Archive for February 25, 2009

Fluid: “Dolphinus Solarus” Review

Some people may remember a certain PlayStation game released in 1998 entitled “Fluid” which had you playing as a dolphin unlocking sound loops to then mix together in a very,very basic sound studio. It was the prelude to the much more engrossing Music series from Codemasters. However, I was excited and bought the game and got with it the free promo one track CD with it. Using loops from the game, “Dolphinus Solarus” is remixed by Roger Sanchez. It’s a simple ambient bass track with echoey dolphin sirens floating throughout. It’s completely inoffensive and the bass has a nice circular ring to it. It showcases the game’s abilities to make simple tunes if not really earth shattering.

You’ll do well to pick up the disc now but the game can still be found on e-bay and Amazon marketplace so if you fancy a trip back in time to when sound programmes were limited and just as much about creating visual backdrops to beats – then you’ll have fun with Fluid.

Nirvana – “Bleach” Review

Whilst “Nevermind” may have been their big break record, “Bleach” was actually their first album and didn’t not feature Dave Grohl (who joined the following year). It’s a very low-fi affair but contains some classic songs that deserve more attention than they get.

“Blew” opens the album with grungy guitars, simple production and Cobain’s vocals squealing over the top of everything but in a controlled and effective way. “Floyd the Barber” is a two note riff song that gets stuck in your head for the way how the drums fall around it. The chorus is classic four chord Nirvana and shows a big flash of brilliance. “About A Girl” is the most commercial the album gets. The live version of the Unplugged CD is a better version because it has better atmosphere and production but this is no slouch again showing the potential within the group.

“School” is the introduction to the easy riffs that went on to catalogue a lot of Nirvana’s b-side material. “School” is another song that deserves attention, if not for the lyrics but for the catchiness of the song in general.  “Love Buzz” continues the funky riffs that get stuck in your head as the sole cover on the album but it feels like their own song when compared to the original.

“Paper Cuts” brings in the slow moody side of Cobain’s writing with a great song. Chugging bass and guitar feedback propel this grizzly track with Cobain really going for it in the chorus’. It’s a really taut number and one that stands out.  “Negative Creep” is another zippy track that is relentless in its chorus’ and has the funkiest bass lines in the verses. Kurt Cobain screams out his lyrics with pain and affliction and you just can’t beat it.

“Scoff” is an interesting track as it sounds slightly different to the rest because of the way the drums are produced and its the drums that give this song an edge. “Swap Meet” is a dirge in the absolute best way. The riff is downbeat and repetitive and also slightly detuned. However there is a relentlessness to its onwards march that I really connect to and enjoy and therefore this song has became a favourite.

“Mr Moustache” is a lesson in maddening riffs. So simple, so effective, so infectious. It’s a great track to introduce people to Bleach as a whole as it shows off Kurt’s tongue in cheek lyrics and the bands expertises. “Sifting” is the original final track on the album and is a downbeat and depressing ending to the album with an almost live smash up finale.

On CD however there are two more tracks. “Big Cheese” is a personal favourite, being a simple two chord catch-a-thon. The lyrics are great and you can’t help but wonder why the song wasn’t on there to begin with! Who can’t shout “Big Cheese” in a grunge song? Lastly there is “Downer” which also appears on the b-side album “Incesticide”. Its a short track all about the bass and distorted vocals and is an obscure bonus track to add on.

The low-fi charm and the sure fire song writing placed together makes you feel like you’ve discovered a new band every time you listen. Nirvana may not have ended up the big success they were if they’d continued down this path but they’d have still done well from it. The “unknown” album from the big grunge band that you should really hear is “Bleach”.

Dead Can Dance – “Aion” Review

With each album Dead Can Dance turn to a different place in time and space. With “Aion” the time and place is the French Renaissance. From jaunty jigs to mystical chants, the album delights from one end to the other.

“The Arrival and the Reunion” opens the album with a powerful chant led by Lisa Gerrard’s otherworldly vocal talent. There’s many backing vocals that support her and push this short song into the forefront of your mind. Followed is the jaunty jig that is “Salterello” that is a beautiful instrumental. The drums pound away (with kudos to the huge bass drum) while entwining pipes bring you an infectious riff that doesn’t leave your side when the song is finished. If the album didn’t flow so well as a one listen piece, you’d have this song on repeat. The ambience of “Mephisto” is a short but sweet string piece using many archaic instruments.

“The Song of Sibyl” signals the next section of the album with a haunting piece led by Gerrard and an eerie church organ. The tension can be felt like electrical pulses in this song. “Fortune Presents Gifts Not According to the Book” is the first song with Brendan Perry singing and its a simplistic song on the surface with lots of hidden instrumental depth to it. It’s a bit like a wind up song that builds up and up and then slowly ebbs away and the playing of the stringed instruments is exceptional. “As the Bells Ring the Maypole Spins” follows on as a joyous song. The pipe playing is at the forefront with some excellent vocals from Gerrard as one of her more uplifting songs to date.

“The End of Words” is a calming vocal duet that signals the start of act three as it envelops you with its arms before “Black Sun” pushes you away and screams at you. Possibly my favourite track of the album, Perry’s vocals and the tense impending doom that surrounds the entire track really hit home in what is generally a soothing and quiet album. “Wilderness” quickly returns to a soothing vocal piece as if to reassure you its all ok! “The Promised Womb” is a more abstract piece of string and vocal rollings which has never fully grabbed me. “The Garden of Zephirus” is a bird singing, flute playing ambient section that leads to the final track “Radharc” which comes across almost Asian influenced in a way. This track is a favourite too as its got a good beat and a sense of urgency about it.

“Aion” is very much a mood piece. It’ll take you on a journey and some songs as a standalone aren’t as effective as when they are played as part of the album. However the overall feel is one of being transported away to some other plain and that’s what Dead Can Dance have always done best.

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