JAMES O’CALLAGHAN: Espaces Tautoiogiques CD Empreintes Digitales

jamesocallaghan

JAMES O’CALLAGHAN: Espaces Tautoiogiques   CD  Empreintes Digitales

I really struggle with this label, the majority of their output and the ‘artists’ they support. O’Callaghan’s work here is of no exception.

Basically this is nonsensical mash up of sounds, such as furniture being shifted around, on ‘Objects-Interiors’ and just general manoeuvring of whatever on ‘Bodies-Surroundings’.  The rest of the album follows suit and shows absolutely no artistic merit or creativity whatsoever.

Maybe I am missing the point; but then maybe I like to listen to actual music.

There is obviously a whole host of people out there who see something other than gibberish within works such as this.  I tend to think these people are the same group of morons who look at piles of bricks in art galleries and think they’re worth millions of pounds.  I look at those installations for what they really are; and that is nothing more than a con-job for gullible tossers.

2/10

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ÅKE PARMERUD: Nécropolis CD Empreintes Digitales

akeparmarud

ÅKE PARMERUD: Nécropolis   CD    Empreintes Digitales

This is the third solo outing for Sweden’s Parmerud.  Throughout the years he has built himself a name as a prominent sound experimentalist; and this of course is a double-edged sword.

On one hand he clearly knows what he is doing; and once again he has the knack of occasionally displaying sparks of brilliance.  When delving into soundtrack territory, he creates epic and colossal torrents of bombastic fury.  However, on the flip side of the coin, he does fiddle around a little too much with obscurity; and it smacks of someone attempting to appear cleverer than they actually are.

‘Nécropolis’ is one of those albums, that ironically shines at its brightest when his talents are focussed centrally on Dark Ambient undercurrents.  Unfortunately these are just momentary leanings; and Parmerud simply cannot help but tear things apart with too much experimentation.  The upshot of this is that tracks are not allowed to settle or bed in; and the haphazard nature of his work doesn’t allow the listener to warm to the albums’ strengths.

7/10

PIERRE ALEXANDRE TREMBLE: La Marée 2xCD Empreintes Digitales

pierrealexandre

PIERRE ALEXANDRE TREMBLE: La Marée 2xCD Empreintes Digitales

Bass clarinet, soprano voice, piano and invented instrumentation are the tools utilised by Tremble on this album. With 80 minutes spread over two discs there is a lot to take in and a real tester of patience.

In all honesty, there is a heck of a lot of variation when these are pieced together electronically and there are momentary infusions of sound that I enjoyed along the way, when the feedback kicks in. As this is a purely experimental release though there are many elements where it all just seems like a lot of pissing around.

Some sections play out like the backdrop to some of the better Hammer Horror movies that I enjoyed in my youth (and still do); those slight of hand footnotes that tell you something bad is going to happen, or to make you aware that someone isn’t quite what they seem. In this light these peculiarities of the album along the way did produce a smile across my face.

If anything, ‘La Marée ‘ is barking mad without completely flying off the handle. As with any album of this nature there is going to be many a moment when you consider just exactly what the point was of making such a release, when there is so little to discuss; and a lot of questions to the label, for even signing the cheque on production. For the most part all I could do was shrug my shoulders and look confused.

6/10

MARTIN BÉDARD: Topographies CD Empreintes Digitales

martinbedard

MARTIN BÉDARD: Topographies  CD Empreintes Digitales

When the press release stated that this was five acoustic works, I expected something quite different from the rather noisy affair that erupted the moment it started playing.  ‘Grand Dehors’ comes across as a psychopathic mash-up of folding ambience that steers just shy of falling apart at the seams, where an undercurrent of drama holds a cinematic space that is peculiar and strangely alluring.

Track two ‘Topographie De La Noirceur’ however, is something of a let down, concentrating on Tibetan chimes and clatters that I haven’t heard since the soul numbing ridiculous compositions of Z’ev; luckily the true horror that is ‘Push & Pull’, makes up for this by reverting to the form of the opening number.

The remainder of ‘Topographies’ follows suit and concentrates of varying degrees of Dark Ambient, infused with noise; and whilst nothing quite matches ‘Grand Dehors’ for outright depth and furious rage, it does hold steady to the end; completing a solid release with a few minor hiccups along the way.

7/10