PURE + VARIOUS ARTISTS: No End of Vinyl CD Crónica


PURE + VARIOUS ARTISTS: No End of Vinyl   CD Crónica

Strangely ironic that this latest album by Pure is titled ‘No End of Vinyl’, yet is released on Compact Disc; however, I do love the embossed triple-folded slipcase that feels like the well-loved grooves of an actual record, which is a nice touch.

As the album states, this is a collection of collaborative works, where Pure has entertained input from various other artists such as Cindytalk, JSX and Goner, to name a few.  Some 14 years after ‘The.End.Of.Vinyl.’ released by the mighty Mego label, Pure is paying homage to the label and its interpretation of what they felt the future held for us musically, with tracks that were to be conceived as a set of discs that would fix onto the wax itself.

Opening up with a resonating hum, bursts of sound steadily punch their way into prominence, folding into a wash of industrial machine crunches and noisy ambience.  Christian De Babylon remixes ‘The End of Vinyl’ next, with an altogether more electronically charged, almost analogue chopped up programming feast of stuttered beats, guttural IDM and airy pads.  Side by side the opposing forces of these first two tracks work well together and provide variation.

The thumping frenetic beat of JSX assists in providing a necessary tension, whilst Cindytalk follow with blistering, yet tempered noise; the former outshining the latter but once again giving the listener a more open installation to view aurally and epitomising what makes this album so listenable as a whole.

Broken up rave, torn apart Dark Ambient, staggered electronica and shattered noises blended in a pot of Industrial glue, ‘No End of Vinyl’ crosses genres whilst still remaining to paint a picture of sounds dripped in black tar.  Admittedly there will be parts of this release that won’t sit well with some people, but those who have a wider appreciation of the Industrial umbrella with be thoroughly satiated as the throbbing soundtrack of the collective input of Current 909 and Pure fades into the distance.





The packaging accompanying this release is nothing short of excellent. A six-inch (ish) box with photographic stills and pull-outs, reeking of quality before you even venture into playing the CD.  Julia Weinmann provides a mass of images as in collaboration to the musical perspectives created by Ephraim Wegner to be consumed as a whole ideal.

As glorious as this all looks however, Wegner has approached this album from the perspective of field recordings.  People who follow my reviews are most likely aware of my loathing for the genre as a whole, with masses of ridiculous self-indulgent twaddle being churned out on what appears to be a weekly basis, with little or no regard to talent.

Together, the natural clicks and static vibrations throughout this release do in some respect work as an artistic statement and the audio manipulations raise an impressionistic viewpoint on sounds contained within the imagery.  As an installation within a gallery this would most likely carry a lot of weight, but unfortunately in the comfort of your own home, it makes little to no sense at all.

I have to express my feelings of disappointment with ‘Eins Bis Sechzehn’; I truly wanted the accompanying audio to actually contain music I could actually listen to.  I know this isn’t the point and I am aware that an album like this is merely another canvas for the artists to express themselves with, but I have no time for thespian tomfoolery and this didn’t impress me one jot.


QUARZ: Five Years on Cold Asphalt CD Crónica

QUARZ: Five Years on Cold Asphalt  CD Crónica

With a resume that includes ‘Port-Royal’ amongst its ranks, Alexandr Vatagin did set my expectations high before I even pressed play.  Fair to say, this release did have a lot to live up to way before the first slices of audio hit my ears.

Clocking in at just over 34 minutes, ‘Five Years…’ is one long track with interventions throughout providing collaborations with other artists that surprisingly is cohesive from start to finish.  Audio manipulations range from the organic to the electronic and provide a broader range of styles than is initially evident.

Overall, this album is a somewhat quiet affair.  Scattered levels of ambient and space force you to play this with the volume ramped up in an attempt to make you appreciate the minute nuances that gel the release as one.  It’s this bullishness however, that is ultimately the albums downfall.

What ‘…Cold Asphalt’ suffers from, are clear track markers to break up the tedium.  I despise being told how to listen to release in its entirety, when you have to suffer periods of lifeless drivel just to appreciate the finer points of the work on offer.  Depressingly, this album has more of the former than the latter.