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środa, 29 kwietnia 2009
Dyspeptic Kid606

Until recently, he had been an electronic subverter, who was highly regarded in oddballs' loop. But in the moment, it's required to think this off, even the fact that he was calling like Latin Alec Empire for posttechno era. Certainly, you can acclaim him in terms of his previous outputs, although his newest album, "Shout At The Döner", is just a shadow of his mighty abilities.

album cover

As a music region, South America can show off its sons are producers, whom have serevely impacted on the cards of electronic music. Amon Tobin, Richardo Villalobos, Hernan Cattaneo or DJ Marky and Kid606 - all of them are derived from this Latin continent. Especially, both first and last aforementioned figures aren't likely connected with their nationality, but a seemingly similiar exploration using various sonic formulas and create then a brand-new qualitative class. However, focusing an in view of radical, either rebellious point of matter, Miguel De Pedro rules. Together with Mokira, he belongs to glitch hop forerunners, even though this style had been around and burgeoned at American Merck imprint or Lee Norris label, Neo Ouija, as well as anonymity on "demo scene" underground.

Some of you this stream involved, know well such Kid606 works as: Illness tune, whether Gq on the Eq album for sure. For last few years I've been observing that a soul this Venezuelan embarked to play otherwise. His compositions turned into more predictable and steady. Of course I'm thinking about Pretty Girls Make Rave - his prior album. He had unveiled there, that he had a flair for old, though still keen, school of techno linked to acid house, dub and raw, classical minimal sound straight from Tresor label. Albeit, I didn't expect such a pathetic follow-up as on Shout At The Döner, a set his latest, technoid projections. And that's a pity.

After my dead on acquianted, I didn't know exactly what I should to do: laugh or cry, maybe? It's realy too big mistake for me. A return to low-ends. Scrubby flair, absurdity and farse. And all things are pinpointed to resound "Shout At The Döner" album kind of Mr. Oizo would develop a longplay being in state of highest despair, along with T. Raumschmiere. I take a guess that's revelant with Miguel's remove from sunny Los Angeles to Berlin, perhaps? I dunno to deem. Punk techno, techno punk - what's going on? Quo vadis, Pedro? It's not cheeky, it's plain cheesy. Total wash-out, which ought to bury.

23:07, marcin.nieweglowski , Reviews
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Niestrawny Kid606

Kiedyś był elektronicznym wywrotowcem, który w środowisku był darzony wielkim respektem. Ale narazie trzeba zapomnieć o tym, jak i o tym, że był jakby latynoskim Alec Empire ery posttechno. Pozostanie on z tego znany w przeszłości, ponieważ jego najnowszy album "Shout At The Döner" to cień jego własnej wielkiej świetności.

okładka albumu

Ameryka Południowa może pochwalić się tym, iż jej synami są producenci, którzy mocno odcisnęli się na kartach elektroniki. Amon Tobin, Richardo Villalobos, Hernan Cattaneo, DJ Marky oraz Kid 606. Tego pierwszego i ostatniego nie łączy bynajmniej narodowość, ale eksplorowanie różnych dźwiękowych formuł tworząc z tego nową jakość. Chociaż jeżeli chodzi o radykalne, wręcz rebelianckie podejście do sprawy, to górą jest Miguel De Pedro. Prekursor (razem z Mokirą) glitch hopu, choć ten styl istniał i rozwijał się dzięki amerykańskiej oficynie Merck Records, wytwórni Lee Norrisa - Neo Ouija - oraz całej tzw. "demo scenie".

Ci co bardziej interesują się tym nurtem, to znają takie dokonania Kid606 jak: numer Illness czy album Gq on the Eq. Od kilku lat zauważyłem, że dusza tego Wenezuelczyka zaczęła inaczej grać. Jego kompozycje zaczęły być bardziej ... przewidywalne i równomierne. Mam oczywiście na myśli Pretty Girls Make Rave - jego ostatni album. Pokazał on na nim, że nie jest mu obca stara, ale wiecznie żywa, szkoła techno z odnośnikami do acid house'u, dubu oraz surowego, klasycznego minimalu prosto z wytwórni Tresor. Ale nie takiej kontynuacji spodziewałem się po Shout At The Döner - zbiorze jego najnowszych, technoidalnych wizji.

Po wysłuchaniu tego longplaya nie wiedziałem, co mam robić: śmiać się czy płakać? Dla mnie to jedna wielka pomyłka. Powrót niskich lotów. Karłowatość, śmieszność i groteska. A to wszystko wynika z faktu, iż "Shout At The Döner" brzmi to jakby Mr. Oizo stworzył razem z T.Raumschmiere album w akcie największej desperacji. Może to przez fakt, iż Miguel przeniósł się ze słonecznego Los Angeles do Berlina? Sam nie wiem. Punk techno, techno punk - quo vadis Pedro? To nie jest w żaden sposób śmiałe, to jest po prostu bardo słabe. Totalny niewypał, o którym warto lepiej zapomnieć.

23:07, marcin.nieweglowski , Pod ucho
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wtorek, 28 kwietnia 2009
The ambiguous Dzihan & Kamien's themes

True-born Europeans from Austria and also leading representatives (alongside Kruder & Doftmeister project) Viennese school of eclectic, complex sound of downtempo - Dzihan & Kamien duo - came back with a long-anticipated issue after their a long period of silence. So it's "Music Matters", their third studio album, which has saw the light of day suddenly in last Friday.

album sleeve

Just believe me or not, that I (we) have been in line for newest Vlado Dzihan and Mario Kamien's longplay for nearly seven years? Barring "The Dzihan & Kamien Orchestra Live in Vienna", their live, concert record of the excellent, collective opportunities, has elapsed so much time since Grand Riserva, the second album these the multinational artists whom settled in the heart of alphine Austria. At the end of 90s, they established there their own label, Couch Records, which I mentioned recently in the context of Love for Vacuum, debut album of young Austrian composer - Anja Plaschg.

But it's about time to take up guys from Dzihan & Kamien project, rather their latest album's efforts. In contrast to their prior longplays, Music Matters album seems being embedded in the classical and vintage pop, in which you can seek out lots of elements with finesse cinematic downtempo in common. As I said it had been betrayed at the outset along with voices by widely unknown Icelandic artist for me, Heldi Jonsoon, who reinforced my conviction. Thus, he has assisted the Viennese duo in many compositions involved, as well. If I have to be frank, I much prefer Dzihan & Kamien outputs, with which I could came to grips with their first two albums. Their willingness are expressed too vague on "Music Matter". Less both imaginativeness and scrupulousness, in favour of more songwriting rock songs with shallow claws.
 
Unfortunately, there is no many signs of organic, live downtempo sound boosted with the pinchs from uncharted Blue Planet's nookes, as well as a dollop house's agility. It's sensed a serious lack of all these components. As for me, it's graped strongly. Obviously, you have to probe "Music Matter", while don't expect the best arrangement as they could manage. But rather the tracks in sweet-sour sauce toward a hype of electro pop, nu rave creactions. I must be blunt, probably, you will get to like this album, or simply detest, otherwise. Actually, I'm in a second group.

14:04, marcin.nieweglowski , Reviews
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Niejasne kwestie Dzihan & Kamien

Europejczycy z krwi i kości rodem z Austrii oraz czołowi przedstawiciele (obok projektu Kruder & Dorfmeister) wiedeńskiej szkoły eklektycznego brzmienia downtempo - duet Dzihan & Kamien powrócił po długim okresie milczenia z najnowszym wydawnictwem. Jest to ich trzeci studyjny album "Music Matters", który w ubiegły piątek niespodziewanie ujrzał światło dzienne.

okładka albumu

Uwierzycie w to, że na longplay Vlado Dzihana i Mario Kamiena musiałem (lub też musieliśmy) czekać prawie siedem lat? No bo nie licząc "The Dzihan & Kamien Orchestra Live In Vienna" koncertowego zapisu ich świetnej, kolektywnej gry, tyle minęło od czasów Gran Riserva - drugiego albumu tych wielonarodowych artystów osiadłych w sercu alpejskiej Austrii. Tam powołali oni pod koniec lat 90. własną wytwórnię Couch Records, o której ostatnio wspomniałem w kontekście Lovetune for Vacuum - debiutanckiej płyty młodziutkiej austriackiej kompozytorki Anji Plaschg.

Ale czas zająć się panami z projektu Dzihan & Kamien, a raczej ich najnowszym albumem. W przeciwieństwie do poprzednich longplayów, Music Matters wydaje się albumem osadzonym w klasycznym i wyszukanym popie, w którym można szukać wielu elementów wspólnych z finezją filmowego downtempo. Tak mi się wydawało na samym początku, o czym informował mnie głos szerzej nieznanego islandzkiego artysty Helgi Jonssona, który wspiera wiedeński duet w wielu kompozycjach. Jeżeli mam być szczery, to wolałem Dzihan & Kamien z ich dwóch pierwszych płyt. Na "Music Matter" wydają się zbyt rozmazani. Mniej polotu i finezji, a więcej rockowych piosenek oraz pazurowych efekcików.

Brak żywego downtempowego brzmienia nasiąknięty elementami z najodleglejszych zakamarków niebieskiego globu ze szczyptą funky house'owej zwinności daje o sobie znać. Jak dla mnie to dosyć mocno. "Music Matter" sprawdzić można, ale nie ma co oczekiwać samych dobrych aranżacji, raczej tych w sosie słodko-kwaśnym z akcentem na modę tworzenia electro popu i nu rave'u. Przechodząc do sedna tej recenzji, możecie więc ten album albo polubić, albo wręcz znienawidzić. Sam znalazłem się w drugiej grupie osób.

14:04, marcin.nieweglowski , Pod ucho
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poniedziałek, 27 kwietnia 2009
High Contrast unveiled secret a summary

Thanks to his unco a talent, based in London Hospital Records label has built up as one of most creative an entity on the drum'n'bass scene. I don't mean about Nu:Tone, but unassertive and low key, nutty, though, Welshman - High Contrast. Over eight years at Tony Colman's brigade had passed, he has resolved to sum up by "Confidential", the double-CD issue, which revealed today on offer.

album cover

If a top-dog of London Elektricity band wasn't in due time, honestly, I can't imagine where Lincoln Barrett would be placed now. Tony toke a risk by given High Contrast a change. And still, he can't certainly have a chip on his shoulder to decision what was set out by himself. From ungly duckling as well as Hospital's apprentice, Lincoln was transitioned to stately swan, whose a knack is delighted all drum'n'bass fans, hopefully. Personally, he's for me one of the phenomens appeared on breakbeat scene in the beginning of 21st century amongst Calibre, the Northen Irish maestro. The man, who has came closely drum'n'bass to black music (soul, jazz, r'n'b) and vice versa as almost none before.

Whoever of you hasn't stumbled upon yet, could be allowed to tackle it this time. Because "Confidential" is just a kind of "The Best of ..." compilation enhanced by the additions. It first part is vertabim chocked full the bangers, stand-outs marking out get-up-and-go, which hasn't never lack at High Contrast tunes. Included the greatest Lincoln's composistions from his three studio albums. So you can listen neat jazz odyssey in "Return of Forever", or jazzdancing pirouettes in "Music is Everything" - both hailing from "True Colors", High Contrast debut longplay. Thereafter some big tracks from Barrent's second album, "High Society": fabulous, soulful Racing Green, either luminous whole kind of vivid colors of tapestry soul ("Twilights Last Gleaming", "Lovesick"). And lastly, "Tough Gys Don't Dance", so with what High Constrast was surprised an audience two years ago: spacey jungle hints ("If We Ever") or soul-jazz race ("Kiss Kiss Bang Bang").

Although, it's just the half of "Confidential" collection. I coudn't raze out that first disc is featured the recent Lincoln's efforts, as well, reffering to dubstep, "Seven Notes in Black", for example. Second part of "Confidential" issue encompasses sundry songs of various artists (Adele, Utah Saints, Missy Elliot, Basement Jaxx, Ils) remixed by Lincoln. I must admit frankly that he's not as good remixer as producer, indeed. From set of thirtheen remakes, Omni Trio's "Renegade Snares" was found favour with me, only. Altogether, here's nearly everything to listening. More than two hours of delicious drum'n'bass elements, which you may sneak peak at Hospital Records website. Besides it, I recommend you to check out 8-minute video - an interview with Barrett, he tells about his beginnings and so on.

 
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