February 12th, 2016 / Comments Off on New album from Amphetamin – A flood of strange sensations / by Mog/
Amphetamin is a french Post-Prog band (progressive rock, post rock) which was founded in 2006 and formed in 2008.
It is composed of Sebastian, and Morgan.
Influenced by their personal musical culture, the members have managed to create a style mixing rock music with a dark, wandering and progressive atmosphere.
A first E.P. comprising 5 tracks and entitled ‘Substitute’ was recorded in May 2010. It got favourable and encouraging critiques. The band decided to make it available for free on the internet during the winter of 2011.
Throughout 2012, their style evolves, new songs are added to set lists and eventually get numerous enough for the band to announce a new recording.
They are planning to go back to the studio during year 2013, in order to release a new record.
“At the dawn of twilight” (7 tracks) was released on December 27, 2013. Again this has been well received by the Web press which often makes it their favorite album at the moment.
genre: ALTERNATIVE ROCK, ART-ROCK, POST-ROCK, PROGRESSIVE-ROCK, REIMS, ROCK
2.The threshold 04:18
3.Once upon a tree 05:34
4.Stranger on an island 04:57
5.Endless nights 04:54
6.The haunted one 07:39
8.Favourite doll 04:56
9.Thoughts in the water 05:59
10.Ghostly place 04:42
11.Different colours of tears 07:25
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February 12th, 2016 / Comments Off on New track from Slim Tailor – Mr. Square / by Mog/
Slim Tailor is an LA-born singer/songwriter producing acoustic-minded folk tracks with a story at the heart. He’s been playing guitar and writing songs for over a decade. The track – which has been making the rounds on college radio lately – is off his new EP, The Ingenious Gentleman Slim Tailor De Los Angeles. His influences include John Frusciante, Jimi Hendrix, Buddy Guy, Sade, Bob Dylan. His current song “Mr. Square” plays on rotation at KCR College Radio San Diego State.
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February 12th, 2016 / Comments Off on New album from Nonsun – Black Snow Desert / by Mog/
Listening to Black Snow Desert, the debut from Ukrainian instrumental doom/drone/blackgaze duo Nonsun, is like taking a pilgrimage through a constantly changing landscape. The journey is long, and at times quite arduous: The album comprises two CDs, with the shortest song topping out at 8 minutes. The sounds contained often fit the album’s title: dark, cold and empty. Songs build slowly, and often plod to their crescendo. There’s no shortage of scraping, screaming and crashing sounds. But after those crashes, the sonic landscape often shifts, and moments of pure, shimmering beauty emerge.
What makes Black Snow Desert such a compelling listen is the band’s ability to create opposing ideas — harsh vs. soft, dissonant vs. melodic, empty vs. full — and mold them into a coherent yin-yang fabric of sound that demands engagement from the listener. This isn’t music that you can just turn on as background music and then go about your business. There’s too much to miss, and the payoff from fully immersing yourself in the sound is too great.
Black Snow Desert begins with “No Pity for the Beast, No Shelter for the Innocent,” a 15-minute plus opus that slowly builds with droning guitars and distant cymbals. Veering into shoegaze at its warmest, fullest parts. The album alternately plods and glides along, through colorful, shimmering and exotic passages on “Peace of Decay, Joy of Collapse,” and scraping destruction on “Heart’s Heavy Burden.” It finally throbs, then explodes to an end on the final track, “Rest of Tragedy.” You can’t help but feel slightly spent at the conclusion of Black Snow Desert, but as with any good trip, you’re eager to make the journey again.
By Karen A. Mann
1.No Pity for the Beast, No Shelter for the Innocent 15:06
2.Ashes of Light, Demons of Justice 12:47
3.Crystal Empty 12:40
4.Peace of Decay, Joy of Collapse 09:08
5.Heart’s Heavy Burden 08:00
6.Observing the Absurd 15:51
7.Rest of Tragedy 10:33
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February 10th, 2016 / Comments Off on Review of Die Mauern der Nacht by GRIMRIK / by Mog/
There’s a very valid argument to be made that metal musicians are some of the most intricately talented people in the industry. In order to excel as one, you have to have a vast understanding of a variety of genres, including classical influence. With this in mind, it doesn’t particularly surprise me that the German solo artist Grimrik is one of the more fascinating acts I’ve heard in quite some time. He got his beginnings in metal, and eventually dabbled in a slew of other things, too.
His new album, ‘Die Mauern der Nacht,’ is a concept record. The forty-five minute jaunt through eclectic synthesizers has been described as a “deep spiritual synth-driven journey beyond the walls of night.” Those walls represent a barrier that must be overcome in order to pursue further development.. It is – musically – about pushing the LISTENER into areas they are not used to (because of the mix of styles). It is – spiritually – daring to step into an unknown world of your psyche or some fields of insight that are ‘dangerous’ because they’re far away from your ‘comfort zone’
I listened to ‘Die Mauern der Nacht’ twice. Once as a segmented experience to hear each track individually, and once as a full mix, both of which are included with the download. While I found the former informative in penning this review, I’d wholly recommend the latter.
( It’s an album-only extra, but the bonus tracks break it down.) I don’t know if the song names matter that much in this collection; at least, they didn’t to me. It’s an instrumental conceptual journey that defies the need for specific song labels. In fact, segmenting into them feels forced and unnecessary. (Though I do understand the need to do it for consumption reasons.) The DL includes the album in 13 songs, three chapters and 1n seamless mix. The CD runs seamlessly from track to track.
The album is broken into three acts of varying sonic contrast. Grimrik explores the depths of synthesizers with splendid intelligence. ‘Teleportiert,’ for example, builds its entire foundation on a drone-style composition. It flows directly into ‘Durch das schwarze Loch,’ which takes that drone influence even further. I like that Grimrik sparsely labels the tracks, too. ‘Teleportiert’ is described as “exposition,” which I think it is. It fleshes out territory for the layers to build upon.
‘Ankunft’ is an especially compelling track. The high-pitched harmony synthesizer creates an eerie, frightening atmosphere of mystery. This may align with one of Grimrik’s influences, the concept of ‘dungeon synth,’ which is a side-genre of metal that explores very dark musings. I adore that consuming this record is an active, not a passive experience. I got entirely different emotions from my second run-through than my first. I strongly suspect that would continue to happen if I was to delve into it further.
I find the ‘tag’ listings on the Bandcamp page for this album very telling. There’s about thirty of them, and none of them adequately describe what this album is. That’s probably because it falls into its own space. It’s instrumental synthesizer music with a theatrical, conceptual flair unique to itself. It doesn’t surprise me that Grimrik is coming out of Berlin with this, either. Berlin-based music has a penchant for experimentation. Just look at the late, great David Bowie’s catalog. He found his greatest, most bizarre muses in the city.
Some of the most intriguing sections of the album are the ones that make a sonic statement. ‘Im freien Fall’ does that, offering a very headstrong percussion section that drives the piece forward. In contrast to its predecessor, ‘Vor dem Sprung,’ it’s an entirely different beast. ‘Vor …’ is far more sublime, as if it’s the soundtrack to an ethereal daydream.
Even though the album is toted as a dark experience, I’m not sure that it is. Tracks like ‘Erlösung’ (‘Salvation’ in English) exude hope and light. There is definitely light within this darkness. There are distinct lanterns lit across your path as you explore the caverns of the collection. I have to laud the creative direction of the album because of this – it isn’t a linear, black and white experience. You will get something absolutely different out of it than I do.
What did I get out of it, then? When I stared deep into the abyss of ‘Die Mauern der Nacht,’ I was met with an experience that could be the soundtrack to a variety of emotions. Now that I’ve spent time with it as an active listener, I think it would be just as well suited to orchestrating my downtime – you could listen to this album while working or studying. It isn’t obtuse or abrupt. It’s stunning, gorgeous, surprisingly beautiful and absolutely elegant.
I don’t have anything to compare it to. It’s drone-like nature reminds me of the infamous ‘Metal Machine Music’ from 1975. That, however, was rooted in the concept that it wasn’t music because it was n othing a t all. It was noise. Grimrik’s album has musical variety and a purpose. I do think, however, that the obscurity of ‘Metal Machine Music’ is alive and well in this album. Everyone gets something different out of ‘ Metal Machine.’ That’s how I feel about ‘Die Mauern der Nacht’ and that’s very special.
Genre: AMBIENT ELECTRONIC, BLACK-METAL, DARK-AMBIENT, NEW-AGE
I. Auf in eine neue Dimension
1. Im Nebel
2. Teleportiert (Exposition)
3. Durch das schwarze Loch
4. Teleportiert (Reprise)
II. Die Mauern der Nacht
6. Der erste Kontakt
7. Vor dem Sprung
8. Im freien Fall
III. Hinter den Mauern der Nacht
9. Die magische Leere
10. Vorsichtige Schritte
11. Letzte Zweifel
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February 10th, 2016 / Comments Off on New album from Eric Hall – Live Solos 2014 / by Mog/
Eric Hall is a composer, improviser, producer, and performer of electronic-based music, video, and installation art, as well as a DJ and freelance music and arts educator.
In 2012, Hall was honored as Laumeier Sculpture Park’s first-ever Composer-In-Residence and was voted Best Electronic / Dance Musician by the readers of The Riverfront Times. Hall has done numerous commissioned sound-sculptures, interactive installations, compositions, and performances for The Saint Louis Art Museum, The Contemporary Art Museum Saint Louis, The Saint Louis Symphony Orchestra (performing John Cage’s “First Construction (In Metal)” as a live-sampled electro-acoustic piece), The Pulitzer Foundation For The Arts, Laumeier Sculpture Park, The Luminary Center For The Arts, Public Media Commons, The Regional Arts Commission, New Music Circle, White Flag Projects, The Sheldon Concert Hall, Poetry Scores, Washington University, First Night (performing in Saint Francis Xavier College Church Cathedral leading to the midnight New Year’s countdown), Hoffman LaChance Contemporary, Post Performances At The Old Post Office Plaza, SOHA Studio And Gallery, School Of Art At Bowling Green State University, and Forest Park College, as well as designed and curated numerous performance series (most significantly Ancora il Più Estinto, Massamalgam, and The Third Lip Cabaret), recorded a Saint Louis-themed sound collage for 52nd City’s SOUND issue (“THE PHIL SESSIONS”), contributed music and sound design for NPR’s Cut & Paste podcast and the documentary feature film The First Secret City, and has provided multiple remixes and collaborated on stage and in the studio with hundreds of artists across the country.
Besides performing as a solo artist and within frequent sporadic projects and collaborations, Hall has also performed a two-hour improvisation alongside Damo Suzuki (of Can) during his 2007 return to the US, is in the trio N. Nomurai, and has been a frequent contributor to Grandpa’s Ghost, with whom he has also done several collaborations with video artist James Fotopoulos.
Under the moniker DJ Lil’ Daddy Reba McEntire, Hall also performs all-original live mash-up DJ sets in clubs, galleries, dive bars, museums, and house parties.
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