Category: Reviews (Page 120 of 206)

FIFI RONG Attack


Is it game over, or does it merely begin for the multitalented Beijing born experimental synth songstress?

FIFI RONG has continued gathering interest thanks to her fresh musical approach, quirky instrumentalism and angelic voice.

And her latest EP ‘Awake’, which was aired right after her successful appearances with Swiss masters YELLO during their recent European tour, proves that the artist continues to explore various audio visual paths.

“’Awake’ is about waking up to the truth after you have hypnotised yourself and deconstructing the paradoxes of human nature: subordination and rebellion, pain and joy, self-limitation and liberation”, says Rong who never sticks to the set prescriptions and bends genres to what mood she may be in.

From the ‘Awake’ EP, ‘Attack’ comes packaged with an animated video of a computer game of Nicktendo (the name derived from Rong’s collaborator on this track, Nick Ford), where the future world is destroyed and humans and mutants are at war. Rong, depicted as the Queen sends her robot army to fight the aggressors, but all her soldiers end up dead. All but one, who continues to slay the monsters console game style.

Loaded with ATARI and AMIGA vintage sounds, Manga graphics and all sorts of odd distorted noises, Rong continues to play with techno, drum ‘n’ bass and electronica as you DON’T know it.

Still managing to keep the whole thing melodic and tasty, the audience wonders which weapon she may choose to use. Although the video ends with her fall, this can only be the triumph for Rong, who tirelessly continues to wow with her musical know how and doesn’t shy from bending the genre.

Go Fifi, ATTACK!


‘Attack’ is from the ‘Awake’ EP which is available via the usual digital platforms

http://www.fifirong.com/

https://www.facebook.com/fifirongmusic/

https://twitter.com/fifirong

https://www.instagram.com/fifirong/


Text by Monika Izabela Trigwell
4th May 2018

BRIAN ENO Music For Installations

“If you think of music as a moving, changing form, and painting as a still form, what I’m trying to do is make very still music and paintings that move. I’m trying to find in both of those forms, the space in between the traditional concept of music and the traditional concept of painting”: BRIAN ENO

‘Music For Installations’ is a multi-album collection of new, rare and previously unreleased tracks from BRIAN ENO, recorded since 1986 for use in his art installations experimenting with light and video which have taken place all over the world including Russia, China and Australia.

It was an concept that was first realised on ‘Thursday Afternoon’ in 1984, an 82 minute audio / visual presentation comprising of video paintings of actress Christine Alicino which were filmed in a vertical format, so that they had to be viewed using a television turned onto its side. In a strange way, Eno foresaw the advent of smart phone videos which are now presented online in this fashion, rather than in the more traditional landscape format.

Spread out over 6 CDs or 9 vinyl albums if you prefer the lengthy mood (which is essential in effective ambient music) to be broken by having to flip the record, the various works gathered on ‘Music For Installations’ are for the most part equal to Eno’s best ambient opuses like ‘Discreet Music’, ‘Music for Airports’, ‘Apollo’, ‘Neroli’, ‘Lux’ and ‘Reflection’.

On CD1, ‘Kazakhstan’ recalls the serene beauty of ‘Reflection’, but there are more synthesizer sweeps than most might be used to with Eno. ‘The Ritan Bells’ does as it says on the tin with beautiful ringing reverbed tones reminiscent of ‘Neroli’ but using sharper accents. ‘Five Light Paintings’ is darker and more sombre with a nautical aura like Jarre’s ‘Waiting For Cousteau’ or Eno’s own ‘Dunwich Beach, Autumn, 1960’ but extended over 20 minutes. Concluding CD1 with ‘Flower Bells’, this develops on ‘The Ritan Bells’ but with more sustain and acoustic sounding textures.

‘77 Million Paintings’ (which takes up the whole of CD2) will be familiar to Enoists as ‘Ikebukuro’ from 1992’s ‘The Shutov Assembly’, but tripled in length with manipulated distortion and robot larynx added. CD3’s two offerings are on the more placid side; ‘Atmospheric Lightness’ has much less happening than the other pieces of ‘Music For Installations’ with it being much more minimal and impressionistic, while its sister ‘Chamber Lightness’ drifts along like a sound painting.

With CD4, the soothing ‘I Dormienti’ is not dissimilar to ‘Neroli’ boosted with cascading piano runs and vocal samples. The three part ‘Kites’ suite features gently ringing aural sculptures, although the slightly longer third variant adds environmental atmospheres and generative voices.

The surprise comes with CD5 which is fragmented like ‘Music For Films’. With a rhythmic base, the opening track ‘Needle Click’ is quietly tribal and by modern Eno standards, comparatively uptempo with a gorgeous synth melody making it almost like VANGELIS.

Indeed, this collection of shorter pieces is lively, with the arpeggio laden ‘Light Legs’ being more akin to soundtracks like ‘Stranger Things’. Meanwhile piano and guitar make their presence felt respectively on ‘Flora and Fauna / Gleise 581d’ and ‘New Moons’. ’Hopeful Timean Intersect’ even features acoustic six string within the pensive tension, while there’s some unexpected choral assisted drama in ‘Delightful Universe’.

CD6 offers up the unsurprisingly spacey ‘Unnoticed Planet’ while both ‘Liquidambar’ and ‘Sour Evening’ are starkly minimal, although the latter brings some shimmering qualities to the wavetable. Bringing proceedings to a close, the sub-18 minute ‘Surbahar Sleeping Music’ is almost atonal and unsettling in places.

For most people, this lavish boxed set is probably too much Eno, but then it is not aimed at them. However, for his many admirers and fans, ‘Music For Installations’ will be loved, cherished and smelt as a highly essential collector’s item.


‘Music For Installations’ is released worldwide by Universal Music on 4th May 2018 as a 6 CD super deluxe limited edition numbered box set including 64 page Plexiglass cover book, 9 LP super deluxe edition vinyl box set with 64 page book plus download key or 6 CD standard edition box set with 64 page book, available from https://www.enoshop.co.uk

http://www.brian-eno.net/

https://www.facebook.com/brianenomusic/

https://twitter.com/BrianEnoMusic


Text by Chi Ming Lai
29th April 2018

RODNEY CROMWELL Rodney’s English Disco EP

‘Rodney’s English Disco’ is RODNEY CROMWELL’s first new body of work since his critically acclaimed debut album ‘Age Of Anxiety’ in 2015.

Although its themes were heavy, the album was perfect those who like their synthpop lo-fi but with tunes. With four new songs plus some accompanying remixes, a sombre mood continues to loom in his discothèque, perfect fodder for his battered armoury of Moog, Korg, Roland and ARP synths accompanied by a Boss DR-55 rhythm box.

Driven by a meaty electronic bassline and metronomic backbone, the marvellous vocoder-laden ‘Comrades’ has a really chilling Cold War atmosphere, bathed in an ensemble of sweeping synth oboes and cosmic string machines. Rich with melody and a panoramic resonance, RODNEY CROMWELL surreally captures the sound of Giorgio Moroder played through a Soviet Foxtrot submarine intercom system.

Continuing the solemn Cold War metaphors, ‘Barbed Wire’ adds live bass and guitar to the crisp template in a take on JOY DIVISION if Stephen Morris had actually been a drum machine, as supposed to trying be one, the end result coming over like one-time Factory Records signings THE WAKE. Meanwhile, the neo-instrumental ‘Technocrats’ throws in some piercingly creepy organ chords and a stuttering vox machina sample robotically repeating the title.

There’s a bit of an early OMD feel on ‘Dreamland’, a bitter reflection on domesticity and failed relationships with a life of Chinese remedies, herbal teas, taking Diazepam and going to Homebase now over.

“Why did you have to leave? We had such a charmed life!” mourns Rodders amongst the catchy burst of synthetic rimshot and haunting strings.

The winter of discontent backing is made even more malcontent by some Hooky bass, although a surprise is sprung with a warm cascading synth line to close…

‘Rodney’s English Disco’ happily and robotically wallows in its misery. Oddly, one can be quite happy dancing to something quite miserable.


‘Rodney’s English Disco’ EP is released by Happy Robots Records in a 7”+CD combo, available from https://www.happyrobots.co.uk/product-page/rodney-cromwell-7-cd-rodney-s-english-disco-bot12

Pre-order the download version which is released on 25th May 2018 from https://rodneycromwell.bandcamp.com/album/rodneys-english-disco

https://www.happyrobots.co.uk/rodney-cromwell

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Text by Chi Ming Lai
24th April 2018

METROLAND Men In A Frame

‘Men In A Frame’ is the new conceptual long player by Belgian duo METROLAND, celebrating the art form of photography.

Perhaps slightly confusingly, it does not contain ‘Man In A Frame’, their previous single release from earlier in 2018.

But “Have you ever dwelled on the numerous occasions where you became an anonymous ingredient of countless, randomly taken pictures? Regardless the occasion or location, people tend to participate involuntarily in these momentums, clueless or lacking any grasp on further processing or broadcasting”

That thus is the idea behind ‘Men In A Frame’… Passenger S and Passenger A joined forces with five Belgian professional photographers from an art co-operative called F-8 (pronounced as ‘Faith’) whereby each photographer carefully relinquished two unique pictures with enigmatic and occasionally cryptic titles for METROLAND to add electronic soundtracks to produce ten ‘Pictures To Listen To’; the collaboration between fine art and music ultimately acted as an exhibitive launch platform for the album.

The sumptuous Renault yellow packaging contains a well-presented booklet of each photograph along with accompanying prose by each of the five photographers Bert Daenen, Kristel Nijskens, Patrick Verbessem, Steven Colin and Caroline Tanghe plus additional commentary from METROLAND themselves.

Opening number ‘Concrete Witness’ offers a windy atmosphere that grows within its percolating arpeggios and rhythmic build, while ‘B-old’ starts well with those classic METROLAND beats and synth melodies over its seven minutes.

Something a bit different, the vibrant ‘Shades of Pale’ pulses away with hiccup voice generations, but is spoiled by the growling rock flavoured “shade of pale” sample. The synthetic bass rumble of ‘Proiezione 41-828’ is almost EBM with a penetrating metronomic Schaffel beat, while ‘La Macchia D’Acqua’ percussively uses more aggressive sounds than listeners may have been used to previously with METROLAND.

Beginning with Sakamoto-like textural passages, ‘The Speed Of Life III’ has drama in its steadfast rhythms with frantic arpeggios adding to the fun. The enjoyable ‘Creative Rose’ could be Karl Bartos collaborating with OMD, while the widescreen sweep accompanying the punchy and almost pentatonic ‘Trust’ is possibly the album’s best track.

Steadier with use of chipmunk vocal samples recalling Jan-Michel Jarre and his ‘Zoolook’ sample opus, ‘Hope’ exhibits a pretty melodic interface.

Closing ‘Men In A Frame’, ‘Next Choice’ electrifies with a hypnotic rhythmic backbone, the coda ringing and crashing in true METROLAND fashion with a clear female voice repeating “you have reached your destination…” – perhaps less immediate compared with previous METROLAND long players, what ‘Men In A Frame’ does have is development in its strength of conception, while maintaining the presentation standards of their back catalogue.


‘Men In A Frame’ is released by Alfa Matrix as a CD or download, available from https://alfamatrix.bandcamp.com/album/men-in-a-frame-bandcamp-exclusive-bonus-track-version

http://www.metrolandmusic.com/

https://www.facebook.com/metrolandmusic

https://twitter.com/MetrolandMusic


Text by Chi Ming Lai
19th April 2018

DISQO VOLANTE Yellow Fervor


DISQO VOLANTE is Korean-American multi-instrumentalist Matthew Booth, a man who loves his synthpop, but also his sax!

Following his debut EP ‘Re: Lit’ in 2016, Booth’s latest offering is a five track affair entitled ‘Yellow Fervor’; having learned some lessons from some of the more overdriven aspects of that first release, ‘Yellow Fervor’ has better production values and adds a funkier twist to proceedings.

This twist comes over like a cross between PRINCE and YELLOW MAGIC ORCHESTRA, coming to the fore on the brilliant and appropriately Batman themed ‘Gotham City’.

A fascinating mix of East meets West over synths and sax, DISQO VOLANTE exhibits a highly unusual and unique sound. But beginning with the ‘Yellow Fervor’, the PRINCE influence is loud and clear from the off, with Booth coming over vocally like a more assured Yukihiro Takashashi, while augmented by lashings of sax.

Glistening with synth arpeggios, ‘Your Princess Is In Another Castle’ sees Booth use vocoder treatments and the blip of a Casio VL-Tone for a more obviously electro offering with the sax slightly more restrained.

The house-flavoured pop of ‘Net Loss’ is an interesting diversion with the sax integrated seamlessly like NEW ORDER’s ‘Round & Round’ taking a slight jazzier diversion towards fellow Mancs A CERTAIN RATIO, with the unexpected presence of a rock guitar solo just to add to the fun!

Meanwhile, ‘Seoul’d Out’ is the most eccentric song on the EP, reminiscent of Thomas Dolby in his more bonkers moments. While this is not ‘Hyperactive’, the freeform nature of ‘Seoul’d Out’ impresses with its musicality if nothing else

Quite what listeners will make of the ‘Yellow Fervour’ EP is anyone’s guess but boring it isn’t.

For the crazy genre blends and uses of seemingly incongruous modes of instrumentation, DISQO VOLANTE deserves an award, or a straitjacket, or something 😉


‘Yellow Fervor’ is available as a download EP from https://disqovolante.bandcamp.com/album/yellow-fervor

http://disqovolante.com/

https://www.facebook.com/disqovolante/

https://twitter.com/DISQOVOLANTE

https://www.instagram.com/disqovolante/

https://soundcloud.com/disqo-volante


Text by Chi Ming Lai
9th April 2018

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