July 2012 Short Reviews (Aspectee, Burial Hex, Miel Noir)

Jour Cinq

Aspectee - Jour Cinq [dis­cogs]

Aspect­ee’s Jour Cinq is a dark ambi­ent album by the book, with well-con­struc­ted moods and gently drift­ing melod­ies. The ten tracks on here are all around 5-6 minutes in length and flow along rather evenly, with not all that much true excite­ment, but quite a few good melod­ies to be found. A track like “Illi­cit” tones it down a bit, focus­ing on more min­imal tones, whereas “Roter Wald” invests more in a grip­ping synth melody, so there is some vari­ation to be found as well.

This album does­n’t really stand out from the crowd that much, but if you’re look­ing for a pleas­ant dark ambi­ent trip in the dir­ec­tion of artists like Kam­mar­heit, do give Aspectee a chance. Jour Cinq was released by Black Drone records.

For Gran­ted Is His Will

Burial Hex - For Gran­ted Is His Will [dis­cogs]

This tape on Pol­ish San­go­plasmo records - ded­ic­ated to Clay Ruby’s brother, who died as a child - is another smal­ler release for Burial Hex, present­ing two tracks, both explor­ing a single idea.

The first one, “The Saintly Death”, is an incred­ibly dark drone work based on treated metal cage sounds. Some­times with intense rever­ber­at­ing clangs, some­times sub­dued and omin­ous, this is an excel­lent mood piece. The second side, “Our Rain­bow”, is more of a raga-tinged track, with a lead role for melod­ica impro­visa­tions. This track has a less intim­id­at­ing atmo­sphere, and is more free-flow­ing and relax­ing, though never overly sweet.

All in all, these are two inter­est­ing tracks, and although Burial Hex seems to be end­ing as a pro­ject, these little EPs keep trick­ling out, prov­ing that there is no short­age of good mater­ial in the pro­ject’s lat­ter days. Con­sid­er­ing the trivial price of a tape this is money well spent, I’d say.

Honey & Ash

Miel Noir - Honey & Ash [dis­cogs]

Miel Noir con­sists of a duo since this album: Dimo Dimov (Svar­rogh) and Mar­cel P. (Allerseelen). The influ­ences from their other musical activ­it­ies are appar­ent at times on this album, but there is a very def­in­ite Miel Noir sound as well. Some of the tracks rely heav­ily on strong indus­trial beats and elec­tron­ics, and some heavy gui­tars, while oth­ers are more calm and neo­clas­sical. These tracks are gen­er­ally my favour­ites, both with their own appeal.

Too bad that there are quite a few tracks on here that are aver­age or worse in terms of com­pos­i­tion and/or vocal per­form­ance. Par­tic­u­larly “In Empty Cold­ness” and “It’s Me” are not really album mater­ial in their cur­rent state. Con­tras­ted with a strong atmo­spheric piano track like “Der Feind”, the incon­sist­ency in this album becomes appar­ent.

A pity, because the mix of influ­ences has a lot of poten­tial, but in total the album is too waver­ing in qual­ity for me to really enjoy as a whole. If you want to judge for your­self, seek out the CD on Steink­lang, but I hope the next one will have a bit more qual­ity con­trol.