pasha_limani

This six track EP, the debut Jamendo release from Saint NUS, is a slick collection of laid back IDM tunes that captivates the listener from the outset. Despite the title this is certainly no glitch-fest; instead the emphasis is on a rather minimal yet melodic approach and Saint NUS proves that he has a keen feel for both tone and structure.

It's a consistent set throughout but the first three numbers shine in particular, especially "Shin" with its lovely melody and clever use of a spoken Japanese sample. Indeed this whole EP has an unmistakeable Japanese feel to it that simply adds to its considerable appeal. In truth Saint NUS doesn't put a foot wrong all the way through and it leaves me looking forward with eagerness to hearing more of his output.

Having read the artist's own notes on this album I was expecting something as punishing as Merzbow; a brutal and relentless barrage of white noise. "Power Plant Violence" certainly qualifies as a challenging listen but it belongs in the realm of industrial/dark ambient releases rather than inamongst the output of the Japanoise brigade.

The two lengthy pieces slowly unfurl and unravel, immersing the listener in swathes of dark, brooding sound. "Serdobolic" is more intense and possesses more of an industrial feel to it, particularly when the heavy rhythm and sirens kick in during Part II. "Hydrodendrone" is a little less intense, filled with lighter, more sibilant sounds.

At eighty minutes in length this album certainly requires some patience on the part of the listener and I would be lying if I said that my attention didn't wander from time to time. But it is a worthwhile if ambitious project and will certainly be of interest to fans of both dark ambient and industrial music.

Somnium's own notes on this album describe it as "an attempt to use short wave radio interference as a medium for both inspiration and an instrument in production". And the short wave radio is certainly present from the outset, crackling, hissing and distorted in the background. Yet this is an album that seems to take its inspiration equally from the weather and the environment. Hence field recordings are incorporated into the compositions and there is an almost ever present sense of an impending storm. It's almost like listening to someone spinning the car radio dial whilst chasing twisters through the heart of America.

In many ways this album reminds me of Hank & Slim's "The World Turned Gingham"; indeed the similarities are uncanny. Whereas Hank & Slim create a dark ambient soundscape using electronics, Somnium opts for guitar. At times you might imagine the latter being played by someone on a porch in the deep South; at other moments it sounds more like a fragment from "Metal Machine Music". But all the while this is an album that seems to possess its own sublime beauty, even in the midst of all the feedback, distortion and interference.

Fans of avant garde or experimental music may struggle with the way in which the music has been constructed, particularly Somnium's reliance upon repetitive guitar chords to form the melodic backbone of the majority of tracks. Others may wish for less shortwave radio hiss. But there is no denying that "Interference" creates a highly distinctive soundscape and a musical atmosphere all of its own. Perhaps no track sums up the artist's approach better than "Prodigal Son". However, the title track, with its sonic duel between guitar feedback on the one side and what sounds like a classical Indian instrument on the other is also memorable.

There are plenty of great discoveries awaiting the intrepid listener on Jamendo. This is definitely one of them.

A decade or so ago there was a short period when so-called chillout music seemed to be taking over the world. Much of the electronic music that came to be tagged as such actually possessed almost cinematic appeal - I'm thinking of tracks by artists such as Danmass, A Man Called Adam and Akasha amongst others. Indeed, all three of these acts appeared on "Serve Chilled", a particularly memorable compilation given away free with the short-lived "Later" magazine publication in the UK. The music on this compilation was striking due to its blend of strong melodies and vocal samples which combined to provide an emotional depth missing on most other electronic music. Listening to this album there are moments where Likantropika's approach takes me back to that era.

Indeed, at its best "The Other Side" offers at least a couple of tracks which would have been perfectly at home on the "Serve Chilled" compilation: "In the Woods" which opens with birdsong and gradually builds towards an intense melodic climax; and "Blue River Turns Red" which adopts a more breaks-oriented approach. The album is a solid listen throughout. I'm not particularly keen on the Gregorian chant style vocals used on a couple of the tracks but that is a matter of personal taste perhaps.

Overall this is a rewarding listen and an excellent introduction to the work of this band. I can't honestly say that Andorra is a place that has registered on my musical radar before. That has surely changed now.

There are plenty of exciting discoveries to be made on Jamendo if you are willing to explore off the beaten track. This album is a classic case in point. Using percussion and heavy, strident piano and keyboards, Kotinäky has constructed an album that draws its strength from the contrasts between different rhythms and between loudness and quietness. It is music that has a definite experimental edge to it but equally not without some melodic moments and it remains surprisingly accessible throughout.

Though essentially an electronic work there are hints of jazz and progressive rock influences at times. But the real triumph on this album is the way in which Kotinäky constructs a distinctive atmosphere early on and manages to maintain it throughout the forty-one minutes despite the constant flow of musical ideas. The result is a piece of work that is instantly identifiable.

It is also remarkably consistent throughout but the satisfying way in which "Kiertokulku" brings the album to a close - reprising a brief melodic theme first heard in the opening track - marks it as the standout track.