“Still Important Somekind Not Normally Seen (Always Not Unfinished)” reviewed by Vital

The Dutch Earational festival (out of ‘s-Hertogenbosch as the city is called in every atlas and not Den Bosch as it says on the cover, just in case you may wonder where to find it) is an annual electronic music festival, but it varies in size. Sometimes four days, in 2003 it lasted ten or …

“Still Important Somekind Not Normally Seen (Always Not Unfinished)” reviewed by Igloo

This three way live collaboration between multimedia artists Heimir Björgúlfsson (Staalplaat, Bottrop-Boy), Pimmon (Fallt, Meme, Tiln) and visual artist Helgi Thorsson. Recorded live at the Melkfabriek in Den Bosch the recording was then treated to careful constructive editing by London’s Robert Hampson at Thirst. With nine individual unnamed tracks that chatter and slide into one …

“Still Important Somekind Not Normally Seen (Always Not Unfinished)” reviewed by Ikonen

Das portugiesische Label Crónica bleibt seiner Veröffentlichungspolitik visuell und musikalisch treu. Die Zusammenarbeit der Digital- und Akustiktüftler Björgúlfsson aus Island, Pimmon aus Australien und Thorsson, ebenfalls aus Island. Letzterer mag einigen von seiner Gründung der kultigen Band Stilluppsteypa ein begriff sein. Zusammen haben sie eine abwechslungsreiche Klangskulptur erarbeitet, voller Ãœberraschungen und eigenwilliger Kreationen. Ein Soundtrack …

“Still Important Somekind Not Normally Seen (Always Not Unfinished)” reviewed by RifRaf

…is een compositie van de Ijslanders Heimir Björgúlfsson en Helgi Thorsson, samen met de Australièr Paul Gogh a.k.a. Pimmon. Het stuk werd live opgenomen in De Melkfabriek in Den Bosch. De heren zorgen voor een ruw, gekarteld geluidsveld waarin kleine oneffenheden voor drastiche hertekeningen zorgen. Zeer de moeite. svs

“Still Important Somekind Not Normally Seen (Always Not Unfinished)” reviewed by Liability

Le label Cronica est plutôt dans une phase ascendante. Cet éditeur portugais est déjà assez prolifique et au fil des références on sent que la label a pris de plus en plus d’assurance, accumulant les risques et les coups de cÅ“ur. Cette quatorzième référence est bien à l’image de ce que Cronica essaye de faire …

“Still Important Somekind Not Normally Seen (Always Not Unfinished)” reviewed by Etherreal

Si l’ensemble du catalogue du label portugais est assez expérimental, on tient ici peut-être l’oeuvre la plus difficile d’accès que l’on ait pu écouter sur celui-ci. Difficile de dire donc si cette impression est due à la matière originelle, à savoir ces deux concerts du trio australo-islandais, ou bien au montage de Robert Hampson. Chaque …

“Still Important Somekind Not Normally Seen (Always Not Unfinished)” reviewed by Jade

Deux Islandais et un Australien sont dans un studio, Ils se racontent des histoires de nature, de compromis entre nature et culture, de soundscape digitaux, d’imitation du réel. Staalplaat et les Pays Bas semblent avoir joué un rôle prépondérant dans la genèse de ce projet et dans l’entremêlement de ces 3 individualités. Heimir Björgulfsson y …

“Still Important Somekind Not Normally Seen (Always Not Unfinished)” reviewed by Blitz

(…) Tem uma tendência lúcida subtil, longinqua na insinuação, mas que esparge disco com um humor residual. Afinal de contas, são três micro-roedores a devorarem um quadro eléctrico, com disputas frequentes por fusíveis e descargas perdidas. A tranquilidade da degustação domina, mas a devastação está lá, corrosiva. (…) É só desligar as luzes e eles …

“Still Important Somekind Not Normally Seen (Always Not Unfinished)” reviewed by Touching Extremes

It takes a while to fully enjoy this recording, which is best appreciable if you listen to it on shuffle play mode: that way, the “out of tune TV” effect of this schizophrenic enigma will show its complete efficiency. A complete lack of communication is reconfigured through an apparatus of strange codes, each one looking …

“Musicamorosa” reviewed by Boomkat

The Beautiful Schizophrenic is the pseudonym of sound designer Jorge Mantas, an artist who clearly has a bit of a fixation on Marcel Proust: all but two of the titles here are borrowed from lines of text from the author’s A La Recherche Du Temps Perdu – La Prisonniere. Of course it’s utterly preposterous to …