Soft Moon

(Copyright © 2010 Piero Scaruffi | Legal restrictions - Termini d'uso )

The Soft Moon (2010) , 7.5/10
Zeros (2012), 6.5/10

San Francisco's one-man band Soft Moon (Luis Vasquez) debuted with The Soft Moon (Captured Track, 2010) in a vein reminiscent of the gothic new wave of Sisters Of Mercy, Ministry and Suicide. The tribal, witchy Breathe The Fire is his Temple Of Love (Sisters of Mercy), the breakneck industrial pow-wow dance Circles is his Where You At Now (Ministry), the gloomy cavernous threnody Out Of Time is his Ghost Rider (Suicide). They are wrapped in atmospheric synth lines, excoriated by Killing Joke-ian bass lines, and metabolized via sudden tempo shifts. The polyrhythm of Parallels merges Caribbean and Australian flavors before a Neustyle "motorik" beat takes over. Sewer Sickness ups the ante by intersecting a siren-like guitar with a babbling vocals at a hyper-boogie pace that is even more Neu-ian. Dead Love maintains the galloping beat but veers towards the mellower tones of Joy Division. The throbbing electronic current keeps fueling undeterred the apocalyptic guitar swarm of We Are We and the cosmic psychedelic Gong-ian wails of Primal Eyes, the two noise-fests that crown the parade of horrors.
The detours from the standard are no less unsettling. The lyrics try to emerge in the slow ballad When It's Over but are immediately submerged by farting electronics. The booming drums of Into The Depths awake a reverbed spaghetti-western guitar melody. The most traditional song, Tiny Spiders, is a litany from hell that packs an impressive amount of hopelessness.
These glacial, mechanical, danceable aberrations of music constitute the ideal soundtrack to dystopian visions such as Constant Nieuwenhuys' "New Babylon".
(Translation by/ Tradotto da Alessio)

La one-man band di San Francisco Soft Moon(Luis Vasquez) debutta con The Soft Moon (Captured Track,2010) con una vena che ricorda la new wave gotica di Sister Of Mercy, Ministry e Suicide. La tribale, stregata Breathe The Fire è la sua Temple Of Love (Sister Of Mercy), la dance pow-wow industriale a rotta di collo di Circles è la sua Where You At Now (Ministry), la tetra trenodia cavernosa Out Of Time è la sua Ghost Rider (Suicide). Queste sono avvolte in atmosferiche linee di synth, escoriate da linee di basso alla Killing Joke, e metabolizzate attraverso improvvisi cambi di tempo. Il poliritmo di Parallels fonde aromi caraibici e australiani prima che un beat "motorik" in stile Neu prenda il sopravvento. Sewer Sickness alza la posta incrociando una chitarra simile a una sirena e un mormorio di voci a un passo hyper-boogie ancor più in stile Neu. Dead Love mantiene un beat al galoppo ma vira sui toni più suadenti dei Joy Division. L'elettronica pulsante mantiene imperterrita il suo corso nell'apocalittico sciame chitarristico di We Are We e nei lamenti cosmico-psichedelici alla Gong di Primal Eyes, le due feste noise che coronano la parata di orrori. Le deviazioni dagli standard non sono meno sconvolgenti. I testi cercano di emergere nella lenta ballata When It's Over ma sono immediatamente sommersi da petulanti suoni elettronici. La tonante batteria di Into The Depths risveglia da una rimbombante melodia spaghetti-western della chitarra. La canzone più tradizionale, Tiny Spiders, è una litania infernale che racchiude una notevole quantità di disperazione. Queste glaciali, meccaniche, ballabili aberrazioni di musica costituiscono l'ideale colonna sonora alle visioni distopiche come in "New Babylon" di Constant Nieuwenhuys.

The four-song EP Total Decay moved more decisively into sci-fi terrain, with Total Decay evoking early Chrome and Devo, the alien motorik Repetition turning into a metallic jungle orgy, and the post-techno dance jam Visions for synth winds and tribal drums crowning the dystopian vision.

Zeros (Captured Tracks, 2012) delves into doom and gloom but does so in a more predictable manner. The industrial voodoobilly Machines, the hiccupping frenzy of Remember The Future and the robotic Sisters Of Mercy-esque Die Life are good as background dance-music but ultimately forgettable because they build too little on top of the rhythm. At best, they may be used by better producers for creative remixes. Nonetheless, there are moments of great pathos: Zeros, this album's best tribute to dark-punk (with a guitar staccato borrowed from Peter Schilling's Major Tom), the dreamy dirge with massive distortion of Insides, and the haunted African tribal music of Want that singlehandedly redeems any derivative moment.

(Translation by/ Tradotto da xxx)

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(Copyright © 2010 Piero Scaruffi | Legal restrictions - Termini d'uso )
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