Alfredo Esparza - Variation of Parian De La Cosecha's Parking, 1999
martes, 30 de septiembre de 2008
Variation of Parian De La Cosecha's Parking, 1999
Alfredo Esparza - Variation of Parian De La Cosecha's Parking, 1999
lunes, 29 de septiembre de 2008
Murcof - Remembranza (2005)
Date Released: October 27, 2005Origin: Mexico
Genre: Ambient, Glitch, Click & Cut
Label: The Leaf Label
Site: http://myspace.com/murcof
Tracklist:
1. Recuerdos
2. Razón (en 3 partes)
3. Retrato
4. Rostro
5. Ruido
6. Reflejo
7. Resignación
8. Ríos
9. Camino
__________________________________________________
It's easy to think of glitchy, atmospheric electronica as the audio component of a serial killer's everyday routine, given its virtual ubiquity in edgy/"indie" horror films over the past half-decade or so. While Murcof's music is certainly as edgy and creepy as it gets, the music's gothic sensibilities never overwhelm its sonically interesting traits.
Murcof is a Mexican artist, but there's nothing about his work that (to anglo ears, at least) suggests a particularly Mexican sensibility. He deals in the universally idiosyncratic relationships between creator, instruments, technology, rhythm, noise, melody, form and formlessness that can make the best electronic music so compelling. His work is certainly dark and eerie, but not cartoonishly so.
No two ways about it, though: you wouldn't want to walk through a fog-shrouded graveyard listening to Remembranza. Unless it was noon. And your mom was there. And your teddy bear. Opener "Recuerdo" kicks off with a pulsing beat that's just glitchy enough to resemble an arrhythmic heart. The rest of the track is full of creepy creaks, tuneless piano-string glissandos, slamming doors and other stuff that makes you go bump in the night. About halfway through its eight-minute running time, the rhythm track kicks in in earnest, and the song loses some atmosphere, but gains much-needed forward motion.
Remembranza as a whole can be seen as a struggle between the competing aesthetics of formless atmospherics and subtle rhythm. "Rostro", one of the album's most strongly melodic tracks (remember, it's a sliding scale), barely scatters rhythmic elements, but leaves just enough to perpetuate a structure. The two-note melody that recurs over the top, then, creates a pensive element against which to consider the percussion, as it gradually coalesces into a more conventional rhythm track. It's an effective approach, and will hold your attention without adding a single unnecessary element.
It's moody and atmospheric. In fact, somewhere out there, a burgeoning Blair Witch auteur is already writing the scene where his killer sticks a victim's skin to his face and does a little dance, knowing he'll be scoring it with tracks from Remembranza. Don't discount it for its similarities to other records in its genre -- celebrate it for Murcof's personal and frequently fascinating vision.
It's easy to think of glitchy, atmospheric electronica as the audio component of a serial killer's everyday routine, given its virtual ubiquity in edgy/"indie" horror films over the past half-decade or so. While Murcof's music is certainly as edgy and creepy as it gets, the music's gothic sensibilities never overwhelm its sonically interesting traits.
Murcof is a Mexican artist, but there's nothing about his work that (to anglo ears, at least) suggests a particularly Mexican sensibility. He deals in the universally idiosyncratic relationships between creator, instruments, technology, rhythm, noise, melody, form and formlessness that can make the best electronic music so compelling. His work is certainly dark and eerie, but not cartoonishly so.
No two ways about it, though: you wouldn't want to walk through a fog-shrouded graveyard listening to Remembranza. Unless it was noon. And your mom was there. And your teddy bear. Opener "Recuerdo" kicks off with a pulsing beat that's just glitchy enough to resemble an arrhythmic heart. The rest of the track is full of creepy creaks, tuneless piano-string glissandos, slamming doors and other stuff that makes you go bump in the night. About halfway through its eight-minute running time, the rhythm track kicks in in earnest, and the song loses some atmosphere, but gains much-needed forward motion.
Remembranza as a whole can be seen as a struggle between the competing aesthetics of formless atmospherics and subtle rhythm. "Rostro", one of the album's most strongly melodic tracks (remember, it's a sliding scale), barely scatters rhythmic elements, but leaves just enough to perpetuate a structure. The two-note melody that recurs over the top, then, creates a pensive element against which to consider the percussion, as it gradually coalesces into a more conventional rhythm track. It's an effective approach, and will hold your attention without adding a single unnecessary element.
It's moody and atmospheric. In fact, somewhere out there, a burgeoning Blair Witch auteur is already writing the scene where his killer sticks a victim's skin to his face and does a little dance, knowing he'll be scoring it with tracks from Remembranza. Don't discount it for its similarities to other records in its genre -- celebrate it for Murcof's personal and frequently fascinating vision.
Review taken from: http://www.splendidezine.com/review.html?reviewid=1128942106721212
Download link [Reuploaded Link]: http://rapidshare.com/files/153347187/Murcof_-_Remembranza.rar.html
domingo, 28 de septiembre de 2008
sábado, 27 de septiembre de 2008
Various Artists - Beneath The Surface (2007)
Date Released: February 3, 2007Origin: Various Countries
Genre: Abstract, Ambient, Experimental, Glitch, Minimal, Modern Classical
Label: Native State Records / IODA
Site: http://www.nativestaterecords.com/ / http://www.iodalliance.com/
Tracklist:
1. The Beginning Of Something Good - Irwin's Conspiracy
2. Ice Forming On Glass - Bluetech
3. Amethyst - Symphat
4. White Dragon - Sting Theories
5. CatDinR42 - krill.minima
6. Stillness - Ganucheau
7. Aurora Borealis - Rena Jones
8. Stellar Dendrites - Desert Dwellers
9. Midnight Bloom - Bluetech & Shulman
10. Continuous - Aerostatic
11. Landscape - David Last
__________________________________________________
Native States Records run by US based Evan Bluetech and Naasko have suprised most of the traditional chillout lovers by their unique and mellow approach. Their previous chillout instalment “Left Coast Liquid” had a more Dubby and Chilled direction, while “Beneath The Surface” is a like a glitched and minimal ride across a vast and scenic plethora of sound textures. Native States has surely left me gasping for more with its futuristic yet antique approach.The first track by “Irwin’s Conspiracy” is nothing short of a cinematique expression making way for beautiful things to follow. The compilation is all about morphing textures which is exactly what “Ice Forming on Glass” brings with its indispensable creaky and melancholic Bluetech vibe. Next we have label manager Naasko and Canadian artist Noah Pred aka Shen with their project “Sympath” giving us a deep and dubby track suitable for night time pondering. “String Theories” a project by “Bluetech and Rena Jones” brings us a antisomatic track that once again highlights the melancholic Bluetech vibe along withsome beautiful violin work by Rena, this ones a excellent piece of art. “Building And People” by “Marconi Union” has a very organic texture with a urban feel, just like the title suggests. “Krill.minima” with “CatDinR42″ experiments with Ambient and glitchy IDMish overtones with a overall night time pulse, a scenic journey that givies us time and space to let our conscience travel many depths. “Porcelain” by West Coast producer “Steve Nalepa” is one of the fastest tracks on the compilation packaged within a very experimental fluid and glitched out beats, a definite highlight.Ganucheau’s brings us another highlight of the compilation with a hypnotic n glitchy atmosphere that crawls over broken and scattered beats, with a very ethereal piano solo somewhere in the middle. “Rena Jones” who’s solo album is lined up for release in the month of september has a very unique style of fusing classic and symphonic music with modern electronic soundscapes, after listening to “Aurora Borealis” I cant wait to see what we have in stock for the future. “Desert Dwellers” have a certain way with their music that makes me feel really gloomy but in a good way, Iam probably not making sense but its a feeling I find hard to describe. “Bluetech and Shulman” is a duo that cant go wrong, “Midnight Bloom” sends a shiver down my spine whenever I hear it, I wont say much about this track just go and hear this one and iam sure you wont be disappointed.Ending the complilation we are greeted by hypnotic and static ambient sounds by “Aerostatic” and “David Last” that reminds me of “Selected Ambient Works” by “Aphex Twin” which could be beacuse of the dirty beats on “Continous”, both the tracks are not really ground breaking or stellar but are perfect for winding up the compilation.Evan and Naasko have once again done a splendid job covering so much ground in terms of experimental electornic music thats truely worth a stand up ovation.
Review taken from: http://www.discogs.com/release/632703
Download link: http://rapidshare.com/files/146937656/Beneath_The_Surface.rar.html
viernes, 26 de septiembre de 2008
jueves, 25 de septiembre de 2008
Sanso-Xtro - Sentimentalist (2005)
Date Released: May 30, 2005Origin: Australia
Genre: Ambient, Experimental
Label: Type Records
Site: http://www.sanso-xtro.com
Tracklist:
1. The Last Leaf
2. Zlumber...Talkinmysleep
3. Unsentimental
4. And The Return To Zero
5. Plant Skeletons
6. Blue Signal
7. Frangipani Gardens
8. Misplaced Feather
9. Spark
10. Minus_Ecki
11. Like White Fire
__________________________________________________
Melissa Agate is no newcomer to the music scene, being exposed very early in life as the drummer of Australian avant rock outfit Sindog Jellyroll. Since then she has refined her styles and perfected what she believes to be a truly personal sound. Taking influence from her antipodean background and also from a life-changing move to British shores, Sentimentalist is deeply reflective and unashamedly visual.
Finding herself discontented with the trappings of the rock genre, it was not long before Agate discovered electronic music and began to experiment with as many different instruments as she could manage to acquire. From acoustic guitar and ukulele to traditional bells and kalimba, anything at hand was added to the rich soundscape of her creative vision. In doing this, Melissa has created something truly original. By purposefully taking sounds which inspired her and allowed her to visualize the rich memories she had stored in her mind, she has forged a work which is accessible but very difficult to define in genre.
Agate's influences are as far reaching as her musical ambition, and she takes well informed references from avant jazz, blues and experimental electronic works. Moments of Sentimentalist project hazy echoes of Robert Johnson, before colliding with the sublime analogue chic of Stereolab or Broadcast. Elsewhere, skeletal outlines of Opiate or Mum drift into angular rhythmical sounds explored by Supersilent or Radian. Yet rather than try and emulate another artist, instead Agate takes ideas to add to her ever changing musical ideal. It is her goal to produce an honest sound, something that is true to her soul, and she succeeds magnificently.
Sentimentalist leaves us with something truly timeless and it exists slightly removed from the world we live in. Carefully selected fragments of musical history are lovingly woven together creating a magical album, and one not to be taken lightly under any circumstances.
Review taken from: http://www.typerecords.com/releases/full.php?id=11
Download link: http://rapidshare.com/files/147047138/Sanso_-xtro_-_Sentimentalist.rar.html
miércoles, 24 de septiembre de 2008
martes, 23 de septiembre de 2008
Deaf Center - Levende [Live EP], (2006)
Date Released: November 30, 2006Origin: Norway
Genre: Abstract, Ambient, Experimental
Label: Type Records
Site: http://www.deafcenter.net/
Tracklist:
1. Levende
__________________________________________________
Exclusive Deaf Center Live EP - Recorded in Augsberg, Germany November 2006* Deaf Center have always been a very private proposition - with their graceful juxtaposition of velveteen compositions and monochrome arrangements fusing to form a noir soundtrack to every day life. Yet for all its intimacy, Deaf Center's music was always looking towards the bigger picture; resulting in a sound that can engage on the most minute of levels whilst delighting in the epic wide-screen vista broiling away behind. To this end it was almost a done deal that any excursions into the live arena would bear considerable fruit - a notion which is brought to a grand conclusion on 'Levende', a Boomkat exclusive recording of their recent show in Ausberg Germany. An annual event which boasts the cream of the leftfield, the Lab30 Festival was treated to a classic performance when Deaf Center took to the stage - captured here in all its glory as Erik Skodvin and Otto Totland weave an intoxicating blend of mealy atmospherics, cold-water soundscapes and intricately plotted instrumentation. Joined by Kristin Evensen Giæver on vocals, 'Levende' proves just how involved a live performance can be; wherein glacial peaks of sound are matched by warm synth embers to merge laptop maneuvers and live performance into a seamless whole. Opening with 'Lobby', 'Levende' (meaning "alive") the Deaf Center duo layer creased elements atop one another as they glide into an extended version of 'Path To Lucy' which has "epic" seared right to its core. From here, 'Weir' brings the focus back down to earth with classy grace, a brand new track fills in any 'Twin Peaks' gaps that were missing on the Deaf Center evolutionary path, whilst the closing epitaph of 'Final Sleep' is a fittingly elegant way to see out an astonishing live show.
Exclusive Deaf Center Live EP - Recorded in Augsberg, Germany November 2006* Deaf Center have always been a very private proposition - with their graceful juxtaposition of velveteen compositions and monochrome arrangements fusing to form a noir soundtrack to every day life. Yet for all its intimacy, Deaf Center's music was always looking towards the bigger picture; resulting in a sound that can engage on the most minute of levels whilst delighting in the epic wide-screen vista broiling away behind. To this end it was almost a done deal that any excursions into the live arena would bear considerable fruit - a notion which is brought to a grand conclusion on 'Levende', a Boomkat exclusive recording of their recent show in Ausberg Germany. An annual event which boasts the cream of the leftfield, the Lab30 Festival was treated to a classic performance when Deaf Center took to the stage - captured here in all its glory as Erik Skodvin and Otto Totland weave an intoxicating blend of mealy atmospherics, cold-water soundscapes and intricately plotted instrumentation. Joined by Kristin Evensen Giæver on vocals, 'Levende' proves just how involved a live performance can be; wherein glacial peaks of sound are matched by warm synth embers to merge laptop maneuvers and live performance into a seamless whole. Opening with 'Lobby', 'Levende' (meaning "alive") the Deaf Center duo layer creased elements atop one another as they glide into an extended version of 'Path To Lucy' which has "epic" seared right to its core. From here, 'Weir' brings the focus back down to earth with classy grace, a brand new track fills in any 'Twin Peaks' gaps that were missing on the Deaf Center evolutionary path, whilst the closing epitaph of 'Final Sleep' is a fittingly elegant way to see out an astonishing live show.
Review taken from: http://www.boomkat.com/item.cfm?id=25204
Download link: http://rapidshare.com/files/146717042/Deaf_Center_-_Levende.rar.html
lunes, 22 de septiembre de 2008
Variation of Self-portrait On Spoon, 2004
Alfredo Esparza - Variation of Self-portrait On Spoon, 2004domingo, 21 de septiembre de 2008
Deaf Center - Vintage Well Vynil 7" (2008)
Date Released: June, 2008Origin: Norway
Genre: Abstract, Ambient, Experimental, Modern Classical
Label: Type Records
Site: http://www.deafcenter.net/
Tracklist:
1. Vintage Well
2. Ashes
3. Close
__________________________________________________
Deaf Center with a 7" called 'Vintage Well' on Type. Not much to look at- it barely even has a sleeve but the music is beautiful haunting ambience with rumbling low end piano notes and string type sounds shattering the silence. Reminiscent of Arvo Part & Marsten Jules this is one to late at night with the lights off.....and the doors locked.
Review taken from: http://www.normanrecords.com/records/100182
Download link: http://rapidshare.com/files/146317327/Deaf_Center_-_Vintage_Well_Vinyl.rar.html
sábado, 20 de septiembre de 2008
viernes, 19 de septiembre de 2008
Deaf Center - Pale Ravine (2005)
Date Released: November 7, 2005Origin: Norway
Genre: Abstract, Ambient, Experimental
Label: Type Records
Site: http://www.deafcenter.net/
Tracklist:
1. Lobby
2. Thread
3. White Lake
4. Path To Lucy
5. Stone Beacon
6. Weir
7. Loft
8. Thunder Night
9. Lamp Mein
10. The Cleaning
11. Fog Animal
12. Eloy
__________________________________________________
After the critical acclaim of their “Neon City” EP, “Pale Ravine” is the long awaited full-length realization of Erik Skodvin and Otto Totland’s musical ideals. Taking up where “Neon City” left off with it’s epic sound collages and textural soundscapes, “Pale Ravine” manages to provide a sound altogether more Lynchian and grimly cinematic. Using influences from further back in their lives, the two Norwegian musicians have looked deep into their own family histories to piece together a dusty and nostalgic epic.
Inspired by old silent 8mm film reels, the historical architecture around them and the call of the alluring Norwegian landscape, the duo set out armed with microphones to record whatever they could to capture these feelings. Sounds from battered old records, cash registers, broken machines and a half-dead piano were all blended into the mix to add a warm, homely depth to the recordings. These sounds are most evident in the track “Loft”, where knocks and wooden creaks give an almost claustrophobic feel to the music. Again on “The Clearing” a subtle field recording gives the track a rich and involving background and helps build up the mysterious aura before launching a skewed 1930s circus-waltz.
One of the most stand-out influences on “Pale Ravine” is theatre, or at least the romance of all things theatrical. Not so much theatre in all its pretentious excesses, but the childhood apprehensiveness and the sinister undercurrents. From the muffled ticket booth ambience of “Lobby” to the solemn dance of “White Lake” it all appears draped in thick billowing velvet. The dense narrative technique the duo employs is almost like a reverse to a silent film the soundtrack is provided to be accompanied by the imaginative visuals of the listener.
“Pale Ravine” is an album which again manages to blend elements of classical music with electronic music, yet there is something decidedly different which sets it apart from the competition. While there are elements that can be compared with contemporaries such as Max Richter, Marsen Jules or Ryan Teague. Deaf Center is altogether more other-worldly, darker and ultimately very rewarding.
7. Loft
8. Thunder Night
9. Lamp Mein
10. The Cleaning
11. Fog Animal
12. Eloy
__________________________________________________
After the critical acclaim of their “Neon City” EP, “Pale Ravine” is the long awaited full-length realization of Erik Skodvin and Otto Totland’s musical ideals. Taking up where “Neon City” left off with it’s epic sound collages and textural soundscapes, “Pale Ravine” manages to provide a sound altogether more Lynchian and grimly cinematic. Using influences from further back in their lives, the two Norwegian musicians have looked deep into their own family histories to piece together a dusty and nostalgic epic.
Inspired by old silent 8mm film reels, the historical architecture around them and the call of the alluring Norwegian landscape, the duo set out armed with microphones to record whatever they could to capture these feelings. Sounds from battered old records, cash registers, broken machines and a half-dead piano were all blended into the mix to add a warm, homely depth to the recordings. These sounds are most evident in the track “Loft”, where knocks and wooden creaks give an almost claustrophobic feel to the music. Again on “The Clearing” a subtle field recording gives the track a rich and involving background and helps build up the mysterious aura before launching a skewed 1930s circus-waltz.
One of the most stand-out influences on “Pale Ravine” is theatre, or at least the romance of all things theatrical. Not so much theatre in all its pretentious excesses, but the childhood apprehensiveness and the sinister undercurrents. From the muffled ticket booth ambience of “Lobby” to the solemn dance of “White Lake” it all appears draped in thick billowing velvet. The dense narrative technique the duo employs is almost like a reverse to a silent film the soundtrack is provided to be accompanied by the imaginative visuals of the listener.
“Pale Ravine” is an album which again manages to blend elements of classical music with electronic music, yet there is something decidedly different which sets it apart from the competition. While there are elements that can be compared with contemporaries such as Max Richter, Marsen Jules or Ryan Teague. Deaf Center is altogether more other-worldly, darker and ultimately very rewarding.
Review taken from: http://www.typerecords.com/releases/full.php?id=14
Download link: http://rapidshare.com/files/146217099/Deaf_Center_-_Pale_Ravine.rar.html
jueves, 18 de septiembre de 2008
miércoles, 17 de septiembre de 2008
Deaf Center - Neon City [EP], (2004)
Date Released: April 12, 2004Origin: Norway
Genre: Abstract, Ambient, Experimental
Label: Type Records
Site: http://www.deafcenter.net/
Tracklist:
1. Dial
2. Walk
3. City
4. Limm
5. Asia
6. Dial (Helios Remix)
__________________________________________________
Three releases into its catalogue, John Xela’s “Type” imprint is fast becoming the perfect platform for new music that is daring, innovative and unspeakably warm. This sublime first release from Norway’s Erik k.Skodvin and Otto A.Totland, is quite simply one of the finest debut’s we’ve had the pleasure of stumbling across in the last few years. Its an entirely unpretentious, whole-hearted, honest foray into classic composition realised through predominantly acoustic instruments gently augmented by electronics and digital reconstruction. There have been a number of breathtaking releases in this mould recently – the gorgeous “Many Fingers” album for the Moteer label, Dictaphone’s ongoing flirtation with re-calibrated smoky jazz traditions for City Centre Offices and Max Richter’s heart-stopping Piano variations “Blue Notebooks” for Fat Cat. “Deaf Centre” touch on elements exposed by all three – but there is a balance between minimal principles and overflowing musicality that makes “Neon City” quite substantially more layered. Its one of those listens that sends you off into a haze of inspiration and catharsis, evoking wonder at how two people have managed to create something so timeless and accomplished for their first ever release. Touched by incredible beauty and charm, “Neon City” comes as highly recommended as they get. Beautiful music.
Review taken from: http://www.boomkat.com/item.cfm?id=13119
Download link: http://rapidshare.com/files/145904817/Deaf_Center_-_Neon_City_EP.rar.html
Three releases into its catalogue, John Xela’s “Type” imprint is fast becoming the perfect platform for new music that is daring, innovative and unspeakably warm. This sublime first release from Norway’s Erik k.Skodvin and Otto A.Totland, is quite simply one of the finest debut’s we’ve had the pleasure of stumbling across in the last few years. Its an entirely unpretentious, whole-hearted, honest foray into classic composition realised through predominantly acoustic instruments gently augmented by electronics and digital reconstruction. There have been a number of breathtaking releases in this mould recently – the gorgeous “Many Fingers” album for the Moteer label, Dictaphone’s ongoing flirtation with re-calibrated smoky jazz traditions for City Centre Offices and Max Richter’s heart-stopping Piano variations “Blue Notebooks” for Fat Cat. “Deaf Centre” touch on elements exposed by all three – but there is a balance between minimal principles and overflowing musicality that makes “Neon City” quite substantially more layered. Its one of those listens that sends you off into a haze of inspiration and catharsis, evoking wonder at how two people have managed to create something so timeless and accomplished for their first ever release. Touched by incredible beauty and charm, “Neon City” comes as highly recommended as they get. Beautiful music.
Review taken from: http://www.boomkat.com/item.cfm?id=13119
martes, 16 de septiembre de 2008
lunes, 15 de septiembre de 2008
CircumLiver - Komandor Pirx (2008)
Date Released: September 14, 2008Origin: Italy
Genre: Abstract, Ambient, Experimental, Kosmische Music, Noise
Label: Clinical Archives
Site: http://www.myspace.com/circumliver
Tracklist:
1. Komandor Pirx
2. Test
3. Patrol
4. Albatros
5. Terminus
6. Conditional Reflex
7. The Hunt
8. The Accident
9. Pirx's Tale
10. The Inquest
11. Ananke
__________________________________________________
This album is inspired by the Sci-Fi movie "Test Pilota Pirxa" (Soviet-Polish production directed by Marek Piestrak 1978).Movie based on the novels of the remarkable writer, the philosopher and fantast-visionary Stanislaw Lem.
CircumLiver it's a solo project by Paolo - member of band "Triplomaltose" since 1985 - from Trieste (Italy).The CircumLiver project begin in year 2005, the sound is electronic experimental with influences of dark ambient, industrial and Kosmische Musik.
The movie is about "finite nonlinears," robots that closely resemble human beings but are even more perfect than humans. They are intended to eventually replace human beings in space flights. Somewhat apprehensive about their usefullness, the United Nations sets up a space flight to determine their reactions to the human beings who also make up the crew. Pirx is selected as a commander of the flight, although the identity of the robots is not revealed to him...
Description taken from: http://www.archive.org/details/ca163_clMovie plot from: http://www.imdb.com/title/tt0080010/plotsummary
Download link: http://rapidshare.com/files/145394545/CircumLiver_-_Komandor_Pirx.rar.html
domingo, 14 de septiembre de 2008
Variation of While I Was In A Public Toilet, 2004
Alfredo Esparza - Variation of While I Was In A Public Toilet, 2004sábado, 13 de septiembre de 2008
CircumLiver - CircumClinical (2007)
Date Released: March 17, 2007Origin: Italy
Genre: Noise, Abstract, Soundscape
Label: Clinical Archives
Site: http://www.myspace.com/circumliver
Tracklist:
1. Non Conforme 01
2. CircumClinical 2 V5
3. improvvisazione 03
4. CircumClinical 4 V8
5. CircumClinical 5
6. Pianeta Papalla (remake 2006)
7. CircumClinical 01 V7
8. CircumClinical 3
9. CircumAmbien 1
__________________________________________________
Clinical Archives is independent netlabel for eclectic and illogical music. The basic directions : abstract, avant-garde, free improvisation, intuition improvisation, manipulation, free jazz, fusion, electro-jazz, experimental, neoclassicism, illbient, ambient, musique concrète, noise, tape music, minimalism, acousmatic music, sound sculpture, sound collage, electroacoustic, rhythmic noise, drone, industrial, field recordings, glitch, microsound, montage, psychedelic, trip-hop, soundscape, sound art, spoken word, strange and other forms ...
CircumLiver is one abbreviation of "Circumcisus Liver"
"CircumClinical for the cure of your mind"all music composed by CircumLiver in years 2006 - 2007except "Pianeta Papalla remake 2006" by CircumLiver & Triplomaltose, thanks to Nicola Catalano for the inspiration.
Description taken from: http://www.archive.org/details/ca016_CircumLiverDownload link: http://rapidshare.com/files/144830071/CircumLiver_-_CircumClinical.rar.html
viernes, 12 de septiembre de 2008
jueves, 11 de septiembre de 2008
port-royal - Afraid To Dance (2007)
Date Released: April 30, 2007Origin: Italy
Genre: Post-Rock, Instrumental, Ambient
Label: Resonant / Southern Record Distributors
Site: http://www.port-royal.it/
Tracklist:
1. Bahnhof Zoo
2. Pauline Bokour
3. Anja: Sehnsucht
4. German Bigflies
5. Deca-Dance
6. Roliga Tinmen (Longing Machines)
7. Internet Love
8. Leitmotiv Glasnost
9. Putin vs Valery
10. Attorney Very Bad (aka The Worst)
__________________________________________________
"port-royal"
It's not saying much. I'm sure after a first review listen I should have more than just two words written on an otherwise spotless page?
"port-royal"
It's saying everything. So, probably, is the stupefied grin on my face. Indeed, as I resurface from my hour-long reverie, I half wonder whether a wet nurse came in at any point to wipe the drool from my face.
port-royal = fraternity. Which is why I'm rapidly reaching the stage where I believe there are two kinds of people in the world: those who love and appreciate the music of port-royal and those who simply haven't heard the Italians. If there is a third kind of animal – one who knows the Royals music but doesn't appreciate it - I've yet to sight it. File these dubious people alongside Bigfoot and the Abominable Snowman. Yet none of this is to suggest that I think port-royal are perfect for everyone. No band is. They just manage to find the people they're perfect for. In this sense, I'm acutely aware that 99% of you reading this already HAVE Afraid To Dance, and are merely checking in to see if I nail this one. The trouble is, I should be writing for the 1%.
port-royal have opted for a few subtle changes to distinguish this album from its lauded predecessor Flares. Some may claim these alterations to be semantics. In the wider picture, perhaps yes, but in port-royal's "attention to detail" world these are important iterations. Firstly this new album is more densely populated with beats. Where Flares made the sunrise chill-out spot its own, these compositions are aimed more at the preceding nights clubbing. The second and biggest difference may actually be structural. Flares presented itself as a whole entity. This album emphasizes certain tracks. As such, Anya: Sehnsucht, Deca-dance, Leitmotiv I Glasnost, and Putin Vs Valery (all pulsating examples of the new-look Royals) are each afforded a certain prominence whilst other pieces function in a supporting capacity. Anya: Sehnsucht has what I call that "whimsical childhood nostalgia" vibe going on. It is almost Boards Of Canada–like in this respect (think Rojgbiv), and may be the most radio friendly cut here. Deca Dance is a rollicking train ride in the tradition of Chemical Brothers, New Order, or Kraftwerk. It will, of course, eventually go the way of all port-royal pieces and disperse into a swirling cloud of atmospherics.
So to the crux of it. The Royals have certainly carved a niche and perfected their own, signature sound. This is so distinctive now that, at times, Afraid To Dance sounds like its own remix album. Tracks such as Internet love push the effect closer to medley. (Anyone who knows Mogwai's Gwai on 45 will understand what I mean here.) I don't see this as any great problem. port-royal career arch will probably mirror that of someone like Ulrich Schnauss anyway: i.e. expect them to become as prominent in the arena of remixing as they are with their own material. In the meantime, 99% of you can breathe a collective sigh of relief. If ever there was an argument for a two-word review, this might just be it because the only two words that could do justice to this music are….
"port-royal"
They've still got it. They've added something without losing any of that dreamy melancholia and the bottom line is, you NEED Afraid To Dance. Fantastic. Viva fraternity!
It's not saying much. I'm sure after a first review listen I should have more than just two words written on an otherwise spotless page?
"port-royal"
It's saying everything. So, probably, is the stupefied grin on my face. Indeed, as I resurface from my hour-long reverie, I half wonder whether a wet nurse came in at any point to wipe the drool from my face.
port-royal = fraternity. Which is why I'm rapidly reaching the stage where I believe there are two kinds of people in the world: those who love and appreciate the music of port-royal and those who simply haven't heard the Italians. If there is a third kind of animal – one who knows the Royals music but doesn't appreciate it - I've yet to sight it. File these dubious people alongside Bigfoot and the Abominable Snowman. Yet none of this is to suggest that I think port-royal are perfect for everyone. No band is. They just manage to find the people they're perfect for. In this sense, I'm acutely aware that 99% of you reading this already HAVE Afraid To Dance, and are merely checking in to see if I nail this one. The trouble is, I should be writing for the 1%.
port-royal have opted for a few subtle changes to distinguish this album from its lauded predecessor Flares. Some may claim these alterations to be semantics. In the wider picture, perhaps yes, but in port-royal's "attention to detail" world these are important iterations. Firstly this new album is more densely populated with beats. Where Flares made the sunrise chill-out spot its own, these compositions are aimed more at the preceding nights clubbing. The second and biggest difference may actually be structural. Flares presented itself as a whole entity. This album emphasizes certain tracks. As such, Anya: Sehnsucht, Deca-dance, Leitmotiv I Glasnost, and Putin Vs Valery (all pulsating examples of the new-look Royals) are each afforded a certain prominence whilst other pieces function in a supporting capacity. Anya: Sehnsucht has what I call that "whimsical childhood nostalgia" vibe going on. It is almost Boards Of Canada–like in this respect (think Rojgbiv), and may be the most radio friendly cut here. Deca Dance is a rollicking train ride in the tradition of Chemical Brothers, New Order, or Kraftwerk. It will, of course, eventually go the way of all port-royal pieces and disperse into a swirling cloud of atmospherics.
So to the crux of it. The Royals have certainly carved a niche and perfected their own, signature sound. This is so distinctive now that, at times, Afraid To Dance sounds like its own remix album. Tracks such as Internet love push the effect closer to medley. (Anyone who knows Mogwai's Gwai on 45 will understand what I mean here.) I don't see this as any great problem. port-royal career arch will probably mirror that of someone like Ulrich Schnauss anyway: i.e. expect them to become as prominent in the arena of remixing as they are with their own material. In the meantime, 99% of you can breathe a collective sigh of relief. If ever there was an argument for a two-word review, this might just be it because the only two words that could do justice to this music are….
"port-royal"
They've still got it. They've added something without losing any of that dreamy melancholia and the bottom line is, you NEED Afraid To Dance. Fantastic. Viva fraternity!
Review Taken from: http://www.evilsponge.org/albums/Port-Royal__AfraidToDance.htm
miércoles, 10 de septiembre de 2008
martes, 9 de septiembre de 2008
port-royal - Flares (2005)
Date Released: May 30, 2005Origin: Italy
Genre: Post-Rock, Drone, Ambient
Label: Resonant / Southern Record Distributors
Site: http://www.port-royal.it/
Tracklist:
1. Jeka
2. Spetsnaz/Paul Leni
3. Zobione Pt. 1
4. Zobione Pt. 2
5. Zobione Pt. 3
6. Karola Bloch
7. Flares Pt. 1
8. Flares Pt. 2
9. Flares Pt. 3
10. Stimmung
__________________________________________________
In these hurried times of taking showers, burning our tongues on Espresso, and panic when we mislay the remote control, it is all too easy to forget the simple pleasure of taking time. Italians live long lives. An Italian meal can last the whole evening. Olives, pizza, salad, wine, pasta, desert, coffee…lazy conversation. An Italian lover can last the whole night. Or so I'm told. I'm guessing. I'm English. We're supposed to keep our socks on.
Flares is a masterpiece and a rarity too in the massed arena of ambient guitars and electronics, in that it is unswervingly compelling. Genoa-based Port-Royal have structured their debut with loving attention. Wordless, save for occasional vocal samples, there are two central movements, each consisting of three exploratory tracks. Title piece Flares pt 1 to 3, all haze and tranquility, is situated near the end of the album. Meanwhile, the earlier Zobione suite explores territory familiar to Mogwai and M83 fans alike.
Guitars are the stars, certainly, but Port-Royal also make excellent use of electronics, cut-ups, loops and drum sequences. The beats, for example, in the breathtaking Spetsnaz/Paul Leni are wholly satisfying because they don't quite loop, lending the track an abrasive urgency. The opening of Zobione pt3 is the closest Port-Royal sail to WARP territory with lunatic bleeps and squeaks reminiscent of cult 80s band Pink Industry. I love its distorted mania.
Yet Flares is too chilled to be classified IDM. Almost like a classical composition, the album contains recurrent themes, each time refined and re-explored. The Braindance set, clubbers, and afterparty-goers alike would adore Port-Royal, if only they ever found their way to them. An azure blue sunrise would be the perfect backdrop to these majestic swathes. The track Karola Bloch alone could level the chill-out market with consummate ease. Coming down has never been so uplifting.
So many bands in the swelling post-rock market feel the need to punctuate their beautiful guitar doodling with loud, angry crescendos. There is a place for that, naturally but overused, the effect can wear predictably thin. Don't approach Flares expecting any such rage. You will not be spoonfed by Port-Royal. The unimaginative need not apply. Instead, Flares is a lush, beautifully textured canvas. Like imaginary fireworks on a Rothko horizon, splashes of prettiness and joy are already there but there are spaces between the brushstrokes to allow a dreamers mind to wander.
Another one for full immersion then. Say 'no' to remote controls. Say 'yes' to headphones and refreshment of your choice. In fact, if you do jack the phones in, you'll be treated to one of the best production mixes I've heard in a while. Guitars float around you like a shoal of fish in gently moving waters. The album concludes with the ambient Stimmung. Regretful piano slowly giving way to a wordless hymn, Stimmung would not be out of place on Sigur Ros ( ) album. I cannot think of higher praise.
Moby's God moved "over the face of the waters".
Maybe ours harboured at Port Royal?
Review taken from: http://www.evilsponge.org/albums/Port-Royal__Flares.htmFlares is a masterpiece and a rarity too in the massed arena of ambient guitars and electronics, in that it is unswervingly compelling. Genoa-based Port-Royal have structured their debut with loving attention. Wordless, save for occasional vocal samples, there are two central movements, each consisting of three exploratory tracks. Title piece Flares pt 1 to 3, all haze and tranquility, is situated near the end of the album. Meanwhile, the earlier Zobione suite explores territory familiar to Mogwai and M83 fans alike.
Guitars are the stars, certainly, but Port-Royal also make excellent use of electronics, cut-ups, loops and drum sequences. The beats, for example, in the breathtaking Spetsnaz/Paul Leni are wholly satisfying because they don't quite loop, lending the track an abrasive urgency. The opening of Zobione pt3 is the closest Port-Royal sail to WARP territory with lunatic bleeps and squeaks reminiscent of cult 80s band Pink Industry. I love its distorted mania.
Yet Flares is too chilled to be classified IDM. Almost like a classical composition, the album contains recurrent themes, each time refined and re-explored. The Braindance set, clubbers, and afterparty-goers alike would adore Port-Royal, if only they ever found their way to them. An azure blue sunrise would be the perfect backdrop to these majestic swathes. The track Karola Bloch alone could level the chill-out market with consummate ease. Coming down has never been so uplifting.
So many bands in the swelling post-rock market feel the need to punctuate their beautiful guitar doodling with loud, angry crescendos. There is a place for that, naturally but overused, the effect can wear predictably thin. Don't approach Flares expecting any such rage. You will not be spoonfed by Port-Royal. The unimaginative need not apply. Instead, Flares is a lush, beautifully textured canvas. Like imaginary fireworks on a Rothko horizon, splashes of prettiness and joy are already there but there are spaces between the brushstrokes to allow a dreamers mind to wander.
Another one for full immersion then. Say 'no' to remote controls. Say 'yes' to headphones and refreshment of your choice. In fact, if you do jack the phones in, you'll be treated to one of the best production mixes I've heard in a while. Guitars float around you like a shoal of fish in gently moving waters. The album concludes with the ambient Stimmung. Regretful piano slowly giving way to a wordless hymn, Stimmung would not be out of place on Sigur Ros ( ) album. I cannot think of higher praise.
Moby's God moved "over the face of the waters".
Maybe ours harboured at Port Royal?
Download Link: http://rapidshare.com/files/143762871/port-royal_-_Flares.rar.html
lunes, 8 de septiembre de 2008
domingo, 7 de septiembre de 2008
Bent - Intercept! (Deluxe Edition), (2008)
Date Released: April 15, 2008 Origin: United Kingdom
Genre: Downtempo, Chillout, Pop, House, Soft Trip-Hop
Label: Godlike and Electric
Tracklist:
1. Exercise 7
2. To Be Loved
3. Stay Out All Night
4. Breakfast At 80,000 Ft
5. Tired Of The Show
6. Wendy Darling
7. Waiting For You
8. As Seen From Space
9. The Handbrake
10. Leavin' Me
11. After All The Love
12. Waiting For You / danny Howells Mix
13. Waiting For You / nightmoves Remix
14. Waiting For You / mr B Remix
15. Waiting For You / superbass Remix
16. The Handbrake / ernst St. Laurent Remix
17. The Handbrake / mr B Remix
18. To Be Loved / toby Tobias Remix
19. To Be Loved / soulchild Remix
20. To Be Loved / mr B remix
__________________________________________________
This is a re-edition of the 2006 "Intercept!". This new version includes nine remixes from three tracks of this LP.
Bent are a duo from Nottingham consisting of Simon Mills and the tapered fingers of Neil Tolliday. And this is a Bent album sounds like it's been recorded by dead people or voices fed through a human vocoder by programmers who have managed to dismiss any needless emotion. This can be effective, occasionally, especially when the buoyant Lemon Jelly/Groove Armada artful background bombards your ears with plenty of pleasure. Right there you're listening to music beamed from an alternate dimension where sounds have moved just out of rack.
Shame that it is oddly humourless, like robots really have passed their fingers through the dictionary and handpicked the lyrics based on what their sentient free circuits are telling them. What's missing is the thinly disguised songs about anal sex that anchored the previous album.
Instead you're required to sit back in your comfy armchair and swallow the inoffensive glide through ‘Wendy Darling’ and ‘Waiting For You’ - both of which are homeopathic and deeply lulling. ‘As Seen From Space’ is a beguilingly apposite title while album opener ‘Excercise 7’ dispels any thought of a Bent backlash for at least three songs. Bent will play at the Big Chill and people reading The Guide will glance up for more than one song. They've gone and lost the flavour that once gave them the special taste.
It could be viewed as dispassionate, but when Bent arrived on the edge of the scene it was a welcome obtuse take on the beachside electronic wallpaper that was being led by the Zero 7 and their contemporaries. 2000's 'Programmed To Love' was an album to treasure and pimp to your friends. This one is a backward step from the seafront with too much over scrutiny in the studio.
Shame that it is oddly humourless, like robots really have passed their fingers through the dictionary and handpicked the lyrics based on what their sentient free circuits are telling them. What's missing is the thinly disguised songs about anal sex that anchored the previous album.
Instead you're required to sit back in your comfy armchair and swallow the inoffensive glide through ‘Wendy Darling’ and ‘Waiting For You’ - both of which are homeopathic and deeply lulling. ‘As Seen From Space’ is a beguilingly apposite title while album opener ‘Excercise 7’ dispels any thought of a Bent backlash for at least three songs. Bent will play at the Big Chill and people reading The Guide will glance up for more than one song. They've gone and lost the flavour that once gave them the special taste.
It could be viewed as dispassionate, but when Bent arrived on the edge of the scene it was a welcome obtuse take on the beachside electronic wallpaper that was being led by the Zero 7 and their contemporaries. 2000's 'Programmed To Love' was an album to treasure and pimp to your friends. This one is a backward step from the seafront with too much over scrutiny in the studio.
Review taken from: http://www.new-noise.net/us_183.html
sábado, 6 de septiembre de 2008
viernes, 5 de septiembre de 2008
Bent - Flavour Country [EP], (2004)
Date Released: December 6, 2004Origin: United Kingdom
Genre: Downtempo, Chillout, Pop, House
Label: Open / Mosr
Site: http://www.bent-world.com/
Tracklist:
1. Exercise 5
2. The Waters Deep (2nd version)
3. I Can't Believe It's Over (2nd version)
4. Baby Of The Year
5. Continue...?
__________________________________________________
Bent have something very special for you! Their brand new 'Flavour Country' EP signals a return to the kind of electronic delights that put them on the map in the first place.The EP includes 3 brand-new offerings alongside re-workings of classic tracks, 'The Waters Deep' & 'I Can't Believe It's Over' from their current album 'Ariels'. Set for release on the 6th of December the EP's artwork features 500 photographs personally taken by the boys themselves, offering a rare insight into Simon & Nail's 'Bent World'. To cap it all off each of the 500 limited edition 12"s will include a one-off photograph from the Flavour Country collection; surely a must have for any true Bent Fan!
Review taken from: http://www.bent-world.com/site2/releases/detail.php?articleId=93Download link: http://rapidshare.com/files/142832321/Bent_-_Flavour_Country_EP__2004_.rar.html
jueves, 4 de septiembre de 2008
miércoles, 3 de septiembre de 2008
Bent - Ariels (2004)
Date Released: October 12, 2004Origin: United Kingdom
Genre: Downtempo, Chillout, Pop
Label: Ministry Of Sound
Site: http://www.bent-world.com/
Tracklist:
1. Comin’ Back
2. Sunday 29th
3. I Can’t Believe It’s Over
4. As You Fall
5. Silent Life
6. Sing Me
7. On the Lake
8. Now I Must Remember
9. You Are the Oscillator
10. Sunday Boy
11. Exercise 4
12. Waters Deep
__________________________________________________
“Such pretty music. It makes me feel as though I am in love,” said a female friend, and I agree. It’s Bent, how can you not say that? There is something incredibly remarkable with “Ariels” by Simon Mills and Nail Tolliday; it’s delicate, sweet, and magical. Gone for the time being are the heavily use of samples from the par’s back catalog and we now welcome the natural acoustics and strings of two musicians alongside with the lush and surreal vocal talents of Steve Edwards, Sian (of Kosheen), Rachel Foster (of the Weekend Players) and of course Katty. The album works in twofold as Bent does what they do well – make dreamy bedtime songs for the contemporary electronic listener while still adapting its ears for the general public at large (for the first time…maybe it’s selling out, but I don’t think so). They know what works and they know how to create music that will move the soul while still being playful; it’s a balance that will push Mills and Tolliday into the mainstream once and for all. The dreamy soundscapes are pure and innocent with twelve tracks that work together as one, yet each can stand on its own; an emotional album that comes in and stays for sixty minutes only to leave you wanting more. It’s a bit sad to hear that the quirkiness and humor that graced Bent’s prior two albums are gone, but they’ve matured and so have you. Time moves on and you can’t stay in the same place forever.With the first single “Comin’ Back” as the opener, you get treated to the bouncy rhythms and hip-shaking percussions that begins the album with an upbeat mood. A fantastic start! The track reminds me of 70’s R&B and it’s understandable clear why this is chosen as the first single because of its upbeat attitude. Nourishing onward you get a taste a moods and tempos that ranges from disco-pop-to-wallpaper music that never lets go, but always staying constant in the back of your head. Other notable standouts are “As You Fall” with its deep ambience of tension and soft vocals that pushes the album to its peak early. “Silent Life” has it’s rich vocals by Simon Mills and earthly textures, while “Exercise 4” opens up the electroish influences that have been raging on the past year. It’s all so warm and fuzzy as “Ariels” is a rush of psychedelic melodies and beautifully sung lyrics that make this album what it is as the Nottingham producers now have graduated into the consciousness of pop culture. Very lush indeed.
Review taken from: http://www.residentadvisor.net/review-view.aspx?id=2488Download link: http://rapidshare.com/files/142200800/Bent_-_Ariels.rar.html
martes, 2 de septiembre de 2008
lunes, 1 de septiembre de 2008
Bent - The Everlasting Blink (2003)
Date Released: March 3, 2003Origin: United Kingdom
Genre: Trip-hop, Downtempo, Chillout
Label: Phantom Sound & Vision / Pid
Site: http://www.bent-world.com/
Tracklist:
1. King Wisp
2. An Ordinary Day
3. Strictly Bongo
4. Beautiful Otherness
5. Moonbeams
6. So Long Without You
7. Exercise 3
8. Stay The Same
9. Magic Love
10. The Everlasting Blink
11. Thick Ear
__________________________________________________
Bent's debut album Programmed To Love came bursting out into our living rooms three years ago. With choice tunes like "I Love My Man", "Always" and "Swollen", it heralded a new direction in leftfield dance, and in turn welcomed a new addition to the coffee table CD collection. Those Sunday Best tracks are now considered classics thanks to their over exposure on the latest All-Back-To-Mine-For-The-Greatest-Chillout-Album-In-The-World-Ever collection.
The Nottingham duo's new album, The Everlasting Blink, is by Simon Mills and Nail Tolliday's own admission their first album proper; their aforementioned debut to their minds more a collection of tracks. Regardless, the culmination of years of trawling second-hand record shops and car boot sales in search of the ultimate sample have produced a record that is firmly tongue-in-cheek and full of surprises.
Whilst the band are keen to stress this is not a concept album, there is a distinct theme with eerie soundtrack beds, kitsch sci-fi flavours and loved-up, down tempo beats en masse. Similarly, collaborations are aplenty: 1970s icon David Essex adds his two-pennys-worth to the Spanish guitar-kissed "Stay The Same", and country star Billie Jo Spears is to "So Long Without You" what Tammy Wynette was to the KLF's hoedown "Justified And Ancient".
The ethereal tones of the Beloved's Jon Marsh makes an appearance on the drifting string-soaked "Beautiful Otherness", while Captain & Tennille are expertly sampled to provide the musical inspiration on the beautifully lush 'n' dreamy lead-single "Magic Love". This is by far the album's standout track and with Ashley Beedle's remix makes the song an early contender for single of the year.
As a whole the chill beats and blissed out musicianship work well together and further highlight why Bent are the dons of eclectic cool and a slightly less pretentious alternative to, say, Air. Well worth getting your hands on.
Review taken from: http://www.bbc.co.uk/music/release/mqrg/The Nottingham duo's new album, The Everlasting Blink, is by Simon Mills and Nail Tolliday's own admission their first album proper; their aforementioned debut to their minds more a collection of tracks. Regardless, the culmination of years of trawling second-hand record shops and car boot sales in search of the ultimate sample have produced a record that is firmly tongue-in-cheek and full of surprises.
Whilst the band are keen to stress this is not a concept album, there is a distinct theme with eerie soundtrack beds, kitsch sci-fi flavours and loved-up, down tempo beats en masse. Similarly, collaborations are aplenty: 1970s icon David Essex adds his two-pennys-worth to the Spanish guitar-kissed "Stay The Same", and country star Billie Jo Spears is to "So Long Without You" what Tammy Wynette was to the KLF's hoedown "Justified And Ancient".
The ethereal tones of the Beloved's Jon Marsh makes an appearance on the drifting string-soaked "Beautiful Otherness", while Captain & Tennille are expertly sampled to provide the musical inspiration on the beautifully lush 'n' dreamy lead-single "Magic Love". This is by far the album's standout track and with Ashley Beedle's remix makes the song an early contender for single of the year.
As a whole the chill beats and blissed out musicianship work well together and further highlight why Bent are the dons of eclectic cool and a slightly less pretentious alternative to, say, Air. Well worth getting your hands on.
Download link: http://rapidshare.com/files/141787420/Bent_-_The_Everlasting_Blink.rar.html
Suscribirse a:
Entradas (Atom)
