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Autunna Et Sa Rose - "Entrelacs Du Rêve" - by Maxymox 2018

immage  The readers interested in the detailed informations concerning the discography of Autunna Et Sa Rose, they can draw them by connecting to the 2012 section of Vox Empirea, precisely in the review regarding the album "Phalène D'Onyx". The collective, founded / directed since 1994 by the musician Saverio Tesolato, relaunches its own original and composite sonic-visual-recitative style based on the exaltation of a figurative, essential and poetically dramatic musicality intertwined inextricably with the most hidden and tumultuous emotions of human spirit. The line-up, completely reassembled after the times of the last full-length, is completely reassembled with the recruitment of new players, keeping the two vocalists unchanged, thus placing the following scheme: Francesco Rossi ( percussions ), Simone Montanari ( cello ), Saverio Tesolato ( piano / voices / poems / electronics / composition ), Sonia Visentin ( soprano ) and Matilde Secchi ( mezzosoprano ). The sound is not the only language used by the ensemble to materialize in tangible form the intricate abstractions expressed by the mind; Autunna Et Sa Rose, in fact, represents one of the branches of a more articulate, heterogeneous multimedia project, which reveals all of its deep intensity through variegated artistic initiatives, especially theatrical, availing also of graphic / video / literary and cinematographic works, each of them, although exteriorly disconnected from each other from the technical point of view, converge in an effective communicative nucleus that transmits stimulating sensations and psychic dynamism. "Entrelacs Du Rêve", circumscribable within an eclectic style synthesizable as 'neoclassical abstractionism', is summarily the transposition into a musical theme of two particularly significant dreams remained impressed in Saverio's memory during the summer 2014, analyzed in their alienating enigmaticity and orchestrally converted until the achievement of surreally concrete, expressive sounds, modeled inside a vibrant pentagram that follows the different stages of the dreamlike ferment experienced so vividly nightly by the protagonist. "Entrelacs Du Rêve", a complex, cultured and intimate ideation - which refined artwork portrays in its front-sleeve the visionary illustration entitled "Dreamworms" - was published in November 2017 by the Bologna label Atmosphere Records and it was anticipated in the August of the same year by a book-prelude format entitled "Intrecci Del Sogno". The tracklist of the album enumerates eight episodes, subdivided, like the dreams from which the release draws energy, in two separate acts: the first of them and opening song, "Dromomania 11-16", consists of a crepuscular execution played by oppressive and unpredictable piano scales dotted by melancholic sections of cello, for a funambolic, claustrophobic symphony in which they follow without pause sudden fugues and atmospheric interludes. "Marsch Des Dumpfen Herumwanderers" is an antelucan romance from which they spring perceptions of apprehension and of disturbed suggestions, all this through a slow and at the same time intricate agogic, sung by the spectral lyricism of the mezzosoprano Matilde Secchi, by obscure, precious cello's arias, martial-rarefied percussiveness and by incorporeal electronic flows that spread in the background, in a combination of ascents and suspensions, triumphant in the apotheosis of the final of the song. "Flutter Of Asbestos And Quartz Wings", the first one of the two improvisations included in the tracklist, is a composition sprinkled with crystallized sounds, so darkly decadent, edified by touches of piano, by abysmal irradiation of electronics, silences full of anxiety and extemporaneous rhythmic beats. Sonia Visentin and Matilde Secchi ecstatically duet in the minimal "S'engouffrer Dans Ces Noeuds", interweaving registers of acute and intermediate tonal heights, structuring a poetically faded, diaphanous chant, while the following "Ossescacco", the second chapter of the two dreams, contemplates pale, lysergic and subliminally enchanting sounds which have a disorienting power, propagated by alternating phlegm and phatos, dialoguing through low pianistic fluctuations, through unexpected as brief verticalizations and through cello caresses, leading in this way the imagination into an unreal, altering dimension. "Tanz Der Toten Schachfiguren" emanates chimerical charm and restlessness, making interact the soprano Sonia Visentin with subterranean electronic effervescences, militaristic periodic drumming and pindaric vaultings of cello, up to generate, as in a precipitous awakening, peaks of cognitive bewilderment. Empirically played, "Sharp Glitches And White Noise (On The Screen)" is the second improvisation, in balance among an absorbed pianistic melodism that sometimes touches abrupt hits of neurasthenia and sporadic, polyphonic electronic waves, in a succession of sonic-temporal dilations, instant of vibrating disconcert and progressive descents in sensory torpor. "Au-Delà ...De La Borne X" - viewable on the web also in video and conceptually linked to the Saverio's adversion towards the borders - proposes again the remarkable extensions of the soprano and mezzosoprano, in a concatenation of female, abducent and metrically essential chants, which decorate with the same basilarity this psychically destabilizing theme, an iconography into sonic key of the painting "Intrecci" by the abstract painter Vinicio Berti, where are highlighted those 'open' geometries able to break the space-time limits, evolving them to infinity. Anticipated by a long period of silence, the closure of the album is entrusted to a ghost track, "Le Compositeur Des Rêves" - which lyrics are taken from a poem by the versifier Lory Fayer - vocalised only by the low counterpoints of Saverio and by the noble mezzosoprano's textures. "Entrelacs Du Rêve" is transversality, symbolism, interpretation. Its music, totally separated from any explicit euphony, accentuates what would be called 'the physicality of the drama', describing the two Saverio's dreams and projected both them on the white screen of our imagination. The elementary nature of instrumental architectures and of vocal arrangements, only apparently catatonic and not immediately decipherable, are instead largely compensated by their extraordinary evocativeness that the auditor will assimilate in a gradual, perfect and lasting way in the successive listening phases. With the dreamlike soundtrack "Entrelacs Du Rêve", umpteenth masterpiece of introspection and of neoclassical avant-garde, Autunna Et Sa Rose corroborate the cleverness that has always distinguished them, aware of also reserving this creation to a musically erudite, nonconformist and sensitive audience, whom, bewitched by the 'dream-sound' transmutation, will actively participate in it, returning such Art with a gratitude that will raise the eulogies well beyond the usual conventions. Exclusive and unrepeatable release in its genre.

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Cold Fusion - "Cross My Heart" - by Maxymox 2018

immage  Cold Fusion is the solo expression of the Polish musician and discographic Marcin Bachtiak, elusive and talented owner - together with his collaborator Robert J. Marciniak - of the now legendary Rage In Eden, label officially established in 2007 and transformation of the former brand War Office Propaganda, which origins are dated back to 2003. The artist, always enterprising and inspired, is also the protagonist of the following three projects: the first one, Across The Rubicon, is a modern-classical / industrial band founded by Marcin with the same Robert J Marciniak - aka the one-man act dark-ambient / industrial / martial / neoclassical Rukkanor, also author of the ambient / industrial design called Insphera, as well as the minimal / dark ambient Needful Things - and Radoslaw Kaminski - aka the dark ambient solo-act Ab Intra - the second one, Insuffer, is instead a parallel ambient / industrial formation always founded by Marcin and Robert, while the third one, Hotel De Prusse, is an one-man act oriented towards an ambient / industrial range. The Cold Fusion's discography began in 2002 with "Elisabeth Bukez", the ten-tracks debut album licensed by the Polish label Beast Of Prey, which in the same year distributed "Parabellum", two-tracks release shared with Krepulec - aka Wojciech Zieba, a Polish martial industrial / ambient solo-project and mastermind of the Beast Of Prey label - while "Prince De La Mort / Libertine" is the title of the fifteen-songs split album limited edition published in 2004 by Beast Of Prey and realized in cooperation with the industrial / noise project / ambient V-1. Always in 2004 it was the turn of "Scontrum Act I", split release of nine tracks fired by the label War Office Propaganda, to which joined by the German modern classical / industrial duo Schwadron. "Wunderwaffe" is the split limited edition EP of two tracks issued in 2004 by War Office Propaganda in which Cold Fusion participated with Rukkanor, followed again in 2004 by the split album "Scontrum Act III", a limited edition production of nine songs promoted always by War Office Propaganda and built by Cold Fusion with the German dark ambient / industrial solo act Stahlwerk 9 and Krepulec. Two limited edition albums characterized the Cold Fusion's year 2005: "Report", including seven episodes and published by the War Office Propaganda plus the ten tracks of "Occupatria", full-lenght released by the Austrian label Steinklang Industries, followed at the same time by the two sides of "63 Days (Part IV)", a 7 "vinyl limited edition record published by the Polish label Fluttering Dragon. In 2006 Cold Fusion fired, through War Office Propaganda, "ORP Orzel", a limited edition album composed of twelve tracks, followed by "Triumvire", a split release of nine acts performed with Rukkanor and Stahlwerk 9. Year 2007: it was published "Symmetria", full-lenght enumerating eleven songs promoted by the War Office Propaganda, which was followed in 2008 at first by a limited-edition box set issued by the binomial Rage In Eden / War Office Propaganda, containing the re-edition of the album "Wunderwaffe" with the extra release "New Apocalypse" of seven tracks, while, a little more forward, Rage In Eden published the limited edition album "Silk Road", which nine tracks were played by Cold Fusion and Rukkanor. Year 2010: it was released by Rage In Eden the box-set limited edition compilation of eleven songs "Rundfunktechnische Versuchsanstalt I" - this is the name of the Rage In Eden's sub-label, specializing in unpublished music, sold-out and limited publications - thus coming in 2011 at the limited edition box-set by Rage In Eden "Architecture" which includes both the regular full-lenght volume of eleven tracks and a second bonus disc of four. "Cross My Heart", published in the year 2017 by Rage In Eden and now reviewed by Vox Empirea, is the sixth album of Cold Fusion; in this new digipak limited edition format, Marcin Bachtiak provides a further demonstration of his extraordinary art through eleven not titled performances stylistically oriented, in different measures and interpretations, towards a conjuncture between martial-industrial, bombastic, dark-folk, neoclassical and symphonic dark ambient. This album, so grandiose, highly captivating and symbolic beginning from the sleeve's artwork - depicting the smoky scenery of an urban neighborhood just bombed during the Second War period - up to every moment of the tracklist, also features as wooden box-set limited edition complete of 11 vintage photo cards. "01 Untitled" is the opening song, orchestrated through a sombrely austere keyboard, in which noble euphonies the listener relives the distant echoes, the drama and the forgotten glories of warlike atmospheres, all marvelously emphasized by a loud drumming. "02 Untitled" is a dark-ambient / industrial with a high level of emotive enchantment, enhanced by a first extension of cosmic darkness in which depths we can distinguish a threatening rumble and the brief prelude of the obscure keyboards-percussive sections that overshadow the next "03 Untitled", a track of sculptural, severe musicality full of phatos, shaped alternating cyclically interludes rich of suspense and impetuous dark-neoclassical / martial consonances that follow each other like waves. "04 Untitled" pours dark-ambient flows, dilating infinitely a monodimensional chord, rhythmed by slow subterranean cadences and minimally adorned in its background by opaque, obsessive sounds without any harmony, while the following "05 Untitled", sustained by the downtempo militaristic step of the drum, integrates in its trajectories phases of triumphal symphonism and martial suggestiveness. "06 Untitled", a War celebration of immense intensity, is formulated through resonant choral sequences, neatly aligned in a thundering configuration of downtempo percussiveness. The dark-ambient / industrial / neoclassical structures of "07 Untitled" predispose prolonged and turbid sequences formed by reverberated downtempo drum-programming beats joined to a low piano note, replications on which they twirl vocal loops and currents of cold processed sound. Inside "08 Untitled" vibrates a marzial-symphonic segment of keyboards, rationally divided into four quarters and systematically repeated in a context of gloomy, authoritarian modulations synchronized with the stentorian rolled drumming, as well as in the following "09 Untitled" the majesty of the militaristic climax is fiery declaimed by ardent keyboard orchestrations slowly punctuated by metronomic drum-hits, for a martial / industrial / neoclassical theme emanating sensations of indomitable, iron will, courage, pride and visions of totalitarian Empires, both ancient and future. "10 Untitled" incorporates an aggregation between dark-ambient and shamanic-tribal folk, a sonic-transcendental experience, a contact with the Infinite and the mystic, made possible thanks to the psychic transport activated by the hypnotic drumming, to the abysmal expansions of keyboards and to the flurries of electronic noise spread periodically throughout the entire song. The final of the album, "11 Untitled", a track of indescribable evocative charm, is entrusted to a canticle that is both nostalgic and regal: two sections of voices sing ecstatic, liturgical polyphonies that rise solemnly towards the sky to form an hymn, which notes, perfectly harmonized in their 'cathedral effect', create a placid force capable of illuminating the listener's soul with immeasurable efficacy. The elevation, the emblematicity, the power of sublimation of the elaborations contained in this release are invaluable. Fearless symphonies, marziality, obscure experimentalism and new neoclassical concepts, characterize the entire repertoire of Cold Fusion and, in particular, the eleven compositions of this album, apex of the instrumental dexterity and of the creativity of Marcin Bachtiak, a man capable of adapting with supreme grace the abstraction of the imaginary to the concreteness of sound. Each paragraph of the tracklist flaunts a cultured refinement and algid beauty, recalling incisively military allegories, heroism and the reminiscences of War, consecrating all this in a statuary, iconographic musicality, trait d'union between past and present. Time will consume an infinite number of elements, but the magnificence of "Cross My Heart" will not be minimally eroded. A fundamental and essential full-lenght. In the most absolute terms.

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Miseria Ultima - "Phosphor" - by Maxymox 2018

immage  Founded in 2016 by the Finnish Aleksi Martikainen ( vocals / lyrics ) and by Kimmo Huhtala ( synths / programming ), Miseria Ultima denote particularly interesting technical qualities and sonic incisiveness. This emerging duo-act, through two years dedicated to live activity, has been able to conquer the praises of the fans and an ever increasing number of consents in the European electronic scene, until the concretization of the ambitious goal of an official full-length with which to demonstrate totally their own abilities and trespassing towards wider horizons. The debut album "Phosphor", now reviewed by Vox Empirea, was released in 2017 by the Hungarian label Advoxya Records; it was in turn preceded in the same year by two self-produced demo releases entitled respectively "Unfocus", containing seven tracks, followed by "Of Satellites And Rusted Reveries", which was instead constituted by a single episode. The music of the Miseria Ultima, volitive and 'very danceable', has as main principle a strongly dark-electro trend combined with marked EBM / industrial stylemes surrounded by perceptible gothic atmospheres, while the texts, communicated by a voice in perpetual harsh mode, treat various themes regarding mainly human interiority, substantially referred towards the feelings of fear generated by the current technologically advanced society, highlighting existential suffering, inner conflict and the awareness of an inevitably apocalyptic future. The debut album "Phosphor" - whose sleeve artwork was conceived by the Finnish illustrator and graphic designer Jarno Lahti - includes twelve extraordinarily vibrant tracks, perfectly suitable to the underground dancefloors, in which they stand out dynamism, obscurity, enthralling strenght and rhythmic movement of the body. The opener is the incendiary "Omega Transmission", a dark-electro / EBM / industrial driven by angry, abrasive vocal exhortations, rhythmically aligned to a pneumatic midtempo drum-programming and radiated by endearing synths / sequencer sections. The hypnotic conjuncture among midtempo drumming and sequenced counterpoints is the dark-electro / EBM / industrial scheme of "Shift To Crimson", a fascinating, danceable and murky track, highlighted in a sublime way by the Aleksi's poisonously hissed chant. "Morningstar" proposes dark-electro / EBM / industrial sonances characterizated by an high level of danceability, built through linear midtempo trajectories of drum-programming and by sequencer, corroborated by acid vocals and by capturing keyboards, as well as the dark-electro / industrial structure of the next "Garden Of Abstractions" is boosted by downtempo cyclical drum-beats on which they vortex refractions of synths and threatening vocal inflections uttered through caustic tones, all in a technologically subterranean, melodically leaden song. "Scarlet" dynamizes the dark-electro / EBM / industrial 'dance-oriented' sounds processing systematic midtempo cadences adorned with rational keyboard extensions and rivulets of sequencing, while a corrosive voice dominates with all its anger, spreading in the musics its aggressiveness, its resentment, its resoluteness. "Neuroveil" increases the rhythmic speed through an uptempo percussive planning of drum-machine and sequencer, flanked by the Aleksi's sharp vocalizations and by the synthetic harmonies propagated by the keyboards, for a catchy dark-electro / EBM / industrial track to dance frenetically without pause. In the following "The Deep Red Heart" resonate impetuous sounds that inflame our mind and body, enhancing a midtempo pulsing drumming eroded by the perfidious vocal modulations that pour on the cold harmonies of the synths, all this in a dark-electro / EBM / industrial executed with determination and rigor. "Submerged" reveals more than ever the balance between Neue Deutsche Welle classicism and dark-electro / industrial formulas that distinguishes the musical imprint of Miseria Ultima; the binomial interaction drum-programming / sequencer elaborates vigorous uptempo propulsions, synchronized with fluorescent keyboard hits and with the harshness of the chant, which whole geometrically punctuates this track of remarkable clubby tendencies. Sinottically downtempo percussiveness, robotic vocals, intense pads flows and spatial effects, compose the evolved melodism of the magnificent "Halo Of Affliction", that is what would be heard inside an alien Mothership; the studied futurepop / dark-electro magnetism of this song fully demonstrates further inclinations of Aleksi and Kimmo towards the electronic sound experimentation. "Latter Disarray" relaunches the effective dark-electro / EBM / industrial model through ultra-danceable midtempo rhythmic architectures, biting harsh vocals and through metallized synths harmonies, while the subsequent "Shapeshifter Of Dreams" predisposes more slimmer midtempo percussive symmetries, keeping intact the natural roughness of the chant and the solid, melodic conjunctures of synths, for a dark-electro / industrial, as always, of great allurement. Intermittent bass-lines, midtempo stroboscopic drumming, urticant vocal hardness, majestic walls of synths and obsessive sequenced replications, are the peculiarities of the conclusive "Vertigo", which interprets in a more energetically danceable way the dark-electro / EBM / industrial paradigm till now so skillfully played. A good performance. A newcomer duo that know how transmit without compromises sonic exuberance, conceptual purposefulness and very high levels of entertainment. This is the strategy that makes Miseria Ultima a winning project, thanks to the synergy of three distinct attitudes: outstanding inspirational resources, complete mastery of the instruments and, above all, perfect knowledge of the audience's expectations. "Phosphor" practically incorporates each of the elements wanted by the followers of dance avant-garde, satisfying even the most demanding and disenchanted experts of this genre, confirming it with full rights as a milesone of the recent alternative electro music paragraph. Every listening to this wonderful album will never be the last one.

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Urze De Lume - "Vozes Na Neblina" - by Maxymox 2018

immage  Portuguese ensemble officially composed by the four members here described with their respective instruments played during the live sessions: Ricardo Brito ( studio-composition / Portuguese bagpipe / rabel / viola campaniça / classical guitar / folk guitar / horns ), Tiago Matos ( war drums / percussions / horns ), Gonçalo do Carmo ( war drums / galician bagpipe / viola campaniça / bass / small percussions / horns ) and Hugo Araújo ( sampling and 'shamanic' percussions ). Conceptually inspired by the mythologies deriving from the Lusitan Indo-Europeans - ancestors of the modern Portuguese, who populated the most Western sector of the Iberian peninsula in the pre-Roman Era, corresponding to the current Portugal and the Spanish Extremadura region - the music of Urze De Lume is dimensionally suspended into a remote past linked to the legends inherited by their progenitors, strongly ingrained in turn within the rituals dedicated to the primordial and eternal belonging of Man to Nature, understood as 'inseparable unity', in which concurrently they combine devotion to the generating Force, pride for the own origins, cult of Mother Earth, esotericism, shamanism, revaluation of traditions and mysteric pagan liturgies. The band - founded in the last part of 2009 by Ricarco Brito, Tiago Matos and José Marques - is also supported by the friendly artistic collaboration of external musicians, from always close to Urze De Lume. In order to obtain the right musicality aimed at the mental projection of soundscapes dating back to remote ages, the project utilizes with rare dexterity Iberian folkloristic instruments, which orchestrations, characterized by vividly immersive sounds, expand an uninterrupted sequence of suggestive and visionary atmospheres, which carry back the materiality of the present beyond the centuries, reaching by the fantasy enchanted places, arcane celebrative contexts and life scenarios lost in time; they result sound executions simultaneously circumscribable into a dark-folk range and into a stylistic personalization that can be defined as 'natural-ambient'. The discography of Urze De Lume dates back to 2012, the year of publication of the self-produced debut album "Ibéria Oculta" containing thirteen tracks, followed in 2014 by the self-produced digital release "11", a live recording album composed of eleven songs recorded during the concert held in the year 2011 in Maia, Portugal. Subsequently, in 2015, the band released "Caminhos Da Urze", a self-produced limited edition full-length of fifteen tracks distributed by the Spanish label Soliferro, which six panels of its digipak sleeve are embellished with images created by the Spanish illustrator of folk-art Albæ Mostazovska. Also noteworthy are their participation in two compilations: "Devotioceltibérica", dated 2015 and licensed by Spanish labels Gradual Hate Records / Soliferro, followed by "Raíz Ibérica", issued in 2014 by the Austrian label Ahnstern and by Soliferro . Another excellent appearance by Urze De Lume is that of "Mar Deserto", a solo album by the Portuguese musician-guitarist Ricardo Gordo, self-produced in 2014, in which the band participates with a track. "Vozes Na Neblina", now analyzed by Vox Empirea, is the EP of 2017 edited by the famous Portuguese brand Equilibrium Music: it includes four tracks divided into two narrated preludes and into two instrumental episodes. The opener is the namesake "Vozes Na Neblina", a poem told through spoken-words pronounced with the magically thoughtful and profound voice by Carles Jimenez, the first of the two protagonists of the Iberian acoustic neofolkish / apocalyptic psychedelic duo-act Àrnica, whose phrasings reverberate over the crackling noises of fire in the background. Arpeggios of acoustic guitar that spread melancholy dark-neofolk harmonies, joined at a slow and hypnotic rhythm that recalls the shamanic ecstasy, constitute the structure of "Quando As Nuvens Escurecem", anticipating "Vozes Na Neblina II", a vocal composition recounted by the second component of the Àrnica, Daniel Pablo, whose cogitabonde tonality, together with the crackling of flames perceivable in the underlays of the track, give the story an intense evocative aura. A tribal aerophonic instrumentality interacts with transcendent cordophone dark-folkish melodies, while a minimal war drumming alternates with rarefied counterpoints of rattles, forming a space-time vortex, which virtually attract in an archaic perspective: all this in "Outono Eterno". Captivating and emotionally fairy music, that of Urze De Lume seduces us through the polarizing fascination and the originality of millenarian sounds, epigonic of the primordial acoustics by the Lusitanian forefathers, now so faithfully interpreted with passion and authenticity. The entire discography of the band is an interesting opportunity to discover cultures lost among the spirals of Time, never forgotten and today relived as poetically atavistic melodies, formulated keeping intact their peculiarities handed down over the generations; the Extended Play "Vozes Na Neblina" will lead the listener into the exploration of this ancestral, illusory macrocosm with which he will relate spiritually, captured by an inscrutable, contemplative, powerful energy. All this is possible. The Urze De Lume never ceased to believe in it.