I can't even remember when was it the first time I've heard about Ataraxia, but I sure remember the first time I've heard their singer's voice on the record of this old friend of mine (Mox, the drummer of Monumentum), she was singing Visage's immortal "fade to gray" and the result was a gothic death march that blew everything away. I don't even know if the band's singer is still the same but there's no doubt Vittorio Vandelli focussed a lot the work of Ataraxia on talented female vocalists as you can hear. This' a special acoustic performance that comes along with the Autunna et sa rose cd in a classy digipack limited to 2000 copies on the portuguish Equilibrium label. While I don't think anyone into Ataraxia's medieval music will be disappointed by these acoustic reinterpretations (the four piece consist of piano, vocals, guitar and drums/percussions), I think "Strange light" (that's the title of their cd) could introduce many goth and "borderline" listeners to some of these decadent, enchanting ballads. The recording it's nothing but excellent, above all considering it's a live set. Some of these songs keeps the original phatos untouched even if without their original arrangements. I wouldn't say this a good "collection" to introduce the band but anyhow it could be a good way to start.
Autunna et sa rose is more classical music, this trio (soprano, cello, piano) is not medieval at all since what we have here is classic-contemporary-chamber music with a classic background (I suppose). I know many will be disoriented by the opening track since it sounds really close to that contemporary classic "that's not for everyone", but since the folks at Equilibrium haven't gone mad all of a sudden, right from the second track you'll discover how this split release together with Ataraxia makes really sense. Autunna's composition wander much more around the piano (at last the pianist is the composer, therefore: why not?) and both the vocals and the cello cross the piano works giving strength to the whole plot. Personally my taste for classical music is oriented somewhere else but I can't say I remained untouched by some passages composed by Saverio Tesolato. I can't say if the definitions: "neo-classical" music will be misleading or not but while Autunna's piano could be also compared to some of Nyman most inspired and classical passages, Ataraxia obviously have a strongest medieval/ancient feeling. If you're a fan probably must have release, if you're new to both of the bands this' all is interesing anyway above all the Autunna's cd (but that's a personal opinion).

Indicia is the project of vocalist Betsy Lillery and programmer/drummer David Ward, both newcomers to the electronic scene. With that said, their debut album, Identifying Marks, comes as nothing short of a surprise. Ward’s sharp and outstanding keyboard melodies run in absolute harmony with Lillery’s rich vocals in a way that seems like they’ve been working together for countless years.

Identifying Marks is comprised of half-spoken, half-sang vocals over hypnotic and trip-hoppy atmospheres. Lillery’s vocals fall somewhere between the sensuality of Portishead and Collide, while occasionally also resembling those of Android Lust, Tori Amos, Meg Lee Chin, and others. The only thing more seductive than the vocals in this release is the awe-inspired programming and keyboard work. Ward’s intricate and crisp electronics flow flawlessly to create lush textures in perfect compliment to Lillery’s musings.

Accessible from the first listen, Indicia’s Identifying Marks is a compelling debut album that is sure to draw some attention. Indicia fuses the sounds of trip-hop, IDM, EBM, and darkwave in a unique and innovative way that becomes more apparent with every listen. Identifying Marks is a masterpiece in the making, with tracks well suited for home or the dance-floor, and almost crying out for remixing attention.

Marcus Obst/Dronaement's second release of AFE, after the brilliant "Yr" (2002), is a remastered edition of a tape self-released on his own Nauze [Muzick] back in 1999 - and a very worthwhile one, since this is a little gem. The 24-minute long "Allein...", using only sounds from an electric organ, is a powerful static drone played on the G tone, reminding of some early works of La Monte Young's or Charlemagne Palestine's. The original flipside, "...Unter Menschen", is a lengthy composition of field recordings taken in a Leipzig railstation, with the use, I suppose, of some editing and effects like delay or reverb, but in a minimal and unobtrusive way. The sounds (people talking, train noises, and a final tune) are very well assembled, and the piece maintains a kind of mysteryous atmosphere throughout. The bonus track is a very short (less than 4 minutes) drone, which is more in the vein of later works of Obst's - a shame it's so short, as I'd gladly have listened to it for much longer.

Originally recorded back in 1999 for a project about the four elements, which eventually fell through, this 51-minute track finally sees the light as a coproduction between AFE and Blade (and if I'm not wrong, this is one of last releases of the latter, if not the very last one). Coming in a glossy cardboard packaging, elegantly designed by Thomas Ekelund (Nullvoid Design/Fukkgod label), the work was allegedly created "using recordings of fire as the only sound source" - which you really couldn't tell. Funnily enough, considering the initial input, Ovum's huge drones reminded me of Thomas Köner's early "polar" works, not really for their specific sound, but for the barren landscapes they evoke: immense frozen territories inspiring awe rather than horror or fear. Midholm's skillful blending of deep meditative drones, cavernous echoes and corrosive ambiences makes "Eld" a perfect work for late night listenings - it'd have been a real shame not to be able to listen to it.

This is volume one of two, celebrating two years of the Portuguese label Crónica, the other being a DVD I haven't seen yet. The audio release is, as the title suggests, a concept on radio, featuring 39 artists each offering a 2-minute piece. Being shortwaves or radio speech samples the main sound source, though treated and assembled with different approaches (noise, glitch, ambient, minimal rhythmic structures, pure documentation, etc.), the whole work flows nicely without many let downs, but also without particular peaks. I have of course my faves (Aubry, Freiband, Heitor Alvelos, Mathieu, o.blaat...), but I think that the short length allowed prevents many potentially interesting pieces to develop. Ok but not memorable.