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Autunna Et Sa Rose - "Entrelacs Du Rêve" - by Maxymox 2018
The readers interested in the detailed informations concerning the discography of Autunna Et Sa Rose, they can draw them by connecting to the 2012 section of Vox Empirea, precisely in the review regarding the album "Phalène D'Onyx". The collective, founded / directed since 1994 by the musician Saverio Tesolato, relaunches its own original and composite sonic-visual-recitative style based on the exaltation of a figurative, essential and poetically dramatic musicality intertwined inextricably with the most hidden and tumultuous emotions of human spirit. The line-up, completely reassembled after the times of the last full-length, is completely reassembled with the recruitment of new players, keeping the two vocalists unchanged, thus placing the following scheme: Francesco Rossi ( percussions ), Simone Montanari ( cello ), Saverio Tesolato ( piano / voices / poems / electronics / composition ), Sonia Visentin ( soprano ) and Matilde Secchi ( mezzosoprano ). The sound is not the only language used by the ensemble to materialize in tangible form the intricate abstractions expressed by the mind; Autunna Et Sa Rose, in fact, represents one of the branches of a more articulate, heterogeneous multimedia project, which reveals all of its deep intensity through variegated artistic initiatives, especially theatrical, availing also of graphic / video / literary and cinematographic works, each of them, although exteriorly disconnected from each other from the technical point of view, converge in an effective communicative nucleus that transmits stimulating sensations and psychic dynamism. "Entrelacs Du Rêve", circumscribable within an eclectic style synthesizable as 'neoclassical abstractionism', is summarily the transposition into a musical theme of two particularly significant dreams remained impressed in Saverio's memory during the summer 2014, analyzed in their alienating enigmaticity and orchestrally converted until the achievement of surreally concrete, expressive sounds, modeled inside a vibrant pentagram that follows the different stages of the dreamlike ferment experienced so vividly nightly by the protagonist. "Entrelacs Du Rêve", a complex, cultured and intimate ideation - which refined artwork portrays in its front-sleeve the visionary illustration entitled "Dreamworms" - was published in November 2017 by the Bologna label Atmosphere Records and it was anticipated in the August of the same year by a book-prelude format entitled "Intrecci Del Sogno". The tracklist of the album enumerates eight episodes, subdivided, like the dreams from which the release draws energy, in two separate acts: the first of them and opening song, "Dromomania 11-16", consists of a crepuscular execution played by oppressive and unpredictable piano scales dotted by melancholic sections of cello, for a funambolic, claustrophobic symphony in which they follow without pause sudden fugues and atmospheric interludes. "Marsch Des Dumpfen Herumwanderers" is an antelucan romance from which they spring perceptions of apprehension and of disturbed suggestions, all this through a slow and at the same time intricate agogic, sung by the spectral lyricism of the mezzosoprano Matilde Secchi, by obscure, precious cello's arias, martial-rarefied percussiveness and by incorporeal electronic flows that spread in the background, in a combination of ascents and suspensions, triumphant in the apotheosis of the final of the song. "Flutter Of Asbestos And Quartz Wings", the first one of the two improvisations included in the tracklist, is a composition sprinkled with crystallized sounds, so darkly decadent, edified by touches of piano, by abysmal irradiation of electronics, silences full of anxiety and extemporaneous rhythmic beats. Sonia Visentin and Matilde Secchi ecstatically duet in the minimal "S'engouffrer Dans Ces Noeuds", interweaving registers of acute and intermediate tonal heights, structuring a poetically faded, diaphanous chant, while the following "Ossescacco", the second chapter of the two dreams, contemplates pale, lysergic and subliminally enchanting sounds which have a disorienting power, propagated by alternating phlegm and phatos, dialoguing through low pianistic fluctuations, through unexpected as brief verticalizations and through cello caresses, leading in this way the imagination into an unreal, altering dimension. "Tanz Der Toten Schachfiguren" emanates chimerical charm and restlessness, making interact the soprano Sonia Visentin with subterranean electronic effervescences, militaristic periodic drumming and pindaric vaultings of cello, up to generate, as in a precipitous awakening, peaks of cognitive bewilderment. Empirically played, "Sharp Glitches And White Noise (On The Screen)" is the second improvisation, in balance among an absorbed pianistic melodism that sometimes touches abrupt hits of neurasthenia and sporadic, polyphonic electronic waves, in a succession of sonic-temporal dilations, instant of vibrating disconcert and progressive descents in sensory torpor. "Au-Delà ...De La Borne X" - viewable on the web also in video and conceptually linked to the Saverio's adversion towards the borders - proposes again the remarkable extensions of the soprano and mezzosoprano, in a concatenation of female, abducent and metrically essential chants, which decorate with the same basilarity this psychically destabilizing theme, an iconography into sonic key of the painting "Intrecci" by the abstract painter Vinicio Berti, where are highlighted those 'open' geometries able to break the space-time limits, evolving them to infinity. Anticipated by a long period of silence, the closure of the album is entrusted to a ghost track, "Le Compositeur Des Rêves" - which lyrics are taken from a poem by the versifier Lory Fayer - vocalised only by the low counterpoints of Saverio and by the noble mezzosoprano's textures. "Entrelacs Du Rêve" is transversality, symbolism, interpretation. Its music, totally separated from any explicit euphony, accentuates what would be called 'the physicality of the drama', describing the two Saverio's dreams and projected both them on the white screen of our imagination. The elementary nature of instrumental architectures and of vocal arrangements, only apparently catatonic and not immediately decipherable, are instead largely compensated by their extraordinary evocativeness that the auditor will assimilate in a gradual, perfect and lasting way in the successive listening phases. With the dreamlike soundtrack "Entrelacs Du Rêve", umpteenth masterpiece of introspection and of neoclassical avant-garde, Autunna Et Sa Rose corroborate the cleverness that has always distinguished them, aware of also reserving this creation to a musically erudite, nonconformist and sensitive audience, whom, bewitched by the 'dream-sound' transmutation, will actively participate in it, returning such Art with a gratitude that will raise the eulogies well beyond the usual conventions. Exclusive and unrepeatable release in its genre.
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Cold Fusion - "Cross My Heart" - by Maxymox 2018
Cold Fusion is the solo expression of the Polish musician and discographic Marcin Bachtiak, elusive and talented owner - together with his collaborator Robert J. Marciniak - of the now legendary Rage In Eden, label officially established in 2007 and transformation of the former brand War Office Propaganda, which origins are dated back to 2003. The artist, always enterprising and inspired, is also the protagonist of the following three projects: the first one, Across The Rubicon, is a modern-classical / industrial band founded by Marcin with the same Robert J Marciniak - aka the one-man act dark-ambient / industrial / martial / neoclassical Rukkanor, also author of the ambient / industrial design called Insphera, as well as the minimal / dark ambient Needful Things - and Radoslaw Kaminski - aka the dark ambient solo-act Ab Intra - the second one, Insuffer, is instead a parallel ambient / industrial formation always founded by Marcin and Robert, while the third one, Hotel De Prusse, is an one-man act oriented towards an ambient / industrial range. The Cold Fusion's discography began in 2002 with "Elisabeth Bukez", the ten-tracks debut album licensed by the Polish label Beast Of Prey, which in the same year distributed "Parabellum", two-tracks release shared with Krepulec - aka Wojciech Zieba, a Polish martial industrial / ambient solo-project and mastermind of the Beast Of Prey label - while "Prince De La Mort / Libertine" is the title of the fifteen-songs split album limited edition published in 2004 by Beast Of Prey and realized in cooperation with the industrial / noise project / ambient V-1. Always in 2004 it was the turn of "Scontrum Act I", split release of nine tracks fired by the label War Office Propaganda, to which joined by the German modern classical / industrial duo Schwadron. "Wunderwaffe" is the split limited edition EP of two tracks issued in 2004 by War Office Propaganda in which Cold Fusion participated with Rukkanor, followed again in 2004 by the split album "Scontrum Act III", a limited edition production of nine songs promoted always by War Office Propaganda and built by Cold Fusion with the German dark ambient / industrial solo act Stahlwerk 9 and Krepulec. Two limited edition albums characterized the Cold Fusion's year 2005: "Report", including seven episodes and published by the War Office Propaganda plus the ten tracks of "Occupatria", full-lenght released by the Austrian label Steinklang Industries, followed at the same time by the two sides of "63 Days (Part IV)", a 7 "vinyl limited edition record published by the Polish label Fluttering Dragon. In 2006 Cold Fusion fired, through War Office Propaganda, "ORP Orzel", a limited edition album composed of twelve tracks, followed by "Triumvire", a split release of nine acts performed with Rukkanor and Stahlwerk 9. Year 2007: it was published "Symmetria", full-lenght enumerating eleven songs promoted by the War Office Propaganda, which was followed in 2008 at first by a limited-edition box set issued by the binomial Rage In Eden / War Office Propaganda, containing the re-edition of the album "Wunderwaffe" with the extra release "New Apocalypse" of seven tracks, while, a little more forward, Rage In Eden published the limited edition album "Silk Road", which nine tracks were played by Cold Fusion and Rukkanor. Year 2010: it was released by Rage In Eden the box-set limited edition compilation of eleven songs "Rundfunktechnische Versuchsanstalt I" - this is the name of the Rage In Eden's sub-label, specializing in unpublished music, sold-out and limited publications - thus coming in 2011 at the limited edition box-set by Rage In Eden "Architecture" which includes both the regular full-lenght volume of eleven tracks and a second bonus disc of four. "Cross My Heart", published in the year 2017 by Rage In Eden and now reviewed by Vox Empirea, is the sixth album of Cold Fusion; in this new digipak limited edition format, Marcin Bachtiak provides a further demonstration of his extraordinary art through eleven not titled performances stylistically oriented, in different measures and interpretations, towards a conjuncture between martial-industrial, bombastic, dark-folk, neoclassical and symphonic dark ambient. This album, so grandiose, highly captivating and symbolic beginning from the sleeve's artwork - depicting the smoky scenery of an urban neighborhood just bombed during the Second War period - up to every moment of the tracklist, also features as wooden box-set limited edition complete of 11 vintage photo cards. "01 Untitled" is the opening song, orchestrated through a sombrely austere keyboard, in which noble euphonies the listener relives the distant echoes, the drama and the forgotten glories of warlike atmospheres, all marvelously emphasized by a loud drumming. "02 Untitled" is a dark-ambient / industrial with a high level of emotive enchantment, enhanced by a first extension of cosmic darkness in which depths we can distinguish a threatening rumble and the brief prelude of the obscure keyboards-percussive sections that overshadow the next "03 Untitled", a track of sculptural, severe musicality full of phatos, shaped alternating cyclically interludes rich of suspense and impetuous dark-neoclassical / martial consonances that follow each other like waves. "04 Untitled" pours dark-ambient flows, dilating infinitely a monodimensional chord, rhythmed by slow subterranean cadences and minimally adorned in its background by opaque, obsessive sounds without any harmony, while the following "05 Untitled", sustained by the downtempo militaristic step of the drum, integrates in its trajectories phases of triumphal symphonism and martial suggestiveness. "06 Untitled", a War celebration of immense intensity, is formulated through resonant choral sequences, neatly aligned in a thundering configuration of downtempo percussiveness. The dark-ambient / industrial / neoclassical structures of "07 Untitled" predispose prolonged and turbid sequences formed by reverberated downtempo drum-programming beats joined to a low piano note, replications on which they twirl vocal loops and currents of cold processed sound. Inside "08 Untitled" vibrates a marzial-symphonic segment of keyboards, rationally divided into four quarters and systematically repeated in a context of gloomy, authoritarian modulations synchronized with the stentorian rolled drumming, as well as in the following "09 Untitled" the majesty of the militaristic climax is fiery declaimed by ardent keyboard orchestrations slowly punctuated by metronomic drum-hits, for a martial / industrial / neoclassical theme emanating sensations of indomitable, iron will, courage, pride and visions of totalitarian Empires, both ancient and future. "10 Untitled" incorporates an aggregation between dark-ambient and shamanic-tribal folk, a sonic-transcendental experience, a contact with the Infinite and the mystic, made possible thanks to the psychic transport activated by the hypnotic drumming, to the abysmal expansions of keyboards and to the flurries of electronic noise spread periodically throughout the entire song. The final of the album, "11 Untitled", a track of indescribable evocative charm, is entrusted to a canticle that is both nostalgic and regal: two sections of voices sing ecstatic, liturgical polyphonies that rise solemnly towards the sky to form an hymn, which notes, perfectly harmonized in their 'cathedral effect', create a placid force capable of illuminating the listener's soul with immeasurable efficacy. The elevation, the emblematicity, the power of sublimation of the elaborations contained in this release are invaluable. Fearless symphonies, marziality, obscure experimentalism and new neoclassical concepts, characterize the entire repertoire of Cold Fusion and, in particular, the eleven compositions of this album, apex of the instrumental dexterity and of the creativity of Marcin Bachtiak, a man capable of adapting with supreme grace the abstraction of the imaginary to the concreteness of sound. Each paragraph of the tracklist flaunts a cultured refinement and algid beauty, recalling incisively military allegories, heroism and the reminiscences of War, consecrating all this in a statuary, iconographic musicality, trait d'union between past and present. Time will consume an infinite number of elements, but the magnificence of "Cross My Heart" will not be minimally eroded. A fundamental and essential full-lenght. In the most absolute terms.
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Iamtheshadow - "Embracing The Fall" - by Maxymox 2018
Iamtheshadow is the pseudonym chosen in 2015 by the Portuguese Pedro Code ( vox / guitar / keyboards / programming / lyrics ) to give life to his solo-project, so as to immediately perceive from the name that aura of sentimental introspection and of nostalgic melody that characterizes all his compositions. The style interpreted by the protagonist in fact reminds without hesitations the best 80's electronic darkwave and, in some particular inflections, that of the first most romantic Clan Of Xymox: in fact, the deep, baritone voice of Pedro and the entire sound-system, always melancholically obscure, rhythmically danceable and vaguely gothic-oriented, even keeping both their intrinsic authenticity, they sometimes reflect the sounds of the legendary band of Ronny Moorings, enriched with extremely intimate texts, intertwined inextricably with modern, unmistakable sonic elements formulated by the artist, author of a musicality that it goes beyond the boundaries of the simple notion of beauty. Very representative and active on the live scene, Iamtheshadow can boast about significant performances in Europe, sharing the stage with underground celebrities such as Kirlian Camera, The Breath Of Life, Pink Turns Blue and Hante. The project in his concert sessions is supported since 2016 by Rui Geada ( bass / guitar ) and Vitor J. Moreira ( keyboards ), two external musicians, as well as inspirers, during the studio recording process of the songs, of many guitar and keyboard segments. The biographical profile of Pedro Code also mentions his second identity, the solo darkwave act called The Dream Collision, founded in 2013, by which he concretized two self-produced albums in limited edition, respectively "The World Ends, The World Begins" - released in the same year 2013 and containing eleven tracks - plus "Life Is A Sea", a full-lenght composed of fifteen songs dated 2016. Lastly, is quotable for its importance the presence of Pedro from 2014 in the line-up of the Portuguese post-rock / dream-pop band Rainy Days Factory, in which he plays the different roles of guitarist, keyboardist and composer. The discography of Iamtheshadow, now on the third album, initially starts from the wonderful "Everything In This Nothingness", a release of eleven tracks published in 2016 by the label Associação De Ideias - the Portuguese self-produced label belonging to Rui Geada - anticipated in the same year by the namesake digital self-produced promo-single that includes three songs. It follows "All Our Demons", a limited edition full-lenght of seven tracks, fired in 2017 by the French brand North Shadows Records, the same home records responsible in 2018 of the publication of the new "Embracing The Fall" now reviewed by Vox Empirea, a twelve-episodes album featuring the performances of bass guitar played by Herr G. - the Rui Geada's art name - and the sections of keyboards planned by Victor J. Moreira; this current alignement and stabilization of the line-up leads the project's change from solo-act to a real band. Fundamentals to spread the Iamtheshadow's music were his appearances in at least six digital compilations released between 2016 and 2017, such as "A Tribute To The Sound", "SVI Generis Mixtape Vol.13", "Aleatory Chaos 2x12 Compilation", "A Tribute To The Chameleons", "The Dance Macabre 2 By At The Sea Compilation" and "Ceremonial". Observing the artwork of "Embracing The Fall", conceived by the photographer Butow Romey, we can notice the symbolic abstraction made of the burned colors and the unmistakable graphic features so stylistically identical to those by 23 Envelope, the original and extremely aesthetic graphic design / visual partnership between the two photo-artists Vaughan Oliver and Nigel Grierson, associated until the late 80's to the legendary London music brand 4AD. The opening track of the album is "Remembrance", a spectral introduction based on the sphericity of cloudy pads, sequenced evanescences and slow, distant drum-machine tolling, an evocative set of frequencies embellished by the phrasings of the guest Chris Göllnitz - a German musician and Pedro's friend, who's with Michael Schaffer the constituent part of the darkwave-electronic duo Birdmachine and a member of the psychedelic-rock / darkwave / abstract Germanic band The Beautiful Disease - whose echoed, cryptic spoken words reciting the arias of the eighteenth-century poet Friedrich Hölderlin. "Reaching The Ground", exposes every peculiarity of the typical darkwaver Iamtheshadow's sound, built primarily on symmetrical midtempo cadences of drum-programming and sequencers, dominated by Pedro's passionate voice, all surrounded by the dark melodies of the keyboards and by the languid, reverberated guitars. The next song, "Embracing The Fall", continues the tracklist's cycle offering another pearl of decadent darkwaving romanticism: unvarying midtempo drumming, precisely synchronized with the sequencer's dashes and with the linear pulsations of the bass, a solemnly melodic chant, timbrically powerful and evocative, which ardent extensions, especially in the refrain, rise up vertically, filling the surrounding space with their infinite grief and then reach and touch our souls, joining as in a farewell hug with the long, intense chords propagated by the synths. The darkwave architectures of the following "All I Know" reflects depressed vocal harmonies, tormented by an inner agony, beautifully exalted in a marvelous combination of midtempo drum-machine, sequencing, harmonious keyboard accompaniments, regular bass-lines punctuations and guitar arpeggios. "The Skin" is an uninterrupted darkwave vortex that captivates, enchants, through obscure, elegiac well-marked vocal trajectories always full with lacerated feelings, capable of transmuting melodically words into images, thanks to the fascinating concordances of the synths and the ornamental preciousness of the synergy midtempo / sequencer drum-programming, around which are replicated the counterpoints of bass and guitar played by Karl Morten Dahl - a musician from the Norwegian post-punk coldwave / melodic-hypnotic duo Antipole, with whom Pedro has collaborated in two remixed versions - . The systematic downtempo percussiveness, together with the oneiric configuration of the keyboards, with the soft notes of the guitar in the background and with the immensely sad singing, give to the "To Find" darkwave sound a sort of rueful nobility, of desolate attractiveness, which make this song suitable for a meditative nocturnal listening. The voice of Pedro, so enveloping and melodically gloomy, induces to the wistfulness and self-analysis, pouring into the subsequent "Fall Apart" endless flows of spleen, which echoes flutter caressingly in a dreamy guitar-keyboard dimension driven by midtempo beats of drum-programming, sequencer and bass, as well as in "Follow" the melancholic vocal intonations overlap euphonically the darkwaver scheme performed through midtempo drumming metrics, romantic keyboards and disciplined bass progressions, for a strongly, polarizing, attractive track, in which the sweetly nostalgic mood of sounds penetrates with disarming immediacy into the recesses of our minds, interacting subliminally with them, thus arousing feelings of loneliness, of broken dreams, of abandonment. The rhythmic segment of the next "Lifelines" is structured by rational downtempo scans of drum-machine and sequencing, which coldness contrasts with vocals permeated with suffering, while from the surreal chromaticisms of the keyboards raise mesmerizing harmonies, in a perfect, expressive synergy between electronic instrumentality and the darkwaver pained phatos. "Closing" is punctuated by metronomic midtempo drum-programming replications, segmented by sequenced intermittences and magnified by a perennially melancholic vocal melodism in which converge seductive keyboards, all in a contemplative and simply irresistible darkwave song. Pedro's darkly aristocratic and iconic vocal foreground again stands out superbly on the electronic darkwave context of "Into Your Eyes", which modulations invite us to move rhythmically, through expanding synths fluorescences, mechanical drum-beats, sequenced splits and through subterranean scales of the association guitar-bass, for a chapter that possesses all the requisites to become a catchy floorfiller for the alternative dancefloors. The closing song is "Flowers Come Winter", adorned with noble vocal calligraphism reciting the phrases of a poem written by Friedrich Hölderlin, all skillfully inserted among the enchanting fluctuations of the synth, which chords intersect the rigorous midtempo geometry of drumming and sequencer, in a song that will conquer you instantly and forever. An artist of remarkable entity, Iamtheshadow can reasonably be considered one of the most credible, honest and promising projects of the entire contemporary darkwave emerging scene: his music is a balance between rear view and modernism, in which sonic technology meets the obscurity and the the dramas of human spirit. The subjugating, sophisticated fullness of the vocals, within which they vibrates quiet desperation, compelling intuitions and melodic refinement, concretize stupendous darkwaving aestheticisms, so indelibly impressed in all songs of Pedro Code's repertoire. "Embracing The Fall" is a grandiose album, an absolutely exciting and totalizing experience that every true connoisseur of this specific music genre must live as soon as possible. Falling, drowning in this universe of emotions and shadows, it will be like sinking into a pure, contemplative, infinite ecstasy.
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L'Effet C'Est Moi - "Isis Panthea" - by Maxymox 2018
There are no words commendable enough to define the magnetism intrinsic within the music of Emanuele Buresta, aka L'Effet C'Est Moi, since 2005 founder and unique figure of this compelling Italian one man project, through which, spurred by the byword 'Mi Natura Dedit Leges A Sanguine Ductas', he always manages to make superbly converge into a grandiose sonic model the cultural elevations and the symbolisms enunciated in its creations. Former member with the pseudonym Garzaroth of the national death metal band called Morkal, as well as talented live performer in his current solo-act L'Effet C'Est Moi - a name linked conceptually to Friedrich Nietzsche and in particular to his idealization of the axiom 'command - obedience' based on the predominance and on the individual superiority of man in the social context - this musician is the author of an unique, precious sound, evaluable as a transcendent celebration dedicated to the antique rites offered to Nature and to the Deities that elevates Man to higher stages of consciousness, uniting so the earthly materiality with Spirituality. The primordial European traditions, especially the millennial ones belonging to the entire historical, philosophical and cultural evolution of the Italic people, with its virtues, its principles, its pagan and Christian cults, play a fundamentally inspirational role in the music of the artist, who extrapolates the emotions coming from these scenarios giving them life through modern equipments, indispensable for the transmutation into sound of such deeply epic and mystical subject matters. The overall structures of the musics played by L'Effet C'Est Moi - integrally instrumental, elegant, with episodic conjunctures of vocals - combine martial - symphonic euphonies to modern-neoclassical, neofolkish, synthpop, darkwave and industrial-ambient elements, synergizing them with formidable expressiveness and with aesthetic rigor into an evocative orchestrality, intertwined indissolubly with the substance of the themes whenever treated, all in a discography to be collected entirely, which began in 2006 with "Tomber En Héros", the split debut album published by the Italian label Forart.it and containing eleven tracks divided into two acts, followed in 2008 by the resounding full-lenght of twelve songs entitled "Les Voix De L'Apocalypse", published at the same time by the prestigious German brand SkullLine and the Chinese label Midnight-Productions, which was followed in 2011 by the album "Genius Loci" - analyzed in the same year by Vox Empirea - fired by SkullLine and composed of eleven tracks. In 2012 it was the turn of the full-lenght "Il Sole A Mezzanotte", including eleven performances and distributed by the illustrious Polish label Rage In Eden, to which in 2015 they followed the ten tracks of "En Guerre Avec Amour", an album released by an other eminent label, the Italian Old Europa Cafe. There are also numerous participations by L'Effet C'Est Moi in important compilations, such as "Heiliges Licht - Friendship Is Everything", published in 2007 by the Polish label Kaos Ex Machina Promotions, "In The Sign Of The Runes", edited in 2008 by SkullLine, or "Sturmreif: The New Underground of Military Pop", fired by the German brand Castellum Stoufenburc. The new work "Iside Panthea", published in 2017 by the well-known Austrian brand Steinklang Industries and now reviewed by Vox Empirea, is available in very limited edition mini-album format; its tracklist contains six martial symphonic / modern classical / darkwave songs realized and finalized independently by Emanuele Buresta at his own Audio Rising Studio in the year 2016. On this occasion all the tracks are characterized by atmospheric sounds that recall the archaic esoteric functions related to the cult of the goddess Isis during the Alexandrian Imperial Rome epoch, conditioned by the interchanges of cultures and divination practices with ancient Egypt. "Iside Panthea" - fundamental detail to fully understand its substance - is in fact the musical explication resulting by the introspective, personal research of the protagonist about the mysterious aspects of that historical Era. The sound schemes of the album elaborate sophisticated, involving timeless textures, embellished by measured counterpoints of the Egyptian sistrum - an instrument considered sacred to the goddess Isis - electronically rhythmized through a drum-programming set on timpani, tambourines and on pots of bronze - these latter traditionally used in the musics of the ancient Rome - illuminated by crystalline mudulations of bells and rattles, all adorned with symphonic nobility by aulic keyboards. The opener is the deferent and preparatory ritual extrinsicated by "Purificatio", so sinuous and rhythmed, as other subsequent acts of the album, by slight downtempo membranofone percussions, sublimated through suggestive keyboard melodies, cryptic whispers and though a feminine 'siren-like' chorus artificially processed, so hieratic, contemplative, able to abduct the imagination and to communicate with otherworldly entities, which, through and the dreamlike activity of the sleeper - according to Plutarch, a symbolically initiatory condition of what Death will be - transfuse into the subconscious the messages transmitted by the divinity Isis, emblematic connotations belonging to the next "Initiatio Isiaca" , a composition enriched with austere introductory pads, subsequently incorporated into liturgical organ harmonies, catatonic downtempo percussiveness and into elegiac, feminine choral sections, in a whole of sonic wizardy and ascetic seduction of the senses: the intrinsic meaning of the track is the awakening in the Reign of the Dead by the initiating, who now relives through these musics the same infernal torments suffered by Osiris - at the same time brother and bridegroom of Isis - during his resurrection in the Afterlife. A more obscure and orchestrally awesome sound, alternated with periods of minimal shamanic musicality, distinguishes the following "Lustratio Mystica", the which symphonic arias, emphasized by martial, bombastic keyboard extensions and thundering percussive hits, are alternating with quiet, notes of flute full of enchantment, punctuated by a soft downtempo beating that highlights its essence of divinatory ceremonial exalting the magnificence of Isis, understood as the omnipotent and feared divinity, to whose control and will the entire Universe is subjected; interesting is also the sampled representation in the song of the 'snake's breath', which in the ancient Egyptian myths was considered a strongly allegorical animal, eternally in balance between earthly identity and mediation with the supernatural. The sonorities of "Osirificatio" depicts instead the celestial Firmament towards which the initiate ascends: this scene is musically reproduced by murky diffusions of synths, soft whisperings, raining noise in the background - that completely wraps the track - and by faint downtempo drumming, all this glorified by a solemn keyboard. The imperishable return to the life of Osiris, which took place through the prodigious wind generated by the Isis wings, manifests itself in all its extraordinary sumptuousness in the following "Immortalitas", which, by declamatory keyboard flows, by suave and hypnotically replicated drumming and by torrential water effects, leads the listener into a mesmerizing sonic experience. The last chapter of the album, "Milvus", interprets one of the preponderant deities of the Egyptian pantheon: Horus, the hawk-god, born by the union between Isis and Osiris, whose screams are uniformly propagated on the track, that is built by wide, enchanting keyboard / choral progressions, sequenced decorations and by midtempo percussive cycles, in an aggregation of modulations and sensations recalling ancestral cults. Prospectively ecstatic, surreal music, with sculptural traits, that brings the listener back in a fairytale path among remote splendors and arcane retrovisions of lost civilizations, the one conceived by L'Effet C'Est Moi possesses a particular vividness and an innate comeliness that make it so exclusive. Each of the six monumental tracks included in this release pours into the listener the totalizing perception of sacredness and mysticism, revealing highly figurative 'mind-expanding' martial / neoclassical stylemes, capable of opening up the evanescent doors of the Cosmos granting to the audience to enter into an atemporal dimension, phenomenally intense beyond all limits. Evocativity, paganism, mythology and suggestion are harmoniously molded in the work "Isis Panthea", immortal as the deities to which it refers. All this beauty is disconcerting.
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Miseria Ultima - "Phosphor" - by Maxymox 2018
Founded in 2016 by the Finnish Aleksi Martikainen ( vocals / lyrics ) and by Kimmo Huhtala ( synths / programming ), Miseria Ultima denote particularly interesting technical qualities and sonic incisiveness. This emerging duo-act, through two years dedicated to live activity, has been able to conquer the praises of the fans and an ever increasing number of consents in the European electronic scene, until the concretization of the ambitious goal of an official full-length with which to demonstrate totally their own abilities and trespassing towards wider horizons. The debut album "Phosphor", now reviewed by Vox Empirea, was released in 2017 by the Hungarian label Advoxya Records; it was in turn preceded in the same year by two self-produced demo releases entitled respectively "Unfocus", containing seven tracks, followed by "Of Satellites And Rusted Reveries", which was instead constituted by a single episode. The music of the Miseria Ultima, volitive and 'very danceable', has as main principle a strongly dark-electro trend combined with marked EBM / industrial stylemes surrounded by perceptible gothic atmospheres, while the texts, communicated by a voice in perpetual harsh mode, treat various themes regarding mainly human interiority, substantially referred towards the feelings of fear generated by the current technologically advanced society, highlighting existential suffering, inner conflict and the awareness of an inevitably apocalyptic future. The debut album "Phosphor" - whose sleeve artwork was conceived by the Finnish illustrator and graphic designer Jarno Lahti - includes twelve extraordinarily vibrant tracks, perfectly suitable to the underground dancefloors, in which they stand out dynamism, obscurity, enthralling strenght and rhythmic movement of the body. The opener is the incendiary "Omega Transmission", a dark-electro / EBM / industrial driven by angry, abrasive vocal exhortations, rhythmically aligned to a pneumatic midtempo drum-programming and radiated by endearing synths / sequencer sections. The hypnotic conjuncture among midtempo drumming and sequenced counterpoints is the dark-electro / EBM / industrial scheme of "Shift To Crimson", a fascinating, danceable and murky track, highlighted in a sublime way by the Aleksi's poisonously hissed chant. "Morningstar" proposes dark-electro / EBM / industrial sonances characterizated by an high level of danceability, built through linear midtempo trajectories of drum-programming and by sequencer, corroborated by acid vocals and by capturing keyboards, as well as the dark-electro / industrial structure of the next "Garden Of Abstractions" is boosted by downtempo cyclical drum-beats on which they vortex refractions of synths and threatening vocal inflections uttered through caustic tones, all in a technologically subterranean, melodically leaden song. "Scarlet" dynamizes the dark-electro / EBM / industrial 'dance-oriented' sounds processing systematic midtempo cadences adorned with rational keyboard extensions and rivulets of sequencing, while a corrosive voice dominates with all its anger, spreading in the musics its aggressiveness, its resentment, its resoluteness. "Neuroveil" increases the rhythmic speed through an uptempo percussive planning of drum-machine and sequencer, flanked by the Aleksi's sharp vocalizations and by the synthetic harmonies propagated by the keyboards, for a catchy dark-electro / EBM / industrial track to dance frenetically without pause. In the following "The Deep Red Heart" resonate impetuous sounds that inflame our mind and body, enhancing a midtempo pulsing drumming eroded by the perfidious vocal modulations that pour on the cold harmonies of the synths, all this in a dark-electro / EBM / industrial executed with determination and rigor. "Submerged" reveals more than ever the balance between Neue Deutsche Welle classicism and dark-electro / industrial formulas that distinguishes the musical imprint of Miseria Ultima; the binomial interaction drum-programming / sequencer elaborates vigorous uptempo propulsions, synchronized with fluorescent keyboard hits and with the harshness of the chant, which whole geometrically punctuates this track of remarkable clubby tendencies. Sinottically downtempo percussiveness, robotic vocals, intense pads flows and spatial effects, compose the evolved melodism of the magnificent "Halo Of Affliction", that is what would be heard inside an alien Mothership; the studied futurepop / dark-electro magnetism of this song fully demonstrates further inclinations of Aleksi and Kimmo towards the electronic sound experimentation. "Latter Disarray" relaunches the effective dark-electro / EBM / industrial model through ultra-danceable midtempo rhythmic architectures, biting harsh vocals and through metallized synths harmonies, while the subsequent "Shapeshifter Of Dreams" predisposes more slimmer midtempo percussive symmetries, keeping intact the natural roughness of the chant and the solid, melodic conjunctures of synths, for a dark-electro / industrial, as always, of great allurement. Intermittent bass-lines, midtempo stroboscopic drumming, urticant vocal hardness, majestic walls of synths and obsessive sequenced replications, are the peculiarities of the conclusive "Vertigo", which interprets in a more energetically danceable way the dark-electro / EBM / industrial paradigm till now so skillfully played. A good performance. A newcomer duo that know how transmit without compromises sonic exuberance, conceptual purposefulness and very high levels of entertainment. This is the strategy that makes Miseria Ultima a winning project, thanks to the synergy of three distinct attitudes: outstanding inspirational resources, complete mastery of the instruments and, above all, perfect knowledge of the audience's expectations. "Phosphor" practically incorporates each of the elements wanted by the followers of dance avant-garde, satisfying even the most demanding and disenchanted experts of this genre, confirming it with full rights as a milesone of the recent alternative electro music paragraph. Every listening to this wonderful album will never be the last one.
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Unitary - "Woke" EP - by Maxymox 2018
Hi-tech Stockholm based platform impersonated by Johan Hansson, Unitary is a solo-act born in 2001, supported in the live sessions by the musician and mastering engineer Daniel Söderberg. The musical career of the protagonist was initially characterized, during the period between 1992 and 2003, by his militancy as drummer, keyboardist and producer, in a black / trash metal, an activity undertaken in parallel to Johan's progressive interest in electronic instruments, as well as towards those advanced forms of sound of which he is still the author. The first, concrete start-up in the electro-synthpop scene took place under the appellation Cyanide, through which Johan realized the four tracks of "Desolate Ways", a mini CDr licensed in 2002 by the Swedish brand Off Label Production. Today, Johan Hansson is the itolar, founder and single member of the individual projects Unitary and We The North, two interpretations that in turn follow different conceptual-musical trajectories based on multiple elements, ranging from an exclusive perceptive decoding of the surrounding sounds and noises, the personal emotional states, up to the elaboration of life experiences that the artist's sensitivity examines daily: all this is transformed into captivating, unmistakable modulations, enriched by lyrics that are always able to reach intellect and soul with extreme efficiency. The Unitary's sound system differs from that belonging to We The North for its own imprint called by the same artist 'Emotional Body Music', inspired by the analysis regarding the intricate, corrupt dynamics that characterize the highest levels of modern society and musically oriented around an electronic EBM / futurepop / dark-synthpop style rhythmically fast, while We The North prefers melancholic consonances defined as 'Nordic Noir', emblems of the dark Scandinavian seasons and integrating predominantly classical synthpopish euphonies. They are also notable for their previous relevance the previous and extemporaneous Johan's collaborations as guest vocalist in the German electro / synthpop duo-act Frozen Plasma and with the Floridian dark electronic / future-darkwave duo Les Anges De La Nuit - in their 2015 album "Vanity Will Perish " - while the Swedish electro / industrial / EBM duo-project Neurobash created in 2014, for its own label Aeongate, the cover of "Mkultra", an Unitary's song taken from the album "Misanthropy". Unitary debuted discographically with "Second To None", a full-lenght of eight tracks published in 2003 by Off Label Production, followed in 2011 - after a long period dedicated to musical cooperations under different pseudonyms and to the participation from 2004 to 2012 in four prestigious complilations by the German label Zillo Music Media - by "Safe From Harm", a superlative twelve-track full-lenght issued by the famous German label Infacted Recordings, which in 2012 released also "Misanthropy", a thirteen-songs album. In 2015, in addition to the appearance of Unitary in the anthology "Digital Infaction - Strike 1" printed by the Infacted Recordings, were published two Extended Play: the first one, again published by Infacted Recordings, was "Torching Utopia" of eight episodes - one of which is vocalized by Reagan Jones, the lead-singer of the Texas synthpoppers Iris - with the remakes by the Swedish electro / EBM / synthpop duo Mechatronic, by the Norwegian dark-electro / EBM duo Kant Kino, by the Swedish dark-electropop duo Machinista, by the Swedish EBM / electro / industrial band Trakktor, by the Mexican synthpop / futurepop project Electrovot and by the Austrian industrial / EBM one man act Nachtmahr, succeeded by the limited edition EP of seven tracks "Unafraid" fired by Off Label Production, with the remixes by the Swedish electro / EBM band Autodafeh, by the American Tom Shear's EBM / industrial / synthpop project Assemblage 23, by the French electro-pop band Dekad and by Nico J. aka the South African industrial / synthpop / dark-ambient solo act Acretongue. "Woke", the new release of Unitary published in 2018 by Off Label Production and now treated by Vox Empirea, constitutes an event of great relevance in the electro panorama and yet a successful, faultless model of artistic interaction; six of the seven chapters of the tracklist are in fact remixed by notable international projects, which, thanks to their contributions, add value to this EP that will certainly be appreciated by all fans of this genre and that will leave behind it a positive mediatic resonance. The text's song inherently speaks of 'awakening' from a collective situation of 'mental numbness', the same one that is conditioned by the global mainstream - deceptive simulation of reality - which effects prevent the industrialized masses to evaluate and objectively understand what really happens to our modern, asleep-manipulated society and to the rest of the world, inhibiting the human desire to know, to think and decide independently. "Woke" shakes from the psychic narcosis, reactivating the reason and the ability to look beyond the illusory appearances; the original version of the song opens the title-track of the EP, exhibiting its 'intelligent electro / synthpop' structure created through linear midtempo trajectories of drum-programming and sequencers, on which Johan overlaps his catchy and intensely communicative chant, intoned by harmonious, deep vocal timbres, accompanied by persistent and polymorphous keyboards. The second act of the Extended Play is "In The Age To Come", a formidable electro / synthpop embellished by the inebriating voice of Reagan Jones and by the remixing work by the Norwegian electro / synthpop project Spektralized, whose sonic scheme predisposes a danceable midtempo drumming, eurhythmics inlays of keyboards, pulsing bass-lines and phosphorescent sequenced segments. The former Code 64, now Xenturion Prime, a Norwegian synthpop / EBM / electro duo, rework "Woke" accentuating its danceability through an irresistible binomial of midtempo drum-programming and shining synths, configuring android vocals and avant-garde arrangements, making this remake perfectly suited for the alternative dancefloors. The third transposition of "Woke" is remixed by Acretongue, who processes Johan's chant in an atmospheric, minimal and extensive introduction of keyboard and sequencing, followed towards the middle of the track by a dark-synthpop and more consistent musicality, made of transversal chords, echoed vocal sampling and electronic interferences synchronized with midtempo drumming. "Woke", reassembled this time by the Swedish electro / synthpop duo Vanguard, reacquires lightness and danceability through a slender synthpopish morphology, having for prerogatives sparkling keyboard hits, which seductive melodies alternate with the vocals, thus merging with the mechanical midtempo scans of the drum-programming and sequencer. The next reinterpretation of "Woke", played by the American electro / synthpop / industrial solo-project IIOIOIOII - aka Christopher Gurney - decreases the rhythmic parameters of the track, setting the drum-programming on an intermediate and systematically cadenced downtempo-midtempo modality, surrounded by the crystalline luminescences of the keyboards and by Johan's suggestive intonations, in a complex of sonic cerebralism and sensory stimulations that abduct at the first listening. Equally dynamic how the first version, "In The Age To Come", vocalized by Reagan Jones and rebuilt by the German D.J. / producer / remixer Rob Dust, beautifully closes the tracklist, combining enthralling, danceable midtempo drum-programming and sequenced metrics which propel futurepop / synthpop sounds, composed by dashed bass-lines, powerful-functional midtempo drumming sections, fascinating conjunctures of keyboards and by clear vocal melodies. Scrupulous 'observer-captor' of the human events and of the acoustics around him, Johan converts his inner universe into technically advanced musical expressions. Definible as a prominent exponent of the 'new European electro generation' and, certainly, as one of the most representative projects of the boreal one, Unitary once again amazes us through a new repertoire of proportionally harmonious synthetic sounds and through theories marked by his inquiring existential vision, all this with the purpose of joining hearing and intellect, sound and reflection: "Woke" is an engaging release that will receive today as tomorrow the well-deserved acclamation in every ambit. By Unitary and We The North, the current technological music acquires even more an important and authentic meaning, abandoning the generic one in use simply to define a musical style. No need to add anything else to honor this great, highly quotable Scandinavian artist and his umpteenth, extraordinary new performance, placeable with pride in every respectable records collection. Thank you for your irreplaceable presence in the electro macrocosm, Mr. Hansson.
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Urze De Lume - "Vozes Na Neblina" - by Maxymox 2018
Portuguese ensemble officially composed by the four members here described with their respective instruments played during the live sessions: Ricardo Brito ( studio-composition / Portuguese bagpipe / rabel / viola campaniça / classical guitar / folk guitar / horns ), Tiago Matos ( war drums / percussions / horns ), Gonçalo do Carmo ( war drums / galician bagpipe / viola campaniça / bass / small percussions / horns ) and Hugo Araújo ( sampling and 'shamanic' percussions ). Conceptually inspired by the mythologies deriving from the Lusitan Indo-Europeans - ancestors of the modern Portuguese, who populated the most Western sector of the Iberian peninsula in the pre-Roman Era, corresponding to the current Portugal and the Spanish Extremadura region - the music of Urze De Lume is dimensionally suspended into a remote past linked to the legends inherited by their progenitors, strongly ingrained in turn within the rituals dedicated to the primordial and eternal belonging of Man to Nature, understood as 'inseparable unity', in which concurrently they combine devotion to the generating Force, pride for the own origins, cult of Mother Earth, esotericism, shamanism, revaluation of traditions and mysteric pagan liturgies. The band - founded in the last part of 2009 by Ricarco Brito, Tiago Matos and José Marques - is also supported by the friendly artistic collaboration of external musicians, from always close to Urze De Lume. In order to obtain the right musicality aimed at the mental projection of soundscapes dating back to remote ages, the project utilizes with rare dexterity Iberian folkloristic instruments, which orchestrations, characterized by vividly immersive sounds, expand an uninterrupted sequence of suggestive and visionary atmospheres, which carry back the materiality of the present beyond the centuries, reaching by the fantasy enchanted places, arcane celebrative contexts and life scenarios lost in time; they result sound executions simultaneously circumscribable into a dark-folk range and into a stylistic personalization that can be defined as 'natural-ambient'. The discography of Urze De Lume dates back to 2012, the year of publication of the self-produced debut album "Ibéria Oculta" containing thirteen tracks, followed in 2014 by the self-produced digital release "11", a live recording album composed of eleven songs recorded during the concert held in the year 2011 in Maia, Portugal. Subsequently, in 2015, the band released "Caminhos Da Urze", a self-produced limited edition full-length of fifteen tracks distributed by the Spanish label Soliferro, which six panels of its digipak sleeve are embellished with images created by the Spanish illustrator of folk-art Albæ Mostazovska. Also noteworthy are their participation in two compilations: "Devotioceltibérica", dated 2015 and licensed by Spanish labels Gradual Hate Records / Soliferro, followed by "Raíz Ibérica", issued in 2014 by the Austrian label Ahnstern and by Soliferro . Another excellent appearance by Urze De Lume is that of "Mar Deserto", a solo album by the Portuguese musician-guitarist Ricardo Gordo, self-produced in 2014, in which the band participates with a track. "Vozes Na Neblina", now analyzed by Vox Empirea, is the EP of 2017 edited by the famous Portuguese brand Equilibrium Music: it includes four tracks divided into two narrated preludes and into two instrumental episodes. The opener is the namesake "Vozes Na Neblina", a poem told through spoken-words pronounced with the magically thoughtful and profound voice by Carles Jimenez, the first of the two protagonists of the Iberian acoustic neofolkish / apocalyptic psychedelic duo-act Àrnica, whose phrasings reverberate over the crackling noises of fire in the background. Arpeggios of acoustic guitar that spread melancholy dark-neofolk harmonies, joined at a slow and hypnotic rhythm that recalls the shamanic ecstasy, constitute the structure of "Quando As Nuvens Escurecem", anticipating "Vozes Na Neblina II", a vocal composition recounted by the second component of the Àrnica, Daniel Pablo, whose cogitabonde tonality, together with the crackling of flames perceivable in the underlays of the track, give the story an intense evocative aura. A tribal aerophonic instrumentality interacts with transcendent cordophone dark-folkish melodies, while a minimal war drumming alternates with rarefied counterpoints of rattles, forming a space-time vortex, which virtually attract in an archaic perspective: all this in "Outono Eterno". Captivating and emotionally fairy music, that of Urze De Lume seduces us through the polarizing fascination and the originality of millenarian sounds, epigonic of the primordial acoustics by the Lusitanian forefathers, now so faithfully interpreted with passion and authenticity. The entire discography of the band is an interesting opportunity to discover cultures lost among the spirals of Time, never forgotten and today relived as poetically atavistic melodies, formulated keeping intact their peculiarities handed down over the generations; the Extended Play "Vozes Na Neblina" will lead the listener into the exploration of this ancestral, illusory macrocosm with which he will relate spiritually, captured by an inscrutable, contemplative, powerful energy. All this is possible. The Urze De Lume never ceased to believe in it.