Ljubinko Zivkovic
Articles by Ljubinko Zivkovic
Such an approach puts the listener in a position of immersing in Lindeman’s music while asking the same question Lindeman does, with the answers lingering somewhere in the air.
Whatever Sembrano did or will do within his ‘natural’ classical music background, this electro-pop guise seems to suit him quite well.
All the light and dark (noir) elements intertwine throughout, creating something that could be called positive grey, a musical feat rarely achieved these days.
From the more experimental ‘Slow New Year’ to the melodically flowing ‘Maria’ the trio creates music that has both sense and purpose.
Listening to this album as a unified whole, it is great to have back one of the masters of modern electronic music.
No more than two spoonfuls of sugar in this (musical) tea, just a good autumnal soundtrack for any occasion.
The vast record, book and film collection that the duo obviously possesses is felt throughout this album, where the duo turns any metal at hand into something soft as snow.
Trecka proves that you can be a writer, journalist, music critic, and musician at the same time without faltering with your music.
Porterfield’s ‘Kitsch Machine’ is neither of the two but something worth investigating whatever music you like.
Azariah seems to have struck the right balance between the genres he is operating within, exhibiting delicate composing and arranging skills that make his music work.
Overall, it works quite effectively for Tombstones In Their Eyes, the heaviness of their sound being there in the right measure.
An excellent introduction to an artist that obviously has the ability to grow further.
When there is so much genuine emotion involved in music making, the results are bound to be equally stirring and calming for the listeners too, trying to make the sense not only out of what Blakeslee felt but what they feel too.
No weak or meandering songs of the nine are presented here, announcing Blue Zero as a band all shoegaze fans can easily embrace.
Essentially, out of nowhere, we get an album that is at the same time experimental and utterly listenable at the same time.
You can call ‘Adonis’ mood music, or any other name, but the key adjective here would be excellent.
YAI intricately combine all their influences and musical elements here, process it (that is where those laptops come in), and turn it into music that makes sense, with or without the laptop.
The key feel of this early recording is the sense of timelessness it brings – it might have been recorded in the early eighties but it sounds like it could have been done so 10 years ago, yesterday, or on September 27, 2024.
Peck adds an e to those motions, making this album fully engaging, not just to himself but to his listeners too, something not easily found these days in electronically created music.
