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Emerson, Lake & Palmer, Deep Purple, Kraftwerk, Queen, Monstrum*
>De wat? A strange place to find a classic rock album in Israel. But since we are all (and I mean ALL, including the developing countries, through OLPC project) a global village, it is surprising, but not strange. So what's that about? When Avi PM'ed me on Jamendo to have a look into his works, I've moaned something like "oh no, not another Klezmer band" as all the dreydlekhim and krethkim lately became a bit over-popular within jazz musicians in Europe and Klezmer ensembles spawned out of nowhere in overwhelming number and spread through all the clubs with live music, making it almost impossible to hear a genuine blues/jazz jam in Warsaw. BUT -- first few seconds of the album made all my worries away. A genuine rock, blues and jazz. Sometimes interleaved with slight eastern-Mediterranean (Levant is the right term?) motives, just to spice things up, sung sometimes in English, but mostly in modern Hebrew. A hamburger, but with olives and sumac spice: Seems strange at first glance, but tastes surprisingly good, and You want more. Vocals are a bit thin, but compositions and arranges together with lyrics, not to mention instrument skills are pure art. And what I admire, are the organisational skills of the composer and producer: some pieces involve up eleven persons to record (not counting the one at the console). Yes, most of the album is done by overdubbing, but I'm pretty sure, they could assemble to give a concert. If not -- then I'm pretty sure, that Avi and Enrico alone could entertain public for whole night at Clob Rock at Racławicka street in Warsaw. My favourites? Yesh Li Shiba and Horef, but that does not say, the other tracks are any worse. Eight stars [++++++++--].
A conceptual album. I like conceptual albums. I've approached this release with caution -- last time someone recommended me his own album it ended badly. Obviously, I was wrong. This work proven to be a very nice one. Connected with a short story of the same title, the album is a tale of journey to the most distant (real) planet of Solar System. Artistic concept is quite interesting, and the compositions themselves beautiful. Arranges are typical Electronica, with well-known sounds of late 80's polysynths, augmented here and there with some special effects. Recording and mixing is flawless. Listening to this work was really mystic experience and great journey. Eight stars [++++++++--].
This EP surprised me. In Positive means: Quite short, all tracks just snapshots of concept for longer loops, but all kept in the same BPM setting -- I guess, for easier DJ-ing. And where I thought, that everything hat has a TB-303 in it must be boring and secondary -- this little compilation proved to be different. Although 303 is not really clever machine, sounds thin, but the sound is distinct and readily recognizable. And there is much more one can stress out of single oscillator, single VCF and decay-only envelope. Yet, even if the album is not really my kind of music, it has drawn my attention to listen to it more than once, and it always counts for plus. I can't complain about lack of hummable tune, because this area of music creativity is inherently deprived of such thing. But this is compensated by lots and really lots of sound experiment. Of course -- all the WC Olo Garb fans from U-Tube will complain, that the author is not squeezing all of the Novation/Nova keyboard, but the hero of this (and the previous one) release is the TB. And great thanks, that the use of 303 is not limited to just whistling the filter resonance, as others too often do. A star extra for showing, that TB can be also a solo/lead instrument (for the record a VST plugin was used, I wonder, if 303 can be played with CV/Gate external keyboard in hardware?). All in all eight stars -- for innovation, great ideas and perfect realization. I'd like to hear this mixed live on club stage.
This album was recommended to me by its author via Jamendo internal messaging service. I've followed the instructions, and used calm evening to give it first try. Then I have been cycling it in y S1 for some time... And I still have mixed feelings. The album supposed to be down-tempo and meditative. Down-tempo I agree. But instead of meditative I'd rather choose 'boring', and as boring things annoy me, then definitely it was not calming. From the first notes: the chord progression in the opening eponymous song, Raindrops were resembling beginning of klaus Schultze's Body Love so much, that I've waited for the sound of the helicopter passing by and the ostinato bass to kick in. The whole album focuses around show off of technical skills of the composer playing guitar. Compositions relay mostly on mathematic harmony and studied contrapuntal techniques being base for improvisation, which limits to ornamenting only. I've got a feeling, that the Author sat down to write this album with his mind set on the work to be great one, not just perform and record. So we can hear it: Great understanding of classic composition techniques and instrumentation, certain arrange skills, decent performance abilities. But no spark in it. This would be fine for background music in a film, but is too little for stand-alone creation. My jaw was sore from yawning. Five and half stars: [+++++-----], only because i couldn't find any technical flaws.
The newest release from Daniel. It was lingering in my drawer for several months, as it was published in January, but i needed a second look into that disc. The same as in previous albums, we have here setup od drum box and guitars laboriously layered by multi-track recording. The album is mixture of classical pieces arranges and original compositions. Music is played with ease and great skill, sound just flow, and only somewhere in the back of one's head You know, how much work was put into that. Again, in some songs the lack of bass can be heard, but is not so significant, also the beat box is programmed more carefully to not sound so monotonous. My favourite? Two of them: the interpretation of M.Ravel's Bolero, which brings up all elements of Fado style, one is almost expecting the Portuguese words to be sung; the other is Heaviest shit on earth, just because -- can't say why. Summary: this is a decent album, obviously, that author did have fun recording it, some interpretations are a bit flat and hollow, but there is nothing wrong. Seven stars [+++++++---] and nomination to Album of the Year award for 2010.
Another album from this great artist. This time not awaited long. No announcements, except maybe for easy to omit note on Author's service, that tapes were submit to mastering. No promises nor due dates -- just a surprise to all listeners' delight. Same as the former releases, this album is clearly divided into virtual sides of vinyl record. First side is consequently kept in mood of late 1960's, from the first notes immersing us in vintage klang of Hammond organ and Würlitzer electric piano. Although setups resemble a bit those in Pancake ferret, the style is more consistent and mastering far better. As for the songs: this time experiments with sound and attempts to surprise listener were postponed for sake of good old song. Great hummable tunes and real swing, making one tap the rhythm with fingertips. And this through first five songs. Then take a rest and enter the mad race of All machine -- a pun on late 80's British electro-pop, set of voltage-controlled synths played against beat-box, which sounds almost, but not quite, entirely unlike TR-808. But, the choice of sound and timbre was not random and corresponds to the song lyrics. Same for rest of the second half of the album, up to the final, eponymous ballad. Joseph once again showed us, he can surprise with something new and that it is all about music, not technical puzzles. This album uses more instrumental passages and improvised solos than former ones, also vocal quality is improving. Song lyrics, the same as album title, again refer to DMFA / Jacob Pettersohn universe, although knowing, who Lord Daryil is, is not quite necessary to enjoy the album. Or maybe may be helpful to understand an inside joke in the final song (I don't want to spoil, but it is certain, that young adventurer has no idea, what kind of person Daryil is). My favourites? I treat this album as a whole, every piece is in its place, and shall not be moved. Over all rating? Great album again, eight stars [++++++++--] and nomination to Album of the Year award for 2010.
Also sometimes misspelled Last known God configuration. A full-length CD release of pop-elektro dance with lots of experiments on sound and virtual synthesizers. Some tracks were released before mastering of the album, eg. Der Weise shown up on Nectarine.org as single and Barcode anxiety was used as soundtrack for demo Die Ewigkeit schmerzt. Leo Ritter is renown for never be boring, so this album is similar but totally unlike the former, Neurons - Fire at will!. Lots of new Klang, lots of experiments, some weird remixes and recycling of various found sound and music clips. My favourites? Der Weise, Evoke and Saturday bam. If You like catchy melody backed with daring experimental electronic sound, You should like it. Excellent album, but not state-of-the-art. Seven stars [+++++++---].
So, I have had it cycling on my S1 for some time now, time to drop a few words. This is the first of Maniax Memori albums published to-date. As the author said, the pieces included in the compilation are various compositions recorded in former years -- but whole has been mastered to form an album. Some of the songs use continuous mix (without pause). Generally there is much experimentation with sound, klang, rhythm, and radiophonic techniques. Some of the loops and tracks I've already known from Grace Valhalla's albums, so my suspicion, that the acquaintancy of the two artist is more mutual, than just sharing the same label, seems to be true -- if they exchange pre-recorded material. However not social patterns are my concern, but music. And the music is better than just good. This album may seem just another trip-hop mix -- but it has a swing: when listening, just from the first few seconds You find Yourself banging the head and tapping fingers to the arm rest or desk top. The rhythm is contagious, and the loops adhere to the mind like self-repeating meme. Every note has its place and every piece seems just natural in the order of the album. And it rocks. Sources of looped tracks are very various: from generic beat tracks through many electronic passages ending with beethoven's Seventh (in fucked TH rbbr) and De Gaule (?) and Hitler's public speeches (in The free mix and 39/45 inD). Certainly, this is something You won't pass by indiferently. Final rating? Eight stars. [++++++++--]
>Another full-length album by Daniel. As the title describes, it is a composition exercise, to make a suite of variations over single catchy music theme to permute it through all illustrative moods and arranges -- just as the film music composers do. From the first notes of the opening song, to the End credits we immerse in different music world and almost see the act, which this music could accompany. Song titles are not very sophisticated -- look more like workshop notes for the sound engineer for final film montage: Action Scene, Love theme, Epic intermission or utmost funny Elevator music. The arranges are simplistic: drum-machine with electric and acoustic guitars -- but the effect is spacious and monumental. Contrary to the Beethoven album (which was the first of Daniel's releases I've heard ) the lack of bass guitar is barely heard and almost unnoticeable, also the beat-box sounds more natural, although this album was mastered EARLIER -- just another puzzle. But who cares? Outcome is marvellous. Every of my friends -- who usually listen to commercial pulp served by country-wide radio stations, and by whom I am renown as person listening to weird and experimental music -- actually said, that they like this album very much. Any final notes? I liked this album very much too. Intended as just music background it is really nice piece of work even as stand-alone creation. I give eight stars [++++++++--].
This was quite a discovery for me. I will not deny, I've givn it a try mostly because the name of composer sounded familiar -- It is nice to see, that one of my fellow country men came up to the standards. I've sampled it online, then decided, that though there is only one album, and so short one, I'll definitely take a longer glimpse. The Desideratum album holds only one three-piece suite, arranged and named like a mass. What strikes from the first notes, is very high quality of arrange and mixing. The score is replayed via some MIDI engine, but it is barely audible -- the mastering is a master work. The author shows great skill in composition techniques. I can only guess, that Mr. Piotr has formal education in musical composition. Once again it proves, that good preparation and workshop is 90% of the success: because even if the musical themes are somehow plain and impossible to cite (no “hummable” tune, like in eg. Beethoven's Seventh), the music drags to the proper mood, sucks in and carries the listener floating through cascades of mood swings and various arrange concepts. Great use of classical orchestra. Great management of mood through picking right sounds and timbres -- the composer didn't try to invent the wheel, and it is good, because this sort of work doesn't need it. To conclude: Eight stars [++++++++--], an I'd like to hear this music live in a concert hall.
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