novidades na netlabels nacionais

mimi






BREVE DESCRIÇÃO: "Lights" é um disco que existe em conflito consigo próprio.

Embora a estética predominante pareça ser a do Pós-Rock, existem camadas diferentes e sub repticias sob essa capa. Vive em confito, porque , embora isso seja intangivel, em cada faixa corre uma força de tensão brutal que se agrava em cada crescendo, e não se dilui na acalmia superficial por onde o disco nos conduz .

Sendo uma jornada que começa por zonas melodiosas sublimadas pela clarividência, algures a meio começa a surgir um desafio ao ouvinte através de abstracções , e eventualmente tudo desagua em ondas sonoras de calor que lentamente erguem um muro, e eventualmente nos oferecem conforto.

"The lights streaming through the sound" não tem pudor de beber de diversas fontes estéticas, possuindo a capacidade de assimilar a semelhança emocional comum a todas essas fontes, e, sem cair na mera repetição dos géneros livres ou Pós oferece uma audicao interessante, cativante mas não sem alguma provocacao emocional , necessária à continuidade do disco para além da primeira audição.
Hugo Filipe Lopes








BREVE DESCRIÇÃO: Qualquer ideologia está neste momento a ser castrada. Parece que apenas o Nirvana como pós-modernismo deconstrutivista ou a Real espectativa "esquizofrenia" para humanos.

A Quarta dimensão da palavra "Esquizo" como meta-palavra é igual ao processo sem autor.

Overdose Kunst chama-lhe a sua Esquizopoesis matrizada.



DESIGN: Overdose Kunst


REVIEWS:

Apetite for Deconstruction dos Overdose Kunst é um disco que atravessa estilos sonoros caracterizados por liberdade estética, sem sentir a necessidade de se identificar com nenhum em particular e subsistindo sem recurso a lugares comuns.

Do mesmo modo que toda a gente que está viva hoje contem o gene de Adão (pelo menos se formos adeptos do criacionismo), toda a gente que actualmente envereda por um determinado género sonoro possui o gene de Robert Fripp, facto evidente na faixa de abertura The Night of Mansyuria, algo reminiscente de No Pussyfooting, mas não se limitando a seguir caminhos já existentes.

A faixa seguinte, Schizopoiesis explode abruptamente depois da dormência instalada anteriormente, e não parte sem proporcionar um assombro de contemporaneidade.
Nikias Luhman, a terceira musica devolve-nos alguma tranquilidade mas nenhuma da dormência da abertura pois está rodeada duma áurea de imprevisibilidade.
A quarta faixa do álbum, Requia for ethnic cleansing, são 3 minutos e 4 segundos não muito longínquos do mundo de Stockhausen, embora menos orgânico e mais desconstrutivo.

Von Bertalanfly, a ultima faixa do disco é como que um pós rock corajoso o suficiente para não divagar sem rumo por terrenos melancólicos e a espaços ecoa algum psicadelismo.
- Hugo Filipe Lopes


Overdose Kunst (”Kunst” is German for “art”) consists of Takeshi F. and Ryuta K. (aka. Ryu - Japanese for “dragon”) who present their latest release on Mimi with an apetite for deconstruction. It all begins with The night of mansyuria, a track that was previously released on Ryu’s “the depressed” album on Dark Winter, but still has has maintained its intense atmosphere of a lonely full moon night at the see. But do not get fooled by the introduction, the deconstruction phase will become apparent in Schizopoiesis: Imagine several voices keep on repeating the same phrase over and over again, with various degrees of pitching and applied effects. While this sounds not at all thrilling at first, the surprise lies in how the voice’s intonation causes conflict rhythms and actual basic, accidental melodies and how it even works well throughout the entire 13 minutes of the track.

The follow up track dedicated to the German sociologist Niklas Luhmann provides a steady stream of floating particles centred around a rather percussively used guitar. During the course of the tune, walls of noise are gradually piled up with whispering voices bouncing back and forth the stereo panorama. They seem to reveal frightening visons about life that has crossed the line to insanity as the detuned guitar is being maltreated in a frantic No wave fashion. The psychic meltdown of a frightened individuum is one of the themes that appear like a common thread in Ryu/Overdose Kunst’s release history and not accidentally was Ernst-Ludwig Kirchner’s “self portrait as soldier” from 1915 chosen as front cover for Ryu’s “the depressed” album.

Overdose Kunst - Apetite for Deconstruction back coverThe follow up track is a role model of a paradox in itself: The requia for ethnic cleansing with its almost folk song like laid back characteristics is the contrary of what could be expected from the title, runs entirely backwards and - even weirder - it seems to be right this way, like the face in the mirror being the original - and not the person standing in front of the latter. The origin of the final title von Bertalanfly seems to be rather sketchy: Is it referring to the astronout Bertalan Farkas, the first Hungarian in space who participated in the Soviet lntercosmos programme in 1980? This would support the almost post 1969 Pink Floyd like arrangement with an analogue synthesizer line that sees some filter tweaking, floating chorus guitar intermissions and echoes of bottleneck slides, suggesting some alien mothership taking off. But the mixture sticks with a lot of room for one’s imagination, finally leaving the previous state of psychotic delusions behind.

Over the years, Overdose Kunst have been delivering at times excentric but nonetheless impressive music with influences of or references to Japanese noise legend Merzbow (for example Ryu’s “neuromancer” looks like a pun on Merzbow’s album title “Aqua Necromancer”). Still Overdose Kunst manage to keep an identity of their own, and with each new release their music becomes more reflective and coherent (in a positive way). Confusing and dissonant elements are used in a controlled and very effective way as dramatic means and thoughtfully contrasted by almost folk music like passages. I really recommend this release for downloading to those who are not afraid of dark and confusing music - and be sure to explore their release history as well: you probably will not regret it ;-).
olliver (04.01.2008)



test tube

Runtime: 17'20''

«Another extremely nice EP for those of you fond of Múm and other acoustic pop delicacies. Multi-Panel - real name for dutch artist Ludo Maas - delivers in just little over 15 minutes, 7 great tracks soaked in nostalgia, droney keyboards, soft beats and acoustic guitar pluckings. Reminds me a bit of other test tube releases from Aitänna77 and Bacanal Intruder.
'Radio' is the opener and my favorite track of this record. Starts slowly paced with a gently plucked guitar, metronome style wood beat and dreamy keyboards for a perfect match. The rest of the release follows the same steps of this one: short but to the point tracks, rich in melody and drama and easily remembered. After a minute short interlude, we come to the second part of this EP to find a more downtempo and less acoustic oriented set of tracks, some voiceovers and human samples, culminating at the title track, which is actually a full ambient composition. Now all we need is a full lenght of material to enjoy Multi-Panel magic to the fullest.» - Pedro Leitão



enough records

:: news - 21 january 2008

Three new releases on enough:
- die minimalistin - end-welt, German experimental ambient.
- jari pitkanen - lumien, Finnish ethereal dark ambient.
- jari pitkanen - kuu, Finnish experimental dark ambient.

merzbau

16.01
Nova edição da Merzbau em formato físico. Após Tiago Sousa, Jesus, the Misunderstood o Split de Lobster com Debut! e Goodbye Toulouse é a vez de Walter Benjamin nos apresentar The National Crisis. Edição limitadíssima a 100 exemplares em formato CD-R.
O lançamento irá ocorrer na primeira noite da mostra de novos cançoneiros Songs For the 21st Century, movida pela Merzbau e a acontecer no dia 25 e 26 de Janeiro na Sociedade Guilherme Cossoul.
O DISCO JÁ SE ENCONTRA EM PRÉ-ESCUTA no last.fm