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I must admit to feeling a tad disappointed here – I just had the nagging impression that a formula was being adhered to and neither of the musicians allowed themselves full expression. As freeform and as chaotic as it is, there is nevertheless a certain rigidity about the pieces on here, as if they were playing between invisible, but nevertheless strictly defined, limits.
Today's Absurd stands in the face of a scene that has become fat on its own ignorance. They're a memory of what the genre once meant to all of us in earlier years before the internet made the spread of this plague so easily and readily available to 15 years olds who couldn't even begin to understand what anything meant here.
With both bands clocking at a total of 39 minutes, it's a release well worth the
money, especially when it's a CDR, it's cheaper. Hope you found my advice useful and
started looking for the split already. Absurdgod is a violent gem which should be
discovered within the electronic circles. And Fractional's not that bad, even though
I didn't care for them at all at first. Listen, learn, discover. Get used to the
material, it's good.
The artist has created the music with the aid of computers, guitars, keyboards and other instruments. Sadly he has overlooked one major thing. If you have all this equipment at your disposal then at least try to get the music crisp and clear and not sounding like you’ve recorded it in a bucket of tar. Which was the polite version. I was tempted to use ‘bucket of shit’ but thought better of it. Also don’t meander as though you have no idea of where you are going with the music. He hasn’t exactly worked out what works best on any of the tracks.
ccurst is the solo project of Cypriot artist Adon. He also has another project called Obsequies. On the ‘A Phantom’s Noctuary’ he plays what is termed ‘decadent music’ which was inspired by the 19th century literary movements, concepts and ideas. If you wish to read more about this subject then just ‘Google’ it and be prepared to be educated and enlightened.
The epithets ‘genre-defying’, ‘boundary-crossing’, ‘crossover’ and ‘pushing the envelope’ are often applied to artists or works which escape easy classification; certainly this offering from Scotland’s Achenar, aka Duncan Hemingway, crosses many genre borders during the length of its playing time, making it difficult to ascribe a category sufficiently all-encompassing enough to satisfy any cursory glances from readers. It’s doubly deceptive in that the album cover, with its pictures of a sunset-lit cloudscape and snow-blessed landscapes teases with some sleight-of-hand misdirection and leads you in completely the wrong direction, setting you up for even further confusion when that disc starts spinning in the player. The contradiction between what you expect and what hits your ears is quite startling.