Monday, 25 January 2016

SILK SAW
























"Imaginary landscapes"
Year:    2015
Country:    Belgium
City:    Bruxellles
Artist:    Gabriel Séverin & Marc Mœdea
Label:    Köta
Format:    CD , LP
Tracks:   8
Time:   60 min.
Genre:    electronic
Style:             Power Noise            Experimental            Ambient













Москва’s Kotä Records continues on a roll with the resurrection of Brussels duo Silk Saw, an act which seems to exist outside of time and space.  It’s been nine years since the release of 8 Reports, and the new album picks up right where that one left off.  Very few acts can pull off such a comeback, the most notable electronic example being Portishead a few years back.  But while that band has an identifiable sound, Silk Saw prefers to revel in the unidentifiable, which as it turns out has been the key to its success. After 9 years of silence, here's the 11th album from the unclassifiable Brussels-based duo.















With their usual tamping drums (just mention the two parts of "The Decision to Exist" or "Same Area", led by a ferocious 808), a regular bass guitar hammering, some bare minimum poor voices, threatened violins, skinbound flute and oboe here and there, a distorted furious piano everywhere and finally some tiny cautious optimism (the extra-human guitar in "Enough Slaps"), the whole is carefully assembled in order to obtain an accurate picture of life on Earth. Pain and pleasure are different aspects of the same mental construction.
  Discogs  ,  Lastfm  ,  Bandcamp  ,  Myspace  ,  Köta Records 









































































































































"8 reports"
Year:    2006
Country:   Belgium
City:    Bruxellles
Artist:    Gabriel Séverin & Marc Mœdea
Label:    Ant-Zen
Format:    CD
Tracks:    8
Time:    55 min.
Genre:    electronic
Style:           Power Noise          Experimental














After debut album "Come freely, go safely" on limited edition CD on "Sub Rosa" record label and  six more albums with enough quality, SILK SAW was about to share his extreme creativity in this work entitled "8 reports", released by german label "Ant-Zen" in 20006.
  Discogs   ,   Lastfm   ,   Bandcamp  ,   ANT-ZEN Records 


 


























































































































"empty rooms"
Year:    2005
Country:    Belgium
Label:    Ant-Zen
Format:    CD
Tracks:    13
Time:    60 min.
Genre:    electronic
Style:            Experimental            Ambient            Power Noise














Empty Rooms is an album consisting solely of tracks composed specially for the French play Les Chambres D’œdipe, which in turn is an adaptation of Friedrich Hölderlin’s translation of Œdipus Tyrant by Sophocles. The entire piece was performed live during every performance during November 2003 and February 2004 at the Théâtre Mega-Pobec in Evreux, France and appears here in a radically reworked form. Of the tracks on the CD, only “Konservatorium” and “Einaktiges Stück” were not included in the performance itself but were used as arrival and departure music for the audience.










Opening, appropriately enough, with “Konservatorium,” Empty Rooms sets the scene with 14 and a half minutes of slowly building atmospheric music, a steady heartbeat with a buzzing accompaniment, expectation building throughout. The tracks from the play itself are mostly no longer than 3 and half minutes in length and commonly feature (what appear to be) extracts from the play set against hazy static, digital chatter and drone-like electronic textures, sometimes adding space-age zaps or throbbing tones. Varying from the formula somewhat is “Hölderlin Und Zimmer,” a more rhythmic mechanical throb overlaid with increasing swathes of static texture. “Vorzimmer” is similar in style although purveying a feeling of desolate desperation. A darker nightmarish edge is introduced with the manic laughter of “Palladium” before a gentler rhythm track is added under the pre-requisite layers of pulsating static. The nightmare continues with “Sphinge,” transforming into disturbing tension with “2500 Jahre.” The lengthier closing piece, “Einaktiges Stück,” clocking in at just over 11 minutes, has time to evolve in the same way as “Konservatorium.” This time utilising an atmospheric tonal background, a driving optimistic rhythm takes over to finish on a relative high.










It is hard to imagine this music (with the exceptions of “Konservatorium” and “Einaktiges Stück”) being used in a play. Presumably, the fact that they have been “radically reworked” accounts for the noisier, more intense sound. The lengthy opening and closing tracks are definitely the high points. (Review from "Igloo Magazine").
  Discogs   ,   Lastfm   ,   Bandcamp