it's complicated

When Dirk Serries announced his transition from the ambient scene to the world of freejazz, my drone-heart wept a little. I had been fascinated by most of his ambient works. I was sure that his absence from that scene would cause a certain void, one which other talented artists would have to fill. But then I discovered one of the so-called jazz acts Dirk had gotten himself involved in. The guitar-scapes guru got company from one of the world's most mesmerizing drummers, Tomas Järmyr, and from renowned jazz musician Kristoffer Lo. Together they formed Yodok III, a trio that quickly became one on the most baffling live acts on this planet.

Their newest album, to be released on Consouling Sounds, is a one track, sixty-four minutes lasting epos. It was coined to us as something for fans of Godspeed You Black Emperor, Swans, Cult of Luna, Sigur Ros & This Will Destroy You. For a certain part, those names are quite correct but I don't think Yodok III has much to do with post-rock. Sure, there are the enigmatic drones and soundscapes, slowly building up. Very slowly in this case. There is a calm, gloomy atmosphere and the vague melodies but post-rock, nah, this is something way beyond classification. 

What sets Yodok III apart from the aforementioned bands (and from 99% of the musical acts on this earth) is the unpredictable nature of the music. You just don't know what will happen next. In that aspect, this album is a musical thriller; dark, chaotic and captivating. While the first twenty minutes are mostly calm with meandering soundscapes, the whole thing slowly evolves. The guitars gain distortion while the drums introduce themselves as the impending and forward pushing drive behind the whole band.

The beauty of this albums is, you can enjoy it at several different volume levels. It can be a calm, yet gritty, ambient album when you play it on a low volume. It can be adventurous background music on a medium level. But when you play this thing loud, as loud as a live concert, this becomes a massively compelling piece of music. In the end, yes, perhaps this is best to be compared to Godspeed You Black Emperor, but, even with half the personnel, Yodok III easily manages to deliver something more powerful, more frantic and more explosive.

This is simply awesome. Some albums come in like a comet, others like a freight train. 'This Earth We Walk Upon' comes in like a gargantuan glacier, leveling everything in its path.


Serge

ambient / drone / experimental

Consouling Sounds

It was a profound year for the Belgian quality label Consouling Sounds. Dark Night Mother is the last of the twenty-two CD launches the label made this year. Stefano Pilia and Massimo Pupillo are two Italian musicians behind this project. They know each other more than a decade and started to record their acoustic home sessions. These creative meetings formed the foundation of Dark Night Mother. 

The broad experience in different music styles, the artists worked with, makes it difficult to catalog the recording. Stefano Pilia as bass player and Massimo Pupillo as guitar player are improvising musicians with a keen view how to melt their chemistry into mysterious and ethnic musical journeys. With the help of four female vocalists (Olivia Arebalo, Lucinda Mahua, Alexandra Drewchin and Sandra Canessa) a strange world of native singing, ambient and acoustic sounds was established.

The duo prepares precisely and patiently the listener to enter a world, not so easy to discover in one bite. After several listening trips it became clearer what the artists tried to achieve. Emotions of the past, present and future are molded in beautiful sound constructions. Indigenous voices bring a shamanic atmosphere and produce a strange hypnotic effect. The female singers have a very important contribution to the sound structures on this album.

Dark Night Mother had a weird outcome in how time moves when you are grasping deep into the music. In fact there is no darkness to be found in this recording. Beautiful, peaceful vibes with some melancholic parts create a new perspective of combining the uncombined. The weaving of world music, acoustic music with minimal electronica is what Dark Night Mother stands for. Stefano Pilia and Massimo Pupillo  shaped a beautiful world with abstract minimalist moods, grown from improvisations.

This music for the mind shows its splendor with patience and will be appreciated among music explorers like the fans of Hector Zazou and David Sylvian.


​Patsker 

ambient / experimental / jazz / idm / glitch

Krysalisound

Sometimes it's good to step out of your musical comfort-zone and into strange sonic territories. I guess that's what the good people from Krysalisound must have been thinking when they signed this odd duo. Mostly known for their soothing ambient releases, the label now unleashed something unusual, to say the least.

​klās'tĭk is the duo of Andrea Koch and Masaya Hijikata. One lives in Berlin but has Italian roots, the other resides in Warwaw although born in Japan. So the cultural background of klās'tĭk is quite eclectic, so I guess it's no surprise that their music is quite eclectic too.

It all begins with a song called 'Chauvet'. At first, the song calmly explores the regions of experimental ambient and live looping, only to evolve into something ritual with eerie vocals and  glitchy percussion. 'Airtight Decoration' then drags the whole thing into the world of jazz, mostly characterized by the drums. Somewhere in the back of my imagination, Tom Yorke is jamming with Autechre and the Dale Cooper Quartet. 'Torque', a brilliant piece of drone-jazz somewhat follows that example, but without the vocals. That's probably why 'Torque' is my favorite track on this album with its pulsating soundscapes, complex drums and an almost magical atmosphere.

Every track on this album has its own story to tell, and it's rarely something easy-digestible. 'Night's Highest Noon' is chaotic and strange, and so is its follower 'Commuters'. Yet, here too, beyond the intense elements of free-jazz, there are unexpected loops and sounds, turning each song into something you have probably never heard before. I guess it's up to you to decide if that's good or bad. All I know is that this is a baffling debut, one that needs time and effort to be explored. Or in other words: this is glitchy jazzbient at its very best. I don't know if that is a genre but it covers the load quite well. Interesting debut....


​Serge

jazz fusion / rock / electronic

'No Pussyfooting ', by Robert Fripp and Brian Eno (1979); E2-E4, by Manuel Gottsching (1982); Warsawa, by Praxis (1999) and Manifesto, by Stringmodulator (2018). This is how this album imposes itself after listening to it: as an updated continuation of works that used the electric guitar and electronic sounds together (since Les Paul and his modified overdubs). This style has been in continuous developing until the present day, either by using a simple backing track, some loop pedals, or simply the super interesting concept that this German duo "condensed" just using one bass, one guitar, electronic equipment and a two channel recorder (with no overdubs, something almost unbelievable).

It all starts with 'PROLOGUE' creating the right mood for the tracks 'THUMP & SHRIEK' and 'GROWL' which, together with 'WHITE NOISE', have excellent flirting with darkwave; 'BEETWIXT & BETWEEN' and 'ECHO CHAMBERS' could be classified as Nile Rodgers playing some "hard industrial music"; 'HORROR VACUI' has an excellent mix of ballads, industrial rock and soundtracks from 80's low budget horror movies that, along with 'GUITAR SABOTAGE ', reminded me - a lot - of some tracks from John 5's solo albums; 'MILES' BACKING BAND' could be a dubstep version (with lots of energy drinks) of an imaginary band for Miles Davies' electric period, possibly a tribute to the jazz study of the duo's members; 'A QUIET PLACE' could be an 80's style ballad (seriously, it seemed like Sting was going to sing at any time up to 40 seconds of music). This last track seems to involuntarily refer to the famous story about the creation of Dream House style, by Robert Miles, where there was a need for some quieter music to be played before clubbers get their way home, thereby reducing the number of car crashes in the Italian 90's clubbing scene. This kind of "calm down" was something needed to give maximum contrast on such an interesting album!

Of course the comparisons I made may even sound like an anachronism, at the same time, this is the best characteristic of this work, because "old" electronic music styles are evident in what concerns the aesthetics that they were influenced by, however, there is an update with the ocean of styles that have emerged till this days (something that may even be unconscious). This is what makes 'Manifesto' such a good album, because Jan and Fabian had the ability to perform an excellent re-reading of krautrock, electronic music and even jazz without intending to become "cults", and this lack of malice, in addition to an extremely freedom of creation, is the power that can make 'Manifesto' a remembered album trough the years!

Glauber

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Here we can see how the duo play the song Flow (from their first EP) in a live session

avant-garde / jazz / metal / experimental

Self-Extinction is an eccentric, but extraordinarily fantastic album by experimental jazz metal group Inhumankind, released by I, Voidhanger Records, from Italy. With nine relatively small, concise experimental tracks – Double-Headed King, Annihilation Of All Inferior Thought-Forms, Against All Odds, Citizen Qayin, Land Of The Shells, Blue Skin, Antinomic Self-Cosmogony, Self-Extinction and Eternal Sleep – this album is a great example of a genre rarely practiced or exposed nowadays, which is, more or less, conventionally described as jazz metal. Doing a fusion of several different, apparently disparate styles of music, and incorporating elements from jazz, contemporary and classical music in a very peculiar and evocative, but at the same time increasingly discreet disposition, the general artistry of Inhumankind is difficult to conceive or understand, but it’s delightful to hear and to experience. Ingratiating a colorful infusion of melodies into a gracefully splendid mosaic of textures and intonations, Self-Extinction is a horizon of opium barbiturates fully immersed in a solution of compulsory and hallucinatory caffeine, upon which a sonorous wave of curious serenity integrates your soul, to test your willingness to dive into the universe of a surprising and exponentially fascinating category of sound.

While the overall disposition of the music is simple – even ordinary by more inflictive and postmodern standards –, its somewhat fragmented nature makes each and every one of its artistic components and cells seems awkwardly impregnated with light cavities and low densities, that craves beyond the unitary dispositional structure of the music. While its curious anatomy, exceedingly impressionistic in form, saturates the epicenter of its own sonorous perimeters with the dead anxiety of its technical precision, there is a curious, but salutary consistence in between the musical notes, that makes everything quite majestic, despite the apparent simplicity that is obviously denoted throughout its notoriously subtle context. 

The quietness between the notes, and the intelligent use of silence as a musical component is quite a remarkable feature within the framework of its expansive sonorous embodiment, that amplifies the impressionistic nature of the tunes. And while there are not too much melodic variations throughout the album, it’s distinctive and deliberate harmonious predispositions are sagacious singularities, that works intelligently within the artistic concept that is generated by its inherent effect. 

While I haven’t particularly loved this album – mainly because of the genre, which failed to captivate me –, I certainly give credibility to its originality, audacity and creativity, that deserves to be highlighted and properly complimented. If you look for something very unusual to hear, and want to be surprised in a very unexpected way, you have to listen to Self-Extinction, by Inhumankind. Undoubtedly, it will be one of the most unique musical experiences you will ever have in your life.  


Wagner

jazz / ambient / electronic

To ambient aficionados, ECM addicts and electronic music fans, the name Jon Hassell will certainly ring a bell. Countless of solo releases and collaborations with the likes of Björk, Talking Heads, Carl Craig and Brian Eno have rightfully given him the "pioneer of electronic music" title. 

Now, he returns with his first solo album in nine years, to be released on his own new imprint Ndeya. This label will publish new material as well as selected archival releases. So perhaps 'Listening To Pictures', a sweet blend of ambient, electronic music and jazz can be seen as a new start in solo recording.

"Pentimento" means: Alteration in a painting, evidenced by traces of previous work, showing that the artist has changed his or her mind as to the composition during the process of painting. Musicians face something similar. Compositions can alter, change and evolve over time with only vague traces of the initial composition still present. Ambient and jazz have always been compared to (landscape) painting and with good reason. They share many similarities, which explains people's often ecstatic reaction to either a song or a piece of art. Somehow it feels like that is exactly what Jon Hassell has been doing on this album, changing, altering, reworking. 

There are eight tracks on this album, each on with its own identity and speciality. Perhaps it's not surprise then that different acts and artists come to mind with each tune. Opener 'Dreaming' has a similar feels as many Biosphere tracks. 'Picnic' throw that sound into an Autechre branded blender and goes wild on the glitches. 'Slipstream' takes me to the reals of acts like Zoviet France and O Yuki Conjugate. I love the percussion in this track. So far in this album, 'Slipstream' is my favorite, even when the jazz influences come shining through. 'Al Kongo Udu' is another favorite, an exotic and adventurous ambient tune.

On 'Pastorale Vassant' we go all jazzy with the nervous percussion and the free floating soundscapes. Perhaps this is one of the most experimental sounding tracks on this album, definitely not the most radio friendly but it still is an interesting entity to have floating through the room. 'Manga Scene' is what would have happened if Autechre and Dale Cooper did a jamsession, or Sknail of course. Glitch jazz is almost always awesome. 'Her First Rain' gently follows that example. And yups, I've turned this thing into a song-by-song thing. Well, in that case, 'Ndeya' is up to you to discover. All I'm going to say is that it's definitely worth it and that counts for this entire album. 


​Serge

jazz

Art First Records

Well, I guess this was inevitable. After reviewing and highly acclaiming several dark jazz records, the world of vintage jazz has found us. Not that I mind. Until a few years ago, I strongly disliked jazz but recently that genre has been growing on me. I'm still not wild about the whole freejazz stuff but an album like 'Atmosfärg' definitely feeds my interest. That sparks another problem. I have no idea how to describe this kind of music. Apart from Miles Davis, Toots Thielemans and Dave Brubeck I know next to nothing from jazz. Well, it seems this Saturday morning writing session is starting with a personal challenge, but that's a good thing, right?

This album was recorded live in Helsinki, Finland. It features Eevo Savela on trumpet, Tapani Varis on double bass and Alf Forsman on drums. In 48.20 minutes and eight tracks, this whole album feels like a classic jazz performance. I forgot to tell you that in the previous paragraph: I have seen a few jazz performances in my life. Being a raging metalhead at the time I didn't really pay much attention to those. All I heard was a bunch of people doing solos, all together. This record sounds a bit the same, even though the double bassist seems to behave.

My wife just told me that the secret of appreciating jazz is finding the math behind the apparent chaos of musical notes. Somebody once told her that. I'd like to know who. I'd like to have a chat with that person (unless it's an asshole). I can't seem to find the math behind these songs but I can feel the chemistry of three highly skilled musicians jamming together. There is quite often a sense of magic in playing together, especially when each participant perfectly controls his instrument. And that is absolutely the case here.

Varis builds a solid foundation, Forsman creates complex percussive structures and Savela's trumpet is allowed to meander and explore its own sound. That results in an immersive performance, something every jazz fan should be able to appreciate. For me, the whole thing tends to get too chaotic, too free-jazzy at times but there are also brilliant pieces of music to be found. So writing about this album proved to be rather difficult but finding people to recommend this one to is easy: jazz fans, you want this. I'm sure of that.


​Serge

ambient / drone

industrial / metal / drum & bass

classical

metal

grindcore / crust

ambient / techno

new wave / alternative rock

black metal

bandcamp

black metal

classical / post rock / jazz

facebook

drone doom

hard rock / metal

black metal / noise

dark jazz

Serge

experimental

Imagine the following scene: Allan Holdsworth playing SynthAxe like Vangelis, accompanied sometimes by Dylan Carlson and sometimes by Buckethead together with a great multi-faceted drummer (Bryan Mantia, for example). A line-up like this would have a lot of probability to go wrong, would not? Well, this album didn't going wrong, it became very awesome! This "crazy" mixture of jazz, fusion, metal, technology, noise and free jazz surprised me a lot!!! The breadth "polystylism" of 'Ariel' had a REALLY big chance to go wrong, but all the musicians played every sound and every note meticulously where it should be, and the album became powerful and a kick ass work!!!

This album was recorded by Greg Sinibaldi (EWI and SuperCollider), Ryan Ferreira (electric guitar) and Ted Poor (drums). All themes were based on the poems' book called 'Ariel' written by Sylvia Plath, released postumante, because her private life was very troubled. and her suicide was carried out after she left bread and milk near the bed of her children, ingested a lot of narcotics and put her head inside the stove, with gas turned on. Realizing her writing themes, this was possibly her last and most melancholy poem. But Greg used five of her immortal works as the inspiration for his music: ‘Ariel’, ‘The Arrival of the bee box’, ‘Lady Lazarus’, ‘Wintering Cut’ and ‘Elm’. 

Greg chose these poems and not only "translated them musically", he convey the sensation of the emotional charge that he had with each poem written by Sylvia. In this very sad book, you can clearly saw passages from something calm to obscure moments like in the song 'Arrival at the bee box'. Already in 'Lady Lazarus' and 'Lady Lazarus Part 2' the feeling of no future or no perspective ahead the humanity, is like in this excerpt from the poem: "Dying / Is an art, like everything else. / I do it exceptionally well". Her disenchantment with humanity is extremely evident in all the poems chosen by Greg.

Like the three songs mentioned, all the other tracks show an emotion that is incredibly consistent with the chosen poems, I even suggest that you read them before listen to this album, because all the emotions of Sylvia’s book can be perceived in a deeper way. Depressive moments are extremely dense and heavy, moments of doubt are puzzling and so the album goes on. This is a very interesting project and has managed to unite several different music idiomatics, creating sounds with an unbelievable cohesion!!! This album is available in digital format and in physical CD. Besides that, it has a special limited edition in Vinyl (300 copies). And to finish, I would like to say with all my sincerity: I loved this album because it surprised me a lot!!! So give yourself a chance to be surprised by 'Ariel'!!! 

​
Glauber

post rock

densely acquiescent serenity, majorly entangled in a human emotional diagram of omnipotent infinity, S/T is a simple, yet complete sonorous conflagration of a melodic universe, whose imponderability is virtually attached to the most restless deliberation of a wonderful and honest expressive moment in time.     

​Wagner

heavy jazz / grindcore

ambient / post rock

jazz / noise rock / experimental

bandcamp

heavy metal

crust / hardcore

progressive metal

hip hop / j-rap

electronic

black metal / metal / death metal

black metal

doom / post metal

death metal / thrash metal

folk metal

alternative metal