Mono – the last dawn + rays of darkness (pelagic/cargo, from 24 October) at the beginning was a piece of paper, I had found. Take leave, stood out. Take parting, I said several times softly down before me. Shortly thereafter, I met the dead. My grandmother, who was her entire life only in the kitchen, had once again made pancakes, my grandfather got out of a train, stepped out from the Golden tunnel, Millennium actress by Satoshi Kon, I thought cancer, also dead, of course. Then the plates from the youth room, nevermind, reckless, keep the faith ran again, songs of love and hate, and it’s A Shame About Ray. My gaze fell on the two new Mono plates, the last dawn and rays of darkness: I had installed nothing up in the past few weeks, more often, because hymn to the immortal wind and for my parents had connected on Mono to the top 3 bands of this Millennium. Previously, post rock stop, also great, but not so tragic, stricken, educationally and significantly later. Japanese, whose Konzerte cracking make one cry, which read safely also Nietzsche as Makoto Hasebe. Probably the oldest, dumbest, ausgelutschteste plates be spokesman clichÃ© is dusted off somewhere from old friend, long not seen, which suddenly knocks on your door. Now you could write also a lot about the last dawn and rays of darkness, about the drips piano, glockenspiel, the guitars, which bend slowly to the abyss, the missing voice, that simply must be missing in Mono (exception: there are fantastic growls in the hand that holds the truth), fresh blood, and the friendly elegance of this burial artist, this taxidermy of light and darkness, hallowed be your name, beyond of all, now and forever. Or, to put it quite bluntly: should listen to you, do not read. The last dawn is slightly brighter than rays of darkness, but both go together, a lush, solid woven thickets, rocket science, that bathed in tears and you slowly breaks into pieces (recoil, ignite) or sore heart connects you (glory). 5 centimeters per second than Opera, and at the same time the most moving music of the year 2014. No Mono? Then we have lived for nothing. The last Dawn (9 3), rays of darkness (9-2). Jan Wigger breathing, an everyday operation. Who but ever experienced has, like shortness of breath feels, was gasping for air, always krampfhafter, panic, the possibility of asphyxiation suddenly real, who knows what is this seemingly obvious feature of human survival for a fragile construct. It is an experience that is producing profoundly shocking, very existential humility. Fitting so that the new album New York alias Pharmakon begins noise artist Margaret Chardiet with breathing, hectic, hyper-ventilating breathing over a swelling noise. Vacuum is the only one and a half minutes long track that immediately grabs one immediately at the throat. Pharmakons music, if you want to call that their extreme, unnerving discovery of human voice and electronically generated noise, has this power: it calls for total, unconditional attention and biggest pain tolerance. That in this extremism is something beautiful, extraordinary explained to me once abandon the 23-year-old in an interview about her debut EP. A few months later, she wanted to start watching their first European tour, had to undergo after severe attacks of pain lasting of emergency surgery Chardiet: A 12 centimeter-long cyst had formed on one of their internal organs, to remove them, had to cut the doctors among other things by the abdominal muscle. A pain spent Chardiet after long weeks in the hospital, every movement, every set up. Beside her was a man dying, cried after his daughter, who never showed up. Bestial burden is the musical testimony to this bad trip, the processing of emotion, to be sent in the anesthesia and not knowing which organs, what parts of the body after waking up would be missing. The independence, the functions of your own body as well as the hospital machinery, dependence on physical processes, the natural, organic limitations of human existence, the whole archaic load of the own bestiality, all that was before this major event theme of art by Pharmakon. The recent experiences were now apparently for a further intensification, as well as for increased sovereignty, with the Chardiet roared up to their demons exorcised the hoarseness and animalistic alienation – about metallic loops and light hiss as in the aural chaos of war by intent or instinct or been, even coughing and vomiting over the staccato beat of primitive struggle. Pharmakons sound has become so absurd as that sounds, a quiet, light-footed, less oppressive, almost already meditative transzendierend in some moments (bestial burden), but always still fascinating viscerally. An experience not only with the soul, but with the whole body exposure of human nature. (8 2) Andreas Borcholte must request music, says Andreas Chancellor Kohl in the second edition of the deaf appeared this time in glutrot forever magazine. Exactly, and at this point, it enters ponder: July, Tokyo hotel, MÃ¼nchener Freiheit, Soft Rock, and Kim dotcom snag for yachts and sailboats: again I had dealt for months solely with musicians, just calling me that are just plain pleasant, affable, likeable. But it is a world of Graf Unheilig and Kim Jong un disappear without notice, married Joanna Newsom in a world in which you may no longer see Brooklyn nine-nine since Andy Samberg, get even more trouble in the House? One could also Thurston Moore just whistle for 100 years. integral part of one of the most important and best rock bands of all time, who doesn’t know that, can make no high school diploma (my geography teacher Apel in spring 1993). The king has come to meet the band / the king has come with no demand know Moore, and skin with speak to the one of the greatest post-Sonic Youth tracks wild at all out. Forevermore is at least the same level and similarly long, this wonderful Schrammeleien, with much more time, space, and will to the formulation, to the figures as at the clearly challanging, acclaimed by colleague Borcholte Chelsea light moving. Would be crazy, you could be the best day quite as time travel (a similarly nasty Word like navel-gazing) Sonic Youth through three decades: tape is reminiscent of the A thousand leaves era (and the title song, as appropriate, on Sunday, by Harmony KORINE), detonation of Evol, and vocabularies at the excellent NYC ghosts and flowers, with its 0 0 standings are the popular geek trail Pitchfork. com anno 2000 even disqualified. Bottom line: It is a pleasure to always tender roaring, whining and Gequietsche (and the things that may be termed a maybe even ballads) of the best day in the bed to slowly fall. And now? Wait patiently on the new Ariel pink a few weeks. (8 0) Jan Wigger Whatever I do, I do not repent, I keep pissing against the moon, sings Elias Bender RÃ¸nnenfelt in a piece of third iceage plate. Actually, it’s more a wheezing, an atemloses, almost this groan. No wonder two albums long the Danes with a mighty noise against all the walls are running against the man simply runs on as post adolescent outlaw. Angry, triste, cold biting songs like Coalition, admitted White Rune or new Brigade comparisons with Joy Division as well as with the East Coast post punks of the late 1980s. Plowing into The fields of love now marks a step forward not in the State of relaxation, but in an adult self-awareness. This is evident first musical in use of more punk foreign instruments as exotic accents, which accentuate the familiar rumble sound, sometimes even irritating contrast piano, trumpet and mandolin – like in the beautiful desperate how many, his slicing guitar riff by rhythmically opposing piano chords is grounded and dissonant thwarted. A very good metaphor for the common sense insights that curb the youthful storm and urge, as you get older. Anger coagulates to bitterness and melancholy: I have a sense of utopia / of what I truly ought to do, RÃ¸nnenfelt sings still, but the anger of former days no longer flows into noise attacks, but distribute in better music and lyrically more competent, strong image bleakness. For the first time, singer RÃ¸nnenfelt dares as one hears also thanks to better knowledge of English, his voice more to the fore. Grunting, moaning, guttural wailing accompanied with his feverish talk that repeatedly reminds of the Wilder moments of bad seeds (about tender prey-phase), especially in the epic glassy eyed, dormant and veiled and in the subsequent album heart of stay. Launigere songs such as let it vanish or the pub popular song the Lord’s favorite rather evoke the cheeky nihilism of the Libertines. But despite all the references inevitable in this genre and comparisons, iceage not lose at this step in the serenity. On the contrary. To get going on the beautiful image of the Moon anpissens: your outpourings from the emotional freezer now slowly get a characteristic fragrance. (7 7) Andreas Borcholte.
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