RICHARD PINHAS - SCHIZOTROPE
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Oedipus Rex-Hit
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Primitive version-Hit
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Richard Pinhas "Schizotrope" Album Review
Crazy Guy
Zorn is the best musician of New York Avant Gard
TASADAY - IN ATTESA NEL LABIRINTO
Mindanao 1971
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Minotaurus (in Attesa Nel Labirinto)
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Rinascita Degli Dei
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La Terra Senza Il Male
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World as A Simulation
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Un Altro Sacrificio
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Mind Now 2004
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Tasaday "In Attesa Nel Labirinto" Album Review
Review
"It is strange this Italian music. These TASADAY are not with their first musical adventures: a first disc left in 1984 and them 8th this year at WALLACE. Italian is inspired by the experimentation in general, containing electronics, of a mood generally undue, but which often transfers edge, pitching here towards the free jazz or there worms of the rock'n'roll without ornament. Rinascita degli dei , sung in German, sound like a homage to EINSTURZENDE NEUBAUTEN (one of the most important groups certainly for them), this title could very well besides have been reproduced on the album tabula shaved troop with BARGELD. TASADAY likes the sticky atmospheres which feel the factory, wet climates with the iron started already well by rust, it likes this cold air which grates the bottom of the nose and these black environments which attract it like the vacuum. It is in this way that TASADAY is sought. Activist of always, lucid like never, TASADAY knows what it needs to cure its evil of bide, it knows that it is necessary to like the deviances, that it is necessary to mix the kinds to escape even more. Since 20 years, one seeks oneself and one knows deliberately that one will not be. Sax, battery, computer, low, song, guitars and of the tons of noises thrown in grazing ground... Ouai." - Erwan - Sans Tambour Ni trompette
BRON Y AUR - QUIEN SABE
Non Comprarti Pane Con Este Dinero
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Part 1
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The Poetry Reading
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White Rabbit
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Sound 005
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Rosto Gramash
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Dieci Passi
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I Padroni Del Vapore
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Sound 009
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Better Blues
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Come Si Esce Qua Adesso
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Bron Y Aur "Quien Sabe" Album Review
Review
"Dyslexic free-post-rock? At least at early listening, because the bron y aur, from arounds of milan, north italy, play excellent epileptic crisis of improvisation, kraut rock memories, - then to converge torwards more linear choices from the second track on, - affording free_jazz moods on terzo lato, using also a clarinet, sax alto, trombone, trumpet, grey atmosheres. The second part_suite of getröch: + 3 gröm breaks the cd diminishing à la gastr del sol of crookt crackt or fly. Ok, probably this cd has been right 4 days of full improvisation, - immortalize since 13th to 16to july. And very well recorded, a mixing enviable indeed, beautiful environments, - probably if they were came from oversea downhere would have been surely idolized, - - anyway, as regards me this music is trite, hackneyed, and rehashed, - i mean: beautiful, beautiful, beautiful but stop.. - beside forbidding people to play black sabbath's cover, as well stairway to heaven with your guitar, some should expose a notice saying do not post-rock here, please. - a multi-section package very nice indeed." - Paolo miceni - Komakino
ZEENA PARKINS AND IKUE MORI - PHANTOM ORCHARD
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Zeena Parkins and Ikue Mori "Phantom Orchard" Album Review
Maybe a little TOO avant garde
I got word of Zeena Parkins by listening, as many people, to Björk and watching her live shows. I remember Zeena playing the harp, the electric harp, celeste and the accordeon in the same gig, which I thought was wonderful. Then I started digging for her own music, and I came to Phantom Orchard. I wasn't surprised to see that the album was a collaboration, and then I was a little perplexed to find that the collaboration was with Ikue Mori, as I had only seen a very harmonic side (muscially speaking) of Zeena Parkins with the song "Generous Palmstroke" she wrote with Björk.
To be honest I didn't know what to expect, and then the beautiful tension of "Jezebel" started. I felt I was being abducted by aliens with the first electronic sounds of the track. Then the harp started, and gave the melody a very interesting twist, making it very misterious and giving it a somewhat crystal cave feeling to it. I can't say I wasn't disturbed by the sounds that were entering my ears at first, but later on I found them brilliant.
It's actually very hard to explain this album with words, it's one of those you'd have to listen for yourself. The most similar thing I can think of is Björks "Drawing Restraint 9", composed for Mathew Barneys movie, and even with the minimalistic eccentric sounds the soundtrack for DR9 has to offer, it really isn't as phantasmagoric and alien-like as Phantom Orchard.
Also, if you ever heard the soundtrack for the Silent Hill games, then you might have an idea of what this sounds like. Only, instead of the bone-chilling, industrial beats the game yells out, throw in harp notes and machinery-on-work-like noise, but leaving the same structure of the music.
"Jezebel" is the perfect introductory example for the album as a whole, going from beautiful to horrible, from peaceful to stressful, from harmonic to disturbing, but never in the middle, or on either of the two sides of the string for too long.
The magnificent "Mura" is like an electric discharge of space energy melting your brain as the interrupted sounds go from one speaker to another, followed by the dripping introduction of "Ghost lake", which calms you down after the storm of noises.
"Deft" sounds like a beautiful lullaby from hell, as the harp merges with the powerful echoing volcanic sounds produced by the synthetizer. After "Deft", we are introduced to the electric beats and sounds of "39 steps", which almost doesn't sound like music at all.
"Transparent things" brings to my mind a crystalized waterfall hitting on metalic surfaces, as cascades of harp stand out among the distortion summoned by electronic means. After this, the heavy "Contraband" starts; the electronic sounds more rough and evident, it is as if a monster was roaring into a walkie talkie, followed by a not working motor of an agonizing boat.
Finally, the album reaches its end with the echoing "Blue moon", a calm mixture of ghostly moans and water dripping from the ceiling of a pitch black cavern, inside of which we are trapped forever, never to return to the outside world, as no real exit from the album is expressed, only confusion and blurred thoughts.
The electronic single notes provided by Mori and the peaceful melodies provided by Parkins make this collaboration unique in this world. It's eclectic, disturbing, relaxing, astounding, but most of all, intriguing.
You'll find yourself trying to solve a mystery that never was, only to keep going in circles one time after another.
Maybe Parkins and Mori went a little too far in the experimental melodies they offer, though their originality and brilliancy is evident. Definately, this album is not for everyone out there. Either you love it or you hate it, but I find it really hard to be in the middle.
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