01. Midwich – This Whole Process
02. MooN – Where to Die
03. MooN – Nemo
04. MooN – The Human Monster
Midwich : R.Hayler (groovebox)
MooN : D (guitars) + DDN (electronics) + stolen samples
Hypnosis through melody. (Burning Emptiness)
As recentely noted, the French label Burning Emptiness have taken new roads for their music. This collaboration between Midwich (aka Robert Hayler of the excellent Fencing Flatworm label) and Moon (a duo with D and DDN, they run the Burning Emptiness label). Midwich open up with one long piece of a looped guitar and a groovebox. Quite a static piece upon superficial hearing, but if you listen close enough one hears all sorts of shifting patterns. Maybe quite close to an electronic version of Steve Reich. Quite captivating.
The three cuts by Moon are shorter but nice aswell. The first piece, ‘Where To Die’ dwells mainly around a simple guitar tune and ‘Nemo’ is more an electronic piece. Warm and glitchy and a bit too short. ‘The Human Monster’ is the most noisy part of the whole release, with a wall of distorted guitars and synths. This track is a bit too long to be entirely pleasing and also doesn’t seem to fit with the rest of the music. Otherwise, and then we are still looking at forty good minutes of music, a fine release. The new road of Burning Emptiness is a well-chosen one. (Frans de Waard, Vital Weekly)
“This whole process is about a failed attempt to stay human whilst keeping up with the speed of life.” Uhuh. “We’re all monsters looking for a place to die.” Aha. Midwich first and then Moon, in quote as on the disc. Quite what they mean by these things or by the title or indeed the subtitle or maybe even subgroup, The Starfish Experience, is not immediately apparent. What is immediately apparent is the heart in their electronic music.
On This Whole Process, Midwich tears a strip out of his groovebox, massaging minimally-flexed accordion to maximum effect above the beats of a long overnight train journey heard through the pillow of a sleeper carriage bunk bed vibrating in sympathy with the undulations in the track. Consciousness fades half an hour after the head was laid down.
And Moon shine. Three tracks of loping, looping space rock and “stolen samples” that could be the sound of the deep dark recesses at the bottom of the ocean inhabited by slivers of jelly masquerading as fish and slivers of sound interacting as music (Nemo.) Or could be the sound inside your head as dander rises and anger subsumes all in a noisy barrage pierced by a grain of melody, a grain of common sense, a grain of decency amid the rage. (The Human Monster.) (Robots and Electronic Brains)
FR Ce qui commence à me lasser dans le revival cosmique actuel, ce sont les pochettes à la néo-Vangelis (une c’est sympa, à la cinquantième on se rend compte que c’était quand même assez moche). Il y sept ans ce n’était pas encore dans l’air du temps, et Burning Emptiness (vous vous souvenez du side-project d’Ultra Milkmaids posté l’été dernier?) nous offrait des fleurs, présentation minimaliste visant surtout à économiser sur les cartouches d’encre couleur. Fortement marquée par la science-fiction des années 50, la musique quant à elle plane haut et s’écoute fort (dans l’espace, personne ne vous entendra monter le son).
ENG Once upon a time, long before Emeralds, Expo ’70 & co., there was Burning Emptiness (do you remember the Ultra Milkmaids’ side-project posted here last summer?). The same music, but without the neo-Vangelis covers. Kosmische-synth hynotic loops vs kosmische-synth guitar drones, obviously excellent, obviously impossible to find today, play loud (obviously).