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—- Aidan Casserly - 'The Naming Of Blue' - cd - by Maxymox 2011 -—

aid The Dubliner Aidan Casserly, Lar Kiernan component with the side project The Garland Cult, is known for having developed in 1999 with the co-worker mentioned the platform Empire State Human, the most hard-working band that kind of electropop connoisseurs will certainly waiting for their remembrance coming back with "The Art" planned for summer 2011: the picture is the author of Empire State Human least thirteen good results sound like the album "Pop Robot" in 2002, "Cycles" in 2005 as well as the acclaimed "Audio Gothic "in 2009, after which Aidan has focused parallel to its potential clearly confident in his skills as a singer by the unmistakable timbre, almost identical to that set by the late Billy Mackenzie and unforgettable Aidan seems firmly devoted to that, to venture routes in publishing this second solo full-length as a result of "White Solus", also published in 2009. If the first single-relay ase the artist had included structural combinations orchestral-pop, acoustic rock-oriented interventions and atmospheric ambient elements, this latest "The Naming Of Blue" offers a mature, sample electro-poppers symphonic keyboards, piano, vocals and programming expressed significant personality factors that make the writing of the album wise, often able to offer thoughtful, even in the most dynamic episodes, ideas of meditation aimed at the untimely death of his brother Neville in which Aidan has dedicated the entire concept of the work. Licensed by NinthWave Records label historically loyal to each album by the artist in question, "The Naming Of Blue" offers eleven tracks sliding, decent, interpreted with passion, and the tangible demonstrators increased level reached by the musician who from the first act " Cloak & Daggers: "Overture" turns out to be strongly focused in building touching notes, issued by the synth c h-track opening in this orchestrally becomes solemn. "We're No Sinners" presents itself as a midtempo pop song by subtle electronic aspects, with the melodious voice of Aidan that stands between the educated inlays programming, synths and guitar, anticipating the slow, rhythmic harmonies " Sepia Years ", sad-ballad sung by a vocal score, very graceful and languid. Haunting sounds of saxophone, vocal finesse, elegant and composed rhythmic electro-synth make changes "Steal For Love" a track really interesting and pleasant, as well as the recovery of felled solutions singing, drumming and a pentagram slowed harpsichord melancholy aftertaste support the subsequent "Boy Song (For Billy Mackenzie)", a tribute offered to the aforementioned artist, now no longer among us, who with Alan Rankine in 1976 founded the Scottish band The Associates. Sadly delicate airs plan outline "Silent Songs", which in its course turns into a beautiful, moving poem by bending dull, autumn, music by winding soft synth, rhythm quiet guitar and passionate voice, while the subsequent "River Of Souls" prolongs the ecstasy proposing a noble filament acoustic, drums, keyboard, piano and singing, call "homesick-pop." As supported by percussiveness danceable, Sebastian & The Dream "remains close to downed sounds, lovingly spread in the lyrics and instrumental in the plant, as well as in" Marble "broaden the reminiscences of danceable electro-mixed current neo Empire State Human Aidan-inspired themes related to aseptic more introspective and less: it is a clubby track effortlessly, but at the same time suitable for solitary listening. struggevolezza propagated by the "Castles" egregious introduces the figure of Martin Watkins, pianist known for his close collaboration with Marc Almond, who has been given at this juncture to write a br ano afflicted combining textures of synth and voice in the refrain of harmonic spikes reach tearful, final details prior to the "Cloak & Daggers - Outro" which are allowed to replicate the opening hours of thrilling song royally adorned by a more substantial support keyboards that elevates the authority. Album worked with aesthetic sense and careful with the ardor of those who experience deep pain. The tracks follow one another with disciplined finesse, raising awareness of the melodic content to us by well-designed. For Aidan Casserly music acts as a messenger, through the words of the title by letter: to grasp the full "The Naming Of Blue" will pay a caress accepted with infinite feeling.

 

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—- Alien Hand Syndrome - 'The Sincere And The Cryptic' - cd - by Maxymox 2011 -—

alienhands From the standpoint of purely medical and scientific, pathology "Alien Hand Syndrome" refers to either hand held by an inexplicable energy that escapes to the will of those affected. In addition to this disturbing neurological condition, the name in question defines a band musically gothic / punk rock / electronic line-up far from the Austrian population, represented in detail by the charismatic Clemens Engert (vox / electric guitars / organs / bass / progs / synths / piano / strings arrangements) and a second element, Emilie Rameau (bass / guitars / synths), which are queued Florian Marko (additional guitars), Martin Höfert (cello / piano / string arrangements), Alex Schuster (drums), Sam Vahdat (additional progs), Zebo Adam (synths / guitars), Erynnia (additional vox), Peter Horazdowsky (floor), Antonia-Alexa Georgiew (violin) and Alex Tomann (percussions). The sound produced by the ensemble alternates between the hardness of the post-alternative rock band Radiohead to poignant style ballades in the procession of hangs with the intrusion of some great episode from the tissue eletro. The debut album "The Sincere And The Cryptic", fired from Echozone, emerges as a result of two appearances on the collections "The Ineffable Silence" in 2010 and published for the Zillo "Gothic Compilation Part LII" of 2011 issued by Batbeliever Releases, specialist brand goth in anthologies. The project analyzed in the album boasts an excellent general coordination between the various instruments, with peaks of excellence in the moments when the sound is obscured by frequent doses of noise-guitar and keyboard, all in close correlation with the docile and increasingly vocal modulations harmoniously educated. The title track has ten steps which take away from the "Leave Now And Never Come Back", a song from the musical source slowed and leathery dark-rock alternated with peaceful space in which the voice of Clemens murmurs brooding hatched by graceful phrasing agreements deaf guitar and drum-beats, pending the development that transforms strings of characters and weapons blazing snare, cymbals and bass drums in percussive eruptions smoking. Elegantly designed a circuit of the mid-time programming, "Raison, Raison" was chosen by the band to play the role credential mentioned in the compilation "Gothic Compilation Part LII", presenting a linear silhouette of this electronic text supported by fascinating gothic-oriented , and pulsing refrain polyphonic accompaniment of electric guitar-jointed between rarefied nebulae of key for a song and potentially extraordinarily captivating remix. "The Evil And The Lovelorn" is a slow, sad-edged dark-rock song overflowing with decadence, in which the introductory segment of the organ, drums and vocals will be demolished soon supplanted by a flurry of aggressive energy guitar sweetened by sections violin, with subsequent return to the placid guitar arpeggios. "Guernica" by fiery sound harsh, speed electro-rhythmic sequences to which one adds the vigorous beats of drummer Alex Schuster and exciting voice filtering, while the following melancholy ballad "Claret" chooses to place their musicality of lulling poses gothic-ballad coposte violin, guitar and voice in the refrain, are animated by a powerful electricity. "A New Day" raises the form through this depressed-rock track full of poetic touches the floor. keys, organ and vocals brushed sediments of docile melodies, and deep almost identically to the next spleen poured from "Chainsaw Mascara", a track composed of weepy heartfelt lyrics, drumming marching in the twilight, sad shades of piano and violin. The restatement of the electronic structures can be heard now on "Ambien," Chapter dissected by cold breakdowns and key programming on which palpitate hearted vocals, loops and a piercing e-guitar in the background, until they reach "The Incredible Whiteness" and its caressing changes of key and battery joined the texts sung in duet with Erynnia Clemens, formulas entailing a final blaze exacerbated by the strength of choirs and percussive guitar- . The predilection of the band facing down-tempo rhythmic choices manifests itself again through the last phase of the album, "Jesus Broomstick", a song that pours embellishments moving violin and voice punctuation metronomic bass and drum. Appreciable performance that highlights the Alien Hand Syndrome now placed in a compelling series of artistic maturity and authors of an album swollen with shaking. This debut-act is recommended for stubborn followers of gothic-electro-rock sound that they are constantly looking for emerging players capable of giving the music the right measure of emphasis and suggestiveness. Holding out adequate attention to "The Sincere And The Cryptic" they will find in its contents all you need to consider at least satisfying. let the alien hand will indicate the way.

 

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—- Alien Produkt - 'The Next Chapter' - cd - by Maxymox 2011 -—

alien The ep "The Next Chapter" is the most recent work published by Alien Produkt, Buenos Aires duo represented by Ricardo Allen and UTB. Subsequent to the 2005 debut of full-length titled "Revenge" and subsequent album "Ignorance" of 2006, both licensed by BLC Productions, the project was published in 2009 "Honour vs. Falsehood - The First Step", boasted that ep cooperation and remixing names from the thickness of Mechanical Moth, Retractor, Sintetik, Aseptie, Asseptic Room, Kode In Mind, and Obson Geschöpfe HEADACHE. The Hungarian Advoxia Records label, in addition to signing the release of the previous ep, also promotes the next level, "The Next Chapter", the dance floors for efficient machinery of faithful indus footprint / EBM to which the Alien Produkt supporters are convinced. In this work traces depart from the two original versions of the homonymous "The Next Chapter" and "Agony Persecución" episodes married in succession through the creativ ity of high-sounding remixers. The initial matrix of "The Next Chapter" the title track opens showing a typical standard dynamic programming of electro-industrial, synths, vocals, hoarse and sibilant and harsh ways a refrain planned to sneak into the depths of the brain. The second verb is declined the aforementioned "Persecución Agony," a mid-tempo rhythm mesmerizing from office, surrounded by sequenced effervescence, acidity aggressively harpsichord and voice hoarse. The first review of "The Next Chapter" is remixed by the duo electro / goth / indus FGFC820 called New York, combining a dry drumming and pulsating to a constellation of synthetismi track, adding these components to robotic vocals transformed into emissions. The experience of the Germans sailed Winardtage, a band of dark / harsh electro-headed by kayfabe, articulates the subsequent reworking of "The Next Chapter", a stage filled with technology that creates precise further impetus grainy scans punctuated by rhythmic emission of programming and loops. Especially notable is the following remake of "Persecución agony" built by the Germans Nadine Engel and Engel Pedro, aka Acylum, which completely transfigure the profiles of the solemn song using geometry-percussive harpsichord and a veil of darkness that makes creating a mysterious and captivating. The leaden harmony on the next remix of "The Next Chapter" is concocted by Second Disease, also German and proponents of this neo-structuring the percussiveness distorted, surrounded by dark samples extracted from the original sounds, items followed by the remix of "The Next Chapter, "now given to the technical transformation of the duo Jim" The Blaster "/ Cryon, known as Preemptive Strike 0.1, a project that injects the Hellenic song in a vigorous drumming apparatus, and integrating enterprise-sharp synth flows and rain of electronic devices-minded clubs. The Br ancesi A7IE platform electro / indus gravitating around the orbit of the same label Advoxia Records dealing with the new reformulation of "Persecución agony", impacting on the cold surface of the original sound track of menacing synths, electro-drumming and martial timbre from the saturation soured. I think the subsequent conversion mode "Re_mixxx" of "The Next Chapter" by the square of dark / electro / wave of home Advoxia Records, Dolls Of Pain, one of the most successful episodes of the entire ep: Notre guides, front man of the band brings to the track with an irresistible power to the track composed by whispers harsheggianti, clear traces of caustic programming and keyboard designs. The only Argentum-project, multi-faceted character of the martial scenes / neofolker, and dark-ambient power-electronics/industrial Argentine, in turn remixed "Persecución agony", applying it to sound gloomy laboratory-sequenced harpsichord and harshness. The medes imo title is given to the creativity of the project Engelmacher Michael, who moved to the hidden traces its magic electro / industrial beats by using an experimental basis to support strong but dry cold of a galaxy of synths. And 'the turn of the trio of English V2A, author of the re-invention of "The Next Chapter" introduces the band within which the peculiarities electro / goth / indus belonging to one's lifestyle, increasing bpm, streamline shape and keeping the potential clubby . Darkmen is the name of the Belgian duo who is assigned the new deconstruction of "Persecución agony", offered here in a version of "EBM Remix" with a tough body-dancer from the precept of variable speed, anticipating the next "The Next Chapter" re-designed anglosovietici by [T] errorgamz Project, which exhibit a fascinating distortion of the song produced by the duo Alexander "Essence" Kennedy / N9, using amortized broadcasts programming, nebulae of the keys and context-electro-rhythmic-melodic absolutely danceable. The aggressive strategies reformulated from one-man Madrid Xperiment project for "The Next Chapter" proposing to end the ep thick audience devoted to electro-industrial sound an efficient means to realize their danceable pulse. Remix-work of excellent typing, technically well-designed: the interpreters of this release have carried out their task of converting so nearly perfect, in order using the most modern and practical tricks of the industry of making the two paradigms from basic tracks live in Ultra-key dance. The Alien Produkt, the bands Advoxia Records and recruited more than ever reflect all their dazzling technological indomitable pride.

 

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—-Ambiguous - 'Stone Cross' - cd - by Maxymox 2011 -—

ambiguous Ambiguous is the Slovakian Igor Senigla, the corresponding subject in the second instance all'estemporaneo ish side project by the name of which is attributed to self-produced demo of CD-R/DVD-R entitled "Inward Grip", built in 2009 and a reflective experimental merged IDM / abstract-electro. However, efforts are directed mainly used by Igor to his creature Ambiguous, dark-ambient/industrial platform through which the artist was able to expose his shady theorems by the way, especially with the demo "The Imaginary In Hell" also released in 2009 on cd-r no label, and in turn preceded by mini "Life-Pain" in 2008. This "Stone Cross" is an album dating back to 2009, the year of maximum productivity from Ambiguous which, identically to the other episodes, personally fired this release CD-R format. The significant content of the work did not escape the constant action research by the Aliens Production, the nice run by mastermind Ryby, whose specific expertise ranging from textiles wide-ranging international dark-electronics, the label Eastern Europe again today on this full-length limiting it to 333 copies packaged in an attractive metalpack. The album includes twelve suites overflowing with dark matter and responsible for the development of a slow, chilling sound petrification process that is likely to involve the body and soul of the listener: it begins with the gradual expansion of laptops that radiates light left "Red Moon" opener, whose dark-ambient figuration numbs the senses while troubled by ghostly keyboard publications suspension, echoes of other worlds and rarefied percussiveness of unknown origin. The obsessive-centralization of obscure noises in the brief "The Prelusion" recreates claustrophobic refractions, the same perceived as a continuation, "Ashes" dark frescoes painted by the equipment operated electronic artist whose caricatures depict low but powerful modulation, reverb piano and harpsichord vaporization of frost. Even more terrifying, "Cathedral Ruin" spreads detached sections of industrial noise and key-sound streams, which are transformed first into cold combustion emotional tension and, gradually, in an irreversible state of sensory impairment. The interlude "Prelusion II" spreads dark replications percussive-echoed to the link with the same name "Stone Cross", tracks like an infinite abyss whose glacial walls emanate dissonances of the keys struck by rare explosions and sparse punctuation of the plan. "Death Bell" oxidizes the sound by the inscrutable and mysterious mists keyboard publications filled with the sound echoed vortices of descent, as well as a mysterious and icy polar night. The next interpausa "Prelusion III" spreads dark-sounds from the evaporation of laptops livid resonances, congi Greasing the solemn originated pads, followed by "The Hopeless Life", a song that gives an unexpected period of sound ethereal, celestial, awaiting the arrival of shadowy formulations, those belonging to "Frail", a bleak expanse of dark-track electronic noise dotted extensions of the basic keyboard-industrial and rumble. In the darkness of concise "Prelusion IV" follows the move "Autumn Dreams" with its skeletal transmissions of sound monotonous ebb of abysmal night sprigionanti key and ice friction. Realization by the charm of statuary, "Stone Cross" is an album deeply disturbed by noise incorporeal, frost and fog electronic, mercurial and full moons unreal atmosphere. Ambiguous to recognize the tremendous capacity to bring loud nightmares, giving them voice, and emphasis on total control over the imagination of the listener. Call this work the embodiment of absolute black

 

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—- Art Abscons - 'Der Verborgene Gott' - cd - by Maxymox 2011 -—

artab As a legitimate choice of many musicians, even for German Art Abscons anonymity is an essential foundation on which the basis for its artistic aura, a kind of shadow in which this self-effacing character seems to move easily and create. Because of these reasons there is no real biography of Art Abscons, however, whether his mysterious identity is a tangible and detailed contrast and dark-folk style inspired a discography that opened in 2009 from the cd-r "Spektral Magik" and largely continued the following year through the vinyl "Der Gott verborgen", followed by the first chapter of "Am Himmel Mit Feuer" and cd-r "Split" SkullLine fired by the label, releases it shared with the project Gabe Unruh. In this series of works in 2011 will add the new "Am Himmel Gott II" and the present recovery cd for the aforementioned "Der Gott verborgen", an album now examined from Vo x empyrean, initially released by the label Blind Prophet Records and recently republished by the historical synergy between Hau Ruck! Germany and Tesco. Unlike canonical remastering, this new product indicates substantial changes in both the sleeve and, especially, in the track-list which lists six of the nine tracks on the original vinyl-version. "Der Gott verborgen", literally "hidden God", is a disc featuring a majestic poise that highlights Folker-martial atmospheres in a subtle balance between nostalgia and sound aesthetic rigor Executive, the disc shows a predominance of acoustic elements and symbolic nature of post-war expressions tuned by an interplay between educated both acoustic and electronic instrumentation in combination with a vocal contribution evocative and profound. The introduction of the opening-track alienating "Morgendämmerung" anticipates developing a melodic folk accordion, percussion, guitar and voice Art, which denotes a tone expressive and enveloping. An equally fascinating structure is exposed to speech in French by Albert Sinweldi in "Ahndung" (A Travers Les Collines), track from the dark evanescence percussiveness shamanic and keyboard publications, details placed before the next "Rune", a song that spreads fluty arias, text spoken modality and a murky background symphonic slow and solemn in the procession. A nearly identical musicality emerges from "Der Hain verlassen", which is also geared to mid-tempo drumming, epic harpsichord demeanor, soft guitar arpeggios and a brooding song. "Es ist Zeit" Sasha Feline enlists the flute and N2 Itintl under which, together with soft arpeggios and a gentle flow of plucked keys, give rise to a sad ballad Germain-folk. We continue with the trajectories of sampled strings issued by "Niemandsgebet" mesmerizing song tinged with sinuous textures of key, the programming and synth to twist the mu Siche hypnotically into Arabic and psychedelic style, voiced again by N2 Itintl whose words adorn even the text of the following "Liliensonne", graceful as a dance of petals of roses, noble in its extraordinarily intense piano-guitar that looks sweet slow orchestral Keyboard and progs. The tracks follow one another with a focused continuously until it reaches "Erscheinung", an adage apocalyptic percussion, guitar, keyboard and vocals, while revealing a second identity full of poignant romance. The spooky intro to "Effigy (Im Abbild Verbrannt)" anticipates the frantic vocal duet between J1 and N2 Statik Itinitl crossed by pale sections percussion, accordion, keyboard and guitar. The album closes with the rhythmic sequence of full-bodied "Aus Asche Geformt" sung by Art Abscons with its unmistakable timbre surrounded by low key lysergic flights, for a track in final stretch replication in a muted form of notes stifled by dull retro electronic effects. "Der Gott verborgen" is an expressive work, evolved, qualities that the perfection of your CD player will enhance the full dispensing the magic and intensity that this artist knows how to communicate Folker. You will be literally bewitched.

 

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—- Arsine Tibé - 'Good Evening, The Mountain Said' - cd - by Maxymox 2011 -—

arsine tibe The need to stray from territories purely artistic electro, pushed the German Manfred Thomaser (vox / intruments) to set out into the experimental subforms of the kind in question, however, prove concretely different from those built in his regular repertoire. And 'on these bases that Manfred in 2008 and planned concrettizzò parallel to his alter ego! Distain called Arsine Tibe, a platform for solo styles inherent Lounge Noire-electropop through which the musician began in the same year with the two tracks "Genetic Sample (Cryptic Remix) "and" Yalnizlik (Rascal Mix) ", both included in the compilation" Synthphony REMIXED! Vol 8 ", up to the debut albums of the expected joint with this sophisticated" Good Evening, The Mountain Said ", work which bears the name of the support in the autograph label Echozone. Achieving a work so evocative not have been possible only for the protagonist without the help of colleagues aboriginal outside. Precisely because of this certainty the author has selected three guest-vocalist support: Seyhan, Tania Murray, whose voice has graced with their various shades of songs! Distain and Alex Braun, the founder of this latter band with whom Manfred historically campaigning. The immersion in the ten tracks on the album initially propagates the moments of pure fresh belonging to Tania singing and rhythms from every lysergic-shamanic music "Light", followed by the slow reverberating arpeggios that propel "Darkness", track from dreamy airs, beautifully expressed by the combination of voice Tania and Alex who sing a song that runs on velvety textures of guitar and keyboard. "In My Room At Night" is built on a theme echoed transpositions guitar instrumental, mid-tempo drumming and synth rarefied columns, while the return of singer Tania voice full of sensuality, the next episode "Dawn At Night", we rcond by multidimensional effects of programming, dry procedures drum machines, synth and nebulae fragile touch of electric guitar. The pop jazzy related to "Maximum Boy 'shares his carefree time harmonic pentagram with a clear plan, replications of sampled organ and keyboard, elements in open dialogue with a rhythmic electro-essential. Advancing in the track-list meets "Death Of A Cube", a song that introduces the comments of investigators Seyhan surrounded by a background of sounds suitable for a detective movie, made attractive by low rotations, echoed synth tones, leaden effects of insertions on precise percussive beats. The lightly melodic "Labeled Models", produced by DJ Ram, represents in itself an experimental alternative to the concept! Distain, since it is set to music by Manfred voice with the addition of Alex, a combination that convenes substantially the present line-up The duo is now engaged in the tious brushed by electronic pop romanticism, never so intense as that felt in the next, poignant "Skyline", track mode keys / guitar / piano, once vocalized by Tania, who infuses through its perfect lyrical cliché that refers to the elegies worthy expressed by Caroline Crawley and Deirdre Rutkowski in This Mortal Coil. The same voice of Tania makes second lead in "At The Gates", a song driven by a regular rhythm and dynamic electro-synth expansions anticipating the final "Monumental Movement", a steamy poem fully electronic key and instrumental crystalline drips dashed last section to be a mesmerizing programming. I welcome this exploit Thomaser Manfred, author of an album vibrant, clear, from the electronic structures cleverly inserted in a background full of meaning. Arsine Tibe is a project that knows how to tangibly materialize into sound pro ere inspiration, recreating it through a slow whirlwind of music devoted to the latest visionary. I urge everyone, utopian dreamers, but also uncompromising realist, to experimenting with this release which, if fully assimilated, will call forth with smooth continuity now relax and listen to this disc with total involvement.

 

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—- Arkane - 'Enraptured Serene Mesmerism' - cd - by Maxymox 2011 -—

arkane Recently interviewed by Empyrean and Vox from the cleavage of the project Daemonia Nymphe, ArkanuX-is the only protagonist of his own, running fine dark / neoclassical / symphonic named Arkane; well reviewed by critics due to his cultured style, but not inaccessible at the same time, the design itself inextricably linked to the synonyms of Art, Magic, Seduction, mask and, of course, mesmerist, elements that concentrate in the music made by the greek composer implicit meanings full of emotion, interior demolition and equally decadent aura of nobility. The sound creations of Arkane can be put together, figuratively, to a secular, aristocratic neglected garden, which still retains unaltered the memories and the ancestral glory of past epochs, aspects perceptible in the looks petrified and apparently off the marble busts now woven thick creepers, or eroded by avenues in its long winters Once beautiful and now hidden by layers of gray foliage and wild flowers spectrum. This "enraptured Serene mesmerism" of 2008 is placed exactly halfway between the debut "Arcane Etilism" published in 2002 and the expected newcomers "Masquerade Mesmeric Seduction" scheduled for January 2012, orchestrated, arranged and produced under the same ArkanumX Seduction Prod the effigy, the disc consists of eight events very atmospheric, with a strong attraction that captivate the listener ready to romance opera arias and symphonic struggevolezza overflowing. Siren songs, elegiac transpositions of keys, subtle whispers as mild strokes, climax, constantly suspended between decline, abandonment, infinite sadness and longing to vocalize diaphanous hymns addressed to the night: the building of these issues, ArkanumX availed itself of the collaboration of musicians such as vocalist external identity ity completely mysterious to whom we owe the evolution of precious hand, DRG (synth / orchestration / audio concept), Stephen Svanholm (recitations) interpreter of the Swedish Style Dark / classical / gothic Sibelian called, in addition to Arcanstra M. (Whispers). Received in a DVD-case, the work begins with the same name "Serene enraptured mesmerism", desolate and touching as a ghost who sings a song of pain in the autumn wind, raised through feminine vocals and keyboard-soaked arrangements of tears. Fairs symphonic perspectives of key trace the profile of "Seductress Mesmerized", psalm recited by the rarified neoclassical verses of Stephen Svanholm adorned with angelic choral breezes, identically to the next "Nerida Tempress" track from the musical epic, again expressed by solemn harpsichord, from thoughtful rantings of Stephen Svanholm and whispers of the guest Arcanstra M. The tonal spread by turns charming " Sirenia Allure "are linked to those heard in the episode opening, or a distressed women screened in a heavenly hymn once filled with classical instrumental." Seduced In Reverie "in turn extends the dramatic vocal harmonies inlay sections of the heavy keyboard publications, while lyrical intonation of "Enchanted Sirenia" describes ecstatic, sorrowful voice upward between the distributions of key. arrives "Entrancing Of The Nereid", Chapter supported mainly by an austere orchestration of keys and strings that give the track the conformation of a soundtrack, in advance of acute obsessive emissions sampled belonging to "Mesmeric Seduction", the final step full of eerie hypnotism. Melodrama chimeric "enraptured Serene mesmerism" turns out to be an album full of icy beauty and enchantment, expanded features standalone incessant of mysticism that permeates the entire track, awaiting imminent, new work by Arkane. Who still does not know this artist and inspired those who earnestly desires wander size acoustic cryptic, let me take him this album is in those remote places. Kidnapped by a mysterious dream.

  

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—- ARKONA - 'Acid Ladscapes' - cd - by Maxymox 2011 -—

ark The elusive Polish Karol Su-Ka, as well as designer, dj v.j. and vocalist, is primarily an interpreter of the project dub-electro/ambient/experimental deominato Arkona. After wandering past, began composing and informal allegories punk-house and avant-jazz, Karol publishes his first official release, "Acid Landscapes", produced in 444 numbered copies published by Zoharum label. The fifteen tracks are available to be post-achievements recorded between 2002 and 2009, detail that transforms the album in a sort of collection of pieces composed by an alchemist of the underground electronic sound. The audio quality of some tracks, especially the most elderly, it is not excellent, particularly motivated by recording "traditional" study conducted at the home of Karol using basic tools, a feature that gives the first section of the track listing some occlusion sound, defect, however, less evident in the most recent creations compos you with less equipment obsolete. The overall sound still enjoys a remarkable refinement, much to convince the same Zoharum to integrate the album in its selection known as "IYHHH" (Into Your Hands Hearts Hallucination) that "Acid Landscapes" is the third act. Electronic psychedelia, post-industrial reverbs, sub-urban nightmares, de-structuring sound: these are the elements found along the way, largely instrumental, which begins with the ambient air circulation-derived keyboard publications included in the "Space Probe", followed by vocal -loops and electro-snappy rhythm of "Global Dub Riot." Elementary devices synth mixed with a minimal, progressive e-hallucinatory sounds are heard in "Cannabis", electro-dub percussiveness prepended dry lysergic to saturation and that propel "Bukhara Pastewne / Mangold-beet." Hypnotic prog section of four chords repeated throughout the duration of the track ia costiuisce innervatura the "Las / Wood", stained spots from time to time synthetizzati, awaiting the arrival of "Dub Session", resting on drumming interspersed with down-tempo electronic psychedelia. At the midway point between minimal-and dark-ambient noise, "Dusk" propagates micropulsations rhythmic and cold pads, while the following "Welcome To The City" active set on a haunted dancefloor alternate e-robotic beats, synths and desolate harmonies of neurasthenic fitraggi voice. No less restless, "We Are The Lysergic Family / Acid Fox Trot" turns out to be true to the second definition of its title, presenting itself as just a snappy style Fox Trot technology and procedures of the timbral choked schizoid, "Starship Dub" instead prepares an elaborate and linear electronic trip very clubby, sequenced by an acid that eats every single programming pulse. "1 Drift" is full of feverish automatisms, rhythmic repetitions and alienating flows k y, as well as "To Zjedz / Eat It" offers a bloodless theorem gearing foam created by processing of prog, keyboard-driven jerks percussions and transversality. "Intermission" favors slow undulations of synths and sounds of space ship, succeeded by nu-dub-electronic jazz played by "Jezyny / Black Berry" and the subsequent final stretch del'album, non-titrated, "--", bonus electro-schizoid track, composed by the fast loops and audiogram bubbling sequencer tracks. Genre Electronic paralellelo, yet little known, antimelodico and not easy to hold, and spread diffusely illuminated by labels such as Zoharum, waiting for a possible support from potential admirers as well as a greater affection expressed by those who already appreciate the unique sound. If there is not yet known, test your compatibility listen to this style by indulging in a quote "Acid Landscapes": it might surprise you much more than quantitative not to think. -|-|-» Complex network of experimental technology, the antithesis of the usual solutions of easy listening. Arkona requires openness and availability to uptake absolute asymmetric sound, innovative and, in many respects interesting. The concept is well established: Eastern Europe is full of an unimaginable creative ferment.

 

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—- Arzt+Pfusch - 'Lictor Evaporated' - cd - by Maxymox 2011 -—

arzpf The Swedish label Complete Control Productions wins the paternity of this new work created by two electro-crazy Danish, Dr A-Function and Der Doktor, Arzt + Pfusch aliases, veterans of the original line-up founded in 1998 that also included the presence of a third element, CyMonk, who left the formation in 2009. The imprint featuring irreverent and iconoclastic personality of the duo plays a key role in the music created, or a mixture of dark sooty-electronics, industrial, and occasionally pompous classical symphonies, with lyrics that probe cool aspects of the human condition affecting more truthful to bottom of the contradictions and weaknesses through the vocals sounds bubbling effervescence of caustics. The record production of the platform directly began in 1999 with the album "Warum?" Nova Tekk and fired from the label followed by the subsequent rapid timing "Love" in 2000, published for the ephemeral and co-as ciated Global Trance Records label. Following a seven-year period, in 2007, Arzt + Pfusch fired the full-length critical, "SICK", issued by Distorted Monkeys Productions, which promoted the band projecting work in a renewed context of EBM / industrial / electro atmospheres even most corrosive and ruthless. "Lictoria Evaporated" is proposed by the band's recent album, an eight-track aggression characterized by moments of icy voice, percussion and a distorted sound system altogether dirty and dark. "Fall Of An Empire" sets the start of the track by proposing a form of mid-tempo programming interspersed with solemn and martial orchestrations filtering in combination with unstructured voice. "Flæsh Mangler" synths introduction of an ampoule also prepares aggregate under development at drumming of synthetic origin, calm interpause keyboard publications and subsequent fall electro-dynamic. The futuristic sound spreads propagated by "Subzero penalty" resulting in lyrical singing voice guttural, sequencing and pads from hypno-inducing mystical harmonies, placed ahead of misty chords that open "Mars Pattern II", by pressing track for thrills and dark electro-sung texts sour tones. Saturations percussion, vocals and programming track distorted, mottled with black, are the peculiarities belonging to "Skull Servant", from the infamous musical episode oltepassato electro / EBM of "Supreme", song eroded by poison injections of voice and rhythm spoiled. Very impressive is the entry of "Well Polished Boltgun", from which flow discharged from vocal-loops touch the keyboard-driven cadences angelic, soon joined by a rotation of dry sediment and fierce lashes percussive voice, then to close the succession of tracks " Landspeeder (Interrupted By A Plasma Blast), "another chapter full of sound techno-opiate, haunting chants and percussiveness ity Gross sketches of infected matter that contaminates the icy streams of synth-programming. If your request is related to an electronic concept and celestial skies, endless leagues fled from "Lictoria Evaporated" will find it rather floods of intense cold, acoustic bilious, and above synthetic lethal quantities of sound, especially from the two poisoned " læger ". In the final analysis, call the album a good opportunity to get closer to the style-industrial alternatives proposed by the label Complete Control Productions, which projects with The Pain Machinery, Infiltrator, Severe Illusion, Guilt Trip, and these Arzt + Pfusch, turns entirely listen to the most uninhibited technology. Perverse enough to include it in your unspeakable wish list.

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—- Beehive Plains - 'Tape' - cd - by Maxymox 2011 -—

image not available Swedish association of three musicians from different artistic constellations: Peter Davidson, and creator of the group mind, is an artist fascinated by Asian culture, a skilled player of the sitar, as well as collaborator with polistrmentista known bands such as The Butterfly Effect and Blue For Two. Returning from a trip to India, Peter proposed to his friend Karl Gasleben, Dan Söderqvist protagonisa Twice A Man of the historic design, operation on an impromptu project inspired by a highly specific event experienced by Peter himself: the fortuitous discovery of a miter suitcase in a state of disrepair at the side of a road in India. Inside he found nothing but an anonymous Peter audio cassette titled simply "Beehive Recordings" tape the contents of which later became intertwined inextricably with the foundation of this exciting new platform-psychedelic-ambient electronics labels fired by Xenophon In Int and Ad Explore. During its development the line-up also includes a third component, the saxophonist and flutist Olle Niklason, who with his interventions wind gives the traces of "Tape" a mood elegantly oriental and abstract: this last detail in particular is perceptible in the first of ten tracks, 'hypnotics', woven on a thin strand of programming and low accompanied by jazz, ethereal saxophone trails. On the same footprint, "Hard To Your Land" was built to support a vibrant e-percussions, strings and punctuation modular puffs of lysergic Olle, while the subsequent "Wiredance" describes a nervous stand electronically on from there which is short develops a more dynamic and precise rhythmic support in turn intersected by fleeting caresses sax. "Small Things Can Hear The Cry" slows down to a settling-time replicated the atmosphere and suspended in a complex electro-ethnic dimension of the hypnotic anticpante spi Rali winds of programming and propagated by "Metric Landmarks". Still later you can taste the fluid boiling sequenced structure belonging to "Endless Path" within the hub of the fluctuations in air saxophone and bass hatches, while "Caterpillars" replication essentially the same attitudes harmonic heard so far, basing its essence sull'ossessiva spaciousness created by Olle and a modular bass-line plots introduced in the seductive rhythms. And 'round the "Steps Away", very atmospheric, the ideal meeting between ambient and electronic-psychedelic sophistication sought by the appeal, which rework the same "2 hypnotics" deployed full version ethereal-ambient, and finally "Remix hypnotics ( (Saint-Raphael MCMLXXVI) ", by Daniel Kaufeldt lethargically revisited track, artist known for his work in the mastering studio release" The Black Album "The Exploding Boy label colleagues and his presence in the line Alien Waveform-up of the trio. Disc from the unassailable consistency, thought-through and learned tricks sinthetici placid climates background: anyone who has lost or intentionally abbandonto that extravagant case could now define the unwitting creator of a work created to provide meaningful to mind a trip beyond the borders of the conscious state . For use exclusively licensed to a public grown musically.

  

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—- Black Light Ascension - 'Ashes' - cd - by Maymox 2011 -—

black light Those who already know the brand of experimental English band / indus KnifeLadder called, I definitely remember the line-up consists of Andrew Trail, Hunter Barr and John Murphy. Today we find the same Andrew, also part of a multitude of other designs including the nominees Autogeddon, Inertia, Ministry Of Filth and Antivalium, now as a representative of the project Black Light Ascension, featuring the return of the pen with an album-quality sound, to such an extent as to arouse the interest of the binomial Tesco / HauRuck!, always a guarantee of high-level music. "Ashes" is the debut-release then in charge of the relaunch of the main character this time compositional electro-waver/dark oriented positions, created through the use of analog equipment that diffuses a sullen sound and essential. Protagonists in the drafting of the tracks are drum machines and synths, the latter set with tones in vogue in the 80's Andrew combines harmonies through which electro-retrospectives leading the world in a ascoltore sound alienating, scanty, but at the same time full of aesthetic refinement and effective communicative verve. The album reveals Andrew Trail (vox-machines-bass-synth-samples) flanked by two other elements: Reza Udhin (live-live keys vox), present both on the staff of the aforementioned quartet EBM / indus Inertia of the UK, both in history of the band Killing Joke keyboardist since 2005 which, in addition to the second musician Ben McLees, founder of projects and Earth Loop Recall SonVer English, as well as interpreter in the one-man platform called This Is Radio Silence. The track listing of "Ashes" initially propagates "Ocean", a musical composition structured by little more than minimal, with a voice bitter accents, drumming dry and smooth, acid mists of synths and electric guitar riffs. "Your Time" sound odombra recovering the impact of Joy Division vocal-darkeggiante here Moderators ised by a strand of keyboard, dark electronic emissions, modular percussiveness and evocative guitar arpeggios, while the following aura electro-wave/post-punk expressed in "Death Club" spreads from the regularly scheduled pulse, mid-tempo punctuated by the skeletal drum machines and guitar accompanying the rough baritone Andrew. "Blinding Colour" listening to a track littered with reserves of electricity, distinguished tangible connections with the after-punk and dark reminiscences belonging to the first wave, here arranged on a dark plant vocals, bass, percussion and mechanical caustic microframmenti of guitar . The cold anger with which Andrew made his lyrics of "The Pact" is transformed into a noble and passionate refrain, surrounded by psychedelic touches to pick, dry and solemn rhythmic repetitions of key nebulae. The deep darkness of "In The Garden" includes a chilling graphic programming, including sections whose winds ia the cavernous timbre of Andrew wrapped expansion keyboard publications, electronic percussiveness synthesis and punctuation, for a track from the profile actually important and austere. "Jack In / Burn Out" is based on a rather nervous drumming on which they are obsessively distributed inlays icy voice, plasma electro-corrosive and sinister pads, and the following "This World" spreads filtered vocal sections that are reminiscent of those uttered by Graham Lewis , aka He Said, in an episode which, in my opinion is the bigger picture: the rigor of the metric programming, the slenderness of the percussion, the grim dissatisfaction with which the lyrics are accented and dense electronic ascended, make this track a true object of worship underground. The electro-tribal rhythms that introduce "The Dream" during the development incorporate a growing number of frames, up to an ominous drumbeat that supports the synthetic curves apocalyptic Andrew's hand. The final segment of the title track is portrayed by the supreme spectrality of "Killing Cyrcle", a song by singing pinkfloydiana appearance, harmonized choreography by evanescent keyboard that interact separately singing mournful songs and chords ascending, all cradled in a track-down percussiveness time and a relaxed mood, intense. Album is charismatic and eternal longevity: the listening experience with "Ashes" celebrates ancient longings sound, reinforcing the belief that they are still a fertile and inexhaustible source of inspiration when drawing with both hands. Whatever the intent was that Andrew Trail led to the fulfillment of such a masterpiece, it is backlit by a visceral preparation applied to the decay of dark electronics. Following the detailed analysis just completed, I can assert without fear of contradiction that the project Black Light Ascension is brilliant and "Ashes" is d ISCO simply magnificent.

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—- CANAAN - 'Contro.Luce' - cd - by Maxymox 2011 -—

can Hard objectively important member of this ensemble Milan Canaan, generated by the reminiscences of former education project Ras Algethi doom-metal. Today the band is active since 1996 with the excellent "Blue Fire", the beginning of a journey across six record albums marked by a flurry of sound darwave indigenous, contaminated gradually over the years by various intermediate elements such as ambient, gothic, cold wave and industrial. Currently the line-up of Canaan, as originally led by front man Berchi Mauro, has five elements whose siergia has produced this wonderful, rare flowering of inspiration, emotion and professionalism music entitled "Contro.Luce", an album that distance the previous four years "The Unsaid Wods", also works full of lacerating oppression. The return of Canaan, is undoubtedly a race full of experimentation obscure, gloomy, sorrowful poetry, motionless energy penetrates the innermost depths of the soul to gently caress the walls and spread, before slipping in the shadows, the subtle echo of a cry living in total silence. "Contro.Luce" relates perfectly with the need to externalize what is anguished, desperate, unspoken, storm spirit, the band describes abstractions using a style of music rather sullen, difficult to identify, even through the aforementioned affiliations. The band has also expanded the spectrum of activity relatively recently combined into one's creativity in other projects such as Talk and Neronoia, sharing with them the exploration of new sonic territories devoted to an innovative concept of "dark" experiences who contributed to enhancing professional inotre and, therefore, expressive. The simultaneous mixing of ethnic accents, doom, dark-ambient and depressions obscure wave, generates the full-length introspe ctive in which the exaltation of conjunctions voice, now darkened atmospherically, now overflowing with genuine grief, combined with a keyboard indivisible universe, infinite-guitars, bass and drumming always in a down-tempo. Twenty-one tracks, ten of which are sung in Italian, interspersed with instrumental part in eleven episodes and not the track-list titles that marks it as "..", everything for an album built point by point through the years, far from 'usual paths taken or immediately assimilated, a witness of concepts to rework over time extrapolating from their apparent closure. Mauro is also the owner of Berchi Eibon Records label that supports the production and fire belong to Canaan, the latter including "Contro.Luce", in fact interpreted as a precise antithesis of the interior luminosity, disillusioned analysis, concrete, and yet so sensitive arcane and of what lies beyond the thigh ence. "Calm", opening track, immediately show the intensity of the album is generous, paying a kind of poem texts accented by unspeakable melancholy, slow cadence formulas of key instrumental, percussion and strings gothicheggiante soaked decadence. It continues with the first track unidentified ".." that predisposes extensive underground pads and a touch of expanded sound, typical of dark-ambient creations. "Honor" exposes all its solemn sadness using a core instrument keyboard, guitars and slow-drumming in support of lyrics and thirsty night of tears, the second act is not named ".." spreads supple sonorities harems that wind over slow shamanic drumming, as well as in later texts of "Boredom" runs a brooding, nostalgic flood of thoughts that are key orchestrations of music by misty, electric guitars and drums. "..", Unnamed third song, dark and fascinating solutions and offers lectra-ethnic dotted with soft, feminine vocals in turn sunk into a lagoon percussiveness attenuated keyboard-and gas agreements. Consistent with its title, "Terror" has initially scanned with a percussive icy framework pathos, accompanied by phrases in the refrain that cavernous change the accents to evolve into stanzas Angoche tinged with romance. The unfathomable depths dell'obscure-hour ambient underlie the fourth chapter ".." that gives way to the next, magnificent "Company" filled with unfathomable struggevolezza, a sad-track whose refrain proves able to scratch even the minds of key granite using gentle movements, drums, guitars and a distant background, above all, intense spoken directly to the spirit that it will irreparably marked. The clear ethnic influences are reflected in the stylish colors and rhythmic chords of the fifth intersection ".." in advance of the subsequent "Oblivion", which displays song caressing phrases and harmonies accompanying suffered from late-autumn color. The encounter with the sixth episode of ".." offers the chance to experience before dawn modulations keyboard and mandolin, pass later by painful and tight guitar FIFF arranged "..", seventh passage without a title. "Lascivia" soft solutions fluty prefers that project in mind, sensual images of velvet and silk, the gloom refractions prepended expressed in lyrical and guitar-sound belonging to the eighth track marked with ".." beyond which outlines the tribal tom-toms of "Humility" surrounded by suspension keyboard publications and sober sections of arches from Universal Chaos Orchestra. The ninth interlude ".." grants to interact spiritually with a song that blends key stricken scores and guitar vocal pronunciations to overflowing with amenities, as well as "Lust" prolongs the effects the sonic experimentation of Canaan, this time directed at dark-ambient edged opaque formulations of ghostly romantic piano. Vocals depressed, infinitely romantic melancholy is cradled between the agreements do not dream of the tenth-titled track ".." succeeded by the soporific atmosphere that articulate arabesque "Hesitation" and finally from the flood gates of bitter anguish unspeakable, to heartbreaking, scattered unspoken inner drama in the singing and music of the eleventh track ".." for which you do not easily find words adequate to describe the acts of his inscrutable sweetness, his irrepressible need to return to hope. I think "Contro.Luce" work can be discerned, developed at the edge dell'inappuntabile. The seductive instrumental harmonies welcome touching, fervent meanings uttered by the voice of Mauro exerting relentless transmission of emotions that the listener will share prepared ecstatically. Riman ages indifferent to such a masterpiece is equivalent to having no soul. Canaan -|-|-» I consider a band very communicative, sensitive, trained musicians and artists represented by a sonic masterpiece that you will love forever. Anxiety, pain, poetry, illusion, and then love. "Contro.Luce" will not let you more than moments of deep reflection, together with the awareness of not only knowing how to listen to the whispers of the shadow. electronic and logical force, in the case of samplers, also mirevole ability to create atmosphere, suspended between ecstasy and nightmare. Works conceptually significant level, the opportunity just waiting to be discovered and exploited by heard beyond the usual, who can fully understand what the Messenger desire to communicate: the Apocalypse riding briskly, and this will be his most terrifying sound Announcement.

 

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—- Carbon Based Lifeforms - '[Twentythree]' - cd - by Maxymox 2011 -—

carbon I had no doubt at all about actual validity refers to this publication Ultimae Records label promoted by Carbon Based Lifeforms with the protagonists, Gothenburg Swedish duo Daniel Segerstad persons identified in (Ringström) and Johannes Hedberg, filmmakers also with individual skills, side-projects Digidroid, GioNic. Thermostatic and Notch. The genus is circumscribed by the platform developed in a purely instrumental electro-ambient air, sometimes mottled with shades of melancholy and initially expressed through the first official album of 2003, "Hydrophonic Garden," followed by "World Of Sleepers" in 2006, both realizations , as also the recent "[Twentythree]", signed by the French acronym Ultimae Records, with the exception of the single "Iridial" of 2008 on which stands the effigy of Soundmute Records label. Carbon Based Lifeforms The discography lists in addition also the excellent full-length "Interloper" of 2010, in which the duo introduced the collaboration of vocalist Karin My Andersson, also found again in their latest work now under consideration. Before getting in the analysis of the disk in question, I point out an album dutifully intermediate and partially mixed, "VLA", consists of a single, extended track candidates are from the large, time within which the listener is plunged into a trance sounds generated by the narcotic drone-oriented and dilated refractions, soporific. "[Twentythree]", the recent creation of the project, has the precise burning Villuis entrusted to Vincent, aka Aes Dana, restoring grace singing Karin My Andersson in two of the eight episodes of the track, the album dissolves into his tunes , turns sound of nature incorporeal, evanescent, with very slow fading from the keyboard publications timbre warm, enveloping, more predestined to the psychic dimension than that of hearing. Absolutely a must is the deserved praise given notice the artwork of the album, edited by Vincent Villuis creatively in color and figurative style typical of the sleeves apparenenti Ultimae Records. The immersion in the nucleus of "[Twentythree]" begins with "Arecibo," cloaked in ambient-suite absorbed suspension of laptops that crystallize over time, to continue later with the "System", organized by long track pads that float on the surface of an ocean enchanted ebony. "Somewhere in Russia" reveals thin sections of voice mode android dissolve in the rain pouring down and contemplative electronic agreements propagated by keys. "Terpene" prefers gaseous textures, effects, keyboards, and dreamy accents that support full distant echoes of guitar, while the subsequent "Inertia" spread a watery sound, moved from the rarefied ecluse interchange of tones between the keys and the voice ascended Karin My Andersson. Taken from the album, "VLA", as described in n opening, is a fluctuation of sound glassy, ​​dark, crossed by distant meteor echoed, whose peculiarities are revealed in this shorter version of the "edit". The set of urban noise, shouting children, bells and the clear chirping of birds, together with a galaxy of sound slow computer, make Kensington Gardens, "in advance of the final" Held Together By Gravity ", outlined broad and scores of mercurial that convert the keyboard arrangements kaleidoscopic visions. As every member of the Ultimae Records release, this disc has an accurate form of sounds, moods and images, details submitted to the supervision of the label in order to offer the listener a product of high quality. From now on, "[Twentythree]", as well as the owner a release of considerable stature, represent a very significant number of lovers of ambient-dream. This is a certainty.

 

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—- Café De L'Enfer - 'Marchant À Quatre Pattes... -cd- by Maxymox 2011 -—

cafe Limited to only 51 copies in digipak format, this proposal fully meets lavish label Steiklang Industries -martial neoclassical to the more radical formulations. The music of the Austrian project governed Cafe De L'Enfer is These references to the customs and social structures submerged in nature that characterized France in the '20s, a time of decline but also a vigorous industrial unrest before the next wave. The fragmentary information about the ensemble do not allow any kind of depth, the characters being devoted to non-image, so the identity of the band still remains un'irrisolta unknown: the only known available only concerns the way their recent record can be summed up in a mini-demo-album on cd-r is not entitled for 2010 consists of four tracks, three of which also appear in this extended album entitled, "Marchant À Quatre Pattes Au-devant de la Redemption "now listens to Vox Empyrean. Harmonies of chivalry, full of sound elegant, underground culture, art, debauchery, and darkness: These are in addition to royalties from the austere composition, orchestra, singing in which expressed in the French language gives a further note of refined retro creations. Eight steps up the track listing, open dall'enfatica "Je veux It Être Pieux Plus", which corresponds to a polished poem by neoclassical net profiles are offered through imposing martial symphonies, piano, strings, woodwinds, keyboards and vocals, male-female uttered with the utmost grace. "The Fôret Obscure", the title line, offers shady arrangements of flute, guitar and key regulated by a strict drumbeat in support of a text that the vocalist becomes a noble phrasing dramatic shades. The next "The Evanescence De Toutes Les possibilites" is a tribute to soldier's neoclassical piano-percussive crossed by atmospheric interpause viola, keys and a light hand, whispered, prepared even ascended tone full of pathos. The same name "Marchant À Quatre Pattes Au-devant de la Redemption" offers a grim, relentless drumming and horn based on the theme of military march, and marble effects of climate changes disrupted keyboard publications in support of the background like a voice proclaims. The admirable style of the Cafe De L'Enfer is also evident in the next "The Automne", song from the soundtrack overall structure similar to a film historian, orchestrated with evocative singing male chorus solemn, feminine, bombastic keyboard-inlay, flute with sections of drums and organ, for a track sophisticated and charming. "Messaline" turns out to be a decadent elegance by the neoclassical vein, music by piano melodies torn down, spectral suspension, subtle touch of synth and a subsequent, slow, keyboard and drum crescendo of vocals alongside martial uttered with poignant sadness. A more full-bodied sound-concept spreads from "Les Tristes Circuits", track set up with absolute knowledge of the classical concept and the result of a precise acoustical planning of how epic keyboards, rolling percussion and litanies sung during war-apocalyptic tones. Closes the circle of the title track "Six Thousand Milles", in which the rigid composure harmonic flute, piano, keys and rhythmic blend between the pugnacious superbly lyrical commentary by vocalist. Product of perfection is not common, this mysterious disc embodies content that seduce for their extraordinary intensity. In each of the eight episodes irrepressible shudders a creative motion capable of concocting elaborate textures, articulating instruments in the direction of a penetrating sound, aristocratic, very cultured. Among the best-neoclassical martial achievements of this year and definitely the most exciting so far heard from me.

 

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—- CircumLiver - 'Hybrid' - cd - by Maxymox 2011 -—

circumliver CircumLiver, full Circumcisus Liver is the solo platform designed in 2005 by the Trieste Paul Bono, also embedded in the character line-up TriploMaltoSe, the trio founded in 1985 inspired a subgenre prone to experimental electronics 70 'and 80's. The style created by the protagonist based on models of their structures intersected by elements industrial ambient music, noise and dark, mixed with psychedelic spatial turn in the Kosmische Musik. And 'this vibrant composition that intuition originates further branching-called hybrid environments that Paul, through his project CircumLiver, transformed into "clinical environment", ie a form of sonic laptop glacially alienated, aseptic, free from any imperfection and highly atmospheric. The repertoire of the artist mentions only three releases version files: the album "Circumclinical" published in 2007 for the Soviet label Clinical Archives, mark to which Paul also commissioned in 2008 following eleven tracks "Pirx KOMANDOR", followed by this latest "Hybrid" of 2011 and now fired from Adx Vox gutted by Empyrean. The track listing of the work lists eight episodes from the acoustic surreal, hypnotic, built by developing the teachings of the pioneering electronic dating back to remote ages, and now adapted to modern concepts ambient: "The Hybrids are Coming" pantry ethereal suspension of artificial sound on the density and the color of mercury, using laptop atones agreements that rise following a slow upward vortex. "Hybrid Speech 01" reshapes the forms essential in aligning scans through programming of replications Robotics voice tones, and the following "Hello Hybrid" propagates continuously, gradually alienating layered electronic oscillations. And 'the turn of the foggy dark-ambient process of "Hybrid Clinicalambient 01", the track that sprinkles Incesa Saints released streams of cold matter in the form of dark computerized evaporation. You will arrive to "Ambient Melodic Hybrid 01", characterized by a more harmonious conception of the sound that now incorporates translucent and ethereal pads rarefactions of programming, elements placed before the next "Hybrid Intermission", which is formed by frequency sound architecture un'avanguardistica perpetually monotone repeated and immersed in liquid nitrogen. The lived experience of listening with "Hybrid Clinicalambient 02" screen projected on a hypothetical mental images of indistinct shapes from profiles exasperated with slow sinking into an abyss of darkness in which the only sound is a tangible presence that devours the micronized time and space around it. The reformulation of "Ambient Melodic Hybrid 02" extinguishes the title track extending irradiation impressive keyboard that exit from a torpid epicenter composed of bundles of modular programming, for one of ite that communicates deep spiritual sense of the immensity. I confirm my approval on the most radical avant-garde work of the alchemist, CircumLiver: "Hybrid" is a valuable and successful experiment that combines electronic heritage belonging to the glorious years together with an interpretation of the concept of cosmic ambient. In the darkest depths of sound and back.

  

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—- corde oblique - 'a hail of bitter almonds' - cd - by maxymox 2011 -—

cor Describe the art of music belonging to Riccardo Prencipe is always an opportunity for me which would be measured each time the evolution of the neoclassical-section neofolker subjected to less obvious or improvised harmonic solutions but, instead, planned with thin technical and wrapped in an attractive, accessible aura of elegance. More specifically, the project Corde Oblique reveals one of the most representative Italian interpreters of a style called Ethereal-Neofolk, a genre that has always distinguished the productions of this artist listed Neapolitan descendant of former Lupercalia. Two years separate the latter full-length "A Hail Of Bitter Almonds" from the previous good and "The Stones Of Naples", support of renewing the agreement with the Transalpine Prikosnovenie label, which label was also responsible for "Will D'Art "2007. Riccardo Prencipe then returns with an album strictly sentimental, made as a habit co n the cooperation of an extensive ensemble of musicians, each with specific responsibility to contribute to the elevation qualitative work, in my opinion fully achieved results. The basic line-up consists of the same Richard (classic and acoustic guitar), the inevitable Afredo violinist (Edo) Notarloberti, drummer Alessio Sica, bassist bassist-Umberto Lepore, Louis Rubino on piano and multi-instrumentalist Francis Hanna ( cajon / bodhran / daf tar with tar brush RIQ / jingles / tambourine / caxixi / tombak / darbouka / udu drum / Zagat / Bells), In these elements there is a further range of vocalists and instrumentalists-only projects from all gravitating around 'artist names that we find individually analyzing each piece of the track listing in thirteen acts of the same name that begins with "A Hail Of Bitter Almonds" and its introduction to the piano which added sections melancholic violin and the lyrics sung Floriana Cangiano passionately. The st Pentagram roaring expressed by "Together Alone" steals the soul through subtle inlays of classical guitar and violin Notarloberti, caressed by the beautiful voice of Sergio Panarella which embroiders the song with sweet notes, but measured up. Again, the vocals sung in Floriana sketch "The Wind Harps", traces the most dynamic, animated by snare drumming and violin arzigolate trails, while the subsequent "Paestum" resurfaces the romantic neo-classical guitar, piano and sing, form a typical project in this celestially vocalized by Annalisa at Madonna. "That's Mother Not There" is offered in a very melodic as internalizing a brief text but full of deep sadness, concept music by slow guitar arpeggios and vocals by Catherine Pontrandolfo popular, ahead of the subsequent "Slide", a song down Instrumental-time and fully built by atmospheric inputs of pan-flute, played by Walter cithara and tympanon and Light Maioli Synaulia project. The gentle stretches belonging to "The Stones of Naples" re-arrange the vocals along with the melancholy of Floriana toning Notarloberti the violin, the piano and guitar chords to the seductive later flooded by the drumming of the battery, the cover of Radiohead's "Jigsaw Falling Into Place" attests to the wise compositional skills of Richard in this beautiful track that moves a perfectly coordinated orchestration of musicians who will build the Multi-Party harmonious structure with a violin, guitars, drumming and the sensual vocals of Claudia Sorvillo which are divided according to the gradual ascent rhythmic and subsequent deceleration. "Neapolitan Crypt" offers a surreal song from ethnic profiles, modulated by the voice of Catherine as a duet with the phrasing of Spyros Giasafakis Daemonia Nymphe of pathos arranged on a full-bodied Mediterranean music of guitar, violin and drums. "Joy Of Living "Has the same, a charming delicacy of an orchid petal, a characteristic enhanced by the gentle arpeggios from dall'Irish mandolin played by Duncan Patterson of Anathema / Ion merging into a single body with the voice of Floriana, details placed before the next Instrumental and "Little Red Wine, so composed, nostalgic and graceful in its livery, interspersed with piano chords and gentle pinches experts flows violin. The meditative "The Man Of Wood" leads to horizons permeated sensitive, romantic neo-classicism again sung by Sergio sadly with the support of the backing-vocals belonging to Claudia. "The Small Things" tells the story of everyday emotions interpreted by the sweet song of Catherine crossed by an elegant and quiet violin arrangements of mandolin playing, as well as the subsequent "White Stone" refers to the sunny sea views from the deep blue colors using the diatonic organ operated by Donatello Pisanello of Officina Zoe 'bright and vocal expressions of Floriana. The introspective "On a painting by Giovanni Bellini," concludes the track listing on the dreamy lyrical profuse still cradling part of Floriana, accompanied by restrained touches of piano and violin a subtle breeze. As the perception of a particular scent brings to mind images of real life, so the aroma given off by this album casts the mind frames of the traditional Mediterranean culture mixed with a transparent lagoon of neo-classicism. Hard important, written with exquisite calligraphy, an album that devotees of this kind would like to see spread to the farthest corner of the world.

  

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—-Chronique Nocturne - 'Les Visages De Marbre' - cd - by Maxymox 2011 -—

chroniquenocturne The sound produced by the French duo of Nocturne Chronicle responds to a multiform style that channels into a single stream neoclassical elements, recitatives, experimental and dark ambient, darkened by a minimalist instrumental full of darkness. Emma Wyrd (lyrics / vox) and Le Hibou (music planning / intruments / guitars) dispense twilight atmospheres, dark poetry, decadence and a continuous aura of inner desolation, musical characteristics already taken place while listening to "necrophilia", a song included in the compilation "Beyond The Mirror Of Time" reviewed by Vox Empyrean in these pages. The project achieves the goal of today's debut album through this self-published 100 copies in just a INCLUDING booklet of 16 pages in format 21 x 14 can be found within which the texts of the creations and the latest news stories about the disk. The music emitted by the twelve tracks have lyrics expressed by the voice of Emma in the spoken mode, lyrical over a sunken 'Essential equipment to the surface of keys and strings Le Hibou maneuver with the sole purpose of creating a perimeter sound full of introspective anguish and affliction. The refinement of tone vocalist, brought down the lyrics in French and pronounced skeletal accompaniment of electric guitar, synth and bass are dell'opener "The Reverb" track bloodless, whose pallor is approachable for the reflected spectral from a winter moon . "There Regarde Corps" underground replication of programming pulses that define a skinny frame and whispered phrasing of classical guitar arpeggios, while the subsequent "Monsieur Epouvantail" extends its background hiss from vinyl a trail of vintage disrupting the gloomy triptych voice, piano and key. The namesake "Les Visages De Marble" spreads starred Emma immersed in a drowsy sound set-up consists of keyboard publications mists, lacerations and electric guitar strings classical p izzicate with suggestive brevity. Farther on you come to the dream traits of "Chronique Nocturne", absolutely dark, solemnly built of parallel dark-ambient and neo-classicism, starring the elegiac odes uttered by the singer and the tormented pads that surround the structures, to reach a result " Les Oiseaux Dans La penumbra (intrumental) ", a song that materializes overnight raid in the experience of the intricate maze of a forest haunted by vivid impressions made a penetrating electronic chirping of a diaphanous flowing vibrant orchestration and keyboard-heavy beats of the bottom. The next episode, "Hyaena," serves as an extension of the concepts sound heard in the previous track, or an array of sounds and noises antelucano electronic-environmental supporting it on this occasion the poem described the surreal voice of Emma. The relentless, powerful gust of wind Nordic annihilates every possible reference heat in "Paysage de Glace", track swept by turbulence sampled and orchestrated solely by bony organ melodies combined with absorbed ramblings of vocalists. Heartache and love kidnapped, cool harmonies, skinny, all in "Obsession Douce", entirely covered by cavernous reverb and dark-ambient rarefied punctuation plan intertwined with bitter tones of Emma, ​​sounds pass by "Le Dernier Jour", a song which flows copiously the sense of killing, here enhanced by thoughtful statements that the protagonist says, entrusting to the echoes of a moonless keyboard. "Marche Solennelle" follows the same procedures before placing them on a piece of wax score of symphonies by key words and agreements monolithic roar, a carriage pulled by dark horses, crashing waves, flames and funeral bells, finally touching "Un Autre Monde ", closing track offered through a simple pentagram harpsichord, distant refl of their programming and poetic recitation of Emma once again spreads the song of supreme sadness. Sadness of a hard visceral portrait of obsession, with pain and unspeakable melancholy that consumes the soul. The Executive smuntezza of symphonies and the noble accent, which perpetually introverted vocalist sings his verses, corroborate the duration of the album and destined for an audience particularly prone to depressed melodies. This music is a dark path bordered by tall cypress trees, walking along which light leaves the shadows steps calpestanti dissolved. If the penalty sought spiritual and solitude, this is dedicated to you.

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—- Dawn & Dusk Entwined - 'A L'Aube Des Jours Anciens' cd - by Maxymox 2011 -—

dawndu In 2009 I was lucky enough to review the album "De Cathédrales Mist", taking me moments of extraordinary intensity majestic neoclassical inextricably merged with strict martial expressions, folk-noir, industrial and even dark-ambient, sound ubiquitous in every creation that bears the touch Dusk & Dawn French project Entwined. The music created by David Sabre took their first release in the physical form of self-produced tape, "Myth, Faith, Belief," which dates back to 1995, which followed in 1999, "A Leftover Of Gaia" and "Forever War" of 2000, both inscribed for the legendary World Serpent. Farther on, in 2003, came the album "Remergence" released by the label Athanor transalpine anticipated that in 2004 an independent, non construction titrated, in addition to the 7 "" Joke "on Eternal Soul Records and 10" "A Harvest Of Winds p "re-released by Athanor. The year 2005 saw the release of 10 "" The Hikimori Songs "album that he signed the return David the label Eternal Soul Records, succeeding six tracks from "Vanitas vanitatum" of 2007, release bearing for the first time the brand Aube Et Crépuscule. Excellent Cold Meat Industry in 2008 signed the Dawn & Dusk Entwined in collaboration with the apocalyptic-folk band founded by German Christoph Donarski,: Golgatha:, partnership that produced the album "Sang Graal", passed in 2009 by that "Cathédrales De Mist "still marked dall'effige Et Crépuscule Aube, label that has since released all subsequent releases: the first act on mini-album" Fin De Siecle-Paris "of 2010 and the present" A L'Aube des Jours Anciens "of 2011, the same year of publication of the second chapter on" Fin De Siècle-London, "also in the mini-album version. Closes discography "Recollection 1994/1999", published in 2011 for the Twilight Records. The protagonist of this review is therefore the album "A L'Aube Des Jours Anciens", steeped in fascinating hard-martial neoclassical austerity ssical and inclusive traces recorded between 2004 and 2008, whose concept is intended to illustrate sonic terms the ancient glories and legends that have echoed to the origin of time between the ground and the skies above Europe, before the advent of infinitely every monarch and, even, God finally takes the author to be completely specified that none of the instruments heard on the disc has been generated by processes of sampling, except carnyx, an ancient Celtic zoomorphic horn used in battle. The list of titles included in the album has eleven official tracks, plus an unexpected "ghost track" at the end, the fulfillment of a great work of sound research that confirms the remarkable ability of David on operating at the level of dark symphonic composition-oriented all'opener already guessed from hearing its style, "Prophecy", the theme of the noble neo-classical keyboard iridescence marked by martial rolled. "The Ring of Brodgar" shows a dark-folk from the air the music consists of epic militaristic drumming, distant trails produced by Matthieu Emprisse guitar, keys and a deep voice in support of a song inspired by the homonymous structure of Neolithic Orkney Islands. It continues with the next "Unfallen" in which the cavernous tones of David moving between a slow and dreary industrial percussiveness scourge of keyboard-driven arrangements, rumbled ahead of the mysterious introductory "When The Dragon Awakes Again" music track from chivalrous, punctuated by inflexible and dry sections of e-drumming beyond which a gloomy towers of key staff and a song mentioning night shades obscured by words from the poem bitannico "Goddodin". The vocals heard on "The Sacred Mount Of Tara" expose shadowy neo-Folker locations supported by an icy legend who knows the background instrumental, arranged on low keyboard tones, percussive beats the soldier's hand, Matthieu's guitar and the use of carnyx mythic, a noir-track that takes its meaning from the archaeological site of Tara Irish. Pads colored mist turned into a solemn orchestral and rhythmic sound rarefied propel the slow-martial procedures neoclassical "Prophecy Unveiled", track prior to the shamanic and torpid of key sounds which encompass "Is Our Chant The Chant Of The Sea", commented by the striking On the voice belonging to merissa Erlette which quotes the verses of the poem "The Song Of Horsa's Gallery" penned by the novelist Robert Ervin Howard Americans to. Notes dall'intecalare suitable for a soundtrack from legendary saga, suspensions carrying the spirit of keyboard size in an unreal, heavenly, all in "The Silver Dew Of Telperion" track in advance of "The Dawn of Ancient Days," Spectral harpsichord performance from perturbed profiles tribal-dark-dark-ambient and neoclassical, above which soar the threatening war-horn blow. In "Home coming "tally-martial ultracosmiche obscure soundtracks and singing through the interpreter makes charming accents overflowing with sorrow, perfectly integrated to the wonderful symphonies by key high pick and Matthieu. Dedicated to the name of the earth, forged for it in prehistoric times the second the legend of Tolkien, "Sunrise Of Arda" prepare an elegiac orchestral keyboard overshadowed by a second underground diamond spreading, both instruments caressed by arpeggios and whispers echoed modular, awaiting the arrival of the anonymous and short "ghost track" that took shape after thirty seconds of silence, concluding the race worthy of the disc with a brief breakdown of key mythological and saddened by the behavior. Albums of the first order, high-capacity micro-masterpiece, seductive promises to replicate the fascinating evolution from perceived ' penultimate debut release, foreshadowing the imagination of the 'Immagnifica illusion of living in different times and locations for which the chronological time appears to be an absolutely indefinite. Opera full of magic and asceticism, "Des Jours Anciens A L'Aube" will remain forever in your mind, influencing every listen: there are so deeply rooted reasons for regarding it as the next excellence. .

 

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—- Der Blutharsch + Aluk Todolo - 'A Collaboration' - by Maxymox 2011 -—

derblutharsh The eclecticism of the famous composer's folk-martial-industrial Austrian Sunlight Albin Julius, aka Der Blutharsch, describes himself as a kind of emissary from the same artist as "kraut neu musik", shows its versatility in this merging with the French Aluk Todoli, rock mining project substantially conjugated variations in metal, avant-garde and experimental, whose line-up Canaguier Matthieu mentions bassist, drummer and guitarist Antoine Hadjioannou Shantidas Riedacker. The track listing of this particular chapter has four tracks not only in respect of which no less than ten minutes, to a realization WKN signed, sublabel of the famous HauRuck! The exploration of the disk channels to listen to a sound venomous, turbid, structured around an orb of frantic melodies, where the dominance guitar convoluted outlines obscured by a psychedelic graphics asphyxiating, pathological, starting from the first act with trassegnerò "I", a dark-skinned suites emaciated and skeletal fingers, a building erected on slow sonic bass lines, hypnotic percussiveness, organ and strident guitar reverb on the track that cast the ominous shadows of twilight Gothic. "II" is a track from the musical spectrally LSD, can be placed in a context of multiple equally anguished and mesmerizing, refractions with mental hospitals and impenetrable mists of the guitar body that lie both in the rejoicings of impurities srumentale. The dynamic section of the battery that outlines "III" serves as a base for un'allucinogena constellation of guitar riffs, organ and bass who, using their powerful dissonances, propagate a sound from the compact nucleus, identically texture of the stone rough. The regular beating of programming belongs to the final "IV" draws a long path traversed by a pulsating bass line and guitar roughness, qu est'ultima interpause capable of relaxing, dark saturated power and acceleration in the fall-core psychedelic more chilling. Release restless like a nightmare and as such carries tormented visions. The emphasis and gloom spread by the ropes, along all'implacabilità bass, percussion in elementary geometry and the spectral vaulting of the organ, are the building blocks for an introverted sound, characterized by a perpetual aura of impending threat. Work with a dark personality, "A Collaboration" recalls the first repertoire of strategies belonging to the protagonist, which now offers its loyal following a creation of an alternative that will also satisfy the ratings tend to dark-rock from underground. Once amplified to full volume and in circumstances of great emotional tension, this will take precedence over the ability to connect with reality, exposing the brain to overdoses of noise occult ironclad. Splendidamnte enigmatic, beautifully Der Blutharsch.

 

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- Displacer - 'Night Gallery' - cd - by Maxymox 2011

disp The Canadian Michael Morton aka Displacer, requires no special introductory notes, as he currently one of the most renowned exponents of the electronic / dub / IDM planet. That's promising new album is sponsored by the Tympanik Audio label that includes this artist in your preferences, encompassing eleven tracks processed with extreme attention to detail and complete mastery of the electronic tools used, skills that, together with intelligent insights harmonics contribute to "Night Gallery" a good vehicle for interaction between modern concepts of the imaginary sound and personal solicitation. The imprint which Displacer mark, that his recent work is the balanced compromise between his compositional style and a larger, targeted use of suspensions that enchant fascinating listening, using a formula based primarily on pads and extended percussiveness nervous detached from the tim works price of dry, refined capable of vaulting at speed or sudden braking, with long pauses later, snappy acceleration. The track listing is not languishing some melancholic, sometimes oriented toward the dark, which fills the episodes of meaning, adapting them to listen engaged in absolute isolation from the rest of the universe, the album also makes use of the work of burn care Mike Wells, a prestigious engineer S. Francisco, as well as the contribution given to the Crime League graphics, fashion labels in Toronto who designed the three-dimensional appearance of the four panels of the digipak. A set of enchanted piano-synth sounds the first notes that announce "Phantom Limb", opening track, in the development of which gather the full-bodied electronic replications of drumming from there stops short of its length to dissolve in the galaxy un'immota laptop -sound. The punctuated every trip-hop of "Invisible" allows room for deep agreements KEYPAD istici, tap and piano segments of e-drum, and the following short and "Wave" expands synthetic flows divided between dreamlike and heavenly vision. It reaches the most dynamic "Radioactive", conceived on a snappy casing on which programming is divided fragments of abstract melodies with expansions of key gas-sound, and further on to "Orchid", idm-downtempo track that transmits low hearing frequencies of drums, sound fluty of ethnic percussion and interspersed calculation. Unexpectedly, more carefree, the music of "Ghost Planet" played with graceful solutions but at the same result of a subtle rhythmic and melodic development, unlike the darkness that lies in the subsequent dark textures of "In Limbo" and the yearning that springs from the colors " Awakening, "with music by repetitive, rhythmic synth and decaying stairs leading to the midtempo misty textures of the sequencer. One of the rare episodes of sung Displacer to discography, "Falling" is punctuated by electronic-drumming rhythms from diaphanous and elastic key combinations, button sober bass line and vocals that hover on the structure, allowing the entrance to the short and skinny march entitled "Foggy Memory" only willing and touched on a few spectral synth. The album closes with the cathartic extensions raised from "Ice Cold", and graceful fairy-ambient track that creates a sound very relaxing, drive and read comprehensive, sophisticated allegory of electro-formulations predestined to a demanding in terms of atmospheric value. High sonic technology, sensitivity and elegance. Displacer returns in musical terms the effects of this magical combination: you can only surrender unconditionally before in such splendor.

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- !Distain - 'On-Off' - cd - by Maxymox 2011

dison For anyone wishing to deepen their biographical elements of Germanic all'electropop duo! Distain will benefit from the interview published in the Vox section of Empyrean. Alexander Braun and Manfred Thomaser reach with the recent "On / Off" achievement of the sixth album, stylized techniques increasingly pop-current technology the cliché that distinguishes them from the first four-track EP of "Confession" published in 1995. Active as a band officer, remixers and protagonists in compilations, or as parallel units, the! Distain will also identify the side-projects and Arsine Tibe Sonictune, portrayed by two actors who individually with these designs perfect their personal stylistic guidelines. The release of "On / Off", the label fired Echozone, denotes a well-established rule of! Distain theorem synthio melodic source, allowing much room for emotional and nostalgic atmosphere often backed by rhythm-key plants ieristici danceable calibrated mode, using the first ten tracks of the album's mixing and production handled by Remi Janotta, former Psyche hours engaged in activities aimed purely at the studio recording. The album begins by presenting "The 6th Floor", introducing the guest-vocalist Seyhan which is responsible for the phrasing Opening soon followed by the regular drum stand, the light touch of warm synths and vocals that lead into a chorus a bit predictable yet enjoyable. "Mein Weg" combines lyrics sung in harmony for the whole processing electropop involving a perceptible aura of melancholy and elegant, and the following interesting and "Why (Bootlicking Hypocrites)" stands for modern romance in shows and singing on aesthetics ordered through sound modules and keyboard programming made even more challenging by setting un'azzeccata "dance". Advancing listening is reached and "100%" from which they emerge propagation of captivating rhythm, synths and vocals that make the song a classic example of danceable electro-pop, as well as "Values ​​Of Trust" spreads lovely geometries are divided into a hypnotic song that replication of electro-percussive . The singer Tess Fries is the second guest of the album, which supports the staff along with the vocalist singing of "What Do You Want From Me?" Track features a catchy synthpop radio listening slyly directed to more global destinations, details that anticipate the next "My God", electro-rhythmic song by the circularity of the programming around which Manfred Alexander and embroider fascinating melodies and voice synthesizer. A pop-electronic structure of classical features in turn "Monokultur", sweet song played by a formal but engaging synthpopper scheme, while the impassioned "Together" presents electro-known songs and nostalgic synth t rats from the imagination of the modern dreamer and adapted to a song inspired by the avant-garde pop. "Second Coming" track listing continues drawing vocal and instrumental lines wider, refined and elegant, entering the vocal counterpoint to the members-keyboard-style! Distain, until you reach "Mediaeval Presence", catchy electropop produced and mixed by Peter Rainman, strategically sound-designer of the French People Theatre Project. The review on "Mein Weg", at this juncture Elektrostaub elaborate version, produced and engineered by Patrick Knoch, is the bonus track that concludes the album, using symmetries of danceable synth programming and enriched with more full-bodied and sophisticated arrangements. "On / Off" is in itself a release fluid, completely adapted to the current nature of listening to alternative-synth-pop but with faces winking at lighter solutions and consensus than one time, all planned with the usual, impeccable vocation-mail that the duo has been able to increase food and fin'oggi. For those who already follow the! Distain or for anyone who reaches out to a musical-style technology simple, graceful, expressive. The exact theory comromesso between modern pop and good taste.

  

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—- Dyskinesia - 'Dys-Ki-Ne-Sia' - cd - by Maxymox 2011 -—

dyskinesia Quintet Piacenza oscillating between the dark-ambient sonic range, power-noise, post / hard-rock and experimental abstractions indefinable membership. The band's recording career has focused its development in the period 2007/2010, with the first limited edition of 500 copies represented by "Live In Prypiat," published by Varjot Productions, followed five tracks from the homonymous "Dys-Ki-I- Both "in 2008, now under consideration in the drafting of Vox Empyrean. In more recent times, the ensemble has published two other works: "Dyskinesia W / Corpoparassita", a creation designed with the aforementioned drone-ambient duo of Alexandria, succeeded by two-tracks "Stay Depressed, Kill Your Self", split tape with interpreters the protagonists in cooperation with Youth Suicide Student or Emanuele Ratti, multiform experimental composer / indus Milan also known as ÁèÞíá, solo-project by the striking chrome-obscure ambient. Worthy of emphasis is also the participation of Dyskin ESIA to the collection "From The Earth Clouds (Neuroprison Compilation Vol.2)" in 2009, the band within which integrates the song "From Birth." Housed in a sleeve 7 "colored burnt," Dys-Ki-Be-It "is an EP which includes tracks by the timing variables, extended from five to more than thirteen minutes and played by the following lineup: Koma (guitars), Sisto (guitars / synths), Faith (vox), C (bass / noise) and drummer Henry. The signing of the release has been entrusted to Trinity Frohike Records, Cold Current Productions and Creative Fields for the musical work often tumultuous, abrasive , apocalyptic, as shown originally "The Last Day", run shadowed by volcanic drum-riff guitars that compete with each other alternating electrical explosions and tense percussion maneuvers, in a passage on the edge of doom over arsonist. Equally ominous and deadly, "Day Zero (Fallout Primary) "propagates in the introductory segment of his long and cold sound of those expanded distorted guitar, a sort of motionless waiting for the next expansion, where the bloody development percussiveness left burning with energy, spectral and eerie laughter echoing the sound becomes aggressive, screeching guitar alongside marred by outbreaks of drumming and rumble of other worlds . The never-ending state of hypnotic trance in which the replication of guitar leads in "The First Day (Fallout Secondary)", as an obsessive wave of rampant hearing by skinny guitar chords, fills the rhythmic song of pathos expressed by grim, identical characters which in their soulless downturn seem to fall on the score as alien corpuscles. "The Second Day" replication, developing it, the route of the previous track, exposing the acoustic-rock apocalyptic connotations, massive undertows of guitars, a background of screaming wild-eyed, red-hot percussive deadlifts and underground injections of synth. The prolonged deformation guitar belonging and the last track, "Support for the principle of conservation of matter", covers most of its staff, creating a monotonous frequency edge intersected by heavy, slow and rhythmic cadences interpause dark-ambient-oriented. Hard ruthless, at times extreme, permeated by a dark force. Its core is dominated by refraction sonic daughters incessantly tormenting nightmare every single moment of the track, while introducing an oppressive, irrevocable sense of dismay. Its compact steel body enhanced by percussive-guitar, the complete cancellation of any melody along with the heaviness of the atmosphere, make this ep work particularly accessible to lovers of the dark and the sounds that bring to mind scenes of devastation, inhabited by aberrant forms of life, and murderous gaze. Consistent with the medical jargon-pathological own name, altered Dyskinesia means decreasing post-farm acologica voluntary movements of the body with increased abnormal involuntary ones: anyone found natural affinity with the description of this obscure release took it and it will be filled with uncontrollable tremors inner impossible to quell.

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- Eisenfunk - 'Pentafunk' - cd - by Maxymox 2011

eispen German trio line-up which mentions the names of Arthur Stauder (live-drums/vox), Michael Mayer (progs / composing / vox) and Toni Schulz (live DJ set / vox). The ensemble is now in its fifth official release, "Pentafunk", following the debut self-titled album "Eisenfunk" of 2007, ep "300" at the time placed in the DAC (German Alternative Charts) for eight consecutive weeks, in addition that the full-lenghts "Schmerzfrequenz" and "8bit", published in 2009 and 2010 respectively, the latter two, as the most recent "Pentafunk" now under consideration, dismissed from the prolific label Danse Macabre. The trademark style of the band focuses on a vigorous schedule indus / EBM dance and austere shades, details that make it suitable for listening areas that need strong pushes rhythmic and sound patterns in line with the latest trends clubby electro-oriented. The release of "Pentafunk" formalizes the fifth anniversary of the project, celebrating with a large track-list of locations we typically dancefoor technology tracks the liturgies for use by DJs and ultra-alternative sound Electroman prone to vigorous, often exclusively instrumental and uncompromising. The triumphant hymn of Eurovision TV again as opener in "Introludium" predicts the next "Pentafunk (Eisenfunk 5.0)", an episode with pneumatic propulsion of e-drumming punctuated by acidic touch of synth and vocal fragments. The list goes on "pestilence", concocted on a swing in a vocalized form EBM Germanic language and planned exhausting techno-dances, followed by "prehistorical", also built of cut rotations of programming, sequenced and hatches Robotics atmospheres. Equally marked "Neanderthal" offers vocal arrangements and percussive sounds that recall techno-tribal dance at breakneck speed, while the subsequent "Traditional" solutions to fully bend the irresistible evolution EBM markedly similar to pseudo keyboard publications Artificial-symphonies. This leads then to the instrumental "Taiko", built on ancestral segments rhythmic, fascinating intersections of danceable synth and acceleration, as well as the magnificent and grandiose electronic gear of "Jericho" stands stinging percussive formulations marked by epic martial which gravitate around the fleeting touch of keyboard and violin chords for a track championship and noble marble. The amortized scans belonging to the next "Vampire Hunt" replicate parallel to the work of synths, prepare a song from the combination that plagued percussiveness danceable and full of ideas, elements that precede the entry of "Eiszeit", also located on the rugged EBM severe curvature of the track. "Funk'n Base" is a techno-advanced weapon by the powerful, elegant, rhythmic speed, keyboard-played by the high degree of danceability duels, while the subsequent dance androids "Uncle Sam Needs You (To Move Your Feet) "extends to modular programming cycles assembled loops, synth vocal and kinetic shock." Camperglück "articulates a set of futuristic technology dancefloor driven by dynamic impulses programmed pre-set and vocalizations, while the amusing" Jinglefunk "plays with the electronically Christmas notes of "Jingle Bells", quite different from the next revision of "Pentafunk" remixed by Centhron allegories which make the track even more clubby. The same track "Pentafunk", now re-releases from Body Harvest, the album concludes adorning the title nailed with a corollary of dance-minded arrangements, attractive hard, moderate, offered entourage technofilo prone to sound more explicit. "Pentafunk" reserve a sound from "aggregation" for the legions of dance collective EBM-greet listeners with renewed zeal ... one more time, pump up the volume!

 

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- Electric Press Kit - 'Torsions' - by Maxymox 2011

ele - Electric Press Kit - 'Torsions' - by Maxymox 2011 In recent years, France is a very lavish shows a hotbed of publications related to the field post-punk, a feature that denotes that the vibrant recovery of this sub-genre continues its rise continuously. The Parisian duo of Electric Press Kit, designed in 1996 by Emmanuel D (vox / guitars / progs) and bassist Jef J, represents yet another follower of this historic current music initially directing its construction noise to a mixture of punk and raw industrial components, then with time perfecting their style towards turning it into a post-punk of the first instance, governed by hard but most modern concepts and useful. "Torsions' second album, perfecting the starting phase initiated in 2006 with the previous full-length" Analogic "hours tinkering with a sound tense, depressed, full of neurasthenia, the typical eclectic creative verve of Emmanuel is also evident in additional formulations governed dall'indus-us if through his personal side project called almost like Electronic Press Kit design for which the artist has conceived two ep's published on CD-R, "The Death Instrumental Session" and release a non-title engraved with the cooperation of Franz No. By focusing on the recent "Torsions", it is fired from the Blue-Crush Records label with a track-list of ten songs by the speed and hardness variable taking momentum initially scanned with drum-machine beats of belonging to "This Night "elapses within which the rhythmic vocals of Emmanuel, which are divided between a steel electric guitar accompaniment. Drumming agile, dynamic for the next "Born In Roswell" blazing guitars and vocals in direct explicitly post-punker, ie pronounced without special intonation, raw and angry. "Always Alien" reduces the speed percussive after settling in a form-paranoid punk tones and musicality r uvida built primarily from high voltage guitar, also heard the same "Venom" track with a complex structure identical to the previous approach but with more sinuous voice. We arrive at "Tout Ce Détruit Here", an episode that cleverly blends the friction of the post-punk instrumental lines softened by the singing voice of Emmanuel added that even the most caressing of the guest-vocalist Melanie, in advance on dry percussive beats and slow of "Cold In April", based on standards nostalgic post-punker from the 80's. A wild drumming to excel competes with the lyricism and the psychotic fever, volcanic guitar riffs in "Power Of Hate", while the subsequent "Sayonara Baby" stand back the epoch of post-punk radical teachings, as well as the bitterness the next "Die" is spreading in the dry and slow writing guitar, bass, percussion and singing harmonies regardless of pre-tax ed, but uttered with ease suffering. In its own and final "Torsions" is perceived global footprint in this act assigned to the album that amount in equal measure the roughness of the guitar, programmed rhythm, the bass and vocals punctuation Emmanuel insane, never particularly harmonious by definition, but adapted to a bristling musicianship that does not allow room for melodic subtleties. Hard genuine, without pretense, exposed for the sole purpose of restoring honor and life, a genre for years and now at risk of extinction in the progressive, unstoppable growth. Post-punk is not dead!

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—- - Fluor - 'Ciclo De Thule' - cd - by Maxymox 2011 -—

fluci Literally since 1998 identified through the epithet Fraternitas Universalis Ordo Luminis and that only project-from Argentina, Fluor began in 2006 with the self-developed DVD of "Nightmare Trilogy" box in which the artist incorporated the first edition of this called "Cycle de Thule". This title is the same name, along with "The Panopticon Incubus's" 2006 and "Opus 23" of 2007, the video-track-list of technically this DVD that consists of three films inspired by the average extension of the nightmare, a neo-current aesthetic -conceptual and designed by Diego Sebastian Arandojo Zurutuza, incorporating the fundamentals "nightmare" and "Cubism". The kind of expression selected by Fluor is a cold mixage of experimentalism, avant-garde electronics, industrial and, in particular, a mysterious dark ambient traits, cosmic. The work in question is the sound remastering of the original version of "Cycle de Thule" reissue labels entirely by the support GH Records, while the concept contained in the four suites, two of which are further broken down, refers to the legendary island of Thule and the myth of the Hyperboreans. Austere, mystical, unreal sound leans towards the hard times that the long distance of each track takes on a multitude of variations: the most impenetrable darkness and coldness to suggestion the most enchanting, touching shores full of distressing formulations and pure technological alienation. The first act, "De Thule Cycle" is split three sub-merged into a single, extended suite: "Nordic Thule", the initial stretch, spread a dark spatial solutions from laptops typically dark-ambient, as well as the adjacent segment, "Inversion Of The Poles (5491) "develop a modular scan programming and saturated post-industrial orientation which then joins the section still markedly obscure ambient-of" Thule Surico, "like icy breath of nordic wind. Equally solemn and attractive, low frequencies of "Ex Norde LVX" fill buckets with the sound and hypnotic beats-and, pads underground whispers echoed noises, and gas, while the subsequent "Cryognosis" consists of a thin, slow line to the percussive keyboard that caustic propagates this episode harsh interference and a claustrophobic computer workings. From the final "Fenris Invicta" spread the two sections together, "When The Wolf devours the Sun", mesmerizing device in perfect balance between dark ambient and industrial-sounding and vaporized lysergic punctuated by drum machines, and "Ice & Fire (Ritual VII) ", Robotics facility on a structured rhythmic, stinging and electronic micro-effervescence expansion of laptops. Album from the net as well as product symbolism, artistic and cultural expression of good value, "De Thule Cycle" research in the epic Nordic mythology, the impulse to adapt to the movement of sound, fully achieving this goal is not easy. If while the kind described, Fluor and its cycle will surely worthy place among the priorities for your purchase.

 

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—- F.ORMAL L.OGIC D.ECAY - 'Apocalypnosis + samplers' - cd - by Maxymox 2011 -—

Apocalypnosis It is not a common gift for a single musician, able to conceive of multiple disciplines and opposing them concrete form of sound as many individual projects. And 'exactly what regards the operation of the music from Livorno Louis M. Mennella, a composer best known through his dark-gothic design called En Velours Noir, and even with the platform-Folker neo-ambient Furvus. In addition it is surprising to note how the flexibility of Louis artistic expressions to add more stylistic developments mentioned, with this his proposing yet another side project F.ormal L.ogic D.ecay a solid stereogram industrial-power electronics filled with drama. The album in question is none other than the eponymous title released in 1999 remastering from Anaemic Waves Factory, belonging to the same label Mennella, who gave it its re-release track listing outside ex novo hallucinated Protocol technology. Sounds chilling i, oppressive formulations electronics, laptops and icy interpause catastrophic always in direct tension here is a summary description of what I found in the more recent "Apocalypnosis" and samplers in the nine-tracks extrapolated from the various achievements and dated. The path begins with the first of five episodes from the album is not titled to them personally assign roman numerals: the German national anthem heard in the introductory "The" is soon overwhelmed by tearing along with ultra high frequency noises emissions war, details found even among the electronic superstructure "II," saturated with painful sprains, gusts radioactive and solemn keyboard punctuation. Innocent cries swept by bloody and impure are heard in the sonic devastation schizoid "III", while the winds blow Apocalypse sharp waves of antimatter by building the bases of "IV". A 'huge turbulence electronic-noise-ist subjects heard the in revenues to the piercing noises, shock and fury hyperkinetic synthetic elements spread mercilessly by closing the "V". Shifting attention to the first of the nine tracks on the CD-sampler I come first in the dark-ambient atmospheres spectral exhale from mcd "Lac hr onic" published in 2003 for Anaemic Waves Factory, vital chapter from the instrumentality, overshadowed diametrically opposed to that generated by the subsequent live-track "Harsh _8703 Last Expression" built-in sampler "The Power Popagnda" of 2003, power-electronics episode dall'incendiaria nature expressed through layers of sound technology to inform, mournful tolling of a bell, symphonies loop introduced between hyper-blasting noise entries processed and steel. Articulated and highly communicative, "Antropophagus" is revealed in the magazine contained a song-sampler "Readrome V. .. 0 .1" published in 2004 for Rustblade, inscenante for the occasion, the sound plot and scamp oils recited a horror-movie background cannibalistic elements included by the artist in an immersive environment key. "The First Time", extracted from the sampler "Snuff Electronics" of 2003 released by the Butcher's House, begins by presenting the romantic phrasing of a movie delivered by two young lovers, effusions torn in a strategic point from a sudden and violent flood of noise that immediately it disfigures the structures of sound amplifying overwhelming dirt and nebulas sharp. "That Old Black Magick", available in sampler "Art Noise" published in 2006 by DT / Industry Noise is an experimental hybrid gas propagation of sound through built dark-ambient cold-fused with a muted jazzy tune, the four elements that anticipate Included in the dark passages of the album track listing "Løvstakken" dismissed in 2001 by Dark Vinyl: the first, "Omnia", offers a solemn architecture almost obscure ambient-long dashed hi pads and a plastic drip rarefied, as well as keyboard-driven slow expansion "Mutantur" freezes space through loudspeakers placed before the crystal spirals of programming and subsequent agreements by the major heavy tone. "Nihil" raising proceeds of dark-dark sound transmissions, thundering echoes and soft background fluctuations sequenced, until reaching the final act is that of the full-length CD-sampler, or "Interit", a minimal set of sounds from 'air-martial composed of a few pseudo-retroflections percussion echoed in a liquid form programming. A multifaceted artist, restless, Louis M. Mennella reveals his identity through F.ormal L.ogic D.ecay at its most avant-garde and dark, breaking down the concept totally harmonious and loading the sound, especially the album "Apocalypnosis" polarity is absolutely lethal and psychologically tormented. Each track listened to communicate effectively its p Electronic athology force and, in the case of samplers, also mirevole ability to create atmosphere, suspended between ecstasy and nightmare. Works conceptually significant level, the opportunity just waiting to be discovered and exploited by heard beyond the usual, who can fully understand what the Messenger desire to communicate: the Apocalypse riding briskly, and this will be his most terrifying sound Announcement.

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—- Genocide Organ - 'Under-Kontrakt' - cd - by Maxymox 2011-—

geno The current economic, political and social power the Earth facing the creative model adopted by the Germans since 1985 Genocide Organ, hard-industrial/power electronics ensemble character irreverent, provocative and totally unconventional, always devoted to sounds used as cutting tools the complaint and frontal attack against the power centers that regulate the fate of the human species and the everyday. The brutal sound produced by the instruments of the band alike overwhelm those responsible for injustice, hypocrisy and inconvenience of global emissions through painful electro-sound interventions in combination with loop or filtered voice, always very concise and symbolic. Events military, speculation underground, atrocities, governmental deception: nothing escapes the watchful eye of Wilhem Heric, Doc M. Riot, Robber Moloch and D.A.X. who come to this latest "Under-Kontrakt" after the five years that separate Rano release from the aforementioned "In-Konflikt," both, as is the entire discography of the project, dismissed from the Germanic memorable label Tesco Organisation, interposing between the two full-length good "Live In Japan" in 2009. "Under-Kontrakt" concept focuses its ancient and modern at the same time the figure of the "mercenary", dissected the subject with the note out loud, relentless sonic clarity of Genocide Organ, a conversion of the identity of the chosen theme here turned into noise technological traits and piercing dark. It begins with "Error", like a murky introduction stranded alien modulation, then immersed in sound between the steel belonging to "It's Over", where the haunting drone of the synthetic and the tense phrasing lead vocalist in a constant state of mind alarm. "Forever Whore" emits a sequence of mechanical waves punctuated by icy, distant expressions of voice on a dense network of electronic effects NICI. "Denard" searing flames using technology flows keyboard set modulations deaf, but full of caustic material, as well as the hypnotic vocal forms of "Prince" replicate the same schematic and during the short duration in minutes of the track. Spectrally avant-garde, "I'm With You All Days" is a techno-proclaimed dominated by frost machines that propagate sound waves of raw, abrasive, metallurgical, wrapping the gloom of the texts and the desperate screams in the background. "Tamil Eelam" hurts your ears using an extended electronic interference in the heart of which runs a muffled voice comment, while the cavernous breathing "Armor Group" spreads resonances icy, robotic vocals and keyboard-silent breaths. "S. Low" reflects atmospheres, solar, placing them on a similarly dark-ambient filled with the timbre of laptops minimal expansions in advance to the next and far more pronounced structure of "The Lord Is My Light, brave ga inflections of industrial-electronics that serve as an introduction to the sweetness of the liturgical choir in the finale is not without irony. The album ends with "We Are Here To Have A Good Time", a segment consisting of an acid mist of noises and shadowy techno-coated vocals of palpable alienation. Disk very direct, significant and not easy to decrypt, devised with anger and conflict. All eleven tracks of "Under-Kontrakt" bear the indelible imprint of executive Genocide Organ, which is a blend of wiry sound, absolutely deprived of rhythmic and distinct forms, in which electro-psychotic chase emissions, cross-industrial and, especially, directed to disregard the conventions and the present configuration of the welfare state. Recommended to anyone who can incorporate the power of sound as a vehicle to break any possible censorship.

 

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—- Gianluca Becuzzi - '[In]visible Fields' - cd - by Maxymox 2011 -—

gluca Now that the silence and the shadows have finally signed their dominance on the empty stage, Kinetix, Gianluca Becuzzi continues his solo journey constantly directed towards sound development of brain-matrix experimental electronics, and even more detailed, abstract-ambient. In this double-work that the artist calls "[In] visible Fields" are conveyed to the alchemy produced by the creativity of a disenchanted musician technically lived, avant-garde sound that has made an effective tool for contact and communication. The release in question is in fact a targeted collection of suites designed, produced and mastered at the same Kinetixlab Becuzzi, which in addition to this work has released under its explicit name-only debut album "Memory Makes Noise" in 2006, the 'album "Play To Bn Chora" forged a duet with Louis Turra, the excellent "So Far" was built in 2009 in cooperation with Fabio Orsi (etre), aka Salvator and Borrelli, counting also included in the double parallel production "NotteRossa" its second CD which contains the extended "Rednight", made entirely from our protagonist. As previously announced, "[In] visible Fields" consists of six episodes planned specifically to support musical sections visuals during a multitude of performing arts ranging from drama to sculpture, painting exhibitions up to touching the live-sessions dell'eXperimenta Festival Piombino . The disc, the label fired Silentes Minimal Editions, you start with the left "For EAP," a reinterpretation of a piece of theater sound inspired by the famous Gothic novel penned by Edgar Allan Poe "The Pit And The Pendulum", placed on a 'unique, dry, percussive that extends beyond the initial joke, it suspended a diagram of noises and night-wind, strings of notes and squeaks surreal, raggiungedo after a ghostly harp strings disso lto diamonds from underground, dark and cavernous percussiveness synthetic flows of magma. "The Cage" responds perfectly characterized by live acts, it constitutes a building designed by Becuzzi sound capable of supporting the performance "white road", composed of the narrow space inside the "Etruscan Barrel," basis using pre-set that spread through a piercing hiss from the electronics and the cawing birds twittering issued from different. Then comes all'asettica "Radio Trans It," the result of a complex, yet minimalist work of sound produced in a Renaissance palace, the experiment also provides acquisition and propagation of sound through a broadcast system devised by Peter Riparbelli K-11, which he calls "Sonoran Room For 4 Radiodramas": it is divided between a long strand of alternating glacial succeeded by feminine voice from speakers, choirs bloodless from a night populated by inhuman entities, to track eerie, disembodied, absolutely effect even in its bare expression. "Water Memories" has been proposed at 03 of Piombino dell'eXperimenta Festival, an event of which he is artistic director and organizer Becuzzi: listening to this particular track is an excellent opportunity to "see" the sound-lived in acts that specific circumstance, ie a succession of watery sound effects and field-recordings originated by audio-experiment conducted at a site dating from the seventeenth century. The first volume of the work ends with the lens and metal segment belonging to "Breaths" sound element which is lengthened as the basis for the setting of atmospheric presentation of portraits created by the Genoese Francesco Arena: initial acoustic line described above are added rarefactions strings and a subsequent, similar to a turbulent momentum Electronic mechanism alien to its maximum speed. Forty-eight minutes to match candidates are the album's second disc contains one episode entitled "[in] visibility" in this act offers dark maneuvers laptop mode interspersed with a basic ambient noise and varied including that generated from paper and stones, Becuzzi together that carefully defines "semi-live electroacoustic improv-set." The synergy of these sounds, both in nominal and physical, is channeled by Becuzzi microphone and processed by the use of electronic equipment, thus underscoring the double dimension that separates the "visible", represented by the solidity of objects handled, separated from what is called "invisible", or the sound played virtually untouchable apparatus. I think "[In] visible Fields" a composition intellectual, sometimes fanciful, still covered with remarkable inventiveness. Mirabilis is also the degree of involvement given off by the traces participating with eloquent charm and emotional outlet to its scenic contexts for which they were created, raising the same feeling through listening as long as the individual tested by anti-dogmatic minds and spirits highly receptive. Gianluca A Becuzzi the merit of being able to give body and movement to an abstruse concept that Sonic did not seem to have neither life nor form. Another, smaller post-alternative intellectual prodigy.

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—- HAVEN - 'Amity' - cd - by Maxymox 2011 -—

hav [Haven] is a project created in 2005 by the intelligence of the Polish Marcin Jarmulski (electronic instruments / progs) who, in 2009, added to the platform vocaist / cellist Magda Glock and most recently the guitarist Michal Jakub Skowronska Brychcy with the live acts . The musical style ranges produced by the alternative electro-ambient-industrial, hybrid, playable in five realizations belonging to their curriculum established by the record labels signed by such thick Tympanik Audio Rage In Eden, War Office Propaganda and finally Zoharum, which is entrusted with the publication of this latest album, "Amity". That of [HAVEN] is a shamanic sound, rich in evocative reminders electronically ethnic-spiritual fabric of the twelve tracks such as "Let Me Love Go" is the opener: a cold line of mid-tempo drum machines and samples of punctuation will articulate way consistent structure to the next mantra repeated throughout the length of "Somewhere In Th and the Middle East "and set into a lively body of electro-rhythmic. The Arabic" Jerusalem Under Fire "places the sound of percussion loops, tribal-avant-garde and feminine, while the muffled beats of" Nothing To Go On "become by supporting dell'etereo rhythmic song of Magda. "No Way To Exit (Modern City Lament)" constitutes an ecstatic downtempo ambient smooth-voiced vocalist and cello lying on the pads of your dreams, turning later to the circular segment ethnic percussive accents explicit "THC". Arcane immersed in Middle Eastern liturgies buzzing noises are heard-of and in the process of "Transmission", soporific and mesmerizing at the same time, in advance on the equally meditative "Great Big Ocean", struck by lysergic acid and a flow-drums in tow of monochromatic voice Magda and trails surrounded by mercurial keyboard. A dark text technology pronounced in "speech" is audible from the cold pads of "A fb The Sunset "followed by scanning the austere rhythms, loops and keys belonging to" Wake Up ". A fascinating ethno-electro-ambient is distinguished in" The Knife ", dotted by anticipating the heavenly voice of Magda synthetismi the final "Final Cut", the track that expands entrancing nebulae of key interventions and robotic voice. Hard pleasant, though the trend of the structures do not raise levels of excellence for its originality. The archaic intersects the futuristic, the abstract to the tangibility of sonic technology. "Amity" appropriate external know-how of proven quality electronics, devised to listen to the night or in times of complete recollection of the course with your thoughts. atmospherically authoritative but not effective.

 

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—- Hidden Place - 'Weather Station - early works' - cd - by Maxymox 2011 -—

hidd.jpg Two years ago, the analysis in the review of the Italians on the second album Hidden Place I allowed a direct approach with their existing footprint electro-waver, holding requirements outspoken style, sliding, retro and not at all pretentious. The band, created in 2004, prepares the line-up with the handsome SaraLux (vox / lyrics), Fabio V. (Synths / progs), Gianpiero B. (Treatments / progs) and Antonio L. (Progs / lyrics) esordento record through the first album "Fantasia Meccanica" fired from the label and now reissued by the National HellektroEmpire contemporary label Twilight Records Argentina. In 2009 followed the above-mentioned, the second full-length "Point of Light" which consolidated in a more specific interventions including electronic sound expression, this time divested obsessive alienation of a time, and immediate solutions wave-oriented, adding on many occasions of the track listing a perceptible accent dark. The recent "Weather Station - Early Works" identically to "Point of Light", was released from the same Twilight Records in order to revive the sound-concept proposed in 2005 by self-produced demo-cd-r, with the same title and only two songs, in which the list of titles presented an order slightly different from the one planned for this new edition by the appeal that excludes the original "Flowers Of lonliness" and "Flowers pt. II." The structures proposed again in the album have cool matching procedures electro-darkwave, backlit by frequent, bloodless vague formulations that can be joined to the rigor of the first martial-industrial Kirlian Camera, for a rotation of ten tracks exquisitely groundwaters. The dark electro-issued dall'opening Karma "Emotional Frequencies" flight across the atmosphere generated by the guitar introduction, mixing a ionosphere of dark synths stemprati in a swing path programming in support of the decadent phrasing articulated SaraLux and singer. "Pure Ice" external inflections typical electro-wave dance music made by an array of sleek and-drums, along with parallel deployed synth chords and voice in harmony. An unexpected dark-folk guitar, keyboard and voice extends apocalyptic at an early stage, followed by "Anymore," which traces the development extends as interesting as a short stretch of programmed drumming, solemn song and key. "Operation 10 AM" is proposed in a leaden live dark-electro/industrial built on a linear plot Rhythmic radio emissions vocal loops and keyboard-driven flows oppressive, while the inflexible geometry belonging sequenced to "Power Plants" darkens the sound using straight cold percussive, lyrical tone uttered with male cavernous, the evolution of the angelic refrain of SaraLux and a growing air of obscure musical-electronic. Following is "Helden" creature from the soldier's temperament, is highlighted in the interlayer of the Germanic vocals, and stiffness in the circular of the score, format given on a pale and dry bpm programmed synth accompaniment. The subsequent "Day Without Time" spreads a double wave electro-oriented perspective that alternates slow dense mercurial sound and danceable rhythmic keyboard publications filming wrapped by melancholy song of the singer. In mid Perorsa between futurepop and dark-electro, the beautiful "Colours Of Sunset" is an issue summary, instrumental and short candidates are dedicated to listening with charming interplay between the filament and synth programming. The depressed electronic poem entitled "Eurythmy of the brightness," included on the compilation album "Believe In Unum Deum" dust of the pentagram Winter notes, desolate, full of intense sadness, resting on a plant synths, effects and down-tempo drumming, with the voice of SaraLux first set up in "starred" mode and then demolished. Closes the same sequence "Eurythmy" in structure "early demo version" here more structured arrangements with both the lean and lyrical singer who supported the vocalist. Finalized disc to the reemergence of the first acts of its repertoire Hidden Place in the dark: the technical approach, though the beginning, is solid, and so the paradigm ricalcante electro-wave auteur, appropriately explicit private emulations. "Weather Station - Early works" completely eschews the glossy market realizations and, though his sound common range many underwater productions reaches excellence, can be considered a positive sense of order and communicative power. Those who already knows and follows this band will validate the original stylistic trends, daughters of a disciplined love of poetry neo-romantic and electronics dates back to the glorious times. Work, finally, that if remixed by capable hands and creative minds can immense increase in the extent of their potential, an idea which I hope will be enterprising resulted in a near future. The elements to consider this suggestion in practice are more compelling than ever.

  

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—- High Wycombe - 'Reverser' - cd - by Maxymox 2011 -—

higtw The German Christian Grass, front man of the trio called High Wycombe inclined to multistile 2-step/electronics/industrial, is also the owner of the label Wycombe Music, specializing in brand-tech sonic experimental productions proudly includes projects such as subscriptions concise, and Uni.Versal Flaque. The line-up of the ensemble is completed by Robert Helms and Martin Neumann, precious avant-garde colleagues, who developed an album with Christian what is very cerebral "Reverser", in which the electronic sound constructions built by the shining features hypnotic and planned with mirevole precision. The twelve episodes included in the release feature a sophisticated design, glacial, aseptic, the route of programming plays a predominant role on vocals with exposed mechanical inflections, almost alienating style and Haujobb. Throughout the journey of the full-length is a perceptible feeling of penetrating sonic clarity due to the linear stratification-sequenced drum that replicates perfectly the rhythms, combining them with a phrase book of the same icy emissions android keyboard publications. Published also in video, "houngan" is the opening track, a compact mass composed of electronic robotic vocals, a rhythmic path dry, snappy and jets of icy material synthesized. "Cube" bases its systematic structure of percussive dance-oriented rhythms around which revolve atmospheric emanations keyboard and a form of song modulations by extraterrestrials, while the subsequent "Room 101" spreads dry fractures parallel to percussive vocals sound sharp and vapor artificial. "Vocations" prefers reduplication of circular programming, keyboard-loops and effects, as well as the more streamlined "Polaroids" by hatching marks the time-sequenced hyper, fast-paced drumming, rough voice and intrusions of cold filtration computerized. Despair r ecitativa perceptible in the application of "Patriot" is developed from there in a short strand of danceable progs, spoken text and sharp voice cyborg keyboard sections for a track actually well built and secure grip. "Dame" assembles itself monochromatic vocal melodies to a tissue full of processed electronic drum joints, allowing the subsequent entry of "Perturbation", track technologically psychotic vocals and troubled by mental hospitals pronounced in German from a fragmented rhythm, synths and dark flows sound scientific concept of the progam. The extended rhythmic symmetry belonging to "Culture" projects creaking micropusazioni achieved systematically by caustic beams keyboard loops and vocal style video game continues with "Bokor", subjected to irradiation summarized dark alien nature, echoes, harsh and economic trends of key a sub-mode voice theatrically futuristic. The latest and two tracks feature the flawless remixing projects by members of the Wycombe Music: "Room 101" is reworked by the genius of Florian Ziller, aka Flaque, using a precious ornanento electronic effects, full-bodied arrangements and dreamy reverb, while the conclusive "Cube" is reviewed through the lens of Martin Dombrov big-beat, known as XDynamics, which gives the song a greater spatial making the initial, leaden scheme, a magical efflorescence of synths and programming, that makes the song a small jewel of art futuristic sound. "Reverser" is an album full of the highest quality, able to compete with projects in high places and, in some people cases, to overcome them with ease. The scrupulous attention to detail of composition, together with a remarkable delicacy mail, make this disc a must-masterpiece of techno-art applied to the sound. Immediately in the Electro-Olympus, by right.

  

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—- human steel - 'first contact' - by maxymox 2011 -—

hum Polish Duo Costituti by Lindley (vox-synth-samples-lyrics-arrangement) and Martin (drums-arrangements), both devoted to the first electro-industrial paradigm, as evidenced by their first drawing of 2007 called Lindstorm Project, and in more recent times a dynamic electro-ebm fee firmly rooted in old school grounds, a factor that has convinced the two main characters to rename the platform with the most striking Human suffix Steel. The style does not go beyond the usual canons undertook electronic, however, offers many opportunities for high-energy dance and listen to sound over-used now but still able to polarize listening to an affectionate crowd of followers. The recent debut came on full-length self-produced in this four-track demo gives an overview of partial but sufficient to frame the survey used by this emerging band that, like many other companies from Eastern Europe, has not yet suffered the effects nefas I globai markets but, instead, for an honest creativity emerges semplicenente addressed to the passion of sound technology and the sheer pleasure of composition. The track listing offers a short initial "Norsk Industry", announced by icy mists of actual and loops, in advance of a subsequent deployment of button programming, drums and vocals with accents ebm typically oriented. Equally vigorous rhythmic move the adjacent "Shipyard", track perfectly integrated in a context of strong electro dancefloor, while the resolute "Pocket Calculator" gives a modern tribute to classic hits of Kraftwerk here transformed governed by sections of voice, hypnotic sequencer and combinations flagellants percussion. "The Uniform" closes the first demo converging towards slow rhythm and submitted as a result of rapid acceleration divided by the peremptory vocals Lindley dashed notes of his synths. Project to be monitored carefully as well as integrated rprete of a style-work clean, not at all monotonous. Though the tactical scheme used to belong to a rear-mail with a slow but progressive decline followed, the Human Steel reproduce sounds well thought out and a high quotient of clubbers who will appreciate for immediate recall to the ball technology. If these four tracks have aroused feelings, I am prepared to consider the related album effectively an object interesting. I hope to be able to verify the reliability of this as soon as my prediction.

 

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—- Huminoida - 'Whiter Album' - cd - by Maxymox 2011 -—

huminoida Excellent credentials, years of experience on the electro scene, inspiration and lively wit, are the precious heritage that characterizes the one-man project of Finnish Kimmo Karjalainen, aka KK, currently the sole representative of the original line-up in 2007, the year Huminoida launch of the original, also included vocalist AugM dall'indimenticbile from cult band This Empty Flow. The close interaction between technological knowledge evolved at Neuroactive KK, together with a flair for composition of the second star trajectories directed toward ethereal darkwave, allowed the experimental realizzazone of 7 "with the same title," Huminoida ", by the way described by the same performers as obedient a style "instrumental drone Krautrockish dark", published in 2007 by the association of the label Plastic Passion Records and Out Of Range, the latter owned by the same kings. The collaboration undertaken by the two labels are replicable cò also in the next release of the two-track single titled "A / B (Other Side / The Other)", highlight the disk that poses a style more influenced by electro-minimal procedures waver. Following this goal, AugM decided to abandon the platform, allowing KK to continue the path that led him individually to the publication of three episodes of the ep, "Huminoida Loves You", only fired in 2010 from Out Of Range Records, signing the same even now awaited album "Whiter Album". The combination of synthetic pop, obscure atmosphere-wave and sadly often overshadowed, but also pregnant with artificial feddezza makes this full-length work quality above average and worthy in every facet. The product now in light of Vox Empyrean is available as a digipack limited edition, both in deluxe format including two LP's and CD-set, in addition to the printed lyrics for the occasion on a borrowed ivante posters. The synth work, superbly atmospheric, but more particularly the setting of KK's voice, bearing the imprint of Neuroactive idelebile, so vivid and deep, even in electronics architectures planned to enrich the eleven tracks, the first of which takes its title of "Shades Adding To Monochrome", down-tempo punctuated by a leaden apparatus of programming that reflects coldly fumes keyboard and singing by KK. Much more overtly electro-waver, the following "Obsessions" offers unique moments of rhythmic dynamism, harmony vocals and synth fished glorious epochs and especially tactical schemes comparable to a hypothetical mix of Neuroactive, Gary Numan and A Flock Of Seagulls. "The Sound Of Synthesizers", consistent with its title, provides an eloquent example of synth-wave structured on a mostly dark keyboard publications geometries, measured voice extensions and danceable drum-programming, while the following three "Bygone Wars / Whiter Noise" ensnares the senses using the struggevolezza a hand shot that hovers over the same mournful notes of piano, keys and a subtle rhythmic background, all reached by crossing a resonance from cinematic intro military. "1000 Light Years" offers a sound approach the minimal wave, built using dry electro-percussive beats, tuneful vocals and murky punctuation sequenced from the deep timbre, giving as a result of the entrance of the "Genesis", electronically track from the musical essence of programming, voice reverberated and key, whose theses are based dialogues to underground 80's synth-wave patterns. The wonderful "Part-Time Isolation" internalizes a particular form of technological melancholy, expressed in his sad, sparse percussion and song changes, it refrains stands out in a moving air, such as to break even the most callous heart. Again present, velocizzat and rhythmic sequences will surround a nerve-energy synth tones bristling, sub-guitar, in addition to texts declaimed in a hoarse voice, all in "Ride", before the roar introductory track "Other Side", a cool song irradinte brightness of synths, programming mid-tempo and intense vocals. "Counties Folk Of The Twilight", by means of extended patrol areas darkeggianti pads and inlaid iron sequencer, on which the keys played by KK claustrophobic draw shapes of sound that come together in the forthcoming development of the percussion and rapidly, until the final transformation into a Pentagram tough synth-rock. Even more exciting, the final "Time And Space / Whiteout" measures the artistic stature and great compositional skills reached today by Kimmo, elements in this condensed and synthpop waveggiante intonatissimo, navigated a result of electronic matter and knowledge of more sophisticated tactics for make it comparable, non-co ncedendo yet nothing to sperficialità. Albums technically impeccable, a tiny masterpiece of sonic art fair new-highlighting for harmonic balance, finesse and beauty innate ability to promulgate charm. "Whiter Album" and Huminoida: direct connection with the infinite.

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—- Infiltrator - 'Black Light Therapy' - cd - by Maxymox 2011 -—

infilt Yet another interesting proposal for the Swedish label Complete Control Productions: The project responds to the name of Infiltrator, an unknown team of undercover investigators who prefer sound hidden behind an impenetrable form of anonymity. The band interacts with a psychotically distorted universe of abstract sounds and indecifrabii orgine hard-indus/hard-noise, noises taken from old tapes and then manipulated, over-filtered, shocked, to transform them into a pathological set of synths, rhythmic underground, dark bass lines and occasional cruel rarefactions voice pronounced spectrally over the air. In total, I can define this particular release a vicious stabbing of frequencies, caustic, auditory and sensory annihilation aimed to levels below the unconscious, a trail of icy metal distortion, interference peaks and sharp sound that clash against the mighty Electronic wind generators the equipment. Result of a noise-ist ventennnio spent in alchemy, "Black Light Therapy" manifests his identity since the digipak sleeve in which they are captured by five figures, and deformed features, it would seem, smiling, an image that evokes the character fully track the contents of the asylum -list. The sharp edges that outline the opener "You Know You Want To" diffuse transmission and steel-sound bleak, tortious, propagated through sequences of robotic noises similar to a vortex-life in the center of which a claim echoes the mantra. The next, eerie "Falling Apart" favor a fiery crescendo of spatiality artificial and a seething magma consisting of technological noises, negative polarity and sonic assaults from other worlds. The percussive interjections of "Little Ballet Dancer" serve as the base for the relentless steam jets radioemesso does just that distinguish cavernos the phrasing and musicality pale, ghostly. "Losing You" is in deep overhangs pecipitare laptop that can absorb all the melody, leaving in their path of dry ground on which winds through a dark-sound industrial and monochrome. "Dirty Magic" continues on this path stratify acute wheezing and, further, in a hazy swirl of dark, guttural vocals and stinging radio waves, all wrapped in a wild percussiveness. In closing we find the turbulent electromagnetic coil belonging to "End", full saturation of post-industrial, rhythmic scourged, and finally "Drown", an extended atonal roar and sequenced with low modulations and eerie percussive device powered by an invisible in the background. Album that establishes the close link with the experimentation of Infiltrator most radical and ruthless, capable of dissecting the concept of sound, annihilating all will and forcing him to be in a undersize cube technology. Obscure-heavy inhuman noises, made from darkened minds by a lucid madness: the outcome of this experience is a release from neurologically devastating effects. Authentic metallurgy noise.

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—- KE_HIL - 'Hellstation' - cd - by Maxuymox 2011 -—

SEHNSUCHT Tesco Organisation Germany dismisses this, left to himself brings together product that dictates the most indus dark / dark-ambient / power electronics. This latest rendezvous with the experimental technology is touted by the German duo Ke / Hil whose identity, like a game of Chinese boxes, the figures reveals a Klaus Hilger and Michael Keck, in turn, their well hidden, valuable nicknames: Michael Briganti fact is known as Moloch and even more particularly as Anenzephalia. Michael himself has also the ownership of the project Genocide Organ sharing it with Klaus, aliases Wilhelm Heric is the band whose front man, not least, Klaus reveals that co-founder of the prestigious label Tesco Organisation. This solid framework operating in one of the most radical sectors comply with electronic sound in this album on limited edition print run titled "Hellstation" is combined with substrates of sound alien, chilling, to any private RMON direct enough to make it completely dehumanized. Inspired by proclaiming: "Music For The Prekariat" printed on the back of the digipak, the K / Hil embark on the path of the track first, using the expansion of sound, the hum, the cold and foggy atmospheres scans voice of "Mirror Of The World Of Mirrors ", followed by the present Executive spectrality homonym" Hellstation "dull track that suggests connections with the registry of the American composer Cazazza Mt. "Grey Saviour" distributes sound markedly infected dark-industrial/dark-ambient strategies, identically to "The Prophet In The Desert", an episode that goes noise emanating steel, thick synth touches of phrasing and subzero temperatures. Equally minimal, "Ephedrine" has a charm and a microwave alarm spreading abrasives prolonged sampling atmospheres mixed with cries of war. "Adrenalin" offers a sound module that resembles the evolution of u n engine choked beyond which flutter echoes and distant voices of other worlds, as the next "Black Snow" will reaffirm the disturbing dark-industrial downtempo inflections. The stormy "Manghetti" concludes the list of tracks by providing a corrosive substances jet radiocontaminated electronic and ruthlessly attack of unknown origin that voice a subtle refraction. Cryptic and alienating "Hellstation" is a release that plays the middle line between sound technology and minimally darkness itself the essence of which, always extremely cerebral, is struggling in every single track played. Tesco has an inexhaustible pool of scientists of sound obscure. Album -|-|-» substantially not dissimilar from other predecessors, but with those cold and dark charisma toning aimed at concentrating the mind to areas full of virtual voltage. Anyone who is devoted to this kind must necessarily retain a copy with which darken his concept of light.

 

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—- KINETIX - 'Final Archives' - cd - by Maxymox 2011 -—

SEHNSUCHT Turn off the spotlight on the most radical-ambient project by Gianluca Becuzzi, Kinetix, which ends with this latest release "Final Archives" an intense exploration of electronic experimentalism and the search for formulations increasingly laden with potential air pollution, as I had the opportunity to report in my review dedicated to the good "Sonology". Each of the three separate acts of leave are integrated in the album singles and meaningful experiences for the main character during his artistic career performing the function of these witnesses of the gradual evolution of a sound indirect, acting in close combination with the mass of the brain and the stimuli visual. The album debuted in the first place by offering "Absolute Grey", title corresponding to a graphic design created and performed by Gianluca PX2_Piombino_eXperimenta_2006 Festival at Sound: The suite covers an extended duration in minutes within which you feel projected into a musical ra remade, motionless. The feeling of being the most noticeable is fluidly suspended in air undersize, dilated, interrupted from time to time by dissonance, icy streams and computer-processed voice dipped in dark electronic sound of a disturbance. It comes following the seven steps is not titled and individually referred to as "RW Materials": these songs were designed and engraved with the KX Lab in the time period between 1999 and 2002, and remastered tracks extracted directly from the artist hours first version published on CD-r limited edition for the label Radical Matters. The sound spread in this section assumes even more sinister forms, genealogy dark-ambient/post industrial, in which the equipment technical processes of Kinetix percussiveness synthetic filaments, low-expansion of obscure sounds, noisy, minimalist, black-outs and dense , cavernous nebula vapor sequenced. Third and last part, Resounding Sculptures "Offers a unique, growing storm of electronic matter inspired by the work" composition for blocks of sound "created between the '50s and '60s by Iannis Xenakis, composer, author of a Hellenic-French duo that blends music, mathematical and architectural foundations , romance and alchemy of sound. Fragments of these acoustic avant-garde have been inserted by Kinetix in the long final stretch of the album, whose structures differ in opaque screeching, a tuoneggiare by the progressive saturation of dark intensity and converted into sound branch effervescent Dark -noise. Kinetik hemisphere style belongs to which, despite various difficulties and the large number of pretentious newcomers, seems to hold. We should, experience in hand, be wary of impromptu projects that do not leave much behind them that few, subtle signs of a passage without a vocation, elements in the specific case of this theorem completely subvert Kinetix. The nfatti undertaken by the historic musician is ousted by the non-expressive, opening gashes in the years more and more intense communication and visionary. This final chapter of his discography includes some sort of evolutionary synthesis reflecting a talent who, without claims of fact, elevates it among the best pioneers of this vibrant, limitless sonic universe. In the truest sense of the word. Album -|-|-» symbolic, the last component of a series devoted to the concept of sublimation of surreal musical, monolithic, seemingly unfathomable, subjected to a persistent darkness, which enhances the features so aesthetically perfect. "Final Archives" will tell you about "empty harmonious" sounds alienating and too vague because it can break down and identify. Now, for Kinetix, the eclipse is total.

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—- Lakobeil - 'Strange Encounter' - cd - by Maxymox 2011 -—

lakobeil Enterprising power-German duo of electro-wave approach, recently hired by Echozone. The founders of the project come from both platforms honored by former deeds: Dirk Lakomy (music / lyrics / electronics / producer / artwork) Umbra Et Imago descends from bands and In My Rosary, also boasting the role of producer of Derriere Le Miroir, while Birkenbeil Tobias (music / lyrics / electronics / producer / vox) is identifiable in turn appealed DNS dark-ambient/industrial solo experiment, as well as in Cytron and Factory Life. The music is generated by Lakobeil intermiscelazione balanced between new wave and post-punk in the microscopic part, driven by a multiple array of functional electronics electroclash, EBM and synthpop. The band's past discography mentions only an appearance on the compilation album "Gothic Compilation Part LII" with the song "Cairo", when in fact the album "Strange Encounter" is proposed on the scene as-official debut. The r MPLEMENTATION consists of ten tracks very lovely, finely crafted and stylistically diverse: The self-titled intro "Strange Encounter" starts the sequence of titles through the enunciation of mysterious vocal proclamations by Andi Sex Gang guest in a gaseous environment of wheezing and electronic interference. "Amygdala" continues the path offering the song as an electro-refraction waveggianti, especially in the inlays of atmospheric synths, with the voice of Tobias in parallel duet with Stella B. "Sleeper" From the large spatial solutions opt for Wave-electro-pop with vocals scanned, mid-tempo and fascinating programming pinnacles of the keys to John Foxx, as well as the subsequent "Contemplation" paints a danceable electro-theme using the squeaky clean vocals accompanied by Tobias to those of the vocalist and precise subdivisions of progs from the dynamic basis. "Sebastian" trajectories curve to the far more sophisticated formulas vocals alternating electro-keyboard publications / give k-minded in snappy EBM sequences, while the beautiful "That's all" turns out to be a hyper-danceable track and backlit by a brilliant electronic pop that would look at one of the most high-ranking positions of the alternative charts. Urban, elegant and Synthetic, in "0815" refrain from compelling voice filtering predominate, a widespread, pervasive background synths and programming by liquefied timbre. The dry rhythm of "Crimetime" supporting instead a song from the basic traits in a concentrated wave-beat danceable electronic track which is followed by "Cairo", described in the opening track in the library and signed by the label in 2011 Batbeliever Releases / Indigo, consisting basically a nice pop from the tech-minded musicianship easy. The excellent melody belonging to "Push It To The MAX" closes the circle of the title track, offering yet another example of electronics applied to hybrid structures EBM mixed with synthetic air prompting Within the Children in many places. The Echozone presents a new promise that, if strategically directed over time, allocate to the two protagonists of Lakobeil unstoppable escalation. To confirm this, keep the faith content of the first order detected in this release: danceability, meticulous attention to sound, irresistibly harmonious vocals, intelligent lyrics, electro-textures never excessive and modulated with great fluidity. In the last acts of 2011, here is an album to be tested without delay and that I hope will soon have a worthy sequel. I highly recommend "Strange Encounter" elite of electro-lovers who know how to distinguish and appreciate the real talent.

 

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—- L'EFFET C'EST MOI - 'Genius Loci' - cd - by Maxymox 2011 --

Genius Loci I will not go into too explicit praise by referring to the well Buresta Emanuel, owner of the project The ESM: I give now, at the opening and for the second time since my previous review for the album "Les Voix De L'Apocalyse", a total and sincere admiration for this artist actually inspired and able to donate blood, blood and grandeur to a sound module with no simple interpretation. Gravitate around the orbit medieval / bombast / neoclassic, a hybrid orchestrations filled with important, strict, disciplined by a palpable martial, which gives the music a boundless un'algida aesthetic and evocative power. As mentioned on other occasions, the term "Genius Loci" describes the metaphysical bond belonging to a sphere or a religious artifact combined with the protection of a supernatural spirit, this is the exciting concept in the new full-length of the ESM , the work available in limited edition of 500 copies published for the to SkullLine and embellished with a booklet of four pages from the graphic paintings depicting ancient taken care of by Emanuele in collaboration with Leonardo Criolani. "Genius Loci" is an album by eterogeee and complex structures, when compared to those heard in the sumptuous masterpiece of neoclassical martial-art "Les Voix de l'Apocalypse", a chapter which I was fully convinced about the real attitudes of the musician turned in the procession to a sound regal, instrumentally exciting, able to generate harmonies and finely carved hillsides of aura full of epic, whose echoes reverberate still in my mind. Albeit with different trajectories, this new product that replication log compact neoclassical hillsides hours of sidereal transcendence, received at the aforementioned albums, giving new tracks in instrumental splendor that cloaks a renewed every moment of the track listing. "Silent Noctis" opens the path predisponend dare introductory segment as a fascinating nature succeeded by dark-ambient bombastic tunes of "Initiatio", built on rhythmic soldiery, an exciting crescendo of harpsichord and choral symphony adamantine. Wonderfully intense, "Templum Victoriae" declaims impressive and triumphant key streams struck by martial drumming for an episode of the most spectacular of the entire album. Shadowy melancholy in its initial section, "Heimat" develops as a result of a body by means of musical ivory keyboard-proud elevations, steel drums and preciosity neoclassical, while "Nympha" elegant and stands on a soft carpet of diaphanous programing, feminine warm vocals and winding key. Nostalgic guitar arpeggios open "Memory, In Terris" prolonged changes in harmonious violin embroidering neofolker this ballade. The synergy between the keyboard, rhythmic and solemn choral superstructure arises as a rigorous passion wings masterpiece as is "Vires Vitales" crossed from the gloomy drumbeat of "Jus Sanguinis" around which we must add the glassy formulations on the capacities of key dramatic orchestral-sound that does not scratch the beautiful traits. The percussion section belonging to "Oculi Igne Micantes" militaristic beats and layering dry inflexible procedures that govern the piano-keyboard publications absolutely authoritarian mood, ahead of the equally indomitable mettle of "Dominus", dark jewel knights glorified by choirs and atmospheric arrangements. The dark and heavy sonic desertification "Religio loci" picks obscure paths consist of cold-ambient pads from tibrica the rarefied air and ghostly percussive interventions at the end of an album of outstanding bill that has reserves of interaction that makes it virtually impervious to time. Eleven tracks that I would never end. -|-|-» The confluence of melodies from the statuesque beauty, spirited and martial-sounding rhythmic contributions of poems, make "Genius Loci" a work perfectly suited to officiate the ceremony, which aims to enhance afterlife. Music whose essence can reinvigorate the spirituality of the listener who, if he can fill you with such beauty, can be considered touched by something very similar to the immense. I will not go into too explicit praise by referring to the well Buresta Emanuel, owner of the project The ESM: I give now, at the opening and for the second time since my previous review for the album "Les Voix De L'Apocalyse", a total and sincere admiration for this artist actually inspired and able to donate blood, blood and grandeur to a sound module with no simple interpretation. Gravitate around the orbit medieval / bombast / neoclassic, a hybrid orchestrations filled with important, strict, disciplined by a palpable martial, which gives the music a boundless un'algida aesthetic and evocative power. As mentioned on other occasions, the term "Genius Loci" describes the metaphysical bond belonging to a sphere or a religious artifact combined with the protection of a supernatural spirit, this is the exciting concept in the new full-length of the ESM , the work available in limited edition of 500 copies published for the to SkullLine and embellished with a booklet of four pages from the graphic paintings depicting ancient taken care of by Emanuele in collaboration with Leonardo Criolani. "Genius Loci" is an album by eterogeee and complex structures, when compared to those heard in the sumptuous masterpiece of neoclassical martial-art "Les Voix de l'Apocalypse", a chapter which I was fully convinced about the real attitudes of the musician turned in the procession to a sound regal, instrumentally exciting, able to generate harmonies and finely carved hillsides of aura full of epic, whose echoes reverberate still in my mind. Albeit with different trajectories, this new product that replication log compact neoclassical hillsides hours of sidereal transcendence, received at the aforementioned albums, giving new tracks in instrumental splendor that cloaks a renewed every moment of the track listing. "Silent Noctis" opens the path predisponend dare introductory segment as a fascinating nature succeeded by dark-ambient bombastic tunes of "Initiatio", built on rhythmic soldiery, an exciting crescendo of harpsichord and choral symphony adamantine. Wonderfully intense, "Templum Victoriae" declaims impressive and triumphant key streams struck by martial drumming for an episode of the most spectacular of the entire album. Shadowy melancholy in its initial section, "Heimat" develops as a result of a body by means of musical ivory keyboard-proud elevations, steel drums and preciosity neoclassical, while "Nympha" elegant and stands on a soft carpet of diaphanous programing, feminine warm vocals and winding key. Nostalgic guitar arpeggios open "Memory, In Terris" prolonged changes in harmonious violin embroidering neofolker this ballade. The synergy between the keyboard, rhythmic and solemn choral superstructure arises as a rigorous passion wings masterpiece as is "Vires Vitales" crossed from the gloomy drumbeat of "Jus Sanguinis" around which we must add the glassy formulations on the capacities of key dramatic orchestral-sound that does not scratch the beautiful traits. The percussion section belonging to "Oculi Igne Micantes" militaristic beats and layering dry inflexible procedures that govern the piano-keyboard publications absolutely authoritarian mood, ahead of the equally indomitable mettle of "Dominus", dark jewel knights glorified by choirs and atmospheric arrangements. The dark and heavy sonic desertification "Religio loci" picks obscure paths consist of cold-ambient pads from tibrica the rarefied air and ghostly percussive interventions at the end of an album of outstanding bill that has reserves of interaction that makes it virtually impervious to time. Eleven tracks that I would never end. -|-|-» The confluence of melodies from the statuesque beauty, spirited and martial-sounding rhythmic contributions of poems, make "Genius Loci" a work perfectly suited to officiate the ceremony, which aims to enhance afterlife. Music whose essence can reinvigorate the spirituality of the listener who, if he can fill you with such beauty, can be considered touched by something very similar to the immense

 

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—- Lowe - 'Evolver' - cd - by Maxymox 2011 -—

lowe Lowe is one of a noir-synthpop band from Sweden founded in 2002 by splitting the original Statemachine. The style set by former Celldivision Leo Josefsson (lead vox), Rickard Gunnarsson (bass / guitar / vox) and Tobias Ersson (synths / machines) drained to varying degrees and forms inspired by the atmospheres of the Pet Shop Boys' most striking feature in the first years of his career taken from the trio and more precisely during the drafting in 2004 on the debut album which not coincidentally bore the title of "Tenant", a name which, linked to that held by the band, originated the explicit combination "Tenant / Lowe, "or epithets of the two representatives of the aforementioned Pet Shop Boys: everything platform added a direct electronic connection with the formulations of typical English project, especially in time so vivid as irresistible song" Move Me ". Label support, then as now, was the Scandinavian Megahype Records, which developed slightly in 2007, an additional paragraph onset firing a remake titled "Tenant Remixed", within which stood out as excellent contributions bestowed by Rupesh Cartel, Emplosia, Elegant Machinery, Viktor Ginner, People Theatre and Rezonance. The year 2008 was the second full-length, "Kino International" in which the names of the distinguished guest vocalists-Isabelle Erkendal the female pop duo Peaches, Sebastian Åberg of Rezonance and Christer Lundberg Lachenardière with Paul, both coming from Universal Poplab. Very productive Even the section dedicated to the Lowe-edition singles, an area where there are at least eight from 2003 to 2011 divided between official releases CD / Maxi and mp3-files. Finally to be mentioned as an object of worship the mysterious promo cd-r "Mirage", a five tracks never precisely dated and always promoted by the Swedish Megahype Records. "Evolver" is the most recent article was built by the band, an album that directs the sound toward paradigms synthpop Mays ormente personalized and less dependent on the emulation initially adopted by the line-up. As confirmed by listening to the nine tracks included in this latest release, the Lowes seem to have finally reached a kind of compositional balance that takes account of the real potential synergy of three components which now generates a sound somewhere between synthpop and electro- romantic-wave combination of structured light harmonies, vocals, often accented with introspective melodic sentimentality and dialoguing with a clean programming and keyboard. The order of titles arranged on the disk now lists "Alpha Bravo", a mid-tempo introduction solemnly chanted by e-drums, covered by fluid waves of synths and sung by Leo emphatically. "Mirage" by offering speeds up the bpm a track that refers to the type of electronic pop sound of the Easy-very much in vogue in the mid 80's, giving the space following the effervescence synthetic dance-oriented the single "Breathe In Breathe Out" and touching it with optimum levels of entertainment programming from the track through fast-paced drum, keyboard and vocals wise dose expressed with graceful intensity. "Adorable", track candidates are short, presents a clear picture of the level reached by Lowe in the field of pop technology, offering a soothing voice that flows between exposure to streams of synth textures and dry electro-percussion. At this happen with the sustained pulse of the next "Live To Love", track is not particularly original, but has certainly capable of giving voice carefree moments of sentimentality applied to pop-wave structures of programming, synths and electric guitar. The slow suppleness that characterizes "The Double Half Speed" raises many of the insights of the typical Lowe, through a blend of sensual vocals, rhythmic sequenced, key-refined embellishments embroidery and sober up of guitar, as well as the next essiv "Alone In The Dark" extends beautiful forms synthpop /-waver with drum programming, keyboard, electric guitar and passionate singing that point, though vaguely, to hypothetical trespassing Simple Minds vintage modern interpretations of electronic pop. The emotional "Forever" is permeated with melancholy, initially introduced by a soft array of programming and trails of the keyboard, which follows a slow, poignant orchestration of key synthetic and-drumming and sorrowful voice, that sweet climaxes reached its apogee with the final "Edt" heartbreaking theme where the vocalist boasts a touching song that alternates verses in English-speaking fine embroidery, all immersed in a slow synth and musical programming. Hard of good quality, targeted for a public not overly pretentious and soberly, but at the same time drawn to patterns and listening to pop sweetened disengaged. The hegemony of the vocalists on the str umentalità gives the track a touch of cool sophistication, whether in a sad song or other more vivid. A good album and then, as well as an ideal complement to the discography of the band which, with "Evoler" officially starts experimenting with his own style more autonomous and planned to enhance sensitivity and composure as harmonic synthpop. And 'the effect of the new Lowe.

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—- Martin Philip - 'Recubent' - cd - by Maxymox 2011 -—



martinphilip Among the large group of disciples of neo-pop synthetic stands the figure of the cultured and educated Swedish Philip Martin, an artist recently interviewed by Vox Empyrean and exponent of a cliché in particular inspired melodic electronic directory of Pet Shop Boys and, to a lesser extent , the Eurythmics, while impressing his music in a distinct and personal form of copyright. With regard to more specific descriptions of the protagonist, I invite readers to browse through the special section "interviews", a space where you can draw on detailed information. The discography of Philip Martin has a total of four self-produced full-releases: "Decline" of 2007, the excellent "Metime" published in 2008, "Fraudulent" in 2009 and most recently "recumbent" of 2010. The focus of today will be directed at the Vox Empyrean latest album, also mentioning generic traits of the other two works have come to the office, "Metime" and "Fraudulent" and the conductive wire King that connects the three works is represented musically, as quoted at the beginning, a clear preference for the sound synthpopper 80/90 's belonging to the British duo Neil Tennant / Chris Lowe, expressions poured into a large track list of songs delightfully down-mid time, realized through a simple but clean interplay between programming, synths and a lesser contribution of the vocoder. Noting the important phases of the first of the albums in question, "Metime" emerge in it interressant aspects of applied art electro-pop to new interpretations of architectural theories: this is the case of the extraordinary "Spoiled Utopia," a track from the musical irresistibly synthetic a third to a text as intelligent and captivating a refrain to a song that I consider the best creation of Martin also available in "Prolonged" on the compilation "Electropop vol. 3" by Conzoom Records. Continuing the exploration of the disc, the ends emerge and dance exceptional procedures "Day To Waste" and the melancholy, slow ruminations entrusted to "Ulterior Motives No", but also the acceleration and the rhythmic singing introspective "Figment Of Mine". The structures of the next album "Fraudulent" do not differ substantially from the previous one except for a provision in the latest arrangements, detail discernible in "Highly Aware", an episode in the procession swingeggiante, or in the exquisite artificiality minimal-electro "Telharmonic Hall, "but also the poignant intensity of" Done For ". Hours developing the survey relating to "Recumbent", it comes with impeccable posture electronics that has always characterized the style of Philip Martin, planned strategy of light tracks of drum-programming by the dynamics slow or moderately fast, always focused on hand curvatures romantically nostalgic and sweet synth punctuation. "Recumbent But Never Content" opens the title track presentandos i like a gentle mid-tempo drumming from synthpop and well sung vocals that leave you soothed by mellifluous inlaid keyboard, while the subsequent "Life's a Party" moving modulations of voice and graceful melodies corresponding to an electronic pop. Not unlike, "No Carry Cargo" replication essentially the same features of the song based on prior languid vocals in tune with an elegant background harpsichord-sequenced. "Finders Keepers" prepares deliciously synthpopper singing and instrumental, with the harmonious voice of Martin efflorescence in combination with orchestral arrangements by Chris Wolf, as well as "dimly Lit Stage" will not give up singing slowed modules explicitly Pet Shop Boys-minded. "Illicit My Dear," as Martin himself says, is a song with cinematic atmospheres loop sketches, poems and lovely sequencing, the following in advance and saddened "Threepenny Fortune." Solutions playful programming and syn th-floor savor in "The Opposite Girl" track from caressing vocal tunes and refrains full of saccharine sentiment. Always with the same style, devoted to the project, source of inspiration, "Juxtapose" in turn prepares a fine-sounding melancholic synthpop night walking the streets of the city, completely absorbed in their own thoughts. The effect of "vinyl" audible in the early stages of "Shackles and manacles" melts in subsequent plan changes, slowed programming, passionate singing and orchestral and symphonic sections built by the excellent hands of Chris Wolf, at the end of this album handsome and courteous a treasure trove of feelings and excitement of the electro-pop poetry, as indeed the entire anthology of the musician. Philip Martin is a sensitive visionary from the soul, a dreamer who pours his creations in torrential amounts of surrealism, but also an analytical observer of the world around the composer portrays music at least with a marvelous sense of aesthetics. If your listening habits prefer sugary chords and a song graced by captivating lyrics, be careful that outsiders emulating the duo from London who has written since 1981 an important paragraph in the history of European synthpop. You will love from the first note.

 

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—- vv-aa - 'manifest destiny, a new world digest' - cd - by maxymox 2011 -—

man The Texas Triskele Recordings label, industry-specific American-folk/apocalyptic/post-industrial/neofolk, dismisses this collection of U.S. plans operating in the fields mentioned, all the episodes selected for this compilation fully reflect the different styles undertaken by individual actors, the whose contributions carry a track listing certainly well mixed and seductive, with emphasis to a scene increasingly populated emerging reality that often hold fiercely comparison with the noblest representatives. Experimentation, spell, spellbinding acoustic and dark, are just some of the elements perceived in this release published in digipak format and consists of thirteen steps, the first is entrusted to the Air Force, the Chicago band dedicated to an interesting form-indus-apocalyptic folk, styles embedded in their "Battle Hymn Of The Republic", and retro tracks from the martial atmosphere, where B9 Vid Statik and J1 in collaboration with Erin Powell Awen section of the backing-vox, guitar melodies fit the strict, percussions and songs lyrics to a song penned in 1861 by activist and poet Julia Ward Howe, American. The following "Langemark Of The Soil" is a sad ballad neofolk-melodrama of voice, synth and programming written and sung in 2008 by David E. Williams, an artist from Philadelphia, fans antecendente guitar arpeggios high by Cult Of Youth and his beautiful "Blackbird", of which the one-man project, played by Sean Ragon, founder of the label Blind Prophet Records and member of Love As Laughter , has written and spoken the terse melodies. And 'the turn of the Valence and their "Stolen Wine", a piece of clear identity Folker sung by country-N2 and Sasha Feline Itinitl with impromptu Zoanthrope cooperation between gentle guitar chords, flute and keyboard on a programmed rhythm. The next "Reckoning" is a poignant song from the sad- demolished the voice, guitar, synth and composed in 2003 by the Project In Ruin formed by Terry Colli, and violinist Eric Jon Abbey Taylor who, with his instrument gives the track an aura of poignant melancholy and decadent romanticism. The Awen, Dallas duo consisting of the aforementioned vocalists Erin Powell and the faithful composer Eric Kristopher, this chapter proposed ancestral nature-folk, "The Iconoclast, played with a plectrum strokes and high baritone vocals to the KatrinX. The side project Statik of J1 and N2 Itinitl called Gnomoclast favor of a classic pattern Folker-apocalyptic scanned subdivisions built on guitar, percussion, vocals and touches of mandolin is well set up, while the subsequent "Ragnarok" Veranda of Texas offers an acoustic-folk poem recited by blatantly Alice's voice Karlsdóttir diamond accompanied by background electronic and keyboard-driven gloom elaborated by Fredric Paul. Coming from Sherman Oaks, the experimental-folk of the indus-C.O.T.A. fills the air with the mesmerizing song of Salomeh perfectly aligned structures designed by Jon programming and samples in the track "Dream". Another solo side project is undertaken by Erik K. Kristopher aka Eric, guitarist, composer and voice of the Awen, which in "Empty Ancerstry" offers an austere and apocalyptic neofolk built on rhythmic drumming, chivalrous tone of voice and trumpet blasts of the sampled keys. From Beverly Hills, Californians H8! replicate scans psychotic martial drumming and vocals in German soldiers, elements in "The Hour Is Hate" Hate is assembled by Nathan, Jonny Fist Fer Brains and Hattie-Jo McCoy on a track cold and inflexible. From Steel Hook Prostheses Arlington platform offers the two artists John Stillings, also known Metaconqueror parallel project, in association with Larry Kerr, aka Black Moon Halo, aka Habeeb, here the authors of a chilling fee dark-ambient/post-industrial titled "Project MK-Ultra, played with abysmal percussiveness electronic keyboard similar to the unstressed transversal wind Pluto, praised texts with ghostly voice of tears, sudden noises. This leads to the closure by one of the many faces worn by Per Nilsson, Northern European musician based in Dallas, found even among the names Scandalnavian, Puncture, Replicate, and Thronhill Surplus Humanity: the one made in "Death Imminent" is a fascinating form of effects obscure ambient-psychedelic harmonies and elegant suspended air flows between the synths, echoes and reverberations noisy strident. Solid and convincing, this compilation shows off the best music chosen by the screening team Triskele Recordings, disclosing a fascinating progression of events from the bakery to internalize sounds fiery temper, passionate, but also suffered, subjected to a searing nostalgia, or cold as an arctic night. Absolutely recommended.

  

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—- mekhate - '35 grams' - cd - by maxymox 2011 -—

mek Elusive as a shadow, Mehmet R. Frugis was the creator, Mekhi addition of this project, including design-martial neoclassical known as the Hall of Columns, located in Alexandria, the artist has experienced significant cooperation with such excellence Body Parasite, Cropcircle, Kenji Siratori, Brighter Death Now, as well as the acclaimed The Effet C'Est Moi, HERR and Von Thronsthal, satisfying their thirst for his experimentation with a more in-depth knowledge of industrial noise-Folker, in the specific case of style that brings together Mekhi is an impressive and dominant ethnic group of the matrix. And so here's "35 Grams", debut-album licensed by Creative Fields Records in 2007, which assigns a concept Mehmet gravitating around the entire Tibet, giving the opera The characteristics of a soundtrack is scheduled to lead the listener on a fascinating journey music from the net full of conjunctions and eastern and surrealism. Nine tracks on the disc, and many opportunities to travel with the spirit to the enormous paeseggi snow, grazing the steep mountain ranges, springs with soft pink hues, nights full of gloom and arcane rituals from the Far East choreography "First Level" confirms these concepts by opening the track listing with a slow and atmospheric arpeggio chords to a song which combines Mekhi suffered and minimal percussion contributions. The next "Minamoto Yoshitsune" is offered in Japan by a livery sound ethereal notes fluty hovering between sudden noises and orchestral surges and sudden fall from the crazy soporific calm. Expansions of the noble violin and plucked sounds are the Levantine traits belonging to "The Myth II", beyond which we meet the shamanic percussion and ethnic-ambient diffusion uplifting structures "Ten Yen Yu," while the wakes and obscured at the same time nostalgic "A is After The Rain "reveal a markedly composition tends to sadness and introspection, elements that manifest their effects through jibe symphony of twinkling keys and funereal bell to most ethnically inspired by In The Nursery. The schizoid experimental-folk-apocalyptic Industrial perceptible in "Samsara" pours on the sound distorted shards of guitar and piercing shrieks that pierce a mantra sung impassively, like a galaxy obscured by subterranean rumblings and icy breaths dark-ambient surrounds the crystalline arpeggio background of "Short Fables." The sound setting mode soundtrack colored oriental concocted by tones of flute, strings and subtle orchestrations key is audible in the meditative "Army Of The Ancient China", prepended to the final track "Second Level", which is also flooded with a musicaltà torpid and decorated with pale gems keyboard publications, and a touch of bell choirs from epic. Title-track supported by presence of a vibrant culture of the East and an atmospheric sound-system theme, characteristics that make "35 Grams" an album successful, without tricks and compared to a public willing to travel space-time re-created acoustically. Weighing the micro-universe in this work, together with limited technical training gained by Mekhi, I do not expect a utopian construction next to the projected levels than is absolutely magnificent.

  

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—- MIRRORS - 'Lights And Offerings' - cd - by Maxymox 2011 --

mir Cool. Electropop Respirable large, clear and focused on modulation of effect, but most elegant and of superior quality. These are the primary impressions resulted from listening to "Lights And Offerings", a sublime debut on Skint Records for the English quartet called Mirrors, a band worthy of being objectively reported on the pages of Vox Empyrean. The ensemble with exquisite nonchalance retraces the path laid out by eminent representatives of the sector such as 80's OMD, Visage, Kraftwerk, Human League, but do not reduce their own creative verve and convincing, the same one that adorns this debut album. The providential contact made between the band and the label owned by former Housemartins and former Beasts International, Norman Cook, is an excellent opportunity to emerge, especially if the music played, and in the case of Mirros it is without a doubt, it appears with particular solidity. In fact, the release in question denotes ing NITED, class and character in the current scene is not common synthpop / electropop, characteristics widely found through a rich melange of sound technology, in some episodes even accented by influences post-Ian Curtis, mixed with processed sections of programming and synths. These comparisons seem appropriate to have galvanized those who have experienced at least one occasion listening style of Mirrors, so impeccably nostalgic calligraphy electronic transcribed with the immortal classic, softened with romantic melodies and intelligent voice tones, never-oriented intubili solutions or hiking. "Lights And Offerings" is the result of an intense recording process began in 2009 with "Into The Heart", published for the Moshi Moshi Records and also in the current album also brings together two other former singles. The 7 "" Look At Me "went on the path in the same year, while the contract was signed with Skint Records only n and by 2010 the single "Ways To An End" followed by "Hide And Seek" and the excellent EP "Broken By Silence". Recently, the Mirrors have extrapolated from the old archives another single, the self-titled "Into The Heart", succeeded by "The White EP" available on 7 "vinyl. By focusing attention on the releases in question are waiting for the first track," Fear Of Drowning ", a synthpop with a pleasant writing where the rhythm is completely sequenced by the same lines of programming replicated in the intro that is followed by the magical modulations similar to those of vocalist Andy McCluskey of OMD. handed down by graceful harmonies accompanying synths expressed in the mellow song "Look At Me," while the aforementioned "Into The Heart" is offered as an amazing electropop can stands regally on the majority of similar products using unique vocals standing parallel to the WCO, and refrains effect a score very danceable electro-rhythmic. The az zardo is clear, however, where the Simple Minds had ever recorded a track in the middle between synthpop and new wave in all likelihood would take the features of "Write Through The Night", followed by the elegant play of synths / progs voice and present under "Ways To An End". The sublimation of the verb electropopper is exalted in capturing melodies of "Hide And Seek", full of harmonic references from 80's, and later in passionate tones belonging to the magnificent vocal-instrumental "Somewhere Strange," tinged with reminiscences by none other than Joy Division. "Something On Your Mind" raises lyrical and instrumental adjacent to the most recent WCO, while the dynamic percussiveness of "Searching In The Wilderness" creates an amazing insight into space-time through which we listened, not without a touch of nostalgia, the legendary electropop changes outsiders in the shadows as more 80's Blue Zoo, John Dark, and many other similar. "Secrets", closing track, exposes a further contribution to the duo McCluskey / Humphreys, at this juncture using mid-tempo rhythms and crystalline vocals that blend and intonatissimi spiral wrap to spread by the keys. Simply nailed hard, honest and definitely durable, impeccably made a retrospective making every possible use of singing as well as refinements to the exemplary synthetic strategies for radiant wisdom, unmissable back to basics. If you share the love of electronic pop built with elegance and good taste, please feel imperatively required to purchase this album.

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—- Nano Infect - 'Circuitry Of Blades' - cd - by Maxymox 2011 -—

nano From Athens, the triptych of Nano Infect finally opened full-length debut as a result of an expected split between gigs, compilations and five accessions to a demo: the release of the album in question was the highly decorated police Danse Macabre, label that I think today the most far-sighted with caution in the choice of artists engaged. The team for this new project is identified as the front-Synthetic (vox / music / progs), Tanzdiktator Saffer (live keys) Bleeding Doctor (live keys), holders of a peculiar style of electro / indus acquired through past experiences gained by the players at Lunarians projects and Raziel. The curriculum vitae of the three lists also occasional cooperation with the greek PlasmaG, quoted recently in the pages of Vox empyrean with his electro / EBM duo called CYLiX, who produced the first demo cd work on the Nano Infect, "Gas Chambers ". The list of credits also mentions the support of Athens of the concert the band Alien Vampires, as well as a thriving business in favor of remixers such as PreEmptive Strike leaders, Xperiment, Symbiote, Valium Era Project Rotten, and C-Lekktor Stahlnebel Vs Black Selket. "Circuitry Of Blades", consistent with the ideal meaning of its title, this album was in possession of a subsidiary fierce musicianship and high-tech, made by impetuous and fiery vocals mode stands harsh synth / dance floors themed programming targeted to . As Infect Nano are still to be considered during the "break", stands out a note of praise addressed to the professionalism and absolute technical mastery of the instruments used, aimed at a broad details of the album made in terms of their content that of its sound quality. Thirteen songs danceable aesthetic electronically impetuous and compose the title track, which initially receives "Intro" or atmosphere of the wake effects, dilation tions, echoes and loops, which is feminine input "Abortion", vigorous, vicious electro-ridden as well as track points, co-written by Synthetic and CFTC, in turn included in the recent collections from the high-sounding title, "Sonic Seducer Cold Hands Seduction Vol 122 "," Zillo "and" Gothic Compilation Part LII. " Continuing the patrol crosses the album "Terror In My Mind" track through which the band released kilotons of energy swing-industrial electronica of structured programming and a fast flashes of fireworks choreographed to support vocals, synths pronounced with mechanical cruelty. As dynamic, the score of "Nightmare" propagates melodies of steel using the best knowledge of the line-up on post-nuclear dances, while the subsequent "Bound To Kill" paints a marvelous rhythmic system further fortified by vox-harsh and keyboard-sharp entries. "Not My Ideal Kind Of God" slows down the percussion Invite them by measuring the time with heavy cadences surrounded by overwhelming symphony of synth licks and guttural tones from threatening, as well as "Holy Blood Ideal God - Part II" uses the same treachery Synthetic speech delivered by the introduction of the guest Nerissa, in addition to flood-sequenced full-bodied and modular electronic keyboard harmonies. And 'the turn of hypnotism "Shadow Dance", built on solid foundations of the electro-indus stride, marked by precise programmed drum grooves mid-tempo and mode, as before, assassins poisoned accents Synthetic mixed with glacial keyboard-driven arrangements. Further on, following "Fall Asleep" and its dramatic introductory loops, which are followed by the rapidity of stormy rhythm, the sharp touches of synths and a rough voice that sears the sound literally waiting for the arrival of the next "Brain Dead, instrumental track obsessive repetition of thought- of notes, phrases and looopati percussiveness decelerated. Uncompromising sound is heard from the soldier's hand in "The Dead Are Marching", written episode with a steady hand and mind to the projected images from beyond the martial concepts poured a leaden musical programming consists of slow pulses and atmospheric synth repetitions of mail a trail full of seduction. The increased speed of bpm in "Suicide Troopers" switching mechanism in a fustigante attuned to the pulse of the feverish progs and ran after one of the synthesizers, until the arrival of the final segment, "What Lies Beneath", a song included in the compilation "World Wide Electronics Volume One "and interpreted by brilliant entries synth, an exhausting sprint and the rhythm of nature now known voice streams harsh-minded. Without necessarily rewrite theorems electro-industrial, the Nano Infect demonstrate their ability to respond positively to any request in terms the exhausting dance, current conceptions of the dictates of the genus and competitive sound quality of the product made, "Circuitry Of Blades" is therefore an album of undeniable value that will certainly stand out among the recent proposals. Make room in your selection: the overwhelming advance of the new generation electro-Hellenic is now a reality.

  

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—-Neuropa - 'Plastique People' - cd - by Maxymox 2011 -—

neuropa The name of the circulating Neuropa hemisphere synthpop / wave since 1997, year of publication of the debut album "New Faith" followed two years later by "Sins Of The Heart", both released at the time by Silicon Underground Records label. The career of the Australian duo formed by Alberto Martinez, also a member of Junk Circuit, along with Jason Last, experienced a more substantial rise thanks to the writing signed by U.S. label A Different Drum, authentic institution from impeccable credentials in the distribution of competence electronic-pop . Through this label Neuropa fired the famous and the next full-length "Beyond Here And Now" in 2001, extended the "Born" published in 2004, "The Blitz" of 2007 and finally this "Plastique People," originally produced in 2010 and an integral part of the limited edition collection of three hundred pieces called "VIP Series." Today, the enterprising label the Germanic Conzoom Records relaunches again formalizing this new-disc edition which stands the renewed construction of the track which now appears enriched with three bonus plus a substitution: the new entry "Renaissance" takes the place of "Catalyst". The album offers mainly bright pop formulas that call net synthetic procedures in vogue in the 80's and 90's, made up of terse forms of singing and effervescent melodies generated by the dialogue harpsichord in combination with a danceable programming mechanism. It is a first confirmation of the same name "Plastique People", opening track recreating a nice synthpopper using the dynamic vitality of the snappy drum sequencer, dual vocal and playful touch keyboard publications. "Renaissance" active replications fast electro-percussion and vocal accents typical of Neuropa by Erasure-like curves, while the following "Das Beat Industrialle" folded sections of pitched voice captivating refrain, driving to a parallax apparatus and rhythmic punctuations of bright synths. The strategic choice of tones and cadences drum-programmed it still proves a winner: "Fashion War", in fact, incorporates danzabilissime throbbing, luminous vocals and trails agreements keyboard-which owe much to the splendors wave's in the distant past, yet still relevant and vibrant. "Concrete Fields" is a track-oriented synthpop pleasantly punctuated by drumming and vocals, mid-tempo set well in support of a simple accompaniment of keys, the subsequent "Modern Talking" is no different from the past episode, and structures providing rhythmic vocal-keyboard publications almost similar feeling dissipated shortly thereafter from hearing about "Darkness Remains" in which the regular textures of synth pave the way for an incisive phrasing supported in turn by dry percussion beats. The artificial galaxies drawn from keyboards embellish now "Chromakey", a synthetic track irresistible by melodious song structure and overall disciples duo Andy Bell / Vince Clarke, as well as "Save Us" reveals a strong pop-pressing technology built on plots of programming, voice clarity and chiaroscuro of keys. "Nothing Like You" beats the electronically time and with great efficiency, outlining a solidly rhythmic track, crossed by currents of electric guitar, dry layers of keys and voice in real time. Again, the voice modulations Eruasure-minded you surround a colorful background instrumental synthesizers that flow between the fast electronic percussiveness planned for "The Futurist", ahead of "You Feel The Same" track from the rhythmic sent in some fleeting moment the song reminds of the song "Black Town" of Elegant Machinery. Then comes "In The Silence", an episode also boosted by a dry electro-percussiveness that encodes the hatching machines and resolute vocals, element preannuncianti the first bonus track represented by the phase-Biosphere-review of "Darkness Remains", here strengthened by a more robust set of arrangements, previously all'extended mix of "Modern Talking", which is also embellished with dance synthetics. In conclusion, the beautiful reprise of "Save Us", new edition in the structure-Infernal Mix-is distinguished by the energetic influences from the track turned to electro dj's; "Plastique People" is a release to be considered attractive because it has a title track accurately machined and finished with a witticism now developed over fifteen years of honorable presence in the synthpop scene. Disk recommended for those who want to test for the first time the validity of Neuropa's style, as well as to fans of the duo ocean already is in possession of the first edition of the album and wanted to expand further listening. I renew my congratulations to the productive capacity of Conzoom Records.

 

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—- ng (northgate) - 'bendicion' - cd by maxymox 2011 -—

ngh NG (Northgate) is planning music created in 1992 by Trevor aka 3VOR (guitars / progs / clavier / floor), known for its presence as a drummer-vocalist in the ranks of the Camerata Mediolanense. The artistic synergy with bassist-guitarist Hilary Cellon (Ylo) from Cold, drummer Marco Schiavo (The Ox) coming from Larsen, with Fabrizio Palumbo Modonese, absent from the lineup of this album was the start of a project that style multicomposto combines a core of experimental electronic references a wide range of indus-psychedelic, post-gothic, ethereal-rock and keyboard-driven atmosphere suspension would call "emotional environment", elements that combined into a single formula, a sound spread of difficult cataloging , separately and simultaneously by the characteristics attributed to each of the disciplines mentioned. Cult underground band and introverted, the NG (Northgate) are proponents of a discography initially created in the tape version of "St Atua Curaeque Coniunctio ", tape-recorded release in 1994 in Milan and licensed by The Alternative dramatique fellow label which was given the second poduzione," Liturgies Pour La Fin De La Patrie "in 1995. The six live tracks' Fest Der Wandervogel "recorded in Chiasso in 1997 continues a path already well established in its track listing including a good rendition of" III ", the unforgettable song Ain Soph, leading then to the next draft of the album NG" Psychodrama "in 1999 followed by second full-length "The Blue Builders" in 2000 and finally here to present "BeNDicIoN" released in 2007 by Creative Field Records. The work includes ten tracks baptized with extended titles and content that differ markedly from other clones rampant in Entourage avant-garde for intelligent complexity and perfect balance between technology and communication charge, the balance that forever unites human melancholy to fred Executive frame size machines. "Flaming Nuns Against The Sun" plays the role of opener, ecstatically in his depressed air fluctuations depressed that caress the keyboard arpeggios of guitar, bass, mysterious whispers and hand drumming punctuated with precise details placed before the next guitar psychedelia of "Relics Blessed In Vinegar ", hypnotically to music through a clever game of echoes, detached percussiveness distributions of down-tempo sound and kaleidoscopic perceptions. Written by Andi, night and nostalgic, "Ice W" promulgates slow piano chords, soft keys and vocals flows sepulchral tones, while the following "Pearlman" propagates a set of psychedelic liquid battery, programming, keyboard, and hoarse, hovering whispers. Horizons electro-hallucinogenic move slowly to the rhythm of the drum machine scanned belonging to "Mystic Lamb Sumerian Desynchro Theatre", reinforced in the development of rhythmic beats most full-bodied, pre- placed next to the "Across the Indian Ocean, Walk On Mothers Daughters", also featuring tracks from alchemy produced by psychedelic guitars, hypnotic drumming, a background vocal echoes keyboard entries and air that make this abstract as a trip espisodio lysergic acid. Very elegant and finely technology "... And The Angels Plough The Fields, By Night, With Their Wings" retrieves ambient atmospheres with long velvety pads keyboard-driven, trickle sequenced guitar arpeggios and distant, as well as the subsequent "What A Brilliant Mind, With The woodworm Of Indecision "expands sensual melancholy piano resting on the expansion key and poignant guitar. "Ice Reprise # W (Hangin 'Fishes On The Trees)" repeats the same but here the staff of the official emphasized more and more heavy punctuation is an enveloping blanket of piano keyboard, bass and no vocal contribution. The guitar of Manguss Warnipples / Sense ry Gate extends abrasive lines pick audible in the distance between the surreal air of "Greek God In The Cold", vocalized by Paola Bianchi seraphically of Ludmilla / Femina Faber and narcotic given to a section of the keyboard. Hard witty and worthy of genuine interest, valuable for the main atmospheric qualities felt in every track. The NG (Northgate) were able to create a blend of sounds multijoint, precious, by the high ratio of attraction, a treasure trove of colloquianti harmonies with the most remote areas of the unconscious. The succession of emotions will guide you through this album, but still too undeniable value kept in the shadows: ascoltatene carefully plots and then let that "BeNDicIoN" will replace your imagination.

 

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—- NON-BIO - 'Pillar Of Salt + Megacube' - cd - by Maxymox 2011 -—

seventh In fact, the London-based Howard Gardner is a man poivalente from artistic point of view, since he returned from underground experiments together with cinematic achievements in the role of video producer who is an animator. These two ep's that I have chosen to combine in one review is the result of the musical called Non-Bio, undertaken individually by Howard in the general experimental minimal-electro/industrial. Licensed by both Mrs. Vee Recordings label heard the work is proposed as a crossroads between two different aspects, often complementary, avant-garde that characterize the universe, or group of media visuals for a sound system typically cold and beautiful, whose joint actions mutually supportive images is observed that the proposed sonic structures. The arts of non-organic repertoire is conceived as a concatenation of lens frames, often in black and white mode, immortalizing The bare architectural details, contemporary and antique, visions of androids, scenery played by glacial eyes and mind, as well as a succession of decaying industrial allegories full of neo-symbolism. Aimed at deepening the analysis of two ep's, I begin with a description of the debut of five tracks titled "Pillar Of Salt" which offers the first bloodless particle "Travellator," an alienating percussiveness assembly between synth and filtered, which gives way to the equally minimal "Mutoid Man" track from incitement Robotics voice surrounded by electro-industrial beats essential. "Telomere (Part I)" spreads attenuated shock propagation keyboard rhythms and rough concepts that extend to the corresponding "telomere (Part II)", also orchestrated by a sinister synthetismo venomous and bony. The same name "Pillar Of Salt" channeling a corollary of sounds and melodies touch polar, dry, along with flashes of expressionless voice over haze filtering is a synth that conclude the race for the first ep. And 'now the turn of "Megacube", the latest production from the company Bio-Not: In this action, the construction noise undergo dynamic changes with regard to mobility, which becomes much more rhythmic and danceable while remaining supported surrounded by a background antimelodico and in many inhuman treatment. "Megacube" is also the first episode of the track that caters to listen to a circular form programming, loops, voice and electronic interference, as well as the next "Zen Spiders" sounds slow, hypnotic waves of sound dull and vaguely oriental smitten and an anemic-drumming. "Tomorrow's Another Day" prefers solutions almost drum'n'bass arpeggiated chords from a redundant scale minimally supported by the synth. More substantial, "Polybius," the final track, the sound further integrates electronic processing, snappy and rhythmic hissing voice sequenced. The approach to mu Bio-physics is not intended to be a unique experience to live completely joining, as it were a single sensor, the visual system and auditory inseparable The resulting dialogue between images and sounds of Howard inventiveness created by him and committed ensnares the mind, impresses and delights the imagination. For the exclusive use of the microcosm post-modernist. Acoustic -|-|-» micrometer from video-animated illustrations, electronic minimalism made with simple strategies, but at the same time complex and tortuous. Not Bio-requires an audience learned, experiential and keen musicality with flexible mind to fully internalize the messages communicated. The soundtrack for futuristic dreams.

 

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—- Northern Sadness - 'Riddles Of Lunacy' - cd - by Maxymox 2011 -—

northernsa I consider a true manifestation of the creative know how to go beyond its genre experimenting with alternative styles can differ from what has always made. And 'the case of Belgian Koen De Brabander and Philippe Lefief, vocalist and bassist, respectively, of the extinct project wave / goth-rock based in Bruges called The Dead Poets, who have recently created an amazing new platform nature of dark-electro that called the Northern Sadness. Contrasts between dark wave and electronics, vocals, always impressive, influential and melodic-technology solutions to world-class, are the unique factors that make the duo's music so compelling and sophisticated, thanks to a special care arrangements and the extreme cleanliness of the sound produced by the equipment. The label promotes Germanic Echozone then the debut album, "Riddles Of Lunacy" challenge that comparisons over time with many of the high-ranking representatives of the genre in question, it constitutes one of the most reliable releases proposals in the latter half of the year. Fourteen tracks to live up to the last note, a list of titles from the content shown to an audience that knows how to make electro-progressed meant by deep introspection harmonics, such as those noticed in the first song "Eternal Solitude," languid and sad, driven by a minimal structure of programming combined with brooding vocals and violin struggevolezza drawn from the keyboard. "All this noise" is a magnificent track that will come to the right in the preferences of those who love the sumptuous electro-darkwave, on this occasion magnificently exposed by the bursting chorus sung by interweaving two main characters, wrapped around a button device that emphasizes rhythm in turn the subtleties propagated from the keyboard. "Out of Mind" based on his musical mantle of vibrant programming and vocals reverberated Koen elegantly placed on top of cold light and dark spread by machines. Even so expressive dark-minded in the next wave "Disorder", a song full of hypnotism and sonic sense of alienation, the singer vocally extrinsic concepts with great passion and surrounded by a dark synth and sequencing facility. It comes with great tunes of "I Remember You Pretty", controlled by a dry-based drum machine that scans the mid-tempo bpm with metronomic chillness, allowing the lyrics and keyboard-driven instrumental all'esangue rise, exploding in a refrain from symphonic dark. The decomposition of reminiscences voice waver from electronic formulas combined with high-class originate tiny gems such as "Hollow Eyes", vocalized with great aesthetic criteria and built by technicalities astral synths and programming, followed one another by the extraordinary aspects "Alveston Meadows", an episode of absolute value created through dance and irresistible dark-electro-pop geometries, among which the bright glorious voice Koen inlay which, in my opinion, the song the most handsome of the entire work. The choral shouts of Philippe, found in many passages of the track listing, expand, together with the depressed Koen hand, even by the following "To the Empty Fields", perfectly framed in a context of obscure electro-sharp lines, consists of mixed programming Modular keyboard-driven arrangements in anticipation of the spectral features of the same name "Riddles of Lunacy", twilight technological object within which you can hear the singing of vocalist sculptural overwhelmed by waves of orchestral sound artificial and rhythm sections in the procession resolved. A feminine phrasing introduces the next wonder, "2nd Hand Girl", traces the complex structures that refer to Depeche Mode's most hauntingly foreshadowed detail materialized from this piece electro-ordered and full of immense charm, engineered using a programmed linear swing, flows synths and vocal setting effect confidant as always in the warm baritone of vocalist. Speed ​​and momentum are the elements in "No More Stories," danzabilissima in its dynamic display of electro-drumming supported by a brilliant mirror forms of support for harpsichord and singing, principles replicated in the subsequent "And What To Believe", full of shipped electronic sounds and voice patterns with planned intent with dance-oriented. Farther leads all'irrequieta "I Can not Live In A Livingroom", traces marked by an exhausting percussiveness from which extends an enthralling refrain from vocalizing with full tones, cadences whose legs require a strong movement from electro-run alternative. Final chapter, "Poets and Angels" patrol bombastic keyboard publications orchestrations and lyrics sung with renewed emphasis waver, for a beautiful song set to symphonic, dark breakdowns down-tempo synth and drum machine. The album, produced by uniformly penalty resulted from electronic equipment, is pervaded by a sense of bright, saturated madness that consists largely of sound creations directing the design of "Riddles Of Lunacy" to complete the seduction. The primary perceived impression after listening to this release is a strong personality and distinction, as well as electro of aristocracy, that pulls the attention of not giving it a moment's respite. Also admirable is the foreground voice Koen Abbinante accents the stately gloom of the dark-wave sound, whose union has created a product with a memorable finish recording technique and intended to call her a greater degree of interest. Hard darkly radiant beauty from the icy, untouchable: you will be permanently subjugated by his conundrum.

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—-Orryelle & The Hermaphroditic...'156=Musick=Babaloon=Kaos' - by Maxymox 2011 -—

orryelle The Polish Zoharum Records label promoting this record and the organizational structure of multijoint very layered and complex. Rather than work itself as it offers a unique musical experiment completed on several occasions by a galaxy of artists to exhibit at various times called theorems similar to neo-tribal impromptu liturgies, or anemic minimalist compositions from the corpus and bruise staged a sequence of scores antimelodica neoclassical / ambient acoustic background haloed by a psychotic or electronics. The creation of this impromptu and introvert test was made possible thanks to cooperation between The hermaphroditic ChAOrder Of The SILVER DUSK (ie ensemble-un'artistic operating areas visuals, acting and magic, as well as in other branches of media), in association s result to the interchange of audio files over the Internet by anonymous net-Protagonists, who have made individual the contribution to the scheme-based track, postponed due to other unknown composers in a continuous series of stimulating improvements modeled through the touches of each element in the initiative convened. More tangible is rather the identity of the third part of the project costiuita to unseat Orryelle-Bascule, multi-faceted artist from Melbourne, author of sculptural compositions, music, film and theater is recognized in Europe and the United States. Significantly, the title "156 = Musick Babaloon = Kaos =" expressly disclaims Jewish-kabbalistic reference number 156 in relation to the unsettling figure of Babalon, the goddess from the cult of Thelema and quoted in the hallucinatory descriptions of Aleister Crowley as a mythological figure straddling the Beast with seven heads, of which one of them represented Kaos. The release now in question is published in 156 copies include a bonus disc, while the issue analyzed by Vox Empyrean rigua only the main ida cd consists of thirteen episodes: "156", song-opener, listening addresses a murky, rarefied orchestrated mantra, first by a cloud of electronic effects followed one another from a shamanic chant, full of sound elements irradiated atmospheres rituals, oppressive . "Fecundity Of Forms" uranic rays propagate laptops, giving the track an ethereal-style psychedelic ambient from the profiles, as well as the recovery of liturgical-tribal harmony is engraved in "EquiNOXULiqE Circle", a hymn to ancestral voices intersected by two effects and more first in "Line By The Nile", dark pagan celebration expressed meditative vocals from recollection, pale reflections of the keyboard in the background and claims crunches. "Dance Of The Djinn" is a ballad-road alienating voice, guitar and bass components arranged on a musical unpredictable and unbalanced, followed again by hand hidden formulas applied on this occasion to "hTOYA" , Witchy voice surrounded by diffusion of electronic rumbles that simulate the gestures of an underground Mass scacciaspiriti. The surreal register first pronounced the lyrics of "Azoth" alternates confused melodies of strings to a pale background sound of the accordion, until the next development centered forms of drunken singing, screaming, waffling mental hospitals, and shrieks echoed agreements without a soul. It comes to the symphonic "Babarzirryelle", a short iterludio of key scattering a substantial scale of notes on a high, self-sufficient track that quickly gave way to "Hekate Charm", built on indecipherable sections of violins, dark pulses of low whispers, a monologue accents depressed and hallucinating wake of ambient noise. The theme of the disc carrier, based on fundamentally sound symbolism conveyed by a cathartic, is in "Daleth" another example to summon otherworldly rituals drawn hypnotically possessed by darkness and dare, as well as the manipulations belonging to "Passage Right" transfigure the staff making absolutely pathological musically unintelligible accents using metallic voice, broken violin stabs, arpeggios lean down and a stream of sounds from chrome emptied of all artificial light. The Arabic "ssSOROBOROSss" recreates an ideal harem sensual dance with drums, bells, bows and transpositions female, until the final "Shall She Laughs He (Parsifal And The Holy Grail)", song by quivers path noise-dark- ambient within which a filament winding voice, almost a prayer addressed to sinister forms of worship. Proposal for a unique record, relegated to an audience quite prepared to listen to the limit of modules acoustic improvisation. Indispensable foundation for the perfect harmony with this work is the complete understanding of its explicit experimental features, intent that arise flies especially the usual methods of composition, the technicalities of the study and, consequently, the wide-ranging consensus. The actual rating of "Musick 156 = = = Babaloon Kaos" shuns the analysis criteria applicable to most pubbliazioni ambient or classical style, it represents not only a record, but also a mystical, psychic purpose of the meeting man and the immensity of the cosmos. For those who do not require laboratory gauges only sound but a complete synergy with other worlds, introduce this release in his sleepless nights.

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—- The Psychogeographical Commission - 'Widdershins' - mcd - by Maxymox 2011 -—

psyc "Urban Folk", "Subway-Underground Music", "City-ambient" are just some of the terms used to categorize the compositional style of this particular project in Glasgow since 2008 is played by the duo S. Hokano and who divided their responsibilities between instrumentality and virtual acoustics. For the third time I am going on to analyze and review a disc from a unique and stubborn passion for everything that exists in urban and spiritual introspection. The two previous full-length works of "Genius Loci", the critically acclaimed debut, and the following "Patient Zero", are characterized by traces of which contained probe and pick up the impenetrable recesses of the city, extrapolating from them the metaphysical essence , echoes hidden from the noise, the subtle psychic vibrations emanating from the inhabitants as well as an infinite number of ways the human eye but still present and vivid in the streets, buildings and sub tosuolo. The result of this, complicated investigation, is transmuted into sound, which can bring together in the imagination of the prepared shapes and sensations of urban mythology, what was the beginning of a new, fascinating frontier of science. The technique adopted by the music The sounds range from rarefied Psychogeographical Commission to form the noisy field-recording, also touching harmonies supported by minimal electronics and guitar with authentic voice celebrations expressed in narrative mode. The CD-single hour is licensed under examination, as the two aforementioned albums, the label Acrobiotic, proposing a concept focused on the history, the darkness and embrace as a mysterious vicissitudes that surround the old Glasgow Underground, location around which are the dark noise was recorded experimentally in this mini-disc. "Widdershins" is a single suite 24 minutes long, from the sounds captured in subway tunnel during the specific period of time included between the Winter Solstice of 2010 and the total eclipse occurred exactly at that time, the dark soundscapes carved spread mainly the rumble of the train running on tracks alternated with descendants of psychedelic-ambient pads, vibrating peaks of noise and air waves of mysterious undercurrents, musical elements from almost non-existent, but can carry the mind of a vortex inside the inky walls, within which the temperature felt by the body is close to zero. The "circle counterclockwise", or the location management station initiated by the underground station in Glasgow, has a parallel dimension that symbolism keen observers were able to pull The Commission Psychogeographical and channeled into a small object and evocative sound mysterious aura. Ep limited to only 125 copies, "Widdershins" will include the packaging, a ticket of his tiny SPT Subway, which memory of an experience that you can live unnaturally dark, preferably with the lights off, and at night through headphones. Have a good trip

  

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—- PHENOTRACT - 'Shifting' - cd - by Maxymox 2011 -—

PHENOTRACT The American Eric Shans, based in Brooklyn and New York, is the author of the just-Phenotract project since 1999. The multi-functionality of this design is totally conditioned by an electronic sound played in many disciplines ranging from industrial typical of the decade '80 / '90, for extemporaneous excusrus experienced in-house techno album "Within A Second" of 2003, in collaboration with Isaac Glendering of Cesium 137. This new self-titled "Shifting" is the third official album of the artist now more inclined to sound in stereo and structured effected by technicalities "soft-minded" tending, albeit almost imperceptible, electro-wave, as well as a vocal apparatus always positioned on sugary tones. The school technology plan, quite different from that in Europe, is noticeable in each of the ten tracks that full-length debut with "Unreal Highs" sung as five other episodes, in duet to Katharine Heller. "Way Back (Falls Apart)" offers a mid-tempo song waveggiante electronically, with additional vocals vocalized NIAB Caldwell followed by "Out of Sequence" by touches of electric guitar arpeggio operated by Gabriel Dorosz on a pale background in programming and Eric popular vocals by the duo-Katharine. "Blinded" sum of the atmospheric vocal sections belonging to Eric to those of the guest-vocalist Anaben instrumental synthesizer combined with specialized equipment and programming: the result is an electro-pop-song to listen to lightly sweetened. The stereo effects, as mentioned in the beginning, are always accurate and also the waves of synthetic-"Separate Places". A soft long-raging stream harpsichord "To Breathe" by joining the nostalgic voice issued by NIAB Caldwell, succeeded later by redundant musical introduction of "Full Circle Again", track dotted with largely monochrome synth and vocals scattered will only recover in the second installment of the episode due to a marked interest in percussion support. NIAB always vocally with Eric Caldwell says "Rise," The Surface ", honeyed yet another episode of danceable electronic pop followed by" In The Clear "is also obedient to the patterns so far found and replicated in the final" Relive And Forget. "Disk handled with finesse, but also with any sense of sonic variety. The concept of electronic Phenotract exposed in "shifting" can be easily integrated with a sub-genre to listen with hallway, pushing it from the children of modules developed or heightened experimentation. Honest, no pretentious, Phenotract composed of pure passion, imprinting his own style of simple melodies, delicate, but in great debt of personality. Eric Shans could offer much more. There is no doubt. -|-|-» Good operational capabilities of the project will definitely emerge only after a concrete spin-offs from those uncertain and rhetorical expressions heard in the album, which I consider indispensable effort to exit from the cone of shadow that still obscure this artist. Pure question of will.

* R *

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—- Runes Order - 'Black Disc' - cd - by Maxymox 2011 -—

runo The restless movement of the creative mastermind Claudio Dondo now takes a form full of thrilling soundtrack and noir atmosphere, elements that characterize this entire tow new album Runes Order. Tense, haunting, crepuscular, "Hard White" turns a hearing reliably defined psychedelic-ambient sound, originated by a large number of additional guests whose names will be revealed specific roles and individual nell'eplorazione the release, but right now anticipating identities Francis Larosa on drums / percussion, the vocal sections and Marina Larcher David Bruzzi on electric guitar, the E-Bow and keyboards, these players can be found in the broader spectrum of activity of events contained in the full-length. The well-known Cecco is responsible in turn of the simple yet symbolic aesthetic art-work, while the same Claudio Dondo directs the orchestra plays a variety of instruments such as keyboards, organ, electric piano, the Mellotron, in addition to the most seasoned electronic musical device called a theremin, tape recordings and drum machines, then joining as a backing-vox. The label HauRuck! S.P.Q.R. deals with the issuance of this distinguished work to listen with the firm knowledge that permeated darkened sound, not without pathos of a winding that surrounds and attacks the senses, especially when experienced at night. And 'the case persuasively dell'opener entitled, "Conspiracy and Curse," a track full of insights and quotes post-ambient pinkfloydiane loop mixed with screams, or the next "Voices From the Deep," cold-dark song of solid stature, beautifully sung by Carolina Cecchinato Diego Banchero and whispered, whose introspective lyrics are well suited to the dark background harpsichord supported by a filament of drum machines and programming. "Escape (Soil K)" summarizes all the elements required for a soundtrack from scary movies, using a wise dose of psychedelia guitar, drums and pads effects, while the subsequent passage of a train promises to be the maniacal serial killer phrases spoken by Geppo in "Quadra Key", located in a dramatic context, instrumental keys, bells, electric guitar liquefaction, rhythmic drumming and the desperate-lead vocals by Lucy uttered Larcher. Sonic trajectories crossed by an exciting set of keyboard-and voice streams are spread by the brooding "Theme of Love and Death", the track that demands a deep analysis of the text penned by Diego Banchero and exposed by the beautiful voice of Carolina Cecchinato. "The Road To L." ideally wearing a bright colored waterproof night, a hat that obscures the features of the face and a pair of gloves in black leather, the classic profile of the murderer by copyright filmography ready to act: this track may represent in all probability prior to the soundtrack the most repres entative scenes start, using exasperating scale of low, dark gusts of keyboard that blend with the effective voice of Lucy Larcher, drum beats and slow changes in the procession of psychedelic guitar from efflorescence. Ambiguous and feminine laughter introduces synthetic strident chords, bass and aerial structures that build "Naked" in which the lyrics are spoken and written by Martha Mason, elements exceeded, followed by "lucid madness", a poem by the intense atmosphere gothicheggianti arranged by the intuition of David Bruzzi and spoken intonation from Cecchinato Carolina. Solutions rhythmic mode keyboard publications span almost martial austere "Anna Ortese (Ballad Of A Tragic Destiny)", track overflowing with black symphony interpreted percussiveness reinforced by regular troops rolled and fluid, visionary of the keys chases punctuated by guitar Boris Carbone. "From the Future" projects a black cutworm RNA symmetry of keyboards that slide cryptic, arcane flowing into the lagoon where the most vivid nightmares slowly sinking in the waters darkened by organ and guitar. Once more the claustrophobic turns the bass and drums instrumental lime the bones of the body capable of taking an iron emotional spectrum in the "Black Only" adheres to this description in its entirety, providing linterplay between the two instruments in support of an imaginary line of mighty waves of drumming and painful injections of effects which make this track an excellent episode to be included in a desirable and possible soundtrack theme. The act of closure is made up of "Voices From the Deep II", taken from the sinister whispers filtered by Irene P. that creep into plots keyboard publications tense, adding to the arpeggios of jazzy bass and drums for a song by the characteristics that define psycho bold / dark-ambient. "Disco Noir" is an album that in my opinion reaches A major many artistic stature and, if cleverly introduced in the cinemas on generis, may hold the project Runes Order goals well beyond those achieved only through the usual spread of record. If this happens we can look at the musician Claudio Dondo eyes even more admired.

* R *

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—- RUNES ORDER - 'X Final Solution!' - by Maxymox 2011 -—

run Three years ahead of the recent album "Hard Black," this "X: Final Solution!" was proposed in 2007 as a point of conclusion of the project started in '92 by Claudio Dondo, a decision subsequently revalued by the artist and for the time being directed towards a continuation of voicings spread under the name Runes Order and as always characterized by a verve mirevole Experimental. The imprint's proven once again audible in this mix of ambient, industrial, dark, electronic and research, the outcome turns out to be a synergy of sounds cold and darkened slaves of a pentagram tense anti-solar. The fifteen tracks on the list were designed between 2004 and 2005, mixed in 2007 and published by Creative Fields Records the same year, partnerships offer the songs from members outside the line-up consists of radically from the duo Claudio Dondo / 3Vor (Northgate). Deeper in the darkness track listing first meeting "... Could Be The Last Year", an episode filled with eerie atmosphere created by the synths, disturbed by trails of voice and dehumanized by a repetitive module that supports this setting perfectly suited to the role of the soundtrack for any horror film . "Radiations Of Peace" has an alienating programming filament surrounded by cavernous vocals, while the crop-vox di Cecco, owner of the label affiliation, whispers cryptic phrases of the fascinating turns of "Ambient # 1 (Rom Snuff 66)", built by streams of antimatter harpsichord, effects and hypnotic drumming. "Final Solution" re-calibrates the sound to an hour directing spatial futuristic, inflexible strategies using rhythmic instrumental clear dark-industrial matrix, as well as the subsequent and brief "Fragments Of Delirium" is seething with experimental laser-spreading a frenzied sound terrifying contaminated screeching. A Plutonian flow synths to accompany the guitar underground Daniele Bovo, aka Rex Nebulah and member of the Cultus Sanguine and Monumentum projects, structuring the dark and poignant at the same time "A Cover Up In Cogne". More dynamic and electronics "This Is Serenity" articulated percussive dry lashes, dark embroidery keyboard and hissing vocals, anticipating the lyrics Serena Mason dotting "Ambient # 2 (Hiroshima)" and its large electro breaths. "Final Solution II" is dotted by the mannequin-voice Marco Grosso, artist identified in the drawings also Apotheke / Dust Eater / Infinity Mind, a song of good caliber electro-industrial. "Delerium" expands itself hoarse vocals filtered, diluted in a set of micro-dark-ambient melodies, echoes and drumming coming from underground, putting the extraordinary spaciousness of "Black Star", track monolithic, able to radiate infinite distances using its icy waves of keys, the melody turbid p Seude violin and deaf-programming of the pulse. De Daniel Hammer, David Sossi, Frederick Brunialti, Paul Zadaricchio Cecco and the same music the misty dark-ambient/industrial symmetries of "Morpheus V.3", passed by shady radioactive suspension of "Ambient # 3 (Hell) ', too' spectrally it vocalized by the crop-Vox quoted Cecco. Last captolo, "Last Breath" starts a predominates incessant buzzing Amman from obscure electronic-ambient, at the conclusion of a tormented relase, abysmal, testament to the creativity expressed by Claudio Dondo could grieve with his exit from the scene as Runes Order . That this can never come true. -|-|-» Albums by threatening procedures, raised the banner of the most striking dark gloomy expansions within which blend keyboard publications, elegies and a sinister storm of anguished reflections preannuncianti torment and psychotic obsession. The Runes Order are the musical equivalent of shadow.

* S *

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—- SADIZTIK INJEKTION - 'Global Genocide' - cd - by Maxymox 2011 -—

SEHNSUCHT The constant search for new and dynamic talent, attitude that distinguishes the Hungarian Advoxya Records label, is also manifested in the choice of integration among its artists, including this one from Turkey-project called Sadiztik: Injektion inventiveness born of Samet Özgür, Pzykho known as Doktor, who since 2006 has raged in the local scene, gothic / darkwave up to land in recent times pù to form adjacent to the Terror EBM sounds, or a combination of the original style evolved maggiomente dark-electro/industrial. Frequent compilation and determined to rise from the bottom of a scene already overpopulated, S: The addition includes a series of remixes made for excellence as the Poles Controlled Collapse, the U.S. C / A / T and colleagues label Stahlnebel & Black Selket, already treated in my past review. "Global Genocide" is officially the first album of the discography, and Samet presents the usual characteristics of steel but too strand electronic membership, in this case turned mainly on the parallelism between drumming and dance programming, vocals mode harsh, though not irresistible, dark atmospheres typical of the project and Suicide Commando. More specifically, the track-list of ten steps offers the first meeting with the energetic "Mechanical World's Chaos" piece that makes one understand immediately the arrangements of the repertoire by S: The oriented in the direction of a sound massive, electronically lashing . "Cyber ​​Terror" corresponds perfectly to the most danceable EBM dictates, while "Violence Embrace" passes with the same behavior of the previous two, settled on fast-boned bpm electro-industrial. In "Ultimate Torment" stand out is the engaging opening synth chords, and percussive ride gustabile kinetics in developing contaminated by the filtered vocals Samlet. "Realize The Suico de "propagates a tortured intro loops and immediately overwhelmed by a wave of techno-sound telluric obscured by progs, fast rhythm and intangible flows of voice." Global Genocide "gives the track all the vigor of a techno-EBM rivolgente to create turn an eerie look to the future generations of humans subjected to a looming collective destruction. Urla, evocations of conflict and tension in the kinetic state of textures of "Apocalypse Near", excellent dance floor for jerky movements of legs and arms, followed by rapid beats and buttons "Conspiracy" which I think is the most significant event of the entire album atmospheres, and danceable rhythm. Designed and built in 2008 and as a self-titled demo files, as well as integrated in its title track listing, "Beta Version World" returns now with all his office full of high-energy electronic track, an album without shutting neither praise nor disgrace, simply aligned to standards and lectra / industrial quality no less than the corresponding average. After just one listen of "Global Genocide" will agree with my opinion. -|-|-» The dance-oriented mix of ingredients, together with land subject to the futuristic scenarios of mass destruction, full-length formulate a decent but not outstanding, consisting of tracks similar to each other, without the diversification nor clear originality. Caustic harmonies and aggressive attitude that fans will appreciate the sound Technologico conventional. For the rest of the audience, the more selective, providentially there is something else to address the hearing.

 

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—- SAYCET - 'Through The Window' - cd - by Maxymox 2011 -—

say The galaxy itself adds to European electronica yet another representative, the French musician Pierre Lefeuvre aka Saycet, backlit artist stylistically from the famous icons such as Boards Of Canada and Múm, from which he drew inspiration for his first popular album, "One Day At Home" created by the musicality and pleasantly surreal glow. Phoen Somsavath recruited vocalist and Zita VJ Cochet, specializes in video projection in live acts, Saycet expands its compositional experience forging this "Through The Window", down-tempo release dismissed on the synergy between the labels Electron'y'Pop, MSV Anticraft and a treasure trove of emotions within which they occur elaborate structures of the keys, samples, and infinite, incorporeal vocal melodies. The sound produced by the project is the perfect complement to approach the content nostalgic images, details with which the twelve tracks on the album interact perfectly amplifying the celestially meanings. Listening to opera is extremely relaxing and pleasant, the candidates are spending ecstatic caresses agreements, surprisingly atmospheric textures and vocals. The content of the title track offers first "15", electro-weak gem keyboard publications from poignant harmonies supported by a support matrix percussive idm, which are followed by the plaintive notes of plan that gently skim the lyrics sung by Phoen in "Easy ". Sequences of notes filled with emotion you hear in the peaceful "Bruyère", succeeded by intermittent rhythms that make up the backbone of the very "Opal", traces of wide-ranging, almost heavenly. "Her Movie", ethereal, sophisticated harmonies through the air made up of electronic replications of micro-pulsed gentle touches of synth, later to renew the poetic paradigm inherent in the fine tunes of "We Walk Fast," vocalized with the same delicacy of d carried a rose petal the wind. "And Mama Said: It's Amazing" intoxicated with the elixir electro-dream synth, effects and whispers reverberated for a track on the characteristics of soundtrack that gives witness to the evanescence harpsichord-voice of "Sunday Morning", slow and lulling lullaby, so infinitely passionate. Clicks and cushioned support the electronic drumming drumming "Daddy Walks Under The Snow", an episode dotted with elegant charm and instrumental dreamy sound artists, as well as "Fireflies" to imprison herself un'oppiacea sequence plan, bells and synths that weave the magic hand of Phoen. "Kien-Lang" detailed architectural designs incorporating electro gradually shades evocative keyboard publications, feminine whispers and musical chimes, then allowing the entrance to the piano, "A Night With Trees" crossed by a championship roar of water and, above all, by a sound wave of unbridled emotions which move with grace and radiance. Alb um honest, satisfying, from tracks that distill seductive sounds electronically. If you feel unrepentant dreamers, reporting with "Through The Window" you will be as natural as your own breath. Opera -|-|-» designed and built with a mood through separate arrangements fairy who know how to reach the soul. Saycet is musically inspired, confident, poised between ardent sentimentality and technology research: will capture his sound certainly the most advanced listening and eager to be surrounded by an immaterial embrace. In the sacred name of love.

 

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—- SEHNSUCHT - 'Wüste' - cd - by Maxymox 2011 -—

SEHNSUCHT Currently it is not uncommon to find that behind many identities belonging to dark-ambient projects, or at least inclined to formulaioni sophisticated musical Names are concealed from the earthquake and less ethereal underground metal, which was the same experimental manifestation of their second, surprising nature. And 'this is now the specific case of Sehnsucht, dark band based in London and drawing parallel Maniac, front-man ensemble of black metal / doom noise respectively called Mayhem and Skitliv, bands with which the artist has shared at least twenty years of musical career. New and much more introspective visions of the spectrum have led to the founding of this hallucinatory Maniac platform and then to the writing of "Wüste", an album made in collaboration with Vivian Slaughter (bass / sax / backing vox) girl group leader and a member of girl band Gallhammer Japan, above Skitliv guitarist Ingvar Magnusson, and Andrew Lil e, (fx / electronics / sound design). The release is prepared by combining operations with each other sharp noise, field recordings, ambient-atmospheric distillates obscure, calm emissions darkwave, post-modern wizardry and sound metal entries. The ten tracks of "Wüste" categorically opposed to an immediate audience: introversion in the structures of the acoustic sounds from the ear turn indefinite, minimal, often abstract in nature and totally antimelodica, for the benefit of that particular group of users prone to the exploration of extreme forms of music. Detail of relief is the co-operation with the legendary opera David Tibet, who wrote the texts of two tracks, in addition to Michael Cashmore, British composer and musician best identified through its project called classical-acoustic-Folker Nature And Organisation, and in last place with the protagonist of the country scene, Dwight Yoakam. Label holder of this particular or Cold Spring is the pear, perfectly suited to the disclosure of similar, targeted proposals, the track-list is initially immersed in the muddy bottom of the dark-ambient "Sult", track that explodes after a short duration in minutes in heaven million projecting sharp fragments noise / metal and ominous guttural emissions. "Queen Cunt" rumbles with sudden explosions, phrasing mental hospitals, and acoustic laments underground filtered, while the depressed vocals and guitar harmonies of the sad-ballad "South Of Cincinnati" spread the word and music by Dwight Yoakam. Inarticulate vocalizations of alien origin, mixed with cold noise fades, and a screeching electric-guitar roar of attenuated the experimental build of the same name and "Wüste", succeeded by the equally pathological degeneration voice of "Tarn Of Guilt", spectrally formulated in a claustrophobic piano background instrumental dissonances and malevolent. The music system supports edited by Michael Cashmore lyrics by David Tibet enigmatic rise to a track, "Good Morning Great Moloch", schizoid episode from the shape of electric guitar and spoken word through a network of vocii Sibylline from synthesized tone. "Der Engel Der Stadt Vernichtung" opens with a tune dating back to the Germanic war preannunciante typical of the usual voice module Sehnsucht, or a reel of hard coded phrases entered into a hubbub of electro-musical instrument, monochromatic and guitar loops. Further on, the track-list includes the entrance to the wacky "Tokyo Daymare" arising from a post-industrial visionary experiments in this chapter marks the rhythm of dry fractures and drum-thundering jets mixed with effects loop of a phrase book, and the clamor appeased by giving space to the sound of phlegmatic "Hanging Garden In italiano", in which the texts are voiced by David Tibet, cavernous sonic whispers ideations superimposed on Michael Cashmore, a set of base grinding electronic and guitar arpeggios. "Ten" acts out the familiar, dark ambient-noise-industrial pattern of bumps generous anti-oppressive and vocal harmonies at the end of an album by abstruse constructions, the same welcome from an audience musically navigated and well kept informed of the highly experimental form of matrix . Good scouts then the irreducible hyper-sound alternative. Musicality -|-|-» repressed, obliterated. The few openings to sound solutions are well defined systematically conquered by more far-fetched, convoluted and deadly curse aimed at a dramatic melodies, details that make "Wüste" unannounced to anyone who does not have extreme flexibility of listening. Remarkable and courageous.

 

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—- SEVENTH HARMONIC - 'Garden Of Dilmun' - cd - by Maxymox 2011 -—

seventh Experience the noble music expressed by the duo Ann-Mari Thim / Caroline Jago is always a total satisfaction, as well as a wonderful opportunity to enjoy elegant evolution of vocal-instrumental greater caliber. In parallel, Ann-Mari (vox) boasts membership of the line-up of Sol Invictus, while the composer Caroline (progs / keys / bass / guitars) is also known as the vocalist of the Arcane, credentials that enhance their practical side project at levels well above average. Active since 1999 as Seventh Harmonic, the two musicians are dedicated to a sound paradigm focuses mainly on refined neo-classical symphonies and romantic atmosphere tinged with shades of dark-Folker, displacing its artistic activity in London, Sweden, Belgium and Spain. This new full-length "Garden Of Dilmun" will add dignity to the good represented by the 2000 debut "The Awakening", a mini-album of six tracks published by Harmonic Recordings, followed by the second do album "The Ascent" of 2001 and the subsequent 'Promise Of Sacrifice "in 2003, they laid off by First Light Records. Produced by John Tyrell (Deepwater Productions / John Hull), is entrusted to the recently released Out Of Line label prodigal, having a track listing from the very structures adjacent to those heard in the immortal songs of the pair-Lisa Gerrard Brendan Perry, for which Seventh Harmonic now seem to celebrate with "Garden of Dilmun" a passionate devotion to the liturgy. The album looks impressive, solidly orchestrated by acoustic-electronic instrumentation and spoken tones chimeric, decadent, soul revolts perpetually building up tracks. The effects of this strategy is manifested initially with the first of thirteen episodes, "Valensanimi" and its stately percussion and keyboards set up in support of the religious song of Ann-Mari, who hovers between the solemn shadowy melodic flourishes. "Aoide" Predel ge martial rhythmic forms as the backbone for the great opera singer, whose voice notes blend celestially the rigorous but exciting instrumental support. Airs more relaxed, though edged with stately gloom, you hear the next "Dilmun" introduced by soft classical guitar arpeggios immediately flooded with rivulets kind of keyboard as an ornament to the lyrical sweetness Ann-Mari. Chapter instrumental "Imbolc" ranges from poetry of transversal key agreements by the end full of feeling, while the subsequent "Mabon" combines the magical and passionate singing of vocalist suspension consists of a punctuation progs and velvety chords keyboard. "Eostre" brings together in itself evocative scores Folker skillfully blended by the neo-classical refinement drumming soldier, in turn interwoven pentagram with a harpsichord and liturgical accents lyrical melancholy. A severe drumming rhythm the slow pace of "Soporanimi" , An epic track delineated by carriage of voice, chorus and key, ethereal melodies to put before the next keyboard publications and short interpausa "Beltane". The membrane of the drum is beaten with inflexible rules, the same rule also instrumental cadences of "Mneme", sung with attitude brooding melodrama and saddened, prior to circulation of the cathedral organ, piano and keys, mixed with lyrics by Ann- Mari spoken with angelic delicacy "Litha". Autumn and poignant melodies are caressed by the bow and wake up in the small keyboard publications of the candidates are "Samhain", exceeded the fair orchestral movements "Melete" and finally by percussiveness ethnic belonging to "Equianimi" mystical arabesque tail from the register. Album charming, mature and established validity, for an audience listening conscientious and refined. All the elements of the unconventional move independently, emphasizing style aristocratic Seventh Harmonic tico typical of well-established and eager to sprinkle again music of which fall in Love. The thin wire that connects class and brilliance.

 

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—- Severe Illusion - 'No More Alive Than You Deserve' - cd - by Maxymox 2011 -—

severe Severe Illusion is the name of the platform EBM / indus Swedish neo-enlisted in the ranks belonging to fellow label Complete Control Productions, the two elements that make up the line-up, Fredrik Djurfeldt and Ulf Lundblad, are both also available in parallel side-projects Instans Vanvård and sends out warnings to them a boundless passion for sound synthesis began technically in 2000. More specifically, the Severe Illusion summarize their own methods in a concentrate of Electronic Body Music from the fringes noise / core, with additional toning technology "Made in Canada" dating from the late 80's. The discography of albums and a total of four lists of characters such as "Discipline Is Reward Enough", published in 2003 for the PAF Records, was the first act, which was followed by the iconic and elegant "Accomplishments Of Leopold II" in 2004 by Khazad-fired dum. The next full-length "Shortcut To Civilization," published in 2006 by D SBP Records separates the current "No More Alive Than You Deserve", releases now under consideration, in turn preceded by the digital-singles "Clear Head" and dall'inedito "The End Of Flowers". The main theme of this last work of Severe Illusion, expressed on the first page of the booklet, focuses on aspects that regulate human civilization, a merciless insight on the effects of unethical and the repercussions that the phenomenon causes the existential sphere of each individual concepts enclosed and disclosed in eleven musical tracks written and recorded between 2004 and 2011. It starts directly with the EBM obsessive machinations of "Mockingbird", track disturbed by the sounds and spoken word filtering through voice, to continue later with "Try Harder" and its danceable formulations sequencing, loops, synths and vocals of cold tap , whose net synergy draws inspiration from the repertoire of the most atavistic Front Line Assembly. "Clear Head" extends the same pattern by adding corrosive vocals in the song mode that outline harsh with anger the precise rhythms of drum machines, succeeded by episode "To The Wall", an interesting track hard-electro/EBM from dry and hypnotic mid-tempo beats surrounded by icy breaths synth, programmed and replications alien voice. The next "Nar Helvetet Kom Till BYN" conforms to the dictates technologie old-school, offering a paranoid segment EBM built with precise rhythmic beating, colorless sequenced breakdowns, pads sub-zero temperature, acid loops and vocal phrasing. "Narrow Inside Your Little World" also spreads artificially distorted speech modules and opaque streams of keyboards in addition to mechanical percussive scans, while the apocalyptic "Them unwitting" poured torrents of crude electronic emissions composed of caustic voice, synthetic impurities, and screeching, whose original sound mixing monolithic Turgi give a menacing industrial coldness. The snappy percussive dynamism of "Rotating Knives, Yes" is extended in this and / drumming-only players in theme with the powerful programming of the scourging, the dark streaks of the vocals and virulent noises emissions. "Culture + Identity", experimental song created with the help of Alexander Palmestål to-electronic toys, discarded in the direction of a disharmonious cliché rhythmic subdivisions played by dry, saturation and cerebrovascular carillon distorted vocal manipulations, as well as "And We Kill Them "prefers solutions EBM / Indus in the procession slowed, sedative, disposed of metronomic drum-programming cycles, pallor, harpsichord and voice intoxicated with poisonous infiltration. Last track available, "Dirt", directs his music to dance horizons by electro-noise linear structure and troubled by "Cliks" acid resonances and a monotonous chant, running a track-list if not innovative, certainly attraen you and somewhat daring. A better understanding with this album would be a chance to broaden their horizons in the field of EBM genre whose adherents is devoted entirely to "No More Alive Than You Deserve." The interplay between vintage sounds related to a reinterpretation of the style in question, combined with modern noise devices, Severe Illusion of a project are intelligent, eager to find personal stylistic variations in a sub-genre that seemed to have been told everything. I definitely recommend listening to electro-lover faithful to the doctrines of EBM early-years: he will discover how much there is to invent.

 

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—- Sir Joe - 'The Observer' - cd - by Maxymox 2011 -—

sir The passion nurtured by Sergio Bersanetti about synthesized music has origins that now border on the twenty years, born in 1994 in the form of its initial interest in youth-oriented sound that still lived in the reflected glory from the most successful figures in the techno-pop like Depeche Mode, Visage, Thomas Dolby and Ultravox, including unexpected and valuable addition admiration turned to other styles such as melodic electronic projects performed by Naked Eyes and, more secretly, The Frozen Autumn. The mixture of these trends has led scholars to its own using the artist's legendary analog instrumentation of the time until they reach their goal of a just-played by his current project now under consideration, Sir Joe. Posteriorly to a multitude of tracks in the experimental free-download version, the protagonist has recently published the debut-album, "The Observer", thus formalizing of to the presence in the increasingly dilated electro scene, offering a track listing from the markings synthpopper read and enjoyable. Licensed by the pun Records label headed to Froxeanne known to form along with the aforementioned Diego Lace The Frozen Autumn, the album is entirely composed, produced and directed by Sir Joe with the occasional co-participation of Sara LC and as an additional Froxeanne-vocalist of the same lace as well as the artwork section, he is the creator of the sleeve that the images contained in the booklet. I take ten episodes beginning with "The Sign Of Virgo", a song from the formal Register built using electronic melancholy pop-synth harmonies, vocals from the vague and rhythmic accents depechemodiani downtempo programmed mode, continuing with the next and more dynamic "Frei" directed towards the overall structure winking And One more danceable. The educated and refined minimalist synthpop repertoire of "She Does not Care" refers, especially in targeted trade agreements between the keyboard-driven, post-Smiths in nostalgia, and the following "Pure" flaunts the synthetic beats of drum-machine that the delicate inlay spoken vocals in a duet by Sara LC and Sir Joe, the elements surrounded by streams and fireworks reverberated synth. "New Culture Theory," observes the dictates electropop released by laborious strategies but, instead, exposes flowing lines of programming, vocal sections softened by sentimentality and mid-tempo drumming, as well as the sobriety of the following "New World" develops at the same time that the vocals accentuate the refrain, along with keyboards, Gary Numan to the solutions. Danceable and pretty, "Sahara" offers an important strand of programming on which gravitate the staves tinged voice and sung in Italian opera composed innocent 80's. More articulate "Suddenly" has in turn attributable to the decline melodic characteristics typically Electrowave, enhanced by details of izioso intake and mature voice in this song Froxeanne which spreads notes full of thrilling romance that hover between the gentle touches of synth and a map marked by the electro-percussive timbre dry. Buttons extensions combine all'aggraziato synthpop vocal score by Sergio in "The Losers Do not Like The Winners" to reach farther and separate the same name "The Observer", oriented manifold synthetic patterns that seem to draw inspiration from the original automatic Kraftwerk school, and then turn in the direction of melancholic pop prospects filled by technology enthusiasts from percussiveness pluriarticolata and vocals. Album Interestingly, built with purity, and numerous ideas for modulations governed seductive electronic entertainment. "The Observer" could then represent a concrete point of departure, if in the future will be further enhanced by a glittering grit and cunning arrangement, sap Ra evolve into an identity full of considerable thickness. Artist to be monitored by increasing careful attention.

 

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—- Sonne Hagal - 'Helfahrt' - cd - by Maxymox 2011 -—

sonne Brandenburg German band, framed by a dark-melodic Neofolk introverted environment, mostly in possession of a discography engraved in vinyl format which promotes music deeply symbolic, with particular reference paid to the nature, the Norse mythology and spirituality. The unique line-up style comes from different disciplines ranging from hardcore, to punk rock, new wave to classical music, is also articulated the cooperative activities, the ensemble has released over time towards other projects belonging to the same area, such as Albireon, Polarzirkel, Nerthus, Forseti, as well as Danish Kim Larsen, owner of the platforms Of The Wand And The Moon and Solanaceae. "Helfahrt", a work originally licensed in 2002 by former label Neofolk / Dark-called Eis Und Licht German pop, was the first debut LP of Hagal Sonne, who succeeded six years later by "Jordansfrost" and live "Only Echoes Remain" in 2010. Recently, the proverbial shrewdness of Tesco Distribution has reviewed the content of this album re-release tracks and republished with their brand in an elegant deluxe CD format containing a booklet with lyrics and credits. The themes in the lyrics speak of poetry, myths, Surrealism, Legends and considerations philosophical issues expressed through a sound basic, purely acoustic, but this does not give up sporadically measured media electronic equipment. Listening to the disc initially involves the peaceful harmony neofolker of "Memory, Hither Come" played by soft arpeggios of guitar, keyboard, violin, melancholy, low-pitched singing, as if the singer questioning his own soul. Introduction of a sad violin in "Eismahd" permit entry to a calm, graceful vocal development which communicates the guitar lapped by such delicacy, and the following "Midwinternight" exposes a neofolk-ballade from vague apocalyptic accents, is perceptible in the dark accents in the vocal rhythmic guitar chords. The pick touches the strings in the first, atmospheric moments of "Song Of Innocence", saddened by the male-female vocal duet from which rise the full texts of spleen, not killed that in the next "Raidho" motionless sad-folk accompanied by guitar and sorrowful voice belonging to Kim Larsen which states sadly the lyrics penned by composers Steven and Denise Keena Dee. The beautiful "Futhark" increases the full body structures proposing a rhythmic drumming of Neofolk-apocalyptic electronic reverbs violin championship, keys, guitar and brooding vocals filtered well-tuned, while the subsequent "Midgard" is offered in a form Folker malinonicamente contemplative, tranquil stretches from the violin within which you hear the song of Andreas Ritter, aka Forseti, recruited in the track as well as a guitarist. "Comrade Enemy" exhibits a lively score of bow strings of guitar, voice and down slightly in advance of an electronic "Thrymskviða" melodic-sad Neofolk intense and well-set, with a song in two voices which hovers the most ethereal of the singer and, separately, the most resolute of a third element. The decay of the violin, together with the smooth guitar support, integrating it merged them a hand so depressed, little more than whispered, all this in "Song of Experience". The dry, experimental Neofolk-electronic form, propagates an interesting "The Runes Are Still Alive" song from the sound dilated, psychedelic, whose vocals, wisely hyper-echoed, sinking over a muddy surface of distorted violin, pinch of guitar, accordion and keyboard-driven gloom of Andreas Ritter. "The Sick Rose" closes the track listing has again proven the forms dark-folk voices in duet surrounded struggevolezza created by the violin, where the only line is driven only by the slow rhythmic harp guitar. There are valid reasons to pay attention to "Helfahrt": the longevity of safe listening, which is naturally inherent spreads from its shaded harmonies, as well as a deep feeling of "sound important" that it will also accompany the silent moments after hearing the last track. Magnify your Fall dedicating it to sound this prodigy.

 

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—- Spektralized - 'The Puzzle' - cd - by Maxymox 2011 -—

speakt Norwegian project operating since 1994 in the genre electro / synthpop with rare incursions undertaken over the years in the EBM and, even less frequently, house. The owner of the design sailed Spektralized is Richard Bjorklund, who adds to his plan as a good producer and songwriter, he joined with guitarist Ken Nilsen live and Mr. Spektralized Sections keys / programming. The demo-tape "Genetic" released in 1994 by Stargazer Productions was an intense appreciation from both the press that a much greater extent, by the public and ran out of one hundred copies produced in a single week. The numerous gigs, contributions to compilations such as "Sex And The Goth Electronics", capturing the dance-minded solutions to many of his tracks so admired by d.j 's, Richard drove the creation of the promo "Love May Be Blind" 2000 unfortunately withdrawn from the circuit due to a technical error occurred in its preparation. F u made a successful concert in communion with Icon Of Coil Spektralized the platform to offer the opportunity to stand out visibly on the scene, an event that led to the subsequent completion of the debut album "Elements Of Truth" published in 2003 on the Accession Records, whose track listing was extracted single "Allied." The album boasted the valuable direct directed by Sebastian R. Komor in the mixing and producing, precious elements that led to the publication of the following Spektralized "Capture The Moment" in 2006, also fired by the German label Accessin Recors forged and this time in collaboration with Einar J. Kristiansen, gravitating around the area a trance producer. The new "The Puzzle" in 2010 is today a self-produced album reveals a hard and very balanced, honest principles created with electro / futurepop characterized by a focused attention to the effects of melodies and refrains spotless. It is a primary witness to the opener "Destructor" , Track in which the use of the term techno-pop dance is expressed tangibly by a carpet-programmed percussion, vocals sung by a melodious avvolgmento and harpsichord. "The Virtual" bpm speeds making them a regular mentronomo around which to weave atmospheres artificially passionate voice and key agreements melancholy felt in even greater detail in subsequent notes of "Turn To Stone", poignant and sentimental, while keeping intact the Its core consists of synthetic sequenced rhythmic mid-tempo, key and breaths of touches of electric guitar. "Special Feeling" is very catchy sound and structured in line with current trends in dance-electro-pop song that delineate a potential to be hit, while the subsequent "Stranded" is a synth-song to be mature and pleasant in its rhythmic suppleness. "All I know Wasted" on a hot penagramma Electronic transcribes spoken lyrical neo-romantic voice, as well as extrinsic intensity from "The End Will Fall" recovers classical schemes of pop technology and overall sound that is immediately meaningful about the mix of programming, keys and vocals set of procedures by electronic ride. The contents of "Fire" answer to those heard in the tracks of De / Vision more brooding, with a voice filtered dumming mid-tempo light that scans the keyboard-driven flows, the following elements placed ahead of "All Within," Fine-synthpop track too 'it of fans lined phrasing and musicality electronic orchestrated. "Spirits," an excellent track, spreads itself a polarizing key sequence of dry and percussiveness planned, continuing after the exhibition of avant-garde pop experienced through the artificial colors of "Like An Animal", a song in the procession quietly, reflective, created extensions Spread across soft key, modular percussive rhythms and caressing accents can to. Was also a positive opinion about the final "Sky Demon" version "Warpcore Live Edit", an energetic futurepop beautifully accented by the voice of Richard that articulates with casual class lines between buttons programming, synths and guitar in the background. Albums designed with transport, technical expertise and authority in the field electronica. Spektralized is an advanced project, now able to compose works that, like "The Puzzle", they show compact, almost totally devoid of weaknesses, and each track has its own identity, a palpable autonomy, raising the basic features for a work high levels of entertainment. Richard Bjorklund has finally come back: I waited for this event.

 

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—- Spucktute - 'Go To War' - cd - by Maxymox 2011 -—

spucktute Self-motivated war with five songs by the British Spucktute, strict observers of the project as well as general electro-indus/post-punk prone to interaction with artists from the same galaxy. In recent times, the staff has conscripted two new elements, vocalist Ted Marne and the electronics sectors / percussions, which flank the main design matrix, DJ Cyberandy and Max Rael, it is mentioned in the line-up of that Zykogen platform called electro-indus/punk British History Of Guns. Spotlights illuminate this intriguing hour "Go To War", the debut-ep aimed at highlighting the Spucktute the scenes, much desired goal of this band since 2009 moves easily between the rear of the European electronic underground. Spucktute of the independent record exists, in addition to this "Go To War", a single of 2010, "We're All Prostitutes", consisting of four episodes of which one bearing the om Onimi title, a tribute to the famous 7 "published in 1979 by The Pop Group, a remake of that on this occasion re-issue is in addition to details taken from the repertoire of GDP The aforementioned single also contains the tracks" Losertalk ", produced with the assistance of the guitar Jez Romney, plus the version of "Jeremy Kyle Nation" remixed by the inspiration of Non-Bio. The release of "Go To War" was succeeded by newcoming single "I Can Feel A Headache" and looks like an accident, the realizable preagio global conflict, the concept of the ep is explicitly warlike themes, already guessed by cyber-tank depicted on the sleeve and placed in relation to today, disturbing the international scene with his perpetual balance between the condition of false peace and a possible, perhaps imminent , of the winds over the battlefield. Based on these assumptions, the list begins the first song, "Going Nowhere" episode features a kinetic elect bursting charge ro-industrial emerged clearly in the programming of acceleration, in stormy processing machines and vocal sections being shared among the guests refrain Debs @ SystermFX Falguni and Clarkson. The pneumatic percussiveness of "The Bombs Drop" shows, especially in the tense announcement of the texts, punker influences inherent in the project, now associated with dry electro-rhythmic stabs the speed strobe, sequencing dashed mechanically convoluted orchestral synth tones of Judgement and rarefied piano fugues. Voice mirror, alienated, monochrome, droning repetitions of programming, brief notes of piano and drumming punctuated mode build the next mid-tempo "Jeremy Kyle Nation", passed by the excitement of electronic traces belonging to "Life After Death", a song that stand out processing of the interesting technological Spucktute oriented streamlined electro-industrial sound combined with other more volcanic and thick at this juncture that use voice the contribution of Robin Bright, post-punk musician in California. Well thought out and push-button, the eponymous "Go To War" is a kind of electro-punker-turned march by a hypnotic percussive equipment, pads and sequencers from the chillness and otherworldly atmosphere that exposes the vocalist with Debs @ SystermFX destruction evoking post-bombardment, toxic fumes of black smoke and deadly radiation. A persistent aura of danger completely envelops this release highlighting a project established to report for training and technical rationale for the transformation into an ever more terrifying sound and likely reality. Complete running-in phase; to claim a new album conceived of these levels is at least legitimate.

 

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—- Stahlplanet - 'Leviamaag' - cd - by Maxymox 2011 -—

stahlplanet Individual project of the Germanic Jürgen Hausdörfer since 2004 stylistically inclined to sound dark-ambient-indus/experimental. Label support, the Master's fellow Dead Beat has published in 2008, this limited edition box set of fourteen plus two audio files on DVDs that separates the two years preceding the "Stahlfront", published for the darn in 2006, confirming Stahlplanet emerging as a creature in the universe dell'obscure noise underground, avant-garde orientation consolidating definitely addressed to a musical key, often gloomy cold, or alienated, with little room turned the sentiment. Each of the concepts as expressed will also find their validation in the new Album "Nachwelt" fired in recent times more and the Dead Master's Beat and which I'll discuss shortly, Vox Empyrean has chosen so to sue first "Leviamaag" disk as dated deserves an appropriate descriptive note on the basis of ascertained tate features that I think sound very interesting, as well as on the traits of filing un'esaudiente identity of the artist. When you start listening to the long track listing is experienced initially spectrality piano of "Der Zeit Erinnerung" bloodless introduction which is followed by the murky mass of electrified expansions that characterize "Johanna Schrage Die", a song that swing between the dark-ambient and testing electro-noise, with excoriating leakage of noise from pseudochitarristico cavernous tones and final, impromptu synth stabs. "Lawinentod" is a track that spreads ice filtering of keyboard and programming, and the following "In Jerusalem Alptraum 'tacks of industrial pneumatic pulse roar, electronic and absolute darkness laptop that gives the feeling of being right in the middle of a tornado-planet. More distinct forms of sound can be heard in "Eismann Kann Auch Anders," a large, monolithic tico-hatch sequenced rhythmic base on which gravitate thin touch of synth noises and constellations. The striking pads during intro of "Mit Den Fliegen Engeln (Goa Mix)" anticipate a long segment of lackluster programming that incorporates verses from plaintive muezzin and streaks of pyrotechnic effects, for a track that I would call "industrial-Arabic", ahead of subsequent electronic grooves that torment "Der Doktor Seltsame SPARSAM", an episode from the delirious synth symphonies joint obsessive persistence of the sequencer. The continuous percussive industrial-oriented fractures that dissect the experimental "Dann Geht, schläft Und Beteta" alternate with glacial interpause dark-ambient and suspension, the same procedures poured in "Der Dunkelheit Wärme Die", which is a ceaseless stream of sound similar to that emitted by an alien power unit, interrupted only by sinister clang. "An Sich Gegensätze Ziehen" destructuring takes shape through toward cold computerized combustion, lines of programming, percussion echoes and fast synth scales, predicting his explosive entry process belonging to "Sie Sind Unter Uns" diluted from there in a short icy context and key-ambient effects dominated dall'obscure , and the noise from industrial. The underwater acoustic laptop listenable in "Vollrausch" lead to unexplored ocean depths, unattainable by the light, in which creatures swim bioluminescence emanating left, the same pattern is also replicated in the homonymous "Leviamaag", dark-ambient tracks which are detached loads of mysterious pads refractions. The disc ends with the triumphant synth notes heralding "Schönheit Gibt Es Nur Im Kampf", whose evolution departs from a turbid concert bells punctuated by beats of the pendulum. Opera upset by a sample of sound is not particularly large but certainly capable of playing enigmatic feeling chilled and loss, preservation of do intact experimental features that make "Leviamaag" inscrutable and with great charm. Waiting for hearing the next release "Nachwelt" I suggest to the large audience of 'ambient listeners "facing an immediate approach to the discography of this artist for too long hidden in the underground alternative. Stahlplanet, check it out, it deserves your full attention.

 

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—- Stendeck - 'Scintilla' - cd - by Maxymox 2011 cd - by Maxymox 2011 -—

sten Even during the earlier, suggestive album, "Sleepwalker", have the opportunity to sincerely congratulate the Lugano aka Alessandro Zampieri Stendeck for excellence in the writing of that work which, in my opinion, succeeded in touching the time vertices important qualitative thickness. The musician is devoted to a range of electronic sounds including plural inflections refined idm, ambient-oriented suspension, articulated segments rhythmic downtempo / midtempo noisy solutions and rarefied, carefully orchestrated elements in a context of more than ecstatic laptop. The recent "Spark" for Stendeck is the ultimate expression of an artistic career that in nine years has produced five official releases, both of which cited "Sonnambula" that the present work is entrusted to the now legendary honor of the release Tympanik Audio . As is often found in the discography of the artist, since the 2005 debut album "Can You Hear My Call ? "Today, integrated into the episodes track listing are the subject of reflection already being reading the titles, as they penned individually with a post-modernist Polissia poetic, adhering to the identity extraordinarily popular music from its later tracks. This detail makes each act consists Stendeck exciting, elegant acoustic flight facing technologically advanced but at the same time so prodigal of heat, feeling, as opposed to purely electronic concepts dehumanized. Arranged by Andrea Zampieri, burned by the inexhaustible Tom Hutten and edited graphically by the experimental composer multiartistico idm / downtempo Kostas K. Subheim better known as "Spark" opens the course of the seventeen steps with "Hold My Hand High In The Sky Ready For The Deep Dive", created by the rhythmic tone of atmospheric interpause whose solemn drumming propels an elaborate set-up you xtures electro-cerebral sinthetiche and fades, as well as the subsequent "Feel The Flames Burning Inside Me" runs on percussiveness distorted, bass-enhanced Aterno lines of buttons, pads and fascinating dream inlays programming. "Catch The Midnight Girl" unfolds globally on a swing, rhythm and versatile modular liquefaction sequenced electronic implants, anticipating the entry of "Tired Figures Wave Goodbye In The Backdrop Of A Sinking Boat", seductive electro-soul track idm sliding hatches of downtempo vibrant harmonies and aerated laptop subordinate to the characteristic compositional finesse Stendeck impression. "Tight Around Her Throat She Slips Away" distills a linkage of disembodied sounds dilated and rarefied drumming, passing by the shores of the subsequent "Like Snowflakes On My Fingers", built structures with lysergic ethereal-ambient notes that travel the road that leads directly to spirit. A tight maze for cuss the wide radiation supports keyboard publications belonging to "Run Amok (Rebels Against Time)," concocted by construction biphasic electro-percussive breaths and sophisticated computer material, ahead of sophistry melancholic high technology highlighted in "Swimmers Sleepless In A Hour" and on more full-bodied, slow rhythmic textures planned for "Voiceless Wishes In The Shattered Flicker Mist", a chapter which patrols's gentle style limited horizons idm replications of robotic percussion and waves of dark synths. A beautiful "Six-Bedroom Door" goes the title track must exchange as a drain un'iperstruttrata micro-beats from the trail is now fast and unpredictable, now marked with algebraic precision and powered by a luminescent keyboard score, elements that give way to nighttime evolution of "That Foolish Fascination Of A Ghost Light Collector," the background mesmerizing downtempo, elegantly arranged on soft agreements enchanted by the spatial key. Wonderfully intense, "Why Did We Get So Far?" propagates upward spirals of sound artificial peaks in the song becomes progressively similar to the roll of an airplane taking off, while "Learning How To Walk Through Walls" makes a compact apparatus merged with the warm evaporations midtempo drumming of the pads. Mediation, "An Angel Fell Last Night On A Motorway" diagram reveals a romantic piano written with touches of neo-classicism immersed in a large, monolithic key agreement, extending the track list until you reach "Watercolor Memories Of Thieves", a song that alongside bubbling drum-programming contributions made in dissonance with the intent to bewitch the senses. Not to be outdone, "The Silence After This" combines the clean aesthetic of the sound perfettamene electro-idm a slow fading pseudo-ensemble generated by the keyboard, details in sharp contrast with the powerful percussive whirlwind inherent in the final "Cr Cascade imson Clouds ", evolved from the stereogram extraordinary construction of key shared between dreamlike interludes and sudden rhythmic peaks that make the track actually passionate and compelling. As for my assessment, Stendeck no longer an emerging figure in the avant-garde firmament, but a gradiosa, consolidated reality destined to increase exponentially and pour out their deserved glory. electronic pure Ecstasy.

 

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—- STEVEN SEVERIN - 'Blood Of A Poet (Le Sang D'Un Poète )'
cd - by Maxymox 2011 -—



ste Mr. Steven John Bailey, aka Steven Severin, requires no special introductory notes in a review, he already occupied a more established location in the landscape that new wave / post-punk. His epoch-making role as bass player on the staff of Siouxsie & The Banshees has always been a hallmark of credible imprinted in any subsequent music initiative, including this eighth album as a soloist, "Blood Of A Poet ..." edited to Cold Spring Records. The concept of the work focuses on the legendary figure of the poet and playwright Jean Cocteau, orienting towards solutions soundtrack style: in fact this new product by Steven officially plays the role of a sound frame of the film dated 1930 and filmed in black & white, pursuing a path to the theme begun in 2009 with the first volume of the series, "Music For Silents". Record producer and composer, the artist expresses a preference for a vivid present sottog enus film called "silent movies", a passion that has granted him the privilege to participate in the UK tour produced by Picturehouse, crowning a burning desire to express his creativity even within this particular circuit. In addition, the recent acclaim collected from the album "Blood Of A Poet ...", recognized at the Silent Movie Theater in Hollywood, Steven has uploaded a renewed creative energy that will certainly be revealed in future performances, giving the listener the opportunity to assess to what extent has changed the styling approach of the musician worked against sonic alchemy of origin ambient / drone, channeled in directions that, depending on the personality of the individual tracks, that lead is in the dark in more atmospheric classicism. The eight suites spread waves of vibrant surrealism music, beginning with the composure expressed directly from "The Wounded Hand" played using ethereal to GREEMENTS organ, in advance of the next "Walkig Statues", ambient sound-track iperprocessato, waving and reverberated. "The Hotel des Folies-Dramatiques" has fine balustrades piano as an ornament to the hypnotic sound achitetture, enchanted, wrapped in dark expansion of laptops and noisy background. Further on, we experience the effect of the cold touch of piano and murmurs of "Glory Forever", dark-ambient, dreamy, steamy and exciting in its simplicity to the orchestral In The Nursery, the property expansion computerized "The Snowball Fight" dissolve to give space to a dim fresco of notes piano keyboard accompanied by underground bands of that in their subsequent development to blend a short percussion section, dying with it finally crystallized in the mists of laptops. "The Desecration Of The Host" expands heaps of obscure-ambient sound in the same four-note keyboard publications interpause short embroidered with fi it romance, and followed by "The Angel & The Card Sharp" a thin stems, computerized artificial ice made with few but extended pads from metallic shades. Orchestrations dream is merged with the sound noble cathedral, on which is set by the closing "The Lyre", a song softly to drug hearing giving the structure a dark-ambient style embellished by an exciting spirituality. Hard high caliber, interpreted as liquefaction of the modern musical concepts learned by Steven Severin during the course of years, transformed, reworked and is now manifested in the form of ethereal sounds, inscrutable. The transfiguration of thought-a genius. -|-|-» Significant return of a committed artist, maker of a work will be adequately rewarded by the seductive that fans of ambient and most cultured polymorphous. Admirable Finally, and this is my personal view, the choice of English musician of not bowing to ephemeral reminders of mainstream end of his career, but he passionately devoted to a genre not readily marketable sound, which is reserved to a limited target listening. I consider this album a satisfying experience, deep, gushing rivulets that will make the ruby ​​poet who quietly abide in you.

 

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—- Structural Fault - 'Intro/Version' - cd - by Maxymox 2011 -—

struct During the recent interview with Vox Empyrean, the Argentine Sarco has fully exposed his biography and, most importantly, the powers that led to the prestigious Aliens Production, label through which the one-man project Structural Fault has published this debut album, "Intro / Version", work electronically and psychic defense of the intricate IDM-industrial strategies. Despite the limited spread within the homeland of this particular subgenre, the artist shows a solid practical knowledge of sophisticated techniques that characterize it, composing harmonies and textures which ensnares the mind subjecting to a therapy based on prevalence of cosmic sound scores, harmonies and Robotics dry fractures of drum-programming. Limited to 333 copies and burned by the guru of ambient sound-Robert Gajdos, aka Headdreamer, the release consists of thirteen tracks technically advanced, the result of years spent in sperimentazi one individual and the constant application of aseptic rules governing the discipline of belonging, as already visible in "Earth Without Humans", opening track that slopes futuristic pads in combination with an intricate tangle of break-rhythm and then with "Evi" manifestation of the concept of electro-pollution made life-long introduction by a keyboard-crossed by a hail drumming clouded. Wonderful, the following "E1xit Of Emergency" presents an elaborate necklace listening IDM coniugante elegance and involvement, elements expressed in a perturbed extension keypads suspended between distorted damping programming. This leads then to touch sentimental piano matching "Love In Cryogenic State", surrounded by a vast expanse composed melodic sequenced hatches and dry electro-percussive fracture, ahead of pneumatic de-structuring bpm and acoustic designed for "Rai n On Steel ", track agreements and rhythmic contortions perforated full of magic. Equally enticing," Stranger On A Planet "propagates a slow, gloomy mix of e-keyboard-drums to support the vaulting crystalline tone and occasional vocal loops, while the resulting in "Strayed" punctuates its stride with a madcap mix of programming agreements and seamlessly integrated into an ultra-avant-garde club playlists. The sounds planned in "The Last Sedation" reflect all the extraordinary attitude of Structural Fault electronics applied to hypnotism Intelligent Dance Music, poured hours of torrential flows of effects, from current saturated tone accompanied by beautiful finish of the keyboard. And 'the turn of "Nocturne Of The Weeping Harbor Streets" slightly accelerated compared to the previous one by rhythmic body 'sprawling gait and formulations sobbing sound, reconfirmed by virtue of lysergic ral slowly, "There Is No Leak" transformed from there in a storm of short synthetic beats-who beat structures with refined, rapid intensity. Advancing to meet the mechanical bonds between the grating drum which supports "Wandering Ghost", a song placed on alienating phases ateree keyboard publications associated with constellations of electronic-noises, until the adjacent "Within My Blood", the transition from rhythm similar to a thorny agglomeration twirling to the sound that inflicts thousands of micro-cracks, only partially alleviated dall'abbagliante spatiality of the pads. The disc concludes its run with the superb musicianship of "Collapse", which recreates track overflights of apocalyptic landscapes using aircraft as a sound mark of IDM decided for this occasion decelerated through distorted rhythm tracks surrounded by graceful splits synth. Album of uncommon elevation, relegated to a select audience of some electronic guidance st-modern. All the way sound heard in the album refers to the excellent capabilities of Structural Fault assembling circuits unpredictable sound unnatural to aesthetically impeccable arrangements, whose spirits are concentrated in a very classy title track. "Intro / Version" is the celebration of the science of sound, a perfect without calculating margin of error. Think of it as just the beginning of what will be.

 

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—- Sys2matik Overl0ad - 'Sys2matik Overl0ad' - cd - by Maxymox 2011' --
cd - by Maxymox 2011 -—



sys2 Power duo belonging to the scene electro / indus / ebm, born in Philadelphia in 2008 and starring Michael Sky in collaboration with John Ruszin, it numbered among the founders of fellow Carfax Abbey. Emergency Project, the Sys2matik Overl0ad have woven a tight network in time of investments in the field of radio and club sessions both in the United States and Europe, initiatives aimed at broadening the dissemination of their music and the knowledge conveyed in this final self-titled debut album Toil and branded / Drill Bit Records. The overall impression from hearing resulted in this release is that of an electronic sound mature and thoughtful, aimed mainly to the slopes, since it is set to lively dance-beats, online-programming button and dry-toned vocals, never overloaded, with exposed pleasing harmony. The title track of the ten events is triggered by "Acid Rain", aggressively, ebm, supported by a robust system E-drumming on which abrasion flock of guitars and rough vocals of Michael. The pace intensifies its speed in building the first "Desolate", electro-industrial song lyric from a duel with a percussive rock-plant, and then decelerate "Blackness Comes", track that highlights the good level of learning about Sys2matik Overl0ad the logical danceable clubby exposed in an episode from the tenacious drive and rhythmic melodies capturing ebm. "Enter Fear" set to turn a nervous structure of electro-trance absolute danceability progs using viscous solutions and urgent voice, and the following "Just Begun" is offered as a solid ride that pushes technological and springy beats and vocals that incite- the movement of the body. In "Lies" flows a torrential set of programming, guitar-noise and lyrics expressed with bitter determination, details placed before the dynamic framework of "One Last Time", high-energy song gy made by means of accurate items from scratching ebm-industrial forms of rough guitar and resolute hand. This leads then to "722", the electro-bodied anatomy reserved fiery dances, followed by the same "Sys2matik Overl0ad", high-speed track built using a long sequence of filtered vocals run parallel to an outflow of vicious acid sequence and swing drumming. "Your Last Friend" ends the list of present hearing addressing the now successful, compact scheme in direct indus-ebm supported by a sparkling carpet and cadenced rhythm guitar-vocals: albums frank and aligned, as other examples on generis, the most radical technological dictates compliance of those devices that transform the synthetic sound compelling, determined, uncompromising. The Sys2matik Overl0ad openly demonstrate that it has considerable energy charge during the entire broadcast continuously for competition of workers, is in fact an interesting source of supply for both the DJ alternative techno-evolved for the listener. Satisfactory enough to make it affordable without regrets.

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—- The Chemical Sweet Kid - 'Tears Of Pain' - cd - by axymox 2011 -—

theche Power-owner of a French duo-style electro-dynamic indus gothicheggiante. The animation project from the front-man Julien (music & lyrics) and Coralie (additional live-drums) is on substantially since 2008, on the back of several live experiences in which the front man, DJ and founder showed in their music selections marked stylistic inclinations turned towards EBM and the darkest segment of electro scene, promoting bands such as Tamtrum, Suicide Commando and Agonoize. The album "Tears Of Pain," officially the debut of The Chemical Sweet Kid electro-alternative scene, a release which sees self-produced publication, even when the partial contribution of Advoxya Records label. The list of titles has thirteen episodes, twelve tracks plus a bonus regular-ghost track, all subjected to a careful rhythmic bursting with electronic processing, personality, as well as a certain force, which relegates the songs to an environment ideally suited for dance floors as ra Say it. The path begins with the scanned bpm of "Tears of Blood," a leaden vocals from electro-industrial track acids that duel with a sinister synth-scale programming and a button, placed before the following items belonging to vehemence "Human", a chapter which propagates from a sample sound fast percussive beats that regulate the flow of power with regard harsh vox-keyboard-sequenced. The grim danceability spread by "Six Feet Under" goes to increase the volume, for a total action necessary interplay between sound and legs, fever triggered by heartbeats of progs, atmosphere and dramatic involvement ensured. Throaty tone to the lyrics of "So Many Things," a track dall'algida harsh voice and rhythm slowed down, crossed, followed by "Sad Truth", a piece of dark-electro-indus permeated with a dark and infectious vitality. The excellent and cruel "No Longer" exhibits energetic techno-beat forward-apocalyptic horizons Industry l, using the deep and rapid sequences in parallel with a sharp percussive accompaniment of synths and vocals, while "Face Of Pain" switches the sound realistic nightmares in the form of silhouettes dancing moves from a glacially martial drumming, voice and painfully dragged by Julien obscure punctuation keyboard publications. The rhythm takes part with "Ergo Sum" from which expands a relentless percussive pattern swollen with deaf and fast oscillations that mark the time, carrying with them the issues of the angry vocals and programming of the hatches, prolonging the course of the title track to the achievement of "Identity", and sent even more psychotic, a technology suitable for dance breathless, distraught and cybernetic. "A Wonderful World" reserve a sound full of cumbersome electro-strategies communicating with the dark recesses of a crowd driven by powerful rhythms, brutal expressions of voice synthesizers and tactical interventions. Mysterious here nt dark, keyboard-the long introduction to "The Day After" anticipates the actual interface of the song, melody or electro-industrial scarred granite dall'affilatezza voice of Julien and intertwined with drumming and fiery rotation progs, elements that lead to later the review of "Tears Of Blood" here in the version "Deathfloor Edit", more embellished arrangements of track that make it an effective instrument for collective dancing. Probing the disk until the end of its sequence reveals the aforementioned ghost-track "Paint It Black", a remake of the famous song in the key electronica of the Rolling Stones in 1966, pleasant and very dance-oriented. Undeniably successful album, "Tears Of Pain" is a device that Electroman use to satisfy their burning desire to move the body and, of course, listening to passionate. Up to total exhaustion.

 

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—- the exploding boy - 'the black album' - by maxymox 2011 -—

exp From the frozen lands of the Swedes here resurgence The Exploding Boy, a band very resourceful, creative and able to make pleasing sonic attractions. The very name of the band leads back, but did not find a specific stylistic response to sounds coming from the Cure, which relates but this was not particularly adherent to the style expressed by the ensemble since the The Exploding Boy more oriented towards an energetic new scheme wave/indie- rock / post-punk rather than dark and decadent poses designed by Robert Smith. Clarified the primary concept proceed with the analysis of the new "The Black Album," Release through which this training based on Södermalm fulfills the mission of the third full-length debut in 2007 after living with the same name "The Exploding Boy "in whose presence temporarily the bassist and drummer Mario Gonzales Tord Jarlsson. He followed the good "Afterglow" in 2009 where he laid the final line- up that still sees Johan Sjöblom the acoustic guitar and vocals, the producer and guitarist Lars Andersson, Stefan Axell on rhythm guitar and vocals in addition to arranging-keyboardist Nick Isgren. The band, which enjoys a growing reputation, won in 2010 a well-deserved recognition given to the digital release-"The Human EP" with which the ensemble was ranked number 8 of the German Alternative Charts (DAC) also being named by Kool Rock Radio in May as a "band of the month". Media label, the Swedish Inexplorata dismisses For this record, the result of a deliberate strategy that simultaneously combines the styles listed above as well as a livery sound appealing, modern and often interpreted with a more poppers that once, for the benefit of traces d ' effect and ubiquitous as the opener "Human", also available on video and potential pop hits of undoubted pedigree wave, built up under them melodies of guitars, drumming dry, rhythmic dance and well, programming and keyboards that accompany the 80's immaculate vocals of Johan. Decidedly more fiery the post-punker "I Am The Truth", written by former member Mario Gonzales, offers himself in a tough housing percussiveness guitar punctuated by high-percentage, and the following "Torn" retrieves a linear programming support, bass and drums as a backbone, placing around it supple guitars arpeggios ready to turn into streams of abrasive material, keys, and the voice of Stefan Axell. "Dark City" is being viewed in the rear guard in an atmosphere settles pop-rock tunes from the 80's gothicheggianti, as well as "Loneliness" and prefers the same functional scores of keyboard, bass, guitar, a refrain that design made by capturing the voice of Johan. A dynamic-punker goth-rock melange can be seen between the strained notes of "Sweet Little Lies," accented by track programming, an ardent impetuosity declamatory guitar and vocals, in advance of the subsequent "Talking Back", an episode dominated by romantic vocal inflections and a vigorous wave of pop music made easy. "Get Out Of My Head" stands out initially as a sad-ballad in the development of which gradually grows a strong current of guitars and vocals Johan suffered detached sections of drum-beats. Much more waveggiante, "Here Comes The Rain" follows a parallel adjacent to Cult of "Love", especially noticeable in the retail refrain, while the closing "The Man" has a strong theme built on rock-punker flames guitar, sped drumming, bass button and precise vocals chasing a high-energy staff. The final sensation is that of a liaison between the rear after-punk and a compositional scheme that takes account of new trends, ideas that essentially rewards this release is intended to be taking an important step forward for a band deserving cast by visibility and consideration. The convincing return to the stage of a probable, fortune cult band.

 

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—- The Frozen Autumn - 'Chirality' - cd - by Maxymox 2011 -—

thefro The Happening. I waited impatiently for the comeback to the scene of one of the most significant wave of electro-Italian style that The Frozen Autumn, conceived by the band's frontman Diego Lace in 1993, plays regularly with deserved and reflected sound tactics always consistent with the dictates old school taught by the team of Ivo Watts-Russell in the 80's, from the reminiscences of Clan Of Xymox and, more particularly, shadowed by conjugations of the verb synthpop. The imprint that characterizes the platform in Turin, while retaining their virtues unchanged over time, gradually integrating it into their music further technical improvements and more and more imbued with neo-romanticism nuances of emotion and melancholy sad dacadenza, starting from very dark toned-oriented the now legendary and official debut of the 1995 "Pale Awakening", released by German label Weisser Herbst Produktion, preceded in turn dall'autoproduzion and five tracks on tape, "Oblivion", 1993. The line-up at that time was essentially Diego (vox, synths, samplers, programs, fx) and Claudio Brosio (live guitars), element to the next release of the "Fragments of Memories", published in 1997 for 'Milan label Eibon Records. The entrance in 1998 Froxeanne (vocals, synths, samplers, programs, fx), inspired the creation of an experimental side project called Static Movement, through which in 1999 the duo built a significant album, "Visionary Landscapes", making to the fundamental dark-wave structures of a higher dose formulations synthpopper electronic notes and elegantly portrayed. The subsequent remastering of the first album, "The Pale Collection" fired in 2000 included, besides the canonical track listing, the remake of the unreleased track "Bio Vital" Decoded Feedback belonging to, up to the full-length "Emotional Screening Device" of 2002, which stood the song "Sperm Like Honey", written by Canaan. The label records released in 2005 Germans Pandaimonium the excellent "Is Anybody There?", Marking the shadowy melodic songs gothic-wave/electro: five years separate the title from the mentioned 10 "/ limited edition vinyl" Rallentears ", consisting of hard four episodes of the keyboard-bearing contributions Vicenza Mirco Dean, alias The Count, available in both the solo project of natural ambient-electro-indus Nabla Ermeneuma Operators in the drawing, a character also present in the new release as a player-synthesizers. Both the 10 "just described, this album is concerned, owe their genesis to the pun Records, label and brand founded by Froxeanne already mentioned in the pages of Vox at Empyrean in the analysis of a recording artist on the staff recruited, Sir Joe. As mentioned in the beginning, in the harmonies heard the cliche about "Chirality" raises the typical Sche but kept in the DNA composition of The Frozen Autumn, or a mixture of deep vocals, well-tuned and nostalgic rhythms, drum programming beats punctuated by increasingly clean, along with calligraphy keyboard publications constantly engaged to decorate the sound of poetry waver. The album combines the peculiarities of the band to slightly more current arrangements, toning distinguished more clearly defined by those who possess the historical memory in the modus operandi of the project, which appoints a sense of pride "frozen wave" sound from it the product. The track listing of the work develops the first ten tracks starting from the busy staff of "Before The Storm", a song where the melodious voice of Diego becomes the protagonist of evolution perfectly integrated in a romantic context of danceable synths and sequencing. The lyrics sung by Froxeanne in "Sidereal Solitude" intersect instrumental plant operated by Diego, costituen give in fact a tangible proof of the excellent creative level reached by the two actors who pour passion in this chapter, decline and struggevolezza, aspects that refer, albeit distantly, to the baroque accents voice of Elizabeth Fraser supported by scaffolding graceful electro / wave oriented. The namesake "Chirality" offers a technology-accelerated architecture percussive cloaked by the warm voice of Diego and saddened, as the following, and extraordinary "Breathtaking Beauty" mid-tempo beats regular scans metronome to such a sad set of vocal harmonies, guitar and synth , whose synergy spreads a sound that smacks of the rainy season, dressed in black and immense sweetness. The track provides hours patrolling the entrance of "So Brave", sad-songs vocalized by Froxeanne under the influence of an electronic musical afflicted, noble and elegant as the rose petals scattered in the wind. "The Exile" dry pulse propagates e-drum s, hatches programming, synths, and especially the heartfelt Diego modulations that give the track some of aristicratico, as well as the subsequent "Victory" renews the harmonious voice Frozeanne paradigms articulated vocal refinement, including the copious streams of synth rapid and percussive beats. Un'invernale cold-wave electronics prepares romantic cut now "Rallentears", a song that welcomes him the arpeggiated guitar-sound by Stefano Nieri extended rhythmic punctuation between skinny, measured friezes keyboard-and, of course, the singing of Diego accurately set. Much more succinct but always obedient to a neo-romanticism gothicheggiante, "In The Golden Air" pours drenched pop tunes capturing embracing technological sophistication Froxeanne voice. As can be imagined, the conclusion of the album could only offer yet another, the last gem of an album with a high level of involvement, "The Last Train", built on snappy beats, electr ic trails of guitar, programming, synths vapor exposure and tonal magic of Diego circling idyllic throughout the extension of the track. Listening to a release of this magnitude does not give room for superficiality: each of the chapters in "Chirality" demands attention, a markedly inclined to the Romanic forms a strong attitude and almost forgotten what I personally call individual, honoring Diego Froxeanne, "emotional wave". For those who already holds the entire discography of The Frozen Autumn, this work is an essential accessory that will fill esaudientemente the expectation that separated it from previous work, while for those who still do not eccostato the unmistakable sound of the duo, this record may represent a first step towards the knowledge of a valid member of the project and long-lived "new wave" which, quite independently, has been able to create an identity and a reputation over time or never coming to worship. The immortal glory of the first acts he meets his worthy improvement.

  

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—- THE GHOST EFFECT - 'TGE' - CD - by Maxymox 2011 -—

theg The band The Ghost Effect Turin gives continuity to the button matrix gothwave creative flow that still manages to accommodate himself with loyal followers dressed in black rivulets of belonging both to the faithful that the new generation rearguard. Active since 2005, but with the current official name only after 2008, the quartet made up of Laura (vox / guitars), David (bass / vox), Claudio (vox / guitars / keys / drums-progs) and Henry (drums) debut with this album, "TGE", issued by fellow Breakdown Records, the label known for its succinct but valuable stable of artists recruited as well as the excellent TourdeForce Blue Velvet, and GigaHearts Sell System. Off the echoes propagated away from self-titled "Life Is No Cabaret", the ensemble is able to satisfy the audience by offering a vigorous style to which they belong sonic influences that recall the old school Cure, Siouxsie & The Banshees and a small part even to Cocteau Twins more radical, melodic catkins nostalgic but at the same time obscure and arcane, the revived and re-release The Ghost Effect in "TGE" part of the track listing can be found in the first self-produced release, for a total of ten incidents in which the dark blends with textures voice of Laura, oppressive to the cadences and the inlays of percussive guitars, creating a sound that dwells semiassopito foreshadowed the spirit of decadence. "My Black Regrets", the first song of the track, the passionate singing of Laura spreads through strained-percussive guitar textures, articulating elements of goth and wisely, especially in the refrain, reminiscent waveggianti. Also available in video, "Korsakoff Syndrome" offers mirrored vocals, echoes, duets alienated and claustrophobic atmosphere of post-treatments made fascinating by dark flecking and low-acid guitar inlays. The slow pace of "Submission" recreates scenes from cabarets depressed using the evolution of vocal vocalist Spa Elder sad and reflective shades with dense spikes of drama, all supported on an instrumental waltz Gothico arpeggiated notes of cellist Beatrice Zanin. "The Ghost Parade" propagates the melodic lyricism sung masterfully by Laura and diluted in a background supported by elegant touches of guitar, keyboard and drumming orchestra. The dynamics of "The Fall Of The Man Of The Moment" offers a balance between sound modules instrumental to the Mission and Siouxsie vocals, while the visionary and desperate tone accents poured into "The Dark Side" are interwoven with a dry body of electric guitars and battery, as well as "Say No" recovers a total area more romantic, wonderfully supported by the Laura's voice that radiates with a solemn grace Gothica the sweet chords of guitars, and a key measure of drumming percussion. Initially, surreal and psychedelic, "Friendly Fire" ruling shot down a song that in its development guitars istico touching dramatic tones, anticipating the power of the agreements relating to "Notes For The End", set on stands resolute goth-rock. The final section is reserved for the work darkeggianti suspension of "Goodbye Tomorrow", from the gently arpeggiated pick and made the passionate voice of Laura notes that elevates twilight overflowing with sorrow. Album important, fascinating and inspiring. The intensity and expressive behavior of the system voice become the fundamental elements that blend well with decadent romantic-goth aura projected by a sub-instrument, coordinated and flexible. "TGE" is shaping up now that the changing of the dawn, the time frame even dipped in the dark, yet so close to sunrise. The sound of The Ghost Effect, sometimes severe, now malinonico, son of old 80's memories, the listener hands the last fragment of the night, raising his eyes still sleepy in the direction of the first, timid rays and to the east ' This time the ghost. And 'this is his mesmerizing effect

 

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—- The Gothsicles - 'Industrialites & Magic' - cd - by Maxymox 2011 -—

gothsicles The scene Indus / Goth American lists among its representations also this recent release by the The California Gothsicles, an ensemble led by front man DarkNES element also found in The Caustic and The Apologizers projects. Record company operating since 2006 with the debut-album "Nosferatu" The band continued its way affecting the second full-length "Sega Lugosi's Dead" in 2009, denoting a style built through concepts that played down, but keep subvert the Decadent gothic classicism, breaking up the woods with a heavy dose of industrial electronics. The outcome of this mixture gave rise to a sound vehement, fierce, focused on the clubby rhythms formulas vocal abrasives, stinging: "Industrialites & Magic", like the previous album, it is licensed by the U.S. WTII Records label specializing in productions synthpop / EBM which emerge from the most illustrious names such as sottoscrzioni State Of The Union, Cut.Rate.Box, Stromkern, Controlled Fusion and Dessau. The record sounds under consideration has clearly addressed to the dance floors, spiking of incendiary madness voice, electro-dynamic and rhythmic a distinct structural quality, excellent thanks to the introduction of guests who add professionalism and prestige to many of the eighteen tracks in the list. "Do What I Do", opener, quickly spread from one theorem-like weird electronic game between a improvised phrasing, quickly succeeded by vocal blend between schizophrenia and vigor exhibited in electro-industrial "-BR [x]-NA" in the voice track that introduces Brian North, Member of Xuberx, bands in Washington devoted to the verb techno-indus. Recitation of texts in angry mode, asylum, loops, doors sequencers, synths that weave dark danceability agreements and secured characterize the "Save Dat Mermaid", passed by Next and equally pathological "Wearing A Star Trek Uniform, Lechmanski Watching Tony Sleep," created by the powerful body electro-percussion in the programming produced by Keef Baker, English composer currently devoted all'IDM / post-indus. "Drunk Cuts" manifested through a fiery intent danceable-supported and the usual drumming and hysterical voice, while an even tougher support the fast rhythmic pulsations rule of "Voicebox Botox", explosive and enthralling, a reserve of mass electronic structure galvanizing and battle cries which invite the collective movement. The short and self-celebratory "Is My Favourite Records WTII Record Label "raises only elementary video game sound and voice Robotics, while the production touch of Wade Alin of the project Christ Analogue is inherent in the plots of "My Guy Died (Level 12 Human Sorcer)," percussive driven track from the bursting surely appreciated by d.j 's, in combination with a virulent set of voice and loops. The show continues with the next "You Have Found The Hawk's Claw ", an episode fabricated using the proven platform and strong percussion, vocals, along with pronounced with sharp anger from which most important are those of the guest Keith "DOS: / / Boot Watson," a track from the track and produced very the magical talent of Tom Shear, aka Assemblage 23. Still farther you'll experiment with capturing dance-minded logic of "Wildness Acts", in a wild riot of electrons produced by Wade Alin quoted and written by the combination of synth progs, and members of Xero, a member of the band called American rhythmic noise-Critical System Error. A tangle of percussiveness drum'n'bass holding instead "Baby Genius Baby Jesus vs." Sega Lugosi aka Matt Fanale of Caustic The duo Section vox, who tinkers with a score electro snappy, nervous, hypnotic, playful to advance games-minded atmosphere of "Call The Chips To Port", built on a humorous and shiny synthetic emissions monologue. Sounds much more authoritative passages are heard in the next "Save Dat Mermaid", traces the predominantly emphasis-programmed rhythm that uses the remix by Claus Larsen, Leæther Strip, which becomes sound hyper-danceable an exhausting array of hydrophobic bpm and citations. The reprise of "Drunk Cuts" is reworked by Peter Spilles by contributions from Santa Hates You, Project Pitchfork, and Imatem, for a valuable tool circuit driven by the resolute step of the drumming and the refinement added during studio recording. A renewed livery electro-dark-hued gothicheggianti identifies the remake of "My Guy Died" reissues by Yendri, which brings in the development strategies of the song the inevitable dancing, as well as "BR-[x]-AN" Caustic is revisited by the duo The version of "You're Both Pretty Girls Mix", a new form that increases the already high level of alienation. The list of guests also includes that of Vasi Vallis, owner of known projects Frozen Plasma and Reaper, which is responsible for the reconstruction of "Drunk Cuts" which now has in a very tactical scheme of danceable synth programming and weather inserts. The band electro / EBM to Baltimore then appealed Boole remix "My Guy Died (Level 12 Human Sorcerer)", providing a dense and pounding Drawing sonic absolute value renamed "And reveling Leveling Mix", with gloomy keyboard procedures in addition a hyperkinetic segment electro-percussive breaks punctuated by darting and immediate write-speed Programmed. The rough voice, the nerboluto tangle of electronics, industrial-focused strategies and dancer the wise introductions of guests on the subject, make "Industrialites & Magic" album compact, well defined, without hesitation, coinciding with the idea of ​​"energetic". The track listing, as extended and rather monolithic offers several tracks suited to the unquestionably tracks, titles that are sure to enrich your playlists more daring. Goth & Industrial strikes again!

 

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—- THOLEN - 'Neuropol' - by Maxymox 2011 -—

tho Tholen in the imagination of German there is a futuristic city survived a series of catastrophic events. Among its streets, inside the gloomy building, in its subsoil, there are two separate companies: a numb resignation, reduced to a servile group of semi-automatons destined to work in post-industrial areas leaden, and the other, a caste of followers of the Church of Miro is the powerful and enslaving the population with full control of slavery in the first. The hint of an impending revolt of slaves in the air, however. This album plays to the fears and the atmosphere related to this condition, while describing the mysterious liturgies celebrated by the darkness of the underground slave belonging to this devastated town called precisely "Neuropol". Limited to only one thousand copies in digipak format licensed by the Canadian label Cyclic Law, the release sensor abysmal dark-ambient natural background, representing the sec ondo full-length produced by the artist back to "Sternklang" of 2007. The exploration of new and increasingly gloomy indirect musical territories of these eight branches suites whose first root is entitled "They Are Watching Through My Eyes", a fluffy, spread of cold absolute black There comes the sound. "Skeletons Of Steel" continues the track-list proposing a property-harmony does not flow through it echoes industrial laptop, allowing later gravitating around the entrance to the darkness to "Neuropol Underground Infrastructure," Spectral-mask obscure ambient. "Cryogenetic Ceremonies" depicts scenes of captivity alienating and anxiety using modern sound dipped into the night, as well as "Among The Tormented" offers a kaleidoscope of sound that make for very slow dark and menacing to the hearing. "Tiefe-Floating Corpses Odor" expands gloomy reverberations absorbed by a chilling vocal structure and low frequency sonic haze, while "Becomin g (Segmented Minds) "offers a peaceful dialogue in the intro-female bad breath anticipating a progressive sound and gas impenetrable. Last track," All Hope Was Dying As "casts hypnotic spirals, whose shady changes completely surround the senses well soon cede to a slumber populated by nightmares. Hard-style Cyclic Law, arcane, misty, rewarding for those who have experienced mental to the fluctuation scale culminating in the surreal delirium. Neuropol The city is waiting to gulp of my will. -|-|-» Dark-ambient, fine finish, supported by a scary concept, obsessive, built by Plutonian vibration, expansion of sound and timbre underground freeze instantly rare, indefinable notes: a slow, incontestable under the current will drag surface showing the future according to Tholen. Emerge from the depths will be impossible.

 

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—- The Pain Machinery - 'Surveillance Culture' - cd - by Maxymox 2011 -—

thepa Recently signed to label Complete Control Productions, The Pain Machinery Swedes have always declared that intrepid testers technology segment that is specific referennze in the Electro-punk. Musically active in the field since the historic 80's alternative and materializing their first job in 1992 at the tape recording, the duo Anders Karlsson (synths) and Jonas Hedberg (vox) positioned immediately the compositional axis in the direction of a hybrid generated from the slope punker British and a radical form electro / industrial, perfecting this style over the years to the gradual addition of EBM and house details. The project is popular with fans because of his enthralling live sessions, it comes with this release of the sixth milestone albums as a result of previous publications such as the first self-produced EP "Mindfuck" of 1997 and the cd-r "Chaos In Expansion "2001. Followed by three full-length "The Venom Is Going Global" In 2003, "Hostile" published in 2005 and the double "Chaos In Transmission" of 2007, all released by U.S. label BLC Productions. "Urban Survival" instead of 2010 is worthy of support Advoxya Records label with the excellent, while the aforementioned label Complete Control Productions now occupies the two versions on the new title "Surveillance Cultures" is fired in a regular version of that structure "remix ", the latter produced with the valuable contributions of Ted Barley, Jouni Ollila, The Weathermen, Severe Illusion, Necro Facility, Sebastian Rivas and Ragged Bones. Vox Empyrean specifically analyzes the ordinary edition of the album consists of fourteen tracks, each one created with the clear intention of communicating electronic energy and the charge of old-school punker desecrating the verb: "Shine," the title track opens up a spreading sound thrashing by regular rhythmic beat together with a taut line of vocalizations similar to the proclamations, as well as the following "Critical State" pours a long strand sequenced drumming on which stand the angry lyrics of Jonas. "Never," as many of the previous and next track, fully reflects the classic EBM-electro vocal section intersected by an acid that does not conceal the obvious punk influences-oriented identically to the next "Hard Cash", which introduces a biting form of programming to support an abrasive form of singing monotonous. "Acid Breakdown" charge electro-percussive beats ruthless, icy synths and vocals mandatory emissions, up to the sinuous rhythms belonging to "The Grudge" that harmoniously blends elements of electro house in leathery bases. "The End Game" does not subvert the sonic setting that governs the entire track listing, predisposing also marked on a fee-programmed percussive electro-industrial branch in association with the voice of Jonas set of utterances and hard incattivit e. The next episode is "Grinder", straight from the track dry and metronomic rhythm from which to propagate and controlled vocals aculeiformi turbulence progs, tapping in after the EBM typically uncompromising sound sample of "Hell". Advancing further in the analysis of hard to meet the redundancy of sequenced "Armed!" which are flanked by compelling phrasing of the texts and, still further, the experiments of electro-psychotic "Surrender", backlit by a force excoriating punker. Deaf Pulse introductory "Hate Me Now" is apparently misaligned in relation all'incedere percussive segment, and then synchronize in the usual, regular electronic slashes vocalized by Jonas replications using unstressed. "Playground" a dynamic, active process of artificial pace suitable for patrons of the dance floors of faith shaved electro-EBM, while the final "Moving Walls" extended dance-drumming and progressions, effects voice and enigmatic, not confined to one track so far under Sonic and relegated to listening to an episode far from hard techno-experimental-electronica. Granite hard, uncompromising, devoted to musical concepts of trend. The combination of punk and content, more broadly, synthetic, determines a sound annihilated by the melodies, sparse, stinging, to the prevailing use and consumption of those who identify themselves in fervent admirers of this electronic subgenre. Order and compact, sharp vocals, no superfluous elements, musicality circular, which is banned or harmony rhyme: If you try these ideas, you get to know "Surveillance Cultures." You will discover that they have much in common with this album.

 

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—- TOTAL PAIN KOLLAPZ - 'Survive The Everyday' - cd - by Maxymox 2011 -—

tot Swedish one-man project come to this new, second album, "The Everyday Survive" which alternates with non-sensational "Hell Is Not Heaven" released in 2007 for Hypervoxx Recordings. Tony Pettersson, this is the name of the artist, now comes on the slopes of the Hungarian Advoxya Records label offering fifteen episodes from finishing darkeggianti electro-industrial, largely replicating the stereotype heard in previous work and directing the music to dance-oriented solutions. Personally, I do not often share the views expressed in many reviews from colleagues, however, in the specific case of TPK, I can not assent to the judgments which parallels that describe this release as "empty" and "incomplete". Probably the work in progress undertaken by the project lives in this period a slow phase of transformation in which the flaws and uncertainties persist on the first album: the atmosphere is that the sound structures are affected, except for some h few exceptions, a remarkable redundancy largely accentuated by the anonymous vocal timbre of Tony, reduced to a hissing sound output without much conviction. "This World" was presented as a confirmation of these concepts, electro-off song, and unattractive, as well as the subsequent "Let Me Die" can not go beyond the threshold of acceptance, leaving contaminated by a fatal ingenuity of composition. "I.H.M.S." does not differ substantially from the previous traces of settling a pale form percussiveness electronic, synth and vocals impersonal blow. The album takes off through "Where Are U (2009 Clubmix)" and its fast bpm traversed by loops and poems spoken by Petterson bloodless, pass those penned by the hand of Suicide at Shelly "Locked", mirroring the heard so far, which is a set of dry electro sound generated by the programming, monotony of synth and voice that hovers without producing integrated interest. "The Sinners Last Wish," the review continues proposing nothing more than a lurid electro-track set in a dark-industrial tascurabile context, while "In Your Face" limits what could be a solid ride to a dance floor arid domain of sound without artificial socket. "Warzone" is part of the "exceptions" reported at the opening, making danceable and well-planned gallantly through its vibrant pulse racing loop mixed with phrasing, the voice of Tony and synthetic circular melodies. Ascedente is added to the phase of the album of the same name "Survive The Everyday", Chapter plagued by dark electronic beats and percussive splashes of acidity harpsichord, elements that blend with the subsequent electro-Shyness of "Scum", the track that tends to rise just above the average. And 'round the "Evil Inside (2 Blame U)", negligible electro / indus-track in advance of "The Conversation", in which buttons intersections Sequenz iate consists of a pathological punctuation synths and a thick voice box in the background. "Stay" is supported primarily by a marked-drums and apparatus that interacts with the usual whispers of Tony, while the kinetic and the instrumental "March Of The Dead (Fishstick Happy Pill Mix)" is appreciated for engaging danceable industrial. Identical to the courts even for the final stretch of the release, "The Sinners Last Wish (Death Under Siege Mix)" which, while not offering compelling performances, spread by an energetic sound very clubby dance without falling in love. Albums from the contents of modest attraction that does not differ from other products intended for thin eclipse without leaving pretty much nothing in their memory. TPK has a lot to learn. -|-|-» "Survive The Everyday" knows too much about flat and craft tradition, a substantial proportion of their candidates are spending tracks in total anonymity, penalized by a non-marginal interventions vocal and instrumental vivid design. All this for the moment TPK a project that is unlikely to overcome the barrier of the listener demanding evaluation. I wish Tony to be able to consider an immediate and radical change of style.

 

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—- The Victim's Ball - 'Memoirs Of A Resurrectionist ' - cd - by Maxymox 2011 -—

thevict Project founded and developed in Melbourne by Robert Massaglia sided, available in the past with Dave Foreman in the platform EBM / indus / punk band called Tankt, as well as in a second drawing of nature darkwave / classical / steampunk / gothic dating back to 2006 and known as The Tenth Stage made with a large cast of exceptional including the producer and member of the John Von Ahlen Parralox, the former Human Leaugue Ian Burden, Zoog Angelsplit and Chris McCarter of countrymen coming from Ikon. The protagonist's prolific creativity has enabled The Victim's Ball, an intense and sharp musical experiment influenced evocative power as a basic principle by the persistent aura of terror and the guillotine raging at the time of the French Revolution, together with the aristocratic elegance and subtly provocative perceptible in the choreography that distinguished the elegant dancing of the period. Roberto's intentions, however, are not limited only to this specific circle but to the inspirational cronostoria declaimed in recitative of old key human events and their costumes, "Memoirs Of A Resurrectionalist" is a sort of torn on this occasion takes time in the gloomy Victorian era, characterized by a social order jet set, but while a century of distressing events. The disc presents the story of Jack Corben, grave-robber on the capacities and character darkly passionate, poetic, radically devoted gothicheggiante the prevailing cultural flow typical of that generation, touch very noticeable in each of the eleven official album ends with two episodes bunus-remixed tracks. "Memoirs Of A Resurrectionist", also available in 12 "LP with only eleven canonical acts, proceeds in the direction of sound research and darkness pregnant with classicism, elaborated by Roberto in close collaboration with vocalist Joanne Mizzen and The Baroness, q uest'ultima project from the alternative / gothic Opera Macabre, in addition to Tim Harris, whose voice is in charge of the phases of the narrative. The most recent work, fired from Elysium Sounds label, before recording their debut self-titled full-length of 2009 on "The Victim's Ball", followed a year later by "Gothic Novel" and self-release of 2011 in 12 " shared with the duo split vinyl of the Ikon. The tracks in the track-list enumerating various interpretations footprint, with a compositional trend that varies from dark / romantic folk-Baroque to Neoclassicism, up to lick the martial and electronics, all cleverly set in a vivid background soundtrack built mainly through the use of keys, hurdy gurdy, mandolin and the modulations dell'hammered dulcimer. The epic begins then, with commentary by the excellent voice of Tim Harris, who exhibited between a foggy background screams echoed, hurdy gurdy, and effects, the prologue to "This Is T Story Of Jack Corben h "followed by the reverberations of bells and the cries introducing the next" Born By The Candlelight ", with the spotlight glaring on the voice of Robert, magically introduced into strings and keyboard orchestrations driven by a percussiveness soldiery. A reminder of the Victorian dances come from "Jack Of All Trades", atmospheric track that assembles text expressed with pathos drummed in by the first actor, whose verses are raised in a crown of horns, hurdy gurdy and sweet female chorus. The vivid allegories "The Fortune of War" exhibited an introduction by the violin, develop from there a short in a high-sounding song from English inn nineteenth century, whose continuation "Here Lies Jane Doyle (Jack's First)" opts for acoustic key, hammered dulcimer and hurdy gurdy mixed the ethereal song of the singer. Again, the atmospheric phrasings of Tim Harris to serve as interpausa "Introducing Molly", waiting for the piano announcing the entry of The "Dear Molly (A Love Letter)", the track that combines its medieval air-Folker calm the desperate and psychotic vocal score by Roberto combined to grace feminine voice choirs. "Burking" favors tougher sound of keyboard and vocals, a slow-sad ballad by martial drumming softened in part by dulcimer arpeggios dell'hammered, roared ahead of the bolts that open the spooky "The Divine Judgement," Chapter sprinkled with a dense musicality symphonic-dark/classical raised mainly by heavy tones of voice, angelic choral movements, keys, bells and martial percussiveness. Piano, keyboard and touch up the crystalline structure of "Jack's Farewell" on which the poems of Robert harmonious range, closing as a result of the concatenation of titles through the voice of Tim Harris set in the charming "Epilogue". The first of two remixes is that relating to "The Fortune of War" rebuilt by one degree terprete positively mentioned several times in the pages of Vox empyrean, or the composer dark-ambient/gothic/neoclassical/dark German folk, Meiko Richert aka Verney 1826, which reworks the song means more full-bodied arrangements and extensions of extraordinarily compelling voice and keyboard . The reminiscences of electro Tankt relive their glory through the re-release of "Burking" edited by Dave Foreman, author of this remix is ​​now presenting the most dynamic piece made entirely by a button layout of dance-oriented programming and formulations. The bleak atmosphere of fancy and lived together during the entire journey of the album, faithfully reproduces the mood of the misunderstood Jack Corben and its events, engaging in a series of orchestral and vocal ardor retro. The presence of a well-defined concept and sliding logic by which listed the tracks, gradually accompany the auditor at the places and atm osfere of those dark years, sharing with his fears, the need for love and ambitions that are the hallmark of the character of the story. Admirable is also attributed to the ability to recreate The Victim's Ball in the form of notes fully the drama, emotion and the myth of an era subdued by the revolutionary impulses, to be beyond reproach and censure forms of art and literature flowing into the gothic. "Memoirs Of A Resurrectionist" is all that the romantic and visionary explorer of the time they've ever wanted to listen.

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—- VAL DENHAM & O PARADIS - 'Transform Thyself' - cd - by Maxymox 2011 -—

val Eccentric, impromptu, in its way UDACE. "Transform Thyself" is an unusual album, heedless of fashions designed by the four-hand partnership Val Denham / Ô Paradis, her English sculptor and musician from Yorkshire, is known for its parallel-Silverstar Amoeba project and even more for its presence in the organic band like The Death And Beauty Foundation, The Sword Volcano Complex, Wyrm, Cyclobe and, of course, Psychic TV, Throbbing Gristle, he Demian aka Ô Paradis, Barcelona and the Spanish artist electro-melodramatic, has increased a particular musical vein influenced by 80's sounds, from industrial and folk genres that customize the artist over the years in a large number of releases is often marked by dense harmonies and elegant of infinite melancholy. Inevitably, the artistic fusion between these two different poles, which could give rise to a work of absolute sound unconventional character of the metaphorical title of which testifies cally experienced by transgender people experience the Valley and whose escape mocking music to a specific catalog. However, if you need to define the membership of its stylistic "Transform Thyself", it could be understood in the fields of weird-folk, gothic cabaret and the nell'avant-garde electronic, experimental mixture of sounds and voices to highlight the planned ' Orignal and the sublimation of the verb "dare". In fact fired from the album HauRuck! structure exhibits an impeccable instrumental willing to change from song to song and lyrics are often semi-improvised setting, a feature that colpice for infringement of all the usual explicit canons speaker-independent voice. The joint use of acoustic and electronic instruments to give an aura sixteen tracks of neo-classicism of technology, as can be heard nell'opener "She's A Witch", a down-tempo jazz musicals Nostalgic voiced by Val which is followed by the slow and dull programming of "Glow", also available as video and voice of the singer sung spectacularly by the ambiguity which refrains turns with ease to read and improvident exquisite dissonances. Dry percussion introduce the following "Memories And Dreams", a bizarre electro-tango duet with hummed Ô Paradis followed by "Now The Empty Bottles" that predisposes a form of poetry recited bitterly slow a snare-drumming, and piano notes cello Sara Guri, starring in several albums of Demian. A simple keypad section of retro accents, a suffused programming and percussion by Enric say "Split", sinuous melodic nostalgicamnte, succeeded by the suspension and the rhythmic slow piano-jazz "Thinkig Of My Girl", sung with disarming spontaneity a fool in love. "My Blackest Flower" also tends to songbirds psychotic forms this time by the Indian arpeggiated banjo Valley, whose voice expands from the abyssal floor and a touch of reverb the drum. A dynamic and captivating hand-drum and vocalist of the electro-sequenced dance bpm in "You're Not My Type", hit-single track to remix and potential that is followed by the slow drumming, harmonica, cello Sara Guri's vocals and lyrics included in the nightly "Searching For Superman". Demian is the protagonist of "My Lovely Valley", an electro-placid melancholy waltz sung in traditional style, or Paradise, the following preferred and atmospheric "We Do not Spoil Another Couple", down-tempo track key-vox and drum surrounded by sensual singing. The bass drum driven by Enric create the backbone of "Satuday Night" episode from the ironic chorus, interacting with the form of singing Val and magnified by sparse but expressive melodic curves. The namesake "Transform Thyself" sciorinare prefers a short text in "speech" exposed on a musical folk-noir, as well as the beautiful "Never Deny Them" reserve a drunken duet Voice from the tenth to drink in a warm background cloaked harpsichord and percussion measured by Enric. "Gravity" whispering words in his fascinating introductory segment soon joined by a slow wah-wah guitar, and lyrics by key visionary Valley, the same falsetto that end with the fleeting Ô Paradis "Icarus". Hard important, a collector's item for fans to honor the archives of the high-class experimental in my opinion one of the best achievements made in these first five months of the legendary HauRuck! Album -|-|-» impromptu creativity and whose undoubted strengths appear to be the extreme flexibility of interpretation of Val Denham and instrumental wise tactic Ô Paradis, as well as a direct rejection of sound patterns-used for marketing. A cross-section that reveals with clarity without compromise and the insecurities and weaknesses inherent in man, describing them in a natural and unconventional style. The term "genius" referred to this work is least appropriate.

 

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—- VIC ANSELMO - 'In My Fragile' - cd - by Maxymox 2011 -—

vican Lithuania in Riga, Vic Anselmo is a representative of the gothic-alternative scene which, with the support artistic Rigmant Herman (guitars / progs), George Kadolchik (keys / progs / triangle), Peteris Pass (bass) and Martinsh Milevskis (drum / percussions / drums / big house), is staged in achievements that live in the studio especially effective as a canon full of sound and tonal contrasts unpredictable assortment of notes played by these musicians is that the guest Ivars Kalnins (clarinet), Peteris Endzelis (oboe) and Ratis Rozentals (French horn). The composer Vic and his followers are distinguished by intrapendenza, image and style, in such quantity as the complement on stage with dignity and Das Ich Deine Dakaien, as well as to disseminate much of the concert outside the Baltic area as Germany, Austria, Luxembourg, Switzerland , Belgium, Holland and England, gaining a valuable feedback from the public. Deut The 2008 album "Trapped In A Drea m "availed himself of the production of Herman and George Rigmant Kadolchik, components of Neglected Fields, Lithuanian band devoted to none other than progressive-death metal, generally referred to in secret dreams of our protagonist, while the more contemporary full-length" In My Fragile " marks the comeback official by the excellent cast Vic label Danse Macabre. The disc consists of eleven tracks plus four protocol-live bonus tracks recorded during the tour with the aforementioned Deine Lakaien lyrics for a work that centers filled with melancholy and struggevolezza towards 'argument supporting the album transfused, or Mortido, Freud's theorem which describes the instinct for self-driven elimination of psychic energy, interpreted and lived musical elements by the artist in an often ventilated by Sonic Solutions apocalyptic orchestral-like soundtracks. "Introduction" starts the sequence of the title track with a short, convulsive segment electronic sounds, synths and dry h detonations, by displaying the following nostalgic "More Than You Can comprehend," a song that bears listening to passionate voice module full of changes, supported by a system of guitar-drum-progs and keyboard harmony oriented towards symphonic-gothic directions rock. "Open Wide" is driven in turn by buoyant waves of guitar and drums, areas in which the voice of Vic swing shades desperate hours, now mischievously playful, modulating heights and expressions very similar to those heard in the distant past by Lene Lovich. Slow and rhythmic, "Horizon" brings to light once again the excellent capabilities in an emphatic voice of Vic ballade in the balance between goth-rock and electronic, in advance of the sweet notes of "Wellspring" Fall-sad song in which the evolution singing star of the graceful dance, symphonies supported by piano, keyboard, drums and wind instruments. Structured and demanding, "Bone's Blues" presents a paradigm of falsetto voice capac and gleaming accents intoxicated battery, harmonica, keyboard publications and ascended a solid load of guitars. Also imprinted on a staff of sadness mottled "Ashes" pours vocal and instrumental lines initially graceful and sweet, above which rise a romantic string section, slow drumming, electric guitar and subtle piano choreography. It arrives as a result of "Secrets Of The Universe", track important and well-structured martial demeanor dramatically supported by orchestrations of sound keys, solemn drumming, keyboard-driven flight, and especially vocal worthy of absolute respect. "Das Dunkle Land" is the cover-track eponymous title published in 2002 by Das Ich, at this juncture to be routed through dramatic melodies of guitar and keyboard hot barbs interposed the stringent phrasing of Vic, while the subsequent "In The Darkness "revolves around a core battery of slow-tempo, yearning leakage of key, guitar tips and a decline in voice that captivates the soul. No exception "The Day", also permeated struggevolezza singing and mature sections of the keyboard, guitar and programming to further raise the height of the track and then decelerating in interpause increase again in explosions sinfonizzato electrically sound. Rounding out the disc four bonus live tracks announced-from "Who?", Sentimental tone and dialogue between voice and piano recorded at the X-Tra in Zurich, followed by "Bone's Blues", a very well-played piano on the stage of vocal 'Offenbach Capitol. Here are the wonderful "Leaving Eden", an intense reconstruction of the song Mick Moss, aka Antimatter, contained in his self-titled 2007 album and, like the previous track, now revived by Vic Capitol Offenbach, identically to the final "Tumsha Nakte" Lithuanian folk-song notes by melancholy and evocative. Later an attentive listening to "In My Fragile" I can express an opinion rather than positive, opinion supported by the wonderful, expressive vocal skills of the interpreter and, not least by showing the actual body of instrumental mastery of orchestral solutions not easily done. Album significant, suggestive, sometimes impetuous and loving at the same time, a work of the elite to which the acolytes of the decadent romanticism must unconditionally pay attention.

 

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—- VIDI AQUAM - 'The World Dies' - cd - by Maxymox 2011 -—

vid Seventeen years of underground music, spread across a fair-unofficial discography, participation in compilations and progressive enhancement of the verb "darkwave" time is spent relentlessly and VA show in Milan today that it has taken from it the inspiration to create an ideal protocol to their first album, "The World Dies". To learn more about the band in question, I refer the reader to the interview made by me and contained in our special section. Published in Italy for the label Wild Rose Obscure label, the release is published in limited edition of five hundred copies, which are also aimed at the goal of bringing the listener into the primordial sound post-punker electronic sections intersected by dry and dark-ritual, elements carefully placed in ten tracks to music by renowned DJ Nikita (vox / keys / prog / lyrics) together with Fabio Degiorgi (bass / drums / prog), Daniel Viola (guitar / drums / prog) GOJ and the trumpet player, for a line-up from and parallel multi-faceted stylistic affiliations. Detail worth mentioning concerns the burning of the disk assigned to Frédéric Chaplain, leading the excellent label transalpine Prikosnovenie: the exploration of the album provides the first self-titled opener, "The World Dies", a song by punk-contracted after liturgies voice and electric guitar rhythm by drumming shamanic details prior to the next and most dynamic "Stone Mask", danceable tracks, announced by ringing a bell, supported by marble and tough guitar riffs that modulate the time over which they spread themselves Nikita's insane vocals. "At Dusk Perverse" winds through a slow and rhythmic set of drumming, bass and vocals that blend to refrain in the psychotic un'abrasiva electrification of the dark guitar. Nostalgic post-punker allegories are explicitly mentioned by the depressed voice of "New Religion ", a piece hinged on sound old-school plucked by fast bass lines dialoguing with spectral flows keyboard and monochrome arrangements guitar." Suicide Girl "seems to emerge from the misty swamps punk-wave 80's, using the sharp vocals of Nikita as a tool for carving to carve insane phrases that articulate with the rigors of easily between guitar and sped percussiveness. "Tuxedo Radio" offers a sound system plagued adjacent to solutions of first instance darkwave measured enhanced by interventions of the trumpet of GOJ, as well as the subsequent "Magic Door "starts a course of prostrate darkeggianti harmonies backed by strings caressed with sadness, low and mournful voice slag." Shadow Man "offers a design-waver coolly obscure punctuation is effected by lysergic keyboard and vocals, elements lying on a black robe from the percussive drumming arcane, the same one that disturbs the dark plots of the excellent "Talk Talk", trac cia of major size, built of dark rhythmic martial and lyrical, and cry with equal intensity both in heaven and the abyss. The matte surface of "Beyond The Limit" reflects dense fog last night that this track is to harmonize a pentagram voice tormented by a sleepy calmness of bass, guitar and trumpet at the end of an album in which the VA retroguardistico have prepared everything what it takes to savor the glorious atmosphere of musical eras in the shade, but never forgotten by those who have experienced the indelible seductive power. For all admirers of that pale-called hybrid darkwave, the echoes propagated by "The World Dies" will simply be impossible to avoid. Hard -|-|-» interesting that will talk about themselves, the result of a mature expression multistilistica perpetually oriented toward the dark. The time will confirm my prediction that this album reserve the effigy of tiny, future object of worship. Requires it to your collection.

 

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—- VV-AA - 'Beyond The Mirror Of Time' - cd- by Maxymox 2011 -—

vabeyo Some time ago I had occasion to check the compositional style of Berlin Lionel Verney, Verney aka 1826, on the occasion of the release "Anthem & Procession," conceived in collaboration with the American Phantoms Of The SS. In an interesting emerging disk enclosure and ambient-goth, deeper, folk-noir, something that testified to the compelling and creative motion tormantato inherent in the artist. Verney found today in the role of "compilation-assembler" for the label of its property, Shelley Shellack who dismisses a collection in my opinion it is fully guessed the selection of tracks, is working implementation that identifies the work. "Beyond The Mirror Of Time ', disc limited edition of only 100 copies, in addition to the evocative title in itself reveals its contents even nell'artwork, suggesting through the image portrayed in the fairy-tale genre to which the sleeves are devoted its fourteen tracks, or the arcane energy emitted from the pages of books, those who, for whatever reason, have marked the reader's imagination leading him ideally a size fairy, unreal, or anxious and sad. The kinds and the players chosen by Verney to better represent this particular concept ranging from dark-folk to neo-classicism, models that permeate the songs of intrigue and intense darkness, in perfect harmony with the spirit that dominates the collection. The project was entrusted to the Hellenic Arkane compilation with the opening of the evanescent "Sirenia Allure", written by ArkanumX track, the album included "Serene Entraptured mesmerism" in 2008 and displayed a melancholy song of nature, dark and feminine-modern classic conceptually inspired by Greek mythology. The Opus nigrum, played by Miguel Avenicio LS and DM copongono "Der Drucker", a dark theme of neo-classical symphonies by funereal voice and harpsichord-regulated by the severe rolling percussion, previous episode of "The Meadows Summerland" of the duo fol k-gothic Australian Friends of Alice Ivy, side project of Kylie and Amps, both members of the original proponents of Ostia and this delicate ethereal folk-guitar, vocals and violin referring to the poem by Emily Bronte. The uncompromising apocalyptic form-Folker undertaken by Germans is poured on the next sequence Aeterna "Anti-Christ", by which the Marzal drum, the deeper the hypnotic narration and pace of the keys give the song a stern demeanor-based to one of the last works written by Friedrich Nietzsche, precisely, "Der Antichrist". Verney 1826 offers the same track later deliciously medieval-folk by calling Shakespeare's "Henry IV", with melodies played fluty, guitar, vocal and rhythmic cavernous antique from the tambourine. The Spanish Eldar, prone to a pattern between the ambient and neoclassical, offering "The Altino Dur", in which the union of two styles of soul and actors Marc Merinee Goods Spica, which move a c oinvolgente orchestration of strings and keyboard for a track full of atunnale struggevolezza. The German ensemble: Golgatha: Christph Donarski generated, the subsequent offering "Hammer Or Anvil (Remar que Mix)," a somber ballad-apocalyptic folk ritual estatta from recent album 'The Horns Of Joy "by the plots of guitar, keyboard, piano and drumming stand out in slow motion mode aimed at inspiring story of the novelist Erich Maria Remarque Germanic entitled "Im Westen nichts Neues" in English "All Quiet On The Western Front". And 'the turn of the French project Chronique Nocturne with the macabre poem "The necrophilia", told through the voice of Gabrielle Wittkop distraught that hovers darkly backround of programming on a foggy, heavy organ and piano chords. The Italo-Australian Massaglia Roberto, alias The Victim's Ball sings "St. Bartholomew's Day," tied to a marriage of blood occurred in 1572, a song sung in duet co n the vocalist for a gothic-neoclassical song set on soft rolled percussion, choral liturgical, violin and dark textures which instinctively refer to Dead Can Dance. Always excellent in his creations dark-ambient/martial, the Dutchman Marco Kehren, aka Nihil Novi Sub Sole, staged "The Tragedy Engraved" shadowy and solemn-key theme by the agreements in growing, essential, marble, ahead of the next track "Schwarzes Schiff" German Art Abscons, already described in the pages of Vox Empyrean and author of a song that reflects a character of melancholy psychedelic low-Folker, bells, vocals, guitar, percussion and keyboards, inspired by the novel "Les Chants De Maldoror "Comte De Lautreamont dall'uruguaiano penned between 1868 and 1869. Schattenspiel The duo, consisting of Sven Phalanx and The White Rabbit, the elegant architect "Die Letzte Fahrt Der Nautius", music and drum keys un'orchestralità of noble traits and triumphant, symphonic form-n As one of the best known eoclassical In The Nursery, referring to the fantastic tunes influenced Jules Verne's fictional. "Metamorphosis" is the song higher system devised by Geodesic, a duo formed by Zoe Oni Sakti and Sakti, the latter co-founder of the famous Shinto Records label, as well as platforms present in Hiroshima Project, The Phantom Of The SS and State Censored Art, the design moves from now on trajectories of dark-neoclassical sound, using a bruise in order to stave keyboard, piano and arpeggiated strings metronome muted, focusing on the work theme song of the same title written in 1912 by Eerie Kafka. The unknown obscure-neoclassical-ambient project called Afterlife Forgotten concludes the track-list with "Soulvoid" Night of formulations ranging from piano aristocratic profile. Authoritative compilation full of charm that alternates performance, precision and meaning. The skillful blending of artists from esrapolati Verney gives the collection a good continuity, ensuring the listener a wide candidates are listening in total contemplation, during which the subjective imagination will transform "Beyond The Mirror Of Time" in a direct connection with the essence that still lives among the yellowed pages of old, dusty books. Hard to own in absolute terms.

 

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—- VV/AA 'New World Order, Post Industrial Spanish Compilation' - by Maxymox 2011 -—

vvaa The Spanish label Gradual Hate Records is the author of this anthology that includes obscure bands from the area post-industrial/power electronics / noise / neofolk. Thirteen steps to a video track audio enrich the title track of another work not epochal, but allows you to test the level of entertainment designed by Iberian authors working in areas totally sound unconventional, sometimes provocative, perverse and, precisely because of these peculiarities worthy of mention. The bands will alternate in the title-track first with the project Moloch 11811, a band of Palmas, which has an experimental chilling fresco indus-called "Blut Für Baalzebub" built of dark vocal distortions in a sheer drop of precipitation echoes, buzzing of insects diamonds and tumultuous background. The one-man project Jazznoize played by Sergio Sanchez continues the list of artists, enhancing their ability in the handling of tape recordings and sound -Sculptures, contaminating "Derribos Santander" with post-magmatic antimelodie indus-ambient roar of an engine similar to the alien. Joseph M. Soler, author of hardcore-industrial compositions, his plan is the technology that appealed Stahlfabrik with the track "A Palo Limpio" delivers a sound composed of icy vocals of gusts of wind synth loops, mechanical screeching jets of matter and modular sub-zero. The most important avant-garde in the field, is the project of Gradual Hate Miguel LS devoted his career since the dawn of a musical-experimental neo-classical and electro-dark. "Panopticon" that found wandering as a pioneer explorer of the universe in collaboration with Electronic Avenicio DM, as the creators of a piece of dark-ambient almost orchestral sounding thick and heavy with mystery, recreated with a dark workings of laptops, subdued vocii and oppressive atmosphere. N-USSR was born in 2007 in Madrid for a will of its ico creator, Erg.En, underground musician in hybrids operating indus-gothic and post-Apocalyptic, identifiable genres even nell'inquieta "Soyuz", built on leaden gait from symphonies and martial accents full of drama, in advance of the next "Empty Sarcophagus (In Underground Crypts Version) "Macabre Oscuridad of Madrid, interpreters of a suite filled with atmospheric spectrality ritual-dark-ambient built on very cold breaths of laptops, vibration and electronic agreements abysmal. Proceeding in the title track captures the surreal is raised by ERG technology architectures, project conceived in 2003 and a supporter of sound patterns from multiple ethnic identities summarized in combinazone-minimalistic-electronics, in the strict elements "Bellum Omnia Contra Omnes" is giving mixed rise to a sort of soundtrack percussion set on a double track, and sequenced a modular interrupted, and a second subject the incessant and tet ro drumming from icy embroidery programming. "13" is the number selected for the project entitle this track Mynationshit Robotics, maker of a pentagram minimal-electronic characterized by a thin, continuous-drumming, vocal rarefactions of other worlds, hypnotic synth lines and progs. Elusive and elaborate, ultra-modern platform called Transmission From The Crypt Firmly influenced by a multitude of disciplines such as industrial and ambient-noise, coded in the neurasthenic and multijoint plots "Societad Ilimitada", built on dry intersections of drumming and programmed synchronized flow effects. Also from Madrid, the charming and elegant design Uanamani connecting spirals of synth rhythms from the sophisticated procedures in excellent tonal idm "Mictlan", while the subsequent "Bios" of the solo-project Stillme embodies the ambient atmospheric suspension combined with a refined experiments tion-electronic percussion. A dark collection of folk-ambient sounds are spread by martial phrasing of "My Little Bastard", track from the austere and unyielding percussiveness composed Verbum that gives way to the last episode's audio collection, "systemic crisis", a long monologue political-economic issue exposed by The Wyrm, known musically for its attraction to paganism, subversion and the ultra-nationalism, now engaged in this essential trace the traits dark-ambient-martial, which conclude the sequence of songs. As mentioned in the beginning the compilation consists of a video track also represented by "13", for this specific occasion re-written for four hands by Jesús Vögel Errorvision and Mynationshit the project, which project images from the saturated colors, fades, bdsm, clips from old movies in black & white and anatomical sections with a strong symbolic charge. Consider fully representative selection listen to this in this anthology of Spanish underground leaders, whose synergy gives the album a more than decent value in terms of breadth of style and escape from the conventions, for a sound industrial conveyed beyond the dictates of the canons. The small but glorious triumph of the avant-garde subculture.

 

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—- VV-AA - 'Fahrenheit Project Part Seven' - cd - by Maxymox 2011 -—

fah The productivity of the French label Ultimae Records, specifically in the intelligent-electronics, is enriched on the Seventh Chapter of the issuance of a series called "Fahrenheit Project Collection" compilations made with contributions from artists directly and indirectly in orbit around the sphere of the above label. The guidelines also noticeable in this new musical instrument belonging to concepts evolved species such as electronic downtempo, IDM and ambient, according to the particular inclination of the individual artists, branch off into more sub-groups will highlight the stylistic analysis of the next disc. The traditional, refined sound along with the usual careful attention to the aesthetics of the artwork, reflecting the mark with distinction Ultimae Records releases to guarantee that, like the one now under consideration, reflecting musical writings educated, impeccably produced, soundtrack songs from intercalating film from other and unreal atmospheres, lysergic, or dynamically articulated structures of trance. Planned and mixed by Vincent Villuis aka Aes Dana, songwriter ambient / downtempo, "Fahrenheit Project Part-Seven" begins initially with the Dutch duo of Gaiana and their "Silence of the Sirens (album edit)" track in which Robin and Graat Adomas Juozapavicius build and danceable beats-that support an array of hypnotic, visionary effects of synths and laptops. The next, elegant "Milenium 3" is creating a geometric matrix electro-ambient-trance contrived by Charles Farewell in its brain called Asuras identity, for an episode purely technological interface, button, suitable for listening in the car-stereo testable long distances. Equally captivating is the Psy-Trance-mail circulated by the Russian astro pilots in "Memories Maze (Flashbacks SE)", traces generated by Dmitry Redko futuristic creativity, known also through Its the side project Mantra Yoga, which on this occasion provides excellent cefficienti expansions in terms of rhythm and keyboard publications. Circular is an ambient-paltform Norwegian Bjarte Andreassen and directed by Jostein Dahl Gjelsvink, makers of sound dilated, hallucinogen, which in "Feller buncher" is conveyed to the ear using a complex calculation of laptops, fine phrasing and downtempo percussiveness reverberated. Then comes the next "Signals", track projects chimeric diffusion of ambient chill-dappled psychedelia to the work of the Moscow Vladislav Isaev project Scanno-Tec. Further on, we hear the formulations electronics-ambient "Final (Max Million Remix)", a song performed by musician and composer, Hol Baumann, which applies in the song from his personal sound cliché, he designed for films, documentaries and theatrical soundtracks, consistent air pollution in a stream of laptops that extends throughout the length of the pre purpose with rhythmic, finalizing in the end the track with a guitar arpeggio by Kostas Karabelas, known as Gusk, and remixing of Maximos Maximilianos. Cygna is the one-man project of maltese Mario Sammut author of an impalpable device conceivable as symphonic-ambient sound, exquisite landscapes perlustrante veiled ethnic-percussive harpsichord and solutions of high technology downtempo, elements that are prefixed to the subsequent "Wie Diese Gedanken" proposal from the German Christoph Berg in the role of Field Rotation in this composition which focuses the basics of electronic-electroacustici his repertoire by an immense background of guitar echoes turned into submarines, embroidery and a linear programming rhythmic drive from the mid-tempo tone deaf. Maurizio Piazza continues the track-list with his "Hundred Miles", developing a supple style song ambient-minimalist electronics-dense harmonies of Argentine laptop and SURR eali synthetics. Closes rotation "OnFlow" exciting phylogeny of electronic sound-designed by Solar Fields sedes: enveloping, epic chases capable of keyboard publications, but also cathartic interpause alternating danceable drumming to a track that immediately creates a perfect feeling with the 'listener radiates a unique sense of vastness. Reasoned selection and excellent workmanship, this collection constitutes the actual level of innovation and vitality sound available on the international electronic scene. Ten post-modern artists and a label what is the stature Ultimae Records: If you belong to the selected audience of selected capable of assimilating this sound to resort to "Fahrenheit Project Part-Seven" with surprising frequency.

 

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—- Vision Talk - 'Distances' - cd- by Maxymox 2011-—

vision The focus of the excellent Conzoom Records label focuses on this new trend product made by Swedish synthpop Vision Talk, a band created in 2007 by assembling two elements: Krister Petersson, coming from the Chinese Theatre and Richard Flow, a member of Strangel. Initially and predominantly prone to danceable melody of Italian dance, the project recorded with a fair amount of feedback the themed album "Dirty Italo Disco", published in 2009 for the Space Sound Records. The next year the Vision Talk fired the double CD limited-edition "Elevation", in which stood the second disc is a long list of tracks divided between demos and remixes, the latter reworked by names such as Digital Frequence, Martin Sax, People Theatre CTPLR . "Distances", the third official album, it shows itself an iridescent plumage synthio, as well as a renewed line-up that lists the aforementioned Richard Flow (vox / music / lyrics) and Krister Petersson (music / live synths), in a ggiunta to Alecx Kincaid (music / lyrics / live synths) and Karin Hallberg (backing vox / lyrics / live drums). In essence, the music presented in this release is a shrewd and sympathetic melange into a single framework that combines the simple, catchy melodies of the Yazoo, the compelling insights of SPOCK Also drawing inspiration from the tactics of Apoptygma Berzerk lumped together with danceable sounds of 80's Italo-disco from not forgetting that touch of finally disarming harmony typical of northern European pop musicians. The work consists of eleven episodes, plus six bonus tracks regulatory re-invented by brilliant designers who will quote individually decrypted deepening of the work, beginning with the filtering of electronic '"Intro" to get from there to a short, nostalgic aftertaste of "The Areas Of Silence, "organized by a snappy song-based electro-drum programming, and around which revolve stalwart insights expressed by the great 80's synthpop pitch of the vocalist. "Unlike" further elevates the levels of customer satisfaction by presenting itself as an irresistible tool for electronic dance-pop built on well-aimed touch of synth-vocal percussion patterns and old-school. This is followed by crisp musicianship "Safe And Sound" and his reminiscences Italo-disco diluted in a sparkling lagoon, keyboard, vocals and drumming on the track. Also firmly inspired by the retro atmosphere, "Promises" re-evaluates exquisite staves synthetic 80's, as well as the subsequent "The Machine", originally composed by ARTTEC, offers a section-female vocals that interacts nicely with the vibrant pulse of the progs. "Infrared Love" is a testament to the stylistic influences of the past twenty years have shaped the creative vision of Talk, which in this track demonstrate full and playful dance of notes taken by the immediate, inevitable, with linear and sustained percussiveness, vocals well in GREEMENTS and an electronic corpus bearing ricreante sound easily assimilated. And 'the turn of "The Loner", song by the synth-slow rhythmic refrain that seems to employ the strategy of fellow singing SPOCK detail much more evident in the next "MJ-12", where futuristic pop harmonies add up to sparkling hatches sequenced. The canonical track list ends with the melodic vocal duet between Richard and Karin immersed in lulling score of synths and drums down-time "World In Motion", which are followed by six "reprises dance-oriented" introduced by "Promises "reworked by the U.S. duo of Parralox which give the track a dynamic value will certainly appreciate the d-j's. The Swedish trio Hammar / Crescentini / Arellano, Daybehavior in art, remix "Unlike" activating its context in explicit poses dancefloor with the introduction of targeted effects and loops, while the reissue of "The Loner" cured dall'elec against pop-project in Berlin called F.P. has re-softened version of the track part of Karin. The amazing "By My Side" is now offered as "extended", later giving way to the reformulation of "Unlike", reviewed by French producer Peter Rainman, known under the name People Theatre, which radiates electro song of renewed directed-energy dance. Closes the list of securities the revised version of "The Loner", as evidenced here by interpause synth choirs and net segments. Clean disk, magic, at the intersection of retrospective electronic belonging to the golden ages, and sound economic trends that stress the desire to dance. Another move in the Conzoom guessed Records, a label of absolute respect and admire you learn easily.

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—- YURA YURA - 'Demo II' - cd - by Maxymox 2011 -—

yura After a hiatus during which the creativity of Grégory Mousselle has been enriched with new insights, here is the re-emergence Yura Yura trans project, mentioned earlier in my review through our pages dedicated to first test the "Demos" realizable in collaboration with the choreographer Melanie Macha. The correlation between the spirit inherent in the artist and the electronic purely dramatic aspect of music which they are an integral part, he builds a parure of effects and sound suggestions of keen interest, especially given the progress by Grégory accrued in the time that separates the first release from the track-list of ten new episodes contained in the "Demo II". The intricate percussive textures play a predominant role, together with a concept of sound from an experimental electro-industrial synth and laptop developed by the product of which is revealed as a series of hearing primarily instrumental tracks from musicals dry ness, and designed for high-tech-visual performances. It opens with "Sexual Well", also contained in the compilation "Schlagstrom! Vol 5": The song you have as a jazzy electronic device, smitten of distorted beats, keyboard-driven programming Robotics and acidification. "Rempeh" continues expanding belt and a button-drumming, vocal loops and echoes, the substance of which stands out as a ballad tribal post-modernist. "Propagan" alternative gaseous puffs of electronic interference to a hypnotic form of voice whispered, minimal-progs and rhythmic industrial bpm similar to the ticking of a clock left. Low noise emissions and a maze of synthetic pulses sequenced hold the bones dell'alienante "Unagi", followed by e-distorted beats and humming softly to "Gemini". Rotation of drum machines from the industrial past and polished surfaces keyboard publications argue elegantly "Diamanda", while "Queen Kong" turns to a listener rhythmic dry, detached, crossed by hazy clouds of synth. "Help" offers a long strand of shock power electronics technology from the foundations exceeded as a result of evaporation from the venom mixed with noise roughness computer belonging to "bank". Echoes space, programming glacial trails of key assets then encode the last segment of the title track, "Sixty Nine", as atmospheric and mysterious extraterrestrial exploration. As before, my opinion about the activities of sonic Yura Yura settles on the belief that this artist possesses the art of intrigue using more extensive measures of the future is to invent. The style follows a path taken by Grégory unconventional, never easy listening but still committed to supporting the fascinating visuals excerpts from his repertoire. Independent, visionary, futuristic: the sub-genre Electronic interpreted by this shady character known as esta Siar. -|-|-» Formulations designed these pieces to adapt beautifully scenic illusions associated with them, confirming Yura Yura as one of the most inspired French underground phenomena currently in circulation. I expect this will soon be publishing a performer less anonymous, more technologically advanced and suitable to his height.

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—- Zynic - 'Fire Walk With Me' - cd - by Maxymox 2011 -—

zynfi There is something pleasantly fresh and captivating style pop-electronic-man project proposed by Mr German played by HP Siemandel in art Zynic, so as to exhaust in a single week in stores the availability of copies of this his debut album, verve melodic post-Depeche Mode that permeates the tracks of nostalgic retrospectives 80's, made up of lines of programming and keyboard publications simple but aligned to the most current standards of listening. As instead regards the specific description of the artist, I refer readers to the "interviews" where information is available un'esaudiente source. "Fire Walk With Me", an album released by labels Conzoom Records, is the completion of the first track record of Zynic began in 2009 with the debut of promo with the same title and continued with the latest digital EP's "My Personal Kryptonite" / "Dreams In Black And White "who strategically announced the advent of full-length CD. Passion for the synthetic sound and apt interpretation of pop music mottled technology contained in the release, mixing harmonies sparkling with atmosphere overflowing with danceable rhythm, vocals wrapped in light, rich in harmonics nice insights, such as to elevate the songs to the album efficient vehicles diffusion of the classic electro-modern European form. Ten well-prepared tracks follow one another in the title track, debuting with the beautiful "Rescue Me", which evokes espisodio agreements in the irresistible textures of the first Elegant Machinery, to continue later with the aforementioned "Dreams In Black And White", track dozers broad, designed with beautiful combinations of voice and very effective progs which I hope can be resumed soon remix. Positioned on the slow cadences-romantic synthpop, "Shadow Framed Memories" presents opera and musical sweetened, while the mentioned title of the ep "My Personal Kry ptonite "is geared crackling faces to ride depechemodiana, with a precise array of electro-drumming, vocals and synth danceable 80's." Soul for Sale "prefers poses the most easy-style settling into a rhythmic context of wave-electro-pop, anticipating the effervescence synthetic old-school revisited in a very real of "Who's To Blame?", another track peak marked by a vigorous percussiveness artificial and a staff that reflects the full expressive tendency of early-Depeche Mode, the accents in the tone of the programming that belongs to "Any Second Now", written by John Martin Vincent, rotate more slowly around the same inspirational direction of the previous song, spreading sound meravgliosamente well outlined and retrospective. The longing of the words engraved in the text of "Almost Silence" it brings together harmoniously synthpopper suffused atmosphere of voice, guitar, keyboard and programming, to join in the CCIA final "Absurd Lovesong", melancholic electro-ballad from the sound profile is evenly soaked in sentimentality and technology. Convincing the release arrangements blunt, terse, alternating paced tempos in fleeting, poetic episodes, simultaneously recovering the lyricism and the immortal synthio model of an era that has continued uninterrupted for over twenty years to give directions. A preview of the last hour today announced the upcoming release on CD is a reissue of that new ep of "" Dreams In Black And White ", also soon be in the same version on diskette. Finally," Fire Walk With Me " In my narrow view, is one of the best electropop-listenable albums in the latter half of the year: I was therefore able to predict, with a motivated dose of consistency that will walk alongside Zynic, in addition to the fire, a well-deserved, lasting success. passed with full marks.

  

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—-Zynic - 'My Personal Kryptonite ep' - cd - by Maxymox 2011 -—

zynic Just at the height of the success of HP Siemandel the strategic release of his ep limited edition of 500 copies, "My Personal Kryptonite", seals the circle of what has been a season for the ascent of his platinum solo Zynic creature, a project widely Vox Empyrean is treated with an interesting interview with the analysis of the recent album "Fire Walk With Me." The seven tracks are mastered by John Cremer duet / Olaf Wollschlager, bearing the unmistakable imprint electropopper now that the protagonist possesses inherently, testifying in absolute terms the extraordinary, irresistible melodic range that the mark Zynic listening to offers. Extremely attractive, this ep includes five different versions of the title reassembled with various interpretations, including two remixes by famous brands that we will find out soon, in addition to the ballad-reprise of "Almost Silence" and destitution "Regrets" episode full of captivating arm Onias technology. The disc begins openly with the original version of "My Personal Kryptonite", built with detailed inlay programming and refractions from whose voice sounds propagate disciplined obedient to the dictates 80's: from the track so the parent branch extended "My Personal Kryptonite (Bizarro Extended Mix) ", arranged with tricks episode even more dance-oriented and the next, resounding" Regrets ", track not included on the album, irrefutable assertion of executive skill Zynic, which builds up for the occasion by singing a orecchiabilissimo electropop and the inevitable refrain, wonderfully hybridised through the genetic heritage of Yazoo, Depeche Mode, Erasure and the staff of HP Siemandel creative touch. Equally fascinating, "My personal Kryptonite (Mesh Remix)" clearly brings in its nucleus the typical cliché of the electro-band that provides pitched vocalizations of Bristol, calculation-rhythm programmed by exhorting the nce and torrential waves of synths. The German alternative-electro musician Olaf Wollschlager, recognizable even in the projects and Chuck Mellow Traxx 6, restructures "My Personal Kryptonite (Lex Luthor's Revenge Mix)", also organized on a relentless pulse sequences that invite to the ball, prior to "My Personal Kryptonite (Rotersand Rework) ", in which the trio Günther Gerl / Krischan Jan-Eric Wesenberg / Rascal Nikov reformulates the original matrix of the track, introducing it by drumming track, keyboards and full-bodied voice synthetismi. The softness of the pick of almost classic arpeggiated guitar strings by Johannes Knechtges announced the last song of the work, "Almost Silence (Campfire Version)", title electronica / down-tempo album belonging, re-issue here in key romantic acoustic that accredits style Zynic admirable versatility. The debut-single "Dreams in Black and White" I was amazed, the album "Fire Walk With Me" has got my admiration and more radical, to complete this extraordinary concatenation of events sound, the EP "My Personal Kryptonite" confirms described these results with a fine track-list which will send certainly wowed legions of listeners of all ages. I name Zynic best European player of the electropop scene in 2011 and crowned the young label which Conzoom Records systematically capable of releasing masterpieces.