Category: Reviews (Page 175 of 206)

METROLAND Triadic Ballet

30 March 2015 /

When KRAFTWERK’s ‘Trans-Europe Express’ was released in 1977, it was a landmark album that showcased European Modernism and synthesizer technology at its highest level.

With futuristic sounds produced using instruments by Moog, ARP, Vako and Matten+Wiechers, these machines however were beyond the pockets of most aspiring young electronic musicians.

But as Walter Gropius, founder of the Bauhaus art school said: “Today’s luxuries are tomorrow’s norm” and those aspiring young electronic musicians subsequently took advantage of the affordable synthesizers that had emerged from Japan, made by the likes of Roland and Korg. Today in 2015, Gropius’ vision is total reality, with the sounds and timbres of KRAFTWERK now able to be purchased for less than £100 via the Synth-Werk VST and controlled from a home workstation.

Gropius’ theories about uniting art and technology in his 1932 lecture ‘Kunst Und Technik – Eine Neue Einheit’ are celebrated by METROLAND on their ambitious new concept album ‘Triadic Ballet’. “Art begets art” so the saying goes; Passenger A and Passenger S have developed on the Gesammtkunstwerk of their debut long player ‘Mind The Gap’.

But now inspired by the basic principles of design; unity, hierarchy and variety, the duo have recorded their musical tribute to the German movement led by Walter Gropius, Hannes Meyer and Ludwig Mies van der Rohe.

The epic three part opener ‘Design’ salutes those principles with an impressive barrage of blips and blops in an impressive 11 minute musical journey. It starts sedately with ‘Unity’ before a sonic blast into ‘Hierarchy’ before it sweeps into a widescreen dance experience for ‘Variety’ without entering into four-to-the-floor monotony.

In another triadic approach (geddit?), Gropius, Meyer and van der Rohe are honoured in ‘3 Directors’ with a track that changes mood throughout its 5 minutes. It is wonderfully stern, propulsive stuff that captures the internal political tensions affecting the Bauhaus movement.

While voice and dialogue samples are prevalent throughout the album, there are no vocal toplines as such to speak of, even vocodered ones. All the tuneage comes from synthesizers and rhythmical passages, so this is effectively, an instrumental record in all but name.

‘Ikone Der Moderne’ borrows from ORBITAL and displays the urgency that ‘Triadic Ballet’ possesses compared with some of the steadier soundscapes of ‘Mind The Gap’. That dreamier approach though does make a return for the single ‘Zeppelin’ but it’s a red herring… following on, a harder, more industrial stance becomes embroiled in the template of ‘Machines Gone Mad’ and the Gothic laden title piece.

A METROLAND album cannot get reviewed with a mention of the ‘K’ word so the spectre of Düsseldorf, Deutschland’s art capital, looms most heavy on ‘Art + Technology’ and the more frantic ‘Struktur’. The mood continues with ‘Les Trois Couleurs’ but the pulsating kinetic energy of ‘The Manifesto’ is less Kling Klang and acts as a sound sculpture to articulate the values of Bauhaus.

Some pretty Synthanorma Sequenzer effects on ‘Utopia’ provide the backbone for a progressive soundscape that nicely encompasses the Bauhaus vision of a utopian world as one true man machine. It is a fitting, conclusion to a geometrically sharp meisterwerk that the house of construction would truly be proud of.

For those that wish to extend their viewing, ‘Triadic Ballet’ adventures into remix territory over two further albums with reinterpretations by the likes of FOTONOVELA, DEUTSCHE BANK, NATTEFROST and many more. These work as enlightening variations on the theme, like all good artworks.

THRESHOLD’s take on ‘3 Directors’, although not radically different, is turned into an express train ride while OBERKAMPF’s version plays rather a lot with the portamento setting. The rework of ‘The Manifesto’ by FRANCK KARTELL though is barer, yet driven by some fat white noise whips.

But for those happy with a purer art form where less is more, the main act from Belgium’s favourite fulfils the role quite nicely. They may have the spectre of KRAFTWERK looming over them (doesn’t everyone?) but with ‘Triadic Ballet’, METROLAND have proved they are now a credible, sustainable electronic entity on their own.

‘Triadic Ballet’ uses the following synthesizers and drum machines…

Novation Supernova, Novation Bass Station, E-MU Proteus, Kawai K1, Oberheim Matrix 1000, Roland JP8000, Waldorf Microwave, Quadrasynth, Yamaha CS6X, Casio SK5, Nord Lead 4, Roland Juno 60, Korg MS10, Korg MS20, Roland D50, Akai XR10, Boss DR Rhythm 55, Boss DR Rhythm 110, Roland CR78, Roland TR808, Roland TR909

‘Triadic Ballet’ is released on 16th April 2015 by Alfa Matrix as a 3CD deluxe boxset and digital download which can be pre-ordered from http://alfa-matrix-store.com/metroland-triadic-ballet-3CD

http://www.metrolandmusic.com/

https://www.facebook.com/metrolandmusic

https://twitter.com/MetrolandMusic

http://soundcloud.com/metroland

Text by Chi Ming Lai
Boekentoren Photos by Kristel Nijskens BE
29th March 2015

CAMOUFLAGE Greyscale

25 March 2015 /

Dreaming of a perfect electronic album this year?

Dream no more, brace yourself, build that excitement, then rush out and get yourself a copy of this masterpiece by the German veterans of electronica, CAMOUFLAGE. ‘Greyscale’ is the eighth studio album by the trio of Heiko Maile, Marcus Meyn and Oliver Kreyssig from Bietigheim-Bissingen. Yet again, it is well appointed, loaded with architectural sounds and skillfully hitting the spot, even for the more discerning listeners of the genre.

No two CAMOUFLAGE songs have been same sounding, repetitive or laboured; this being true since ‘Voices & Images’, through to ‘Methods Of Silence’, ‘Meanwhile’, ‘Bodega Bohemia’, ‘Spice Crackers’ and the newer ‘Sensor’, ‘Relocated’ and now 2015’s ‘Greyscale’. The album will have you ‘Spellbound’ for days on end, with its full bodied, yet easy listening tones, exquisitely selected to complete this one of a kind jewel.

‘Shine’, the first single from ‘Greyscale’, opens the record with its uptempo sounds and invigorating lyrics. A refreshingly stimulating track, it has all the elements of a good introduction tune. It is gripping and dynamic enough to make the listener compelled into wanting more, and more certainly comes with ‘Laughing’.

The second song on the album uncannily resembles Dave Gahan’s ‘Dirty Sticky Floors’ from his acclaimed solo project ‘Paper Monsters’. This intense and resonant anthem empowers and lifts the spirits with swirling synth motif and intriguing tonality, giving background to the earthy sound of Marcus’ voice. The mood changes swiftly on ‘In The Cloud’. From the quirky, bright and vibrant, we descend into melancholic, reflective and nostalgic. What a superb song it is, with its inspired, ominous and

This leads us perfectly into the next number, which is ‘Count On Me’. To say that the listener is onto a rare treat is an understatement in itself. Marcus opens with his mellow and warm rendition of the first verse, just to be replaced momentarily by the vocal genius himself, Peter Heppner of WOLFSHEIM, the God of atmospheric and lush voices, whose tone can be easily recognised from far and wide.

Heppner gives the song the uniqueness of his own material, especially reminiscent of his own project outside of WOLFSHEIM, ‘Solo’. The serenity of each sound on this track is simply superior, and the element of interest grows with such diversity only into the song number four of this genius-like formation.

The title track ‘Greyscale’ lacks vocals, but it is by no means inferior or disjointed. Sophisticated synth sounds interspersed with quirky rhythms are reminiscent of the magnificent instrumentals DEPECHE MODE used to produce at their best. The track paints a picture of mysterious, hushed situations, with uncertain, eerie and supernatural elements, very much like ‘The Great Outdoors’ or ‘Oberkorn’, the classic DM “no voice” gems. What comes next, is ‘Still’; another delicate and tranquil tune, gracefully embellishing this amazing album, with its rich, almost AND ONE’s ‘Virgin Superstar’ quality. Beautiful strings and French horns soothe the recipient, gently caring for the listener in a carefree manner.

A different sound is introduced with ‘Misery’, a fast, up-tempo track; again, evocative of those brilliant tunes of AND ONE. Danceable and full of melody, this exceptional song leads one nicely onto the more mellow, yet wonderfully rich ‘Leave Your Room Behind’. THE BELOVED ‘Sweet Harmony’ reincarnated in one modern, uplifting form. Bright, rounded vocals by Marcus sit perfectly on the backdrop of the reborn melody.

The second instrumental track from ‘Greyscale’ is cleverly named ‘Light Grey’. A short, yet wholesome tune, rich with suspense and apprehension introduces the listener into ‘End Of Words’. Sublime vocals on this song, resembling tracks of ‘Six Feet Underground’ from DE/VISION, fall against sensational melodies, leading to the third and last instrumental tune ‘Dark Grey’. A bit longer lasting than its light predecessor, yet similarly full of tension and uncertainty.

‘I’ll Find’ closes the album, with clear Leonard Cohen and Peter Heppner influences. Wholesome, yet with a large dose of insecurity and need of reassurance, just like the old WOLFSHEIM tracks we all learnt to love. Superb production, but as this is CAMOUFLAGE; one wouldn’t expect anything less.

Although the immediacy of ‘The Great Commandment’ or ‘Suspicious Love’ is missing, the album does not disappoint; it grips the listener with amazing dose of perfect electronica and leaves one with wanting more. That is why with over thirty years of experience within the music machine, CAMOUFLAGE’s varied concepts have proven popular on both sides of the Atlantic, with audiences in Asia, South America, Stateside and Europe alike. It is, after all, German electronic music at its best.

‘Greyscale’ is released by Bureau B on 27th March 2015 in CD, vinyl and download formats

CAMOUFLAGE’s 2015 European Tour includes:

Erfurt Stadtgarden (26th March), Dresden Reithalle Strasse E (27th March), Berlin Kesselhaus & Maschinenhaus (28th March), Hamburg Docks (29th March), Factory Magdeburg (31st March), Warsaw Progesja Music Zone (17th April), Bratislava Ateliér Babylon (18th April), Roxy Prague (19th April)

http://www.camouflage-music.com/

https://www.facebook.com/camouflagemusic

Text by Monika Izabela Goss
Photos by Klaus Mellenthin
25th March 2015

TORUL The Measure

21 March 2015 /


After TORUL’s acclaimed albums ‘Dark Matters’, ‘In Whole’ and ‘Tonight We Dream Fiercely’, with the latter seeing the Slovenian trio supporting MESH on their 2013 European tour, electronic audiences are now treated to their latest offering, ‘The Measure’.

Torul Torulsson’s musical involvement over many years in the industry is clearly palpable on this publication, with his influences as wide as THE CURE and MASSIVE ATTACK to THE PIXIES and DEAD CAN DANCE. A rather eclectic selection of tunes, wrapped around gripping and ever-changeable vocals of Jan Jenko, it delivers exactly what it says on the tin. It is a measured album, which no doubt will be of interest to any weathered TORUL fan and connoisseurs of anything that’s different, interesting and unique.

‘Lonely Night’, the opening track, hits the unprepared ear as a matter of instance, with beefy synth lines and Borut Dolenec’s rough guitar riff, resembling THE CURE at their best, and of course, charismatic vocals over an atmospheric sound of electronically charged and self-regulating melody. Undeniably, it’s a full on “measure” to start the record.

The sequenced opening to ‘The Balance’, resembles LADYTRON, yet the song continues to flow like a mirror image of ‘Mad World’ by TEARS FOR FEARS, which has been covered, with considerable success, by TORUL already. The similarities are actually so obvious, one could question the infringement of publishing rights, no matter how decent the song naturally is, or how skilfully it has been produced and performed. Orzabal and Smith’s opinion could prove to be like gold dust here.

Moving on, ‘Higher’ sounds strong, decisive and carefree, yet melancholic and nostalgic, the songs by Texan duo IRIS come to mind at this stage, yet, unlike the previous track, this one sounds original and fresh; it restores the faith in TORUL’s own ability to turn out a rounded track.

The fabulous intro to ‘Difficult To Kill’ promises great things to come; a magnificently experimental sound and vocals by Jan resembling AND ONE’s Steve Naghavi at first, transitioning into higher tones of pure lushness and sophistication. A superb track and, indeed, fully representing the uniqueness of this bunch and the competence of Torulsson’s instrumentation. Invigorating, yet soothing; it is empowering yet easy listening and magnificent.

The scantily titled ‘All’ floats in with vocals bearing the impact of TEARS FOR FEARS again; yet this time, the track is uncommon and unprecedented. Still, the influences of PET SHOP BOYS, and even SCOOTER can be picked out. A proof that the production on this album is based on wide musical tastes, which can be so lacking in the electronic offerings of today. Short and sweet, and an uncomplicated tune, it is as worthy as its predecessor.

The synthy, NEW ORDER-like ‘Hearts’ follows, with its guitar riffs that Martin Gore wouldn’t be ashamed of. With a longer opening before Jan comes in, the full-bodied vocals do not seem to lend themselves to the over produced feel of this song however, making it instantly forgettable and disposable.

The AND ONE vocals return in the opening section of ‘We Grow’. An “atmospheric meets progressive” tune, but this one has a clear floating quality. Not over complicated, its simplicity is phenomenal and Jan modulates his voice from deep to levelled, lending to the track’s exclusivity and rarity. ‘Lost For You’ invites one in with a piercing synth line and the exquisite skills of the vocalist. Slower, fully atmospheric, ethereal and of a dream-like quality, it is like bare feet in the meadow of a love affair in itself.

The dreaminess is cut through, however, with the sword of heavy, ear ringing synths and church bells on ‘The More We Are’. Another solid, almost mechanical tune, due to the combo of vocals and variable electronic elements, it leads inadvertently to the last song on the album ‘Discrepancy’.

Experimental sounding again, with Vlad The Impaler vocals, which no doubt will ring well with the Goths of this world, its vampiric simplicity of scarce sounds give this tune its own genre almost, the vocal leading the flow of the production in a rather superb manner. It’s an extraordinary way to finish off this interesting album, with salvos of fireworks lighting up the dark night sky.

It is fair to say that TORUL, with their unique sounds and array of musical approaches, as well as a mix of influences, are as original as it gets. The production is extraordinary and the attention to detail superb. This album fully represents this, and although it may be a grower, it definitely is a valid addition to the catalogue, of not only the electronic music fan, but also alternative and pop listeners alike.

TORUL have an aura of supremacy, magnetism and prominence around them and ‘The Measure’ surely adds a decent “measure” of all those into the mix. It is definitely a worthy addition to anyone’s music collection.

‘The Measure’ is released by Infacted Recordings on 20th March 2015

http://www.torul-recordings.net/

https://www.facebook.com/torul

Text by Monika Izabela Goss
Photos by Nina Kovačič
21st March 2015

METROLAND Zeppelin

14 February 2015 /

Following up their last single ‘Thalys’, Belgian duo METROLAND continue their transport themed adventures with ‘Zeppelin’, the first single from their sophomore album ‘Triadic Ballet’.

‘Zeppelin’ develops on the melodic but warm technopop showcased on their debut album ‘Mind The Gap’ with tracks like ‘Enjoying The View’ and ‘T.F.L.’, shaped by sweeping synths and precise drum machine beats. Capturing the romance of these huge yet almost silent machines, the take-off is hauntingly counterpointed by one of the B-sides in the ‘Spacious Edition’ download bundle ‘The Hindenburg Landing’.

This is a dramatically eerie electronic number which contains the harrowing report by journalist Herbert Morrison recorded at the time of that fiery airship disaster. Keen to explore new adventures, the other B-side of ‘Zeppelin’ is the brilliant uptempo sound of ‘(We Need) Machines Without Romance’. Now imagine if GARY NUMAN had actually joined KRAFTWERK in 1979. The concept is an enticing proposition and in fact, it perhaps defines the direction that METROLAND are heading with ‘Triadic Ballet’.

Inspired by Bauhaus, the German art movement led by Walter Gropius, not the Goth rock band led Peter Murphy, Gropius theorized about uniting art and technology in his 1923 lecture ‘Kunst Und Technik – Eine Neue Einheit’. METROLAND have been certainly working towards the 21st Century interpretation of that goal.

Passengers S and A said back in Autumn 2014: “For the central theme and concept for this next album, we will be musically travelling to Germany… the style of music is a little darker and harsher than on ‘Mind The Gap’”

‘Zeppelin’ featuring ‘(We Need) Machines Without Romance’ and ‘The Hindenburg Landing is available now in two download bundles including assorted remixes via Alfa Matrix.

http://www.metrolandmusic.com/

https://www.facebook.com/metrolandmusic

http://soundcloud.com/metroland

Text by Chi Ming Lai
14th February 2015

SUSANNE SUNDFØR Ten Love Songs

10 February 2015 /

The profile of Norwegian singer / songwriter / producer Susanne Sundfør is probably at its career zenith right now, thanks to some quality collaborations with a number of high profile friends. Her last album ‘The Silicone Veil’ in 2012 was her UK debut and saw her experimenting more within electronica.

Since then, there has been her epic guest lead vocal on M83’s ‘Oblivion’ for the theme song of the same titled Tom Cruise film, as well as key appearances with fellow Norwegians RÖYKSOPP and Swedish producer KLEERUP. And that’s without mentioning her remix of MAPS’ single ‘AMA’, and production work for BOW TO EACH OTHER on their debut album ‘The Urge Drums’. This all sets the scene nicely for Susanne Sundfør’s new, eagerly anticipated solo album ‘Ten Love Songs’.

Largely self-produced, it is to an extent, a concept album: “To me, love isn’t always what it seems” she said, “When I first started to work on the album, I wanted to make an album about violence, and then, as I was writing the songs, there were violent aspects, but they were usually about love or relationships, how you connect with other people. And in the end, that turned out to be 10 love songs”.

‘Ten Love Songs’ also sees a move towards pop as Sundfør explained: “I wanted to be more mainstream. Not in the sense of the sound, but in terms of expression. There is something about pop songs that, to me, hits me more than any other types of song do. I’ve been a sucker for pop music since I was a little girl, and I’ve always wanted to make a pop record. So I guess this is my attempt!”

But although there are tunes, this is not exactly Taylor Swift’s ‘1989’ and ‘Ten Love Songs’ is still very much a compelling and tense leftfield record. This is best exemplified by the wonderful launch single ‘Fade Away’. A three minute Nordic Noir drama with fabulous vocal layers, pulsing electronics and a terrific polyphonic synth solo that Sundfør says was inspired by QUEEN, there are rousing, almost gospel like qualities that set the tone for the album.

However, it all begins like a short church service with ‘Darlings’ where a harmonium accompanies Sundfør’s mournful vocal, lamenting about the hopes and fears of love with that Nordic gospel flavour which was hinted at on ‘Fade Away’. “So, it’s definite, then…” announces Sundfør as she ponders the impending emotional gloom.

Photo by Luke Gifford

Photo by Luke Gifford

Hints of DEPECHE MODE’s spiritual longing also emerge so when ‘Accelerate’ kicks in, it sounds exactly what the Basildon boys SHOULD be doing today musically. In collaboration with BIG BLACK DELTA, solemn synths with a haunting Cold War spectre linger before a detour into some rumbling rhythmic aggression, the combination of live drums and machines providing a magnificent rhythmic surrealism. Sundfør’s voice is resigned one moment, then vicious the next. The chorus turns into a widescreen assault before some baroque organ interludes into the piercing climax.

The semi-acoustic ‘Silencer’ begins sparsely but when strings by the TRONDHEIMSOLISTENE chamber ensemble appear, things beautifully build like an Ennio Morricone soundtrack for a glacial Spaghetti Western with a Fjord as the scenic backdrop. ‘Kamikaze’ has a similar sparse introduction but then launches into a loose four-to-the-floor stomp. There’s stabs of spacey synths, gunshots and war noises before a sudden harpsichord break for the conclusion… it is this kind of bizarre musical jigsaw puzzle that makes ‘Ten Love Songs’ such a fascinating experience that continually asks the question: “what’s next?”.

And what’s next is the album’s ambitious ten minute centrepiece ‘Memorial’ which sees Sundfør’s partnership with M83 revisited. Again featuring strings by TRONDHEIMSOLISTENE, the tone is neo-classical in the mould of MUSE, but this is not surprising as the track was inspired by QUEEN; “I love Queen, and Freddie Mercury” Sundfør said, “I saw Live Aid when I was about 18, they broadcast it on one of the channels in Norway and I was just sucked towards the screen when he came on stage. His charisma was insane”.

In three distinct movements, Sundfør’s soaring vocal takes a breather for the middle section as a piano and orchestra take the limelight. ‘Memorial’ is a beautiful mini-drama and her cry of “You are heartless cos you took off my dress, and you never put it on again” captures an exposed and haunting vulnerability. These kinds of heartfelt theatrics have been attempted before by Sundfør on tracks like ‘Meditation In An Emergency’ from ‘The Silicone Veil’ or ‘Walls’ from her self-titled debut, but not all together on this grand a scale.

Despite an eerie, droning intro with echoes of THE WALKERS BROTHERS’ ‘The Electrician’, second single ‘Delirious’ thunders with some hard-edged electronics bolstered by more strings, coming over like THE KNIFE meeting DEPECHE MODE. With her moving vocal vibrato, our heroine announces “I’m not the one holding the gun”… this is love as a reluctant battle.

Things calm a little with ‘Slowly’, probably the most classic Scandipop song of the collection. Digital claps also give the track a more vintage feel but although comparatively lighter to the rest of ‘Ten Love Songs’, it is still richly swathed in melancholy. ‘Trust Me’ exposes more of Sundfør’s heartache as the sombre harmonium of ‘Darlings’ makes a return in a development of the opening track while she snarls “you cannot replace me…”

So with sinister swirls and a frantic techno rattle to finish, ‘Insects’ possesses a dark finality that is more aggressive than anything else the album. As the machine gun drums attack, unsettling air raid sirens soundtrack an impending apocalypse. It is said that only insects will survive a nuclear holocaust, so this is a stark consequential reminder of what could happen in a world without love.

‘Ten Love Songs’ is one of those artistically accomplished albums that grows and gets better with each listen. Some components maybe unconventional, but the end results are still songs and therefore accessible in many ways. Accessibility is something THE KNIFE moved away from in their quest for experimentation… Susanne Sundfør though has successfully married the avant and pop approaches for an emotive commentary on the human condition.

“It is very taboo to be a vulnerable person” she concedes, “It’s almost like the biggest weakness today is to be a human being, because everything around us is about perfection, as if we’re trying to be like robots… If I listen to music or read books where people are saying ‘I’m very human, I feel a lot of things, bad things, good things’, that’s what touches me.”

‘Ten Love Songs’ is released on 16th February 2015 by Sonnet Sound via Kobalt in CD, vinyl and download formats

Quotes by Susanne Sundfør from the ‘Ten Love Songs’ album biography by Dan Cairns with thanks to Debbie Ball at Create Spark

http://susannesundfor.com/

https://www.facebook.com/susannesundfor

https://soundcloud.com/susannesundfor

Text by Chi Ming Lai
10th February 2015

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