Get Shorty (September 2011)

Opening instalment of a new feature that will be run intermittently, and in any case according to necessity. Reviews in 100 words or less (aka “not every record deserves bleeding ears and hours of work…”). This time the writeups are mostly dedicated to a few 3-inches sent by the German label Electroton. But first…

SECOND THOUGHT – Since Every Hour Is Too Late

Very positive comments are flashed all over the press blurb for the previous outings by Ross Baker/ Second Thought. However, this self-released CD is mostly made of syrupy one-dimensional materials generated with piano and synthetic (read “fake-sounding”) strings, with occasional attendance of birds, dogs and other snippets of field recordings. Some of this sounds like out-and-out muzak, and the few “nice” parts are not as poignant as they would love to appear. Just another example of artistically insufficient music for which the composer was unable to warrant quality control limitations before deciding to publish it. (Jerky Oats)

KETEM – Colour

Shay Nassi and Tom Kemeny involved in less than 11 minutes of rhythmically complex bleeping electronica underlined by vague accents of extremely minimal melody, capricious micro-noises and large doses of semi-distorted pulsations. Nothing particularly exciting to write home about, but the frequencies do work on the brain. Well crafted, absolutely not exasperating, at times even lovely. (Electroton)

INCITE/ – Iconicity

Kera Nagel and André Aspelmeier, from Hamburg, produce an efficient kind of electro-techno that makes excellent use of seriously pumping low frequencies and zigzagging sequences attributing richness to otherwise quite regular rhythms. In parts reminiscent of certain Muslimgauze tendencies of his pre-demise phase, Iconicity does not overstay its welcome, offering several stimulating combinations of throbbing warmth and lucid madness. The conclusive “Sparks” recalls Voice_Crack pretty vividly. Overall, good stuff. (Electroton)

V4W.ENKO – Snd

Russian Evgen Vaschenko is the driving force behind this project, whose sonic result is influenced by different combinations of algorithms which – by what the liners say – are organized according diverse spatial structures and sequences of instructions. Rather complex trivia for an ignorant like me to understand but the music is reasonably good, with the right balance of influencing streams and a welcome touch of harshness separating it from too-easily classifiable experimental techno. Needs more listens to really enjoy it. (Electroton)


Poratz is Patrizio Orsini from Livorno, Tuscany – a short distance from my family’s native area in Carrara – and his music is entirely dependent on what the title says. So expect pushy rhythms and bouncy aggressiveness most everywhere, the shortage of artistic depth somewhat repaid by the constant urge of tapping your foot to the ground and rapidly move the chin forwards and backwards like an autistic capon. The synthetic/sampled emanations are amusing, too; the whole gives the idea of a lot of fun behind the procedures. Not essential, but involving. (Electroton)


Kyoto’s Higuchi Eitaro works with fragments of voices and songs from the Ainu (an aboriginal group from Northern Japan), seaming them into polychromatic successions of bizarrely twisting emissions amidst not-so-obvious pop-ish beats. The crossing of influences – picture a complex videogame soundtrack enriched by a gazillion of uncommon turns and a much welcome insertion of harmonically discordant traits – renders Zaumi (title alluding to the artificial language of Russian futurists) an absolutely charming work, atypical even in an area where coming out with something really worthy of attention is an Herculean task. (Electroton)

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