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Ryuichi Sakamoto - Music for Yohji Yamamoto Collection 1995 - 30-May-09 03:30 AM
Bridge is a modern classical work for solo piano lasting over 35 minutes. It weaves itself through subtle variations of a central theme. The work begins with the mysterious and ambient soundscapes of prepared piano. It also features the soft hum of vibrations of open piano strings akin to Cowells experimental work, The Banshee. As the mysterious air clears 5 minutes later, the first cluster of ordinary piano notes are sounded. The theme is pensive and melancholic. It builds itself into cascading notes in the upper registers of the piano, like glistening waters passing beneath a stoic bridge. The shimmering notes crescendo into a fine choral passage. It is that special moment that the beautiful heart of Bridge is revealed.

But slowly, the piece descends into quiet desolation (a chilling prelude to the rarely heard Bachata from BTTB) by marrying subtle variations of the theme with ambient vibrations of piano strings. The piece then cycles itself through the earlier themes with greater force - almost violent now - and collect at the basin of the earlier choral passage, loud, crying with emotionality. The work finally closes with the quiet air of desolation, like the inevitability of water evaporating into thin air.

All good things must come to an end after all, and Bridge is no exception.

Alva Noto - Xerrox Vol.2 - 09-Feb-09 04:45 AM
Alva Notos latest venture into the Xerrox series has finally arrived. This time, the dusty tracks of Vol.1 are shadowed by darkened clouds, and the air has become electrified with higher-voltage static. For instance, track 4 sounds almost as harsh as a droney, hypnotic track from Merzbows Electro Magnetic Unit. However, no one can deny Vol.2s highly intelligent and often touching musicality. The mood is sombre on many tracks, but Alva Noto expertly seduces the listener by peeling back layers of static to reveal the trademark strings which broke our hearts in Vol.1. Here they sing different melodies, but the same underlying sorrow permeates the fuzzy atmosphere.

Works by Stephen OMalley, Ryuichi Sakamoto, and even Michael Nyman were sampled and transformed into different creatures by the inimitable expertise of Alva Noto. Who knew that OMalleys crushing riffs could generate such haunting sadness (Xerrox Soma)? Who foresaw that Sakamotos commercial film score could be mutated into a gentle drone/glitch supernova (Xerrox Sora)? Who counted on feeling the beautiful soul of Fennesz glowing on tracks such as Xerrox Phaser Acat 1?

With its subtle suprises and ear-opening ambience, Vol.2 no doubt lives up to its predecessors poetic brilliance and edginess. Carsten Nicolai could not have expressed himself any better. Once again, Xerrox has electrified and stunned us into stupendous awe.

Jamie Saft, Merzbow - Merzdub - 21-Feb-08 10:32 PM
One thing Jamie Saft and Merzbow have in common is their experimental streak. Between them, there are fans of dub, fans of noise, or more unlikely, fans of both genres. This is probably why Merzdub is going to be one of those rare records that the listener absolutely has to get into, and make room for it to grow. The willing and patient is handsomely rewarded: On Merzdub, we find drugged-out and phuqked-up experimental dub pieces, brave key and tempo changes counterpointed with sweet riddims and, of course, varying levels of excitable Japanoise. All of that, in a melting pot. Depending on which track one listens to, the result can be achingly beautiful in an opiated, trippy sort of way (eg Conquerer), or it can verge on the ominous (eg Kantacky Fried Dub). Whatever you do, watch out for the filthy, skanky, Skinning JLO: Jamie Safts vocodered voice with vocals of what sounds like a skinned J-Lo, is going to have you worship the feet of these two experimental giants. Out-and-out Excellent!

Kylie Minoise - You Suffer - 10-Jan-08 05:08 PM
This only happens once in a blue moon, even if the syndrome is prolonged: You get tired of the same pop-trash repeated to death on the radio, you get sick of hearing commercialised dance music in visionless clubs, you want a powerful cleansing agent to rid yourself of the barf-inducing lyrics of some megasuperstar, or you just plain feel like some good ol hurting in the ears. You put this one on. 60 minutes of sonic destruction that hurts so bad its good. Guaranteed to erase any trace of maudlin drivel that pop music is determined to hoist upon you, and at points, even makes you thankful (at the back of your throbbing head) of the existence of predictable and safe music. Kylie Minogue or Kylie Minoise? Either way, YOU SUFFER.

Merzbow - Higanbana - 02-Jan-08 05:52 AM
Higanbana is the Japanese name of Red Spider Lily, a red and fatally poisonous flower associated with death in Japan. It belongs to the species Cluster Amaryllis, which in turn is the title of Track 1: a red-hot inferno of screaming feedback sounding like scorched crickets, with low-fi bass growling in the urgent undertow. The 30-minute work of art feels like an unsettling journey into the toxic medulla of Higanbana, eye(ear)-opening and dangerous. Like a fuse burning itself out, track 2 is an unstoppable roar of fuzz, white noise and psychedelic pulsations that explore dynamics and sound channelling to its hushed end. The album features Ukons (Silky Feather) which appears to be a chook; and the ‘courtesy’ extended ‘by Hell’ hints at the macabre manner by which Ukons may have contributed to the uncredited sounds on track 3. Like a sick metronome, the mutilated clucks of Ukons count down as different frequencies of static, sirens, and squelches explode in disjointed phrases, on and on, without resolution. Indeed, none of the three tracks find peace in themselves as none ends resolutely. In this the last album of 2007, Merzbow once again makes a statement by defying complete comprehension.

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