to the Tympanik Audio I want to extend my personal appreciation and admiration to have released another jewel-record of such high caliber: the sound of Chase Dobson will awaken in you a state of ecstasy that you never imagined to feel.

 

back to top

Celluloide - "Hexagonal" - cd - by Maxymox 2012

celluloide Celluloide is a French project of marked synthpop tendency composed by the vocalist Darkleti together with the two keyboard players, computers and the electronic-sound backing-vocalists Patryck Holdwem, he reduces the synthpop-oriented side project called Beyond The Nightmare About Claudia, and the cryptic Member U-0176, also known as Thee Hyphen, individual platform dedicated to the genera EBM-electro-synthpop. The supporter-label is BOREDOMproduct from Marseille, record-home to which is entrusted the entire discography of the band whose early experiments Synthie-oriented are identified between 2000 and 2001 through the publication of three demo CD-r including five episodes each. Then followed in 2002 the debut album "Naive Heart" released in dual format limited edition with additional alternative-versions of the tracks. In 2003 the Celluloid they released the album "Words Once Said" in the tracklist which stood the three bonus remixed by legendary Boytronic, and Sista Mannen På Jorden noComment Chapter succeeded by a period of reorganization that it signed a major stylistic variation of ' ensemble no longer exclusively inspired by pop synthetic receptive but also on the EBM basis upon which he built in 2006 the ep "Bodypop" and its continuous remixed "" Bodypop Clubmixes ", followed in 2007 from the album" Passion & Excitements. 2007 was the year in which the Celluloid decided to compose a full-length tribute dedicated to classic 80's new wave riedizionandoli in" Naphtaline ", a cover-compilation full of beautiful new renditions of pieces belonging to names such as Dead Can Dance, The Cure, Siouxsie And The Banshees, The Sisters of Mercy, Lush, Depeche Mode, Camouflage, Boytronic, Dark Distant Spaces, Trisomie 21, Sista Mannen På Jorden and, amazingly, Lio. Remarkable since 2001, the number accessions of Celluloid in compilations, twenty-five, many of which are strong resonance with quote them the most fundamental are appointed "Elektrauma 6", "Synthétique", "Our Voices", "Synthphony Remixed 5", "State Of Synthpop 2005" , "Elektrish", "Zillo" and "Electronic Body Matrix vol.1." In terms of the individual, the project was equally prolific releasing always leads through the BOREDOMproduct eight digital products, leading the activity of Celluloid as remixers, activities which gave the trio since 2001 to highlight their skills through, for example, reinterpretations of tracks on Hungry Lucy, Trisomie 21, Babylonia, The Three Cold Men, Neuropa, Joy Electric, Nitzer Ebb, Minerve and Aiboforcen. L' album "Hexagonal", dated 2010, is chronologically the last official proposal of Celluloide reported today by Vox Empirea, a release of great thickness, clean but not aseptic technology but not detached, full of sounds electronically graceful and burn with excellent quality acoustics in combination formulas voice whose lyrics, sung in French by Darkleti, exude an aura surrounded by elegance and moderation of tone. The album initially had with "Imprévisible", a midtempo synthpop by the rhythmic linear over which are layered planes flows keyboard, thin punctuation effects of feminine and sensual vocals from the tone. "À Contre Temps" is studded with a terse melodic artificiality generated by programming and keys, an association that makes the track a snappy pop-electronic device studied in detail and pleasant listening, in which the voice of the singer is well integrated in the context of making vaguely melancholy accents. "Le Goût Du Poison" spreads modern harmonies synthpop granted by foundations whose harpsichord-programmed textures, beautifully reproduced, sequenziano with robotic precision pulse percussive midtempo pads and light as breath, all embellished by hand nostalgic Darkleti. electronic exercise related to "Les Quatre Coins De L'Hexagone" reveals the innate predispositions of Celluloide to sound hyper-synthetic element that occurs at this juncture material through dialogue between keys and controls midtempo sequenced from programming, components that Darketi surrounds with additional doses of fascination with futuristic cyber-filtering of voice. It's the time of "Sans Conditions", suggestively introduced by microchips synthetic pads and over which develops a sound pop-electronic accelerated and tidy, generated by the symmetries that exist between the regular beat of drum-programming, the delicate hatching sequenced taking turns in scope, the artificial light of the agreements keyboard-and soft vocal evolutions of the singer. I dictates EBM-minded interpreted by Celluloide include the integration of these modules synthpopish: the result is a refined sonic mixture in which stands the accelerated pace and tone resolute Electronic Body Movement combined with more melodic pop-style tactics avant-garde: everything in the plots of "Et Yes ..". circuits keyboards and sequencing process the sound openly synthpop of "Pilote Automatique", an episode in which the clarity of Darketi singing and dry intermittently percussive midtempo add to the bright and synthetic efflorescence covering the uniformity of the track. thoughtlessness The technology that characterizes the melodies of the following "Coeur 8-bit" brings together the futurism perceived instrumental in the evolution uptempo geometrically designed by the triptych drum-programming-sequencer-keys, which align neatly swarms of electronic effects and singing brought the vocalist. artificial particles and haunting vocals create a synthpop from sophisticated graphics but free from any compessità solution that in "Faire Du Bruit" is built through high-tech formulas sequencing, drum -progs and tantalizing politeness inherent in singing Darkleti, passed by the next track "Nucléosynthèse" and its dynamic susceptibility based on the already proven grafts EBM-synthie composed of rhythmically chanted vocals at the time of drum-programming, whose pulses are combined synthetically the piercing of the sequencer so perfecting a song suitable for dancing with emphasis. "Un Conte de Fée" closing track, is a very artificial pop capturing and musicality discreet, emotional, structured programming exact juncture of lines and electro-sequenced , sound body lying on the song sometimes thoughtful and loving then the vocalist. The album "Hexagonal" is a work synthpop made with the care and technical expertise resulting from a decade of experience on stage, in addition to fluorescent melodies and singing a meticulous inlay work electronically. Aluminum colored atmospheres, synthetic karma, electronic artifices of first order and a percussive machine activated with cartesian precision made a sound that will appeal to all who electro fans particularly fond of the formulas untouched by the excesses and to listen with measured composure. The cycle of the futuristic-pop designed by Celluloide has made a significant progress: go ahead!

back to top

Channel East - "Window To Earth" - cd - by Maxymox 2012 --

channeleast The collaboration between the labels and Germanic Records Echozone original codeline's newest album, Channel East, German duo consisting of Toni H. T. (Vox / synth / Arrangements / guitar / visual concept) and David H. (Synth / progs / recording). The project, operating since 2005 in electropop, marked the own way with a record dated 2008 first single, "Who You Are", well-liked by critics and intended at unexpectedly sold out quickly, reaching so between 2009 and 2010 official debut on albums by "Between Humans", which releases the building collaborated with vocalist Kathrin Knöfel. The onset of the aforementioned East Channel at the time was the subject of my review that concluded favorably, however, indicating some doubt in it, especially with regard to the preparation of the vocalist singing, still uncertain and not properly established, sins now resolved through a tangible refinement of the same exposure and resulting stronger now than before. The music created by the platform in question have all current characteristics of electronic pop, with intelligent modules incorporating rhythmic vivacity, leaks of synth vocal tune with formulas and bearing in turn and move a pleasant freshness, who wisely assembled components generate this second full-length titled "Window To Earth 'including the Its track listing eleven episodes plus three remixes handled by such excellence Frozen Plasma, Re: \ Legion and Assemblage 23. The clarity of "Success" opens the enumeration of tracks by offering to listen to a snappy electropop sound that hooked on first listen, with a light attached to the hand freshness of many sectors of synth and programming. "Suffering To Me" is also available as a track maxi-single with the high-sounding investments in the remixers of the Syrian, Last Beep and the unusual touch of Todd Durrant, boss of the famous American synthpop label A Different Drum: in This album-version the song in question spreads graceful melodies with electronic vocals ever committed to the aesthetics of form evidenziarela singing, instrumental accompaniment to engineer pads allowing graceful and dynamic percussion. It 's turn "Thank You", a song of net extraction synthpop constructed of handsome shade of anticipanti keyboard and voice input of the next "Queen Aplomb" a track where you are clearly aware of the Post-Erasure influences that color the score with lively arrangements, and button-drumming, tuneful vocals and danceability assured. A radio jingle scattered interference introduces the next "Way Of Life", an episode of the most significant of the album wise dose intensity and loudness futurepop, made attractive by a linear pulse of percussiveness sequenced on a warm embrace of keys and vocals full of passion. The known! Distain actively collaborate in the writing of "Window" which aims imbued with the classical formulations of the electronic project with which the East Channel share the label, or heavenly pads, gentle voice and percussiveness in this specific occasion turned to a subtle plot. The atmospheres rejoice again under the beneficial influence of "Still You", which is also obedient to the dictates electropop more radiant finding here expression through dry sections of drum-programming, vocal reverbs and light touch of synth, as well as "Tears Are Enough Crying" increasing the bpm energizes a track perfectly framed in a period of 90's synthpop style Wave In Head, Faith Assembly, or Rename. "Take Off To Skyline" is an instrumental interlude based mainly on spatial pattern of keyboard-driven microflows surrounded by cuts in the electronic and drumming, while the subsequent "Send You An Angel" prefers to capture modulations arranged hearing without compromise, especially in the refrain and flights synthesizer that can hardly be avoided by those who are prepared to caress melodies of electronic pop. "Discoboy" permeates the their music consists of dynamic sonic technology applied to the ski suits, elements drawn from a throbbing electro-motor rhythm, vocals spirited and radiant keyboard scales, preceding the list the first of three bonus remixes of two tracks of the previous album "Between Humans": the former is entrusted all'indiscussa art of Frozen Plasma which elaborate on key Clubmix the famous "Document 9", with the promise of filling the dancefloor for the extreme accuracy with which Felix Marc and Vases Vallis Planned both vocal textures that percussive swing chart. More Cold and robotic choice of introductory duo Martin Cremers / Oliver Schmitz, better known as Re: \ Legion, the authors transform edition trancemix of "Who You Are", surrounded by sparkling keyboard publications intersections with song and dance that invite percussiveness technology. The last trace consists of the second redesign of the "Document 9", this time assigned to the imagination of Tom Shear, who, in the role of decorated Assemblage 23, projecting into orbit this remix distributing inside a whiplash mechanism which propellant programming, combined with an attractive coat of voice and key. Convincing comeback of East Channel, an album by the artisans of unassailable strength apparent in the most advanced design and sound singing. With few exceptions, the course of the track listing offers a large amount of breakers suitable for testing the 'immediacy inherent always nell'electropop, which governs the two protagonists reveal modern imitators. Let the lovers of synthetic sounds!

 

torna su

Combat Voice - "The Last Flow" - cd - by Maxymox 2012 -

combatvoice Richard G. (Keys - composition - music), and Bernard F. (Vox - lyrics - videos) are the two interpreters Combat Voice of the Belgian project, a follower of the fringe EBM in which more conservative since 2010 has managed to incorporate elements drawn from many genres cold EBM, dark-electro, industrial and gothic. There are interesting biographical details about the two protagonists: Richard G. debuted in 1991 with a drawing extensively EBM called Combat Noise, a precursor of subsequent Simplicity, project born in 1993 in collaboration with Miguel B. and directed towards testing Electronic Body Music combined with techno. Richard G. also been mentioned as a remixer for major bands such as Void Kampf. Bernard F. is in Once known for its militancy as a vocalist in Electronic Density Mono, project indus / EBM / electro / shared with the former member of Aworkx, Mod-R-654, as well as to have given birth in the 80's and 90's EBM with the poster called Fuze Box Machine, and finally for his part, always in the 90's, Mann in the program. The present "The Last Flow", the debut-album of the current licensed by Digital Density Voice Combat Records, sums substantially in a single form the multitude of disciplines interpreted over time by the two musicians enclosed in a sequence of ten songs technologically hypnotic characterized mainly by classical electro-EBM patterns undergo a partial treatment of modernization. Not latitano also episodes in which the cold compartments of minimal electronics are added to the dark synth orchestrations and voice: the case of the homonymous opening track, "The Last Flow". The robotic programming mode scans coldly mid-tempo rhythms of "The Devil Way", a song where the vocals of Bernard F. outline a song from modulations obsessive, while the consecutive "Illusion" propagates icy circles EBM-sound rochezza compounded by the singer and vocal timbre fractionated programming of the metal. "Hell To Hell" represents a compelling example of EBM structures merge into dark-electro, built on sound repetitive circuits drum-programming tracks around the essentiality of the keyboard and succinct phrasing of the singer, this diffuse emission by opaque voice melevoli surrounded by echoes and whispers. The next "A Night Walk," also focused on electro-acoustic imbued with dark mystery, are orchestrated through liquefaction of programming and a thin hand, stiffened by the firmness of voice uttered Bernard F parallel to arcane flows synth. Icy gusts of wind electron announce now "Body Generation," a militaristic EBM-track to dance with energy thanks to the push of a completely linear path marked by percussive bass pulses, a trolling motor rhythmic vocals punctuated with anger and inciting techno-tanz. Still unquestioned leader, the inflexible programming sections of the skeletal geometry "Broken Arrow", traces of obscure origin-electro / EBM magnified impiety that transpires echoed vocals, elements placed before the next "The Combat Voice", punctuated by fast beats from a metal stamp in support of a song completely atonal, gutturally caustic, icy sections added to the drum-sequencing. "SK Two One" propagates tortured screams and resolute voice of Bernard F, components that adorn this dark-ominously EBM song from the mid-tempo swing percussiveness and by ' proud air, before the final "The End Of The Human Race", a dark trace generated by the combination of electro and minimal-within which industrial are arranged as in a slow, robotic body, mechanical divisions of programming and voice whose fusion projects in mind the likely context Phonetic audible in the future post-nuclear apocalypse. Despite the recent decline of EBM, the Combat Voice of "The Last Flow" have been able to add solutions such electronic assault and widespread gloom that overshadows the atmosphere. The strict discipline that characterizes this specific Hybrid Technology does not grant special spatiality in favor of a melodic sound neat, firm and tight dynamism propelled. In the track-list contains pieces of impeccable value, some of which potential club-hits and danceable addressed to the followers of an archetypal sound of trend relaunched with enthusiasm by the power-driving duo. Proud to be a fighter, proud to be electro.

 

back to top

Connect.Ohm - "[9980]" - cd - by Maxymox 2012

connecth When electronic music manifests itself physically through the ambient-downtempo producing effects that transcend from the ordinary it is worth mentioning the French brand Ultimae Records, an authentic and modern institution to which it adheres a large number of artists often subject matter of approval by Vox Empirea. Connect.Ohm is the new emerging creation that in the last trimester of 2012 is characterized by sonic elevation in the avant-garde scene, a design born from the synergy between two established musicians orbiting the same, said label: the Tokyota Hidetoshi Koizumi, better known as Hybrid Leisureland, solo project of psybient/psychill trend, and the Parisian Alexandre Scheffer, name primarily operating in the electronic/ambient area by his individual platform called Cell, but also included in the line-up of the trance/acid/ambient trio named Atlantis Concept, as well with Damien Coulaux in Clever, a side-project deep-house oriented, and finally in the design progressive-ambient Elephant & Castle shared with Emmanuel Magon. By the immediate and productive understanding between Hidetoshi and Alexandre, signed in 2011, comes now an album of major elevation, "[9980]," experiment in which nine tracks intersect harmoniously the specificities of the protagonists, both builders of an electronic-sound highly atmospheric, intimate and contemplative, played with elegance through keyboard interactions, programming and laptop artifacts. It results a lot of abstractions that transmit a state of complete serenity, a kaleidoscope of dreams scenarios to which surrender entirely and with fluidity, letting only that be the quiet power of sound to carry the mind towards horizons of peace and emotion. As always, when we talk about the productions from Ultimae Records, a due attention should be devoted to the splendid work done in the artwork and mastering by the creative Villuis Vincent, aka Aes Dana, author of an amazingly futuristic sleeve and a perfect sound quality, both attributes that enhance even more the nine contents of the tracklist of which "Evolution 1:1" is the initial ramification, an ambient-downtempo of the accentuated aesthetics propensity, feature highlighted by the subtle interplay between the soft drumming, the airline expansions of the keys and the spatiality reflected by the electronic ornaments. "Snow Park", faithful to its own title, evokes motionless winter landscapes through an ambient-sound of the gaseous procedures structured by torpid keys expansions under which we hear the slow beat of the percussion machine, the slight touch of the piano and the modular rotation of the sequencing. The pads stratifies themselves with artificial slowness, the micro-electronic punctuation sparkle in stereo to join later with the relaxing flow of keyboard-chords and downtempo rhythmics: all this in the homonymous "9980", a track full of fascinating moon paleness that will conquer mentally all the ambient-downtempo listeners. "Mol", also it stylistically designed like the previous scheme, aligns the enveloping waves produced by the keyboards to the atmospheric counterpoints gushing from the equipment, execution that generates a celestial ambient sound crossed by percussive hypnosis and electronic extensions highly capturing, able to travel the thinking energy beyond the terrestrial dimension. Equally polarizing, "Fossil" transports the fantasy to futuristic and enchanted horizons, flying over them twirling by the wings of an ambient technologically advanced, consisting of bright streams of the sequencer combined in parallel with the ethereal touches of keyboard on downtempo percussiveness. All continue with the album edition of "Take Off", a perfect dovetail of technological suggestions simultaneously originated using modular registersof drum-programming and sequenced lines as a support to the crystalline tip-guitar finishes to the sidereal pads, sounds anticipatory of the next "Gentle Perception", a fairy, diaphanous ambient built by sweet key harmonies and incorporeal rhythmics that spread themselves in the air with the same grace of the scent of a flower. "Time To Time By Time" leads to the contemplation, and this through the long, surreal trajectories ambient-minded of the chords rhythmically lapped by a sparkling intermittently, an artificial Eden dominated by nothing but the absolute peace. The epilogue is assigned to "Winter Sorrows", an ambient track into which find space a dense key nebulization, reverbs and electro-stratifications that expand slowly releasing ecstatic visions. Album written by a sophisticated electronic calligraphy and emotional magnificence, "[9980]" honors the compositional ability of Alexandre and Hidetoshi who succeed in the audacious enterprise to give a single body and a single movement to their musical disciplines, distilling the material and subjecting only their true essence. So be listened as background or by close attention, the notes of this release stop time conceding to the spirit to wander to infinite distances reconnoitring the vastness of unexplored galaxies. The duo has been able to unite the cerebrality of the electronic sound applying it to the comeliness of the ambient, setting up a performance of great effect that redraws the overlying map of the stars, in which firmament are now integrated the nine new planets just mentioned: their tenuous glare will reach alienating you from the world and its frenzy, ensuring that prolonged and wonderful psychic connection which, so immediately, will be established between you and the songs. The Connect.Ohm will reciprocate your listening giving you that desired dream you're looking for from a long time, the same as you not being able to find.

 

back to top

Consenso - "Un Disco Onesto" - cd - by Maxymox 2012 -

consenso Indeed it is. An "Un Disco Onesto", to be precise. By listening and full on the new product formulated by Lombard Consent, the net flows feeling of a purely compositional cliché pop-electronic content with modulations and genuine, passionate and at times sarcastic, but all are very distant strategies to be glazed or brainy tricks. This, in brief, the imprint is taken intentionally by the duo Christian Ryder (music - lyrics - vox - electronics) and Daniel Murgia (music - lyrics - vox). Christian is also known by the electro-project called TourdeForce, platform gradual rise and the object of my positive evaluations in the past primarily addressed to an undeniable and concrete technical viability as well as the vibrant energy of the its harmonies. The artistic combination between the two aforementioned musicians originated seven years ago a first, impromptu design called [NV], through the that both composers were able to test their affinity previously referring to now, however, only the official implementation of a real your disk occurred by means of this debut-album licensed by the synergy between the labels and Breakdown Music My Owl Records, a full-length planned but simply an integral structures electropopper really capturing and brimming with freshness. How openly expressed by the Consensus, the notion of release the emotional aspect is predominant rather than the sophisticated coatings laboratory, details which, together with deliberate imperfections voice and text candid, casual, sung in Italian and in English "scolaresco", make up the fifteen episodes of a track-list sfoggiante initially "The Structure", opener also be viewed on the web in the form of videos, with the shimmering guitar electricity propagated by Christian combined with a lively straight programming, synths and vocals of Daniel, amiably essential, and issued with an impromptu showing avant-garde texts from content. The undeniable influence electro-pop-wave inherent in the melodies of "Glamour" paint the song with innocence and clear colors, entrusting the execution to the agile drum machine, keyboard, guitar harmonics trails and the vocals of the singer in the English language which intentionally utters the verses with accents markedly Italianized. "I'm A Romance", sung by Christian, the elementary sum of poems dedicated to a sentimental infatuation un'irrealizzabile modules synth-pop brimming with crystal clear sound, while the following "The Games" reflects fast, multi-colored irresistible electro-pop-futuristic supported by robust aftermath of the guitar, and Christian, especially in the final stretch, from charming synth textures that enchants the ears for tilt heavily Italian-style waveggiante Garbo. It 's turn "Stop Time", voiced by Christian following lines of composition that own plan, though indirettanente, insights, and the intricacy of the electronic-avant-garde of the last period of Lucio Battisti. Proclamations from true content of social protest are disseminated by the voice of Daniel in "Conspiracy?", resting entirely on a hot surface for keyboard in parallel with an electro-drumming well-marked, these details added to the sporadic guitar riffs, the same instrument in "Reborn" arpeggiates the their notes by the guest Marco Massini, a duet with Christian among the passionate voice polyphony exposed by the duo with great ease. The pace is now dictated by mathematical lines of "Angela says," that intertwine everyday words and thoughts turned to the hypocrisies, all music by touches the piano, and keyboard programming anticipanti the lyrics sung, intentionally, without particular accuracy duet by Cristian / Daniel homonym "Honest Music", a regular synth-pop song in the mid-tempo mode also introduces the additional vocals of Lisa P. Duse. A delicate Electronic touch of romance is heard in the subsequent "City Of The Future", the plots of which stretch the soft vocals that hover between Christian embroidery and procedures synth guitar again played by Marco Massini, modules and programmed beats grafted to light, in conclusion, the choral spread by Lisa. "A Life Without News" contains an intrinsic meaning directed against the excessive emphasis that surrounds the news reporting, now more tied to the sensationalism that a duty to report impartially, concepts of a slight pop musicality and disengaged, which anticipates the modernized reinterpretation of "Les Marionettes", recorded in 1965 a classic of French chanson Christophe, in this reprise song that takes the title of "The Puppets", an episode passionately voiced by Christian poems which cuts shy and sweetened as a teenager in love context soft-synth-pop of pink halo in which stands a beautiful draped for keyboard in neoclassical style. The last three chapters of work introduce the 90's remake of "Honest Music" that on this occasion it permeates the most elaborate arrangements and dance oriented aura Consensus that the offer as a tribute to the years most representative of their artistic development, as well as "Conspiracy? (He-George)" raises wonderfully the track to a post-dimension moroderiana, adorning it with dignity with modular rotations sequencing, the robotic filtering vowels and dynamic sounds that have characterized hard in the 70's the unique creativity of the composer-totems, producer and Italian sound-engineer. A final note of naturalness and sympathetic irony is savored in the back-stage work in "A Hard ... Honest," clip summarizes the slip in a few moments, the gags singing and the resulting pranks experienced during the steps of recording in the studio. Release particular, to two readings: one in which converge markedly spontaneous forms of singing, supported by the allegories of the texts, beyond an initial appearance simplistic, reflecting the particular sensitivity of Consent to the events that characterize the ordinariness of everyday life. The second aspect that completes a positive "A Hard Honest" is having been able to integrate these elements to an appreciable electronic vein built with easy-listening virtuous synth-pop revivals 80's / 90's, from flattering shades. I do not know the actual expectations laid by two interpreters with respect to that produced them, but I can predict with a fair measure of realism, that the release will likely be entirely the process that each disc is submitted that claims to "honest", ie a slow, meandering through the maze of a global scene more prone to the sophistication the frank honesty of those who composed the music for love, not necessarily set itself ambitious goals. Perceive something in the track-list different from the initial and fleeting impressions only after a second, listening attentively, not yielding to a vague feeling of superficiality that could obfuscate the one that corresponds instead to the true essence of the disc. Calculated surprising subtlety or boldness? Whatever was the intention that animated the consent, it goes beyond the concept of honesty. I'd call it courage.

 

back to top

Corazzata Valdemone - "Adunate" - cd - by Maxymox 2012

corazza The term "industrial totalitarian" chosen by Gabriele Fagnani to categorize his sound pleases me, but in my opinion, the sound produced by its music design called Corazzata Valdemone escape from a precise stylistic position, forming a sort of hybrid experimental multiformed integral in a single body, martial shades folk paradigms power-noiser, inflections dark-ambient, industrial accents but present vague and nostalgic retrospectives choral merged to the atmosphere of war. Designed in 2003 on parallel to the Kannonau, the side-project now under my consideration differed sharply from the typical creations of the original matrix working towards finding a sound contaminated by an extraordinary variety of elements: the references to Japanese spirituality, not neglecting the inspirations from by distinguished writers, themes of obvious social discomfort, irreverent provocations, combinations militareschi, National, and last but not least, the dominant mass-control which was submitted humanity. I think proper, in order to raise awareness of the artistic temperament of the project, the description on the historical and controversial His discography counts initially unofficial and rare demo cd-r in 2007 of three episodes, "Propaganda", the debut " Heil Darkness "fired by the label Chinese Z-Bugle Rec produced in limited edition. The track listing of the album was focused on sound adjacent to the primordial Von Thronsthal, Atrax Morgue, Der Blutharsch, Hall Of Columns, working actively experimentalism radically totalitary-power-electronics: the work of eight steps was not properly distributed strongly penalizing the spread of the platform. Followed in the same period the contribution with the song "Berlin Caput Mundi" in the compilation "Donec For Medam" The following year CV courageously published the second full-length album, "Motherland" for the German SkullLine Rec printed in very limited edition. Also in 2008, the Texas Third Position Recordings label extinct agreed to reprint the debut in only 100 copies, for graphics, ideological references and further limiting prejudices, were hopelessly armored censorship European decreed its dissolution. "Battleship Valdemone is always right" is the fourth album filled with more aggressive power-electronics whose edition was entrusted in 2009 to the Chinese Marks Of Deceased Prod label meant the identical fate of the previous label support. Although this work was not distributed objectively, look who condemned the work to an absolute anonymity. The stubborn creative urge Gabriele is renewed in 2010 through a collaboration with the Italian Flukte noiser, an event which led to the album "Manipulations" fired in just thirty-eight specimens published by Toxic Industries and considered more concentrated towards an exploration of the concept sonic alchemy issues that are typical of totalitarian martial repertoire of CV. The recent release "Gather" now in my player consists of eight extended traces published by the German label Castellum Stoufenburc and all prone to a score full of reinterpretations of songs from periods of conflict, ambient atmospheres palpably inflexible, cross-power electronics and sickly smell of retro drama. The writing of the album also lists a large number of guests at strengthening both the instrumental section that song, "Roman", opener, uses voice in the introductory phase the contribution of G \ ab Svenym coming from Deviate Damaen the development of which came up, the cavernous, ominous lyrics uttered by Gabriele deployed directly on a layer of gaseous sound, without the remotest sense of warmth. The riedizionate "The Last Battle", proclaims sequenced by dark clouds electronic and marble "Berlin Caput Mundi" is taken from the first demo in particular the latter hosts nell'apparto martial-percussvo Daniele Giustra, militant projects The Well Of Sadness and Kannonau. The brutal sadism of playing time in the initial stage audible "The Punishment" rises later using a spoken text with icy determination, surrounded by dark gusts of e-noises. The colorful, elderly march trend "Ei was" back to back to historical periods nerovestiti Italians, while the influence of noise Flukte spread icy rumorismo vaporized and an underground drumming in "Requiem Of Casamatta." The renewed collaboration with Mirella Nania and Daniele Giustra of Kannonau cements the mercurial structure "Kollaps (RIP)" from chrome dark-ambient in which rampant militareschi and binding texts in Nazi-Germanic. The solemn trumpet orchestra of the classic "The Silence", with the same audible tone "consumed" version of the era, symbolically closes the title track of the album interesting, unusual, reserved for that small segment of the public is in line turbid with a form of artificial sound that with the obvious ideological meaning of which are permeated the texts and, consequently, all the remaining concept. When ancestral ghosts exorcised never return to seize. Atmospheres of a considerable historical rearguard together with a creative verve characterize this particular release interpreted with the informal criterion of who composed exclusively driven by a deep passion and inspirational force. The journey will be difficult and strewn with pitfalls, but in the end, the shape of the Valdemone's warship will stand out proudly to the horizon.

 

back to top

Corazzata Valdemone Vs Bagman - "Sex Nazis & Noise Und Roll" - cd - by Maxymox 2012

corazzatavs The artistic iconography of the one-man project Corazzata Valdemone is widely available on Vox Empirea into the "interviews" section and the review in the of the previous album "Adunate" for satisfying the curiosity of the reader interested in a better understanding of the term "Totalitary Industrial" forged by the musician to restrict his music, but also to idealize concretely how a specific and inflexible way of thinking is able to combine, manipulating them seamlessly and in so inspired way, the powerful evocation of sounds such as those belonging to the style obscure-martial. Currently this protagonist of the split called "Sex Nazis & Noise Und Roll" is disconnected pro tempore from the military choreography taken from his repertoire to produce a sound full of radical electronic experimentation whose concept is inspired by the Nazi sexploitation filmography in vogue in the 80's. Collaborator of excellence is the English artist power-electronics/noise Steve Bagman. To him is also attributed the authorship of the label Purge Electronics and an extensive discography made between 2008 and 2012 that depicting the interpreter supported by a variety of names from various parts of the world, all them stylistically active in the same music area of the protagonist, including the Bulgarian Nihilistic Front, Planchette, the Mexican artist Vulgar Disease, the Californian Striations, Owen Davis from Illinois, the Texan White Gimp Mask and Noise Nazi. By the contact between Corazzata Valdemone and Bagman, which took place in 2010, was fired their musical feeling that allowed the realization of this extemporaneous, irreverent test issued, after an hard and extremely difficult publication process, in sixty-nine numbered copies in A5 sleeve format by the two Italian labels Toxic Industries and Misty Circles. Six titles, three of which are assigned to the Corazzata Valdemone and as many to Bagman, compose a tracklist structured on caustic, technologically disrupted sounds and subjected to psychotic harsh-processing of electronics noises or other from experimental-ambient derivation, as audible in the opener track "1000 Anni Ancora", designed by Corazzata Valdemone and introduced by deep bomb detonations and bursts of machine gun, followed by the delirious tune taken from a naziploitation film of 1977, the text of which is sung by Giovanna, icon of 70's pop music, is overwhelmed by dark key suspension and noises in its background, sound beyond which a bruise percussive system incorporates to itself bundles of dark, cosmic effects, obsessive expansions and marble riff flowing from the guitar arpeggios by Nerio, guest from the black-metal band Art Inferno. In the introductory segment of the subsequent "Ein Fraulein," played by Bagman, the operatic splendor of the famous "Ode To Joy" by Ludwig Van Beethoven is literally upset by sour distortions and painful alchemy of hard-noise/post-industrial which, like a violent solar storm, act on equipment causing the escape of abrasive-radiocontaminated gusts and fragments of processed voice, a sound vortex that spins out of control from which you radiate incalculable fury doses of hyper-technological and annihilation energy. The industrial-noise modulations are now further twisted and extended to their total reduction to a steep computerized filament within which they develop post-nuclear obsessions and spiral traces-sounds so unspeakably aggressive and lethal: the result of this scourge created by Bagman assumes the title of "Disciplinary Aktion # 1". The same artist plans his last performance in this split-album, "Der Sturmer", a song again looking schizophrenic power-noise theorems applied to the steel force of the post-industrial transmissions, a futuristic delirium in which they float on ultra-kinetic speed hyperborean whirlwinds loads of electronic matter, vocal-loops with tones filtered and eroded by the action of an extraplanetary current which, through persistent bursts of acid noise, introduces iteself in the auditory apparatus causing apocalyptic visions altering the conscious state. A vintaged war proclamation introduces now the comeback of the Corazzata Valdemone and its alienating sonic experiment entitled "W Gli Schiaffi" a track describable into the orbits of a noise-ambient of latest concept in which plots it can be heard dark key rarefactions, excerpts extrapolated from naziploitation films, fleeting segments of hymns and speeches alternated with silent pauses as much quick, after which the sound system is overshadowed by threatening artificial mist ready to hit by its blinding flashes, hysteria voice of non-human nature and stinging splash saturated by electro-toxins. Mirror replicating of the same procedures for the final song, "Wunderbar" by Corazzata Valdemone, track that engages underground industrial noises and sudden spurts of noisy-interference effects which intromissions, similar to fractional of corrosive substance jets, are expanded until you reach the final stage in the goliardic laughter and Teutonic accordion extracted from the film library theme. The split-album "Sex Nazis & Noise Und Roll" features a great electronic sample of irreverent meaning and at the same time in possession of a deadly rage that jointly Corazzata Valdemone and Bagman transformed into an hallucinated sound experience.. Both players feature an highly expressive technological know-how combined with executions that torture, rape the brain functions let beyond their way only the complete disintegration of every possible musicality, allowing the domain to disturbed manumission that assaulting the loudspeakers with unstoppable frenzy. The listener already accustomed to such formulations, or whose open-mindedness does not fear comparison with a genealogy sonic so special belonging, will be sublimate by this sonic manifesto so complex, irreverent and nonconformist, whose audacity push the alternative music culture, if it's properly designed, beyond the margins of the power-noise modules yet known. Devastating sounds, electronics noises infected by pathogen agents, concept funambulatory poised between the fetish-cinematography cult and ideological extremism: are you ready for the contact?

" D "

torna su

DarkDriveClinic - "Noise In My Head" - cd - by Maxymox 2012 -

darkdriveclinic To describe the size of a myth need reverential tone appropriate to the circumstances and terms that will fully represent the elevation. Talking about John Fryer in these pages is for me a source of pride and an occasion to mention his epic business as a producer, engineer sound and underground musician. For those still unfamiliar with the interpreter's main project is absolutely a must DarkDriveClinic a biography reasoned designed to delineate the profile: many are now the glittering reality that have benefited from technical and production of the British John Fryer, whose touch, starting from 1980 until now, has literally miracle artists who later became legends, among which I quote Fad Gadget Depeche Mode themselves, largely incomparable rearguard 4AD in the figures of Clan Of Xymox, Cocteau Twins, The Wolfgang Press, Modern English, M / A / R / R / S, XmaI Deutschland, His Name Is Alive and the super-ensemble of This Mortal Coil with his alter ego, The Hope Blister. The operating range of protagonist has contributed greatly to the emergence and success of other phenomena such as underground tissue Breathless, Play Dead, Bruce Gilbert, Dome, Minimal Compact, He Said, Wire, Nine Inch Nails, Fields of the Nephilim, Sex Gang Children, and many others. Directed by John Noble planned to Fryer is also the success of albums are more in vogue as the famous "Speak & Spell" by Depeche Mode mentioned, together with "Upstairs at Eric's" of Yazoo, "Should the World Fail to Fall Apart" by Peter Murphy and "Raindancing" by Alison Moyet. It 'still we must recall the name of the ancient epicenter from which has spread the art of motorcycle John, located in the historic Blackwing Studios, London, in whose recording studios have passed important names of the new wave scene / dark British or mixed products from the genius of Fryer, experiences that led him later in the presence of labels of maximum relief as Mute, Rough Trade and Beggars Banquet. This is, in a nutshell, the route path of the cornerstone of recent DarkDriveClinic, born on the initiative of John and Rebecca Fryer Coseboom, vocalist of excellence from the dream-pop bands Stripmall Architecture and Halou. The project, as understand, it is simply impressive: the credits list in fact a significant number of guest musicians who are entrusted with the orchestration of structures, namely the guitarists Tom Berger, Carl Hendrick and Drew Maxwell, the latter also a bassist, the cellists Andy Nice and Erica "Unwoman" Mulkey. A presence of exception is related to Kevin Harkin, drummer of the legendary Bauhaus, who reappears as a trumpet player in a single-track most spectacular album. In addition to the above names are DarkDriveClinic devotees finally to a team of artists "secondary" who took part hard to cooperate in various sizes in the building, hence the alternative-rocker Texan Jonathan H Lacey, Jamie Crossley, the floridian live performer-style blues-rock-gothic Timothy Scott McConnell, the English folk-pop vocalist Mel Garside, Julia Beyer of Chandeen, the Norwegian artists Anja Garbarek and Margaret Berger of electronic-pop trend, Matthias Sayer, vocalist Julian Ronchi and Norwegian Anneli Drecker of Bel Canto. "In Noise My Head "is a very important debut album, cured in every minimum angle. The sound corresponds to a twisted hybrid of industrial-noise-rock and by electro-dark of alternating crystal clear voice of Rebecca Coseboom, flanked by quiet electronic tracks, and painful, sudden storms guitar-noise raping the lyrics through unclean cuts and riffs on the edge of distortion. Particularly of great importance is the tone belonging Rebecca's voice, so soft and sensual, haunting evocations capable of post-tonal style This Mortal Coil / The Hope Blister, and at the same time the haunting chants which plunge into the darkness of an industrial-rock dirt, disease. The first is the segment of the thirteen acts introduttico "Crawl" a gas flow of key painted with the color of the dark, followed by "The Offering", the track that introduces the song echoed the singer of rhythmic base downtempo, waiting for the explosive development of electric guitar and bass guitar by Tom Berger worked with Drew Drew Maxwell. The gloom of the acoustic synthetic planned by John Fryer scans are contaminated with robotic drum machines and guitar caustic jets, together with saturations low and cold breaths of the keyboard, above which hovers a siren's voice uttered by Rebecca: everything in "Mercury Head". Protagonist the next undisputed "Litmus Heart" is always the singer, shade-giving provocative inundated by torrents of fiery guitar refrain that the voluptuous accents transmuted into corrupt filtering lyrics shouted in dismay. In "Find the Flaw" we hear the plaintive notes of the cello played by Andy Nice introducenti willowy Rebecca singing, punctuated by light beats the drum-programming and overwhelmed from there a short dall'elettrica eruption cords caused by the duo Tom Berger / Drew Maxwell, while the magnificent stature of "Love's Lost Cross" owes its glory to the gentle dream-pop song oriented vocalist of drumming synchronized to mid-tempo, the fiery guitars and support all'assolo issued by the trumpet of Kevin Haskins. The shadowy processing and sequencing keyboard publications managed by John Fryer now cloaked in softness voice of the singer "Breathe Shallow" a track from skinned powerful waves of guitar, bass and drumming that afflict industrial-rock structure, as well as the sharp filament guitar Carl Hendtrick initiate more rhythmic sped "Still Contagious" chained to a syncopated percussiveness which stand for the thunderous beats of the bass arpeggiated by Tom Berger and Rebecca's song, this time more neurotic, a techno-rock song full of notes from the high voltage and sound detrimental. Downtempo beats and the vocals of Rebecca flirt with a nostalgic night musical created by guitar reverb and soporific key-pads of John Fryer, formulations prior to the blaze twisted electro-noise that breaks the song raising the bristling wall of guitar Tom Berger. "Bite My Tongue" prefers to turn a more melodic dream-pop of curvature, crystalline harmonies weaving electronic, voice, key guitar and pink blooms, anticipanti the majestic "Silhouettes", industrial-rock episode of icy beauty, also depicted in its video whose disturbing images emphasize the precise balance between the lewd intonations of Rebecca, the monotone electro-percussiveness deadlifts and abrasive generated by the guitar of Tom Berger. "Do not Give Up On Me" prepares first glacial sections of mechanized battery and solemnity tastieristica in support of vocals from soft inflections pierced with guitar and bass. Sounds about the last song of the track listing, the eponymous "Noise In My Head, "are erected on a slow rhythmic base that serves as a drive to the keys by John Fryer and the voice of Rebecca, whose fatal evolution flora float like singing in a seabed before being overwhelmed by a furious flurry of guitar and electronic jamming. The project DarkDriveClinic goes further than the exceptional, offering a black chest containing morbid deviations, psychosis, and something very close to despair, expressed through a particular voice and musicality hallucinatory dream. The sound heard is an endless sequence of carnality and voltage, and a nightmare delirium, grace and damnation. I name all my confidence with the album "Noise In My Head" as one of the most authoritative documents that industrial-rock ever generated.

 

back to top

Darkmen - "Living On Borrowed Time" - cd - by Maxymox 2012 -

darkmen The contagion from electro-EBM-style archetypes DAF, Pouppée Fabrikk, Nitzer EBB, Front 242 and A Split Second, it is effectively propagated in Genetic Darkmen Belgian duo, whose representatives are Franky Deblomme (vox / lyrics / music) and Thomas Vrambout (synths / artwork). Austere vitality, compact instrumental design and an uncompromising voice are the main components of the modulation by Darkmen, a subgenre that is faithful continuers, despite the continued evolution of the electronic scene, for years, and vigorously opposes contrast to the speed with which the alternate-music trends, stubbornly persisting with steel, secretly advancing and preserving the morphological roots belonging all'epocale sound Neue Deutsche Welle. The yield of the record Darkmen begat the 2006 five-track self-published "Kampfbereit" and also self-released an album in 2007 entitled detailed, "Electronic Body Music", which soared in the excellent remake of the song "Take It Back" reworked by fellow Ionic Vision, both registered of the Machineries Of Joy, label specializing in old school EBM, through which in 2009 was officially released the first publication, the ep "Guilty", an eight track adorned with valuable contributions from Orange Sector, Ionic Vision by themselves, AD: Key and ADAC 8286. He followed the same correlative year the album, "Guilty By Association" succeeded in 2010 by the vinyl 7 "limited edition" Exhibition Series: Gold "made in combination with The Ionic Vision. Propelled by the motto "Violence is what we need, hate is what we breed", the Darkmen recently transmigrated from the previous label famous Italian brand Product EK, entrusting to it the new album in digipak format "Living On Borrowed Time" containing sixteen episodes from the musical electronically spiteful, sharp and exceptionally dance clubs in each theme, the brilliant sound quality thanks also poured in all the individual steps in this new release. The instrumental "Stahlwerk 1" introduces the tracklist with obscuring the serious tones of synths and industrial rumoreggi a brief scale programming, thereby allowing the entrance of the "Legs Like Gold", a song of EBM noticeable trend, marked by the iron discipline of speech Franky dissected by fast electro-rhythmic compartments. Slightly slower, "Scheissmusik" peremptory modulations of the singer spreads further potentized by snappy spins drum programming that urges you to synchronize the movements of the body, while the following "Liar!" proposes the merger between formulations electro-industrial and EBM prorompenza more exhausting, through the motion of super-accelerated percussiveness synthetic, sequencing and inflexible voice. The sound one-dimensional and totally uncompromising Darkmen is also manifested in the "Run And Hide", exalting in its modules the continued domination of electronics Action, by mechanically percussiveness and obsessive voice steeped in the martial Francky. The aggressive replications of drum-programming related to "We Are Hard" do not give respite to the frenzy of a dance, in high-speed intimated accents militaristic of vocalists, as well as the following "ACAB" propagating shock waves and nevrastenìe un'EBM of raw, cold-cut tones of angry Francky at speeds that defy the sharpness of the percussion. Not to be outdone, "No Pain, No Shame" evolves strongly driven by energetic rhythmic- voice whose synergy generates an electronic sound dry and combative attitude, in advance of the next track, "I Feel It In Me", directed solutions to danceable EBM-electro-pop atmospheres tense, ruthless, details highlighted in particular by the malevolent tones audible in the voice of Francky. "Open Your Eyes" does not differ appreciably from the previous track by offering a set of tires added to synthetic pop ' uncompromising old-school EBM, opening after "Bitch!", built by a key chart from the electro-percussive variable speed rapid liquefaction of programming in their circular motion to incorporate all the lethal toxicity by reversed vocals. The second angle of the album includes two reworkings of "Legs Like Gold" and three related to "We Are Hard," turned into real devices and external contributions clubby-oriented, first including the review of "Legs Like Gold" produced by K-Bereit, aka Dominique Lallement and Frederic Sebastien, coming from the projects themselves French-order electro / EBM / industrial Kriegbereit and Cobalt 60, remix artists of this assault in integrated electro dj-set more aggressive. The power-German duo of NordarR, operating in EBM, deconstructs "We Are Hard" adding to its more supple rhythmic structure and sequencing intersected by filtering acids voice. It then proceeds with the next remixes of "Legs Like Gold" entrusted to Grandchaos, Belgian project electro / EBM formed by front man Tcheleskov Ivanovitch and Olivier T. EK Productions recently signed to the same, as well as authors of the album "Rumours Of My Life ": the reformulation of their pattern is highly targeted to the characteristics dancefloors, adding to the rapidity of the original bpm more large spatial arrangements and electronic devices designed specifically for grueling dance collective. The individual-platform Mechaload French, limited in view of the role of remixer electro / industrial, reprocesses the pattern of a new "We Are Hard", now surrounded by beautiful inserts keyboard the development of which leads to his vehement set of drum-programming and commanding voice. Mr. Dupont, aka beyond which lies the main character EBM / techno / experimental German Christoph Lemke, gravitating around the label Electric Tremor Dessau, fantastically reassembles the new livery of "We Are Hard "snellendone diagram form through a button electro-percussion, loops, capturing, and alchemy from the track, ending it with a list of listen to this sound track release that will provide renewed energy to the great people EBM. Just to hear it, or the balliate, "Living On Borrowed Time" will be nerve-racking experience for you to live until the last second.

 

back to top

Day Before Us + Nimh - "Under Mournful Horizons" - cd - by Maxymox 2012

daybefore Channelling in acoustic form the intimate emotions from the innermost psychic substrates of the human mind, simultaneously creating an indissoluble relationship between the moments of silence that surrounds inner reflection and the world of dreams, is the peculiarity of the sound minimal-ambient/soundscapes created by the French solo-project Philippe Blache, aka Day Before Us. Operative since 2010 and intensely inspired by the cinematic sound, the post-romanticism, the literature addressed to the classic ghost stories and everything related to surrealism, the artist is distinguished by the breadth of feeling that is able to extrapolate and to live through the use of a register sound that makes its essentiality same dogma, characteristic experienced in a circle of tracks from the sensitive soul, but sad at the same time imbued with solemnity executive, twilight atmospheres and evocations of ancient cryptic symbolism. The music designed by the protagonist consists of modules based on long periods key-piano shrouded soundscapes with episodic inputs of guitar and organ, all faintly moved by an aura full of nostalgia, formulations still audible in a discography nowadays in initial stage which see Day Before Us involved in 2011 in two different compilations: "Urbi & Orbi vol. III" published by the Italian label MinimalRome and "Flatland, A Romance Of Many Dimensions For" edited by Kipple.it. Particular emphasis is also given to the digitally tracks published in 2012 as "Contemplatio Mortis", ambient/acoustic soundscapes designed for long- extensions of keyboard and field-recordings, in the same way "Of Altered Scenes And Restless Streams" followed by charming original soundtrack of "Breath [Jana's Musical Air]" animation film presented in twice at the Preview Berlin Art Fair and in Rome at the Animate Festival "Ritorno All'Alba / Back to the Sunrise". Other individual episodes worthy of mention are also the gloomy and dark "Of Bitter Winds [Alternative] ", a song dedicated to classical poet Henri Kirk White scheme in which sad-ambient hovers the voice by Laila Marie, but also "De Même Silence ...", as evocatively distressed and gloomy, or again "Weeping On The Shores Of Thousand Reveries", prepared at ambient meditative paths clouded by aqueous soundscapes. The artistic journey undertaken by Philippe has also been marked by constructive partnerships with various subjects, such as the German musician Markus M @ p with which Day Before Us has always planned in 2012 in style dream-pop/ambient-cinematic-acoustic three sequences: "Raised By Distant Breath", "Modern Times" and "Chambre D'Écoute" or with Julian Julien, performer French jazz-rock and founder of the band Fractal, whose art combined abstraction of Day Before Us originated in the same year, the project author Engraved Memories experimental album "From Sparkling Hours In Stillness". Remarkable for its thickness the incorporation of Philippe dating back to 2011 with Marco Barluzzi, Maoro Sanna Tommaso Rolando and Krell at the representation in bidimensional-ambient key of the novel wrote at the end of the nineteenth century by the great writer Edwin Abbott, whose version was rebuilt acousticly by the ensemble, takes the title of "Flatland - For A Romance Of Many Dimensions". Before delving into the content of the debut album "Under Mournful Horizons", is describe the key features of the second biographical character involved in the realization work, Giuseppe Verticchio aka Nimh, electronic-ambient composer inclined from 1994 to oriental modulations and which is attributed to a large number of attractive full-lenghts mostly released by the labels Weird Amplexus and Silentes Minimal Edition, concocted releases interpreter individually or in cooperation with other musicians like Maurizio Bianchi, Amir Baghiri, Mauthausen Orchestra and Amon. This album "Under Mournful Horizons", then, is the result of the combination between two strongly inspired musicians whose operations are defined ambient/microtonal underground/cinematic, overflowing with dark sounds romantically derived from the action joint infinite keys, piano, organ, guitar, synth, samples, vocal filtering, manipulation effettate nebulae and field-recordings. Fired as the digipack always great label Rage In Eden disc, as well as portray the image of his sleeve all the statuary sorrow conceived by the photographic Oana Marchis "Sabbatnoir" lists five spacious suites from depressed ambient temper-dream whose premise takes the title of "An Uncertain Dawn" track filled with ghostly, valpurgic acoustics, enhanced by scores organ, and the unknown rumoreggi roar of the rain in the background. "Surrounded By A Moonless Night" is a pale piano symphony submerged by electronic impurities, distortions, vocal samples and distant rumbles of key, while the next "In The Court Of A Sorrowful Season" is an electro-acoustic ambient offering melancholy piano notes surrounded b technological acidifications and arpeggiated guitar reverberations in its end, a beautiful example of soundscape that captivates the mind and spirit. The eponymous "Under Mournful Horizons" celebrates the title of interpreting it in a dark-ambient foem by restless rarefactions field-recordings, multidimensional dissonances, flowing into sound with a massive project, ripples and electronic voices from underground, all linked to obsessive procedures of the keyboard. The epilogue titled "Frozen Gleams Of Eternity" retrieves decadent poems whose piano orchestrations are eroded by the torrential flow of the field-recorings and the roughness of electronic alchemies from the core of the song. Work of authoritative stature, the album "Under Mournful Horizons" describes the space surrounding a vacuum to be filled with the harmonious sound of his own emotions, covering vast areas of shade for as many moments during which rational thought is like glass, leaving only the surreal perspectives that the listener will perceive with such intensity that they even stand bewitched. The simultaneous cooperation between Day Before Us and Nimh generates a mixture of ambient sounds, toxic artificiality and a touch of sad feeling, elements that are revealed alternately as poignant and glacial. It shall be enjoy of the contemplators of the unmoved things, men and women who can fathom the unconscious taking from it the deeper and spiritual reflections entrusting the results to the slow current of a sound musically oxidized by which it is impossible escape. This release will leave an indelible mark inside all them.

 

back to top

Daybehavior - "Follow That Car!" - cd - by Maxymox 2012

day Swedish trio of synthpopish abstraction designed in embryonic stage in 1988 by Carl Hammar, releaser of great remixes for Julian Brandt, Bobby and Myth, together with Tommy Arell, this latter interpreter of the solo-project known as Tel Aviv and author in 1989 of "7" Another Day ". Both ones fans of the electronic-pop sound that characterized the beginning of the decade '80, the two players established the starting basics for the early Daybehavior design, realizing it gradually in 1993 at the Graplur Studios in Stockholm basting the sound-system is best suited to contemporary trends while preserving the natural and nostalgic attributes. Also in 1993, the decision to give body to their music through the introduction of a female vocalist led Carl and Tommy for a thorough evaluation of potential and many candidates, making the final choice about Paulinda Crescentini, still present in the line-up of Deaybehavior and appreciated additional-vox on the Extended Night Walk Mix version of the song "Looks And Talent" created by Julian Brandt and listenable in the compilation "Various Electropop 2" published by Conzoom Records; the consolidation of the band helped found and then the realization in the 1996 debut "Adored", album released for the label North Of No South Records and convincing manifestation of a synthpop paradigm full of refined electronic insights surrounding the sensual voice changes expressed in various tracks from Paulinda also in Italian language. In the same year the project published strategically through the North Of No South Records the following singles taken from the same full-length: "Cinematic", in which tracklist is included the poignant and decelerating Daybehavior's reconstruction of "See You" by Depeche Mode, the limited edition "Releaseparty 1996 Freebie", "Hello", this one including a catchy cover of "Tour De France" by Kraftwerk, and finally "Carouse", published by Scandinavian Records. The single-versions represent a very welcome activity by the ensemble, in fact after the sequence just listed were fired in 1997, ever from the debut album and for the label the North Of No South Records, the single "Movie" as well as the second edition of "Hello!"; Daybehavior spent six long years before the second album, the double-"Have You Ever Touched A Dream?", released in 2003, strategically distribuited in the USA and Europe by institutions such as A Different Drum and Memento Materia, a successful work including a climax electronically turned to romance, something expressed by formulations down-mid tempo interspersed with dance-oriented modules, these further accentuated in the second disc where an effervescent tracklist concatenating mix versions very well suited to the dancefloors. Also on this occasion not absconded extrapolations carried out alternately at each label with the singles "Close Your Eyes" and "Devil In Me", the latter incorporating three remixes by circuit platforms around the label A Different Drum, named Monolithic, The Echoing Green and System22, besides the two tracks "Heaven" and the maxi "Superstar" proud of remixes made by Hajas, Nevarakka, Intuition, Monopoly, Simulator and Somegirl. Coming to the year 2010, during which Daybehavior established the foundations for the construction of the third album, this "Follow That Car!", finalized in 2012 for the new home Graplur and anticipated by the promo "City Lights" and followed by the two digital-singles "It's a game" and "Silent Dawn". The release is proudly presented by Conzoom Records, label noted frequently by Vox Empirea for its unfailing intuition in selecting and resubmit many of the best artists and releases from the actual and vintage international synthpop area: I take this opportunity, therefore, suggested by the same Conzoom Records, to inform all the fans of electronic 80's hits about the double compilation called "80's Revolution-Pop Disc Volume 2", a treasure full of remastered tracks for the label Pokorny Music Solutions in which titles they point out, among a constellation of other proposals more explicitly maintream, the extended versions of original tracks by O.M.D, China Crisis, Animotion, Erasure and Boytronic. Focusing now and dutifully on the new album of Daybehavior, it shows a list of twelve tracks distinguished by an exquisite performance very melodic and light, surrounded by romantic atmospheres and those immediately capturing solutions that only the North European synthpop can express with such perfection. As proof of this theorem that's opening "Come To Bed With Me," a midtempo wrapped sensual part of Paulinda softly extended between dry drum-machine scans hot key pads. "City Lights" exposes in turn melancholy inebriated electropopish style by inviting the singer vocalizing in parallel to the delerated steps the of drum-programming, an elegant inlaid elements construct of keys, while the following "So Shut Your Eyes" gushes the charm of electro-poetics upbeat harmonies from midtempo beats, vocals and keyboards flows echoed that maintain a high level of participation, facilitating it through the simplicity of melody altogether easy but at the same time also overflowing with grace and aesthetics. All continue with the linear downtempo cadences produced by the rhythmic engine of "Silent Dawn", which was also prepared on brooding themes singing introductions and refrain, all set in poignant keys agreements, as well as the subsequent. "The Blue Film" unfolds the depressed vocal harmonies of Paulinda socketing them as pale gems in a sonic diadem composed by artificial percussiveness at minimum range with dreaming keys orchestrations and finest electronic arrangements. The bpm's increase speed up until reaching a pulsing layout on which are stratified the attractive vocal modulations and the immense vapor trail described by the keys operated by Carl and Tommy. Pre-programmed rhythm segments paving now "GodSpeed" replicate the touch accurate graph add nostalgic and reverberating tones of Paulinda and the guest vocalist Annika Hedin, surrounded by scores of these robotic keyboard. The drumming mechanism of the following "It's A Game" fractionize now with millimeter precision the midtempo beats at the same time as the process of sequencing, enriched by the wonderful words played by Paulinda's vox calligraphy as a further embellishment to the sober refinement expressed in the keys accompaniments, everything in the passage which I consider the best for grace of the whole work. The passionate singing duet staged by the singer with the synthpopper musician Julian Brandt, him with Torben as members in the synthpop project named Bobby, generates a set of romantic notes caressed by key breezes and downtempo trickle of upbeat drum-programming, solutions that have been architected to make "For A Thousand Years" a track full of feeling and gloomy atmospheres. The alternation of speed drumming provides now the flexible and danceable beats that dress "No More Minutes", synthpop-song that intersects the enthralling intonations of the vocalist to bright touches of keys, sonic modules anticipatory the following cipher and saddened "Where The Trees Never Sleep", made by metronomic downtempo beats smash which keys maneuvers skeleton filled with elegance and capable of flashing flights that orchestrate the refrain, especially when Paulinda elevates his vocal filtered replications as appropriate continuation to the melancholy expressed during the entire run of the song, after which the sound is expanded, dilated and affected by the technologic equipments. "The Second Citizen" concludes the tracklist punctuating the music scheme with tight electronic keystrokes and a great keys spatiality in addition to the regular hatch of programming and to the graceful radiance that is filled the voice of Paulinda. Daybehavior they reconfirm once again and with excellence as a prominent band in the alternative synthpop-culture, evolving their style to such an extent that the celestials vocalises and the very fine electronic combinations united themselves to form a modern, lovely fairy-tale set, and at the same time overflowing of sophisticated refinements. "Follow That Car!" is an essential album for the collector devoted to this special music gender which he will surrender totally in a tracklist of great seductiveness, decorated with grace and emotion, within which are perceptible many 80's retrospectives along with technological schemes of the last generation. For similar releases the superlatives are obligatory.

 

back to top

Dekad - "Monophonic" - cd - by Maxymox 2012

dekad The foundation of the French Dekad back in the distant 2000, when the alliance between the front-man JB Lacassagne, Seb, Yoyo and Manu begat a complex melange of sound elements of character combined with additional new wave punk-inflected rock- structures as well as to dance goth-ebm electropop. After an initial break-in period during which Dekad convogliarono forces mainly to numerous live performances, the work done up to that point took another step forward thanks to an encouraging obtaining consent from the public, such to convince the band to perfect the music from a home studio with the release of Manu resizing line-up of four members to three. In 2004 the design concrettizzò the bases for the construction of a first release using the valuable cooperation provided by Member U-0176, a representative of the one-man project Thee Hyphen, a platform dedicated to the sound of EBM and electro-minimal-synthpop trio of keyboardist of celluloid. The year 2005 was characterized by the agreement signed between the record and Dekad BOREDOMproduct, label based in Marseille, specific in-synthpop electropop, through which it was released the debut album "Sin_Lab" whose tracklist spread an eloquent assemblage wave of electropop and EBM welded modulations oriented. The work received a great success, a result that served as a driving force for the second full-length "Confidential Tears," published in 2008, provided for BOREDOMproduct and a treasure trove of spectacular vitality of electro-acoustic fabrics mixed with formulations poppish wave components enclosed in a album of twelve tracks, technically perfect and of great power. Ep's followed the format published in downloading again for BOREDOMproduct, "Dare", "Dive" and "So Sorry", respectively, the first two of 2009 and the last of 2011, each consisting of remixed tracks, to obtain his latest album "Monophonic" now considered in turn susseguito by digital ep "New Religion" and the new collection of remixed singles "Strange Situations" album including physical reworkings of tracks created between 2005 and 2011, too, as this "Monophonic", invariably dismissed by BOREDOMproduct. The biography on Dekad as a trio but closed shortly after the publication of "Confidential Tears", a work that despite the positive outcry at the time was not an essential reason for the continuity of the project, which broke up quickly on the back of "Auto-Reverse", engineered by the same compilation in which the BOREDOMproduct Dekad participated with the song "This Aching Kiss". The root of the band, the always-on JB Lacassagne, after a period during which he worked admirably in the role of a second keyboardist in the project and in the individual Foretaste passion for songwriting and decided to restart the platform in 2009 but conceived as a soloist Dekad incorporating only Member U-0176 as a producer and guest vocalist, the latter commission also awarded to Sylvie Billy, aka Lover_XX, aka Creatures XX XX aka Terrorist belonging to the duo Foretaste, who starred in an impressive piece of "Monophonic" album that I am about to describe. As in previous work this latest release does not give room for filler episodes: it permeates every track features a charismatic created electronically using the button mid-tempo beat of drum-programming, the sculptural carvings of synth and vocals from JB, so melodic , smoothed by discrete tones but strongly polarized, all conveyed in the sound-system disk through a clean, arranged and mixed with unquestionable professionalism. The ignition key "Monophonic" is the opener "New Religion", a charming electropop propelled by mid-scan time programming around which dispenses JB vocals and intriguing harmonic flows keyboard sounds pass, followed by "Untouchable" and its precise calculation of electro-percussive ornaments added to the atmospheric synth and voice, this results in a pop-tech, nervous, absolutely pleasant. The introduction and development of style Yazoo "Darkest Days", make this track a synthpop higher order that satisfies the desire of listening well beyond convention to order using melodic touch of synth alongside a diagram button rhythmic and danceable elements decorated by hand seductive JB. "Hands Over Me" initially emits a convoluted extension of electronic sounds that persist in the diagram robotically melting the frost of the fractions percussive, to the cutting edge insert guitar and the vocals of the protagonist little more than whispered, with the exception of the refrain, the stretch in which the tones issued by Dekad modulations take slightly more abrasive. The solemnity tastieristica what a wonderful intro of the next "So Sorry" He succeeds in capturing a strand of drum-programming over which hovers softly vocal duet by JB and commitment from the guest-singer Lover_XX for a danceable electropop wave-beats from the full , cadenced. Similarly, "What If" flows smoothly on a calibrated drumming mode mid-tempo beats and synthetic buttons, rhythmic construction that supports the fleeting touch of synth and vocal support in the fashionable high to JB in combination with backing vocals U-Member 0176. "Do not Try" synchronizes the behavior of the wave synth-instrumental tunes and vocals with hypnotic beats of programming, while the following "Sometimes" reduces the speed of a few measures showing a futuristic percussive pop vocal generated using soft colors, programming, emissions from the keyboard and nostalgic melodies. The episode clearly more deserving of the album is in my opinion "No Time For It", an elegant electropop from the procedures that invite to the dance rhythms mesmerizing the senses, decorated with clean vocals delivered by JB thoughtful attitude, punctuated by a construction mathematical programming path that intersects hot spraying of synth. The deflections post-Depeche Mode internalized from "Dirty Princess" on a straight stretch, swing stratification electro-percussive sequencing and drum machine designed for the time interval to the evocative vocal intonations Dekad and fading characteristics of the pads, the procedures anticipanti Closing the album carried the same name and the instrumental "Monophonic", finely modeled on the cosmic frequencies of electronic synths and a cold mist that descends on regular scans of the rhythmic mechanism. This full-length strand is fully committed to that techno-pop of the highest standard, standing out for the sublimity of his harmonies and cutting dynamically developed the rhythm section. Despite the collapse of the original line-up, the neo-personified form of the project only by JB Lacassagne convinces even for the design and the solidity of his creations, entertaining with a tracklist that encapsulates rigorously electronic, careful selection of preciosity and singing melodies, showing up now more than ever the protagonist as the mind and the only true, authentic soul-Dekad entire saga. For he and BOREDOMproduct to extend my deepest sense of gratitude for having originated "Monophonic", an album honest and charming turn in the devoted fans to the genre's irrepressible urge to listen to it repeatedly, pop music technology at its best.

 

back to top

DNN - "When Things Stop To Move" - cd - by Maxymox 2012 -

dnn One-man project founded in Berlin in 2007 by Danny Prusseit, avant-garde musician from the electronic duo-called IDM Atmogat whose second component includes the name of Toni Polkowski. Contrary to the indefinable, sophisticated technology diagram composed during his Atmogat stay in the platform, relative to the DNN is an interpretation of the theorem more accessible and less experimental IDM, linked inextricably to the sphere of emotions with a clear majority instrumental sounds concocted through fine scores and downtempo emanations of atmospheric synths, all sequenced by the rational calculation of the programming. The first tracks produced by DNN were included in the collections of digital netlabels like Crazy German Language, the Latvian and French Elpa Cold Room, reached up to the partnership in 2008 with the brand Germanic Halbsicht Tonträger for which he made his debut in the same year entitled "Try To Feel", an album of thirteen songs in order IDM-ambient-downtempo honored in final phase by the stunning remixes of Mnemonic, and Xabec Atmogat the same project. The second release in full-length version of "When Things Move To Stop", developed by DNN in 2011, has inspired both musically and in the title to the memory of a person very dear to Danny's grandmother Paulina Loof which is conceptually dedicated the whole work. Mastered by d.j. and composer in Berlin Sascha Gawa tech-house, the album "When Things Move To Stop" has a tracklist containing twelve events at the same time relaxing aura elegantly decorated with IDM sound generation, as revealed in the opener "Things Which Stay", a mid-tempo punctuated with metronomic precision from the drum-programming, fully embroidered and studded with needle-like synth stabs that expand in turn full of records melancholy. Similarly, the percussiveness monoritmica and downtempo belonging to "Blue Smoke" accompanies notes keyboard publications designed to reproduce the sense of nostalgia, going fully concrettizzata timbre resulted from equipment and plagued by thin artifices IDM-minded. The slow pace of "A Silent Close" hypnotizes the listener through the sensory system of regular pulsations e-drumming, aerial spraying of synth and siren song poured out from the guest-vocalist Laska, aka English Katharine Tustain, songwriter, and multi-author neoclassical ambient-drone. "I Will Never Forget Your Smile" incorporates both the technical perfection of him IDM reproduced more slowly from brain sections of drum programming combined with a charming staff consists of a harpsichord extended agreement substrate on which flutter ethereal piano touch, the above formulas the following "Fading Memories" and its micro- percussive punctuations that draw a sharp and complex sequential downtempo track, based on which the shadowy alternate evolutions the synths that evoke images of your dreams. "The Very Thought" propagates eufonie soft keyboard that rise like fog, sunscreen melodies, torn down, poured parallel to the slow beat of the drum-system, a combination of events that ideally projected the concept of solemnity electronics. You arrive at "With Each Step 'oriented sound imaginable mentally during a night spent wandering in the car between the half-deserted streets of a great metropolis absorbed in thought: the flickering lights of the traffic lights and neon signs as rhythmic apparatus, the atmosphere and the modern landscape as support for keyboard, projected in advance to the next "Where Are You Know, "a percussive track IDM at low speed by which we distinguish the essential notes of the drum programming and synth tones mercurial melodic tune on a scale dominated by nostalgia. Not least, the eponymous "When Things Move To Stop" as a poignant short spreads chain composed exclusively of dilated reverbs key, while the following review of "A Silent Close" introduces one of the three remixed the track listing events that conclude at this juncture given the genius of Bitcrush, only project-played by Mike Cadoo, former component of Gridlock, which enriches the song using evanescent streaks keyboard publications and refined electronic arrangements that exponentially amplify the charm of the song. The second remake is one that deconstructs "The Very Thought", an event made even more hazy tastieristica by a curtain that blankets the coldness of the drum-machine cycle set to downtempo and fleeting vocal-loops, everything worked professionally by Huron, aka Steffen Schröder, musician operating in the shadow of the German IDM scene. The closing of the disc is completed the reconstruction of "Blue Smoke" by SE, initial Sebastian Ehmke, IDM-style downtempo artist belonging to the circuit Audio Tympanik which adds an extra touch to the track melancholic flow generated by the keyboard and the slow pulse programming, marked the development of a stronger tone. DNN knows how to effectively manipulate the artificiality of electronic sound integrating its complex plots tiny fragments of human emotion: the result of this connection is "When Things Move To Stop", a albums that have equally automatic IDM and passion. An attention should be paid to the mandatory label Halbsicht Tonträger, home that reveals character, taste and unfailing prudence in the selection of artists proposed, as evidenced by this work of unquestionable value. If you are deemed to Intelligent Dance Music and devotees belong to the fringe of modern dreamers able to grasp and internalize the sensitivity of this release, please ensure that your lives sooner or later they touch. Just one contact with this sound to fly your imagination in the world crystallized mastermind Danny Prusseit where everything stops moving. Not the emotion, however: it continue to pour musically flooding you by the immense.

" E "

back to top

Endanger - "Die Show Muss Weitergehen" - mcd - by Maxymox 2012-

endanger The Germans Rouven Walterowicz (vox / composition) and Marc Pollmann (Arrangements / progs) are the owners of the project Endanger electronic pop, a shining example of longevity in the design and commendable sense of sound technology. The duo, active since 1998, has always been able to exercise an elegant charm over strong vocals by case, with the corresponding synthetic rhythms and harmonies to the latest trends: the first record their test came in 1999 with "Motion" album within which Endanger introduced all their initial charge typically European synthpop with benign effects on both front of the press, and on that of the public, the latter notoriamnte more selective and less partial to many opinion makers. In 2002 it was the turn dell'evoluto and extraordinary "Eternalizer" very impressive full-length dall'artwork depicting the black silhouette of a telescope, silhouetted in a orange sunset, followed by the next year by "Motion: Reloaded", deconstruction and reconstruction of the first release published and realization that Endanger introduced in the gravitational field of the label Infacted. And cited the famous music-home is also the issue of accreditation beautiful album "Addicted To The Masses" in 2004 following the second collection of remakes in 2005 with "Eternalizer v2" as well as of "Revolt" album released in 2008. The return of electro-duo through this mcd is dated 2011 entitled "Die Show Muss Weitergehen" mini release preannunciante sounds that in all likelihood will be included on the next album, listened to the individual owns substantially all of the identifying characteristics dell'Endanger's style, elements in the tracklist reinterpreted by a host of creative remixers, whose formulations are four of the seven available tracks, including one of two versions of the song "Dawn Again". Opens the disc the combination of the original song, "" Die Muss Weitergehen Show ", episode-based mid-tempo designed using the traditional scheme deutsch-electropop that the protagonists activated by setting net scans drum programming, vocals baritone and atmospheric synth scores. The next step recalibrates The candidates and the shape of the track, dilating the structure to achievement characteristics of "extended version" adapted for mixing. The captor "Dawn Again" calculates the time of drawing precise lines drum machine, slightly more accelerated than the previous track, then strengthening the support by intermittent rhythmic bass lines and melodic partnership between the singing of Stefanie Spranger, belonging to the side project of vocalist Endanger Alphaluna called, and the magic of the agreements keyboard-driven, structures identically transferred to and processed by the aforementioned remix the next drawing Alphaluna as clubby dance music pushed through electro-percussion, arrangements and high energy solutions that will be very welcome to dj The platform electro / gothic / industrial of the German Eurocide entirely rebuilt "Muss Weitergehen Die Show" now permeating an irresistible danzabilità generated by tires and-beats and sounds addressed to the dance floors, while the following version of the track is reworked by Massiv In Mensch always excellent which will sour harmonies electricity through a guitar and flagellant rotation of battery. The closing track is again a remix of "Die Show Muss Weitergehen" at this juncture, designed by Estonian duo D. Darling and Viktoria Seimar, aka Suicidal Romance, architects of this reinterpretation based electro-dance of the theorem, with fluency and immediate grip on the hearing. While not representing an unusual variant designed to disrupt the story electropop, the Endanger can once again stand out by offering a style that makes the freshness, elegance and the suddenness of their strengths, always devising new tactics appropriate to a public eager for contact with an electronic musical that knows how to move the body and is able to allow time to remember his refrain. In the specific case of "" Die Show Muss Weitergehen "I think the mission perfectly successful.

 

back to top

Enter And Fall - "Push Enter And Fall Down" - cd - by Maxymox 2012

enter Amazing and official debut album in the electro-synthpop-EBM to the inherent power-German duo Enter And Fall, currently represented by David Goldammer (vox / lyrics / arrangements / music / visual concepts) and Sven Heyne (guitar). Inspecting the biography of the project shows that it originated in 2008 by the will of the initial matrix composed by the same David Goldammer and Daniel Diaz Gonzalez, this former front-man of the design and recently came out of the line-up giving the leadership to David which, with targeted strategy, has rescheduled the trim of the band recruiting the quoted guitarist. The powerful energy released by Enter And Fall is converted electronically music immediately captur ing and saturated with dance-minded elements, qualities through which the platform has gained a well-deserved recognition from the magazine Sonic Seducer new proposal emerging as the best of 2012. This dual full-length "Push Enter And Fall Down", released by the German label Emmo.biz, comes after an EP "Push Enter" 2009, enacted in 2010 to release a second version with three bonus tracks, as well as a long sequence of accessions of compilations always begun in 2009, of which I quote in thickness "Orkus Sampler 53", "Orkus Sampler 81" "Sonic Seducer Cold Hands Seduction 107", Sonic Seducer Cold Hands Seduction 134 "and" Compilation Vol BlackHeart . IV. "This album has already analyzed it outwardly in a big way with a super jewel case from the alternative form and including two floppies from sonic content simply excellent, a pleasure to play and a new confirmation of how to achieve outcomes quality using the aim passion and an uncommon amount of creativity. "Push Enter And Fall Down" is a double album engineered with painstaking compositional technique, a document of extraordinary electronic footprint that will collect all the publicly acclaimed affiliate of gender, all This is not only due to the obvious skill demonstrated by the two components in the first chapter "regular", but also for what they offer eight episodes incorporated into the second bonus-volume, a review of Club Versions, unreleased tracks and remixes of songs that the Enter And Fall have extrapolated from the repertoires of names belonging to important resonance.'s fourteen tracks of the first object sonic start with "Intro" and its hypnotic echoed divisions marked by rhythmic programming, cold downtempo sequences made by a suggestive phrasing temperature sub- zero anticipanti the eponymous "Push Enter And Fall Down" exemplary mechanism pushed to synthpop-EBM industrial latitudes through vigorous propulsion of drum-programming, streams of sequencer and vocals spoken harshly. Certainly among the tracks leading the entire work if not the best, "Back In Time" consumes significant amounts of energy percussive disseminandone the fast bpm on a solid track electro-EBM refrain from the beautiful and captivating, in which the guttural voice of David merges the triumphant chords of the key and the lashing graphic percussive, all wrapped up in an authentic hit the track. The sound of Enter And Fall not only provides creations button force but also danceable electro-atmospheric formulas, as expressed by "Lose Control", a midtempo synthpop ruffled by vocals of David whose cavernous addolcide modulations are parallel and feminine part of one of the guest-vocalist present in the credits, Joe, whose notes reverberated adorn the mechanical dry jokes, the enveloping wake of agreements keyboard-and the bright dots etched from the synth. Optional equipment driven by the duo perform now "So Bye Bye", written by the second guest Susan Klotz and prepared by inciting electronic impulses on which is woven a vigorous weaving electro-EBM keyboard, voice, guitar corrosive and finishes, and the following "Empire Of Sound" marks an electro-proclaimed reminiscent to voice setting for the occasion clearer, the Klangstabil of "Math And Emotion". The versatility of compositional Enter And Fall is also manifested in the following "So Much To See "orienting the axis of the electronic module in the direction of a technopop melodic and sentimental, in whose rhythmic patterns danceable midtempo articulate vocals asprigni of David and the most gentle of Joe, sounds completely submerged by the roughness of the keyboard." Aufsicht Ost "segments speeded electro-percussive lines traced by combining the circularity of intermittent sequencing, for a song that goes grafts EBM-minded obscured by a hoarse singing. vocally Daniel Diaz Gonzalez plays "Running Out", dark-electro track of which he is also songwriter: his lyrics and his tones uttered with hatred are innervated by the rotation of a dry drumming and midtempo, modular base scratched by Sven guitar riffs in addition to the quick touch of synth designed by guest Apexx. Subsequent "Beat Conductor" is a ' cold-processing procedures synthpopish robotike detail materialized from the coldness through which Susan Klotz pronounces the lyrics penned by herself, circoscrivendole in a device by the rhythmic fractionated and subjected to the abrasive action of the guitar, the same one in "Paradox" dot structures electro -industrial by means of sharp and strong vibrations of strings metal-oriented that integrate all'implacabilità a slow drum-programming, all scratched by the incessant voice of David and glacial erosion tactics technological accompaniment. recovery solutions allow EBM the following "A Little Girl" to increase the number of beats programmed up to the achievement of a pounding ride techno-uptempo whose configurations have also vocals threatening, loops, and dark streaks of keys, for a track from danceability guaranteed. Introducing on "Being Human" offers a brief but fascinating collection of items and artifacts in style tv-spots, filaments loopati schematically introduced throughout the journey of the song, the electro percussive symmetrical, tormented by the discharge of the metronome guitar and voice darkened roughly David. Minimalism electronic programming, and shiny tambureggi martial symphonies keyboard build in conclusion the beautiful "Stand Up And Fight (Outro)", a song mostly instrumental by the rigidity of modern orchestrations melts away to proclaim loopati, making the 'a glorious episode, severe example of neo-classicism futuristic. Exploring detail now the second volume contained in the jewel case meets the first version of Club Mix "Running Out", more expanded and enhanced with new electronic evanescence in order to increase the potential dance. The tracklist continues with the reconstruction of an individual belonging to the Germans Trial, "Blut und Eisen", a song from 1992 here deconstructed and reassembled by Enter And Fall in the form of a dark-electro Remix Blutspur button appointed, effective from dancefloor sound device ' dramatically cinematic intro which is followed by a relentless percussive midtempo register equidistant to the flow of the sequencing, vocals and keyboards livorosi accents mercurial. could not miss the transposition Mode Extended Club Version of "Push Enter And Fall Down", here revisited by the creative genius the Enter And Fall and made infinitely more captivating of the original song, perception alleged permanently by the powerful and percussive calculated strides which are flanked millimeter hatches sequenced, all in support of rousing vocals of David and air columns erected by keys . It 's the time of the remix of "Rot", the song is from the album released in 2009 by the legendary [: SITD:], a version of this beautifully reworked and presented by the duo in a garment ultra-danceable, melodic atmospheres within which shine enhanced by electro-programmed rhythmic swing system, efflorescence keyboard publications and singing punctuated by the vocalist. energy industrial-rock soul DocRock adaptation of "Aufsicht Ost" drains the power of the guitar funneling between the steep and damaging the coils of the combination vox-drumming, while the s ubsequent revival of "Heaven Feel Feel Free" song created by the project electro-synthpop East German Channel, cheers offering further hearing at this stage remixed dense fine tune and technological solutions to the track. "Pay Your Dues "is the song by Polaroid Kiss, taken from their first and self-titled EP in 2012, that the Enter And Fall reconvert in a thrilling remake consists of a hand suggestively echoed in union with the midtempo beats of drum-programming, lines and sequenced increasing evolution of the keyboard. Immobility is denied to the sound dell'esortante motto of "Auf In Den Kampf", track taken from the second album "Alphatier" project industrial-electro-metal Germanic Treibhaus that Enter And Fall remix by switching the original structures in a technologically uptempo dance and secure grip. Superba performance and album to collect in absolute terms, "" Push Enter And Fall Down "is one of the best electro-releases that empyrean Vox chooses from this final phase of 2012. Its driving force is rampant unstoppable, his formulas rhythmic vocal corroborate hearing and foment the dance: records like this are the pride of this newest electronic generation.

 

torna su

Esoteric Sob - "Abnormal Psychology" - cd - by Maxymox 2012 -

esotericsob For my second time reviewing a release created by John Trifonopoulos greek, I feel again the exact sensation of being touched by a music at high atmospheric outcome dell'assiduo dedicated effort by the protagonist in search of fascinating modulations electronics / ambient / glitch / IDM. Artistically active since 2008, John has participated with his friend to Leontardy Piece of Evidence, experimental design tech-orbiting 33 Recordings label based in Athens specializing in the genres electro, ambient, IDM, trip hop, dubstep, breakcore and drum'n'basss. Despite the essential instrumentation employed, John is always able to articulate a range of acoustic addressed the emotional stress of the apparatus, an area from which emerges an infinite sequence of kaleidoscopic sounds, suitable for listening in which the fundamentals are the relaxation and the individual, absolute capacity get away from the concrete world to travel with the mind to the cosmic infinity. For this purpose Esoteric Sob developed its first realization in 2009 digital-ep dismissed by the aforementioned 33 Recordings "Eternal Melancholy," by which they resided seven fascinating interpretations style breakbeat / downtempo / ambient, followed by the next "Egomania" of 2010, and p at the time the subject of my analysis recensiva more than satisfactory outcome through which deponevo hopes of an eventual full-length that he possessed the same features and even more fascinating. My hopes have now been amply fulfilled by this "Abnormal Psychology", the debut album from sound-absorbing, lost in thought, ten episodes linked by elegant electronic procedures and structures that once spread from the stereo surround the listener with grace tastieristica combined with micro-wounds percussion: the eponymous track "Abnormal Psychology" ideally reflects this description setting its arcane pads of notes punctuated by a thick network of needle-like rhythm, while the subsequent "Hypocrisy" spreads magic key agreements and effects, the whole traversed by segment un'intangibile electro-percussive. The introduction of acoustic "Little Moments" evoke realistically poetic maritime scenes, nostalgic iconography developed from stream parallel to the drumming of the keyboard all'inestricabilità IDM / downtempo. "People Without Face" expands the enchantment spreading initially vaporization tastieristica tones which enchanted gradually add key and melodic sections intersected by plane algebraic micrographs the rhythm-machine. Lionel Raymaekers, aka Amorph, Belgian musician by vocation IDM / electronics, now joins Esoteric Sob in the design of "Life" also inclined toward melancholy harmonies rhythmic percussive dall'intermittenza calculation. "Strange Portrait" is a celestial piano sonata and key suitable as a substrate to enhance the musical direction of neo-romanticism, as well as the subsequent "Changes" emphasizes the concepts of the same song just heard, riformulandone sentimental overtones from long pads inserted between an effervescent rhythmic segmentation. The musician avant-garde, writer and producer Jeremiah Menez Californian, impersonating his solo-project remixing Root Elements through which the theorems belonging to "Road To Happiness", the previous opening-track EP "Egomania", here masterfully re-arranged through a series of cunning and subtlety laboratory sound generation that transformed the episode into the dream of an android controlled by dry scans downtempo. Mihalis A, in art MikTek, greek composer stylistically oriented solutions IDM / ambient, offers a second remix, and submit it to "People Without Face" to a profound revision of synth and drumming that renews the appearance. The American singer Russell Karra, aka Cellar Door, then offers his extraordinary singing art embellishing further elegiac atmosphere of "Little Moments", in this reprise track-version turns into a languid, melancholy extension of voice, key and rhythm micronized, at the conclusion of a release that greatly enhances the credibility of Esoteric Sob, skilled transformer of the intellectualism of electronic sound in vivid, pulsating feeling. "Abnormal Psychology" is etched with hands and soul overflowing with light, in addition to a valuable technical meticulousness, what constitutes the essence of an artist and an album that Vox empyrean signals among the most praiseworthy of the new hemisphere IDM / electronics. You also will find "Abnormal Psychology" contemplative, sensitive and, in its way unique.

" F "

torna su

- F.ormal L.ogic D.ecay - "CelebrAction" - cd box - by Maxymox 2012-

formallogicdecay Aseptic experimentalism linked to the attitude of giving vitality to its "sound" are the main features that enliven the spirit compostivo dell'avanguardistico composer from Tuscany Luigi Maria Mennella, and appreciated the versatility that made him also an interpreter of the side Furvus-projects, operating in this style called Pagan Soundtracks, and En Velours Noir, orbiting around a forerunner generally that the same author describes the name of Spleen Musick. More biographical notes belonging to the protagonist are available in the review of "Apocalypnosis + samplers "published in the pages of Vox empyrean in 2011, while the present analysis will focus solely on the mega-compilation entitled "CelebrAction" Forty-six licensed songs from the label and Selenophonia resulting from twenty years devoted mainly sonic alchemy, fragments of History now collected in a prestigious box limited to only eighty copies hand-numbered and containing in particular: two CDs, a mcd 3 ", a poster, key rings, two pins 1 ", a bookmark, two" saints ", ministampe two and four cards from the archives. The artist, dutifully, he specifies the precise nature of the work which does not constitute a "best of" but rather a memorial dedicated to the long career of "musician of the empirical" testimomiato particular from the very essence of the release consists essentially of multistilistiche extrapolations drawn from worn tapes, rarity, tributes and traces partially completed. Remarkable is also the symbolism of the perceptible nell'artwork box, shown frontally from the retail colorful "Eclipse Of The Sun", a painting made in 1926 by German artist George Grosz, and in the back by an expressive black and white photograph titled "Professor of the Moscow Conservatory Ilchenko Played the violin for the Russian troops stationed on the southern front", an image taken in 1942 by Russian photographer Anatoly Garanin. It delves into the intricacies of the first disc consists of fifteen songs, initially through the opaque sediment of tune "That's Amore", the old hit of 1952 by Harry Warren introductory segment which now prepared for "Silent Love," Apocalyptic-track built on the dark melancholy singing of Louis surrounded by rarefied electronic mists, in addition to a distant drumming in support of filaments organ and a more inner guitar arpeggio. "Musique Pour A Manege (Merry-Go-Round audio loop)" is a short and lighthearted synth melody from percussiveness light while the disturbing "Halloween" deconstructs and reconstructs the classic John Carpenter horror theme by introducing it first in a turbid environment jazzy, and later in a different paradigm backbeat punctuated by drum machines and vocal loops intersected by streams of alienating keyboard. "Untitled Soundtrack <1> For Sci-Fi / Detective Movie" is a dark episode of musical film based on cool beats of drum-programming and a background electron gas, sound the trumpet ending foscamente Overtone "The Silence". The excellent "Lullaby For Morgan" takes the form of a play tones and night lulled by a gentle relaxing piano, vocal elements totally opposed all'irascibilità widespread at times in "Am I To Understand What That ", featuring a song ambient-psychotic jargon spoken in an unknown dialect interposed a dark soundscapes. The impromptu of "Machimprovisation" flaunts flat compositional finesse that Louis also reflected in this indus-jazzy track minimally, prepended Next to "Untitled Soundtrack <2> For German Police 35's Movie", a lively soundtrack synth and programming designed by the musician to be adapted the screenplay for a hypothetical movie inspired by the work of wanton perversion Geheime Staatspolizei '30s. A quick turn on commercial front-spot is found in "Gilda", a delightful vocal track loopata fragments mixed with soulful bends, jazzy and electro, passing from following "Koji Tano Tribute", ice and stormy power-electronics liturgy that honors the eponymous avant-garde musician who died in 2005 and known also acts through its noise-Magmax / MSBR. "Untitled Soundtrack <3> Gothic For A Stupid Movie" aims to turn the concept perfectly sound integrated to an imaginary horror film with the use of atmospheric keyboard publications trails, thrilling and mournful bells-regulated by drumming noises mid-tempo, while the folly of "Woodworms" Torture sound projecting acoustic micronized completely unstressed, deprived of any possible harmony: extreme electronic testing and asylum are to be the only components of this track is absolutely incredible. The thrilling movie-atmospheres and its music are a reminder to our interpreter almost inevitable tendency shown in this threatening to deference Claudio Simonetti specially titled "Simonetti Tribute", in which the project F.ormal L.ogic D.ecay it emulates the modus operandi through shady symphonies organ interludes and bass-lines that evoke the thrilling cinematography Italian 70's - 80's. Opposite in nature, the praise dedicated to the anchor mysterious end of Monty Python initially exhibits an excerpt of his 1966 hit song "One Day After Another" sung by the original voice of the singer and united in the final crop impalpability dark-ambient sound, including a shot that gives ample room for the imagination: everything in "Goodbye Louis. "The second volume of the boxset" CelebrAction ", further divided into four acts, exhibits twenty-seven passages extracted from the first sampler project, initially open to "Wearing Out Till Oblivion", conceived through a misty-growing electronic sounds and beats of minimal paths combination on the keyboard-chimes, elements anticipanti subsequent development of programming and key style Jean-Michel Jarre. "Towards Equilibrium" broadcasts a configuration evenescente minimalism by apocalyptic touch heavy key-top and filtered vocals, allowing the entry of second statement of the CD that Louis rants in seven short chapters of "Fragments From A Recycled Empternity": the first, "Part 1", combines the gloom dell'obscure indus-to-ambient echoes of jazzy musicianship, as well as "Part 2" cauterizes the sound by an eruption of sound distorted, acidified by a thick rain of electronic noises and voice-remote. "Part 3" recovers again the darkness of the dark-ambient denser and underground, through a in which increasing roar turns sinister howls echo. "Part 4" continues in a qualmodo the same dark and dark-ambient tracks heard in the previous experiment, in addition to pungent noises and reverberations incorporeal jazz-minded, while the echoed upcoming propagated from "Part 5" blend of obsessive circularity intereferenze space, phrasing loopati and electronic noises of unknown provenance. "Part 6" is simply a line-obscure sounds and acoustic gaseousness who, reaching "Part 7" and its mental hospitals artifices of voice, calling to the perfect conclusion to this note. The subsequent processing consists of eight tracks is titled "Devocalizzi", ie an unusual modulations phonetic chart "B" sections from primordial recordings F.ormal L.ogic D.ecay, emissions from conntotati predominantly analytical and devoid of any melody: "Variations Modular Voice "is un'estenzione tones of voice variables, while" Aperture guttural "transfigures itself into a strangled sound and cavernous. "Voice flute" paints piercing frequencies, as well as "Undulations labial" spread the watery sound of the breath of his mouth clamped on the surface of a liquid surface. "Sequence Modular Voice" is itself an exhalation monotone extended to the limit of endurance, while "Palatiale - Closing throaty "articulates a low, muffled vibration of vocal cords. You arrive to" 1 '00 "ohms," lengthening of sound without inflections intermediate, concluding with "Tinnitus Diplofonici aperiodic", opaque and hissing noise radio transmission. The opening chapter of "informal" introduces nine tracks both digital and analog produced through many different sound sources indicated next to the titles and, behold, then the essential pulse "Alea 1: C64 - Commodore 64" followed by intermittent shock produced by "Electromanipulation - 220V AC" and the snappy, minimal procedures "Useless 1 - Various Synths". "Alea 2: Paranoia - CRT Tube Signals" radiates high frequencies keyboard publications, and nothing but a prolonged silence symbolizes "Almost Nothing - Field Effect Transistor". The crazed reworking of the classic telephone ring tone features "Tele-phono - Telephone Ring", ahead of the second theme of "Useless 2 - Various Synths" and his bloodless harmony artificial identically to "Alea 3: Childish ', played by a slight touch of the acute-synth sound. "Gas Modulations" is the release of a sonic jet at the same time bleak and strident which grants the entrance to the beautiful "Bloomy Girls" soundtrack of a video made by Japanese filmmaker-musician Masakatsu Takagi, long suite that incorporates in a single module electro-symphonic programming, piano and synths sonic peculiarities typical of the three different identities impersonated by Luigi Maria Mennella, or neoclassicism En Velours Noir gothic, ambient neofolk-Furvus and of course the essential acoustic research espoused by F.ormal Lo.ogic D.ecay. Complete a mini-CD box-set version 3 "called" Macht Geht Vor Recht ", including four rare tracks labeled with the prefix "Trk", providentially survived a fire, later recovered and introduced into this tiny format. It is a independent experiment, characterized by an attitude of "soldierly" regarding the noise: it is the demonstration of the dusty breeze dating back to the conflict, as it merges between the spatial electron density of "The Trk". Scans calculated from "Trk II" draw energy from a Rotation of industrial-sounds sharp, lethal, followed by electro-pneumatic bursts belonging to "Trk III", deflagrating from there in a short caustic rotation noise technology and ruthless warrior. The contrived melodies mix to "Trk Iv" are of the structure of the track infettandola by a corrosive plasma hard-insustrial-noise and militaristic phrases. F.ormal L.ogic D.ecay is exploring acoustic, an efficient, versatile and technological testing system for over two decades gives the listener the opportunity to interact alternative directly with ocean amount of modulations eviscerated, dissected and then reassembled in multifarious styles of the creative genius that fuels this amazing musician. "CelebrAction" MegaBox so radically avant-garde, it incorporates everything you need to take a long excursus pushed to the very core element sound: Regardless if you are already lovers of the protagonist of the work or not, and if you feel appropriate assimilation of content extreme hurry in search of this publication I name worthy of being integrated into the most prestigious experimental underground Italian-oligarchy of these twenty years.

 

back to top

Femina Faber "Amplexus Mentis (Ut Cosmo Concordent Voces)" - cd - by Maxymox 2012 -

feminafaber Describing the characteristics belonging to the artist Paola Bianchi, who played the solo-project called Femina Faber, is fundamental to highlight its strong propensity to revolt Latin and Gregorian chant, which allowed the composer inclination to obtain significant accolades and awards over the years, as well as the can be integrated into a larger circuit articulate as collaborative in nature and also at concerts- medieval and Renaissance polyphony and contemporary. This, essentially, is the basis of stylistic Paola whose biography mentions in 1998, with Luke Valisi the vocal sections, the militancy in Ludmila platform from multiple genetic minimal-electro-darkwave-ethereal-sacrum 4AD-oriented, through which the musician, at the time used for the bass and drum machine, recorded in 2000 self-released the mini album "unadorned" followed in 2007 by the nine tracks "The First Circle," published by Creative Fields Records label underground. Remarkable also been going commitment to live by the duo with a number of events that enabled Ludmila to be appreciated both at national and European level. The year 2005 was characterized by the foundation instead of Femina Faber, a renewed solo livery worn by Paula and generated from the individual pursuit of Luke in the direction of musical canons adjacent to trip-hop and ethnic; the purpose of the project in question is to make the inseparable interplay between the solemn demeanor of singing texts in Latin and the support of musical electronics but not hegemonic strategically discreet. The discography lists initially conceived by the EP of five tracks with the same title "Femina Faber" developed with the support provided by Andrew Marutti, teacher of Afe Records label, who succeeded in 2008 album "Tumultuor" containing the hypnotic expansions radiated from the dark-ambient-noise chillness spread from industrial and adorned with idyllic vocal modulations. Then we come to the recent "Amplexus Mentis (Ut Cosmo Concordent Voces)," fired from the top albums of elevatura puns Records label headed by Froxeanne of Verona Frozen Autumn, whose tracklist includes ten episodes produced by Femina Faber, arranged by avant-garde composer Fausto Balbo and mastered by him in association with Andrea Garavaglia, drummer of metal band of Italian Mesmerize. A further report on these credits must be duly addressed by the artwork designed by the ensemble of disk Frozen Autumn, or Lace Diego, and Mirco Froxeanne Dean, known by the pseudonym "The Count". The matrix electro-sacral inherent in the creations of the composer made perfect since the opening song, "Ne Me Demiseris", where the slow beating of the drum-programming together with the turbid waves of noises crowning the melodious sweetness of Paola producing a sound load of ancestral charm, distinctive improved through the active collaboration of the two guests during the writing of the track, ie the composer- producer of electro-dubstep music Zenatti A034 and Matthew, an artist specializing nell'arpa diatonic, author also of compositions inspired by sonic Middle Ages, Baroque, the '500 and '900, who with his instrument adds further value to the track. The sinuous movement "Stroke libidinis" mesmerizes the senses through the slow creep of the lyrics and acoustic percussion hinged to shamanic in the procession carried out in cooperation with the experimental electronic musician named Kontakte. The pinches harp developed by Marco Zenatti embellish even the next "Parva Gemma Mea", ethereal song, dominated by electronic minimalism played by bloodless programmed beats and synthetic rarefactions in support of the heavenly song propagated by Paola, everything prior to "In Mari Flame "by which the emission of vocal modulations arabesque singer take hours and embedded between the skeletal appearance of the drum-programming. Listening to "Amplexum Mentis" dreamlike fly equivalent of crystallized white winter landscapes, feelings exacerbated exponentially by the vocals and the whispers of Paola lulled by the eeriness generated by electronic equipment and by ARPA of Matthew Zenatti. The following "Frames of Occultae" converge gloomy scores of low-maneuvered by Luke Valisi, the magic of the arpeggios woven together by Matthew tactics developed by the A034, all punctuated by solemn electronically scans that give physicality to the high treble trills and vocalist. Continue concentrically sinking into the dark waters of "Emitte Spiritum Tuum (Inferum Visio)", a song in which ethereal textures reverberates far left and the chorus of Matthew Zenatti ammantante is the siren song of Paola that the essence of electronic flash. "Ne Me Demiseris (Effectio Mystique)" exposes itself a structure of singing in various aspects due all'ethereal-folk concept expressed by the soft touch of the guitar played by Fausto Balbo who punctuates the song through a vibrating tool idiofono coming from central Africa called 'mbira, followed by the sound beatings in martial drumming of guest-drummer Andrea Garavaglia. The Funds are rhythmic in cold ritramutano splits time through e-beats of "Inter Urticas Rosetum" a track where the liturgy celebrated by singing Paola enchants with carefully orchestrated vocals upward between dark bubbling electronics and the delicacy of the harp caressed by Matthew anticipanti the final solutions "Tenebrae Undique" and the melancholy surrealism it evoked by the simplicity of the singer lying symphonic passionately on a velvet background arpeggio. Experience the entire concept of this album means to explore the depth of feelings in order to grasp the grace and strength in projecting both an abstract oversize singing, nobility and technology. The use of lyrics in Latin expressed even more value to the very meaning of music, designating the same time, this ancient form of expression to which the important role of protagonist Femina Faber, religiously, gives body and renewed splendor, bringing to completion a work which charismatic 'is "Amplexus Mentis (Ut Cosmo Concordent Voces)", reserved for a select audience, aware and mature. The sound is the canvas and Femina Faber is the hand painted with the colors of the immense

 

torna su

FluiD 'Envisioning Abstraction _ The Duality Of FluiD' - cd - by Maxymox 2012 -

fluid The versatile musician belonging to the hyper-technological Chicago called Christophe Gilmore, aka Fluid, open gates of its absolute importance in this official debut that touches a wide spectrum of genres such as industrial noise, metal, dubstep, noisecore, alternative forms of trip / hip-hop and experimental dark. The artist began his career as a keyboardist-bassist for bands such as Impulse, Immaciulate Corrosion, DOD Wardrobe Cathedral and Drug Of Choice increasing as a result of their credentials and attending to both the electronic programming that the synth section of the project known Californian indus / goth / rock band called Die My Darling, by working in parallel with its activities sound designer and cultural agitator. The star materialized also over the years numerous recordings individual and collective version album and EP, among which stands out for about "Warhol Machine'12" of 2000, a device full of sonic influences industrial / acid-house / rap. The references identified in the whole method of composition of Fluid draw on the insights of avant-garde Aphex Twin and Brian Eno's atmospheric expansion, while integrating the electronic formulas of Autechre, Coil, Massive Attack, Dalek, Techno Animal and lastly, but to a lesser extent, the strategies of metallurgical Scorn. "Envisioning Abstraction: The Duality Of Fluid "is a record that still retains a central manifold oriented trajectories purely electro-dubstep-trip-hop, slowing procedures with downtempo rhythms and tunes by jamming inacidendone keyboard-driven. The first of the ten tracks included in the full-length is "DH-1", entrusted to un'ipnotico apparatus and waves of percussive sound electronically dirt, abrasive, Lysergic: there are also elements psychedelici as Next in the "AIC", in which a phlegmatic drumming and distorted beats settles between bass and gloom emanating from the organ, electric riff guitar, tampering and pungent synthetic transmission of noise. The composer Ned Jackson-style experimental hip-hop coming from Virginia, the better known as Black Saturn, contributes to the writing of "Iron Communique", an equally murky mix of trip-hop, dubstep, sounds alienated and wander reference metal, the latter intensified by the incessant roar of guitar in the background that overwhelms a pseudo-rap tones off. "Dread Futures' relaxes the atmosphere leading the audience into a cathartic blend of natural ambient-dub performed by slow rhythmic pulses, echoes of piano and keyboard publications fading, while "Refuge" fluctuates between spectrally essential ectoplasm noise, a synth that propagates as a menacing thin orchestration and spatial effects. It now comes to slinky electro-percussiveness of "Distrupting The Ghost", which combines the icy track scans programming to a fluffy melange of Arabic keyboard and a song, next to the entrance of "The Absent Present" that recovers the cloudy meandering trip-hop of previous sisters, integrating its electronic dissonance, sharp hissing, jets of industrial interference, minutiae rapid technological and vocal loops. "Sublimination" manifests itself rarefactions synthetic brain with a visionary set of abstract sounds, marked by numbness of the drum machine and bass, in the same way that "No Froz II" projects glacial refractions dark-ambient animated artificially an emaciated guitar reverb that support the development corpulence buying power abrasion rhymed from turning into downtempo rhythms. "Parallel States" arpeggiates sampled strings of sitar making gradually absorbed by an ethereal dubstep echoed that incorporates a scratch, the Mists keyboard, drumming and misting of sobbing noises, to complete a track listing compared to the progressive innalzasi a toxic haze on the moon. Music that, as suggested by the same Fluid, is perfectly suited to situations and themed environments like modern art galleries, avant-garde art exhibitions and alternative clubs, making "Envisioning Abstraction: The Duality Of Fluid" and its complex and diverse structure, a sort of restyling of the traditional concept dub, formulating around it an ingenious databank of sounds psycholeptics and not easy to decryption relazioneranno that virtually the ideal listener, that he who possesses the ability to transcend the conventional testing new, futuristic microcosms trip from opiate. With this disc you will pass with surprising ease the fine line between the tangible and incorporeal.

 

back to top

Foretaste - "Love On Demand" - cd - by Maxymox 2012 -

foretaste Foretaste is a synthpop duo consisting of French Lover_XX (vox), also known under the pseudonyms and Creature_XX Terrorist_XX and Lover_XY (progs / backing vox), which are associated with the titles and secondary Creature_XY Terrorist_XY. The style of electronic project is focused on simplicity and the immediacy of contemporary harmonies wise addition of quantities of danceability and class, thereby making them comparable to the first hearing without depriving them of a nice refinement. The area of ​​the record Foretaste lists from 2005 to 2010 twenty-eight appearances as authors or remixers of tributes, events divided among illustrious compilations such as "Sector Vol.1", "Futureclash Vol 2", "Remixed Vol Synthphony 1 "and the albums belonging to high-sounding projects such as The 3 Cold Men, Eurovision, Nouvelle Culture, Celluloid, Dekad, Operation Of The Sun, The Moon and Neutral Harvey & Lies. Also significant for the caliber of label support, the French BOREDOMproduct which is entrusted with all the productions to fruition in the band except the onset of the 2004 EP "Discordance" made independently. It was followed in 2005, the first episode of the official label BOREDOMproduct, "Beautiful Creatures", an album of eleven tracks presented to the public the concept of synthpopish Foretaste characterized by freshness and capturing melodies. Susseguì to it in 2008, the second full-length "Terrorist TV" and in 2009 a demo EP in digital format containing six tracks of unreleased material titled specifically "Unreleased". The productivity of the duo spread in the same year by laying off a number of new ep's always version downloading: "That Smiling Man", "Beautiful Creatures", the sensual "Porn Star Baby" and "Dying For The First Time In My Life" containing a great remix by Dekad. Two years later it was the turn of the ep "Superstar" succeeded in 2012 by "Alone With People Around" also published in extended play format. The third anticipated album "Love On Demand" was born in 2011 offering both the regular version in the format attached special edition with a second volume, "Live On Demand", which includes eleven tracks recorded live in Germany. The credits mention the production, mixing, and mastering of the album by the same Member Foretaste in combination with U-0176 belonging to projects Thee Hyphen and Celluloid, as well as character BOREDOMproduct gravitating around the circuit. An album dedicated to love and then, feeling musically interpreted by Foretaste form of texts and sounds from nature shot, sensitive, passionate, elements that intonation is perceived by the tone of voice Lover_XX, both emanating an aura full of torment and seduction, as evidenced by the full opening song, "Alone With People Around", a synthpop mid-tempo rhythm track plot orchestrated by the button in programming in combination with elegant trails of the keyboard. Even more automated, "Do What You Can" reduces, although slightly, the speed electro-pop percussion sporting a well-articulated technology and pleasant, structured mainly on the melancholy song of vocalist in addition to the less obvious the guest JB, aka JB Lacassagne's solo-project Dekad, emissions divided between the sections of the robot's precise drumming and accompanying electronic alchemy. The slope of Foretaste nostalgic about the sound is revealed in all its entirety in "The End Of Days", a synthpop sad-when the voice of Lover_XY draws a hand full of yearning, embellished with sound educated inlaid keyboard and rhythmic from a drum-programming by a light step. An effervescent sequencing now introduces "What About Me?" A track that gets a danceable electro-percussive framework outlined by air uptempo bpm surrounded by vocalizing Lover_XX, in turn oriented accents perennially plagued by the aftertaste, as the following "Superstar" music that draws inspiration from the notes of sadness filled by popular singer who is waiting until the last minute of the song fits the energetic drum programming and synth duo. "Today" begins propagating waves of hypnotic sequence, and then his voice clear, fascinating Lover_ XX where extensions wrap with genuine sadness at the sophisticated graphics amalgamating percussive symphonies artificial issued from the keyboard, everything in advance on the following "Automatic Love Response" and conjunctions between his melancholy voice Lover_XX and electronics applied to the sound, components whose synergy generates pulses through an absorbing synthpop replicated and built mid-tempo percussive lines surrounded by bright gaps opened by the keyboard. Brooding setting for "What If", track no percussiveness whose nature is revealed by the sentimental song that the singer emits a tone completely prostrated and has entrusted arrangements to the long-fingered synth tissues Lover_XY, successive formulas from the beautiful "My Greatest Deception" , whose scheme is built on electronic-pop melodies capturing keyboard publications, synthetic mid-tempo beats and tones of the vocalist, introvert that arise during the refrain of a song stunning flower can instantly captivate and awaken dormant emotions. The layout-melancholic synthpop of "Save Me" does not change its course remains dominated by a sense of romance autumn, always revealed by Lover_XX and his vocal register full of inner anxieties turned into lyrics and acoustic electronically depressed, solutions enhanced by a first evanescent hand extension and sequencing to which later connect the beats of drum-machine calibrated on mid-tempo rhythm. Percussive and dynamic dancefloor potential strategies are the foundations of "X Me" track is very interesting for technical perfection with which strives Lover_XY sections of the buttons along the glittering livery tastieristica programming, but for the fascinating voice transmissions that weaves Lover_XX tools to to germinate by a radiant same set of chords and lyrics that every listener will sing synthpop dancing to the rhythm of this technological marvel. The superiority that I attach to tangible Foretaste is verifiable that this album will become increasingly intriguing connotations to each audience, highlighting the public generally inclined to the belief of having a modern masterpiece of sonic-pop whose contents will be loved in terms absolute and for life. "" Love On Demand "is an album made with impeccable creativity towards a melancholy prospect that ensnares quietly but relentlessly, on a full sound-complex, pervasive, technically" perfect ", and clean sound with frequencies that satisfy the plays the most demanding, in addition to vocal and instrumental formulations of the highest thickness that can stand comparison even with noble names belonging to this specific scene. This sound and the emotions that it will procure attach themselves indelibly in your memory: the synthpop of Foretaste is feeling Pure expressed at the highest levels.

"G"

back to top

Gedankenrasen - 'Innere Apokalypse' - cd - by Maxymox 2012 -

gedankenrasen Five years. So is the time frame used by the German Gedankenrasen to complete the circle of this, his first, stunning album "Innere Apokalypse", varied in terms of sound and much more interesting in every form. The kind of artist membership is a rhythmic blend of melodic orchestrations dark-industrial/gothic/electro/wave intersected by keyboard and samples, elements in common, make the fourteen full-length tracks of really enjoyable and built with admirable technique. The Körperschall Records label, alongside the Echozone, so lay off this imposing example of diverse electronic, performed in a sample of a different from other episodes, the purpose of showing the listener the wide range that marks the construction of sonic and Gedankenrasen while proposing a tracklist Always innovative, substantially free of repetitions. Audible in the album's lyrics are predominantly sung in Germanic language and accent a noticeable sense of drama that brings thoughts of expectations, feelings, loss, anguish, all incorporated in a captivating vortex of sonic technology is shown to be equally tracks to listen to individual, as long as they lived with total involvement. The survey of disc starts with the atmospheric scale plan that introduces "Zukunft Wird Vergangenheit" vigorously indus-EBM track, propelled by a tire percussive effect, and spurred on by insistent vocals. "Ihr Habt" brushes the initial stage with a touch of classical martial, then show off a rough vocal temperament and malicious nature of dark structures introduced in indus-electro-characterized by gloomy mid-tempo rhythms and acid scores synth, everything follows the cryptic filtering vocal foreshadowing "Ist Eine Jedes Wort Luge", a song produced by Jörg Menningmann and crossed by filaments obscure-electropop, with soft drum machine scanned sections parallel to the punctuation of piano, for a collection that evokes situations and thrilling film noir. Very impressive, the replications of progs belonging to "Das Ist Alles" sequence time innanalzando nebulae rhythmic keyboard publications from the sure grip that makes this track an almost totally instrumental track that will infallibly hit by dancing arrays technofili. Further on, we hear the fascinating evolution of "What Would I Tell You" by which stands a fine joint of synthpop, cutting edge electronic timbres and vocals from open tunings to be well defined, unlike the later "Ich Will Brennen" that retrieves sections instead of singing the most unnatural, vicious, in perfect harmony with the background in programming and nervous organ that gives the sound a some left. The imposing walls and pulsating percussion that forms the backbone of "Feuer Und Zündung (Schicksals Kuss)" hypnotizes and both forces to a relentless dance Technologie, followed by the melancholy piano acrobatics of "Interludium" mixed to struggevolezza in turn the key on toned violin notes for a chapter engineered with a distinct sense of beauty and underlining the excellent verve inherent in neo-classical talented player. The scene changes again giving now the entrance to the muddy sound of "Zerfall" track from the rhythmic key design, surrounded by a staff of synth and programming full of elegant mystery. Electronic dissonances in the procession slow, unrelenting, venomous voice and contributions of psychotropic pulse sequencer adorn the geometries belonging to the Saturnian "Angst" which follows this lively percussiveness of "Du Doch Willst Ex Auch", track from clear industrial matrix interspersed moments of pure passion overflowing symphonic keyboard-which will soon link up contacts with the dry rhythmic mechanism prompted by claims peremptory voice. "Immer Einfach Weiter Gehen (Album Version) "develops a danceable electro-indus form in which the programming codes the precise lines on which distributes Gedankenrasen word uttered with icy order, as well as the subsequent "I Wait For You" propagates as many beats per minute for lashing from techno-trance that will establish an immediate feeling with the dj avant-garde. Climax also danceable for the final stretch of the album, the beautiful "I Failed Again (Album Version) ", yet another excellent example of clubby electronic dominated by a linear programming and fast track over which they develop arches of synths and vocals urging the legs to move and the brain ecstasy. Technology to release that uniform number orchestral pathos: the alternation relatively light harmonies and other more sustainable wickedly sinuous vocals in particular focus, reflecting the origin form compositional stages experienced by the interpreter during the course of five years devoted entirely to the completion of a tack-list intriguing, and long-lived waste. As for my personal opinion, the artist has achieved all its objectives with mathematical clarity, seizing the tricks aimed at forging a work of great effect and completely devoid of platitudes. Gedankenrasen is a genius and "Innere Apokalypse" a great record.

 

back to top

Gianfranco Grilli - "Memories Of The Old Days" - cd - by Maxymox 2012-

grilli Viscerally passionate about music since his youth and beginning at that time, the composer Gianfranco Grilli has a dance background of considerable stature, including distant approaches with classical instruments such as piano, organ and sax, later supplanted by the interest of the elements protagonist, then fifteen, turned in the direction of pop-rock with the subsequent study of guitar and experimenting with live local initiatives. With the passing of the years taken varied paths Gianfranco founding first a personal recording studio through which he composed soundtracks not only designs but also in the new age-ambient style. In later times the commitment and caliber of his work were rewarded through collaboration and execution of the television classic piece he wrote, "Clouds ... a winter sky", performed in a concert annotabile importance took place in 1988 at the Conservatory of Pesaro. During the course of time Gianfranco found a growing preference for sound technological point of tracing the beginning of a long career as a musician-ambient electronics. His archive production enumerates many achievements spazianti meditative harmonies to generate spaces, new age and chillout, making tracks full of ambiance and abstraction, each of them holds a spiritual meaning and intrinsically oriented sonic trajectories related to those belonging to names such as Popol Vuh, T. Riley and Brian Eno. The sound system planned by Gianfranco Grilli, understood as the creator of the repertoire electronic-ambient, divided main take you through slow expansions of keys and synths, sounds detectable from the first album conceived as a journey back in time experienced by the charm that emanates from the sites Archaeological: "The Temple Of Karnak", published in 1998 and licensed by Aurora- label Amplexus. In 2002 followed "The Hills Of Druids" inspired by the rituals performed at the ages ancestral lands in the Marches, susseguito in 2006 album "Come To The Light Of Day!" published for the Russian Tantric Harmonies label and conceptualized around the dark Egyptian Book of the Dead. Hypnotism and the harmonious sense of unreality characterize the next stage called "The sunset of the silence", a concept album dedicated to Gianfranco very impressed by the image in the sleeve to Gaia, the ancient greek word used to describe the planet Earth. Follows the same time "Dreams Fragments", release ever goes beyond the set limit of ambient music for meditation and inner. The agreement with the label a.m. Songs & Music in 2011 he signed the release of the sequel "Sky Fragments", a work consisting of a single, extended instrumental track full of insights from the repertoire T. Riley and Brian Eno. Then comes the latest "Memories Of The Old Days", marked by sound artificial fingerprint Popol Vuh, Cluster, Brian Eno and Robert Fripp, able to electronically illustrate the concept of nostalgia but also in more specific terms, to enhance the 'inexorable passage of chronological time and lost moments of existence of which it feeds. The album, licensed by a.m. always Songs & Music, which includes six extended tracks "Big Trees" is the opener, episode by the high power generated by relaxing and infinite gaseous pads on which dart meditative keyboard harmonies. The cyclical, reaching a single agreement structure hypnotically "Sitting In Front Of A Romanic Church", New Age ambient-oriented music driven by the calm strength of the Cosmos here played through the spatiality of electronic waves and the impalpable inconsistency of acoustic-like steam. Exactly halfway through you'll experiment with atmospheric textures of "Old Illusions And Hot Summers", track vaguely oriental and embellished with sparkles keyboard publications that are nestled harmoniously with chiaroscuro refractions of the pads and shamanic drumming to spread the final phase. "The Silence Of My Nights" propagates initially turbid flows with ambient and electronic perturbations, in turn succeeded by robotic vocal emissions, expansion of the keyboard and the feeling of wandering without weight in a dreamlike, everything previously artificiality of puffs that constitute the core of "The Silence Of My Nights", an ethereal-ambient from which flow tastieristica cold ejection of matter in the form of reflections, which are raised circular modulations repeatedly echoing and then dissolve into oblivion. Equally impressive, the pattern of "Only Memories" brings together a natural logic of ambient electronic sound-warm throb of emotion in order employing the long trails traced by the keyboards and the tolling of bells, all uniformly overlooked by an aura melancholic conclusion to an album whose nobility competes fiercely with the most authoritative such proposals. I estimate Gianfranco Grilli a talented composer, animated by subtle energies creatively, more effectively than other ones that vibrate in the soul substrates by bringing out its waves of positivity and a highly introspective view of the tangible and the immaterial. Finally, consider the positive selection, or ripego, undertaken by the artist with regard to the essentiality of the packaging and label, as well as the calculated audience listening to his music that is direct, tough conditions imposed by the problematic present experienced by the independent sound: However, highlighting the best angle on the context, everything feeds the charm and exclusivity of the works produced in line with the fundamentals that underpin the ethics of the music player. Vox empyrean then signals "Memories Of The Old Days" as an album by a jewel sonicità mesmerizing and perfectly integrated in the repository section of worship dedicated to ambient. This will give you sound limbs luminescent with which mentally explore the universe without time located at your solar plexus.

 

back to top

Gin Devo - "Errata" - cd - by Maxymox 2012

gind Is time to switching on again the spotlights on the figure of the Belgian Gin Devo, since 1982 critical component in the design of rear Indus / EBM / ambient Vomito Negro shared together with the faithful Samdevos, Sven Kadanza and other members escaped on several occasions by the platform. The musical training of Gin is embellished by a graduated more than twenty years at the Royal Art Academy in Antwerp, a goal which was followed by a period of study in the context of the Royal Conservatory in the field of experimental electronic music. The vomiting Negro, however, are not the only reality sound built by the protagonist: in fact he founded in 1993 with Guy Van Mieghem Blok 57 of the impromptu design electro / techno oriented called Full Dynamic Range, as well as the side-project of radical tendency EBM created in 2002 and known as Pressure Control, which is attributed to the excellent album "Vamp". Recently come to label EK Product, Gin I continued it through a renewed journey record as a soloist proposing, in addition to this album "Wrong," the flashback "Surface", relealizzazione of nine songs recorded during the period 1988-1989 which, for content and atmospheres, are well suited to support the background sound of avant-garde art exhibitions. By focusing attention on the aforementioned full-length "Errata", it should be noted, thus honoring the efforts made by Gin I have the building up of the electronic structures audible in the tracklist have been fully produced without the use of softwares: every sound, every detail is therefore originated from physical equipment, all in accordance with the classic EBM locations with futuristic cutting that which the artist is worthy continuer. "War Of The Machines" is the track that leads to the release, a dance mechanically scanned by mid-tempo beats wedged between consonances by leaden hue, all dominated by the vocals of Gin whose roughness supplements the widespread abrasive buzzing from the keyboard. "Out Of Control" processes a segment drum-programming/sequencing clearly of EBM, planned by the sounds of metal percussion, applied electronics and futuristic suggestions voice. The instrumental "Salted Flesh" is a danceable alternative mechanism to track processed through an obsessive, modular sub-rhythmic sequenced on the surface are shown in rapid succession in mind and frames of images post-industrial, and "Good Night Mr. President" expressed in its movements theorem predominantly rationalistic EBM, concentrating in its core a robotic sound mass programmed by machines symmetrically grim technicalities keyboard and voice filtering. Another episode entrusted entirely to the tools is "Deep State," a slow, hypnotic combination of punctuation and sequenced icy evaporation keyboard publications, as well as the following "Twisted Heads" chasing a dynamic electro-percussive track on which alternate sections vanishing voice, whose reverberations are fragmented into contact with the iciness of the key. "Scope Of Desire" experiences instead formulas dark-EBM, expressing them through a linear replication of drum-programming in addition to the resolute voice of Gin, describing it wakes alonate mystery inserted with precision murky rarefactions keyboard. Shade and coolness are the primary elements that build the next "Mind Control", located on the canons strictly old-school EBM recalled the style held by the interpreter that provides a thin geometry drawn around the base drum in symbiosis with the gloom of the synthetic vocals, the lethal toxicity of fumes keyboard publications and electronic spectral choreography staged by the sections. The track that bears the same name, album title, "Errata", very technical, leading to the closure of the work using nothing more than a long, repetitive extension programming thinned and shaped by the sub-zero temperature, filament rhythmic than which interact alien voices, radio-frequencies from the lunar soil, whispers echoed and extra-modulations. Exciting work, a record that stands out the glorious harmonies EBM that have made this particular electronic culture: Gin I move smoothly in this space, including background and obvious futuristic experimentation, creating an album that sees the protagonist to the best of his inspiration. In addition, the joint and prestigious release by a label traditionally devoted to the genre in question as the EK Product, adds value to the disc, it always guaranteeing the listener a high standard in the contents in addition to strong technical preparation of the artists recruited. Artificial sounds designed for technological movement of the human body: "Errata" is what I would call without delay an highly successful album.

 

torna su

Gioventù Suicida Studentesca "Musiche Per Un Popolo All'Ultimo Grido" cd by Maxymox

gioventusuicidastudentesca Divided between two opposing stylistic disciplines, Emanuele Ratti from Milan (synth / samples / vocals) clearly demonstrates that he has a vision grim reality, and while a markedly visionary characteristics manifested by the artist with great effectiveness in construction noise inherent the present proposal, death-industrial-noise and Student Youth Suicide through his dark-ambient project called Aethere platform to which gives an interesting and brief discography that extends from an album on limited edition CDr conceived in 2006, "The Epicurean Garden", licensed Prodistri the label and succeeded by the second full-length "The Long Dark Tea - Time Of The Soul" in 2007, published the Polish label War Office Propaganda. Youth Suicide Student external, in turn, the most ruthless of the musician, an extension in the form of sound what the senses belonging to Emanuele perceive, process and store daily in his brain. The violence of the death-noise it brings together a cheeky flash extrapolated by episodes of record, on a cold stormy vortex of the electronic emissions, excerpts from television, loops, acoustic vocii and industrial elements which united form the true substance of the music of this seven tracks composed between 2009 and 2010. Worthy is the previous reporting album with the ironic title "Lovely Happy Italy", licensed in 2008 by the Japanese label Deserted Factory Records, which specializes in death / black / doom / gothic / darkwave / noise / experimental / industrial. A second, interesting publication, is constituted by a tape released from the underground Italian brand Peel Records, "Stay Depressed Kill Yourself", shared with the Dyskinesia in 2011, which contributed inserting Student Youth Suicide one of only two tracks in the track-list, which means "Sgarbi Electronics Mafia", this episode in the remixed version in this release limited to only five hundred copies, and fired again by Deserted Factory Records, "Music For A People Cry To the Limit", now under consideration on Vox Empyrean. "Oeus", opening track, prepares a wide range of industrial-noise radiation from the unprecedented power, whose feast is marked by periodic elevation of pads colliding with the mighty tempestosità flowing from equipment, along with the hilarious vocal loops-A. Tuzzolino and to impromptu, irreverent banter of the final dialogue. The remix of "Mafia Electronic Sgarbi" exposes the sharp phrasing typical of television character inserted in a violent context, electronic beats and industrial-space death by the curvature-apocalyptic tribal, reworked the project breakcore / industrial / noise Sandblasting Italian, played by Luca Torasso Rustblade and orbiting in the circuit. The sentences pronounced by Mark Marfè of X-Factor act as punctuation in the obsessive "Violently Mark", track infected by massive bursts of sonic technology from ' gait slowed and coldly inorganic. The spheroidal cadences of "Bitter Old Brianza" reintroduce obscene remnants of humor naive extrapolation from a conversation among friends with the main performer A. Tuzzolino, entered into a murky scenario algidamente industrial keyboard and resonances. Another transfiguration of the concept of gossip you hear in "Crown Against All", an episode that dissolves tv quotes uttered by Fabrizio Corona in a wild-eyed scheme electronic radio-contaminated items placed before the following "All My Stupid Friends", a track that exposes horrific set of sounds death- industrial down-time through a text screamed, chanted in a menacing military blanket of effects, echoes and otherworldly alien sprays. The artificiality of the voice belonging to Piergiorgio Welby, a man-symbol, a leading figure in the political, journalistic and artistic sick for years and passed away after a significant personal struggle against aggressive treatment, hovering around the spectrally robotike emissions mininal-electronic-industrial noises of "Welby Mon Amour" at the end of this album from the musical corrupted, destroyed. Atmosphere of intermiscelate planetary extinction with a selection of original items belonging to media personalities, with phrases from the symbolic meaning, often emblematic, introduced in abissalità huge sound hard-industrial, are the highlights of the style of Student Youth Suicide, spokesman for this lacerating psychodrama recommended for those who have already experienced in his mind the sound effects of the devastation caused by hurricanes electronic. We learn from the biography of ritual, that Emmanuel is currently perfecting an experiment titled "discomfort" with the project noise-power-industrial Turin Cain Arbour, design undertaken in parallel to another, what started with Nicola Buck, in a side-project that Nina Blanca extensively protagonists call Human Resources Division, a mysterious creature from the countenance death-industrial and digital hardcore. In order to understand and share the personal vision of society according to Student Youth Suicide, mark it with this ensusiasmo "Music For A People Shout To the Limit, "a pitiless insight of current mass media technology and drama. Delusional reflection of the times.

 

back to top

- "[Greenosophy] Collected by Mizoo" - cd - by Maxymox 2012 --

green Vox Empirea selected for its readers only the best of independent music scene: I think so indispensable report this elegant and recently compilation published for Ultimae Records, packed with the usual accuracy and sonic beauty that has always characterized the French label. This proposal articulated in digipak-release was designed by DJ Helvetic Cyril Meserez, better known in the circuit since 1992 under the pseudonym Mizoo, who has examined eleven projects drawn from the stage ambient, IDM, electronics, downtempo, psy-trance globally, including in collecting their most representative performances. The technical director is directed once again in the audio-matering the excellent touch of Vincent Villuis, artistically AES known as Dana, a major proponent of the concept materializations electronic sound and unfailing author of the artwork which has earmarked for small graphic masterpieces of all products Ultimae Records. In the compilation are perceived atmospheres and synthetic keyboard publications from expansion lens shapes-surreal ambient, such as those that make up the first track of the work entitled precisely "Initial", formulated by the synergy between Swiss project with the same Mnnsk Mizoo rarefattamente and spoken by Ana Goldin, an act followed by the spatial electronic procedures developed by the Spanish Rildrim in its "Eyes Tear-blind", a track corresponding to a trip beyond the planetary dimension. The American Martin Staaf, aka Liquid Stranger, proposes "Minimum," a track-style embellished with dubstep aereiformi relaxing and technology strategies similar to the drip of material alien mixed with dreamy pads, the same watery heard even among the gaseous sequences of "Emerge" was built by Hellenic musician Marilena Samantoura Sesen in its design, the author of this mesmerizing episode and suspended between dream-ambient electronics. Idyllic acoustic origin psychill downtempo-up "Idea Spiral" presented live from the French edition Alexandre Scheffer, aka Cell, to 'Ozora Festival 2011, and erected by cosmic flows keyboard punctuated by a slow drum machine. Calm and follow the initial electronic punctuations of "Nubian Sandstone "track designed and made by Swiss Salvador Felix Leu interpreting his project Ajja, exposed through a set of fluffy sidereal agreements, micropulsations, drumming and arrangements psychedelici lithe, dynamic elements followed by strategies included in "Subzero" of English-only project Tripswitch, aka Nick Brennan, an artist well known through his second identity called Codemonkey, this author now an integral step combinazini dub, trance, ambient and electronics. Readers Vox empyrean know perfectly the Swede Magnus Birgersson and its Solar Fields aseptic creature by which this avant-garde musician gives life to a fascinating nature trail and danceable electro-ambient entitled "Cobalt 2.0", framed with a push mechanism, rhythmic parallel to flou-pads hovering in the air by drawing trajectories evanescent. For several years, Greece has proved home to talented performers of sound futuristic in this particular occasion the lights come on Mihalis sull'eclettico A, aka Dimitrios Sakkas and better known as MikTek, DJ and author in 2011 of a valid realization called self-produced "Ambient Network" as well as now starring in this relaxing song, full of deep-electronics-calming devices bearing the downtempo title "Flying Dots". Coming from England, James Murray has so far confined to the role of participant in compilations: waiting for its implementation he offers with this album of "Folding Pattern" a wonderful example of his skill-ambient electronics, structuring a transparent composition that draws form by a sort of fast ticking as a basis percussive cloaked by misty trails keyboard publications. The 'one-man project of Mario Sammut is maltese defined Cygna, author of a variant of the neoclassical paradigm in order employing ambient acoustic sounds of violin, choirs of angels and arpeggios of strings, electronic items shown in a perspective so nostalgically visionary: all perceptible in the final "Dream Of A Little Broken Snail ". Stalls limited to listening and genuine admirers of sonic sophistication, for a collection marked by traces within which dominate each other cerebral and emotion. Confer to the refurbished label Ultimae Records credited with helping to add more musical value today through this special selection that will leave behind him the gratitude of scholars to have originated. Sperimentatela and make it one of your scores for all the days to come.

 

back to top

Guilt Trip - "Feed The Fire" - cd - by Maxymox 2012 -

guilttrip It's of fundamental importance to point out that the Swedes Guilt Trip openly reject any attempt to catalog in a specific legal style; However, breaking this dogma, would place their music in a clear context, EBM / industrial inspired mainly electronic models old school of Front Line Assembly, with indirect references to the hardness of the rock-electronic Skinny Puppy and Nine Inch Nails. The band based in Stockholm is formed primarily by M.Nilsson (vox & lyrics / songwriting) and K.Lindberg (keys / noises / songwriting), with the external credits of J. Bergman (guitar), E. Lindberg (additional vox) and K. Johnsson (bassline), veterans of an earlier and now extinct industrial platform called Chirurgie Esthetique operational in 90's. Since 2000, the band has gradually devised an even more aggressive and lethal-oriented industrial structure designed and evisceration annihilation in the sound of hypocrisy that characterize key aspects of political and social notri time, using texts and sounds that possess as denominators the profound contempt for the conventions of each genre and to the false ideologies, covering the role of assets in the everyday actors, not passive subjects of the system. The curriculum of the first two lists Guilt Trip album-releases in digital form, "Reborn" of 2000 and "Stigmartyr" mini album the following year, both published by the By Revolting Art Productions. The same label in 2009 fired the first Official full length, "Branded", following which the project was recruited by the excellent Swedish brand Complete Control by completing Productions it recently for this digi-album "Feed The Fire", prefixed to its limited edition collection of remixes "Feed The Fire Bonus Disc" which appear in the grandiose arrangements of tracklist: Fredrik Arsaeus Nauckhoff (Registry), Kristian Pettersson (Mindpop / Scene Of Ritual / Shape Shifter / Ticket To Wonderland), Sören Jensen (Howler / Interact / Awful Death / Serpentum), Fredrik Djurfeldt (Severe Illusion / Instans / Knös / Vanvård), Fredrik Larsson (Death Destruction / HammerFall), Johan Fridh, Jakub Avenarius (CQB), Magnus Nilsson (hands / Popundret), Karl Lindberg (X! LE) and Jocke Skog (Clawfinger). Also of note, always for the Complete Control Productions, the output of digital-single "Inanimate, track and additional the previous album "Feed The Fire", extracted from the same tracklist but turned into a completely different version than the original in addition all'inedito b-side "Oppression". The music belongs to Guilt Trip does not include special openings in the register but only claustrophobic melodic rotations by the harsh tones of voice, contemptuous, provocative, with drum-programming manual and electric guitar, modulations present in the first instant of the twelve tracks included on the album, "Headplate", a mid-tempo pulse energized by dry electro-beats and abrasive vocals made from venom of the texts. The footprint of Front Line Assembly Marchia focus almost every sequence of disk detail in "Breathe" is clearly stood out through the angular shape of its EBM electronic drumming, as well as the malevolent voice inflections M.Nilsson scratched by guitar riffs triggered by J.Bergman. "Inanimate", relaxing electro device, aligns its slow cycle all'algida elegance of synths and percussion to a bloodless hand, little more than a whisper, as well as the subsequent "Eternal Return" follows the same speed rhythm of the previous creating bpm electronically obsessive drag the listener in a cold voice sound dimension consists of filtering, loops and air gusts keyboard publications. The pattern of percussive "United" accelerates to concatenate nervous deadlifts EBM-oriented dashed by the dilated parallel sequencing spectrality emitted by hand of M.Nilsson, formulas anticipanti the danceable "Once A Week Twice A Day" a track from the tortured voice that the serpentine sharpness singer distributes between electronic devices, keys and synthetic waves of dry percussiveness. The gene bearing the character of EBM / industrial is strongly rooted in the DNA of UILT Trip, and this is also perceptible in the next "Reset", perfidy infected by the singing of M.Nilsson eroding minute after minute, the snappy bases-programmed rhythm, while the next episode, "Spit Love Life", expands trails vocals harmonies using sunscreen and cool robotic electro Dictated by the graph-industrial percussion. "Fragments" dry processes replications EBM mid-tempo song alongside them a sharp-toned, micro-segments of programming and rarefactions keyboard publications, creating a danceable, unforgiving technology theorem, identically to the next "Crack Up", featuring motorcycle dall'imperioso electro / EBM transmitted from its plant attacked by rhythmic vocal turbulence, gas jets and key laminae guitar. It 's the turn of "Braptism" designed alienating current of dark-electro / EBM in which alternate cosmic pads covered by regular pulse of drum machines and vocals that alternate their usual, husky tone to determine emissions from large android. Bursts of hyper- electronic energy are experienced in the final frames of "The Bright Side Of Lies", filled with a strong dance-oriented bpm formulated to support counterattack M.Nilsson which converts voice in the refrain that proclaims an authentic echo. Equipped with sound and resolute in their a searing anti-charging system in concept, "Feed The Fire" proves that virtue will be especially appreciated by connoisseurs of 'EBM / industrial to from the U.S., attracted not only by the properties of this specific genre but also the universal message of disobedience proclaimed Guilt Trip by force. They are entitled to believe that the radical change in the world will come through this sound.

* H *

back to top

Hardwire - "Insurrection" - cd- by Maxymox 2012

hardwire Square U.S. Arizona devoted to the harshness of the sound hard-electro/industrial, founded in 1999 by the cartel between artistic Ryan Hutman (vox - synths - progs) and Mike Marsh (guitar - vox), which subsequently accorparono Jonah " Werm "Foree (guitar - vox) from the project indus-metal Ikonoklast, Xian, and Austin (drums - synths - vox), former member of the famous power-noise band Alter Der Ruine known as Tucson. Radically contaminated by Rammstein, Die Krupps and Ministry as well as from the rear metal steel old-school German as Nitzer Ebb and KMFDM, the band became evident between 2006 and 2008 to have interpreted the soundtracks of the low-budget horror film "The Great American Snuff Film "and" Death of a Ghost Hunter ". The Hardwire initially crossed the stage in 2000 by publishing a first test of CDr and DAM entitled "Industrial Hardcore," published in its extended version label MP3.com California and as self-production in the second edition of the tracklist significantly resized. In 2003 it was the turn of the "Keyboard Cowboy", which self-contained excerpts from the previous album called "early demo versions" preceding the next ep "Konflict" fired in 2008 by Glow Room Records, including excellent remixes produced by the Die Krupps , Angelspit, En Esch, X-Fusion, Collapsed System, KREIGN and Caustic. In simultaneous timing was also produced a four track sampler free label named simply "Demo CD" after which the platform is granted a period of stasis record up to an agreement signed in 2011 with the always excellent Danse Macabre, a label that is entrusted with the recent publication of full-length titled "Insurrection". Commendable also lived the live of the project in a decade, alongside a long list of eminences such as Fear Factory, Front Line Assembly, Dismantled, Cyanotic, Hocico, Spetsnaz, VNV Nation, Project Pitchfork, Ayria, My Life with the Thrill Kill Kult, Obscenity Trial, Slick Idiot, Imperative Reaction, ChemLab, Everything Goes Cold, Hanzel Und Gretyl, Alter Der Ruine, 16 Volt and Lenny Dee. Focusing the analysis on the contents of the album "Insurrection" is a highlight of eleven songs from the tracklist mechanically sound harsh, angry, as it appears in the first episode "Stand and Cower," announced by solemn keyboard orchestrations pass by mechanical extension of the drum- programming in mid-tempo mode on which the hoarse tones of vocalist describe a flame text. "Plague" ravaged the sound using guitar slashes, acidic touch of synth, vocal drumming speeded and hatred darkly uttered guttural voice, spreads prior to the sleek electro-dynamic hardcore that gives a rythmn "God Help Us All", the only track that introduces the German project En Esch, aka Schandelmaier Nicklaus, a member of the primordial as well as of Pigface KMFDM, Excessive Force, Slick Idiot, performer now has a dance created by the procedures neurasthenic, exhausting, built on thumping techno-percussive scans, massive waves of electronic matter, of wounds synths and sharp guitar riffs indus-style metal accompanied by singing vehemently. "Taste of Flesh" contaminates the sound through the virulence of a flagellant industrial beaten by rapid beats of drum- programming and dashed from vocal-loops simultaneously all'abrasiva tones of the singer, the next "Expired" corresponds to a beautiful embellished metal indus- ornaments by world-class electronic, sfoggiante voltage irradiated by an impressive guitar alongside scans percussiveness downtempo vocals that alternate between ice and filtering by the wrath of the robot which is heavy with the melodies of the refrain, all for a song that I consider among the best album. "No Regret" settles its musical direction of an electro-industrial solidly built on energetic bpm chased from febrile rigor of programming and cavernous vocals. Another excellent example of electro-industrial technology is represented by "Lust for Pain", whose coldness spreading relentlessly among the slow procedures generated by the apparatus- rogs drum machine that presses the opacity of the synth and whispered vocals with sharp perfidy , the next sounds anticipanti "Deceit" and its futuristic, electro-explosive structure metal indus-modulated by a hand iron, hoarsely military, interwoven with live guitar and dazzling rhythmic techno-programmed double speed, the first of which is calibrated from mid-tempo beats and the following from a much more frenetic pace, punctuated by the venom of the synth. "Burn it Down" is a device indus-metal with post-nuclear atmosphere built through a perfect dose of brutality voice electro-rhythms and rapid strides in addition imperious majesty arose from the guitars, while the subsequent "This Virus" is the alternate send e-drumming rhythms from vocals innervated peevish and pathological electronic manipulations. The hypnotic calmness introductory synth and programming related to "Time Bomb", as the silent waiting before the explosion, and anticipates an aggressive form percussiveness shocked, guitars and vocals in indus-hardcore-metal structure, whose magmatic fragments expand ipervelocemente sticking between the walls of a sound extreme, murderous, uncompromising ending an album that will appeal to fans of acoustic dominated by the fury of machines and electricity from land-based strings whose vibrations are able to decompose the chemical formulation of the air . With the sound of Hardwire insorgerete at full volume from all forms of oppression.

 

back to top

HNN - 'Pièce Radiophonique' - lp - by Maxymox 2012 -

hnn By choice, Vox empyrean webzine dealing purely to review the products contained in the record format sound to it more ideal, ie compact disc. The exception that proves the rule comes from an artist who, for his equally legitimate choice and like many other musicians, affects their creations on vinyl, after long deliberation and a careful listening to the LP in question, I finally decided that the French merely HNN practice to be assessed and reported on my pages. Hsilgne Nekorb Ni, this is the full name belonging to the composer, falls stylistically in the synthpop / wave, debuting with this excellent eight-track limited to only five hundred copies, "Pièce radiophonique", licensed The lens forms the Alps label. It 'a release that welcomes its epicenter in the toning of natural ambient / minimalist electro-indus and sediments, differing from the typical form exhibited during the artistic career of Hsilgne, represented chiefly by individual project called Gregg Anthe with whom he has made four albums from 1997 to 2011 Gender-wave rock / goth / modern classical in the line-up of famous bands In Broken English and Morthem Vlade Art HNN has a pseudonym so parallel, through which the main character explores various hemispheres with passion electronic proving to be very clear ideas on technologies showing a particular attention paid to aspects of the melodic structures that appear devoid of any heavier or excess, leaving nothing but the caregiver as automation that makes the disc sound a product streamlined, accessible and positive under his slightest technicality. Listening to the work also reserves the lyrics cured by Emmanuelle Desmonts-Roudgé and therefore the first, exquisite surprise, "Life X-Press", an harmonious trait-facilitator that connects the slope to the new wave synthpop depechemodiano Cure style, creating a well-paced song with interpreters a snappy programming, synth, guitar arpeggios and a charming old-school song by the irresistible refrain. "Renouveau Ordinaire" is an electro-downtempo-theme of instrumental arrangements by atmospheric and sequenced to reveal a veiled female chorus, while the next "Mono" exposes dictates minimal-80's electropop arising from the hinterland, through the essential products of the programming codes in combination with slight touch of synth and a vocal accompaniment mode retro. Then we come to trial obscure ambient-diffuse from "Propagande" icy track from chrome keyboard publications and inviting, with dark pads, extended, pierced by dry intereferenze electronic, until the Next "Iris", built by a strict and dripping supports mid-time programming, capturing changes in keyboard, childish in vocii sottofonfo HNN and vocals that reflect a mood introverted, unfulfilled. "Exhibition", which was also instrumental, prolongs the pleasure of drawing inspiration from the retrospective electronic analogue-synth and sequencing back to glorious times, allowing the entrance to the amazing musicianship post-Kraftwerk issued by "A Step Outside", electro-generated from mathematical track in the procession robotic scanning drum machine as a basis for supporting cosmic flows keyboard and a form of flawless singing, which reminds of intensity and melody, all in one chapter I personally think that the best of the entire release as well as the most representative listened to me until today. The closure of the work done by the same name "Pièce radiophonique" completely unexpected and poignant piano piece that reveals glimpses neo-classical, romantic and decadent in a track-list built mainly by technological artefazioni sound. Eight tracks honest, inspired, carved with exquisite delicacy for many essential to spend time immersed in synthetic perspective of absolute excellence. The work examined provides an overall yield satisfying beyond the usual standards, without difficulty holding the comparisons with the most accredited representatives of the electronic kind, whether remote or current. If you are true followers of electronic pop, what convinces at first listen, get active as soon as possible in search of "Pièce radiophonique": owning This disc is a source of pride.

* I *

back to top

Impakt! - "Imperia" - cd - by Maxymox 2012 -

impakt The alignment of this excellent electro-Finnish band to the ranks of artists belonging to the EK product label emphasizes the bell is scrupulous in selecting their unavoidably recruited taking into account the factor of quality of the sound-system and the effective potential of the artists involved . These characteristics are attributable to Impakt! personified by three elements: Petya Valasvaara, best known as Vince (machines) with Pasi Janhunen which constituted the second half of the 80s electro-synthpop project called Advanced Art became extinct in 1995, in association with Sam (vox) and PW ( percussions). The platform claims its foundation many years earlier than its official ricomponimento occurred in 2010: for three players, students at the time, they met in 1985 quoted by sharing the passion for the experimental-industrial sounds, but after each one taking a musical journey based on their inclinations. These were the circumstances in which Vince opted for the electronic form proposed by Advanced Art, unlike the choice made by Sam and PW both oriented towards a special blend of rock and Irish music. The streets of Vince and PW met again in 1993, the latter responding to the appeal regarding the search for a live drummer-turned from the Advanced Art, an event which led to the temporary meeting between the two musicians ended in 1996 with the dissociation of the project. He spent a long period during which Sam and PW jointly started a new artistic journey at other Finnish bands, while the same Vince chose to devote himself to songwriting privately. The year 2010 in fact he signed a renewed convergence of three in the single project now handled by Vox empyrean Impakt whose name is!, The creator of this magnificent debut-album that dutifully point out to the followers of electro breed evolved: "" Imperia " flaunts an attitude technologically dance through symmetric couplings of drum-programming, vocals and assayed with a set strategy sailed together with targeted injections of synth, all condensed into a nine-song tracklist enumerante in addition to three bonus remixes Autodafeh assigned to projects, and Retrogramme Grandchaos . This episode of departure is "Around Coil Your Soul" which give space introductory opaque procedures to develop a clearly structured electro-dance and vocal capturing formulas that increase exponentially the socket mid-tempo rhythm. "Tie Your Wings Down "can be considered as a sign of excellence around the title track for its amazing properties expressed dall'incalzante attractive scheme in which the percussive drum-machine beats time in parallel with the vocals of Sam interpreted as an inevitable exhortation dance, identically to the next "October Rust" which adds to the Cartesian rigor of drum- programming sections involving singing and tactical electronic ascertained from biting. You arrive at "Coming Down With Fire", electro- mechanical propulsion accelerated by song rhythmic vocals that support open and large breaths of synth. In contrast, in the following "No Refuge From A Memory" predominant formulas oriented electronic melancholy, sound waves are shown by full-bodied keyboard publications and a minimal system to simultaneously percussive intonations of Sam spread lyrics full of sadness and emotional refrain. "Cleansing Your Love" reprograms the sound-calibrating back to danceable mood trajectories limited by the pulse of the drum-programming combination all'incitante attitude of singing, as well as the subsequent "Shameless" nostalgia retrieve voice mottled with despair now introduced between an electro- pounding drumming by which alternate moments of genuine passion for singing calm interpause. The exhibition related to "We Own The Night" proposes to turn a fast electro-drumming on which are grouped perfectly Sam's vocals and the synth flows, the following elements anticipanti "For Our Lost Empire" from the nucleus of which flows a concatenation percussion that portrays the seduction of singing and electronic embellishments bpm via the dynamism of dance-minded. The electro-EBM project Swedish made by Anders Olsson, Jesper Nilsson and Mika Rossi called Autodafeh reworks the concept of "October Rust", the first remix of the succession, adding to it percussive loops facing slopes measured decorations and electronic support. It continues with the new features electro- trance of "For Our Lost Empire" concocted by Retrogramme, drawing stylistically multipurpose areas in electronic-IDM-synthpop-darkwave native of Washington, composed by Rob Early, Nikk Allen and Dmitry Pavlovsky. The fund belonging to the rhythmic closing "We Own The Night" is designed to be completely streamlined in reworking Grandchaos, only Belgian-project nature of dark electro-played by Tcheleskov Ivanovitch, which reprocesses the track disidratandone forms making them more nervous and snappy. Impakt The! have demonstrated a remarkable sense of authority and ' electronic characteristics that make the band along with a pride and a promise from the EK product label. The jargon used in the building of the album are top notch, the vocals are expanded in the music vividly emulsionandosi perfectly the melodies and rhythm generated by machines. An excellent debut that will be appreciated by the vast audience of fans of the genre. Access code: "Imperia". Effect: electro-intoxication guaranteed. End of message.

 

back to top

Inter-Connection - "Traces From Heaven" - cd - by Maxymox 2012-

inter The unique feature more than any other stands out in the biography project representatives concerning the four electronic-synth-poppish known as Inter-Connection is on their different geographical location: René Tebbe (composer-producer-synths-progs), comes in fact from Hannover, Germany, Paul Rodger (lyrics) from London, Revital Ben Hemo (vox) is Israel, while Rome is the hometown of Joseph Calandrini (vox), known as "the Dsider". Following a fortuitous set of circumstances the elements, united by a passion fed into the sound technology, reached collectively in December 2010 a kind of creative balance by combining in a single formula the irresistible melodies, old-school 80's and 90's of the triptych Erasure, Depeche Mode Yazoo and intersected by the calls waveggianti typical of the repertoire Tears For Fears and Ultravox, all fully processed by electronic manicured grounds. Thanks to incessant work of evolutionary stratified in two years, the sound of the most recent Inter-Connection denotes multiple connotations instead EBM, darkwave, techno-electro-pop and dark, showing a volcanic desire to experiment with new patterns by avoiding stylistically definitive cataloging. Besides the broad consensus enjoyed in Europe, it is also appropriate to highlight the important feedback received from Inter-Connection also at non-European hemispheres through the selections of radio DJ's and even in a strictly journalistic, but, above all, by a public always increasing rise, results obtained by a perfect synergy between synthetic harmonies and irresistible vocals capturing. Equally worthy of note is the torrential productivity record released in a very narrow time frame, a feature attached to a gradual compositional metamofrosi log taken from the band with the firm intent to optimize the sound and, above all, to satisfy their love of alternative music. "Traces From Heaven" is the debut-album of 2012 dismissed by Moscow ScentAir label that has given the Inter- Connection to be counted as one of the best projects belonging to the last wave synthpop, on charges of electronic extremely similar in addition to a halo of darkness radiating texts and aids. Besides the aforementioned training title published, again in 2012 and the prestigious A Different Drum, U.S. brand based in Smithfield, the album "Chrome", marked release of technologically advanced and less shaded than in the first episode. A third album, "Life," also completed and waiting for that prodigal, 2012, in all probability will be assigned to the same A Different Drum, echoing the horizon fourth full-length now in the process of "work in progress "which are already available on YouTube, the two songs" Drowning "and" Hate ". Awaiting the publication of the next work we deal then with the first album "Traces From Heaven", also available in digital format from 2011, and subsequent evolution of the root record proclaimed by the band: the tracklist of the disc contains eleven songs and so many opportunities to hear a electronic-synthpop really intriguing, professional and full of pleasantly melodic to be stored in its memory. Nell'opener warn "Could You Be Kind" an indissoluble bond with the classic formulations of synths and programming originating sported by Depeche Mode interspersed with a song whose accents reminiscent of those wonderfully harmonic Kiethevez. The voice of well-defined Revital Ben Hemo sings "Shut My Eyes" a mid-tempo drum scans punctuated by dry-programming keyboard-breaths and crossed by the pale, graceful sounds in advance on procedures Erasure-oriented spread by the same "Traces From Heaven" , a synthpop that reiterates the vocal finesse of Revital parallel to crystalline touch of synth. More dynamic, the electronic-pop form belonging to "Cry" is based mainly on developments passionate singing of Joseph embellished by buildings danceable keyboard and programming devised by René, issued earlier by the lyrics penned the poem by Paul in "So Near So Far" , electro-downtempo track within which spreads the emotional part of Revital gently wrapped in nostalgic touches of guitar synth orchestrations, piano and the intangibility exhaled by a thin strand percussive. You then get to "Riding Out The Storm", also positioned drumming rhythmically on a mid-tempo button that is dry and the vocal harmonies of Revital wedge adorned with suggestive punctuation synth music by René. The tone of the keyboard, setting the voice of Joseph and the remaining context of programming related to "Never Again", they revive with extraordinary vividness the best Yazoo, and the following "Silence" directed toward melancholy prefers trajectories using the warm, ripe tuning Voice of Revital, streamlined electro-percussive stabs and noble struggevolezza flowed from symphonies keyboard publications, all kept in the treasure chest of this sad-synthpop track which I believe is a perfect mixture of sentiment and modern sound technology. The atmosphere electronically distraught revives again in "My Wilderness" episode in which the voice of Revital blooms resemble those issued in ancient times by Alison Moyet, and subdued accompaniment of synth and programming to better express the devotion of the Inter-Connection Yazoo repertoire. The male-female melodic bitonality exposed in the next "What Can I Do?" curve towards the sound of an avant-garde pop full of romance and elegance, identically to the trace of the tail, "Reaching Out", also built by an ardent passion for singing that the vocalist weaves saddened keyboard sections and the calculated minimal downtempo by programming. Harmonics taken great insights and a convincing technical dexterity characterize the Inter-Connection, deserving of approval by them levied on an international scale and disciples of synthpop belonging to legendary ages, immortal. The onset represented by "Traces From Heaven" in fact guarantees the band a solid basis on which to stratify gradually a real triumph, as long as the line remains as it is now set to compositions far from the temptations of commercial and munificent sounds so graceful. The advances for the next work confirms this, doing reasonably hope for a work of above average caliber and intended to further raise the credibility of the project on which I place great expectations. In the meantime, addressing the audience observing the kind in question, it would be beneficial also tend to listen to intermediate "Chrome", the debut-album in which they break down the initial conditions giving rise to a renewed perspective similarly good as your previous address: depending of these elements, with absolute conviction circoscrivo the Inter-Connection of the most brilliant synthpop-Vox platforms highlighted by empyrean in the current year. Good listening.

* K *

back to top

Karma In Auge - 'Memorie Disperse' - ep - by Maxymox 2012 -

karmainauge Waiting for hearing of the intended implementation of albums on the trio of Karma In tarantino Auge, Vox empyrean urges readers to view the Page "interviews", an area where it contained an interesting conversation in which the band has also displayed his biographical characteristics, and more about artistic activity since 2006 makes them interpreters of a style that I personally call it "sadly wave-rock". This ep "Disperse Memories" is the first test by which Salvatore Piccione (vox / guitar), John D'Elia (bass) and Mimmo Frioli (drum / synth) have freely expressed inspirations animate their repertoire, offering this six track built in 2010 and containing sounds sprinkled with poetic fragments that refer to the globally darkness of Joy Division amalgamated to force post-punker of Killing Joke, elements dissolved in turn in a lyrical strongly supported by decadent prose that does not mask the bitter aftertaste of hardship, loneliness and despair of the same. The release begins with the initial fast percussive beats that define the robust features of "Vision", a song built by fiery electric guitar staves, symmetric pulses bass and vocals that dominate Savior reflective verses extolling excruciating inner dramas. The next "Spleen" precedes the singing sound taut strings, rhythmic rock-minded lyrics and painfully depressed, while further on "Borderline" stages a neurotic form rock-waver with drumming further speeded up, thwarted by the barricades sharp guitar, bass and rotations of the dulling of vocal Savior. "Lost Souls" devotes himself to the strict dictates indie-rock/post-punk, spreading from red-hot magma atmospheres psychotic guitar, as well as "Illusions Of A Muse" reaches out to more melancholic formulations, uttering sounds post-rock/wave mode in which the cycle is intertwined nerbolute percussion, punteggiture low-, emotional-noir poetry recited by Salvatore and solid guitar chords, all enveloped by warm keyboard publications sections. The namesake "Memoirs Disperse" concludes the work of projecting un'adombrata dark-rock surface-wave delineated by low, guitar and drums, thoughtful words recited with grief and disappointment, entrusting their very intensity of the function to reach the soul. Bands worthy of interest as well bright promise of the national alternative sound. No righteous pretensions, no forced desire to impress: the Karma resides in the Auge style simple but vital compositional pronunciatamente who has realized this ep, a likely prelude to full-length official invoked by a growing number of estimators. As for my opinion, comparing the young age of the project to the sonic results arising from "Scattered Memories," I could not speak in laudatory terms.

 

back to top

Known Rebel - "Hollow" - cd - by Maxymox 2012 --

knownrebel The duo of ibicenco Know Rebel, manufacturing since 2009 in multiple sectors IDM, Ambient, Downtempo, Electronica, Experimental and Dubstep, realizes its purpose of entrusting the impeccable credentials of Chicago Tympanik Audio label is to promote this excellent "Hollow". Germán and Escandell Jaime IRLES, these are the names of the owners of the project, conceived of the album in question in 2010 initially assigning the first digital version of the net-label called Embermusic of Seattle, an initiative that received such loans sufficient to convince the aforementioned Tympanik Audio to take care of its Reprint intended for fans of the fullness of sound in CD format. The artistic biography of the platform only mentions a few notes, among which the innate tendency to experiment with even more extensive artificial acoustic genres such as ambient, glitch and breaks, a sign of versatility and ongoing commitment to research the "ideal sound" effort that led the two protagonists in the drafting of this full-length containing seven tracks in transposition and six remixes album reworked by the magnificent guests Jaime IRLES, Mothboy, Roel Funcken, Lucidstatic, and Access To 2methylBulbe1ol Arasaka. The Known by Rebel musical structures are classifiable in a highly atmospheric, almost overnight, always instrumental and oriented advanced acoustic technology maneuvers expressing subtlety, intelligence and a solid understanding of the theorems more avant-garde elements immediately noticeable in the first track on the list, "Anonymous", scheduled on criteria IDM compounds to read touch of synth, intricate drumming and multidimensional effects loopate entries. Follows the sophistication of electronic alchemy "Neigh", a song sfoggiante staff by listening to soothing sounds routed, made those from the slow scan of the drum machine in support of evolution keyboard publications charming melancholy accents. Very atmospheric, the introduction on "Mechanical Sunset" predicts a widespread bloom of the piano just caressed, pulse sequencing, rhythmic downtempo designed with aesthetic rigor and fascinating sound-current key, rounding out a very interesting chapter written and produced by Andrey Gusev. Flexuous artefazioni notion of sound you hear now, "Herz Aeon", a song that seduces through its visionary peace extended by evanescent pads, e-drumming mechanized, gas interference and vocal samples, in advance of introducing condensate tastieristica "Gathering Of The Argonauts" in which micronizzazioni electronic articulate, nostalgic strokes of keys and percussiveness sectioned. "Science" is completely covered by schemes concocted IDM sharp splits on percussion, vocal loops and a warm blanket of keyboard-driven expansion. "Smart" creates rather diaphanous prospects using rarefactions of programming, plan and lethargic synthesized sounds, while the first of the remixes in a note relating to "Helium-3" deconstructs the song reformulating according to the principles of the musician Jaime IRLES, which plans to order serene orchestrations keyboard publications intersected by precise deadlifts downtempo. The versatile John Simon Smerdon strives to electro-jazz reworking of "Aeon Herz", which here takes the track physiognomies breakkate and snappy, prior to the next input of the remix of "Smart" by Roel Funcken reconstructed here, in view of IDM musician known under the pseudonym Mr. Grid, which riallestisce track base using a sample of lysergic avant-garde sounds and reprocessed. From the frozen wastes of Alaska, James Church, aka Lucidstatic, rewrites the pattern of "Gathering Of The Argonauts' here revamped in ways breakbeat drumming through an electronically distorted sound disturbed and a nebula of dreamy pads. The only French-project called 2methylbulbe1ol transforms itself "Heluim-3" in a nervous remixandola device industrial-dubstep which constitutes one of the best events of the album, while the famous New York Rob Lioy, with which the Known Rebel share the label with his design Access To Arasaka, riediziona "Herz Aeon" by subjecting it to a fold-fracture transmission glitch-IDM flooded with gaseous pads adorning the track making it purely wonderful. Promising debut for these two newcomers in possession of a large class and able to come up with a spectacular interface in "Hollow" put all her considerable emotional charge. The distinctive feature of the project is not thus exclusively linked to the construction of the most futuristic strategies of electronic concept, but rather the ability to combine with the balance coldness of the emotional impulse of the human machine, the opposing elements in this release that are purchased in harmony. These junctions have the listener an album exciting theme that denotes all the skill composition of Known Rebel developed gradually from moment to moment all ' internal traces belonging to a musical style of the most educated. Another star now shines in the firmament of honor Tympanik Audio. It ' yours.

* L *

back to top

Langemarck - "Requiem" - cd - by Maxymox 2012

lange The review show of the best releases selected by Vox Empirea for its readers continues with another significant proposal dismissed by the great German label SkullLine, this time publishing the album "Requiem", the latest work of the solo-project starring Stefan S., dark-neofolk/martial/electro-industrial musician from Bonn. The name of the artist is a tribute dedicated to the mythological battle which took place precisely in Langemarck in Flanders in 1914, an event vividly imprinted in the imagination of the protagonist who builds a sound martial-neofolkey traits veiled electronic minimalism, since its characteristics found first self-produced mini-album, "Ansprachen An Die Jugend" built in 2004, or in the experimental plots of "Injustitia Commodatum East", the official full-length released in 2008 by the Russian label Der Angriff, known to be the promoter of the festival Heilige Feuer S . Petersburg. The year 2009 marks an important turning point record of Langemarck optimized by the contract signed with the SkullLine, brand through which the artist publishes in 2009 the album "The Malta Experience" alongside the mini "Vom Rhein Bis An Die beam" tracklist in which stood the great "Dresden". Contrary to what can be deduced from the title of the recent product here analyzed and, as expressly stated by the same Langemarck, the album "Requiem" is not code at the final chapter of his creativity but rather the beginning of a possible, temporary removal from the scene, intention that it will be confirmed or refuted in the long haul. The work in question is distributed in a limited edition of one hundred numbered copies manually, houses eleven episodes musicality thin and subject to some imperfections acoustic details but it does not reduce the intake of a dark e lectronic sound off dry but also symphonic governed and aftertaste memorial. It 's the case of the initial part of the album, "Back In Town" track with his drumming combined with synthetic notes echoed and dissonant bells in the background introduced from there shortly after "Requiem 1", slow and rhythmic as a soldiery celebration dedicated to the memory of the fallen, in which the voice of Stefan sings opera full of grief composed in addition to minimal keyboard-driven anthems. Essential structural vocals wistfully expressed between linear emissions drum-programming and cold streams of synth are the foundations of "Not Even In My Dreams", while those prepared in the following "Bells In The Dark", a song entirely instrumental, interpret nostalgia and fragile emotions through crystal clear touch keyboard publications whose reflections, veiled with gentle romance, dot atmospheric downtempo arrangements through which the pulse generated by the sparse drum machine. "Sunday Morning", also slowed, listening to a sad-song relies on the nature of martial element perceptible in militaristic drumming combined with scans of the bloodless formulas singing on which stand the jingling of the synth and an additional compartment for keyboard emulating puffs of gifts horn and string sections in addition to the agreements extended tonal minimal. "Winters End" also favors the use of basic architectures synthesis similar to engraving on a metal plate, explicate a concept of musical keys depressed, gloomy, whose pads, poured like waves, are crossed by vocals that interpret measured with a yearning song genetically neofolk-martial. The sound designed by Langemarck also explores different hemispheres as demonstrated by the following "Komm Zu Mir," pleasant synth-popish track extraction Depeche Mode's oriented built by drum-programming midtempo, low and reverberated vocal tones decorated with a refrain of effects, sequencers and the artificiality of the synth whose touch shine like tiny shards of glass. "Valse Pivoines" staged a slow bruise symphonic opera-martial by which patterns one can see glimmers of nostalgic romanticism, solutions-designed planning an extended beat single timbre on which the circling struggevolezza Stefan singing along with dehydrated archestrazioni strings sampled from the key, formulas before the following "Al-Ditjira", just as alienating, set on undulating replications electronic and vocal reverbs like a mantra, all placed between the frequencies generated by the spiral programming downtempo. "Requiem 2" returns to the track in a livery more passionate and optimized, where the militaristic and dry percussive sounds, active elements in the previous chapter, are now driven out of the box for the benefit of symphonies and more definition languid voice. It concludes with the brief epilogue instrumental entitled "Leaving Town Again", a nostalgic tune originated from hatching of the first synth dialoguing with orchestral chords of a second. Artist underground Langemarck has completed an album characterized by good insights and reduced use of technicalities, a composition profile that will appeal to fans of martial neofolk-made electronic spontaneous immediacy. The noise resulting from this artist are honest, with imperfect charm, without any excess and planned with the intention of introducing the protagonist discreetly in your musical choices thematically addressed to the kind described. I hope within a not too long period of time, the return of the musician, promoter of an upcoming full-length sincere as that one just listened to, but distinct from a greater executive accuracy: combining the two factors what that will result it will be considered at the time a masterpiece. Waiting for further developments in this direction, enjoy the premises on which it'll be built the probable future tracklist from "Requiem" to forward. Auf wiederesehen Herr Langemarck.

 

back to top

Legionarii - "Europa Rex" - cd - by Maxymox 2012-

legionarii Austere, gloomy and magnificent. These are the adjectives most immediate that the listener will make after experiencing the music of THE aka legionaries, mysterious composer of ambient-industrial-oriented martial whose goal is to reproduce sound the atmosphere, the mood, the glories and the historical pride of ancient Europe carrying the auditor back in time making him relive , starting from the earliest times to the last world war, the lost ideals, discipline, courage, and the battles over the centuries have brought honor to the ancestors of the Old Continent. Not only: the ardent desire that animates the spirit and creativity of the artist is only to evangelize the original foundations on which European civilization was built, concepts diametrically opposed to those liars and worthless that regulate the current status, by transmitting sound incredibly effective, uncompromising, built with great mastery, able to realize sonically the ardor of battle. The identity of the musician is now dark, and so its origin, details of which increase the aura around his unbreakable enigma of legionaries who has been covered since its inception in 2011. Of considerable importance even the quantities of tracks produced in these two years by Legionarii, relegated them mostly digitally, as the brief and intense "Rebirth" self-released in 2012, unchanged at "Age of Taurus" including five tracks of the contents triumphantly austere licensed by the label Castellum Stoufenburc, and again in sequence the two splits "Unity", item the first part of the series Brotherhood European Trilogy Legionarii shared with the project Waffenruhe, also published by Castellum Stoufenburc and reviewed in these pages, in addition to "Civis Europaeus Sum" creation forged by I.L. with BloodSoil, Striider and TSIDMZ and assigned separately to the Russian home Ufa Muzak and the German SkullLine. The advent of this "Europe Rex" precedes the newcoming album" Iron Legion" which I will describe in the next review; the focus is now for the aforementioned debut album "Europa Rex" that introduces a long sequence of reviews that Vox Empirea dedicated to the Polish Rage In Eden, a brand specializing in the genres dark ambient / neofolk / industrial / experimental / militaria, founded by Marcin Bachtiak duo, aka Cold Fusion, which together with the second holder of the label called Robert Marciniak, aka Rukkanor, has also generated projects Across The Rubicon and Insuffer. The label Rage In Eden deserves to be selected among many others for the work and commitment, the sleeve-concepts feature a visually impressive graphics and especially the high quality standards proposed by the artists signed to. The full-length is to be understood as a rational selection of excerpts from the impressive sound archive legionary who has concocted during the course of time, the choice fell on seven episodes from the epic musical, warlike tones, directed by the protagonist in a way that the audience listening feel the exact feeling of being in a dark dimension of the imminence of a conflict. And 'what happens immediately with "The New Era", by percussion tambureggiata combative whose grandiose claim the whole apparatus rolled dark and solemn orchestral-noises emitted from the keyboard, all anticipating the start trim set in the drumming Next 'Power In Our Hands, "in which the militaristic-vocal loops expressed in Germanic language alternate with the expansion of dark-ambient, the imperious trumpet fanfare and the war in the background. The namesake "Europe Rex" is a suite of marble nearly six minutes in which the legionaries ago collimate lens concern dell'obscure-ambient sound martial procedures raised to Heaven by the majesty of synthetic choirs, beating the drum sections, mythical warlike symphonies of keys and phrasing. The inflexible walking audible "Stahlpakt - Black Sun March" brings the sound of the drums constantly being combative and dark magnificence of the composition for keyboard, elements below the surface of which a strand of noises flowing impetuously. Then comes to "Iron Will", generated by glacial rhythmic touches before the fast and rolled the shouts of encouragement as a prelude to war, further darkened by the symphony acoustic stiffness of the pads. "Total Propaganda" also stands sull'immota structure of dark-ambient orchestral crossed by sparkling arches, from the relentless roll of war-patterns and the threat of military touches combined to scream in German, while "Blood Dawn" closes the 'album exposing a log surrounded by sombre percussiveness soldiery, suspensions ambient keyboard and choral evolutions. Work completed with rigorous technique, in which the sense of honor and freedom won by our ancestors from the past resurfaces to infuse concrete and renewed hope, courage and pride listener neo-idealist prone to martial sound. The mighty sigh of "Europe Rex" will thrill to countless Ere the banner of the future West.

 

back to top

Legionarii - "Iron Legion" - cd- by Maxymox 2012

legioiron The reader interested in biography, discography and artistic profile relative to I.L. can acquire any information accessing to the "interview" area and reading the review dedicated to the album "Europe Rex". We welcome therefore with all the honors this new, awaited masterpiece designed by Legionarii," Iron Legion ", the second full-length which includes eleven tracks promoted by the great label Rage In Eden. Aside momentarily the imaginary environments of ancient battles on horseback, the protagonist transports now the listener in a more contemporary dimension warlike, ideally lived on lands of tactical combat-heavy ripped by the cingulates of hundreds of tanks and their incessant cannonades whose explosions, simultaneous to those from the antagonist heavy artillery, cover the vehemence of incitement and orders shouted to the soldiers. The glory, the victory, the freedom join their voices making it resonate to the walk of strict martial-orchestral context that only Legionarii, together with a few other members, knows how to vibrate it in a way so pervasive and compelling, particularly which on this occasion is technically supported by glacial electronic formulations, samples and vocal-loops. All around the present work is felt the acrid smell of the bomb explosions, of the indomitable emphasis and the courage to fight a glorious battle whose epilogue will lead inevitably and knowingly to the victory: the arias are played to represent better these elements are imbued of an austere solemnity and a prominent and dark energy that makes orchestral music perceptibly saturated by voltage and pride. Turning the attention now to the eleven steps of tracklist, initially it emerges "The Rise Of The Legion" with its triumphant march of brasses in its opening, followed by the abysmal slow percussion pre-combative and threatening a keys disturbance that overshadows every moment of the song. The imperious proclamation expressed with firm tone in the initial vocal-loop of "Today We Fight" urges the moral of the to the army courage: the roar that result is the simultaneous scream of approval from the hundreds of soldiers in parade order, whose fervor voices fades into dark pads animated by the obsessive roll of the drumming and by military phrases. To officiate the eponymous title, Legionarii planning for "Iron Legion" dark martial-industrial structures full of restlessness, forms created by the overwhelming replications of three keyboard chords rhythmically mournful tolling of the bell and the inflexibility of the war-oriented drums. "Ahennerbe" is an icy, slow martial-ambient symphony based essentially on the deep beats of a first drum on which overlap the dry rolled from a second one: this percussive composition is perceptible all the stiffness inherent in the executive disciplined methods that I.L. while the sense of darkness is faithfully reproduced by the slow cadences of the keyboard dotted by samples of voice comments. The linear quiver describing the rhythm trajectories of "Sieg!" predisposes thick and fast martial beats whose sequences carry the imaginary lands at the time portrayed the most daring of the battle, mental projection further supported by a livid but inciting key orchestration with sporadic and military vocal-loops. As observed, the titles of the tracklist reflect clearly the war climax breathed from start to the end of the album: it's another example of this the song "Strategic Advance" shadowy martial-industrial riddled with powerful intricacies of the military drumming, lyric samples, filaments of radio voiced-samples and the majestic touch of key, as well as the subsequent "Global Front", which identically to the previous track can lead the imagination of the auditorium in the precise direction of a smoky battlefield on which the dispute is testament to the strength and the strategic victory for freedom is the only essential goal to be achieved at any cost and with the highest expression of honor, concepts externalised by Legionarii using stringent martial-percussive graphics in addition to orchestral key works similar of a soundtrack. The cold incitement in German language drawn from long aged documentaries are sampled and introduced in the following "Ost und West", military-track of pulsing drama concept manifested by apocalyptic, feverish drumming whose beats hold with authority the war choreography of the the background composed of bursts of anti-aircraft guns and explosions, sounds magnified by key-orchestral contributions so evocative culminating in a triumphal march with announcements of victory. The dark harshly voice by Soldat D. sung in the text of "The Tripartite" dominates the lock-martial of rhythmic steps of steel, which their beats erect splendid capitellos on which rise the dark symphonies of the keyboard, all in a war-ride track made by Legionarii in collaboration with Waffenruhe, one-man project with which the protagonist shared the first chapter of the split "European Brotherhood Trilogy - Unity" reviewed in these pages of Vox Empirea. Even more dynamic, the following "Guardians Of Fate" reaches the Heaven saturating his ascent of fighting spirit, the same will be enjoyed by the listener through a strong percussive martial system which requires to the keyboard a gait sumptuous equally sumptuous and dark. In the final liturgy Legionarii celebrates the coveted victory, not by resounding symphonies of joy, but entrusting its meaning to a rigorous and atmospheric composure: "Liberation" is therefore the definitive statement on the enemy expressed musically by slow martial-indus-ambient key formulations, whose long pads concatenated to the deceleration of the drum follow one another to form epic assonances similarities and introspectively bright. Change the battle scenes and the sound strategies to interpret their events, but not the orchestral bombast applied to describe surreally them, element that Legionarii is always the holder. "Iron Legion" realized fully what we expected from I.L. viz the renewed compositional form heared in the interview, an event confirmed by a symphonic pentagram more essential, intimidating and representative. As expected, the index of attraction respect this relief will not know measure, satisfying into the devoted martial listener his inborn desire to empathize conceptually in the noble sense of his music and its ideals, providing an extended playing time full of thrills, fighting pathos and finally the heady flavor of the final winning. The apogee of the honor and the pride of belonging to Europe vividly reside both in this album war-concepted with extreme care and passion, composed designed to awaken the hearts and fill them with all the grandeur of a enthralling and monumental stileme. After a careful listening to the Legionarii's discography come to me the conclusion that this occult musician is really inspired by an otherworldly force.

 

back to top

Lia Fail - "Cynical Stones" - cd - by Maxymox 2012

lia The Bolognese Lia Fail honor the area again neofolk-gothic darkwave-presenting this newcoming their album "Cynical Stones" as a result of a productivity record episodic as interesting originated in 2007 by the convincing demo of five songs "Leipzig", followed in 2009 by promo-single "Restless Eyes", both of them self-produced, mixed and recorded in home studio. The style consists of the Lia Fail exudes an aura folkish melody dark, sensitive, evocative and decadent, while the line-up, very full-bodied, includes Andrea Carboni (vox / flute), the excellent Sabella Spiga (vox), Edward Franco (drums), Nico usual (bass-guitar/lyrics), Giuseppe Sansolino (drums-percussion), Willj Amadori (violin), vocalist and composer Saverio Tesolato (plan) a member of Autunna Et Sa Rose and Simone Montanari (cello) . Also notable is the quantity and quality of appreciation collected by the ensemble during their artistic journey, and by a growing number of fans in the national press and across the border, "Cynical Stones' recent full-length scanned by Vox empyrean , already shows optically attention to detail planned by Lia Fail for this release, feature perceptible in the first enigmatic image depicted in the artwork depicting the pale of digifile anthropomorphic sculptures of Pasolini Park of Bologna, and later confirmed by the requirements in listenable sound disk, a result of technical expertise developed by Cristiano Santini, former voice of Disciplinatha, as well as the arrangements designed by the aforementioned Xavier Tesolato. Label support is the Italian Three Legged Cat, which releases a product thematically interesting and solid content, these elements in the form of translated excerpts from the concise title and prompting suggestions, such as those included also appear in the two early-works described in opening, of which the now appear musically and technically restored. The album consisting of ten episodes, it starts right through "Restless Eyes", a slow ballad whose opening, rhythmically arpeggiated guitar, introduces the rich voice of Andrea and the nostalgically accented by Sabella in an elegant scheme bass, violin and battery that spreads between melancholy neofolk-gothicheggianti fluctuations. "Lonely Anguish" combines the melodic singing of both singers primarily illuminating the feminine chorus of Sabella, an association to which accorpano fluty notes, tips down, caressed strings and a full-bodied midtempo drumming, all anticipating the subsequent "New Dimension" a sad-folk rocked by fine neo-classical piano scores, guitar, bass and percussive beats slow, acoustic dominated by the solemn and sad dialogue between vocalist. The formula expressed by Sabella for singing "Just A Breath" reflects, with noble poise, passion and yearning inner emotions touched by gentle breezes flute, mandolin pinches and dashes of slow down, which in the final stretch fit the depth of drumming as calm and autumn violin sections. "Leipzig" reveals its aura neofolker inextricably linked to invoking martial particular highlighted the severe drumming on which germinate, full of pathos, the vocals joint Andrea and Sabella accompanied by cuts in the battery, circular guitar chords, bass lines and modular a violin underground adds a touch of decadence to the whole. "In This Square" celebrates the regal tones of vocalist through a melancholy ritual neofolkish-neoclassical, originally played by an ethereal symphony of piano, flute and punctuation is low, so the solutions that provide input to a relentless drumming and the penetrating modulations Andrea singing, all succeeded by the dynamism Folker built for "Battlefield" sublime track where the vocalist states thoughtful lyrics embellished with fast arpeggios, varied trails violin and rotations down, elements that staged an excerpt from strong harmonic transport. The dual form of Andrew and Sabella voice rises now a passionate choral neofolkey with tonal peaks high into the sky, sounds erected on soft accompaniment of guitar, rhythmic percussive and rhythmic inserts carved from bass lines. Neofolk-gothic melodies of voice, guitar and piano intoxicate the structures of the final "A Soldier ..." track adorned with a brilliant vocal sophistication that weaves Sabella evenly throughout the journey of the song, at the end, after a brief and silent playing time, takes a new shape echoed by diamonds which is followed by a spectral orchestration of piano, singing at the same time obscure Andrea. The current test of New Varieties of Lia Fail testifies to the absolute mastery and discipline of the corpus instrumental achieved in recent years by the project, as well as the intensity of texts and voices obedient to the precepts of traditional neofolk but externalised in a very expressive custom fee , the same one that makes it unique is still the band's style. "Cynical Stones" is the quintessence arising from the meeting of each element described here, an album that, if carefully treated, will infuse the listener devoted to such a total and persistent sense of completeness. Beyond the simple concept of beauty.

 

back to top

Logic & Olivia - "Playground Of The Past" - cd - by Maxymox 2012 -

logica Vox empyrean has selected for the fans of the genre electropop / synthpop this stunning album conceived by the German Logic & Olivia triangular formation. The line-up is composed by René Anke (vox / production), with Matthias Trompelt (synths / piano) and Weigel Tino (guitar), who, in constant search of a well-defined design direction, found the first, perfect understanding music in 1999, experiencing through the project called darkcore modules synthetic pop and alternative rock with which they brought on records completed six self-produced projects. Over the years, despite the satisfactory response to the public in terms of appreciation, was born in the three and the need for a radical turn of modern style that was closer to new trends, the current intention that gradually concrettizzò sound scheme applied to this interesting debut album, chest of harmonies intelligent, visionary, full of electronic formulas dictated by grace and feeling. Such production could not bear the signature of the Dance Macabre label very fertile and prudent in their choice of artists extrapolated from the underground music industry, and now author of the spread of This "Playground Of The Past" album imprint of neo-romantic for renewed Logic & Olivia symbolizes the conscious adeguemento at present, but a timeless touch with the sounds produced by the band in ages spent, special accented by massive use of synths, from a background however, less spasmodic guitar once, and the dance-minded strategies perceptible in many of the ten episodes contained in the full-length, all worthy of being regarded with the utmost respect and value. René's voice, very similar setting to that of Stefan Leukert, fellow singer Decades, is distinguished by elegance and tonal depth, features well-perceived in the original song written by Janine Anke, "Do not Forget," a romantic by electro-synthpop dance rhythmic cadences wrapped in elegance and nostalgia by the pronounced piano Matthias. Even more intense, the melancholy also acquires the next track, "July", making his mark poignant electropop to a song by Pet Shop Boys fan, poignant piano notes, drum sequencing, the electric guitar and the emotional composure of the nebula of agreements issued by the synth. "Beautiful World" renunciation, even if only partially, to nostalgia, offering himself as a pop-drum technology from the reminder programming that supports the intense pattern of voice, the guitar and the accompanying electronic devices, until the track that headlines the album, "Playground Of The Past", an anthem the sadness recovering atmospheric formulations of voice, synth and piano entirely through slow percussive tracks. Equipped with relevant character and stature, "Lovetrain" awakens the senses through his formidable interplay between melody and danceability romantic ideas expressed by René's voice perfectly aligned with the rigor of the drum-programming button and the smoky pall from high-key sounds. The evocative introduction piano of "The Darkest Night" anticipates the next entrée delivered by highly emotional vocals in an orchestration of synths, piano Championship and violin, acoustic percussiveness incurred by a mid-tempo sequenced, integrated electro-sounds of this distillate in melancholic able to instantly captivated. "Silvertimes" expands a song accented elegant, passionate, shrouded from the rational to complement the programming and with velvety elegance of synths, a track that I consider just wonderful, in which predominates in absolute intensity melodic. The slope of Logic & Olivia, addressed particularly to emphasize the emotions, manifests itself in absolute terms in the touching "Was It All" sad-song lulled by the melancholy vocals of Rene poured from a submerged melodrama keyboard and piano, all prior to "Nur Ein Wort", a synthpop mid-tempo composed and penned by Janine Anke and creativity based mainly on handsome hand distributions supported by electro -Percussion, guitar and trails of all grace emanating from the embroidery piano transformed into pure magic from Matthias. He finally arrives at "Call My Name" song that represents the perfect balance of modern technology, pop, sonic beauty and romance, a feature contained in the linear pitch of the drum- machine, electricity of arpeggiated chords from Tino and emissions of synth instrument that glorifies the final phase of the track to combine a strand of sequencing and the guitar, raising with it an electronic symphony to great effect. "Playground Of The Past" is a release consistent in all its aspects. Music, vocals, arrangements and atmosphere contribute to the construction of a synthpop evolved species of the Logic & Olivia has been able to communicate with unfailing eloquence. The aura of melancholy in the sweet voice of Rene serves as a cardinal point towards which they are piped melodies, giving your acute sensitivity internalize the beauty of the miracle. This is modern music for dreamers.

* M *

back to top

Machine Made Pleasure - 'Reform' - cd - by Maxymox 2012 —

machine Call it coincidence. Recently I wondered about the fate of Americans Barry Hammers (music / arranging) and Randy Fox (vox / lyrics), aka Machine Made Pleasure, which I had no news from their second full-length published in 2008, "And Ends With", whose valuable contents were subject to My distant a review. Both the title mentioned, is the debut of the 2005 "Spirit Within", was self-produced projects, both bearing a more than decent synthpop beautiful stretches from melodic and harmonious silhouettes, including two different versions-Extended Mix / No Escape Mix of "In A Dark World", included respectively in the compilations "Electropop 3" and "Modern Synthpop Vol 2". And here is materialized as if by magic "Reform", licensed by the release Section 44, label based in Colorado, by means of which the sign Machine Made Pleasure officially their return with this third example of based largely on contemporary music technology supple interplay between synths, programming and soft inlay of voice, expressed in the form fourteen tracks fueled by fierce exaltation of styles inspired by electro-cult bands from which the two protagonists prove to have learned the main guidelines. The three years of silence have contributed to enhancing the technical and experiential project, which, as the title the album suggests, want to listen to propose a new, prestigious and most improved caliber, ambitious composition assigned to a register saturated of brilliant arrangements and excellent sonic clarity, detail the latter mainly materialized at the hands of the co-producer Marco Delmar, the famous musician and producer / engineer, who prepared the draft of the disk at Recording Arts Studios in Fairfax. Electropopper pace, sequencing and song well sung characterize the opener "Sacrifice", which later gives way to slower "Dreaming Is Dark", also emanating graceful vocal combinations pads arranged on a blanket of gases and polished artifice of programming. "Poison" renews the dynamics inherent to the electro-Machine Made Pleasure, or terse and scans danceable drumming, quick touch of synth, voice slightly echoed, and a second apparatus which harpsichord tuning. There is space for poetry lulled by artificial musicality: the case of "Falling", passionate-emotional synthpop song, sung by Randy with shades open melodic, which rest lightly on the slowness of the key percussion and winds. NET NET, the call sonic style De / Vision belonging to "Single Moment" prolong the rapturous prose dedicated to sentimentality, with melancholy vocals and a quiet background of keys and drum-programming, superseded by subsequent acoustic chronologically and delicious "Love Affair", track built by following the dictates most compositions inspired by Colony 5 emphatic, with handsome key overlays, mid-tempo percussive voicings and reverb. "War My Skin" emphasizes his devotion to melodic synthpop- author, outlining singing the song with allusions depechemodiane electronic devices and well-cadenced by the sequencer, up to "Wide Open World", yet another model of mid-tempo pop technological accented Apoptygma Berzerk and De / Vision. Then comes "If I Can Find The Peace", suggestively to planned vigorous and electro-mechanical drum beats that define a motion very danceable intersected by percussive vocal forms beautifully displayed by Randy in a cloud of key-sounds, while the later "Touch My Life" describes a particular rhythm and feel as a platform support for a baritone singing and microscopic clusters of synths. The speed is reduced again, allowing the entrance to "I Will Not Bleed" episode that still pays homage to the voice of conjecture De / Vision, both in tonal filtering, both in the refrain, in combination with a score for keyboard percussion ever-obedient behavior raised by the German duo Thomas Adam and Steffen Keth. Rhythmic slender, synthetic melodies and song bright even in "You're My Mirror", whose remix is ​​available on the website of the band exclusively in downloading a track that incorporates the features Machine Made Pleasure's distinctive sound, concentrating the essence in danceable synth-poppers programming associated with pulsations of reverberating vocals, as follows "I Saw The Light" casts a soft cohesion between contrails keyboard publications, vaguely nostalgic tones of vocalist and a smooth stride rhythm. "Live Life Lie" closes the order of the track-list proposing a solid electro-pop that, as in all previous songs, has solutions similar but not obvious, soberly singing elegantly presented on a velvety blanket of programming in the procession graceful and crystal clear streams synth. Album considerable redolent of the American duo engaged in a noticeable improvement in their writing, transferring into it the standards of their original style now updated to sound crisper and attractive. The synthpop overseas in one of his best configurations.

 

back to top

Minusheart - 'The Big Idea' - cd - by Maxymox 2012 -

minusheart Thirteen appearances on CD compilations, seven distinct contributions to collections of DVDs, a debut album of 2009, "Disease", well received by opinion makers, a second limited edition release, "Healed (Limited Remix Album)", released in 2010 by the union of the labels Echozone / Intergroove and full of remakes assato of a single, "Drawback" published in 2011 as an advance payment of this second full-length "The Big Idea" published in the same year, are the overview of the German record company Minusheart, band stylistically inherent in a merger between the U.S. and robust industrial fringes classical formulas EBM, and electro-funk wave of European brand. The result is an uplifting collection of sonic technology created specifically to pour forth movement through insistent rhythms, guitars, programming, vocals and synths, designed to be experienced by the listener to the last beat. The author of these methods is The line-up formed in 2007 by front man Diver (vox / synths / arrangements), and Benden, the latter came from the organic in February of 2011, in combination Vary with (guitars / synths / arrangements), Wildhoney (drums) and Upstream (keys), a provision which has signed since its inception, with the exception of the aforementioned collection of remixes, the dual-label deal with Sony Music and Echozone, very prudent choice in terms of prestige, support and distribution, whose effects fall positively on this brilliant album that I am going to review. Noteworthy is also the valuable collaboration and initial occurred in the drafting of the debut album "Disease" by high-profile names such as Monolith, Myk Jung, leader of The Fair Sex, and Accessories, Credentials very strategic and influential in introducing the band in the populous electro scene. "The Big Idea" uses incisiveness of twelve imprint-electro tracks from bursting into a danceable track listing reveals that almost exclusively episodes of the tip, a feature that gives the album a strong personality, especially for programming solutions and voice vaguely aloof and aristocratic accents, details that intersect Dynamic plowing paths esortanti the body-dance. "Inglorious Bang", first track, division of time using a supported e-drumming to which are purchased the dense textures of sequencing and the mocking vocals uttered by Diver alternated with a rough background of guitars planned. The mentioned Singles "Drawback" reappears in all its forms, offering four minutes of high-tech dark-electro, with the voice of the singer who coldly syllable text by reflecting on a dramatic set of keys, button percussiveness synthesis and piano touches, while the next "Break Out" proves its transversality of steel through a fervent vocals and frantic drumming guitar from nervousness. "Book Of Love" adds additional doses of force rhythmic flow of the regular programming and guitar sequenced, creating now-filled atmosphere of harmony singing that blankets noir relentless and Diver sweet chorus of guest Laura Dee and protagonist of the section-backing vox inherent in "Peak Of Pleasure", track from stalwart percussive cadences in support of an incisor as danceable electro-industrial device which still dominates the pitiless voice inflection, pulsation of the tire rhythm machine and the measured sector harpsichord. It 's the turn of the glacial ride "Lost One Minute," injured by painful razor guitar and a strict rhythmic order, perturbed by a song-oriented industrial. Even more bloody, "Do not Call It Love" exhibits the personal and cynical interpretation of Minusheart about their concept of "feeling", it means torturing abrasions and lyrical guitar poisoned, all regulated by artificial beats, now weakened, now eaten by red flares percussive, awaiting the entrance of the next, and more elaborate "Electric Heartbeat" song and perfect ultra-remixabile floorfiller bomb, constructed with inciting vocals, guitar and background buzzing rhythmic cycle-programmed absolute danceability. The next three episodes, in my opinion, actually represent value and attractiveness to the key points of the album: "Waltz Morphine" fluctuation is a hypnotic drum machine with electric guitar calculated from microdissected programming and a refrain from impressive high Diver Laura Dee, while the subsequent "Ride On Your Colours" by offering speeds up intervals of vehement vocals, drums and guitar, followed by a linear and crisp musicianship electronic orchestrated by an elegant strand of programming and danceable, keyboard and vocals definitely more melodic. "Solitaire", the third of my "chosen" by encoding tracks futuristic dance-hall and motivated by the energy inherent in her lithe core of electro-percussive vocals rendered malicious by caustic tones, effects, guitar and synth. The slow pace of industrial-rock "I Do not Think That The Sun Goes Down "ends the track listing, whipping lashes with unrelenting drumming the atmospheric and melancholic breezes keys / piano, the sharp Sections guitar and the haunting mantra extended by Diver. "The Big Idea" is an album that draws to itself the foundations on which the criteria are based disk guessed electronic musical frank, direct, free of excessive sophistication, combined with resolute vocal modulations, aggressive dynamics industrial and large space for possible remixes. The imperative, then, is clear: play it loud!

 

back to top

Model Kaos - "Ghost Market" - cd - by Maxymox 2012 -

modelkaos A super-projects such as the Model Kaos could only debut through a high-profile labels such as Danse Macabre, German Wuerzburg, Alex M. Kintner (lyrics / vox), His Excellency Mr Rotwang (guitars / backing vox) and K.G. (Live-drums / sequencer / music programming) in 2011 are devoted to a futurepop interspersed with elements of dark-electro, wave, gothic, EBM and implicit links with the synthetic pop of 80's era. Their style is functional electronic, devised tactics that increase exponentially with the effectiveness of the vocal melodies and, more generally, emerged from the sound equipment, so as to place their single "Love Is Murderous" and "The More" among the best radio selections of countries like America, South Africa, Mexico, UK, Canada, Russia and Indonesia, also being able to be reported in the pages belonging to the most influential underground music magazines Germanic. The band, very pleasant even during live sets for winning, then realizes his first full-length, a work of eleven episodes brought together by the sound scheme that makes the Model Kaos thus capturing, with introductory periods of intense atmosphere and refrain from taking immediate, while denoting the formidable voice of Alex susceptibility to gothic melodrama, detail present in large quantities in the first song on the tracklist, the eponymous "Ghost Market", a mid-tempo percussive devised by the backlash scourged by KG as a driving force for the wave tastieristica that intertwine with the hypnotic section of programming and powerful guitar riffs, all embellished with vocals depressed, tormented by agonizing heartache. Listening to "Love Is Murderous" fully reveals the reasons for which this track has achieved worldwide success just described, namely a structure-futurepop gothic darkwave calls from overflowing electricity guitar, with extensions of key wrap, perfect for drum scans -programming and, above all, despair turned into song in the voice of Alex. The second hit-single "The More" offers itself as modulations of accelerated e-drumming, vocals and keyboard, creating a track so dark electro-minded driving safe and danceability. "Break My Heart" is a romantic ballad-high-tech made by embracing the slow flow combined propulsive keyboard- drum-machine and the vocals of Alex accented with nostalgia. The next step is "Drowning In You", a song poignant and impressive that entrusts all his charisma to the vocal register of the singer who spreads a heartfelt song whose reverberations are crashing on and on downtempo percussive echoes propagated by guitar arpeggios from SE Rotwang, allowing the listener to experience the meaning of grief. The pace continues in the following quote "Your Desire", whose full-bodied electro-equipment-keyboard-titmico talk feverishly with the power of the guitar and the high tones of Alex, while "Emotionless" is driven by strong rotations of drum-programming that trace the key-path wave of sound and electric guitar in support of terse vocals. Dall'avvincente "Voices", one of the best songs of the album, there would result in all probability a remix floorfiller pride of every electro-dj merits of his verve futurepop dance to focus on a Cartesian filament percussiveness scheduled mid-tempo completely mantled by trails of key and thrust by the exuberant voice of Alex. The tracklist opens again feeling through "Goodbye My Love", an electropop composed of a soft sheet of programming and keyboard surrounded by melancholy and romance, all with the help of a hand supple and full of intensity. "Circles" prefers solutions electro identically passionate splendor through the use of a voice tending to heaven entangled with the punctuation of the sequencing, the hot issues of the keyboard and the mid-tempo beats from the drummer blows. The painful shades of Alex also expressed in "The Calling", closing track, switches the notes distraught emotions, creating with them a downtempo electro-inlaid guitar from SE Rotwang and embellished by the sub-key programming. The German ensemble presents a convincing debut-album that seems to belong more to a band of electro-long career rather than a project where young Kaos Model, a feature which suggests that possession of an innate character and dedication to the sound technology, but also the ability to fully extend the sound towards the most emotional. "Ghost Market" offers astute listening and custom electronic interpretations of the verb, with its passionate irretendo magnetism and placing the band deservedly among the most interesting of the emerging landscape. Absolute faith in the Model Kaos.

* N *

back to top

Noise Trade Company - 'Post Post Post' - cd - by Maxymox 2012 -

noise Limbo, Saint Luka, Metaform, Kinetix: are the best known identities through which it is manifested and still manifests the spirit of known composition Tuscan musician Gianluca Becuzzi, underground scenes leading avant-garde electronic-related solutions to the original wave, and then all'harsh-industrial-punk, the power-noise as well as, more generally, the concept of sonic experimentation artificial interpreted in a multitude of areas, including this specific project now in its third release on album: Noise Trade Company, probably the most aggressive creature generated from this talented pioneer of sound. Some time ago I had the opportunity to hear and review the provocative "Just Consumers" published in 2010, a Full-length heavy with disenchanted, cold realism and musical concept riferitore a technologically advanced, essential though they were his Procedures. Even before the debut "Crash Test One" in 2008, the year of foundation of the platform, instead proposing strategic guidance electro-punk-noise-wavers, with implicit references to icons such as Cabaret Voltaire and Sonic Youth, start of a creative journey in which the protagonist made use of the shared voice of Chiara Migliorini, replaced in the second album as good by Elena De Angeli, element found today's line-up together with two other illustrious names has always been active in staff who are assigned to the lacerating guitar sections: Fabio Orsi (treated analysis guitar) and Paul Cillerai (electric guitar). The new digipak-album "Post Post Post", licensed by EK Product label in Naples Combined with the Texas Sigsaly Transmissions, summarizes fourteen tracks of the typical brand electronic Noise Trade Company, providing the opening "Unspeakable Zero" heralded by a sharp extension of noise and loops, in which development takes the form of a bony base programming vocalized coldly by Gianluca and studded with violent guitar distortions. Rhythmic dry, neurotic, minimal: this is the classic pattern electro-percussive that from the beginning characterized the beats per minute of the band, also proposed in the next module "Democratic Make Up" electrified by un'impura abrasive steel guitar and the vocals from skinning radio ad replicated by Elena. "Total Slavery" exposes the His brief minutaggio all the crudeness of the post-punk technology more radical, exposed by incendiary aftermath of guitars that cauterize the rapids rhythmic sequences overwhelmed by peremptory claims of vocalist, then allowing the advance of "Saturday Night Dementia", un'esangue electropunk-wave that refers largely to the first glories of Kirlian Camera, or foreground fitrato voice, coldly and marked reflex identical verses from backing-vox in a mirror game lyric crossed by relentless drumming, incessant noise and disturbances sintetismi. It ' the turn of "What's Your Size?", a remake of track designed by DNA, no-wave band of worship eclissatasi in 1982 with core members Arto Lindsay, Robin Crutchfield and Ikue Mori: its reprise built by Noise Trade Company has dried up drumming, manual, employee time to spell a stream of caustic guitars, vocals, programming and alienating, the following details in advance schizophrenia electro-punker enlivening pathologically "Compulsive Shopping Disorder" and his sharp acceleration percussive guitar-voice mixed with sediment. The micropulsations extended in the rhythmic accompaniment on "Life Is Toxic" record identical cadences heard in "Enola Gay" of the WCO, here strengthened by a hypnotic drum-machine support around which gravitate lava emissions and automation lyrical guitar punctuated by Elena, repeated by Gianluca robotically. You hear now "Love For Joke" breathlessly chasing the dynamic minimal-beats, acid synths and de-structuring of agreements guitar in the background, details punkeggiante outnumbered by the frenzy of "Youth Catatohic These" wild and overwhelming in its rapidity sequenced, pierced by sharp guitars riffs and vocal processing. Another innovative electro-punker dall'irrefrenabile gait is offered by the "Play For The Enemy ", segmented by unexpected and repeated fractures surgically dissect the wave of guitar-sound, the synth and neurasthenic citations of Helena, while "I'm Allergic to Idiots" raises wonderfully cold-wave modulations minimal accents dogmatic, with asprigne propagations keyboard publications, texts punctuated by vocalist with discipline of drumming drumming. "Conformity Kills" also favors formulations dominated by electronic irruenze electric guitar, engage themselves in singing staves strictly cyclic rhythmic, almost martial. The last two tracks of track listing stizzose present first the vocal intonations of Gianluca and Elena in "Money As Religion", dominated by guitar and intonations trapananti Battery briskly, dried, and ending with the gloom-industrial noise of "20 Persuasion JFG" modern remake of a song of Throbbing Gristle, published in 1979, now surrounded by rivulets of sound technology, haunting atmospheres, a drum machine chillingly flat and tone of voice, whisper Gianluca atrophic text, devoid of light. Album that highlights the spirit that animates the unconventional creativity of the project in order to offer incompromissibile a musical style, at times ruthless, directed against the many distortions that infect today's social fabric. Albums for people who Find a scratchy sound, a continual state of tension guitar, in addition to essential voice sprigionante mere meanings and anticonsumistici to electronic visionaries. Well, the Noise Trade Company have all this.

 

back to top

Noise Trade Company - "Reformation" - cd- by Maxymox 2012

noiset Punctual and waited, here is the new sonic creation designed by the genius of Gianluca Becuzzi which is again in the form of Noise Trade Company, project globally circumscribed in a multi-faceted form of industrial-experimental-electro harsh, whose biography and deeds are mentioned in detail on Vox Empirea between the lines of the previous review of "Post Post Post". This new, fourth album "Reformation" is proposed this time to transport the listener into a sonic time retro-dimension set between the decade of 80's and 90's through the use of analog equipment and producing a sound electronically bruise, the which main references are explicitly addressed to Massive Attack and Scorn regarding the automated sections, and the icy new wave of Joy Division for what concerns instead the connexion of guitar and bass operated by Fabrizio Biscontri. The full-lenght, released as the previous one by the label EK Product, proposes a concept thematically direct to the design of an innovative sound era within which to create narratives of annihilation and atonement, anxiety and pride, everything, beginning by the irreverent but symbolic image pictured on the sleeve, interpretable into a view sometimes coldly ironic, however hopeful in an imminent, drastic change of the urban society and its fragile awareness. As widely verified in the discography of the mastermind Gianluca Becuzzi, the experimentation proves to be a constant essential in the conception of his music: "Reformation" confirms one more time this presenting itself as an alienating, variable mixture of styles 80's synth/minimal-wave, dark-ambient, dub and darkwave, made using only the force of an essential instrumentation and singing forms equally haggard. Regarding this last particular, it is worth of reporting the contribution given by the faithful vocalist and songwriter Elena De Angeli, from the second album always present in the works of Noise Trade Company, who enhances the sounds pouring in it in a bloodless chant and often interwoven with that of Gianluca, forming in this way obsessive polyphonies that lead structures in a state of total bewilderment. "Fate" is the episode that starts the tracklist through the persistence of dark-ambient expansions gravitating close to the rhythmic mechanism, whose skeletal beats merge with the hypnotic guitar background and with the oppression audible in the chorus raised by Gianluca and Elena . "Alternative" increases the number of bpm proposing a dark/synth-wave supported by sharp rhythms of drum machines and sequencing together with electric guitar non-melodies and a polyphonic chant full of faded modulations, like a deconsecrated liturgy. The introduction of the subsequent "Fall" makes the sound as a spiral reducing it into an ethereal as an obscure mantle within which resonate a dark pulse sonar, solemn key chords, programmed downtempo fractionations, arpeggios post-Joy Division processed by Fabrizio and the singing that the two vocalist sing with depressed accents. "Endless" is merely an extension of the previous configuration but totally private of its physical instrumentation: the result is a dark-ambient of lysergic resonances and vaporous movement, as if it were slowly channeled into a long tubular structure with subsequent release to the opposite end of cold sound material able to obscure the brightes lights too. "Ice" is the deconstruction of a track that belongs to Michael John Harris, aka Scorn, now redesigned by Noise Trade Company by echoed voice and darkened that Gianluca put with coldness between mercurial keyboard flows and propagations of electronic minimalism on midtempo drumming. A second remake inspired to masterpieces made by important underground artists is "Evening", a song taken from the repertoire of Nico now listenable on this shadowy transfiguration that the protagonists approach on slow cycles of drum machines and modular guitar replications, all this subjected to a process of further darkening with low, strict key tones and a funeral, apocalyptic-folker spectrality, raised by the choral combination between Gianluca and Elena. Above the expansion of "Seven" encumbers the soporific action of a dark-ambient by the mesmerizing power, created by dark fermentation of intangible sounds, subterranean reverberations, echoed pulsations and dumb gnashing without name, while the following and beautiful "Orchid", unique act of this album played by serene and celestial harmonies, retrieves minimal synth-wave constructions stands surrounded by beautiful keyboard chords arrangements, bright drops of sequencing, bass spins and the voice of Elena that stretching relaxed on the dry electronic drumming and on the melodic post-punk oriented guitar played by Fabrizio. "Cain" speeds up the percussiveness combining the beats dryness to the emaciated chant sung by the vocalists, to the touches of the bass and to the pinches the steel riff of the guitar, as well as "Truth" concludes the sequence of the tracks proposing a dark/synth-wave in which the visionary voices of Gianluca and Elena run near to the icy breath of the keyboard, the effervescent electro-rhythmic particles and the periodic post-punk arpeggios of the electric guitar. The rediscovered Noise Trade Company show again themselves pungent and unconventional in their thinking and in their music: excellent observers of the global social-economic forms and even more realistic to eviscerate scientifically the vices, the contradictions, the covert operations of the media and the perpetual hypocrisy concerning the usual indirect gestures of our existence as "consumers", the protagonists, although countercurrent and freeing themselves from a deleterious trendy intentions, they are able to deliver their messages to the technologic sound with the same easiness of someone who knows how temporize knowing that the success of their communication efforts will come with mathematical certainty. Highly symbolic lyrics and titles, a musicality transmitted to the listener without giving no space to any superstructure and embellishments, instead dosing accurately atmospheres electronically neurotic or darkened anxiety, but also bristling of sharp words with meanings highly accurate and current: "Reformation" aggregates to its biting concept the heterogeneous sonic formulary that sets it apart, thrilling and by reflecting the electro-listener who is musically erudite and intelligently autonomous. If this profile corresponds with your, now you know what is the next release toward which you will turn your attention.

 

back to top

No More - "Sisyphus" - cd - by Maxymox 2012 --

nomore One pass from the legend itself, the German band No More was born during the height of the movement post-punk/wave, between 1979 and 1980, with The original line-up headed by front man Andy Schwarz (vox - guitar) in addition to the faithful Tina Sanudakura (keys), to Christian Darc (drums-vox) and Thomas Welz (bass, vox). The first release was an EP created in version 7 published in 1980 "consists of only four tracks, entitled" Too Late ". Between 1981 and 1983 Thomas abandoned the project which undertook a new stylistic development while preserving the same formulations of the early post-punker but with the addition of innovative electronic criteria, combinations that generated at the time a sound-system psychotically obsessive and structured sparse litany combined with percussive minimalism-harpsichord. It was on this basis that the three veterans in 1981 composed the hit single floorfiller "Suicide Commando", even Today many strategically proposed successfully by dj hyper-alternative, the No More track that pushed beyond the orbit of anonymity by placing them between most interesting phenomena of the time underground, and then followed the mini lp "A Rose Is A Rose" contains the note "Hypnotized", now revised and reintroduced in the new album. In the last part of 1983 the line-up was added extemporaneously bassist Yvonne Pfeifer who left the band the following year, allowing the recruitment of Thorsten Hartung, increasingly integrated in staff to bass-lines. The 12 "mini-lp" Laughter In The Wings " focused on modern and experimental schemes new wave / minimal / synth-pop, received excellent feedback, but it was only in 1985, after the publication of Lucky 12 "" Do You Dream Of Angels In This Big City? "which sealed the No More useful collaborations as a live-supporters with various projects like The Sisters Of Mercy and X-Mal Deutschland, arriving in 1986 to 12 "" Different longings "and especially the first album," Hysteria ", published in 1987 by the German label Roof Records. The traumatic exit of Andy and Tina he signed a long crystallization of the project No More, which was revived for their exclusive will in 2006 introducing the two States as the only players drawing their respective functions: Andy> vox / guitar / bass / electronics and Tina> keys / electronics / treatments. The comeback of the duo, during the early years of a micro-constellation of compilations, covers and reprises, as that of Echopark, and the 7 "" Sunday Mitternacht "of 2010, is officially concrettizzò through the relaunch of their best in the integrated database double album of remixes "Remake / Remodel", licensed from the Roof Records in 2006 and I had the pleasure of reviewing. This work was then succeeded in 2010 and the excellent Twilight "People & The Midnight Life-Stars" album masterfully orchestrated by renewed tactics by No More connotations minimal-sound, preferring, however sophisticated electronic handwriting generation interposed the usual melancholy obscure no-wave and post- punker, prepared by mixing Tina via keyboard sections and forms issued by the most primitive existing electronic gimmick, the theremin. Over the aforementioned equipment, Tina is responsible for the rhythmic segments and programming, they managed simultaneously by Andy which also are accredited partitions vocals, bass, percussion and guitar. The track listing of "Sisyphus" begins with the Shyness expressed by 'All Is Well - No Bush ", the track that spreads morbid poems, some of which are spoken in Italian by Andy, surrounded by rhythmic sections of guitar, synth, progs and gaseous electronic effects. Leaner and faster, "The Beautiful Life Of The Wasted Youth" proposes a post-punk-rock tones from bitter, gushing by buoyant rolled drums, whistles and a keyboard-driven rock guitar accompaniment. The technological verve of "This Was' Die Modernistische Welt '"brilliantly decorates this vital synthpop song composed by the futuristic style programming, synths and vocals, while the subsequent" Sisyphus ", track that gives name to the album, his formulations settles first in an introduction by psychedelic colors, then through clean sections drumming, singing and supporting constructions keyboard publications in order fully waver. "Take Me To Yours" exposes a neurotic pattern of sound that is in triple membership darkwave-electro-rock its specific genealogy, with arpeggios and vocals Andy, quiet and evocative, which blend harmoniously key to a sinister background. Reverbs, electronics-hungry dark voice echoed from underground and dark sound-complex and minimal make "Gravity Existence", a song that anticipates the relaxing music of "La Defense" and its synthetic procedures governed by the sluggish flow of drum machines, key guitar and graceful touches. Again, the programming, now restless, lean and fast, outlines the silhouette of "123456789", a obscure track from the atmosphere-electropop anticipanti "The Grey", sad-ballad filled with sadness, sorrow and darkness, using only played micrometric streams of synth, guitar and soft vocals rindondanze Andy whose intonations set up a hand full of lividità and sadness. The rhythm picks up strongly in the next "Hypnotized", a remake of the famous song included in the track listing of "A Rose Is A Rose", now re-designed on dynamic bases electro-rock/post-punker built by whipping percussive, voltage and singing a tiny electronic firmament, as well as the subsequent "Leaving Berlin" offers the elegance of a hearing set on avant-garde synthpop read micropulsations of programming speed mid-tempo surrounded by beautiful synth chords and vocals of Andy that rests softly on the base instrument. It 's the turn of "Les Giraffes Sur Mer" how sweet brooding, built on a soothing and romantic sonicità guitar, vocals and keyboard; attention converges hours on the beautiful transposition by No More than one of the most impressive classical music history, "Heroes" by David Bowie, closing track, in this version curved in the direction of a accelerated by the electronic pop and skinny bpm in development are strengthened, beating time to the text sung by Andy, whose voicing spreads tones that have immortalized the song here enriched by sparkling arrangements of guitar and synth. Bombastic return to one of the the most anticipated band of the year, a release from the creator of content that will certainly the enthusiasm of their fans through a balanced mix modern conceptions of artificial sound and re-enactment of seasons that never know the sunset. "Sisyphus" will give real pleasure listening, as well the awareness of having an album of value that you reevaluate over time. Still a long life for No More!

* 0 *

back to top

Officers - "On The Twelve Thrones" - cd- by Maxymox 2012

officers British from Leeds, Officers are distinguished creating a very special sonic blend composed into homogeneous parts by industrial-rock, new wave, electronic and shoegaze. The line-up consists of five elements: Jamie Baker, Matt Southall, Paul Wilson, Dan4 and Stuart Semple, whose genius was able in a short time to create a project inevitably and concretely destined to be considered one of the best of this year, having already attracted the general acclamation of the press and of an ever-growing number of fans, as well as, in particular, obtaining an eloquent merit through Artrocker magazine, into whose pages is mentioned the name of this debut-album "On The Twelve Thrones" as the most interesting releases of this 2012. This full-length, issued by the famous German label Out Of Line, comes today after the EP "Co-Education" published in 2011, an anticipatory four-tracks whose list includes the name of Tim Holmes, founder of the projects Death In Vegas and The Electric Loop Orchestra, this latter one interpreter in that ep of the beautiful remix of their own song entitled "Afraid Of Your Love". The credits of this debut album "On The Twelve Thrones" not only are honored one more time by the presence of the aforementioned Tim Holmes, but also by another personage famous for producing in 1987 the mythical album "Music Of The Masses" by Depeche Mode, or rather the legendary Dave Bascombe: the good synergy resulted from these two interpreters is successfully applied to the mixing section of the Officers work, ensuring in this way a sound direction technically perfect and efficient. Lysergic atmospheres, a sense of alienation, opaquemelodies, acoustics saturated by a depressed voice of by the reverberated tones and guitars and keys musicality marked by mechanical replications of drum-programming rock-oriented, are all the specific characteristics of the twelve structures listened in this full-lenght: in the initial phase it shows the instrumental opener "Counting My Guns", whose slowed electronic diagram of drum machines and synths reminds a celebration of Clan Of Xymox mystically inspired by the concept of the dark. Broke the first seal here's the album in all its fullness: "Disarm" is an industrial-rock by the flamboyant guitar-percussive traction innervated by well defined and bitter vox accents, ready to aflame mixing themselves with the electric blaze of the refrain. Extracted from the debut-ep, "The Competition Winner" divides its form first through the linearity of an hypnotic, minimal strand of drum-programming combined with a disillusioned chant, and subsequently by the surge of a strong current of guitars riff which strikes the cyclopean energy of the drumming and of the electronic alterations. Also extrapolated from the debut-ep from which it takes its name, "Co-Education" extends explosive hyperfrequency of guitars and rhythmic midtempo beats alternately impalpable or full of industrial-rock force, modulations on which are extend the resolute vocals of the singer. "Good Way (To Die)", as incendiary as the previous song, plans atmospheric introductory formulas of voice, pulsing bass-lines and fast drumming, followed by the blinding percussive-guitar jet raised obsessively by the vocals, always deep and introspective. "All The Ghosts Away" creeps softly between programming downtempo scans, shadowy key and a turned off chant that internalize dashed hopes, mystery and solitude, all this anticipating the next and formidable track "Afraid Of Your Love", a dynamic electro-wave, industrial and techno-dance-rock set of high magnitude, consisting of the pressing thrusts of the drum-programming, vocals that draw no possibility to oppose them, dotted lines of sequencing similar to razor blows, in addition to steel flows of the guitars, for a track which will represent with any certainty one of the most modern and effective floorfiller of all the alternative dj's, as well as a potential, future remix with results that will drag the listeners to a collective delirium. Continuing the analysis of the album, here's the following "Say It Again", yet another, dazzling industrial-rock played through the red-hot and hammering propulsion of a percussive-guitar-voice plan able to vibrate the subsoil, while advancing of one track you will come across "Mosquito", episode generated primarily by electrical rock-minded deviations forged using sharp riffs of the guitars combined with a percussive skeleton from which emerge linear electro-midtempo programmed pinnacles, elements exceeded by the flares projected by the metal chromes arising from the next wave of chords, telluric drumming and coldly, disenchanted vocals. "Soul Saviour (Mutations)" retrieves dark wave sounds performing with executive excellence a song full of charm, this aspect originated by glacial midtempo rotation of the percussive gear conceived on a long, dry mono-rhythmic succession of beats and subdivisions of programming, as support to the gloomy guitar arpeggios and to the claustrophobic dimension evoked by the vocals. Almost near the end now appears, as materialized from the fog, "Another Long Year", a song by the musicalness electronically dreamlike, a sonic perspective audible during the sinking spiral of a body precipitated in silver watersr, image reproduced from the downtempo step of the drum-machine at the same time with the angelic whisper of the singing and the ethereal keyboard cover. The end of the album reserve a track of immeasurable value played in collaboration with Gary Numan, who, astonished by the good compositional skills of the band, joins on it in the vocal section offering as result "Petals", a wave-electro-industrial song full of robotic procedures and glacially sung by the guest-protagonist through his unmistakable accent, all further obscured by the slow gait of the drum-programming and by the misty flow of the synth. The listening of the album fully reveals the disruptive creative capacities of Officers, a project whose genius is able to unite together electronic sounds, rock aggressiveness and vox progressions characterized by lyrics and tonal curves overflowing with icy restlessness and seduction. The sound of the band lacerates and torments, allowing only few moments of apparent serenity, they annihilated shortly by a the return of hallucinated and stormy instrumentality that the band processes with admirable method and conviction. For these rooted reasons I agree with all the favorable opinions publicly assigned to Officers, adding finally that the excellence here demonstrated makes this release a sound-object of essential priority for the followers of the industrial-rock. Infinitely and beautifully great!

 

torna su

Orchis - "A Thousand Winters" - cd - by Maxymox 2012 -

orchis That crossed the English Orchis is a boundless ocean dark-psychedelic-Neofolker characterized by allegories and concepts dedicated to the deepest Resident questions in mankind, as the survival of the soul after physical dissolution, the mysterious symbolism from pagan cults, but also a historically critical of the rise of Christianity during the centuries. The line-up of the project consists of three elements, Tracy Dawn Jeffery, Amanda Prouten and the versatile Alan Trench John, a musician active in a large number of side-projects such as its identity Parallel called Cunnan, this guidance psychedelic-Neofolk, or through solo indie-rock platform called Call Doctor Bunny, and still in S.Q.E. J. Greek, dark secret experiment of nature-Neoclassical-minimal-harsh, as well as in the drawing purely Neofolk Twelve Thousand Days undertaken with Martyn Bates, a member of the legendary Eyeless In Gaza and Creature Box. On records, production of the debut-album list Orchis 1994 "The Dancing Sun", mastered by Denis Blackham guru and fired from labels Cryptanthus and World Serpent, making Considerable more like an anthology of material developed in previous years. This follows the "A Thousand Winters", full-length CD to consider the most representative event their current career, published originally released in 1997 by the renewed unification between these Cryptanthus and World Serpent, successor in 1999 from "Mandrake" album published by the Trinity and most famous label curved toward definable sounds like Modern classical-experimental. Reportable as "Trait" compilation distributed in 2001 by Industrial-Neofolk Russian labels and Brudenia Cryptanthus, the latter responsible for "Phoenix Trees", a collection published in 2011. The copy of "A Thousand Winters" came to the drafting of empyrean Vox comes from the Russian label Infinite Fog Productions, qualified in the dark genres-Folk / Neoclassic / Neofolk / Ambient, which Marchia proudly on the back of six-6 panel digipak reproducing the glorious track-list of twelve episodes that made such a significant presence in the contemporary scene of Orchis dedicated to their genre. The climax perceived within the work environment is an atmospheric quiet sounds interwoven into Neofolk, typical of the repertoire Orchis, intercalated with reinterpretations of classic works from the Middle English, solutions built mainly through the use of acoustic instruments and songs similar to liturgies, with quotes from Dr. Gary Sawers, Dr. Andrew Sawers-British writer and poet Walter De La Mare. The poetry reading as soon "The Horseman" introduces the listener through the corridors of the album this track with remote voice declaimed by recitatrice in advance Next "Blood Of Bone" modern ritual arrangement of "The Witches Rune", a song by the melodies and psychedelic fluty evanescence downtempo folk-architected using guitar and singing to Amanda that diffuses glare mermaid. The same approach also adorns voice "Blackwaterside", traces the role of potentially suitable soundtrack for epic films, thanks to the magic singing style propagated by ethnic-music lyrics in combination with a slow swirl of keys, transpositions and the imposing arches of the waves crashing on the reef. It 's the turn of "The Hare / Jennet" ethereal song of winds, circular guitar arpeggios and vocals almost whispered, whose words appear to be an elegant variation of Wicca ritual dedicated to the Year bardic conceived by the English playwright, novelist Simon Raven. The alien and vaguely discordant tones uttered by Amanda in "Gallows Man" fits the softness around the track with guitar minimalism Folker, soon obscured by heavy chords and a whistle oblique. "Arcadia" also offers a sober music of flute medievalizing subtle rhythmic beats, guitar, and an obsessive form of singing woven by the vocalist, reaching then the subsequent reading of "The Horn" and, further, the solemn dark-psychedlic-folk constructions related to "He Walks In Winter", a track filled with charm, incorporating deep, extensive evolution of strings and guitars, piano notes mentioned, mid-tempo percussion and, above all, the melancholy chorus of Amanda able to materialize ancient pagan celebrations. The key adaptation of dark-folk composition Middle English "Trot" listening now "Magæra", a vibrant, full-bodied ballad horns, drums, and vocals that seem to echo through time to bring us back to ancient times between cohorts cavaleri and ladies, details antecendenti to "Winter", a song of one feminine voice and plucked guitar, the whose union generates the infinite timeless melancholy of winter. The origin of the following "Risen" is that of an ancient poem in Middle English Orchis which give new life radically renewing the movements, first through the sweetness of Amanda singing accompanied by light arpeggios guitar and slow drumming, and the second part of the song from one dimension eerily dark keyboard and drum echoed reworked. Psychedelia experimental twilight shadows and the intangibility of the sounds are the final "Iron From The Wood" a downtempo track that brings together the struggevolezza of reverberated violin, organ flows and elegiac intonations of the voice of Amanda, comparable in nature to those heard in the chorus raised extemporaneous during the mass celebrated in a little lonely church, overflowing with acoustic dissonance and alienating an indescribable sense of nostalgia. Albums by nucleus surreal: his lyrics, always sung with emotion, held in the track-list of the most sound processes interpreting fully the sacredness and evoking the concept of ancestral landscapes of medieval Europe. The instrumental support, governed by a simple but efficient staff, outlines orchestrations due to a Neofolk perpetually shady and sometimes hallucinatory, with peaks that are softened in an almost tribal mysticism. Once you have entered fully into the spirit of "A Thousand Winters" will feel towards it a sort of divination.

" P "

back to top

Peter Bjärgö - "The Architecture Of Melancholy" - cd - by Maxymox 2012 --

peterbjargo Dissect scientifically complex and emotion like melancholy, riconfigurandone form the essence of sound and not giving up anything in terms of intensity, is a company that needs a creative mind, sharp, perfectly able to isolate this feeling the most significant details . The eclectic one-man project Bjärgö Swede Peter has this amazing ability. Best known for his twenty years of militancy in staff conterranea band of medieval / ambient of the Arcane and his parallel identity called Sophia, last active in the industrial / dark-ambient / experimental, Peter is recognized in equity impromptu line-up of death metal bands such as Crypt Of Kerberos, and Tyrant, as well as the ephemeral modern-classical design / neofolker named Victoria, played by Peter in combination with Tomas Pettersson, also known as the Ordo Equilibrio Rosarius. This set of experiments designed over the years have led the protagonist to a final assessment regarding their stylistic guidelines currently positioned in the genres downtempo / ambient / ethnic / ethereal. The soloist Peter Bjärgö initially took shape in 2005 with the album "Out Of The Darkling Light, Into The Bright Shadow", in collaboration with musician ambient-industrial svedse Gustaf Hildebrand, too operational ' he space of competence Cold Meat Industry with the name Lithivm. The official debut album "A Wave Of Bitterness" was released in 2009, fired from the German brand Kalinkaland Records and succeeded by the latter, recent full-length "The Architecture Of Melancholy", given the remarkable Canadian label Cyclic Law which assumes the task of spreading the seven hundred copies limited edition digipak format, consisting of eight panels dall'artwork consistently in line with the concept of the work. The seven elegant suites spread in the tracklist in the cosmos including a sound-system character riferitore deeply sensitive and verve of a strong emotional communication that is in their own reason for being. The celestial and introverted allegories painted by Peter within his music wonderfully rising atmospheric levels and the immensity of the album, thanks breadth and intensity of sounds created and the special significance that the author assigns to each individual episode, as in the homonymous "The Architecture Of Melancholy" a track by the slow, stately, statuesque beauty magnified by the keyboard-pads, the mournful tolling of the bell, soft arpeggios and chords trails outlined in the sepulchral voice of Peter, alternating with a seraphic chorus belonging to Ida Bengtsson, guest vocalists from the Arcana. "Bitteresque" turns out to be a song from the musical lethargic, almost ambient vetrizzata hemispheres in inducing in ' listener an indescribable sense of peace, enhanced by remote setting scheme Speech by Peter who reads the text with quiet sorrow of pinches of pick and suspension of key. "The Hidden Compass" pass it on a sad mood and decadent, basing its expression of echoed guitar notes, full of reverberated vocal extensions struggevolezza and ecstatic agreements keyboard, a track that recalls amazingly the evanescence of style Soul Whirling Somewhere expressed by the most visionary. Horizons by ethnic-ambient "Apathy" branches sinuously un'arabeggiante percussiveness downtempo decorated with evocative guitar caresses, low tone of voice and filmy key agreements, while the brooding sweetness emanating from the next "Thoughts Of A Wheel" flows placidly in a lagoon of dreams, whose waters are the touches of guitar and dilated the intangibility tastieristica. For some indefinable reason, the nostalgic romanticism flowing piano melodies in "The Death of Our Sun" refers indirectly to that heard in the ancient repertoire of Death In June, mixed with quiet percussive element here, delicate efflorescences guitar, shady key modulations and, above all, the voice of Peter sinking slowly into ecstatic with ambient backdrops. The act of closing "Sleep Dep.Loop1", a piece by the quiet and saddened modulations ethereal-ambient-style keyboard publications able to ensnare the senses through the extreme grace with which hover in the air. In the spirit of Peter Bjärgö emerges a contagious emotion that the artist pours fully in "" The Architecture Of Melancholy ", transforming the hearing in a long moment to be spent in solitude, only letting his music speak endlessly expanding the boundaries of time. This is not an album: it is a fragment of the universe.

 

torna su

Principe Valiente - "Principe Valiente" - cd - by Maxymox 2012 -

principevaliente Principe Valiente is the name of this valuable training in Stockholm Swedish author of plural generally dark-pop / Post punk / Shoegaze. Three components the line-up: Fernando Honorato (vox - electric bass - keys & piano), Alexander Chlot (guitars) and Janet Joakim (drums) are added temporarily The guest ensemble-Jacob Malmström and drummers Jon Axelsson. The synergy between 2005 taken from the official members concrettizzò an EP in 2007 entitled containing four episodes of the same name who received feedbacks welcome from both the public by radio DJ's in Europe and overseas, the sound of band is framed in a heterogeneous form that integrates the darkness of the Sisters of Mercy, the wave-rock by Interpol and tiny refractions of glam-rock Suede style nell'allucinato fading effect of the after-punk, with special devotion to contemplative melodies of shoegaze phenomenon of the late Vintage 80's. The album analyzed here by Vox empyrean is the important fact that the debut project Principe Valiente in orbit presenting itself as an alternative project, resourceful and able to create atmospheres that capture the audience through the voltage spread instruments together with the pathos of alienating vocals sung by Fernando. The release, licensed from the parallel German and Swedish Afmusic Parismusic, opens with the melancholy orchestration of the piano nobile, snare drum key and final "Intro" that is through its minimal splendor, permit entry to "Before You Knew Me", explosive in its initial part by the explosion of drumming and guitars of shoegaze- oriented continuing on this side while holding the psychedelic vocal intonations, the roughness of the bottom and the wakes drawn from the keyboard. "One More Time" prepare robust sectors of guitars, drums, singing and despair, creating a track even through they sloped to the romantic goth-rock, and the following "In My Arms" proceeds in the direction of a perfect balance between the discontent of the post-punk, new wave and the rock mixed with shoegaze, in an act full of incredibly passionate speech delivered by the interplay of fast battery combined with the brilliant arpeggios combination of bass-guitar. The nervous rhythm punctuated by drummer acts as a framework to singing reverberated Fernando and the restless rotation of strings nell'obscure-rock / post-punk band called "New Life", followed by the depressed track interlude guitar solo "Solitary Man". Airy symphony of agreements keyboard-foreshadows the darkness of "Stay" a track featuring decadent voice solutions that blend the guitar upset theories of Cure first, then connected to the resolute granite top and bottom of the drumming, concepts chronologically placed before the beautiful "Afraid", innervated by fiery percussive beat and tortured evolution of song made even more dramatic by a barrage of guitar and bass in planning post-punker, the same scheme on which it is built well after the "150 Years" which adds to its appearance in a tone of voice despondent romance. It 's the turn of "The Night", which is also driven by the friction between ironclad electric guitar and drums set the dull throb of the bass-line, resonances assumomo unusual characteristics gothic / post-punk with the aid of spoken vocals with passion by Fernando faded. The beautiful and processing of key programming organized by guest Jon Axelsson in the beautiful closing track "Dance Like There's No Tomorrow", the splendor of the rest expressive singing nostalgically popular vocalist in this poem slow-sad-pop / post-punk, free from percussiveness and would call in my opinion with the name "epochal." The first approach to this will be hard for the listener to an event in itself satisfying, feeling bound to increased enormously during the subsequent hearings, erupting in a triumph of reverence and great respect for the masterpiece that this album represents. The contents of the album demonstrates the extraordinarily high level reached by the band along with an admirable acumen in being able revisit the classical dictates post-punk, condensing them into a personal style full of melody and intensity. The Principe Valiente, already operating in implementation of the next full-length in 2013, are clearly distinguishable for its originality, leaving an unforgettable memory and the desire to listen to this release countless times. A work superb, princely, from which it never will be separated.

* R *

back to top

Radio DCS - "I Try My Best To Mainstream - cd- by Maxymox 2012

radiod The Radio DCS are the Austrians Richard Pustina (vox/lyrics/intruments), Gert Brünner (lyrics/instruments) and Sabina Sagaj (electronics/live-synths). This project, conceived in the year 2011, has a masterful ability to synergize in a single block the modulations retro-darkwave, post-rock, electronic and gothic within which ferments that particular melodic imprint belonging to the synthpop vanguard and to the obscure-wave from the 80's, element that our protagonists, grown musically during those years, remains intact in their genome. The discography of Radio DCS, prior to this debut-album "I Try My Best To Mainstream", includes significant participations they have took place in 2012 to the anthologies "Orkus Compilation 80" and "Gothic Compilation 57", besides two distinct presences into the tracklists of Sharon Next, precisely in the albums "Fast Farewell" released in 2010, and "Der Hase" of the 2012. Retrospectively analyzing the compositional origins of this design, it emerges during the 90's a more distinct and prolonged testing of electro- wave modules played by Richard and Gert into one of their starting and unspecified platform, as well as in following times a fervent activity as external musicians into a certain number of bands related to the music genera described, continuing all this until recently, through their ultimately creation named Radio DCS and the integration of Sabina, the compositional style of the project has finally found an option that distances them in absolute terms from commercial cataloging, benefiting correspondences solidly alternative and departed from the easy-listening. By the fortuitous meeting with the German producer, electronic musician and songwriter Per-Anders Kurenbach, him since 1984 active on the underground scene, and then by the subsequent agreement with the label Afmusic, is resulted this debut full-length that Vox Empirea is honored to present to all its readers devoted to the own sound undertaken by this good band: this concepts are not only in relation to the high quality of its content, but also for the great competence with which Radio DCS are able to suggest a more vibrant musicality and a strong pleasantness of listening. The eleven tracks that are included in "I Try My Best To Mainstream" open by the first "Start Here", short and atmospheric introductory episode created by keyboard beams sprinkled with effects, electronic twists and cryptic phrases, while the continuing played by "Voodoo Doll" involves using a dark-oriented danceable electro-gothic-wave built by one uptempo percussive line into which are grafted the programmed punctuations, the deep tones of the vocalist and the trajectories described by the electric guitar. "Go To Hell" fascinates externalizing gloomy and obsessive darkwave-gothic/post-rock sounds designed using an high density of synths, dual guitars flooring, one abrasive and the other characterized by riffs dimly illuminated, midtempo drum-programming and a chant shaded by twilight accents. The drum-beats processed in "Surrender" intersect the fluid wakes traced by the key, the convulsive workings of the guitars and the depressed singing of Richard arranged on a first rhythmic midtempo frequency, the same that, further accelerated in its development, holds with more energy the decadent gothic-rock aura which the song is saturated. "The Reason" prefers a romantic attitude disposed inside a pop-wave full of slow curves and overflowing of poignant melody, details built primarily on the intensity scattered by the combination of the keyboard and the vocals, both gently cradled by a downtempo percussiveness on which flit capturing pads and beautiful guitar suggestions, all this anticipating the following "Little Stitch", oriented towards sinuous trajectory synth-rock/wave of guitar, enveloping keyboard, well-timed drumming and vocals very clearly marked, modulations reminiscent, albeit vaguely, those expressed in some of the last and by now distant works by Simple Minds. It's the time of "Underground", a sad-wave/post-rock ballade conceived on repetitive compactness of the percussive implant, near which are rhythmically alternated the guitars arpeggios, the breath of the keyboard and a chant so monolithic, baritone, but at the same time harmonically faded. "Bizarre Visions" is yet another example of how eloquent is the composition skill of Radio DCS, characteristic manifested in this track planned on snare drumming sections to support to the passionate intonations of Richard which, blended with the flowing expansion of the key and the tensed spatiality of the guitars, they form a vibrant wave/post-rock track, whose refrain knows the way to enter and persist in the memory. The climax electronically opened of "Natasha" ensnares through formulations synth-rock/wave very 80's emanating a pulsating uptempo rhythm accompanied by the chant that Richard synchronized disseminates artfully it on the tracing of the key and the thrusts propelled by the electric guitars. still a galliard technological wave mixed with indirect post-rock drifts can be heard in the excellent "Hard To Wait", song animated by rapid electro-rhythmic punctuation, liquefaction of programming, electric guitars and vocals expressed by aristocratic accents, so well-defined. Unexpectedly, the final of the release features a remake version of one of the best songs created in the past by the famous rock band called Foreigner, "Urgent", hit-single of 1981 revised by Radio DCS in a electro-rocking robe tha t is the direct evolution of the same song in which we rediscover, globally intact, the its original features now modernized by the intermittent beats of the sequencing, charming vocals, a sober key accompaniment and articulated as skillful guitar inlays. Flattering debut for an emerging band, the album "I Try My Best To Mainstream" promises a long succession of plays, flaunting distinctive traits of first-class and and ornaments such as to make it attractive to all those who wish to experience the inebriating effects of melodic gothic-wave sounds connected to post-rock sediments and to focused 80's feedbacks. Radio DCS prove themselves honest, in possessing of an unprecedented sonic footprint, capable of great formulations and free from any star-like attitude, fundamentals that do well wish in future and even more ambitious goals. Now stop words: that all the new waver's in listening turn their attention to a band that knows how to conquer all their precious ardor.

 

back to top

Rapoon - "Time-Loop Anomalies" - cd - by Maxymox 2012

rapoon List entirely the complete discography published by Robin Storey in the role of single-project Rapoon, prior to the latter work "Time-Loop Anomalies", it would be a massive undertaking, numbering it since 1992 no less than ninety-creations split between CD's, ep's, vinyl releases and contributions on compilations, so I encourage interested readers to this section to verify the amount by connecting to the web page of the artist. The character treaty from England and his musical experience has evolved into the ranks of Zoviet France, whose collective stylistically hybrid kinds of expertise can be classified in a post-industrial/ambient-drone/tribal, historical platform that Robin is was co-founder and member from 1979 to 1992. The musician also boasts important collaborations such as producer, business honored by collaborations with artists such as Joachim Roedelius, a member of the drawings Cluster / Harmonia and Nigel Ayers alias Nocturnal Emissions. Rapoon is the perpetual experiment ancestry ethno-ambient powered by the genius of Robin who, symmetrically to the recent digital-album "Disappeared Redux" and the full-length "Stray", always complete in 2012, this collection of individual and so-called "starts" extrapolated from its extremely wide discography. The important support of the Polish Zoharum Records label adds value to the issue analyzed here in its tracklist including a rational mix of multi-colored sound concocted by Rapoon during its various stylistic periods. The album opens with a song especially appreciated by Robin, "Sputnik", proposed now remix by electro-acoustic strategies planned by atmospheric compositions reverberated keyboard, at the same time at low modulations of strings and percussive diradazioni. The next "Earthbound And Emotional (From Carmen ... Early Mixes Plus Eva Vocals: Treated)" exposes an ethno-ambient minimal, created almost entirely on a wide track sequencing that stores campionandoli crystalline tones and relayed to a percussion instrument , acoustic immersed in a hypnotic, relaxing lagoon score composed in turn by vocii tribal. "Hybrid Identities 1 (Radioactive Mixes Hands Held High OCCUPY)" explores the concept horizons alternative ambient, manipulating sound and assottigliandone structures, making them very fine filaments loads of radio interference, in which mist creeping in the distance a tune and a spectral throaty phrasing that does not belong to the human species. Its trait d'union of the song you just heard was exposed, followed by "Hybrid Identities 2 (Radioactive Rain Mixes ... Plus Eva Vocals: Treated)", a chapter which retrieves feminine vocals of singer rarefattamente distributed in a murky pool of frequencies radiocontaminated , roars, yells and obsessive drumming as much as the chorus audible in the background. The emotions of past moments but still imprinted in the soul through the formulas revive brain-ambient dream of "(Memories Of) Holidays At The Sea" song monoritmica and built by Robin extending to infinity skinny agreements organ within which echo garriti gull and sophistication voice sounds contradictory that disclosed by the following and more technological "Of Course There Are Aliens (In This World Untempo Early Mix)", a glacial succession of intermittent electronic environments to evoke space mission, dialogue radio and vocal samples, modules entirely beaten by stabs of drum-programming. "Synchronic (Out Of)" breathes livid emissions keyboard publications in the form of unstructured pads bearing a tone hour rippled expanded hours, until reaching modulations electronically distorted, solutions that provide the input to the next "Pig Drum Ritual (Live Remix)" track strong connotation tribal-ambient mainly based on percussive synthesis which support a background formed by the Arabian trumpet calls and voice segments programmed by machines. Sink slowly through the eddies of "Carmen 2 Remix Hybrid" means experience dream with open eyes, to abbadonandosi mesmerizzanti trajectories style ethno-ambient this time drawn with the leaden chrome key in combination with rumoreggi background, echoes of trumpet , nebulae synthetic vocals Arabs and skeletal dialogues vocalist. "Only Rapoon Carmen" unfolds arcuazioni noise generated by the equipment in un'immateriale cold, slow, continuous twist and re-modulation frequencies of dark and echoed, all prior to the closing stretch, "One Year Out End", an industrial-ambient darkened by haze tastieristica, reverb voice and electronic spiralizzazioni. Selection of events very interesting and remixed expressed using pure creativity and all the wisdom in knowing how to bend the material sound: the result of this commitment by Rapoon is this "Time-Loop Anomalies", whose contents asseverano in terms irrefutable great preparation This avant-garde musician and the wonderful effects that his compositions procure the individual imagination. Every sonic detail the tracklist is designed in such a way as to cause the listener splitting objectivity, allowing the imagination to fly over the eastern slopes of the world introspectively enhancing the magic of the landscape and the life that flows in it. Project of great importance and messenger of a sound that will make you naturalness cross the invisible space-time barrier.

 

back to top

Rapido De Noir - "Equidistant Lonelinesses" - cd - by Maxymox 2012

rapido The European post-punk is in fact a kind traditionally connected to an alienating and tense musicality, but also adaptable to an infinite number of variations and experiments: the French Rapido De Noir convert the hallucinatory nature of this style in dynamic electronic registers, pop, 80's, 60's psychedelic and nu-waver, producing effects concretely interesting and full of original intuitions. The project, originally founded in 2009 with a first name known as Underbahns featuring Pat Bakelite, is currently composed by the same Pat Bakelite (vox/acoustic-electric guitars/synths), in collaboration with Samag (bass/synths/electric-guitars/machines/sound design) and the additional musicians Fab I Found Land (live-synths/acoustic guitars/backing vox) and Wil Sintaste (live guitars/backing vox). The repertoire of the protagonists, antecedently this full-lenght, includes the excellent debut ep titled "Broken" released by the label Zorch Factory Records and the subsequent 7" published in 2011 for the same brand, "Shaun", plus two apparitions on compilations, respectively on "Impatiences Nocturnes" published in 2010 by the Association SADE and on "Nouvelle Ecole" issued in 2012 by the label Liberate Tute Me Ex Inferis Records. The sound created by Rapido De Noir follows frequently unpredictable and unconventional trajectories by means of a chant circumfused of impassioned nostalgia and extraordinary textures coming from an instrumental sector engineered with absolute mastery. The amplitude of the electronic phases streamlines definitely the visionary harshness of the post-punk formulas softening the forms, while the vocal accents spoken by Pat act as load-bearing diffusing them between the schemes by melodious and verticalized tones, always highly capturing and incisive. The first album "Equidistant Lonelinesses", published by the label 15 Degrees Records, reveals an exciting band uder every point of view and worthy of being reported to our readers with the utmost consideration, especially for the complexity of the plots, for a skillful blend of different sonic orientations that make each track a single episode to live with renewed intensity, and for lyrics tinged with self-derision and what the band calls "a kind of positive melancholy." The release opens with "Close To The Edge", dynamized by leste percussive beats and by the flow of the sequencing in support of a new wave song finely emancipated which however touches irresistible old school pop soulutions, sounds perceived by the penetrating sharpness of the interweavings between the Pat's vocals and by the backing chorus, as well as the excellent interplay between the soft flow of the synth and electric guitars fields. "He Could Be", also available in a riveting video format, integrates into its sound balanced doses of synthpop and new wave, emulsifying their elements and bringing to fruition a piece of great attraction showing a fast percussiveness surrounded by an upset singing, a multi-choral tonality chased by blows of guitars and synths in combination with a pulsing line of programming. From the following "Banned From The Club" emerge appreciable post-punk memories expressed above all in the foolish form of Pat's vox which fits into a fractionated and variable musicality composed of instants electronically popish represented by the midtempo beating of the drum-programming and by the touch of the synths, and others inspired by a psychotic wave communicated in the refrain through a quick piano background on which are fixed in superimposed position neurotic vocals and guitars dissonance. "Shaun" is an extraordinary electro-wave punctuated by post-punk reminescences, an episode in which the parallel walk of the midtempo drumming meets magical counterpoint of guitars, the artificial winds, the aeriform designs of the keyboard and the melancholic schizophrenia with which Pat sings his lyrics. A bit psychedelic, vaguely folkish and at moments post-waver, "My Shining Whore" propagates vocal depressions on a soft mantle of keys, sequencing and guitar arpeggios, while the following "Broken" accelerates the rhythm engrafting it into an arabesque new wave-minded full of fantastic extensions that the singer and the backing vocalists emit in so incredibly defined way connecting them to the instrumental implant, this latter consisting of a perfect synchrony between the fast beats of the drum-system and the programmed hatchings, all this on the glittering trails of the synths and the electricity of the guitars riffs. "Brainstorm" retrieves the glories of post-punk that provide a visionary chant and well modulated return choruses, direct guitars, rapid drum-machine sequences, programmed segmentations and keyboard flights, so like the following "Look Out Lock Out" offers a mad wave driven by swift electro-percussive rotations at two speeds, the first one regent a disciplined and harmonic form of singing, bass lines, programming and synth, the second one, more accelerated, deflagrating in a swirl of post-punk guitars and delusional vocals. In my personal opinion, the most attractive track of this album is "Sweet Married", an ironic and articulated pop-wave with which the band reveals exponentially its genius, and all this through a synthetic midtempo percussiveness as tow for the electric insertion of the guitars, for the 60's climax-keyboard, alienating electronic inserts and for the voice sections capable of prodigious evolutions and, above all, of a refrain that is instantly imprinted in the memory. The epilogue of the work takes the title of "Rain", chapter set to a wave scheme rhythmically downtempo minded on which are aligned the mechanical rotations of the programming, the heavenly superstructure of the key, the guitar intersections that in the final are dissolved in a distorted lagoon, and the singer's voice accented of paranoia and sadness. Relating with "Equidistant Lonelinesses" is instinctive, natural: its appeal is immediate, its potential is immense, its longevity assured. Adding mathematically the amazing Pat's vocal range with the perfection of intrumental support and the choral embellishments, result ten sonic magnificences to which we must express in eulogic terms, in particular for this fresh stylization of the post-punk-wave concept that enjoys, entertains and makes you think. For Vox Empirea best band in the 2012 in this specific genre! 100% sensational, 100% rousing, 100% Rapido De Noir.

 

back to top

Red Sun Revival - "Running From The Dawn" - cd - by Maxymox 2012

redsun Extrapolating the best proposals offered in this 2012 from the gothic-rock scene, the choice of Vox Empirea inevitably falls on the Londoners Red Sun Revival, power-quartet composed in 2011 by the following musicians with tuba-hat, dressed like in the late nineteenth century and all them in the possession of important artistic curriculum: Rob Leydon (vox/programming/clean-guitar/recording engineer) has constructive militancy as guitarist in various projects stylistically oriented towards the same music gender, like Voices of Masada, which Rob is also co-founder, The Eden House , Adoration and Nosferatu. Matt Helm (guitar) offered his admirable ability of arpeggio in Pretentious, Moi?, an English gothic-rock design interpreter in 2010 of an excellent debut self-titled album and that I had the honor of reviewing more than positively. The Greek Panos Theodoropoulos (bass guitar) has always shown an innate versatility developing in the past its tactics in numerous Hellenic underground bands, while currently, as well as in Red Sun Revival, he is incorporated in the line-up of RottViolent, ensemble dedicated to the hard-rock genre. Christina Emery (violin), was the keyboardist of the elektro-platform named Future Frenetic, she has built around himself over the years a solid reputation maneuvering her instrument in the past as today with admirable expertise, able to insert in the structures capturing registers processed in perfect harmony with the guitar textures. The interaction between these minds could only create a work of strong resonance and valor, characteristics distinctly perceptible in this debut album released by the famous German label Afmusic. "Running From The Dawn" is full-lenght in which preparation are involved some important names, in particularly those belonging to DeWray Louis, vocalist of the cited project Nosferatu, whom has effectively supervised as a vocal-engineer the revelant chant sections at the Earth Terminal Studios, as well as Stephen Carey, active at the Stanton Manor Studio well as creator of the projects The Eden House, member of the NFD and This Burning Effigy, masterly mixed the sound sources, while the delicate mastering stage is carried out none other than Andrew (Andy) Jackson, a famous producer and record engineer for Pink Floyd and Fields Of The Nephilim's albums, well as holder of the Tube Mastering Studio. The golden list of credits continues mentioning Ilona Jurgiel, professional doll-maker and photographer at the Lightpainted Doll whom has designed the digipak artwork, continuing citing finally the collaboration by the guest-violinist Bob Loveday, a member coming from the band headed by the mastermind Bob Geldof. The technical team and the band, both creators of this "Running From The Dawn", they've succeeded therefore producing an album entirely full of charming, melancholic gothic-minded ancestors, a work elevated on high listening parameters so highest to distinguish itself brightly in its area of competence, all this by an amazing, marvelous chant-metric, always full of speen and great expressiveness, together with a perfect instrumental form engineered with impeccable knowledge. "Running From The Dawn" inserts in its tracklist a diadem composed by nine priceless sonic-gems that start from "My Child", a beautiful gothic-rock in which every moment is filled of charm and decadence, a perception fervent by the pleading Rob's vocals whose deep and hoarse singing timbre surround with penetrating intensity the uptempo drumming, the fine embroideries of the guitars, the pulsating bass-line and the romantic spatiality widespread from the keyboard. The violin maneuvers are harmonics flights that enrich the course of the next and namesake "Running From The Dawn", the track that expands the traditional gothic concept inserting into it, in addition to the ashy color reflected by the chant, also an instrumental look filled of rasserenate atmospheres melodiously composed by a delicate programming embroidery that is added to the passionate combination between voice, well supported percussiveness, idyllic pinches of guitar and keyboard refinements. The depressed poetry of the chant added to the rock energy obtained as a result "Lost For Words", a song that exhibits the cultivated aura of which the music of the Red Sun Revival is holder, a particular again highlighted by the elegant exchanges between the Rob's pronunciations and the triptych guitar-keyboard-drumming, formulations designed on midtempo base and crossed by the nostalgic scents of the violin played by Christina. The sadness of "Last Chance" is written through the downcasted registers gothic-oriented issued by the vocalist and inserted with great aesthetic sense between the sequencing intermittences, the midtempo drum-machine beats, the fascinating pads, the bass laps driven by Panos and the melancholy emotions evoked by the guitar scales. The beautiful "Wide Awake", in the same way, plans a chant that by the refrain it spreads all its irrepressible suffering embracing with infinite transport the emotions aroused by the combination between the faded romanticism of the key-sound and the sparkling decorations of the guitars on the midtempo rhythm, as well as the following "Miracles", even more charming, overflowing of gothic passion and probably the best episode of the tracklist, entrusts most of its desperation to the chant that Rob lives with inexpressible ardor pronununcing it through heartbroken lyrics which in the refrain they expanding into long reverbs so beautifully capturing, all this declined by a vivid musicality dragged by the bass and by the drum-programming, thickened by the extensions of the keyboard and made even more sentimental by guitar ornaments that run rhythmically in the soul of the song. "Without You" is like a pure poetry enunciated in front of an autumn sunset, a gothic-rock song full of melancholy voice-shades twirl on the vibrant gait of the midtempo drumming, exhibitions crossed by piano embellishments, persistent key symphonies and suggestive guitar intersections. Now is the time of "Forgive Us Now", composition by the strong emotional charge emphasized particularly in the vocals that Rob speaks with saddened tones, wounded by an inconsolable suffering and perfectly integrated into a sad-gothic/rock sound that aggregates into a single module the saddened, electric guitar arpeggio, the drum-programming midtempo and the soft keyboard trails interspersed with poignant violin sections. A work of similar viscerality could not have wished for a better conclusion: so here's "Nothing To Hide", a track swamped by gothic-wave-rock consonances primarily revealed through the vocal foreground speech by Rob as always overflowing with pathos, and then by the instrumental melancholies of guitars and violin on which running the drum beating, the dashed line of sequencing and the warm fluctuations of the keyboard. Epic release and able to reach the motions of the spirit, an album that will leave admired that phalanx of the public who made of the gothic subculture their lifestyle. The clear affirmation of the Rob Leydon's voice it imposes with immeasurable effectiveness on the musics, giving them a form culminating in a real inner torment, in regret and in a gloomy season poetry. The band plays each song with commitment, wisdom and concentration, activating every possible refinement aimed to the impeccable complement of a work which, even though subjected to the most severe judgments, immediately shows its superiority over the standard average. The synergy between a pentagram of exceptional consistency and a sound-system technically clean, makes "Running From The Dawn" a work highlighting the relationship between decadence and melody: Red Sun Revival is a great project and it's fundamental that you know it.

 

back to top

Rukkanor- "Deccarah" - cd - by Maxymox 2012

rukkanor The individual project Rukkanor is the sonic alter ego of the Polish neoclassic / orchestral bombast / martial artist Robert Marciniak, who built together with Marcin Bachtiak, aka Cold Fusion, the cult-label known as War Propaganda Office, from 2007 turned into Rage In Eden and specific areas dark ambient / neofolk / industrial / experimental / militaria, labels through which the author released the Almost all of the productions that I'm going to list in due course in the lines below. The biography the protagonist also mentions two other parallel designs concrettizzati in collaboration with Marcin Bachtiak: the first, including in the line-up also the figure of Radoslaw Kaminski, is known in the neoclassical scene / industrial European Union with the epithet Across The Rubicon which is attributed to the album "Elegy" in 2007, the split "Scontrum Act VIII" shared in 2008 together with fellow Phragments and the solo-project of Frenchman Romain Lemenorel called March Of Heroes, as well as the full-length from expanded title, "Who Does not Listen To The Song, Will Hear The Storm" published in 2010. The second, based in 2004 by the synergy between Robert Marciniak and Marcin Bachtiak, was the platform industrial-ambient insuffer, author of the excellent album "Of Virus" published by the labels Terra Inferna and Beast Of Prey "in More recently, in 2012, the musician in question has played with Anthony Armageddon Destroyer member projects EWT 811, Goreghast and Paranoia Inducta, the duo Needful Things, by which has recorded the five-track digital-style minimal-dark-ambient album "Delusion". Focusing hours the investigation of the productivity record of Robert as a Rukkanor, we list the album "Requiem For K-141 KYPCK "and the EP" Wunderwaffe "in 2004, the latter in cooperation with Cold Fusion, followed in 2005 by a second, "Deora" and again the following year of the split "Triumvire", within which Rukkanor presented three episodes competing with traces of Cold Fusion and Stahlwerk 9. The first chapter of the famous and double act "Despartica - Face One" was released in 2007 alongside an EP "End": it included ten tracks formidable martial-industrial structure based on the poems of immortal writers such as William Blake, Thomas Hood, Rupert Brooke, Wilfred Owen, Christina Rossetti, William and Joseph Campbell Butler Yeats: some noteworthy vocal contributions by astrophysicist Stephen Hawking English and Reinhard Hopfe projects Indigo Larvae, Stahlwerk 9, ARS, Fall Weiss, Final Resistance and Sturmpercht. After the split "Wunderwaffe + New Apocalypse" in 2008 conducted jointly Cold Fusion, Rukkanor completed "Despartica - Two Face", the second chapter of the work this time characterized sounds from predominantly dark-electro darkwave and the texts of which harked back to the authors William Butler Yeats, William Henry Davies, Emily Dickinson, John Masefield, John Gillespie Magee, Edith Wharton, William Blake, Sarah Teasdale, Jessica Powers and Emily Brontë. Again, the association with Cold Fusion generated in 2008 album "Silk Road", while the return to the path of Rukkanor solo gave birth in 2009 to a CDr-ultra-limited edition album called "Almetodhe", the same anticipated that this full-length "Deccarah", now selected by Vox empyrean. The work in question, consisting of eleven tracks and only three hundred numbered copies printed by hand, signed an agreement with the always excellent label German SkullLine, a partnership offering a perfectly engineered sonic product of great value fired from a music brand that has collected over time incredible amounts of awards in the areas neofolk / industrial / noise / dark-ambient. The four-page booklet introduces the concept visually same album: love and sacrifice for Europe, ancient and glorious battles against the armies kept Eastern revived sharply in sumptuous orchestrations neofolk-martial, as evidenced by the opening track "Before The Dawn", which is set in the evocative documentary spirit with pads introductory crossed by a slow beat of the bell and the Christian devotion expressed in prayer recited in Latin by the soldier before the battle, all punctuated by a dual basis percussion: a sinuous oriental, the other proudly erect dall'imperioso and disciplined sound of the snare drum. The song that gives the album its title, "Deccarah", strikes the membrane percussion rigorously soldierly flying across ancient Arab militias which, by their deafening shouting make it even more threatening environments from the true enemy camp dramatized by long chords on the keyboard. A meandering rhythmic beat of pagan welcomes modular and deeper drumbeats, percussive system that governs the decadent charm of the song Gregorian immersed in melancholy of pads: everything in the solemn celebration of "Warriors Of God" ante-track "Rivers Of Light Sea Of Shadows" episode elegantly neoclassical-martial arranged on marble rolled in combination with grandiose symphonic melancholy high from the keyboard. The authoritarian grandeur of the same instrument dominates the subsequent "Litany", increasing its plots the sense of tension through heavy touch that cross the religious choral mixed severity in turn to read rhythms of drumming. Opposite is rather the tactical scheme planned for the combative "In War We Trust", a ride-martial midtempo by powerful rhythmic tones and oriental formulations keyboard on which hover ethnic sounds and obsessive Levantine invocation. A song echoed and liturgical echoes between the militaristic percussion sections of "Song Of The Damned" cloaked un'orchestralità adamant that ideally portrays the suffering the soul, after conducting "The Commandment" and its atmospheric choral Gregorian inserted overlap between keyboard publications hour afflicted, now grandly soaring. It 's the time of capturing majesty of "Vir Triumphalis", a neoclassical-martial song that stands with the immaculate purity of a diamond and like it, beyond the shiny exterior, lies a structure crystal, characteristic represented by the strict, slow rhythmic step symmetrically placed to the noble symphony keyboard embraces fulgency of singing and the soft strumming of the guitar plectrum on tip, formulations that make this track one of the most spectacular of the entire disc. The choice Gregorian chant is proving an element perfectly integrated also on the staff of "Crusader" within which the neo-classical orchestral fabric with keyboard communicates through harsh language with the martial beat of the drum, as well as "A New Dawn", the final song, extends with the same driving intensity of a soundtrack replicating vibrant percussion in a poetic context modular keyboard and guitar strokes. Music evoking not the sumptuousness in a broad sense, but rather the strong sense of triumph, greatness and victory. Rukkanor is a glacial monolith can to propagate acoustic melodies filled with vast historical and royal charm, everything austerely embellished by geometric prowess of martial-sound. "Deccarah" is an album whose supremacy requires plays absolutely participants and aimed at an audience dedicated to this specific sonic footprint: they will ride horses blacks launched the office in a blaze of flaming swords and crosses. This record is a timeless scene that will involve you fully, I wish that this release will be included as soon as possible in the most accessible point of your best collection.

* S *

back to top

(((S))) - The Moon Is My Sun" - cd- by Maxymox 2012

sthemoon Talking about the cryptic Danish musician Nils Lassen, alias (((S))), is like to enter into a compositional universe that makes of the changeability its main feature. The six-way brackets enclosing the letter "S" of the logo might symbolize, in my opinion, sound waves that departing from a central core they evolve, as well as in opposite trajectories, even in a dynamic variety of compositional expressions. The project, biographically elusive and hermetic in his utterances, offers himself at the listening ranging from his origins in a big number of music phases which lapping alternately darkwave drifts, as heard in the debut-album "Ghost" published in 2009 by the German label Afmusic, or intensly new wave/indie rock, modules externalized in the second full-length "Phantom" and in the extended-play "The Deutsch EP" both fired in 2010 by the same brand. The encounter with this new album gives instead the introduction of the legendary synth-wave graphic coming from the underground alternative between 1978 and 1984: the tracklist takes explicit inspiration from the sounds belonging to the New Order, a band whose reminiscences are palpably intense and truthful in formulas apart from wanting to be mirroring reproductions, but rather interpretable as modern reconstructions of a musical pattern that has indelibly marked an important section of the early new wave. And therefore, the new album-release "The Moon Is My Sun" fast minimal electronic structures dialogues with inedited, dancing after-punk elements conceived in ancient times by the trio Bernard Sumner/Peter Hook/Stephen Morris, finalizing so a sonic device able to faithfully reproduce the typical acoustics forged various years ago by the British band mixed with others sonority of a more autonomous and technological matrix prepared by (((S))) in many chapters of the album. It's also important to highlight the active role in the release of two guests: the vocalist Marie and the guitarist Paul Gnu, who are entrusted many execution of relevant support and of instrumental completing of the tracks. Responsible for this new publication are the labels Afmusic and Danse Macabre, an excellent partnership from which they were granted many of the best underground productions of this 2012 treated by Vox Empirea: the title track of this release is divided into eleven episodes, first of them is "Alive/Die", electro-wave of the fast and breezy rhythmic step enlivened by scanning uptempo symmetrically planned to receive pulsing bass-lines and a sequenced line that reminds in some misure the old electronic hatches minded by Giorgio Moroder from the 70's and 80's, all this in turn inserted into a captivating dimension post-New Oder recreated by the guitar that emulates stylistically the identical electrical timbre of the strings and staccato arpeggios typical of the band in which (((S))) is inspired, in addition to filtered vocals and a captivating choral refrain. "Ballet Of The Wolves" supports a danceable synthetic-wave created by a uniform drum-programming layout full of accelerated bpm, harmonic key flows and sequencing, fragmentary episodes of guitar and a dry form of singing so melodically disillusioned, depressed in the accents that reveals its devotion to the post-punker nostalgia. The speed with which the rhythm machine processes the beats of the next "Shadowboxing" makes the track extremely dynamic and framed as a modern, concrete reproduction of the glories of the old synth-wave dating back to eras early-80's, modulations intoxicated by Japanese touch style of the keyboard and by the sequencing, by embracing electronic breezes and vocals full of enthralling bitonality solutions anticipating the following "Truthdrug", a midtempo electropop prepared on artificial cadences of the e-drumming on which alternating the singing melodically bitter in line with the fluorescence of the keyboard and the minimal syntheticism that hover coldly on the structures. The beautiful "Endless Summer" recuperates again, but only in part, the sounds by New Order assembling them in the brilliant futurepopish patterns performed by the danceable midtempo trajectories of the drum machines and the sequencers, by the electric guitar inlays distributed by Paul in the refrain evoking vividly the band of reference, by key acidification and by vocal inflections that Nils issues icily. "Swimming In Lava" incorporates into a snappy uptempo track the expected New Order-minded elements expressed in the hatching of the electric guitar, but also the tightened fullness of the dialogues between bass-lines and the keyboard raised during the best moments of the track, all this adorned with the dry polyphonies sung by Nils and the vocalist. "Endure" renews the special nature of the electronic conceived by (((S))) for this album, offering an anthology of dance formulas synth-wave oriented and very 80's, composed by mechanical percussive sequences chased by the modular pulse of programming, from embellishments old-school key sounds in addition with the algid vocal inflection of the protagonist, the same one which innervates the following "A Woman Obscured", opening in it shadowy electro-wave passages supported by a fast rhythmic programmed graph, keyboard suggestions full of glacial timbres and singing planning divided between the vox emissions of Nils internalizing a deep sense of frustration and the choral section, equally unhappy, freed by Marie. Brighter and more obedient to the New Order dictates, "Lovething" plays with a talented authority an intensely melodic synth-wave song faster in its movements, all this played by smooth vocals free from tortured thoughts, backed softly to the uptempo electronic thrust of the percussion enriched by the sparkling guitar accompaniment by Paul together with sequenced technicalities, for a song that recalls, connecting them with admirable lucidity, the resolute compulsions of the post-punk and the light heartedness of the synthpop. "TheMeTheYou" is not materially different from what we have just heard, presenting the same characteristics of the previous episode made by rhythm guitar, adding an inciting refrain and vibrant touches of keys, while in conclusion the namesake track "The Moon Is My Sun" prefers atmospheres futuristically introspective and melancholy, emanating charm and singing, minimally, a coolly elegant aftertaste, this detail accentuated by the electropop scheme animated by the hypnotic artificiality of the percussive midtempo system on which Nils embedding with excellent aesthetic taste keyboard-harmonic segments. This release published by (((S))) breaks with surprise in the scene distinguishing itself by its value, correlating the wave sound of vibrant technological sophistication and peaks of avantgarde, as they generally reflecting the models 80's, they are able to adapt them with great effectiveness to the current trends, presenting also with strategy the unforgettable exploits of the New Order through a selection of their best sounds. The album "The Moon Is My Sun" is therefore a multi-directional excursus that definitively consecrates Nils Lassen as a valuable and enlightened electronic sound alternative explorer. Release simply basic, in possession of all the virtues to be counted among the most interesting proposals of this lavish year.

 

back to top

Sandor Gavin - 'Resonance' + 'The Rush' ep - cd - by Maxymox 2012 --

sandorgavin The curriculum for the New York Sandor Gavin reveals the remarkable stylistic versatility of the musician turned first toward new wavers slopes, interpreted in its entry into the scene from 1990 to 2002 as a keyboardist and vocalist in The Syntax Of Devotion, the band with which he published at least two LP's containing pieces of considerable size. The artistic life of Sandor Gavin was followed in 2003 by abandoning the poses wave-orinted to join through the project called Detroit Electrophile gender industrial / synthpop proposing the ep "Digital Emotion" succeeded by 'LP "Fluid" with which reached a good level of popularity among the public of alternative dancefloors. In 2005, the protagonist and the drummer is the Electrophile accorparono to establish the platform Fascination Incorporated totally changing musical direction orienting toward solutions defined by the same Sandor "more organic", but failing to ensure longevity to the project from which it split in recent times to follow the road solo. The new livery of the author permeates synthpop reminiscent of a typical American aggreagate clubby dance-minded concepts, offering a brief discography including the debut album of 2010 "Partial to Blue" characterized by low-speed track from the rhythmic alternating with other more energized and fit slopes, followed by the present "Resonance", full-length of 2011 and the EP "The Rush", the latter guarantor of what you hear in the upcoming release of 2012 "Fiction Theory". The first of two proposals for consideration is precisely the album "Resonance", which brings the brand product of Skip Stop Records, a label Based in Brooklyn specializing in the range of tilt rock and electronic sounds, a job that offers eleven episodes exquisitely suited to listen requiring light sweetness and vocal harmonies electronic terse, passionate. The first act of the opera of the same name is "resonance" perfect synthpop song built by tidy lines of programming, keyboard and vocal timbre of Sandor little more than whispered. Calibrated on a much slower speed percussive, "Kiss Me" is a track corresponding to an electronic pop filled with sugary melodies, and the following "Ecstasy" vigorous offers electro-driven rhythms mixed with solutions both vocal and instrumental reminiscences nicked 80's dance. In "Persistence" stand and lean harmonious synthpop formulas that draw inspiration from Cosmicity indirectly, as "Sun Spots" offers electronic solutions to the most vivid originate combine a track that will delight listeners prone to techno-pop dance style and particularly rich in melody. "True" spreads notes full of grace and style sensitivity Pet Shop Boys, nostalgic items entrusted to vocals laid on a graceful touch of synth tones and piano artificial chorus. The recovery of the royalties dancing is guaranteed by the following "Heaven", a song that says deep breaths keyboard introduced in a speeded segment of programming and voice seraphic, succeeded by the snappy drumming designed to "Footsteps", a track composed injected passion vocal and dance-club details. "Today" pays homage by erecting an impressive device all'electropop vocals by polite but at the same time drawn from speedy whirlwind of drum-machine wrapped by breaths of synth. The atmosphere of melodic, rhythmic and vocal duo typically embedded into the Tennant / Lowe highlighted once appropriating "Reminiscence", followed by the song of the queue represented by "Now And Forever", slender and very danceable in its scintillating style synthpop sections delineated by mechanical drum programming and synth strokes of lyrical display with kindness. The contents The ep heard Rush "roughly reflect those in the previous embodiment and, though designed specifically with the intent of extended play danceable, should represent the main features of the newcomer album "Fiction Theory" planned for the current year; "Feel The Rush", opening track, sets of character melodic synthpop solutions tailored for easy-listening tracks, like "Blind Faith" inclined towards a balanced compromise between technological diagrams pop-dance and regular patterns. "Love Junkie" still reflects tangible affinity with the romantic vocal-instrumental formulas of Pet Shop Boys more danceable, while accelerating rhythm of "Let The Radio Play (FM Mix)" encourages the movement developing simple but icastiche techno-pop harmonies softened with a gleaming hand and keyboard publications sequences very clubby. The buildings musical interpreter certainly does not rewrite the history of pop brief but manage to be loved for simplicity, disengagement and a touch of polite verve that makes equivalent to 360 °. If your musical tastes are a direct line with what is described here, you are invited to establish a direct connection and imperishable with the azure world Sandor Gavin.

 

back to top

Say Y - "A Digital Fate" - cd - by Maxymox 2012

sayy Say Y is German duo of synthpop-matrix composed of the front-man, vocalist and keyboardist Peak (Torsten Pankow) Nancy (Nancy Lehmann), also a vocalist, keyboardist and assigned to the programming. The career of the project, which began officially in 1995, also contains eloquent credits accrued as participants in compilations of the resonance of "The Next Generation Music" published by the Records and Calyx "Operating Trax", published in 2003 by Fear Section, as well as live-supporters to Wolfsheim and the Menschenbrecher-Tour held in 2003 by Terminal Choice. Equally noteworthy that the visibility Say Y have been able to catalyze the same year at the Dark Storm Festival in Berlin, performing alongside the stars and Blutengel Covenant which, the latter inspired stylistically to an extent that assist them in 2004 during their long Demon Kiss tour. The creations made by the design, mostly limited edition, list the self-produced debut album "For Sale" published in 1997, followed in 2000 by two proposals: the second full-length album "The Day After", licensed independently in CD-r together with the single-ep "SMS". In 2001 came the album "Love.Letters.GAME OVER" which gave continuity to the work of self, who succeeded the following year by single-ep "Angels". The bookkeeping undertaken with the Fear Section label, label attached to the world famous Out Of Line, allowed the release of the excellent "Refill" album in 2003 which was followed exactly in 2007, the membership of the brand codeline Say Y Records, known for excellence embedded in its staff including In Vein, P24, Fake The Envy, Exilanation and Channel East. Through this brand in 2008 the duo published the anthology "A Collection Of The Years" and the album "Neverending Lights" within which stood out remixes assigned to projects Infernosounds, Suicidal Romance and De'Lectrix. The new full-length "A Digital Fate" in question, frees the Say Y from any further contract effectively constituting yet another self-designed to show fans a more mature compositional technique, always drawing inspiration from the original electronic-pop music today riedizionati adapted to the new trends in perspective. And so here's formulations aimed at fans of the artificial sound Germanic, a harbinger of dance oriented and other episodes of romantic inclination meditation, all of which are attributable to a cliché melodic synthpop and immediate assimilation: seventeen tracks, thirteen regular bonus in addition to four reworked by many guests, articulate this album which emerges from the first song, "Say Why", full of danceable electronic solutions driven by a pulsating rhythmic uptempo which combine harmoniously the wakes of the keyboard and the vocals of the protagonists. "Fate" makes capturing modulations synthpopish marked by a strong drum-programming and made pleasant by harmonic tricks of voice, electronic key and easy-listening. As anticipated, the inspiration of Say Y also provides moments turned to sentimentality example of this is "My Life", romantically perched on sweetened embroidery vocal-keyboard-lulled by the slow-drumming, while the subsequent "Wohin" raises a robotic system percussive midtempo on which stand keyboard-atmospheric chiaroscuro compositions and vocal style Blutengel, identically to "Hate, Love and Die with Me", from which spreads the song parallel Peak and Nancy initially introduced by melancholic touch the floor and later converted in an old-school synthpop traits. Again and as always, the melodic vocals of singer alternating those vaguely bitter Peak, so as to make even the refrain of the following "Tears of Ice" an exchange of harmonies softened by flows of synth and electronic tricks. "Rot Weiß Schwarz 'bitonal has his lyrics in German language agreements between keyboard-aura darkeggiante midtempo and programming, as well as" Boring "roughly follows the tracks synthpop far clerical workers by replicating a percussive dance-minded as the backbone for read evolutions of key, in this way harmonizing the singing of Nancy perennially braided to the more shadowy Peak. Identical to the previous, the voice scheme of "Digital Child" is enveloped by dense coverage of the keyboard and beaten by a dynamic line electro-percussive ingegnata in turn by Say Y to give the track a danceable energy, sound pass from "I Hate Computers "a pop trajectories from synthetic speech very engaging in their simplicity and associated with a dark-rhythmic mechanism harpsichord. "Sleeping Under A Bridge" is a synthpop dismpegnato in whose calmness electronic flows romantically speculate singing duo, and the following "Maskerade" turns out to be a German pop quarry all entrusted to the vocals of Nancy, in addition to a simple pentagram key and drum -midtempo beats, architecture somewhat simplistic but planned with the intent to be remembered. From "B-Side" emerge initially nostalgic piano notes and then smooth modulations romantic synthpop-built by a slow path electro-rhythmic topped with soft vocals and keyboard-loving rainbows. The Infernosounds, German duo of ancestry dark-electro dance, remix the first bonus track, "Tears of Ice" riedizionandola in with a successful device to track the deep midtempo bpm in support of intriguing reverberations singing, piano and rivulets of keys. The Fragile Child, a project founded by Dennis and German Mex, devoted all'electropop-rock, revitalizes now "Digital Child" turning it into Analog-remix version, which, after a long and atmospheric introductory segment, evolves into a danceable electropop that enhances the vocals of Nancy sospingendoli with determination by the intermittent drum-programming, thus perfecting a piece of secure grip. It could not last execution latitare dedicated to the feeling, played on this occasion by "My Life," a poignant, invigorating piece to music while relaxing on the piano by Steffen Rose, a member of the project acoustic / alternative-rock Geheime Gesellschaft, a duet with the emotional voice Peak. The closing track, "My Way" assembles singing and keyboard-nostalgic agreements always processed by Peak to the support given to voice JujuP aka Julian P. excellent German rapper whose tight phrasing elegantly adorn the pads and soft guitar arpeggios subverting t he track version SBPPegasus-Mix. Hard frank and scored without excesses, "A Digital Fate" is written with calligraphy smooth and rational from a project that demonstrates that he has the gift of communication skills. The traces relate smoothly with delighting the listener with soft intonations electronic rhythm and a touch of poetry, elements which when added planning an album suited to tickle the curiosity of fans of Say Y and, more generally, to anyone who appreciates the German synthpop: technology and emotion converge once again.

 

back to top

Schattenspiel - 'Lichtgestalten' - cd - by Maxymox 2012 -

schattenspiel German project originated in 2008 by the will of Sven Phalanx and The White Rabbit, the duo known by the epithet century Phalanx feat. The White Rabbit and author of digital only releases; Schattenspiel is instead the project to which you attach the albums "Follow The White Rabbit" debut in 2009, the split "La Couronne de Glace" in collaboration with Barbarossa Umtrunk published in 2010, and the penultimate "Schattenkrieger" the same year. The ensemble has been characterized over time from the input and the release of a large number of artists, each responsible for different sizes of final structure of the platform stylistic evaluated today as a balanced compromise between neo-classical, neofolk, military-pop and ambient. The line-up Sven is currently quoted mentions the Phalanx (music / backvox), Shaita (vox), Save Christian (music), Seetha (vox) and Iris Traumann (music), from whose alliance comes this new album, "Lichtgestalten", limited to 500 copies + 50 boxes licensed by the label specialized Master's Dead Beat. The track listing of the work enumerates fourteen tracks, five of which are made in cooperation with outside artists, for a chain full of melancholy sound sweetness but also a severe martial appeal, or a dreamy unreality, especially in separate incidents in which the two vocalists alternate singing. As evidence of this, the listener will experience what is stated already in dell'opener lulling notes, "Der Flug des Schmetterlings," a slow ballad neoclassical of key, piano, strings arpeggios and drum-machine idling, all softened by the even more sensual chorus of Seeth. This heavenly vision then darkens, obscured by thick clouds driven by "Thirst", the track that is fully reflected in the dark-ambient and martial elements in marble expressed by the soldier's drumming and lyrical spoken coldly detached from Shaita. The musician called Rex The California Industrial Ninth shares with the shady characters "Totenwache (Over Concrete)," an ambient-noir made from a single, long pad, in which continuous journey come alive rarefactions violin and gloom of a drumming coming from underground, in advance of nostalgia night piano Keyboard and spread by touching "eschatological scenario", which is a vital piece filled with neo-classical and romantic decadence. The splendid Shaita hour voice caresses the slow melancholy textures of "Echo", in which atmospheric processes are indistinguishable and the whispers backing vocals by Sven-Phalanx that hover above the soft mantle of violin, keys and hypnotic percussion section. "Morgendämmerung" is has the form of an endless and overwhelming filament-free electronic tones as a basis for subsequent, powerful key inlays, interspersed with dark reverberations of the drum in a track very similar footprint to the ultra-dark murky experiments of This Mortal Coil, "Filigree & Shadow ". Not far from these forms of composition such memorable project, including the subsequent" Falling Down 2010 "elevates the song Visionary Seeth of fully integrated with sparse piano touch and the martial epic developments of key-string set of deadlifts clean percussion. Even more austere, the instrumental "Many Are Called, Few Are Choosen" realigns impeccably with strict dictates martial, glorified through a dark pinnacles veiled by drumming keyboard-embroidered and sporadic piano, until the next track, "Shadows," which seems slow sinking with serenity in indigo blue waters, under which the appeal is heard uttered by a siren echoing between Shaita opacifications rhythm and musicality dilated, floating, suspended. The second track involved in the guest-list is the French composer Umtrunk Barbarossa, gravitating around the orbit SkullLine / Ufa Muzak style and dedicated to multiple reference ambient / classical / industrial, with whom the band shares the ethereal and fabulous "Sun & Steel" track that incorporates key buildings of Paradise and violin in combination with a martial rhythm, choral obsessive In Germanic vocal loops and other behavior by Overtone singing childish battle. The voice of abstract loveliness Shaita longs again vaporised over a sound of key gaseous, metronomic sound of drum programming and dissonant synthetic, drawing in the dark shadowy figures psychedelic. The Brazilian artist combines Arvovar Schattenspiel in the next event, "Zerstörung", a dark-ambient perturbed tending all'obscure-neoclassical, composed of keyboard publications shadows, whispers and sporadic thunder, while the fourth guest, the Argentine Igniis, contributes with his vocal support for the building of the beautiful "La Muerte Es Mi Nombre", the track melodically arpeggiated guitar on vocals suggestive language Hispanic perussività together with electronic key and chivalry interwoven bells. The solemnity propagated by neo-classical "Falling Down", achieved by introducing the Spanish musician Hermann Kopp, interacts with acoustic and heroic in the procession at the same time sprigionanti a deep melancholy, all thanks to a sound reverberated deeply atmospheric violin, majestic staircase and key Slow scans of military drum modules, in line with the inclinations of the typical style soundtrack composer. The magnificence of the arias strordinaria and richness of the scenarios in the album invite the listener to follow the evolution of total participation "Lichtgestalten" release sensitive and interior also features fiery temper and disciplined: the life cycle of this full-length will not fear the time factor, as to be renewed every time you hear a burning desire to replicate the experience of giving yourself a long duration in minutes wrapped in emissions hand from the fairy lightness and musicality is treated under the aspect of evocative lyrics as in the purely instrumental, which in turn sports an important class body aesthetic. The darkness combined with incisive formulations of Schattenspiel triumphal ago a band of border dark-style and the ethereal, between the ambient and the inflexibility of the most radical martial, combinations dosed with wisdom and in this case much Winning. Make your own this album, you'll be rewarded a thousand and one times since its glory.

 

back to top

Schwarzbund - "Van Der Suche Nach Wärme Und Licht" - cd - by Maxymox 2012

scharz René Müller ((vox / songwriting) and Dirk Wuttig (machines / producing / songwriting / sound engineering) are the soul of the German duo Schwarzbund since 2009 in that of Wernigerode devoted to gender-dark electropop. Both elements come from and spent different experiences in underground projects: specifically, René took part, as a vocalist and songwriter, of Perversion Mensch, band can be placed in dark-punk, while the curriculum of Dirk shows the protagonist as a member of the platform dark- industrial Headcue. Schwarzbund The music ranges from harmonies generated by electronically polarized at times when the attention is focused on formulas full of solemnity harpsichord-singing adapting the music to listen to more meditative, registers accompanied by lyrical expressed mainly in German and focused most hidden and obscure aspects of the human mind, but not so definitive as not to let them by the hope that the fear, bitterness, the search for an authentic identity and the profound discomfort can turn into a better fate: everything individually interpreted from the imagination of listeners. The first track "Das Tier", created in 2009, was applauded enthusiastically by the public, so as to be recovered in 2012 in the famous collection "Zillo" in the book "CD-05" as well as in tracklist of "Sonic Seducer Cold Hands Seduction - Vol 129": verified the effectiveness of their own sound activated the project gave a creative process that resulted in more songs fortunately included in works of great diffusion, as happened to the "Warm", the second proposal published in 2010 and introduced strategically "Orkus Compilation 62", followed by "Kalte Zeit" is also included in a compilation radiant, "Sonic Seducer Cold Hands Seduction Vol 113". 2010 was the year in which the above Schwarzbund congegnarono, playing directly on stage, this "" Van Der Suche Nach Wärme Und Licht ", born as a demo-album and now fired from the famous Danse Macabre. important to emphasize the approval granted by the band during the European challenge known as the" Battle Of The Bands 2010 ", coordinated by doubting magazine Sonic Seducer, after which the project won a well-deserved sixth. Contents album integrating various dogmas of modern electro-sound, with forays into the projected aggrotech, cyber and pop technological solutions immersed in a constant state of darkness, able to externalize but also introspective nature, adorned intonation harmonies strongly attractive, the opening of the full-length is then assigned to "Kalte Zeit", a classic German dark -electro song which governed the rhythm tracks are mid-tempo incorporate incisive suggestions of keyboard and vocals, as well as the subsequent "Irrlicht 2012 aD" preference schemes techno-pop that innate hidden allusions made to the dark, concepts expressed by depressions singing Woven René in combination with melodic synth-piano touch and buttons modules programming. "Das Tier" continues the order of the episodes showing as an electro-percussive track by pressing and dry, enriched by well-cadenced vocals and embellished with crystal emanations development synth. Musicality electronic Schwarzbund there is now more focused on capturing harmonies, and this happens with surprising effectiveness through the introduction of Robotika "Warm" from which he soon turns into an electropop that engages instantly listening, thanks to dialogue between danceable drum-programming mid-tempo, keys and vocals, whose evolutions amalgamating create spectacular chiaroscuro impossible to forget, especially at the portion where the song is interlaced René long the magic chord keyboard-thus giving further charm to an of tracks certainly more interesting album. "Deine Kälte" is a pop subjected to a melodic synthesis process technologically advanced, thanks to a rhythmic mid-time on which are delineated romantic contrails synth, voice and programming, while the Next "Engel Hinter Gittern" proposes a scheme dark-electro basically essential and melancholic, based in particular on vocals René with sadness that surround the p rocessing of hypnotic keyboard and drum sequencing. Sleek and dynamic, "Seelensuche" is thought-through trips drumming, synth and voice-style electro-German, as well as the following "Lebenslicht" adapts its shape directing it towards a dark-technopop composed of engaging inserts harpsichord-programmed in addition to vocals and suffered a linear carpet percussive that the context makes danceable . It 'time to "Receding Angels", streaked with veins episode also electro dark-minded, strongly expressed by René intonation combined with a dual interface that highlights tastieristica cold pads alternate with even more striking, the doses which adorn the solid rhythmic pulsing mid-tempo system. excursus A sophisticated electronics is experienced in the final "Weg Des Lebens", a song techno-classical within which the distingiono struggevolezza violin championship, the nostalgic tone of the singer accompanied from the sumptuous orchestration of synths and the slow pace of the drum machines, formulas whose synergy perfected a modern sad-song effect insured. In "Van Der Suche Nach Wärme Und Licht" burst sounds reflecting the inner world of Schwarzbund, a dimension of torment, fear and disappointment, emotions innervated by filaments electronic planned to give the album a leaden climax, this between all aspects of the more noticeable. disc made with criteria avant-garde whose sounds do not impose any difficulty listening: music and texts are included in the auditory system with extreme smoothness ensuring immediate involvement but also a high standard of quality, detail found in virtually every publication of home Danse Macabre. Following this positive testing we can expect from a duo next chapter that entertain the audience knows prone to gender with the same technological art poured out in this full-length, honoring the scene again and representing them as excellent electro-performers. Schwarzbund The now await your reactions enthusiasm.

 

back to top

Screen Vinyl Image - "Strange Behavior"- cd - by Maxymox 2012 —

screen Since 2007, the year of the project early career, the music created by Kim and Jake Reid appears to be a hallucinogen point between synthetic and natural sounds of a dark nebula consisting of shoegaze-oriented insights, recoveries epochal wave of dark, acidic rock punker, debris and gothicheggianti apocalyptic evocations futuristic fantasy-thriller movie. Americans of Virginia, the two interpreters of Screen Vinyl Image project officially completed this second album, "Strange Behavior", published by the Custom Made Music label from previous releases "Interceptors", fired debut in 2009 and succeeded a year later the compilation "Remixes", published in limited edition. Not latita also a fair number of singles and ep's available in various sizes, starting from the most seasoned "Chaser" in 2007 and continuing through the ep "The Midnight Sun" proposed in 2007, 12 "/ CD-r" Ceremony "of 'Next year, the extended play "Ice Station" engraved on tape in 2010, the seven-inch "Tomorrow Is Too Far / I Am God" forged in collaboration with the pioneering electronic Lekx Ruud, aka Rude 66, passed in 2011, and Finally, on 7 "titled" Siberian Eclipse "dating from the same year the album that I am going to explore. A melodic darkwave sound-exacerbated by tense guitar lines erects "We Do not Belong", opening track which offers the evocative singing of vocalist crossed from key-pads, and a fast-track drum programming, the same one that three quarters minutaggio the eruption leads to a bursting sound of the strings joining the electricity, thus generating a spectral noise burst of distorted rhythmic drumming dall'ossessivo. In the next "Revival" stands the abrasive action of the plant guitar, the drumming beats artificial precise and energetic beats and a hand full of gloomy sadness: everything in this episode that would define stylistically the ideal crossroads between punk, gothic and electro . It continues with melancholy voice expressed in the beautiful "Stay Asleep", song of abstraction in which darkwave excel tight dialogue between drumming and guitar two separate forms: one associated with the caressing hand, and the following energy injected by biting climax finally in slow dissonances electro-punker-toned steel and alienated. The sonic turbulence experienced so far allow a brief respite through the brooding beauty of "My Confession", sad song softly arpeggiated acoustic guitar in combination with long, deep chords keyboard-driven, idling and percussive vocals that recall the most painful affliction, everything in advance equally on capturing atmospheres post-punk/wave spread by "Station 4", built on dry track and dynamics sections of programmed drums, guitars always double structure, a support and the other filled with melodic emphasis electric, bound formulas-style keyboard and a Joy Division song perpetually downcast. In the long introduction to programming and synths in "RX" alternate voltage of the vibrant guitars and rational scans e-drums, elements that support the cavernous vocalizations of singer, while the later "New Visions" harmonious ricelebra liturgies electro- waver / shoegaze through space and the echoes of a song well sung and tormenting extensions of guitar-sound distributed over mid-tempo electronic beat. The circular form of the sequencer spinning around briskly synthetic percussion, keyboards, and the seductive allure of steel guitars, instruments delineanti the physiognomy of the last song in the track-list, "Night Trip", a hybrid that embraces nostalgia electrodark, the estrangement of the new wave and post-punk stizzose nevrastenie. Project belongs to that vast array of underground artists who pose as the webzines Vox empyrean in the duty of giving warning of the existence, arousing the curiosity in the reader prepared to finalizing the review and generally described the possible listening to a sound visionary who could even surprise . The Screen Vinyl Image are thus, with all respect within the aforementioned size, composing this album of great interest in themselves damnation receives interior and the bitter aftertaste of the poison, concepts that are expressed in "Strange Behavior", reserved for the hard 'invisible generation of contemporary heroes cursed.

 

back to top

Sell System - "Our L.A.N.D" - cd - by Maxymox 2012 —

sellsystem The Turin Sell System is currently divided into scenes looms among the most valid and witty responses to an Italian prerogative synthpop usually handed down by generations of German followers and, more generally, North Europeans. The training consists of D @ X (groove / synth), Symon ((lyrics / synth / second vox) and Rikux (vox / arrangement / synth / piano), is generated in 2007 favored a total harmony creative line-up immediately orients slopes from 80's electronic pop, innervandone structures with balanced doses of wave until the conception of the first step titled "Egocentrity". In 2009 the band made the first actual act of their discography, the excellent "Red Room", published for the album Breakdown Records revealed a marked preference toward technology sounds very lively and capturing, assigning to songs such as "Silence Of The Double Faces, "the ambitious task of attracting the danzabilissime heard through percussive foundation, well-geared voice, harmonious synth circles and refrain polarizing. The subsequent participation of Sell System as supporters to the names of such great importance Levihurst, Babylonia and Covenant has increased further both the technical competence of the members, and the spread of invention, giving the project the possibility of implementing it full-length self-produced "Our L.A.N.D.". The disk is divided into ten tracks were built on solid platforms rhythmic keyboard publications in addition to vocal sections well defined, details that emerge initially dall'opener "Tender Sunrise", easily beaten by fast-beats and supporting basic embroidery electronics, an enveloping cloak of synth and voice intones Rikux that accents the net wave-minded influences. "Cold Like A Robot", not least, raises achieved by an atmospheric song danceable and catchy lines of programming punctuation keyboard publications, while the following "Balance Scream" inclined direction sintetismi most essential elements and, thus building a song from the emotional content out of short piano inlays, synths and melancholic vocals, elements placed on a dry-pavement and drumming. "Next To You" is the first single from the album and as such presents all the characteristics of a synthpop-track peak, at this juncture marked by mechanical mid-tempo grooves, keyboard-driven aircraft agreements, sparkling streams of programming and vocals well marked, until it reaches "Nervous System", focused mainly on formulations dance-oriented strategies that recall some indirect care to the De / Vision older, through replications melodic voice, and mechanical pulsations lithe synth injections. It 's time to "Evolution Life", which retrieves song lyrics and nostalgic mode solutions exposed to the slow pace of drum machines and the languor of the synth, as well as the next "Moment of Joy" offers pure electro-wave intensity retroguardistica proposing a melodious dialogue between voice, piano, keyboard, and strong rhythmic cycles programmed. Now comes "LAND", an episode from a minimalist instrumental track percussiveness electronic and emphasized by high atmospheric pads, awaiting the next entry of "Oblivion", a track that favors towards a more shadowy concept of paradigm synthpopper spreading vocals haloed in severity in parallel with a rhythmic pattern for keyboard-post-Depeche Mode and evocative tolling of bells. Very seductive, "Strange Music" sums up in his minutaggio the band's compositional method, or a radiant mixture of refractions in trim waver propelled by a clean, straight danceable programming and voice combined with sober piano and synth embellishments. Inspired and pay special attention to the shape of their sonic diagrams, Sell the System of "Our Land" are able to penetrate the darkness entering the restricted cone of light that radiates the most talented projects, presenting a simple but functional style electronic, completely foreign to vanity and sterile excessive trading winks. My opinion in the final of confidence in the ability of the project to evolve further their art composition and to show off the strong personality and the value that already marks them up to make a real and unmistakable brand for printing on future creations. It is not out of place or euphemistically call them a promise kept.

* S *

back to top

Sinweldi - "Is Europe Dying?" - cd - by Maxymox 2012 - cd - by Maxymox 2012

sinweldi Albert Sinweldi (vox-guitar-keys-percussions) is a French musician oriented towards a particular style from 2008 experimental integral elements french-dark folk / martial / industrial: minimalist, apocalyptic and charming, the imprint endeavored artist ranging in sound predilegendo melancholy ballads and, even more rarely, trespassing electronics and more essential. Strong support of Aymeric (keys-bass-arrangements) Sinweldi published today a discography with the official debut of SkullLine represented by the basic version of this "Is Europe Dying?" played by Albert in 2007 in just one hundred copies under the pseudonym Big Cocky Man Sinweldi, disc, unlike the new implementation now under consideration on Vox empyrean, contained only nine of the eighteen tracks included in the latest format. In 2009 came the album-release recorded on CDr limited edition, "L'Homme Au Coeur De Fer", fired from the Russian label Ufa Muzak, in which stood the tracklist Bunus remix of the song "The True Color Of The Wind" , prepared by the project neoclassical / ambient / martial Gabe-Unruh. Also of note in the discography of Sinweldi split-file 2010 "Front Sonore & Les Chevaliers de l'Ordre Noir" designed in collaboration to design martial / industrial / dark-ambient / noise Front Sonore, as well as to the neofolker Art Abscons, as well the aforementioned Gabe-Unruh and Jean-François Hicter, aka Militia Dei, solo-project nature of military-electronics. Also in 2010 it was the turn of the excellent full-length "Acta Est Fabula," published for the SkullLine, label also responsible for this rendition of "Is Europe Dying?" in which, as just now mentioned, there are important changes in the tracklisting of that on this occasion is enhanced by nine more episodes including a "ghost-song" is not listed on the back cover. The book, available in paperback limited to five hundred numbered copies by hand, comes in a new role not only in content but also in the artwork sonic equally bare cosmetic but as usual symbolically evocative. The new-version of the disc contains the full and then the first nine tracks in the early-version in addition to the tracks assigned to an ensemble of remixers, as well as unreleased song, to complete a product interesting enough to stimulate the attention of public issue. Exploring in detail the contents of the album, you ncontrano during opening nine episodes mentioned extrapolated from the original work, the first of which the eponymous "Sinweldi" track defined dark-ambient-apocalyptic, created on electronic expansion, rain , vocal fragments and the dark impromptu chorus of a folk. The text written by Verlaine, the soft, sad guitar arpeggios, the filtered entries grafts and industrial background in the background, make "Chanson D'Automne" a song addictive, marked by a slow drum beat on which relaxes the hand the brooding protagonist. The current deterioration of that undermines both the ideals of belonging to the land that the company itself inspired by the harmonies of the Old Continent and the title of "Is Europe Dying?", An apocalyptic nefolk essentially based on nostalgic chords guitar, loops and voice Sinweldi of uttering verses full of meaning between the slow rhythms of drumming, elements whose synergy gives the track a longing languor. The song suffered interpreter spreads modulations that lead to reflection: everything in a soothing set of strings and pads away due to a sad-neofolk, sounds found in the intense and relaxing the structure of "The True Color Of The Wind." Even more than meet the caressing tone of bitterness mixed maneuvers guitar Sinweldi in "Rendez-Vous", a song that fully reflects the style of minimally folkish which the protagonist is an advocate, on the same pattern, "Love In Time Of War" weaves melancholy notes at the tip of pick combined with vocals distress, feelings made more vivid and nostalgic flair of the accordion, an instrument that adorned it with the same passion the next "Song For Clementine" episode planned in collaboration Front Sonore. "L'Heure du Berger", also written by Verlaine, retrieves formulations apocalyptic folk-enhanced by the peaceful dialogue between guitar and vocals in an almost recited, accompanied by the sound low key tones that dot the path of the track making it a noble sense of dejection, together with sporadic entries of the curfew siren, effectively evocative detail. It 's the time of "All The Things You Should Never Do", the last act of the original tracklist, a ballad neofolk full of sadness and torment concealed, built on guitar string in combination with streams of harmonic and a passionate singing sadly. The enrichment of this neo-version of the album includes nine other events of which the first edition is remixed by Gabe-Unruh of the song "Love In Time Of War", a splendid jewel embellished sonic theorems applied to electronic percussion segment, now consists of cool beats that mark the time with cartesian meticulousness, but also the plant acidic fumes emanating harpsichord and bass, in addition to voice, transformed into hyper-filtered modules: all embroidered in the development of artificial hatching of the plan. The 2011 version of the episode "Europe Jeunesse Revolutionary" is a persuasive example of how music can be adapted stylistically Sinweldi in other forms, a feature that in this specific juncture sporting a danceable new wave oriented device for the articulation with a dynamic uptempo solid drums, electric guitar and abrasions of the voice of Albert to the rhythm with the usual disappointment. The word "exclusive" attached to the title "Conservative Revolution" emphasized the preciousness of this sad-neofolk ballads, anticipated by bright proclamations via m egaphone arpeggiate gently on which the strings of the guitars go through a rough strand harpsichord and singing brooding propagated by the artist . Cooperation undertaken by Sinweldi with Front Sonore together with vocalist Agnes P. gives rise to a trace of rare beauty, "Mezs" set lysergic, moving neofolker sounds of guitar and keyboard combined with feminine phrasing that in the intro and epilogue turn into a sort of chant, registers fully sprinkled by the thunderous noise of the rain, a song which I think is true, priceless wonder to which I have nothing but words of praise and which I hope will be experienced by the listener receptive to such aids. Continuing further meets the remake of the track "The True Color Of The Wind", a dark-technologic reworked folk ingenuity electronic Gabe-Unruh by effervescence synthetic solemn maneuvers key, a drum machine replicating downtempo beats and hypnotic- what medium to dark voice filtering solutions, contrasting with the more serene planned by Art Abscons in the following remix of "Revolutionary Europe Jeunesse", now transformed into a sleek, melodic synthpop by the rhythmic dry and distributed linearly in parallel to the song reverberated in Sinweldi and the capturing inlaid keyboard. The solo project of Dutch trend dark-ambient/indus/drone-ish/martial called Striider remixes through these modalities the song "Sinweldi" destrutturandone back together the essence and form of incorporeal, dark expansions key riddled with rain-sounds between vocal loops, noise and atmosphere contracted. Militaristic percussive, bass keyboard of a first joint to the most excruciating of a second and phrases echoed back from an occult undersize constitute the identity of "Notre Victoire", p roduced in collaboration with the project Militia Dei. The eighteenth song is the remix of the song by Sinweldi "L'Heure du Berger", included in the work as ghost-track structurally reinforced compared to the original version of a more crystalline sound system, wrap-around, however, retain unchanged the melancholy criteria apocalyptic-neofolk inherent in its entirety, adding body to the musicality livid of the first exposure. Release protester good interpretation of the paradigm neofolk by a valid member of the genus, which, standing out clearly from the large group of improvisers, is yet another example of resourcefulness and the ability to create sounds extremely communicative and indelible over time. "Is Europe Dying?" is an album that has the virtue of being indispensable to the collection belonging to the listener is most experienced to the novice just devoted to the style in question: if you can fill the spirit with music of such loveliness you consider yourselves members of the exclusive group of privileged created by Sinweldi. An experience to listen until the last minute.

 

back to top

Solar Fields - '[Until We Meet The Sky]' - cd - by Maxymox 2012 -

solarfields What is most immediately perceptible listening to the compositions of the Swede Magnus Birgersson, aka Solar Fields, is certainly a feeling of heavenly incorporeal, harmonic of relaxed grace, the prerogative noticeable in the recent tenth album, and "[Until We Meet The Sky]", also dismissed by the grand label French Ultimae Records, which he chaired with his proverbial care and cleaning of acoustic artwork, artist's entire discography since 2001, the year of publication of the debut album "Reflective Frequencies". The axis of Solar Fields style revolves around a re- intangible electronic / ambient / downtempo / idm purely instrumental and micro-studded affervescenti frequency, ultra-modern aesthetic sound effects Vinyl in the background and atmospheric keyboard publications alchemy composed in turn by long-pads surrounded by sound effects and subtle vaporization electronic, burn admirably by the protagonist in collaboration with Vincent Villuis, owner of the label and is also known through his Aes Dana and Asura projects. Twelve songs that Magnus calls "phases", connected with each other without interpause, make up the track listing of the work assigns to "From The Next End" the role of opener, episode air emanating propagation of electro-Karma and laptop hypnotic circles, simultaneously with ipoacustico beat of a drum-programming. "Broken Radio Echo" rarefaction spreads graceful piano carried by a slow current harpsichord, and the following "Singing Machine" extends the concept of imprinting relaxation of the programming algorithms to shades reverberated and celestial, ethereal chords with rhythmic evanescence furrowed by fatuous. There is some of enchanted melodies belonging to the suggestive "After Midnight, They Speak", trace saturated refraction of sound, echo, hiss and vinilistici sparse piano notes that recreate night images, followed by the next "When The Worlds Collide" and its effervescence percussive idm downtempo decorated with soft-Falls Liquefaction harpsichord-mail. Moments of pure sonic rapture listening to you live from the spatial spread "Dialogue With A River", a song that induces the mind to a relaxed meditative state with background water that flows, loops robotic programming and slow scanning fluorescence synthetic. "Forgotten", which is also entirely crossed sparkling corpuscles, outlines a soothing sound of the keyboard and spiraling electronic while the most dynamic and beautiful "Night City Traffic" articulates elegant touch of synth encircled, in the development phase, a gust of hot pads growing from a rhythm and hypnotic effects. "Sombrero" cadence wonderfully graceful entrance by his piano abandoned sections a flow of lethargic keyboard and, further, to a regular pulse of percussion thinning polyphonies technological embodiment of dreams. The crystallized the sound of "Last Step In Vacuum" stretches transforming the candidates are in angelic bliss, directing the range of sounds to carbonated and extended tones, lined with quiet rhythmic beats. The bombastic homonym "Until We Meet The Sky" and a wide spreading charms grand-form percussive harpsichord that gives body to IDM-shoegaze track to report for intense solemnity, followed by the closing "Epilogue" initially marked by a static and placid expanse of sonic in the final peak rises in lush arrangements and then settle down again in the initial and seductive fades. Compositional style, which catalogs such as film, as well as manifestation of the remarkable sensitivity of Magnus all that is called "visionary," this album allocating the auditor modern romantic, utopian, whose soul gets ready to welcome the inviolability of melodies and dissonances more imaginary than real. The release is yet another, an important source of pride for the artist and the label Support Ultimae Records, who celebrate with "[Until We Meet The Sky]" the triumph of an electronic abstract, sophisticated, targeted only the exaltation of technical sophistication and emotion. With Solar Fields touches the sky riding silvery clouds, with the lightness of the wind.

 

torna su

Spacebuoy - "Fashionista" ep - cd - by Maxymox 2012-

spacebuoy Inside the area's most prominent electronic music, as indeed happens in many other genres, there is always a hidden dimension, button, usually glossed over by most of the information channels but saturated perfectly valid phenomena that can compete with the most sounding talent, creativity and, above all, results, relying solely on their own resources. The British duo from Spacebuoy provemiente Staffordshire is literally offering this premise, rightly, as a project diverges from the usual forms of pop artificial the underground-scene basis proposes a long time. The line-up consists of H. Moth item supported by the excellent keyboard player Jez, aka J. Allan-Smith, partnership from which spreads a sound electronically melodic, captivating and danceable. Vocals are direct and well tuned naturally conform to structures to the dynamic keyboard publications and graphic-oriented programming style Erasure, sounds contained within this precious self-produced EP format titled "Fashionista", the debut of eight tracks where the Spacebuoy entrust a messenger in order to achieve, and most likely of interest, a public increasingly demanding and accustomed. The song of departure is "The Fear", which sports a mid-tempo immediately splendid verve synthpop of the two protagonists are owners, this is borne out by the high quality of the wording used both on the vocal, expressive and well harmonized, both on the instrument, an area in which the synthesizer operated by Jez embellishes the atmosphere through very catchy melodies. The namesake "Fashionista" is a brilliant pop rhythm and technological burden of similar agreements immediately, all driven by different intonations of H. Moth. Hence "Sonic Boom", a well-designed by brilliant streaks electropop keyboard publications, linear programming and a hand drum-intensive harmonic yields to the following "I Do not Know What To Do" track crossed by a dynamic electro-danzabilità up-tempo and vocals popping open to achieve a refrain of effect. The linear scans rhythms of "Velveteen" are purchased to beautiful inlays of synths and the voice of H. Moth covered with aristocratic accents, for a valuable piece even higher. "Desire & Vision" continues full of concise pop hypnotizing hearing by the regular pulsations of the sequencing, synth and a song well set, modulations due to a hypothetical merger between Erasure, Human League and John Foxx, while the next great "Venom" conquest without delay by means of the pressing, vigorous drumming scheduled to Calls to the ball, together with its electronic form so full of charm and vocals that penetrate into the memory fissandovisi for hours: this track alone, listened to loud, it would be the entire disk. In "Oblivion," the closing track, you finally delineate nostalgia post-Pet Shop Boys, very perceived simultaneity in the exposition of song and melody masterminded by synth. Stumble therefore with great sense of admiration for the ep "Fashionista" to the phalanx of people with electro flavor and ability to appreciate products like the one described and generated by the platform Spacebuoy, worthy The first to cross that boundary can place them dall'autoproduzione to arrive finally at a label that knows how to make the most their potential, creativity valid. Ensures Vox empyrean.

 

back to top

Starcontrol - "The Ages Of Dreams" ep - cd- by Maxymox 2012

starcontrol "Spleen wave" and "post-punk" are really the best terms that suit to describe the musical style of the Milan based Starcontrol, trio composed by Davide Di Sciascio (vox), Laura Casiraghi (bass / backing vox) and Moreno Zorzetto (guitars / progs). The line-up, young by birth, shows an amazing talent, a solid command of the executive and the wonderful ability to evoke atmospheres full of longing and yearning inner emotions generated by a sound-system and text to great effect. Productivity Starcontrol mentioned previously the EP "The Ages Of Dreams", an interesting first self-produced demo of seven tracks with the same title released in 2011, from which it rise for their the value the episodes "The Void", "Colorado Springs" and "Useless", in this initial ep we can feel the right lessons learned from the 80's wave curved according to the melancholy music orientation that the band emphasizes and external with considerable passion. Particularly appreciated on live sessions, Starcontrol attended with satisfaction to major events, as it was happened in 2012 in Milan on the occasion of Zola Jesus and A Night Like This Festival, thereby increasing their fame giving ample display of entertainment sound engaging. The conceptual element that shines more than any other transpires from the wave-oriented notes created by the project is the sense of romantic and inconsolable depression resulted primarily from the inability to recover the time gone away, and with it the opportunity to give physical body to the distant memories taking turns in the mind, a condition requiring the same to remain confined in their immaterial dimension, leaving the spirit of the three protagonists torn from the torment and the unrealizable desire to relive the days of an age which does not return, whose moments are characterized by innocence and dreams and they seem to be impressed in a very vivid side in the minds of Davide and Laura Moreno. Regret, dissatisfaction with the present and a burning desire to carry themselves in age now lost, are the soul of the sound created from the drawing, the author of this second ep even more impressive, "The Ages Of Dreams", a self-production of five transactions recorded at Studio Waves in Pesaro, in which structure was drawn up the first extended play too. Davide's voice is amazingly strong, able to tune the tonal modulations deep together with extensions vertically integrated full of passion, as the first track of the sequence, "Persian Carpet", a song wave in which the pre-eminence of a singing melodiously desperate intertwined with the fast drumming drum programming, the rotations of the bottom and the glittering harp guitar post-punker-style treatments, all draped by a thin blanket tastieristica that wraps a piece of important value composition played a perfect balance between resonances 80's and aesthetic voice. From the following song "Question Mark" it flows decadent reminiscents of goth-wave enhanced by a chant now more darkly inclined but at the same time emotionally sad, aspects perceived from the bitterness of the texts and the emphasis expressed by Davide, sounds to which it merges the intruments apparatus which provides snappy uptempo beats, harmonic guitar ornaments in addition to trails and key modular bass-lines. Decading sentiments, and the same, languid melancholy noticeable on a rainy November sunset distinguish "A Dream", sad-wave song illuminated by the ethereal backing vocals of Laura as a further embellishment to the stark lyrical of the singer, singing elements entrusted with disconsolate softness embroidery guitar-keyboard-and dynamic percussive scans. The sound becomes more solemn and strengthened by a wider space of guitar and drumming, grandly detail audible in the opening of "Heart Becomes A Cage" from which spring the pale and seductive vocals of David eternally consecrated to the sadness, strategies items devoted to the theorems 80's wave-rock anticipanting the final track, "Forever Unknown" and its twilight trajectories sung with despair and disillusionment, included in a fast and compact filament rhythmic-programmed which hover electric guitar, throbbing bass and warm breezes keyboard publications in a 'heartbroken romantic-wave alonata calls from gothicheggianti. As described in the introductory phase, what most stands out in sound designed by Starcontrol is true in musical transposition of anxiety, loneliness and sadness that absorbed embrace the memories and the current time, a feeling magnified by writing compositions absolutely admirable in which the interplay instrumental touches the top of impeccable professionalism and the voice of many measures goes beyond the perimeters of the charismatic. The ep "The Ages Of Dreams" has all the skills to be considered an object of a propitiatory act even more ambitious: in fact, extrapolating the wonders contained of the sonic debut together with those heard in this sort of continuation, Starcontrol would get a solid foundation on which to build a future album outcome potentially disruptive in the wave-underground scene, an event that Vox Empirea hopes even now with vivid impatience. The release listened here is degustabile with participation, emotional attachment and with a complete sense of abandonment, due to its penetrating sound transmissions that make the soul so dreamy melancholy, like a fragile creature whose its glance wanders pensively out the window of an empty room swept by an autumn wind, watching a motionless, leaden endless horizon. Find you a copy of this ep and live it with all the intensity it deserves.

 

back to top

Strip In Midi Side - "Non Ti Amo Più, Amore" - cd - by Maxymox 2012

strip Collective original hinterland Salerno, one of the Strip In Midi Side since 2007 includes in its staff: Luigi Buonaiuto aka Giotto ( deconstruction), Emanuele Sirica aka Maks (screening), Luca De Filippo aka Akrid (destabilization) and Marco De Filippo aka Amon (sabotage). The band Conglobates in a single module cross lumped together with danceable electro-rock-pop wave oriented calls, base defined by the ensemble "NeuroPop" supporting provocative lyrics, addressed to the macroscopic deviations that characterize almost all areas of political, economic and social currently in vogue, but also to the emotional dimension of the individual topics gutted but coldly analytical and exposed the band in texts from the bitter aftertaste. Cynicism, unblinking eyes, desire to put the truth to hypocrisy increasingly dominant, form the concepts on which lie the traces of this second album-release, "I Love You More, Love," come to fruition in 2012 as a result of the previous, critically acclaimed "Your Stripping Experience," published in 2010, this early realization eponymous debut ep entitled "Strip In Midi Side" published in 2008. The disc now under consideration, "I Love You More, Love", licensed by the Ferrara brand New Model Label, boasts eleven tracks of which are extremely enjoyable "There I put The Face" is the opener, an electronic pop-rock dissected by dry jokes the percussive rhythm metronome that duel with flare-ups of the electric sector guitar and clarity of the vocals. In the next and intense "Chasms" energy poured from the strings aligns, flooding it with force, a drumming from the dry tone, along with a song punctuated with extreme clarity. The speed increases percussive vocals combine dynamically to refrain from catching, the torrential flow of the keyboard and the guitar inlays, framing so "V.agra In Pocket" in a mixture of danceable electronic wave and rock, while the following "Moody's", more Slow, It demands a message in the lyrics anti-rating ironic and pungent, merged with scanning electro-rhythms in addition to programming hatches of measured doses of guitar and synth. "Resistance" starts the mechanism of a new electro-rock procedures neurotic and hot jets from frequent power guitar, items attacked by counter-speech and punctuation keyboard. Then comes in "Instant Insano" pop-song melancholy traits whose charm is enhanced exponentially on the one hand pollution beyond which condense rarefactions piano, the oscillations of the modular drum- programming, the intangibility of the key and the electric workings of the guitar. Rhythmically and textually opposite to the previous track, the galliard "Dinosaurs" exemplifies an excellent electro-pop/wave from the structures iperdanzabili and easy-listening, enhanced characteristics in particular in phase of refrain but also during the parallel path between the drumming midtempo and beautiful fly guitar flavor 80's. The first sequences of drum-programming and voice belonging to the next "Of About It '?" appear momentarily electropopish, sound sweeps from there shortly by a large body of key and rock-guitar, a song whose lyrics, more than ever, reflecting the current status and controversial global economic express with sharp sarcasm all the disappointment to bank that rules the universe with arrogance on our daily lives. It 's the time of the fast "Your Fables", which reveals track tangible similarities with previous forms electropop-rock-waver, now staged by a harmonious dialogue between the resolute line percussion, voice of the singer absolutely smooth and perfect synergy -key guitar. Still burning hot shards of electronic rock explode from "Nothing To Lose", set via rapid succession of drumming eroded by the causticity of guitar riffs, magmatic these frequencies dotted in turn by electronic minutiae. The last episode of the tracklist bears the title of "Citizen Kane", mainly oriented towards solutions melodic electropop with fleeting grafts rock, singing a song from the plots very introspective, but at the same time rational, supported by technology strategies, as a roaring guitar and background midtempo beats of drum-programming. The repertoire by Strip In Midi Side delight lovers of pop evolved, forming the band promise a brilliant addition to a more than satisfactory level of preparedness. "I Love You More, Love" is a compelling album that remain engraved in the memory of the listener theme for his communication skills, it alternately cryptic and explicit, practical concepts concerning the scope of collective existential, all adorned with a musical excellent depth of who knows all about winning strategies and shorter to reach you. Such a style can not be improvised: it runs in the blood of the person who generates.

 

back to top

Subfinal - "Passages" - cd - by Maxymox 2012

subfinal The Danish power-duo Subfinal is represented by Welling (vox / songwriting / music) and Hansen (vox / music / progs / production). Since 2007, the interpreters are circumscribable stylistically in a scheme inspired by a plurality of music orientations, while the root of the project branches in times behind to join up with the now extinct gothic platform called Elizium. Gone through an initial technical testing period during which Subfinal, committed to combine music, art and words, realized in 2010 two collections each one including four early-tracks: first of them are "Guitars" and "Words", as the whole Subfinal's discography published in self-produced version, in addition to "Lights" published in 2011 with the same characteristics as the previous: these creations gave way to Welling and Hansen to experiment, agglomerating between them, elements from neofolk, spoken words, goth, darkwave, industrial and electronica, finally reaching in 2012 by the EP "Passages" a sound formula full of refractions poetically darkened, slow and atmospheric, played using a bloodless instrumentation accompanied by baritone timbred phrasing, sullen and melancholic. Aesthetics of author and faded romanticism faded are the additional aspects that characterize not only the sound but also the inner dimension conceived by the band, concepts that the duo expressed in the form of images particularly appreciated by many European visual-artists; the music and the intensity of the lyrics, however, remain the major protagonist, so that at the end of 2012, the duo has successfully proposed to the Spoken Word Festival in Odense, a city located at the Danish island of Fyn, the multimedia exhibition entitled "Cadivius...mens Falder du..." obtaining the applause of the audience. The texts treat human state worn out by torment and dissociation, in parallel to arguments regarding the political status and the suffering conditions of the Occidental hemisphere's society, while the artwork, pictorial and photographic, shows icons that lead the public to a silent and prolonged contemplation. "Passages" ep incorporates these components externalizing in eight tracks their pure essence adding to the listen a great power of attraction, beginning by the first phase of the disc, "An introduction", short input within which the voice of the narrator sings downcast verses into a dark key lagoon. "City Of Whores" draws inspiration from the inexhaustible gothic source, aggregating to the obscure fascination of the vocals in "spoken" mode slowed modules of bass and drum machine, dim guitar reflections and prolonged key breaths that wrap all the whole giving to it an aura poetically depressed. "Hollow Commandment 1.0", title whose matrix is present in the tracklist in three different versions, offers its first, fleeting act by a dark-ambient / industrial passage from whose black walls leak metal chimes and electronic vapor lethally toxic , while the following "Corridor Wasteland" disseminates texts expressed by poetry and obscure emphasis, all this by words modeled around a music support gothic-oriented of keyboard, soft guitar arpeggios and midtempo drum-programming, flows initially recreating atmospheric and ethereal sounds, but then made fuller, more electric. The interlude "Hollow Commandment 2.0" emanates dark, synthetic effervescences and key extensions similar to what you might hear in an alien spaceship, as well as the subsequent "Amplexus" retrieves quiet plectrum tip guitar modulations subjugated by the enchantment that enfolds the delicate breath of the keyboard and the voice rarefactions that the singer pronounced with musing tone. A drum-programming basement set up to midtempo speed disseminates hypnotic scans and captivating guitar electricity, layout which, moving sinuously, unite to the subterranean background of the key giving to the structures a subtle charisma and overflowing with mystery: everything in "Hollow Commandment 3.0." The final chapter of the release is "The Passage", a sad-ballad in which the prostration, the sentimentalism and the meditation are magnified by a musical romantic twilight of piano and by electronic breaths to which place side by side the nostalgia of the violin, the whole traversed by sorrowing language of the prose singer. "Passages" is an ep that adapts with tangible eloquence gothic deviances to the solemnity of vocal expressions deeply vibrant, setting through them attractive, nocturnal prospects addressed to the soul. The calculated sobriety of this music and the cultured, penetrating lexicon of the the lyrics captivate the listening audience who can still dream and keep long in their psyche the emotions and the precious meanings that only artists equipped with a talent equal to that of Subfinal are able to materialize into sound. This work does not immediately opens, almost refrained revealing its nature to the first approach: it requires complete, deep and long listening. Only along this trajectory you can fully assimilate the globe of acoustics sovraispirate by the nobility and emotion that "Passages" is witness. Reflection, poetry and darkness there will never appeared you so close.

 

back to top

Suveräna - "Vanguard" - cd - by Maxymox 2012

suverana Ambiguous and obscure project martial-folk/indus/neoclassical Spanish swirling around the orbit of the Polish label Rage In Eden, Suveräna seems to shun the reputation proposing explicit scene hidden behind a shadow that obscures the features. One name, that of Mark, it appears almost reluctance outside the mysterious veil of anonymity, identifying himself as the author of the draft musical design. Their debut album, released in 2012 in digipack format, is titled "Vanguard", undertaking composed of fifteen tracks, many of which are characterized by a trend inflexibly military, fearless, structured through strict discipline orchestral driven in turn by convulsive rhythms and shared with glacial austerity. The tracks always allow plenty of space to the rigid developments percussive harpsichord-typical style in question, so the use of vocals is extended sections of choirs, or in the form of rarefied episodes within which the song is replaced by arcane phrases, all poured into acoustic filmography as epic, as this music perfectly suited to specific locations on generis. The striking "Göttliche Verehrung" opens the disk using only traces of silver and synth programming combined with a solemn choral pseudo-eucharistic formulas by joining surround the song with intense atmosphere. The grandeur and true look on their surfaces and procedures filled with indomitable pride "Helligkeit", embellished the soldier's drumming, by fractionations peremptory voice echoed and dismal scores of keys, sounds anticipanti "Regn Slut" and its insistent percussion system in turn merged with the Templar solemnity high lines keyboard publications. "Lineague" is a very elegant and at the same time rigid symphony organ that recalls settings from the Gothic cathedral, and the following "The Borderline "foreshadows the sound through a military staff of key outlined by percussive snare, a union projecting images in the mind of glorious battles. The dark-martial poured in "Tenebrae" reverberates with marble nobility sporting pads that rise like Doric columns between loops voice, epic choruses and slow drumming beats of underground ahead so vehemently rhythmic flagellates the following "Urbi Terror", great and dark ride based essentially on vigorous exchange between two different rhythmic percussive sources, a planned and a second human joke, modulations that inspire nightmares at the same time and the magnificence of the ancient representations of war. "Tagen" punctuated by the sound of the harpsichord inflexible touch of a fund to which it superimposes an intermediate, both arches ricreanti symphonic hit by a button drumming electronic. Magnificence, emphasis and sense of order describe the same name "Vanguard", a march built on snare drum flows, synthetic breaths and the splendor of martial generated by the keys. "XII Viacrucis "gives a calm interlude to listen in complete composure, though its extensions keyboard publications suggest a lingering melancholy, these solutions pass from the drama sound expressed in abundance in "Kutt", with its epicenter in the track stand mysterious screeching enveloped in a granitic orchestration of percussive keys and slow cadences. Hint of archaic mythology, music for warriors, whose helmets over the horizon is clear of battle, everything in triumphal airs "Exilio" composed choral authoritative parallel to the divisions of the martial drums and the superb behavior of keyboard-driven arrangements, known before "Cyanide Skies", restless sonata for piano and key from acoustic filled with sculptural beauty, especially in the in which the candidates are chasing the rapids touch keys propagates a sense of excitement. I find the subsequent "Sed Oblitus" particularly adapted to support the musically slowed displacement of a medieval chivalry seen in a hypothetical film, images evoked by alternating deadlifts choral counterpoint symphonic keyboard, strategies anticipanti the culmination of the work entrusted to "1936", a sort of nocturnal mix of jazz and neoclassical, configuration represented acoustically by dry nervousness in drumming in support of an articulated piano composition. Allegories martial parade the haughty step of "Vanguard", an album to collect with honor and defined as the starting point of a long and increasingly engaging musical conceived by Suveräna, the new heir to the military-sound, who demonstrates an extraordinary ability in conveying vigor and splendor in the high tracks potential. Basic instrumentation and fervor characterize the compositional technique belonging to this artist, creator of a release significant and worthy of being etched down to the recesses of the memory. At perpetuam.

* S *

back to top

SYNC24 - "[Comfortable Void]" - cd - by Maxymox 2012

sync24 Daniel Ringström, genetically related to the project with Johannes Hedberg Swedish ambient-electronics Carbon Based Lifeforms, extends from 2007, the music experience only through this side project called SYNC24 orienting the axis towards the search for sound adjacent to the genera-IDM downtempo / acid -psyambient / chillout / psytrance. The protagonist of the spread of this work is again the solid fancese Ultimae Records label, which was known in the pages of Vox empyrean for excellence demonstrated so far in its proposals as well as to record the aesthetic background that invariably accompanies each release. SYNC24 was born as a personal reinterpretation of the theorems by Johannes electronic accrued during the militancy at its original platform, now converted to sound rarefied micro-oscillations and ambient twilight formulas that make the whole stretch of the perfect union between experimental music and unconscious, flying with my mind's eye fantastic landscapes and the course of the innermost thoughts, at the same time experiencing the pleasant feeling of relaxation. The first test SYNC24 date back to 2005 through two simultaneous investments on compilations published by the Ultimae Records, "Fahrenheit Project Part 5" and "Albedo", followed the same year by an appearance on the collection "Chillogram" fired from Peak Records. In 2006 it was the turn of the extras on the compilations "Oxycanta" and "Fahrenheit Project Part 6", both published by Ultimae Records, followed by a third of "Sonic Vibrations Chapter 1" issued by Dada Music. The production of the project then continued in 2007 with the digital ep called "Floating Free Remixes" for the label Tribal Vision, which was followed by the debut album represented "Source" released again in 2007 by the inevitable Ultimae Records, release which appeared in the credits as a vocalist names of Johannes Hedberg and Karin My Andersson, as well as that of Anna Segerstad, songwriter and interpreter drawing drum and bass electro-breaks-called ambient IM LGND. During the years mentioned SYNC24 re-established contact with the label Dada Music proposing the compilation "Ambient Spaces Chapter 1," event followed in 2008 by un'ennesimo contribution of collection, choice fell on the title charity "Project Pygmies Etabe 2008." Again, in the same timeframe, Daniel joined the collection "Brixton Session" issued by the Celestial Dragon Records until the recent "Comfortable Void", an album that can be understood as the further advancement of the year in the direction taken by the artist of new technologies and atmospheric involving totally seduce the senses dell'ascotatore. Ten songs full of attraction, and gently grasped the electronic register that has always characterized the upcoming Ultimae Records: liquefaction sound, frequencies dilated, suspended between the invisible elements that make up the air, intangible flows of psychic energy that solidify their structure condensing in the form of pads enchanted and drumming punctuated with measured slowness. Also natural to turn our attention to the superb graphics work in question, designed, like many of the firmament Ultimae Records, the mastermind Viluis Vincent, aka Aes Dana, who is also credited with the audio mastering of the album. The opening of the tracklist includes the magical colors painted homonym "Comfortable Void", a downtempo within which the enchanted flow constructs electronic metric tastieristica based on an extended agreement, make the song a pollution device to listen with your eyes closed , leaving it completely takes possession of the mind and it converts the pulses in a slow sequence of abstract photograms. "Inadvertent" perfects its structure by wrapping an endless spiral pad on the equipment described, leading the imagination to the farthest depths of the Earth, as a hypnotic and rhythmic elements-drumming and micropunteggiature of programming, everything in advance to the next "Dance Of The Droids ", a track framed in gender-downtempo electronics, engineered by Daniel through a mechanical percussive base on which you have robotic emissions, crystalline synth touches and a background of acoustic artefazioni, sophisticated scores and acid effervescence. "1N50MN14" is a composition psyambient-electronics incorporating sounds lunar key, material flows and technological projects of interference, these formulas are governed by the slow pace of the drum machine. "Nanites" initially present in the form of a meditative ambient built by key, hum and vocal-loops, graphic subsequently inserted between slow drum loops and fading acidly replicated by machines. You will arrive to "sequor," an ambient dream-fully situated on a lysergic acid mantle harpsichord whose extended pads, succeeding in very slow waves, trace the limits of a micro interior punctuated by atmospheric arpeggio chords. The themes electronics- downtempo of "Something Something" induce a state of mental relaxation evoking enchanting from the imaginary abstractions disconnected from reality, everything through low rhythmic pulsations and sophisticated scores of keys, elements that give the track a carriage full of refined intensity. Phrasing barely whispered gently between pale streaks keyboard publications constitute the core of the next introductory "Oomph" psyambient the expansion of which flow silvery filaments and scanning electronic percussive mid-tempo, loudness that cast the fantasy into the uncharted oceans of worlds beyond the blue planet. And 'round of "Wake" track available in "live edit" under which segment opening relive the tested schemes ambient tested so far, that long intro airline formed by male-female whispers, echoes and ethereal pads, anticipanti development psytrance-based and mid-tempo drumming that outlines sidereal touch of key. The closing of the tracklist is with "There Is No Spoon" and its underground transmission style keyboard publications psyambient, gloomy agreements governed dall'impalpabilità a synthetic beat that sinks the mind over the slow eddies of deep blue. Daniel Ringström reaffirming a great avant-garde composer honoring his creativity with this valuable work in balance between the cerebral and subtle energy that involves the emotional sphere. Disembodied melodies, sounds electronically cloaked sophistication and discretion reveal the sensitivity and technique inherent in the design SYNC24 which, by breaking down the rigid geometry of the rational, grants to the psyche a dive into the oneiric. After a full listen of this album every visionary man will consider "[Comfortable Void]" one of its main landmarks.

* T *

back to top

The Arch - 'Engine In Void' - cd - by Maxymox 2012 -

thearch In the thick line-up of the Belgians The Arch, sponsored by the radiant Echozone label, identify Ivan DC (guitars / electronics), M. Pierre (guitars / electronics), CUVG (vox / electronics), Jerr Goss (bass / electronics), Ian Lambert (Keys / electronics) and JDSuB (producer / mixing / additional electronics), to which are added Chiffon's Tale (voxes), Brecht Adriaenssens (additional drums), Veerle Vanhoeck (vox) and finally Bram Van Looveren (additional guitar), the ensemble since 1986 follows a style that includes multiple components inside electronic fundamentally contaminated by atmospheric reminiscences and after-wave punk. The achievements made by this long-lived band nominate many apperances on compilations and a discrete series of official productions, initially conceived basis of dark and alienating that depart from the vinyl 12 "entitled" As Quiet As "published in 1986 for Anything But Records, to which The Arch entrusted in 1988 the'' LP "A Strange Point Of You". The following year it was the turn of the 12 "maxi-single" Stay Lay "on Antler-Subway, also the label that it supported subsequent work: the full-length 1990 "The Messier Album", the three-track single "The Only Thing" released in 1991 and the 12 "called" Ribdancer ". These titles also made the project in 1995 to follow the excellent album "Seconds And Centuries" Discord and fired the famous "Sofa" published in 1997 for Nova Tekk, who oversaw the brand's extensive double compilation release of 1998, "Sex". Spent ten years before that with The Arch riproponessero The self-produced single "I Can not Live In A Livingroom" in 2008, a three-tracks where Peter Slabbynck bands present in the Boy Wonders, The Brilliant Drumheads, The De Lama's and Red Zebra, vocalised the original song. Complete record under the digital-compilation "The Arch Of Noise" and the year 2009 the latter work on the album, "A Void Engine", which raises the platform in a dimension of sound more modern and technically perfected, with twelve new tracks permeated with technology, evocative vocals and orchestrations alternately tense and characterized by hypnotic softness. And 'this last scheme on which rests the issue of entry, "Individuals", marked by slow programmig robotics, wrapped pads lysergic reinforced by a dialogue between multiple keyboards and guitar and sung with deep timbre and slightly reverberated. "Donor" start a module rather than rhythmic electro- nervous, adding to the battery artificial vocals wave-oriented electric guitar sections and inlays programmed, as well as the following "Seminary" diffuses sound smart, energetic set of percussive beats in combinazone amaramete posted on vocals and shouting, chiarristici. "Skinny Meadows" collects all my consent reinterpreting key in today's stereotypes wave of the late 80's, recovering the shapes flow through a button of programming and drums which are promoted through the voice of the singer is well set on configurazoni full of keys and guitars. Definitely more geared towards solutions post-punk, "Kafkaia" highlights the biting lines of guitars mixed with the dry process of sequencing elements supported by a cold and hoarse singing accents. At the midway point between the electro-pop-punk and industrial, "Barbouze" scitta from Chiffon's Tale, pours scratches guitar in constant battle with the solid pin the voice texture electro-percussive mid-tempo, in advance of the next "She Only", mechanically controlled by dry drum-beats has built a vaguely depechemodiano electronics, full of phrases caressing voice, guitar riffs and silky artifices of keys. "Waterfall" fully expresses the verve electro-post-punk-waver inherent in the genetic makeup of the band through a bony segment programming around which winds resolute voice intonations and an acid rain of guitars. Very captivating, "Let Us Beat It," whose lyrics are The synergy was penned by Atch / Marleen Gordts, is an electronic pop-rock authoritarian created with skinny drum cadences and synthetic structures vocal-instrumental approachable to Mesh, details that come and the beautiful "Miss Take", which is also regulated by half-time planned electronically from which branches off a song burdened nevrastenie waveggianti. The remake of "My Suitor", microscopic object of worship sound originally composed in 1983 by two members of the project Bernthøle or Drita Kotaji and Simon Rigot, outlining their anatomy on glacial percosri of programming and a feminine and provocative singing interspersed by guitar distortions that merge with the refrain lyrics of vocalist exposed how rough and painful. A Veerle Vanhoeck entrusted the lyrics of the track listing of the last track, "In Silence", an underground-based electropop key atmospheric arrangements and vocals backed by a thinner device at low speed percussive counterpoints and harmonious choir accompanied dall'asprezza of additional guitar by Bram Van genarati Looveren. The Arch is that of a style away from electronic solutions to divine, since it is oriented main take on elusive melodies and musicality tortuous formulations, however, maintain a rigorous planning and aseptic. The band, conscious its degree of preparedness and decades of experience gained on alternative scenes, moves easily between complex warping and melodies impenetrable, creating an album that will raise bilateral interest is attached at the rear to the sound wave 80's, that the new generation estimators of the concept of post-punk. Given the chronological breadth that separates the last work published by this new project "Engine In Void", is reasonable to assume the output timing of a next job similarly extensive: the listener involved will then have every opportunity to live and understand this full-length, and find out more about the discography of The Arch, a drawing steel that knows how to mold itself to new trends not giving up their integrity. Great!

 

back to top

The Beauty Of Gemina - "Iscariot Blues" - cd - by Maxymox 2012 —

thebeauty There is always something fatal, elegant and seductive music of The Beauty Of Gemina elvetici, Zurich-based trio led by frontman Michael Sele (vox / music / lyrics / progs / guitars / keys) and completed by drummer and bassist Mac Vinzens David Vetsch. The gothic-rock imprint is stamped strongly in every conception of the band, which adds even more elements to the same exquisite new wave, dark and electronic giving the sound a special touch of royal elegance and melancholy, characteristic perceptible from their first 2006 album "Diary Of A Lost" published for Monkey Music. It will be up to the next full-length "A Stranger To Tears" in 2008 dismissed from the task of consolidating TBoG Music definitely a style which multiplied rapidly support among the public and opinion makers, primarily because of guessed masterpieces such as "This Time", until reach of the wonderful album "At The End Of The Sea" of 2010, published by the same TBoG Music, which reviewed more positively even from my pen and a treasure trove of precious gems, among which stood out for irresistible charm "Counting Tears". After two years of waiting, so here is the pinnacle of artistic The Beauty Of Gemina, "Iscariot Blues" parallel distributed by labels Universal Music GmbH Switzerland and Danse Macabre, an album bearing the decadent rock-cliché typical project enriched with additional doses of dark melody nostalgically celebrated in particular by the important vocals Michael always filled with sentimental tone, thoughtful and visionary. "Voices Of Winter", wonderful premise of what the album is filled, start the sequence of the track listing with a passionate embrace between the percussive rock-oriented beats and a tenacious romantic bouquet guitar agreements undisputed starring the voice of Michael as "Haddon Hall" offers the same dark-energy rockers accelerated and decorated with speckles gothicheggianti. A modern rock ballad-Westerns "Badlands", marked initially by a key strand of voice, acoustic guitar and programming to which are added later as a burly innervation of drumming and electric guitar. "Golden Age" in turn predisposes an equally Dynamic score hued gothic vibrating beat of drums vocals backed by a dark, reaching the next "Stairs", a song full of struggevolezza voice caressed by soft guitar arpeggios, key programming and at low speed. The incessant noise of the electric guitar driven darting over the black surface of "Prophecy", very interesting track that reveals the attitudes of the band know how to recreate the atmosphere instrumentally dramatic, this time organized by deadlifts percussion, synth and sequencing, all assigned to the baritone Michael. Of absolute relief is "Dark Revolution", an episode evoking many of the swing-rock epic formulas dear to Fields Of The Nephilim through the dark form of voice singer and solid ornaments of both electric and acoustic guitar, the latter occasionally responsible for embellishing the tunes weaving arpeggios that recall to mind a sunny and arid landscape of Texas. The recovery of the rhythm-machines and electronic accompaniment gives the body the following "June 2nd" trace of nobility coated, exposed through tangy touch of synth that surround the entry or expansion to guitar. The magnificence propagated followed by "Seven-Day Wonder" is in itself the direct testimony of the level reached by the band on this album: captor deep voice, weaving electro-rock, rhythm and melody of species evolved from a potential hit song. The conclusion of the track listing is by another demonstration of technical skill and mastery, components are introduced in "Last Night Home", create a middle ground between the romantic and intense vocal harmonies dear to Paul Buchanan, singer of the unforgettable The Blue Nile, and the gothic-rock structures of the most recent Mission. About time by following the artistic course of the project will see in The Beauty Of Gemina "Iscariot Blues" gained a more forward in the anatomy of music, particularly that full realization of this grandiose dall'appeal inevitable. The sound, always kept to the smallest detail, is full of effective handwriting singing that give the content a strong power of attraction which, together with impeccable mastery of the sounds in the architecture, provide listening pleasure and genuine involvement. Among the best of this first segment of the year: to own in absolute terms.

 

torna su

The Eternal Fall - "MM - MMXII" - cd - by Maxymox 2012 -

theeternalfall Spanish project of Alicante in 2000 by Executive darkwave, originally formed by the synergy between the front-man Sol (vox / guitars / keys / drums / Progs) Tenza and David (bass). Of note also the important contribution in the live guitarists Manuel Mas and De-ath, shortly after the first publications David left the line-up thus reducing the workforce at a single component, G, current representative of the design The Eternal Fall, still flanked concerts by the two guitar-mentioned supporters. The published numerous recordings by the band initially appoint two self-produced albums: the debut of 2002 self-titled, "The Eternal Fall" and "The Sadness" published in 2004. The first approach to AF Music label came in 2005 with the album "The Path "with a subsequent return to self-releasing in a precise temporal sequence of the full-lenghts" To Darkness "in 2006," The Ninth Sphere " fired the next year, "A Part Dies" in 2008 and "Alone" published in 2009. Closing the list of anthologies "Emptiness Vol.1" and "Emptiness Vol.2" respectively in 2010 and 2011, with this "best of" titled "MM - MMXII" issued by AF Music / Danse Macabre, and containing many of the best tracks recorded by the platform, a collage entirely reasoned that traces the route taken by Sol & ensemble from the beginnings of their long career to date. The dark-sound created by The Eternal Fall Cure is inspired by the mirror darkest and most melancholy, with a particular focus turned to singing with its desperate tone adds to the decadent gothic-rock orchestrations: they arise modulations can express all their fullness the immense longing that always feeds the spirit of the band. The excitement was revived again in the tracks of this interesting compilation to collect and listen with devotion, it constitutes a casket enclosing fifteen tiny pearls of sound, each of which emanates afflicted romantic aura that every honest darkofilo appreciate unreservedly. The atmosphere and accents singing of "Dead Dream," opening-act, homage to a vintage Robert Smith and his Cure, especially through vocals accented with the same inflections belonging to the historic singer, poems full of longing to cut down entrusted breezes guitar in style darkwave. "Its Always The Same" is a song that incorporates the effective strategies aimed at the exaltation of the soul sound sad, a song that melodically and slightly depressed echoed that fits perfectly between the sadness evoked by the guitar chords, the punctuation of low and mid-tempo drumming. The gothic-rock force expressed from "Dead Man Alive" takes shape set himself on a guitar vibrating tension punctuated by fast percussive beats, pulsating bass-lines and distressed Sol vocals that alternate with others of origin electronically filtered. "The Scar", in my opinion, is undoubtedly the tip of the episode of ' entire collection: everything is set up using the best darkwave-minded staffs ranging from vocals and incredibly capturing a intonatissimi accompaniment of guitars, bass and drumming-prog, whose dialogue on the music pouring oceans of inconsolable despair. Continue with the blood gothicheggianti-bending rock of "Death Affair," Mission-oriented track from which rises a heartfelt song that winds through the powerful sections of the battery and the intensity of electric guitars, items chronologically placed before the next "Salvation", which is also obedient to the romantic decadence hours of gothic style expressed in the form of sound tough, struck by the rapid beats of the drum-programming, blazing guitar riffs and vocals always passionate attitude, now surrounded by a feminine, angelic choirs. "The Pain" reserve formulas, in turn, gothic-rock characterized by a greater infervoramento the song of Sol, with slopes and rapid increases tone embedded in a robust set of keys, bass and drumming flagellant, as well as following "Just With You" substantially replicates the same structures of the past, settling down into a compact gothic-theme atmosphere by singing harnessed to sadness. "Broken Dreams" is a track from the tangible requirements darkwave, especially in the exposition of the vocals, matched the energy of rock, identically to the next "My Fate", a poem gothic-oriented dashed by fast guitar arpeggios and an extensive battery of fascinating supporting verses spoken by Sol "Frustration" propagates funeral combinations of drum machines, keys, guitars and filtration voice reverberated in a track devoted to the most beautifully dark darkwave liturgies celebrated by the Cure, while "Into A Dream" reflects an indirect, likely admiration of The Eternal Fall turned to the dark-gothic style of the latest Clan Of Xymox, detail discernible in the sepulchral voice of Sol's setting, adjacent to the lot inflections of Ronny Moorings, and the peculiar traits of the music, made by slow, alienating trails guitar beatings by glacial processes processed by drum machines. Well-paced and very clubby, "Just A Secret" exposes the resolve in a strong voice of Sol-context gothic rock / darkwave of key rotations and bass guitars to dance with dynamism. "The Sounds Of The Night", as the title suggests, emulates musically projecting the shadow form and substance in a track from the sounds contracted, always dominated by the formulations of bass guitar and drums obcure-rock mode, while the closing "The Fed Up" enriches the set of electronics that introducing measured doses, while not disrupting the hardness of the sound and discomfort spread by the vocals, the track makes it perfectly suitable for the dancefloors. Anthology that has the gift of knowing how to interpret the bitterness, pain, loneliness and the irrepressible desire to communicate these feelings to the listener prepared, with whom to share eternal moonless nights where the only audible sounds are your breathing and the notes circulated by the track listing of "MM - MMII." After so much darkness and killing probably not will watch over the dawn and its creatures with the same eyes.

* 0 *

back to top

"The Evropean Brotherhood Trilogy - Unity" - cd - by Maxymox 2012

theevrop Magnificent split fired in a limited edition by the German label Castellum Stoufenburc and first chapter of a trilogy thematically addressed to the exaltation of the spirit warrior and ancient religious and cultural values ​​of our ancestors linked to Europe. European Brotherhood, therefore, appears to be a coalition of artists bound together by ideological affinity-music whose creations sonic style martial / industrial / dark-ambient, are in sharp contrast to what the current times tend to stifle societies European, or love and devotion to their country of origin as well as the meaning and the commemoration of ancestral battles for freedom. The musicians selected by the label to interpret the traces of this early work are the only grand-projects Legionarii, aka the recently reviewed and interviewed by Vox Empirea, and Waffenruhe, aka Soldat D. author in turn of two other splits: "Waffenbrüder", released in 2008 by SkullLine and produced in synergy with Seuchensturm, followed the following year entitled "Pflichtbewusstsein", published for the Castellum Stoufenburc and completed by Waffenruhe in collaboration with Bunkergeist. A release of such grandeur as is "Unity" could only make a artwork equally monumental and evocative feature observable in almost every musical product in line with the kind in question: in this case the graphics section has been entrusted to the creativity of the study Bildkunstschmiede, real institution in designing sleeves and images related to the martial. The two protagonists of the split-album feature a militarily sound grim and dark in twelve symphonies by which we perceive the full meaning of the austere, the valor and glory firmly inherent in their intentions and in their sacred beliefs, a glimpse of ancient history where the undaunted courage and a sense of belonging to its own soil represented essential principles and vital. The depth of the arguments discussed in the release, as well as the imperative need for acoustically represent the height of their expression, required the utmost commitment to the artists technical detail, in the light of the contents heard in twelve events tracklist has reached impressive levels emotional involvement through an invisible, compelling sonic energy-militaristic, the same which probably has animated the spirit of the ancient noble soldiers who fought for the European cause. The solemn and gloomy aura that surrounded "Gloriam Fraternitas" opener-song, shows a perfect understanding between Legionarii and Waffenruhe which, merging their tactics in a single strategy martial / ambient, compose a musical track from the oppressive high a repetitive keyboard-scale agreements and pads that are reinforced with restless gradually, almost like a slow breath, clutching rumbles underground, rates of dark-drums and sparse fragments of voice whose tone echoes menacingly between strict chorus sections. The eponymous "Unity" is honored again the simultaneous participation of two musicians from whose maneuvers stems hours orchestration dark- neoclassical/martial extraordinarily evocative, with a metric sound that would fit with applause from a soundtrack filmography historical, all using governed the call of the drum of war combined with increasing flows of key under which flow the cavernous pads of a second compartment harpsichord. It 'time solo exhibition of Legionarii, who with his "Fvror Tevtonicvs" congegna marble liturgies of keys in a dark triumph of martial beats, symphonic form that transmits obsession with the sense of drama, inner power, the stripping of gleaming swords a few moments before the conflict by battalions riding, helmets and banners on which are laid the first light of dawn prelude to glory. The alternation of individual performances now requires the entry of Waffenruhe and his creation "Appell An Die Kämpfer", a track martial / dark-ambient punctuated by the rigidity of proclamations vocal orchestrations keyboard publications inserted between strict and loose tambureggi marching in formation warrior . And 'round the Legionarii, this time interpreter "LVX In Tenebris" martial / dark-ambient song that opens gates of unimaginable darkness fractionated and determined by the pace of percussion battle which happen nocturnal interludes, thunderous shooting keys and ghostly tolling of a bell, followed by the track glacial atmospheres martial externalized from Waffenruhe in his "Donar's Söhne", a compact symphony ebony and hardness of the steel, the evidence that long swirling pads from modulations claustrophobic and symmetric resonance of a double rhythmic support: the first diffusing the slight dryness of the military-drumming and the second, tonally more intimidating, calling indomitable discipline and fierce look. And 'again and then the turn of Legionarii of his poem "Virvm Homeland," a severe and compelling celebration of choirs and martial-industrial rhythmic ride Teutonic, a set of snare drums, keyboards adamantine, hymns epic pathos, nebulae views the ancient battlefields and extraordinary perception of what the same IL called "liberation." "In Spirit Brethren, Brothers In Arms" is the title of the episode now submitted by Waffenruhe, a dark-ambient textures keyboard publications on whose shadowy lands the final touch of the martial-sound, footprint limited in scope tracked by the vigorous beat of the drum emerges after a long and evocative compartment keys. Permanently marked restlessness, the compositional style of Legionarii perfected along with that entirely devoted to the sounds of military Waffenruhe the following "The Tripartite (EB Version)", a song whose instrumentality supports an unprecedented support voice tones stop, harsh, suffered, all immersed in the regal splendor of echoes and orchestrations keyboard publications within which dominates the martial supremacy inherent in percussion. The return of solitary Waffenruhe stages the following "An Vorderster Front" temple of sound military-industrial reproduced by the incessant drum-programming on a war footing simultaneously grim developments of keys from which gush symphonic arrangements to great effect. The renewed connection between the two artists now generates "Our Fire Still Burns", great track, in whose epicenter stands the nobility of a filament organ through the melancholy trajectories martial-neoclassical descrtitte by keyboards, the inexorable pattern engraved fire from the drum and vocals full of dark passion. A Legionarii is responsible for the closing song, "Brotherhood Accross Europe", which is also oriented towards soldiers acoustic music by a percussive drumming line, in a blaze of harmony and orchestral magnificence. The first act of "The Evropean Brotherhood Trilogy" knows how to keep constant the participation threshold using emotional sounds important, specially selected to convey to the listener all the ardor and memorable significance of which are filled with the ideals shared by the members of the project. The split "Unity", therefore, is a realization that is able to satisfy the large audience of enthusiasts and austerity scheme martial symphonic music that Legionarii and Waffenruhe rise to the ancient Fathers of Europe which, from an inscrutable, heavenly dimension, they look and listen to this sound, nodding complacent. An unmissable release.

 

back to top

The Exsys - 'Against The Mainstream' - by Maxymox 2012 -

exsys It often happens that the deep bitterness inherent in many underground artists in music business goes beyond the simple statement taking tangible physicality in their releases: the case of this daring man-only-platform founded in 2010 by German Exsys, advocate un'autoproduzione from sharp edges and the title more than persuasive, "Against the Mainstream". Precise citations biography about the project in dark-electro/indus/EBM question sembano almost nonexistent, creating an instrument esclusivmente Exsys opposed to the conventional sound vocation and purpose extirpation of all that the listener "accontentabile", dominated by the enormity of music products "disposable" popularized by the main circuit media, internalized passively, continuing to support a market more interested in form and substance of what they publish. An album resolute incattivito, corrosive, with texts pronounced mode between classically harsh impetuous bursts of electronic assault and impure darkness rhythm 'n' noise, the opening track "Dark Dance Project", the first of twelve episodes, we test directly the characteristics of the work, which is a button and danceable trim programming, synths and vocals that have an impact on the bark of sound and acoustic venomous words. The next "CAD (Computer Aided Destruction) "triggers additional charges of techno-noise through a fast heartbeat sequencing enveloped by sharp graft harpsichord-voice, while the glorious "Welcome To Wonderland" is arranged as an exhausting ride dark electro-hypnotic structured on cyclicity with the first floor of percussive synths and programming, both tortured by sharp lyrics icily. The mechanical procedures mid-tempo of "Der Tod" regulate the interplay between the electronic flow of dark EBM / indus and the lyrics of the song always alitati with extreme ruthlessness, while the following "The Darkness" intercalates dried dancehall rhythms to a flurry of acidity tasteristica fodendo perfectly together with the spiteful vocal emissions the protagonist. "Industrial Revolution" argues for sharp twists and synth fast, powerful programming and voice scans, the anteponendosi vocalizazione soldiery dragging "Sperrfeuer" track from the mandatory techno-industrial dynamism and potential floorfiller. Just dance, the instrumental "Tanzmaschinen" propagate sound radiated by an overwhelming shock of hyper-electronic energy pervaded voltage industrial and rigor, leading the listener to the next "Psycho Industries", punctuated by a programmed linear thrust that powerfully portrays the structures of synth and Sibylline filtering of Exsys uttered. A lot of cold vehemence sorpendentemente following an impromptu theme full of poignant passion, "Melancholic Symphony (Dead Amour) ", performed exclusively by poignant touch of piano and keyboard-strings, all assigned to a vault and slowed indus-drumming. The fierce licks emitted in "Keinzeit" break soon the dream is brought back again the listener into a world of electronic sounds turbid, animated by percussiveness fast and thunderous, the same one that holds the end of the same name, "Against the Mainstream", which, like the previous episodes, infects the music through a virulent aggressive voice, haunting it with the obsessive circularity of progs and sharp refractions keyboard. Compelling creative vigor, valor and irresistible, visceral hatred directed at the convention, guiding the logic of "Against The Mainstream" gallery traces the restless, toxic and without compromises. The audible acoustic album related mainly with anger, making germinate on a instrumental steel flooring, lethal efflorescence of voice that shows that they have drawn lessons from the great typical school indus-harsh. While not representing an innovative chapter in the genre, the form proposed in this promising project-only offers to the public yet another reminder electronics more combative addressed, without the slightest hesitation, to counterattack and annihilation of formal music extraction more simplistic. The criticisms of the Exsys strike relentlessly and deeply, until reduced to a heap of ashes miasmic sound.

 

back to top

The Last Gambit - "Songs For People Who Like Us" - cd - by Maxymox 2012-

thelast Since 2007 the German label Halbsicht Tonträger is active in the electronics and IDM-known for publishing works by important artists like DNN, Architrav, Pleq, and especially L.iet Mnemonic, whose two components Belletz Michael, aka the same Architrav , and the graphic designer Danny Fischer, known by the pseudonym Qasot, founded in 2008, the side project called The Last Gambit. The purpose of the duo is to offer a mixture of listening sound technology characterized by elegance and IDM dreamy harmonies, foundations through which they conceived in 2009 and for the same label's first album of eleven tracks titled "Mafiaparty, Nice You Were There! " the essence of which was distinguished by an electronic sound system combined impalpability ambient emotional connotations. In 2011 it was the turn of this "Songs For People Who Like Us", the module exposes delicate procedures of Intelligent Dance Music created with accuracy and with arrangements even more soothing than the previous release, addressing an audience listening to musically evolved and prone to electronic alchemy decorated with refinement and harmonic fluidity. Opera debut as the artwork of this second full-length was designed and built by the hands of Qasot, while the list of tracks included lists twelve tracks instrumentals that are activated first with "If You Plan To Shoplift Let Us Know "Melancholy IDM and its refined effervescence originated from minimal to drum programming that scan time by giving the physical and ethereal pads to volatile electronic arrangements of embellishment. It continues with the beautiful "Worms Are Better Than Me" whose suggestive procedures do not linger in revealing the intensity of a sound incredibly atmospheric, built through subtle electro-percussive strokes surrounded by a nebula of sounds generated by man-made keyboards; able to caress the senses of the listener with a passion. It 's the turn of "Hero Cop Takes the Plunge," track from the musical that illuminates the moon with radiation slowed the course of a dream, just increspandone the surface using the punctuation of complex programming combined with crystal clear and soothing touch of synth keyboard-chords, sounds above The next "Leaky Window", which is also located on IDM modules that internalize romance and delicacy, popular items from the placid space flowing from the equipment which propagate diaphanous rhythmic tracks surrounded by nostalgia emerged from key-sounds. "12 Disgusting! Bugs" follows a mid-tempo IDM equally emotional wrap using keyboard-driven flows, and ephemeral filaments plan pinches of sampled harp, all punctuated by a drum-system by the disembodied timbre. Similarly, "One Old Rusty Water Heater" examines electronic horizons full of grace raffigurandoli form of acoustic high capacity delivered by the fluid flow of soothing pads and the smoothness with which Michael and Danny stratified the evolution of synths. A perfect balance between ambient and IDM percussiveness structure now follows "Amazing Mono," a mid-tempo that captivates gracefully through shades of melancholic keyboards and artificial elaborations that gravitate lightly on the essential programming pulses, the subsequent modulations anticipanti "No Whistling In The House "and the pale Intercosmo sound technology it emerged through the use of rhythmic micropulsations, electronic twists and long tonal chords by mercurial. "Do Not Enter Wrong Way" combines the dark tones played by a first scale and low notes of keyboard publications to the sweetness of a second register which extends through sparkling touch of synth, giving the following "We're OK! You're A Homicidal Maniac! " to fill the atmospheres of celestial loveliness technological exposing strokes of the keys in parallel with crackling interphases e-drumming. "Blofeld" sailed slowly on indigo waters of the subconscious, penetrating flessuosamente hypnotic in it through agreements like the loving whisper of otherworldly entity, state of total relaxation followed by alternated in "Der Schachspieler", the final track which sums up in itself the main features are as of previous songs exalting finesse percussive algebraically calculated from a rarefied drum-programming related to the abstraction of a scheme for keyboard always communicative and designed specifically for travel to the imagination of the listener. Album is accented charm and electronic art, she loves to be assimilated gradually and discreetly. The tracks that move you will remember for their magical appeal and who can inspire serenity, an attribute that makes this release a chance to describe themselves around an invisible boundary that separates the bystander bustle of the outside world. In the recesses of mind of the listener devoted to the genre IDM run clear echoes of a sound dominated by acoustic utopia and fairy: the project The Last Gambit gave a name to everything: "Songs For People Who Like Us.

 

back to top

The Nothing Machine - 'NMTRv1' - cd - by Maxymox 2012 -

thenothing The alchemy of desire Psychogeographical The Scottish Commission, duo dark-folk/city-ambient already discussed in recent months by Vox empyrean, follows preparation routes sound ultra-avant-garde, always reaching new and more sophisticated targets. The creativity of the leader S. has recently engineered the side project called The Nothing Machine, as reported in real life to a mysterious device built secretly in England, The "+ Z Machine", an ambitious project aimed at developing nuclear fusion called "British + Z Pinch Inertial Fusion Energy Program". The title "NMTRv1" here means hearing the word "Nothing Machine Therapy Recording Volume 1" and acts through its scientifically sound afficace antidote able to reduce or neutralize the important side effects suffered by psychophysical laboratory technicians during the experimental period spent near the equipment. Damage neuro-sensory, perceptual, organic, altered states optics, vegetative, thermoregulation, one track less than an hour long sets is purely medicamentale phase of this sound-system, is the essence of the symptoms described, expressing through diffusion from obscure ambient-prcedure aseptic fillers and extreme cold. Alien sounds coming from unknown devices, pads dull, sunken, that raggelano hearing, multispazialità electronic, remote echoes: this is audible in the impressive collection of samples re-release promoted by Acrobiotic Records. The plant propagated by "NMTRv1" expands into a dark corridor radiocontaminata glacial blasts of matter, in order to recreate detail the impression of living in the first experiment, letting the sound itself to represent every moment of distorted perceptions and physical symptoms caused by Z + Machine, a set of minimal noise, muffled voices, dissonance artificial reverbs and cavernous vaporization keyboard publications. The purpose of the disc is to highlight the significant potential for concretely that exceptional nuclear program Today in stand-by, also noting the strong will of the technicians themselves involved to complete the original experimental program. Very interesting work, which seem from the current and controversial concept. In order to better understand the meaning, I encourage readers to connect to the web-page of The Journal Nothing Machine, where reperiranno detailed descriptions of all the spent nuclear test and its cronostoria that necessitated the construction of this atypical "audio-care". Ambient music for diehard fans of abstraction more draconian, its systematic manipulation aimed at analyzing the effects on the physicality of the naked human body, excluding a priori any spiritual involvement. Interacting with "NMTRv1" high volume and in dim light is a shattering experience, traumatic.

 

back to top

Therradaemon - "Den Mørke Munnens Språk" - cd - by Maxymox 2012 -

therradaemon When they talk of the Cyclic Law label montrealese it demands a hotbed of underground music master race, a brand that since 2002 is imprinted on excellent array of industrial production, neoclassical, folk soundscapes and, above all, dark-ambient-drone style provided by the Norwegian Hærleif Langas, hired by the mentioned label and known by his name most famous, Northaunt, but also with subsequent side-projects: The Human Voice, Not Ethos and finally the present Therradaemon. The album "" Den Morke Munnens Språk "is the first step made by the protagonist in this specific identity, a product inundated by silt and dilated atmospheres misrepresentation of the concept that spread through the eternal voice, deep extensions of tone-clusters, Sooty sound expansions and a spectral electronic minimalism. The episodes can listen in this work are presented in the form of four obscure the long-suites minutaggio and structured by very slow evaporation of icy sound, incorporeal, absolutely chilling. The title of each track is preceded by the prefix "Daemon", so as to emphasize the darkly ominous aura that envelops every moment of the sound path, the first step the track-list is "The Daemon-Levnede Sort", a dark muted tones propagation of laptop and flimsy, like a leaden mist from a all'innalzarsi extraterrestrial soil above which sway with mysterious hypnotic slow fading with no time or name. A sound burial, corrupt be further sub-abysmal modulations, rarified spreads electronic noises and distant echoes of unearthly voices that are softened in a sinking spiral dark and gaseous: everything in "Daemon II - Ildspor". As a deep breath issued from a creature from another world, the sound belonging to the same "Daemon III - Den Morke Munnens Språk" scans with procedures lethargic, cold breaths of laptops, mournful tolling and oppressive, thread-like fumes coming from underground, while the final "Daemon IV - Stop And Av Lys" opens the gates of time plunging the listener into an abyss surrounded by cosmic antigravity reverbs, whispers and inanimate elongation / contraction of the concept of sound, eventually transforming it into a virtual oblivion voraciously absorbs all light frequency scattering themselves over nothing but an indescribable feeling of anxiety. Hærleif, with the Its creation plutonic Therradaemon, builds a hallucination neurosonica able to oxidize immediately all forms of life, dragging it to a undersizing of the free vortex softer light. The obsessive encirclements of dark-ambient appliances integrate products from perfectly in the context of a night listening, or suitable for circumstances in which elements are key to highlight the mysterious and unfathomable. Each melodic form is extinct, as well as any emotion in "Den Morke Munnens Språk" only survive the darkest fantasies inherent in our imaginary right here are permanent abode. The slow but relentless darkness approaching, transported from the gloom of this sound: to flee their domain will be impossible.

 

back to top

The Saint Paul - 'Rewind The Time' ep - cd - by Maxymox 2012--

thesaintpaul Marc Schleser (keys / backing vox) and Paul Kuhs (vox / lyrics / keys), stylistically faithful to the range of sounds electro-futurepop, up from 2010 Power-German duo of The Saint Paul. The element that most distinguishes this project is the functional and balanced interplay between the two artists shared who, despite their origin from opposite electronic disciplines, demonstrating the ability to combine melodies perfectly capturing the propulsion of generating machines sound technology: the resulting grand symmetries designed to meet the personal needs energy synthetic, and at the same way aimed at more adventurous dancefloors. Indeed, as the biography says, the trend of creative Paul is oriented towards old-school vocal formulas immediate effect, planned for the sole purpose of wedging in the memory of the listener, while the inclination relative to Marc settles in the direction electronics more rugged and deformed that distinguishes the industrial genre. The clever combination of the two orders sound gave birth to this debut-ep delivered to the care of increasingly effective Danse Macabre, label Germans always have a wonderful insight in choosing their recruited, which offers seven tracks from this suggestive title, "The Time Rewind", a work emanating an aura full of authority, technical and harmonious taste. The opening song bears the same name as the "Rewind the Time", an episode in which audiences are fully in line mid-ejection time electro and futurepop, activated by a button-based drum programming as a support for the sweet song of Paul surrounded by keyboard-driven arrangements. One continues with "City Of Glass", little wonder sound framed in a modern context-obscure-romantic synthpop from absolutely danceable structures, processed through the impulses of the baroque svilolinate drumming combined with the artificial nature and vocals that sing a song introspective, melancholy, combined with a warm keyboard support. The vocation of Marc, innately facing solutions electro-industrial, manifested in aggressive "Unempathic" track that spreads a hyperkinetic and a pounding drum track on which the facility is built for keyboard and voice, the latter, at this juncture, set by Paul on issues far more certain and effective. "Damned to Fail" retrieves the dark atmosphere in a song-electro propagandole austere, tortured from flying percussive breakdowns between mathematical programming sequences, frost harpsichord and sang a song from the heart of which are given off angry tacks which stiffen the shape. "Drowning" is a track of inestimable value style De / Vision, an electronic tribute to despair externalized through the vocals of Paul transformed the refrain in excruciating scream of one who sinks into a dark abyss of echoes, turbid streams of rhythmic tastieristica decelerated and impurities, while the next remake of "Rewind the Time" is subject to the revisions made by DJ Ash, aka Heimataerde, which boasts the original song with arrangements clubby oriented. In the finale, here's restructuring Hardfloor formula of "City Of Glass", now energized by resolute and compact synthesizer bpm agreements that give the piece more danceability, already appreciated for its fascinating sections violin. I find that the duo is in possession of a great opportunity, one that could annoverarli as one of the best electro bands of 2012, circumstances reflected from the EP "Rewind The Time", characterized by impressive technological strategies that give hope of a future full-length designed with the same criteria. If this happens, the The Saint Paul materialize the desires of electro-lover near future. At one millimeter the triumph!

 

back to top

The Search - "Staying Alive In A Country Industrialized" - cd - by Maxymox 2012-

thesearch Even a proposal of considerable caliber fired from the unique combination of the labels Afmusic and Danse Macabre. Due to a melody together between indie pop-rock and new wave style of Swedes The Search is based on acrobatic vocal curvatures of Aztec Camera and Morrisey and, more impressively minor musical structures extrapolated from Joy Division. Following radical and targeted recruitment in staff, the band re-emerges with a new job one year after the previous album "The Search For Connection And Community Contact"; officially active since 2000, The Search feature now Razmig Tekeyan, mastermind of the training (vox / guitar), Sebastian Sehr (guitar), Karl Larsson (bass) and Per Tholander (drums). It made its debut in 2003 with the self-produced album "The Search", distributed by Red Sun Records, where the ensemble compounded with mastery reminiscent pop / post-punk era to 80's Romantic formulations of cello and violin: the outcome of those sounds threw the first station to release the list of labels. Following a successful series of concerts in Europe, the The Search changed their sound through the dark and psychedelic records of the ep-compilation "Bloodbathe & Bazaar Of Lush Loose Limbs ", published in 2005 for Soundlevel to arrive two years later than the third album," Deranged Minds Unite ", published by Lonaly Records qualitatively characterized by formulas and intentionally less sophisticated than the canonical studio recordings. In 2008 the project signed the first Afmusic publishing contract with the full-length "Saturnine Songs" parallel distributed by Danse Macabre, to arrive in 2011 to the aforementioned "The Search For Connection And Community Contact ", released as the rest of the discography Afmusic the same, then as the popular collection" The Silverslut 2000 - 2002. "The scheme is currently composed by The Search provides open and passionate vocals, focused main take on melodic clarity without neglect in a pleasant aftertaste melancholy stanzas, elements that interact seamlessly with an efficient instrumental context that generates plots never overly elaborate and able to stick in the memory by taking advantage of immediacy of the agreements. Another important detail that the listener surely you will perceive the aura wave retro-minded, cultured and refined that surrounds the writing of the album, mastered by the Finnish composer Magnus Lindberg, produced by musician and sound engineer at Uppsala Kristofer Jonson and designed with the aim of giving continuity to what the concept past releases of "The Search" eveva anticipated at the time, or a meditative sound research aimed exaltation of that aspect of life purely sentimental manages to escape from the modern conception of existence despite the absurd frenzy and materialism which govern our dimension industrialized area in which emotions to divine miracle or simply human, survive daily. Unmentionable also feminine backing vocals belonging to Tina Bergstrom, whose name appears with that of Razmig Tekeyan, among the first founders of the experimental band indie-pop-rock launched in 1999, The Silverslut, considered, rightly, the precursor of today's The Search. "Staring Into A Screen" is the first of the ten songs that make up the tracklist, a pop-rock drumming with vaguely waveggiante sustained, shimmering guitar chords and vocal melodies significantly tilted on modern forms of romance. It continues with "Amanda, What Have You Done?", The song I sing nostalgic accents spread to Roddy Frame and instrumental accompaniments are very similar to those of his best early Aztec Camera-80's, acoustic confirmed as such by the suppleness of indie-pop decorated by the swaying of guitars and rhythmic mid-tempo pace. The slope of the album dreamer is particularly pronounced in episodes such as this "Looking For The Flesh And The Blood", a rock-wave lying quietly on the sweetness lavished by guitar arpeggios on which flutter mournful vocals of Razmig, the same as the next "Diving Into Another Person" are molded in harmony with the speed of the drum and double structure of the guitars, shimmering in the inlet section and electrically adamant refrain. The emotional scale of notes expressed in "Losing Touch "and exudes freshness with a direct message to the stricken souls, feeling particularly well perceived in the passion of this song quite dissimilar emotional song-wave impulse-rock soul the next "Let's Make Babies", track embellished with inlays of harmonic intonatissimi vocals simultaneously, capturing the tone and sound, along with bass and guitar lines that travel parallel to the robustness of danceable drumming. "The knower" is a catchy pop-rock song that recalls the emotional form, even if remotely, in Morrissey d He Smiths, while the following wonderful and "I Could Never Get Close To You" raises the swift percussiveness, enticing vocals of Razmig and embroideries bass-guitars placeable in an elegant framework romantic-wave-rock oriented. "We Fell Asleep In Each Other's Arms And Never Woke Up Again" is a track made with the fundamental contributions of Thomas Svahn guests on bass and guitar players Joakim Jacobsson / Johan Zeitler, the latter known as a musician Operating in the post-rock, Tina Bergstrom also recruited to the synth sections: the song is a balanced, rhythmic blend of the 80's-dance wave, fragments of darkness style Joy Division and elements of indie-rock, whose interactions initially formulate a lighter sound than in later stages turns into a dark explosion of keyboards, percussion and guitar super-powers. The final segment of an album dedicated to the emotions he could not assume that the distressed appearance of "This Bird Does not Sing Anymore", organized on a sad-song piano chords combined with the sweet backing vocals Tina Bergstrom, distant strokes of guitar and vocals that makes Razmig poignant as the tears poured into a autumn afternoon. Opera musical disengaged, light but not subject to commercial standards: the sculptural beauty of "Staying Alive In A Industrialized Country" is the result of connection between sounds straightforward, very atmospheric and the like, woven to a new interpretation of classic pop-wavers and paradigms that "I do not know that" irresistibly harmonious, characteristic of the music from the current proposals Scandinavian artists. All that distinguishes the artistic identity of The renewed search, good band worthy of greater consideration and author of an album that will survive forever. Even the sophisticated indifference the industrialized world.

 

back to top

This Vision - "The Golden Age We Lost" - cd - by Maxymox 2012-

thisvision Located between Helsingborg and Malmö, the Swedish duo of The Vision project is a dream-electropop / synthpop founded by Marcus Lantz (vox) and Christian Liedholm Hartmann (synths / progs). Linked by a long friendship and passion for electronic music, the two protagonists in 2005 completed a demo of four songs "Young Hearts" by gradually increasing their experience to achieve a compositional style in which nostalgically romantic pop melodies intertwine crystalline and sonicità an open, features definitely formalized self-titled debut in "The Vision", published in 2009 for Devotion Records, label owned by the two interpreters. The Vision of sound modules applied to the new album "The Golden Age We Lost" are formulated by the irresistible harmony which distinguishes the Scandinavian synthpop, with the use of vocals terse, often bent towards melancholy tones aggregated to a moderate use of synth sections -programming, which leads to modulations that merge into a single voice-like structure extensions Pet Shop Boys to a gentle sound electronically. Also fired from Devotion Records and entirely dedicated to the memories and the days of lost youth, the release of "The Golden Age We Lost" has ten tracks that find their origin from "Ashes", a synthpop full of delicate voice to read sustained modulations keyboard and drum programming. "Where We Much Too Young" refers to childish memories with a nostalgic mood from electronic pop decorated with dreamy keyboard-driven arrangements, and the following "The Boy With A Heart Of Glass" pronunciation graceful harmony vocals by Marcus lulled by the soft synth by artificial mid-tempo drumming. More lively, "20th Century" articulates the kind of vocal tones dream-pop singer to resonances of guitar, synths and programming, building a track that strongly emphasizes the aforementioned comparisons with vieux-style synthpop Pet Shop Boys. This is followed by the melancholy keyboard publications of "The Drömland" continuing seductive in "Heaven Can Wait", a synthpop downtempo orchestrated by slight touch of piano and guitar arpeggios combined with the sweetness of the song of Marcus. "Dance With Me" on again the rhythm consists of structuring a relaxing synthpop fascinating arrangements of keyboard, programming and vocals boosted full of romance, as the next "The Golden Age" gives body to distant emotions stored in the soul clearly making them relive the sound effervescent pop of a synthetic full of passion. Oriented towards the same trajectories, "The Darkest Hour" spreads languid swaying keyboard and drumming affectation of vocals embellished by Marcus, anticipating the last song on the tracklist, "In The Shadows Of Love", yet another tribute to the neo-pop romanticism exposed only through a magical interplay between the vocals, synth and electro-percussive rarefactions. "We Lost The Golden Age" is an album that makes true reenactments of days belonging to an age that does not return, colmamdo the distance between the present and the past through a simple but highly communicative musicality within which the river flows slowly memories . In sound and vocal expressions of The Vision flows a disarming naturalness as well as an electronic-pop style sober, honest and accessible theme that will please the listener with sensitivity and arranged to flessuosamente emotional atmospheres. If your character is as described, use this album to commemorate a time in your past which you regard as very special youth.

* V *

back to top

Vainerz - "Silence" - by Maxymox 2012

vainerz The German Vainerz arise from the combination between Rico Ferenc Piller (composition/arrangement/sound design) and Mario Bouvain (lyrics/vox/ composition) materializing a project clearly electro-synthpopish of above-average characteristics. The duo externalizes an admirable tactic sense consisting of melodies and rhythms artificially strong-power attractive, characteristics acquired through their important experiences lived in the electronics scene: Rico he has played in the EBM/indus/synthpop project named D.-Pressiv, as well as in his individual P24 platform dedicated to the same music design, while Mario was the vocalist of the trio electro/synthpop called Never Endless operating between the last years of the 90's until 2000. Each of these individual exercises has allowed over the time the two interpreters to develop an absolute mastery in technical terms regarding the most efficient compostive methods, whose best features are reformulated and proposals now on the new platform Vainerz, forefront-band author of "Silence", debut album promoted by the label album RGK and in possess of high quality contents worthy of note. The full-length was announced in 2012 by two acclaimed singles published by the same label: the first brings the title of "I Try To Be" whose matrix replicated in five episodes processing elaborations remixed by Mario Förster, aka the same Mario Bouvain, by P24, by the Australian electropop duo Parralox and finally by Piller. The second single-edit, "You Create It" contains in its five songs tracklist the readings performed by the French solo-project of electro/dark /club tendency called People Theatre and by the duo EBM/synthpop named Dreams Divide. The repertoire by Vainerz therefore has overall configuration of traditional sounds from the alternative techno-pop from the European school associated with intelligent lyrics and a form of singing that Mario utters with voice beautifully clear and captivating as the music fabricated spread a pulsing sphericity by formulating brilliant and danceable electro-percussive layouts on which are innervated the futuristic melodies produced by the keyboards. The analysis of "Silence" allows the meeting with eleven tracks very attractive, with the solutions devised by the wisdom of two veterans devoted since many years to the synthetic sound, able to entertain with constant enthusiasm even the most demanding listener. The first track audible is "Jealousy", a synthpop midtempo electro-mechanical boosted by impure beats of drum-programming parallelly to the flow of the sequencing lines and of the important openings of the Mario's voice, from whose refrain there you no escape. The entrance of the quoted "I Try To Be" offers the opportunity to enjoy an artificial pop engaging and well-built by midtempo drumming, synths acidifications and a clear song that emphasizes the excellence intrinsic in the singing tonality of the vocalist, all this previously the next and faster "Discoverers", one of the best tracks available in the sequence, whose attractiveness is generated by the mixing between the thick intermittent rhythm-programming, beautiful vocal breakdowns and pungent key streams. "Love Run" continues the way of the high calibered synthpop proposing a linear percussive uptempo grid ordered intersected by trails bass-lines, effects and vocals that Mario pronounces with firm clarity, while the structural axis of the following "Made By You" internalizes avant-garde theorems electropop oriented prepared on an uniform rhythmic midtempo graphical, vocals embellished by well-defined inputs, luminescent keyboard and sequencer. It's the time of "You Create It", a resolute synthpop whose personality is marked by the progressions of robotic drum-machine in support of disenchanted utterances expressed by the vocalist, under the whose surface overflow sequencing and electronic keys. "Coming Home" prefers melancholy sounds based on dry downtempo bpm's supporting a chant romantically modern and full of keyboard-ornaments, modulations anticipating the next "Unforgotten" within which are renewed the synthpop-minded canons yet heard, in this occasion made by metronomies incorporating electro-percussive midtempo beats to support passionate vocals and fluorescent keys compartments. The pattern of drum-programming shown in "Walk Up To Me" splits danceable uptempo percussiveness whose mathematical cycles correspond to the pulsing timbral sequencer and to the suggestions genereate by the keyboards. "You Are The Sun" is one of the most precious gems of the album, an electropop perfectly prepared by electro-rhythmic midtempo units that inciting to the dance, decorated by the magnificence of Mario's singing voice whose foreground, well planted on melodies of great effect, merges with the synthetic textures stretched from the keys; a sentimental embroidery of piano now adorns reconstruction of "I Try To Be", final track, whose original structure is being revisited in the Minimal remix phase, romantically extended on vocals and musicality designed to be caressed by emotions. This debut album is considerable one of the best theme releases designed in this 2012 by the worth of its exciting technological fantasies: Vainerz process with admirable professionalism all their sophisticated technicalities from which flow the melodies and both the aesthetic body of their individual tracks, completing a radiant work, evolved and incisive which will meet all the unconventional electro-listeners. Here's among us the synthpop that convinces!

 

back to top

Vanguard - "Sanctuary" - cd - by Maxymox 2012-

vanguard The fragmentary information about the Swedish electro-duo Vanguard cite only their founding in 2008 in Gothenburg and the identities of components: Jonas Olofsson (Keys / lyrics / live-drums / art) and Patrik Hansson (Keys / guitars / lyrics /-lead vox). Despite the simplicity of the biographical sketch and the short period of time relative to their arrival on the scene, the style of the past and present project reports a laudable and multifaceted opening facing different conjugations spazianti hypnotism trance electronic energy of EBM, Also lapping melodious synthpop and emotional sides. The debut album was represented informally in 2011 by self-produced demo-ep "Vanguard", a five track bodes well for the next and Official Records debut Conzoom fired in 2012, "Sanctuary" album containing fourteen including two bonus episodes, the all mixed, produced and mastered by Dirk Laux, aka [L] aux, German synthpop platform component known as Pleasant Fiction. The development of full-length stems directly from "Shine", mid-tempo danceable electropop ride conceived under the domain of linear-programming of drum beats, nice melodies and keyboard publications highly engaging vocals, followed by the subsequent formulas "Goodbye", oriented towards solutions of strong post- Camouflage synthetic pop and melancholic tones. "Save Me from Myself" follows the previous structures by adding the same aura of nostalgia and mystery elements, enhanced by atmospheric touches issued simultaneously with the synth accents saddened by the popular vocalist. It continues with a dynamic "Now That We're Here", an episode in the requirements to fit the Olympus of the best electro songs heard this year, its about capturing harmonies in the refrain of the song that is impossible to give off an attractive potential avoided, all bathed in streams of keys, and drum-programming electronic devices mechanically measured by the fullness of the bass, for a track that recalls the exploits of Apoptygma Berzerk more vigorous. Similarly, "My World" activates an electro-leaf pattern with alternate pads and modern polyphony issued by Jonas and Patrik, while the sinuous gait depechemodiana "Make the Cut Clean" ensnares the soul with lyrics and song brimming with nostalgia, introduced in a slow size and synth programming. "In Your Arms" wakes the module through the solid electro-danzereccio scans of drumming in support of the openings of a song well sung and enveloping himself characterizes as "What Did You Achieve?" A track identified as a hybrid in balance the electropop and EBM which highlights a pleasant danceability technological framework dictated by the mid-tempo rhythmic vocals combined with the charm polarizing. "Obscene" electronically retrieves the mournful sound heard previously, filling the substance of the piece with soft singing developments surrounded dall'impalpabilità downtempo replicated by machines together with keyboard-embellishments. The following "Trigger" livens up the danceable tunes through the beating of the drum-machine programming and vocals spronanti incardinandone the backbone of the movement and bright synth chords, as well as the subsequent "Rage" strongly urges the prom planning in order sustained step electro- percussive base to which the system of voice, and sequencing of key engineered specifically for the proposed alternative dancefloors. The tracklist continues later with the pensive electro-ballad entitled "A Certain End", a song very atmospheric, romantic to contemporary praise music by slow fractions of drumming, overflowing circles of keys and a hand vein of passion, components that generate a memorable song. The sentimentality also takes hold of both bonus tracks beginning with "Shame" and exposing it to an agonizing irradiation of electronic-pop that adds to the melancholy vocals and piano at the bitter and cold sections inherent in programming and synths, all flagellated by autumn rain- effects. The track list ends with dignity in the notes of "Better Man", a sad-electropop coaxed from elegiac profusion of voice interspersed with slow drumming that make up the fine embroidery in the background and the expansions released by hot keys. Young project but concretely expressive qualities of the Vanguard reveal chief expert sound tech entrusting to it the two properties immediately activate the instinct of electro-dancer and together to charm the ear filled with elegant textures of sensitivity. If there is room in your upcoming intentions to purchase a product from content that internalize stage alternating rhythms, harmonies and synthetic exciting modulations, turn your attention to "Sanctuary", which will project an authoritative performance in Jonas and Patrik upper echelons of the universe avant-garde. Another cycle electronic ingenuity has made a significant advance: go ahead!

 

back to top

Verney 1826 - "Silence Du Tombeau" - cd - by Maxymox 2012-

verney1826 Verney is the 1826 one-man project of the Berlin Lionel Verney, a person operating since 1991 in the vast ethereal-dark-ambient / gothic / neoclassical / dark-folk, and advocate a discography connected to alternate shots Shinto Records, a label with the basis in Minneapolis, and Shellac Shelley, the latter owned by the same Verney. The compositions exude opulence and decadence created by the artist to work through noir orchestrations by step martial imbued with classicism and filled with extremely evocative vocal modulations sung by mezzo-soprano Anna Aliena, she and Oliver Höhne interpreter of alien-pop project called ShirayasDream; third element contributes, however sporadically, to the creation of music by Verney 1826: the instrumentalist Vakna Roek. Retracing the creations presented by the protagonist, the album "Nebelland" of 2009 and the EP "Orpheus" which are placed formally dismissed by the Shinto Records debut, offering a repertoire of sounds mainly darkwave, neoclassical, neofolk and industrial, the same as Verney led later to the conception of the tape release "Catonium (Archive I)", a collection of remixes released in 2010 in limited edition by Shelley Schellack in which the musician concocted a tracklist of eight episodes parallel to a second designed by Polish Project: NA a single-platform approach to experimental ambient-downtempo. Another match in the same year took the title of "Anthem & Procession", published by the Shinto Records albums where Verney 1826 dueled with the formation of U.S. Phantoms Of The SS, a duo dedicated to the neo-classical genres / noise / ambient, offering all'asscolto eight superb interpretations among which stood out the song "Extinguish, And Born", originated in conjunction with Scarlet Slipping from the project, Dawn Wagner. "Sacrow" was the penultimate full-length re-designed in 2011 and entrusted to the Shinto Records, anticipating the new "Silence Du Tombeau" now under consideration on Vox empyrean, a very interesting full-length, which is also printed in limited edition quantities and who signs the return of Verney in 1826 of file label Shellac Shelley. The line-up designed for this project aligns Verney to the same segments of voice, intruments and samples, while the vocalist Anna Aliena, Vakna Roek sections designed to support and Ivo guitar vox / accordion. The texts, captured and expressed with pathos, have been enhanced by quotations from eminent personalities like the poet John Clare, the great novelist Edgar Allan Poe, the English poet Emily Brontë, the German writer Erich Maria Remarque and Albert Einstein, while content of the tracklist stylistic touches many combinations including refractions of dark-field recordings, environmental sounds, solemn liturgies-oriented neoclassical and neofolk apocalyptic interpretations of the concept. The first of the fourteen tracks is "The Death Of Innocence", expressed in the form of a dark-working by hand and electronically downtempo minimal, built by a thin filament-drum sequencing, keyboard-driven breaths, loops and song subtly alternating martial Verney the lyrical splendor of Anna Aliena. The short "Fiat for Justice", music by Ivo, reflects the light and shade of an ambient-track embellished with touches of guitar, organ by emersion, and the heavy toll of the bell, while the subsequent "Sophia" curve to the dark-electronics solutions animated through slow scan drum-programming cloaked in a blanket of fog tastieristica, together with acid vocals introductory Verney exceeded those noble symphony of Anna. "Ruins Of Udolpho" is an austere ritual celebration of choral-orchestral ambient of structured background voice from the darkness overshadowed widely disseminated by the interpreter, the following forms anticipanti "Suum cuique" track features a slowed calculating electro-percussive pulse whose act as a support to the rough and desperate tone of the song of Verney surrounded by feminine whispers. "The Golden Age" offers an apocalyptic folk song from the ornate tomb of the vocalist in combination with soft guitar playing of the harp Vakna Roek, modulations surrounded entirely by emissions of key-sounds fascinating. "Choralshore" deserves a listen very carefully who can grasp the symphonic grandeur inherent in the song of Anna Aliena introduced by a dark frame dark-ambient-electronics and developed later by the snappy drum programming. We reach the soporific atmosphere of "Dormitorium", identifiable as an ambient track-obscure, darkened by further extensions of the keyboard made cryptic by hints of bell, the voice of diradazioni Verney and the sad whisper of Anna. The exploration of the disc continues with "P. Baron," a song by the intersection of suspension keyboard publications dark-ambient-folk and dark elements, welded constructions in a single module from shamanic-martial cadences of inflexibility proved particularly vocal during started and the hardness of tone that distinguishes recited Verney. In "Sympathy" celestial hover pads and sensual blow down words spoken by the singer, all clouded later by a mournful beat of drum and the subterranean splendor of Gregorian chant, hearing before the tribalism of "Dorian", an episode marked by sinuous hand built by Anna on an Arabic style of sampled strings, keys and hypnotic percussion. The accordion Ivo, the cavernous vocals, along with guitar arpeggios from Vakna Roek, form the base on which it is founded "Caputh, Sommer 1932", also corresponding to a hybrid originated dall'apocalyptic-folk and ambient arcane oppression , sounds through the regular flow of text narrated in a voice subdued, until reaching the "Ulalume," Spectral and devastating trace, swallowed up by a silent dark-ambient vortex which spirals explode projecting into the surrounding space whispers and keyboard-driven fragments. An icy wind blows now the surface of "An Der Endlosen Gestaden Leere" grim epilogue dark-ethereal-ambient designed by the breath of the pads, bells and cogitabondi word murmured by Verney. "Silence Du Tombeau" is an album of superb stature in predominately strive for perfection, an attribute that makes this album a must have in its kind. Both the vocal music compositions that possess something inexplicable and tied to the arcane, obscure concepts illustrated with the formulations austere, sacred. Verney 1826 has created a work of extraordinary grandeur that appointed him among the best treated by Vox empyrean in this first half of the year. The coils of darkness, for the children of silence: this album, let that be known, is for you.