Ljubinko Zivkovic
Articles by Ljubinko Zivkovic
a lot’s gotta change is sophisticated pop at a very high level, whether you add that dream category to it or not.
Santos was able to express the seriousness of the situation he found himself in through both the music and the lyrics here through some seemingly easy to the ear sounds that actually go much deeper than their ‘surface,’ quite a feat in itself.
The duo was able to fit their improvisations within the musical structures they developed previously, giving the four extended musical pieces here both a head and a tail, or to be more precise, turning improvisations into tight and exciting structured musical pieces.
On ‘Thyrsis of Etna,’ MISZCZYK is able to find a common thread and present it here as a unified musical concept and turn it into quite a treat.
Uschenko can be classified in that rarefied class of artists who have come up with an almost faultless debut album.
She concentrates not only on the notes themselves, but the spaces between them, creating jazzy, sometimes orchestral spectral pop anywhere on the scale between Big Thief and Sigur Rós, with some exceptional results.
Zinner’s music and the performance of the artists involved retains the core characteristics of modern (minimal) classical music, utilizing the approach from both sides of the musical spectrum for a very effective and inventive results that have a much wider appeal than might initially seem.
Thought could be those clouds, both dense and fluffy, and those shadows that space in between those clouds Ralicke is trying to fill with substantive sounds. And he makes it.
Aigner’s music here has an emotional depth many albums of this genre combination usually miss, striking a great balance between her vocals, her droning cello and the other instruments employed.
Akusmo’s ‘Fleeting Future’ is composed and performed with an abundance of inventiveness and flair that makes that debut debate superficial.
Jones’ guitar technique is unquestionable here (and elsewhere), but there is that emotional depth in his playing here that comes only from strong personal involvement with your music.
Bock is able to support his words by some quite intriguing music and sounds that certainly gives credibility to that ‘cinematic’ term as a description of his music.
Alchemy Hand is both thoroughly enjoyable pop/rock, no matter whether you are inclined or not so much towards Piney Gir’s spiritually-fuelled lyrics.
On ‘The Details Are Vague’ The GOAT tries to balance the techno and human parts of the equation, and he is doing quite a good job at it.
Krcatovich is able to create some intriguing sounds that at the same time remind, and don’t sound like any of the kosmichemusik greats krautrock fans are usually excited about.
Transient the album has quite enough to offer to inquisitive listeners who want to see where human/machine combination in art and music stands now and where it might take us in the future.
Essentially, with ‘West Kensington’ Lattimore and Sukeena enable their listeners to recollect, memorise and enjoy.
In a way, they in many ways follow in the footsteps of This Mortal Coil here, both in the diversity of sound and vocal interpreters, but keeping along that prevailing dark mood.
The whole album flows like a carefully arranged set of musical postcards that can recall memories of practically anybody’s home.
