SOLVENT – APPLES & SYNTHESIZERS (CD by Ghostly International)
TRADE & DISTRIBUTION ALMANAC VOL. 2 (CD by Adaadat)
BLACK LUNG – THE GRAND CHESSBOARD (CD by Ant Zen)
THIS MORN OMINA – THE DRAKE EQUATION (CD by Ant-Zen)
SONIC SCOPE 04 THE PORTABLE EDITION (CD by Grain Of Sound)
ASAMO – NIJU (3″CDR by Ristretto)
TIM HECKER – MIRAGES (CD by Substractif)
TANAKH (2CD by Alien8 Recordings)
HIVE MIND – SAND BEASTS (CD by Pacrec)
LUASA RAELON – CONSUMED WITHIN THE YEARS OF LEAD (CD by Pacrec)
CONTAGIOUS ORGASM – FROM THE IRRESPONSIBLE COUNTRY SOUNDS (CD by Pacrec)
COLLECTIONS OF COLONIES OF BEES – CUSTOMER (CD by Polyvinyl Records)
LOOPER – SQUAREHORSE (CD by Absurd)
MERZBOW – MERZBIRD (CD by Important Records)
GENETIC SELECTION – ORBITAL GROUND ATTACK (CD by Ant-Zen)
THE HAFLER TRIO – I NEVER KNEW THAT’S WHO YOU THOUGHT YOU WERE (3″CDR by Important Records)
JUSTIN BENNETT/TOSHIYA TSUNODA – DERTIENDE MIXER (LP by Stichting Mixer)
KAFFE MATTHEWS/MARTUX_M – VEERTIENDE MIXER (LP by Stichting Mixer)
GINTAS K – TITLED# (CDR by Retinascan)
KOZO IKENO – RENDER PERFECT SOUNDS (CDR by Retinascan)
GEOCODE – SLEEPER (CDR by Retinascan)
I:WOUND – THE SIAMESE BOX (5×3″ CDRs by Verato Project)
PI CAB ALTER – MINIATURES (3″CDR by Verato Project)
XEDH – SERPENTS (3″CDR by Verato Project)
HEADPHONE SCIENCE – 5 SHORT STORIES ON LINES (MP3 by Enpeg)
SOLVENT – APPLES & SYNTHESIZERS (CD by Ghostly International)
Talking about electro (without the clash), here’s Jason Amm aka Solvent with a full-length electro/synth-pop album ‘Apples & Synthesizers’, released during the summer this year by the more and more interesting American label Ghostly International. Solvent might be already known to you from his previous releases on Morr Music, Ersatz Audio or his own electro oriented Suction Records. The music here is…well, electro. Melodic and kinda simplifyed sometimes, but very well thought out. Maybe electro with a noticeable idm sense? There are some really amazing tracks or songs (because of Solvent’s songwriter’s approach) here, like ‘For You’, ‘My Radio’ and ‘Operating Ease’. Solvent knows how to present this music in a delicate way and reach a certain and concrete subtlety within the melodies. He has more plain and straight-forward approach than the cut-up sound of Junior Boys, or if I can compare them with 2 post-rocky bands, I’d say Solvent is like The Sea & Cake, while Junior Boys would be Stereolab. (BR)
Address: http://www.ghostly.com
TRADE & DISTRIBUTION ALMANAC VOL. 2 (CD by Adaadat)
This is my first encounter with the Adaadat label, although (or perhaps because?) John Peel declared them label of the month. Some of the names here sound familiar, like Donna Summer or O. Lamm, but for the bigger part, the twenty one names are new to me. The music is a blend of breakbeat, hardcore, fucked up drum & bass rhythms and musics that have been created on game-boy computers. Some of these people go all the way out, such as the drilling bass of Atom Truck or 65 Days Of Static, but luckily some other display their interests in popmusic much better. dDamage feat. O.Lamm is such a uptempo electronic popsong. With a total length of over seventy minutes, this is certainly an endurance test. Because some of these pieces have such hectic drumming sounds, it makes this, at least for this listener, a nerving experience. However in a smaller dose this is quite enjoyable, and certainly says something about today’s new settings of electronic music. Includes also: Ommm, Doddodo, Ove Naxx, Miu, Box Jellyfish, Horacio Pollard, Utabi, Greypetcat, Dorothy’s Magic Bag, CDR, Wildflower, Romvelope, DJ 100000000, Cow’P, Skyfish and many other luminaries of tomorrow. (FdW)
Address: http://www.adaadat.com
BLACK LUNG – THE GRAND CHESSBOARD (CD by Ant Zen)
My first knowledge of the Black Lung-project came back in 1995, with the release of the amazing sampler “The year of silence” from legendary Australian label Dorobo. Like other artists on the Dorobo label (Alan Lamb, Paul Schütze, Shinjuki Thief etc. etc. ) Black Lung is a project that is connected with innovative sound experiments. Sound artist David Thrussell (a.k.a. Black Lung) is also the brain behind projects like Snog and Soma that also manage to rise far above the average level on the experimental electronic scene. Black Lung though remains the harshest and most complex project of the three. Twentieth shot from Black Lung titled “The Grand Chessboard” takes a step away from the usual ultra-distorted Black Lung-expression and further towards an electronica based soundsphere where a wide range of electronic styles have been integrated to create the piece of art. Overall the album greatly balances between energetic Industrial based rhythm textures and complex soundscapes of icy drones added precisely set samples. What first of all characterizes the album though is the strong political manifestation that lies underneath the work. A tendency that previously first of all have been connected with David Thrussell’s Snog-project. The album title refers to the written work “The Grand Chessboard” by Zbigniew Brzezinski, which focuses on the problems behind the unilateral role of the U.S. as a sovereign global superpower nation. As the album works as a subliminal transmitter of the message behind the book it isn’t surprising that the atmosphere of album is saturated by a dark and aggressive expression. Ultimately this is a strongly mature album that easily reveals the truly talented sound artist behind the project. A highly recommended work of dark electronics. (NMP)
Address: http://www.ant-zen.com
THIS MORN OMINA – THE DRAKE EQUATION (CD by Ant-Zen)
The subject on this Cd-Ep titled “The Drake Equation” from Belgian composer This Morn Omina deals with the question whether we are alone in space or not. According to astronomer Frank Drake and his equation created back in 1961 the probability of finding extra-terrestrial intelligence somewhere in space is overwhelmingly high (not surprisingly, did this equation have a great impact on the decision of founding the S.E.T.I.-project). Each variable in the Drake Equation have given its name to a track on this latest This Morn Ormina-album. “The Drake Equation”-Cd is an energetic sound engine where tribal techno functions as the primary source of energy together with heavy doses of club oriented psytrance. Otherwise the album breathes on the catchy mixture of rhythmic industrial and spacey ambient. A pleasant album though it doesn’t really differ from previous releases of This Morn Omina despite the rather different conceptual approach. (NMP)
Address: http://www.ant-zen.com
SONIC SCOPE 04 THE PORTABLE EDITION (CD by Grain Of Sound)
ASAMO – NIJU (3″CDR by Ristretto)
If I am not mistaken, this is the first real CD produced by Grain Of Sound, who have produced CDRs until now and will continue to do so in the future. The Sonic Scope festival started in 2001 and presents electronic and improvised music and even when this CD contains music from artists that haven’t played the festival yet, it still gives a good reference of the various sorts of music they put on. It starts with the solo of ‘resophonic guitar’ of Manual Mota and sixteen tracks down the line we end with two singer-song writer tracks, of people singing and playing acoustic guitar (Davide Balula, The Patriotic Sunday). In between we have encountered microsound, clicks & cuts, techno, field recordings, laptopambient. Just noise is something that doesn’t belong to their fields of interest. Adventurous organisers should be checking this out, as this release contains a lot of new names (well, at least for me), such as Nonnoblue, Percevalmusic, Urkuma, Pelforte, Pirandelo, Cat Or Die and even someone calling himself Last Time This Happened We Had A Street Party.
On the sister label Ristretto, the first release is by a young musician called Shinjiro Yamaguchi from Tokyo under his Asamo guise. For the three tracks on this release he took the best of microsound influences, say John Hudak, Stephan Mathieu, Taylor Deupree and Richard Chartier and sauced them up with tiny, fragmented melodies, of which the last makes the best impression. Nothing shockingly new around here, but it’s a good copy of the original anyway. In case you want to find out first what this guy is doing, there is always the possibility to download a few other tracks by Asamo on the Grain Of Sound website. PDF booklet also available. (FdW)
Address: http://www.grainofsound.com
TIM HECKER – MIRAGES (CD by Substractif)
The music made by Tim Hecker somewhat went past me, I don’t know why. I think I may have heard his LP for En/Of and his ‘My Love Is Rotten To The Core’, which I enjoyed. Somehow however Hecker is in my book as techno guy. Probably one of those misconceptions that I will not get out of my system for some time. “Mirages” is his sixth or so album, and being advertised as ‘an ambient-death-metal classic in waiting’. Guitars and guitar sounds seem indeed one of the more important features of this CD. These sounds are all fed into the laptop and presented as a steady stream of hot lava. Whereas so many others use guitars to lull the listener into sleep, the guitars that are used by Hecker will create a state of insomnia. There is a slight form of distortion on these tracks which makes this into a dirtier form of ambient music. Textured but grainy sounds with a deliberate low bit resolution. Hecker is being helped here by Fly Pan Am, Christof Migone, David Bryant and Oren Ambarchi to add a necessary extra dose of guitar sounds to the top, but it’s only in the final ‘Incurably Optimistic!’ that Hecker gives in: sleep may safely come in the final ambient treat of the CD. Dark and unsettling, but quite effective and beautiful. (FdW)
Address: http://www.alien8recordings.com
TANAKH (2CD by Alien8 Recordings)
In Vital Weekly 411 I described my first encounter with the music of Tanakh, the band of American Singer songwriter Jesse Poe. It was then a grey day in the earlier parts of this year and today it’s a likewise grey day in the later parts of the same year. So far the similarities. This new double CD differs a lot from the previous ‘Dieu Deuil’ that this is not a work of seperate songs. The first CD has an hour long piece of improvisations on a destroyed piano that fell off a truck, just outside the studio, which used to be a Masonic Temple in close range of the final resting place of Edgar Allen Poe’s mother. All of this was taken in account when making the recordings. The band plays loosely improvising around drones, bowed instruments and bears similarities with some other bands from the Alien8 areas, such as Molasses or Shalabi Effect, but things take a long course on this CD. Developments are slow and minimal even when the operate within a rock context. The second CD is only twenty eight minutes and has also one piece, which half way through sounds more electronic than much else on this CD. Although it wasn’t bad at all, I really must say I liked the previous Tanakh CD better, maybe because it was so much different from much I hear, and this new one is much a long the lines I already encounter. (FdW)
Address: http://www.alien8recordings.com
HIVE MIND – SAND BEASTS (CD by Pacrec)
LUASA RAELON – CONSUMED WITHIN THE YEARS OF LEAD (CD by Pacrec)
CONTAGIOUS ORGASM – FROM THE IRRESPONSIBLE COUNTRY SOUNDS (CD by Pacrec)
My first encounter with a new label from Hollywood, and their website address iheartnoise is probably programmatic for what they release. >From these three new releases, only the name Contagious Orgasm is a familiar one.
The first new name is Hive Mind, who is the same man who is behind Chondritic Sound, Black Sand Desert, Cleanse, S.P., Gate To Gate and Greh Wolfs – erm is that it? I haven’t heard any of these, but as Hive Mind, I must say he has a damm nice disc. Spanning thirty-eight minutes of ‘true Michigan-style-death-synth drones’, meaning there is one analogue synth working overtime while the sound is fed through an endless line of sound effects. It sounds relatively simple, but it’s building crescendo is like an ever growing monster, endlessly multiplying. It bears similarities with the CDR I reviewed last week by The Urge Within, or bands like Death Squad. In a way this is of course heavy and noisy music, but it’s dark broading atmosphere could easily be pinned down as an deathly ambient force. Hive Mind succeed well.
The second new name is Luasa Raelon, the musical project of David Reed (of Snip-Snip Records), who has released a whole bunch of tapes. His ‘Consumed Within The Years Of Lead’ is his first CD release, and Reed shows an interest in the old school industrial music: heavy machinary like rhythms, spiced up with synths and sound effects alike. There is whistling like sound in ‘Forging New Alloys’ which seems to be coming directly from a conveyor belt. But it’s not entirely noise that rings around here, as Reed also builts in softer moments, especially in lenghty fade ins and fade outs. Quite enjoyable.
Much to my surprise, the least noisy one is by Contagious Orgasm. With two tracks at just over twenty-three minutes it’s also the shortest release of the lot. Collage music is a much better word. Rhythmboxes, theremin sounds, Japanese spoken word and other mild mayhem because none of the material is really shockingly noisy or anything. Actually it’s quite an intense listening experience, with a lot of thriller soundtrack capacities. Cracking doors, a guitar line, a dark synth, all the ingredients are there to make a wonderful soundtrack. It was a while since I last heard Contagious Orgasm, but this renewed encounter was a most pleasent one.
All three of these releases have some linkage with noise music, but all three step out of the ordinary noise anyway, so they become quite enjoyable. (FdW)
Address: http://www.iheartnoise.com
COLLECTIONS OF COLONIES OF BEES – CUSTOMER (CD by Polyvinyl Records)
A long we reviewed a CD by Collections Of Colonies Of Bees, a band that included Chris Rosenau (guitar) and Jon Mueller (percussion). That was in Vital Weekly 333. I was under the impression that, as with so many improvising bands, this would have been a temporary thing. So to my surprise the band still exists with new members Jim Schoenecker (guitar and computer) and Jon Minor (computer and guitar). This release on Polyvinyl Records has also a counterpart on Some Of Us. The Polyvinyl release is a mixture of electronic and live tracks, but the Some Of Us has live versions of the studio pieces on Polyvinyl. Yes, I find that slightly confusing too. This is were improvisation music meets electronica to a greater extend. The starting point for this CD are group improvisations, in which they show a slightly greater interest in rock music than normal (take for instance the wild drumming and ebow play in the second track – nine tracks are called ‘Fun’ and the last track is called ‘Funeral’). But then the recordings are taken apart, using studio techniques. Sounds are replaced, reversed or removed. The studio as the (in-)official fifth member. Nothing new under the sun as it happens so often in rock music that the computer/studio plays such an important role. In Collections Of Colonies Of Bees this is done in such an intelligent way that the borders between the pure improvisation and the post-edits of the computer disappear almost entirely. If you are looking for something to compare this, I’d say that their music and methods come close to that of Efzeg or Radian. Excellent CD, well-worth the wait. (FdW)
Address: http://www.polyvinylrecords.com
LOOPER – SQUAREHORSE (CD by Absurd)
Cello player Nikos Veliotis has released a wonderful solo disc of his dense playing on the cello on the Confront label, sometime ago (see Vital Weekly 405). As Looper he has a trio of himself on cello, Ingar Zach on percussion and Martin Kuechen on saxophone. Of course the first thought is that this is a trio of die-hard improvisational music, hectic, rhythmic and total freedom. Maybe the just the latter is true, but none of the others really. The three play together in the same closed way as Nikos Veliotis does on his solo release. Half the time I though it was just a solo cello anyway, but upon closer study, there was indeed a lot more small sounds to be recognized. Small sounds played by drums and saxophone and the bigger, droney part came from the cello. To set this aside as just improvised music is not entirely justifying this music, because it’s rather microsounding music from the world of improvised music than the other way round. Stretched out, with moments that sound less interesting, the search for a sound, but as a total it’s quite alright, altogether. (FdW)
Address: http://www.anet.gr/absurd
MERZBOW – MERZBIRD (CD by Important Records)
Ok, so I like Merzbow, so what? People who know Merzbow just a little bit, don’t understand that someone, like me, would need such an amount of Merzbow CD’s, ‘because they all sound the same anyway’. It all has to do with volume, I’d say. The sheer volume of the music, and the sheer volume of works available. And no, no matter I try to say this, they do not all sound the same. Merzbird contains where he left us with Merzbeat. Usually the Merzbow music is a cascading wave of sounds and noise, but on Merzbeat, he takes rhythm into the process and so he does on the six tracks of Merzbird. Merzbow doesn’t opt for very complex rhythms: he takes a rhythmic sample (drum computer, real drums) and makes that the basic backbone of a track, without a break, bridge or change. On top he improvises with his usually blend of computer electronics, loading the gun with electronics. Semi-composed or improvised, as the sudden ending of ‘Victoria Crowned Pigeon’ shows, maybe outtakes of longer improvisations, cut down to the best parts. No, not all Merzbow releases sound the same, but I wouldn’t know to convince you anyway. Try ‘Merzbird’ for a change. (FdW)
Address: http://www.importantrecords.com
GENETIC SELECTION – ORBITAL GROUND ATTACK (CD by Ant-Zen)
Debut album from Genetic Selection finds German label Ant Zen Recordings back in the great tradition of harsh rhythmic powernoise. With a mixture of full-throttle distorted beats and dark atmospheric soundscapes Boris Kasper aka Genetic Selection have created ten floor-filling no-holds-barred club tracks. Stylistically Genetic Selection works in the borderland between the EBM-oriented side of Converter and the synth-layered dark atmospheres of Somatic Responses. Not overwhelmingly original the trademark of Genetic Selection is more likely found in the ability of keeping the high tension of explosive energy throughout the 40+ minutes playing time. Despite the album’s screaming for some physical performance of the consumer, “Orbital ground attack” also works well in the state of more passive listening. A promising debut indeed! (NMP)
Address: http://www.ant-zen.com
THE HAFLER TRIO – I NEVER KNEW THAT’S WHO YOU THOUGHT YOU WERE (3″CDR by Important Records)
The third in maybe an ongoing series by The Hafler Trio for Important Records. They all are 5″ CDs with a transparant outer-ring, with under twenty-one minutes of music, a nicely printed cover and each comes with a real photograph by The Hafler Trio. It’s called the ‘arts and crafts series’, which might be true for almost anything undertaken by The Hafler Trio. Also on this release, the trio do what do best: producing drone related music, this time hoovering in the more higher end of the sound spectrum. The origin of the sounds is, also as usual, not to be revealled, me thinks it’s another fine blend of processed voices. The work has strong dynamics, sometimes going below audibility, only to rise majestically again. The great thing however is the sound quality. Many of the recent vinyls by the Hafler Trio aren’t simply not good enough to capture the wide dynamic range of the music, and on CD it all comes alive, the way it should be. A great trilogy so far. (FdW)
Address: http://www.importantrecords.com
JUSTIN BENNETT/TOSHIYA TSUNODA – DERTIENDE MIXER (LP by Stichting Mixer)
KAFFE MATTHEWS/MARTUX_M – VEERTIENDE MIXER (LP by Stichting Mixer)
Last week we reviewed the lastest 10″ by Justin Bennett, now he is part of Stichting Mixer’s new split LP’s. He shares his record with Toshiya Tsunoda, which, keeping in mind their approaches towards field recordings, seems a more than logical decision. Bennett’s recorded his piece in Barcelona, during a noise protest against the war in Iraq. People were asked to bang on their pans as a means of protest and what Bennett does is to record (in the most strict sense of registration) this protest. It starts slowly, builts a crescendo and then dies out. It’s hard to tell what Bennett does here, if anything at all. Maybe it’s just a pure registration? On the other side we find Toshiya Tsunoda, one of my absolute favourites in this field. Even when I read the press text carefully, it’s hard to say what it is that Tsunoda does here. It has to do vibrations which are fed through a gate device and sinewaves. The monoraul signal is split and we hear different things on the left and right channel. The listener is urged to mix his own version, adjusting to what he likes. In the Tsunoda catalogue this goes down as a more electronic work, in which the original field recordings have been removed; they only act as a trigger. Conceptually interesting, but more important: beautiful to hear.
The other new split LP by Stichting Mixer is by Kaffe Matthews and Martux_M. The latter is Maurizio Martusciello, who has been responsible for album on Kip and Bowindo. This new work, in three parts, continues the work on Bowindo. It is made as a rework of “Nature Vives II’ by one Vincent Geais, which was realized on a Serge modular synth. It seems to me that Martusciello dissects the work into small bits and builts it up again from scratch. Apperentely loosely connected sounds start to make sense of the course of the pieces. These small blocks form the beginning of rhythms and then slowly they become real rhythms, although it’s lightyears away from anything such as techno. In each of the three pieces he repeats this composing process, which give a uniform feel to the pieces. Kaffe Matthews works slightly different. She uses live sampling, theremin and laptop to improvise her music. Out of these improvisations she builts her compositions. In ‘Environmental Cleaning Moments’ she shows her quiet side of things. Gliding tones, amplified silence, all flow in a gentle stream. One could say that this is ambient music – in it’s truest form: using the qualities of a space, and movements in that space by means of sampling those vibrations. Just in ‘Pause’ she shows a little bit hectic rhythms, which act as a counterpoint in this side of the record. Here too Stichting Mixer made the right combination in choosing their artists. (FdW)
Address: http://www.stichtingmixer.nl
GINTAS K – TITLED# (CDR by Retinascan)
KOZO IKENO – RENDER PERFECT SOUNDS (CDR by Retinascan)
GEOCODE – SLEEPER (CDR by Retinascan)
It has been quiet with the music of Gintas K, or maybe that’s just my perception. Gintas from Lithuania hoovers around in what can be called micro-scopic beat music, also known as ‘Click & Cuts’ (if that term wasn’t hijacked by some label which name eludes me right now). For Retinascan, one of the better CDR labels in the world, thanks to their excellent presentation, he has recorded a whole new album, which starts out in a strong Goem/Pan Sonic minimal fashion. Strong, uptempo, minimal beat material which made my toes tap. But halfway through – or maybe even a bit further – with “Maru” the discs sort of collapses. “Maru” is a very long, unfocussed piece of disjointed sounds and the three after that aren’t that great either. So up until ‘+++’, which is the seventeenth track anyway, it was a strong disc. I guess you can always switch it off after that.
The name of Kozo Ikeno was new to me. He is a “real” musician, playing trumpet and having released jazz music for such labels as Braxtone, but also for Stasisfield. While on the seaside, armed with a plain stereo microphone and a trumpet, he recorded this CDR. We hear the wind blowing into the microphone with about the same intensity as Kozo Ikeno blows his trumpet. A little bit further in the disc, the sound of crowds drop in. Even when I like this concept a lot, I must say it’s a bit of drag that this keeps on for sixty six some minutes, in fortytwo small sketches. This is the sort of thing that I like for say twenty minutes and then have enough of it…
The third release is by Konrad Behr under his Geocode monniker. Otherwise he is known as Bad Comfort (of whom we reviewed a 12″ in Vital Weekly 422). The sleeper mentioned in the title is not the potential ambient listener, but rather someone who is a potential terrorist in the new world order. Being part of a cell, they sleep, ie are faceless in the crowd until it’s time to get to action. The excellent booklet provides some more information on the subject, without being overtly political. With eight very lenghty tracks – this release being the longest of the recent Retinascan lot – this is also very minimal and the most ambient release. In each track subtle variations on the same theme are explored and brought alive. Maybe in some instances the tracks are, again, a bit long, but nevertheless it’s a very nice release indeed. To be filled under: microsound/ambient. (FdW)
Address: http://www.retinascan.de
I:WOUND – THE SIAMESE BOX (5×3″ CDRs by Verato Project)
PI CAB ALTER – MINIATURES (3″CDR by Verato Project)
XEDH – SERPENTS (3″CDR by Verato Project)
New releases from the world Verato, the sub-division of Suggestion Records. Each of these CDRs is usually limited to just a full hand-fulls, such as the sixty copies of the ‘The Siamese Box’ by I:Wound. This box has five 3″CDRs and each is based on a southeast Asian country. It incorporates field recordings, electronica and most important the national anthem of these countries (Myanmar, Thailand, Laos, Cambodia, Vietnam). Some of the pieces were recorded at the Inoxzuhausemuseum in Berlin and some were re-worked later on. In the Thailand and Myanmar the mix is inside the use of field recordings and only partly the original anthem, which sound largely unprocessed, but in the ones from Campuchea and Vietnam the electronic processed part anthems form the backbone of the pieces and field recordings are used as icing on the cake. There is a great unified thing in all of these five pieces, which should be re-issued on a single 5″ CDR once the original is gone. This is I:Wound’s most mature and best work to date!
The third release I encounter by Pi Cab Alter is something different than the previous two. He (or she or they) do not stretch the soundmaterial as much as before, but as the title says, these are miniatures, eleven to be precise. The previous found “gothic”/heavenly voices elements have disappeared here, in favor of more experimental sounds. Each track is short and could be the start of something bigger, however we are not to found out. Some of these pieces are nice, but maybe too brief to leave any impression.
I never heard of Xedh before, and the cover says ‘music and design by Miguel A. Garda, a name that also rings no bells here. In the press blurb I heard something about the ‘self-destruction of the human being and the decline of a society that becomes less and less human”. The three tracks on the release are filled with machine like rhythms and piercing electronics. Life is harsh and so is this music. Old school noise and industrial, but sadly not done very well, at least not to my liking. (FdW)
Address: http://www.verato-project.de
HEADPHONE SCIENCE – 5 SHORT STORIES ON LINES (MP3 by Enpeg)
You might already know that Headphone Science is Dustin Craig. He already has enough good music released by No Type, Subverseco, his own net-label Illmatic Vibes and other labels… His Headphone Science music (he makes more atmospheric music as Elasticlego) is a great mixture of idm, ambient, breaks, beats and more abstract hip-hop rhythms and atmospheres. This new EP with 5 really good tracks is there all the time, sometimes more on the ambient side, like in the first track, sometimes with more breakbeats in front, as in ‘The Skeletal Structure Game’, or more idm sounding, as the wonderful ‘Goodbye My Princess’, or electro. As before, Dustin uses lucid and well chosen samples (of people talking and more…) here too. Great music, well balanced beats, a sense for melody, excellent arrangements of the various sounds. (BR)
Address: http://www.enpeg.com