galaktycznyzwiad

I do enjoy the latest CIRC release, because it’s a very neat example of an artist’s progress. His previous albums were very much in the same mode as Anatole Joy is (namely, an abstract electronica/melodic IDM clash), but more recent LP’s have richer production and much complex compositions. As for Anatole Joy, one may expect nice downtempo, a bit psychotic but also engaging instrumental trips. My favourite tunes on the record are abstract bizzoff with trance, drilling bass and lile it litl dat, where the rhythm section is very professional and the composition doesn’t bore a listener though the whole piece is generally based on the breakbeat treat. The biggest musical disappointment was angels needs pollution to breathe that strats up extremely nice, with great distorted human choir sample, but than keyboards and rhythm gets predictable and spoils all fun. It could a highlight of the material, but it simply fails to do it. The next remark I have is the cover. The donkey here is simply ridiculous and it spoils an overall positive impression.
Summarizing, it’s definitely a thing to check. A next step in the music history of the composer that can really achieve something in the future.

Take care,

Gz.

It’s not what I’ve expected. The tag said it’s a experimental darkambient kind of music, so I wanted something more like Aphex Twin than Jarre Jr., but maybe I just lifted my expectations too high. The arrangements on Cycle are limited to keyboards, and that’s the first disappointment. What’s more, compositions are not really convincing, I mean, there is nothing very sophisticated there, and sounds lay in the sphere of the basic bank-sound of midi equipment. Even the ambient samples at the begining of Reve d’evolution are pretty pre-packaged and what happens next is a cheerful amateurship.
Generally, it’s not a thing to publish, just some sort of not exactly sound music experiment.

Stay cool,

gz.

It’s a record you won’t play once. This is a good quality electronica with a funky vibe (sometimes too plastic for me, as if in the Francesco Malti), but other ways pretty danceable. It’s quite difficult to point out one definite hit from the album because every song is professionally crafted, but I liked the bass and the old school minimal-techno feeling of Don’t Stop and pretty the same in Rework. I didn’t hovewer like too soft-jazz atmosphere of Mood for December Rendered (just to much saxophone and other corny stuff, I’m afraid), though it may be only my humble opinion.
In general, it’s a record to remember and an artist to look for when he’ll release some other stuff. However, there are little drawbacks it doesn’t hinder a positive opinion I have about Back to the Source. I’d also listen to Tradmark’s live act as well. It could be some pleasure.
Overall, it’s an eight for me.

Ok. Stay tuned,

gz.

I need to say that this record what quite a surprise to me. Sometimes it’s hard to find a record that sounds really modern at jamendo, and I’m not surprised that major major’s tune has landed up at the top spot of jamendo best hundred records recently. As it sounds, the guys have done their homework well. One may recognize the sound of Muse, The Mars Volta or Franz Ferdinand here. Moreover, the songs are quite neatly composed and very professionally performed. Almost every tune here has a nice ring, and it’s hard to choose once favourite, but if I have to I’ll point up some of the highlights. I loved the first moments of Chinese Drop, sentimentally reminding me of Roxy Music songs, and I pretty much enjoyed the energy of Blind – which reminds me some of The Jets recordings. I have to mention also the end of the record, Undone, a very nice piece with the piano and At The Drive-In like guitar blast.
Taking all under considerations it’s 10, although I’d give 9 and a half, because I miss a wall of sound here a bit. The songs are a bit underproduced, but well... it’s not a professional album, and in times before the web 2.0 if one would hear such demo he would judge it as great.
Stay cool,

Galaktycznyzwiad.

It’s a nice and enjoyable record. It sounds much more poppy and smoothen than other Josh’s records, but it’s not a disadvantage, just a surprise. When I’ve heard that it’s the very early set of his recordings I expected the sound to be rough and underproduced but I get the exact opposite. The songs are recorded in fairly good conditions, with a full arrangement, not just a songwriter and his/her guitar. The compositions are nice and melodic, though they do not have this Americana, dark folk atmosphere that one may sometimes find in his later records. Nonetheless I found some tunes may be my favourites for the next few weeks. One of the tracks I dig is Home Improvements, a little bit naive but sincere protest song about changing America into the only-for-the-rich state. The next one is Morning After, a very gentle story about all yesterday’s parties.
The album is really nice and melodic, and paradoxically, it may be it’s biggest flaw. The problem is that American songwriter/folk music went ages from the sounds Woodward presents. Sometimes, the album sounds more as Mr. Big than Palace Brothers or Mount Eerie, so if you look for more alternative approach you maybe disappointed. However, there are gems like Nothing in the Dark that get the LP spinning.
The cover is also a little bit too minimal. It does look like as if it was an album for songs that has just been left aside while recording better ones, which is not wholly true.
Generally it’s eight out of ten. It has its advantages, but there are also drawbacks.

Stay cool,

galaktycznyzwiad.