First full length release for this German quintet, after the 1999 EP "The Death is Behind You" and the compilation appearance "The Wisdom" in the Astan music magazine sampler. Felsenreich play mildly complex goth-rock with some symphonic arrangements here and there (see the eponymous track, opening and closing the work); the voice has some Bauhaus resemblance, while the music is more in the vein of Garden of Delight. I can say they're good musicians and I guess it's a well done work for its own genre, but honestly, I haven't been thrilled at all by their performance. Plus the programmed drumming doesn't fit with the more aggressive and rocking tracks, giving them a bad "plastic-sound". I really think they should give a more definite identity to their sound, as ideas and technics are good, but still out of focus. Or possibly it's only a problem of mine with goth-rock...

Solstice # 26, this time not a solo work of Asano's but a 2-part composition (72') played by the Koji Asano Ensemble, Tomomi Tokunaga (violin) and Kentaro Suzuki (contrabass). Recorded at Katsushika Symphony Hills (Tokio), "Spherical Moss Factory" is a very interesting work which, according to my (limited) knowledge of Asano's extensive production, is partly a confirmation and partly a surprise. The torturing a-melodic drones and hisses coming from the bowed strings remind of his massive 4xCDs "The Last Shade of Evening Falls", and in general the claustrophobic wall of sound, with subtle micro-variations within, is very typical of his work; thus said, there are also more canonic and "reassuring" passages close to chamber or contemporary music, which gives the cd a welcome second dimension with lighter, more delicate moments. As usual, very elegant photographic layout by Asano himself.

While Massiv In Mensch virtually exploded on the scene with their ArtOfFact debut Belestandes Material whose trademark sound was hard industrial with high energy rhythms and harsh vocals, this release is much less harsh. With Die Rein they have taken a bit more of a turn which encompasses synthpop while maintaining their hard and heavy attitude toward club oriented dance tracks with a lessened focus on the harsh and industrial sound. There is still quite a bit of heavy rhythmic thumps, pounds and clanks but not as much as before. This album also seems to have a bit more of a focus on the instrumental track and an almost hardbeat trance influence from time to time. They have maintained high energy without a doubt and are showing some versatility which is always good but I do miss the nearly gutteral German vocals. This album is more likely to be more compatible for a wider range of late night dance club play. While this is more focused on dance music it still remains atypical of the usual genres of dance music, techno, and trance.
One of my favorite tracks on the disc is "Mein Erstes Bonbon" which translates as My First Drop. It is, like much of the album, an unusual marriage of techno, trance, synthpop and industrial rhythms. The only thing I don't like about it is that it begins using some traditions rave sounds. There is even a track titled after the band which sounds like Prodigy's original style in many ways - the orchestral slams and hyper-rhythms. The only track with a bit more vocal and the only with female vocals (I think) is "Endorph-Fusion vs. Reiner's Festung" and is the only track which sounds a bit more like the first album. "Schneiders Sphaere" is a very smooth track too and is one of the best on the disc along with "Entferner" - all very different tracks.
While this is a great album by itself I miss the vocal combination from the previous album and prefer less techno influence. I do however like the exploitation of variance from the original album to display that the band is not just one sound and one style but can play different forms of music.

© Copyright 8/2002 TG Mondalf. All Rights Reserved

More quality harsh noise on Spatter, this time by one of the leading names of the genre. "The Final Harsh Work # 22" (a lovely title... ) features the eponymous studio (?) track and a live recording (Grand Rapids, USA, 1/3/1999). The former is a 43' excursus in the possible nuances of harsh noise: from fast, rabid drill-like attacks, made particularly effective by the high frequencies used, to looped and delayed passages which, while never losing their dose of sonic fierceness, even tend to acquire psychedelic tones. It's a sort of suite and it manages to keep your attention focused while being extremely long and exhausting. The second track is a nice representation of Koji Tano's skill at performing live, but suffers from insufficient sound quality; the ouput is a bit muddled and fails to present MSBR's sound with the adequate clarity - something which doesn't occur with the studio work. Limited edition of 120 (which will probably sell out fast) in the usual Spatter package (a DVD box).

"A sampler of Fairy Voices", the third one after "Belladonne" 1 and 2, from the Prikosnovénie/Iris catalogue. Only Lys belong to the Lytch sub-label, while some names (Fleur, Voïlaoz, Dwelling) have no releases out, so I guess their tracks are anticipations of forthcoming records? All the other songs must have been already released. Thus said, this is a very good introduction to Prikosnovénie which seems to have gathered an incredible (both in general quality and in geographic extension) catalogue in the contiguous fields of heavenly voices, medieval folk, ethnic and neoclassic/chamber music. Most tracks are excellent, I'll just quote GOR (obviously a lot more than "Ataraxia's drummer" since he's already released three solo works!) with a brilliant klezmer/medieval crossover sung in Latin (believe me, it does work!), Daemonia Nymphe (Greek Dead Can Dance-inspired project), Dwelling (must be Portuguese, so 10 points more) and Collection D'Arnell Andrea. The other artists are Louisa John-Krol, Faraway, Rada I Ternovnik, Ashram and Caprice. 12 tracks in total, and a digipack sleeve.