Google Alerts recently threw up a Japanese blog review of Pilgrim. Of course, I had to engage my old habit of feeding pages through the Google translator. Here is the review in its entirety…
1267. Who? TEKA What is this machine have? Jacquet’s buying or job. Labels not know. Motive unknown. I was in the title homestead footed ARIEN I buy from. Michael Begg Scottish Human Greed is the later years to spend in Morocco to meet with Paul Bowles was created.
Paul Bowles is the people who think you know, born in New York in 1910 under the influence of Pau, France went after Cocteau met Gide and the music center stage as a musician. After writing activities, and a major influence on beatnik writers. That literary decadence to accept all kind of presence. Bowles is actually Michael Begg and exchange of ideas and exchanges happened I do not know. But Begg Bowles music from the向ったmotive for literature (music大雑把speaking in a deeper part of human expression not) to become the opposite sense.
Begg is music that is the human desire to be the most appropriate approach is considered. Although included in the spoken word, Begg was actually aimed at the integration of words and music is that you must have. Both words and music are able to contact the human depth of the problem is aesthetics looks like the word is the concept of demand, and by understanding the meaning of human Given that the music is inexplicable as tantalizingly also seems to be deep. However chain of music is just as pleasant to provide stimulus only to be expected.
Although the book is a novel, Dark Ambient真新しくないless. As a metaphor for “the human desire to lower down in the mushy,” meaning that it is no longer meaningless. But as a high quality music, blocked petty personal differences depends on the judge. When there is not much difference radical, or the other way and pull the experience to meet the needs when there is no identity of the high-quality machine that’s over. Oh, you can still describe this music is a personal collection that has been stimulated by others. Anyway Why I bought this machine?
Original Japanese Page
Another Pilgrim New World Homestead review has popped up – this time from a listener taking the time to put up a blog entry on his myspace profile.
This one really caught my eye because I had just about given up on the possibility of anyone actually scratching at the musical quality of the work. All the emphasis has been placed on the noise, drone, experimental yadda yadda la-di-dada pedigree – which is fine – but limiting.
This chap, however, notes the passing of harmonics into disharmony, the simplicity of the tools used to make the sounds, and even hints at the severe editing regime i employed to cut the whole thing back to the absolute minimum components required.
Naturally, I am also delighted that my production has been flagged up as impeccable – almost counteracting the doubt left in me by Colin Potter who told me in Paris that he thought the bass was too prominent.
Read Poesboes’s review here
Thanks to Richo of Adverse Effect Magazine for this review of Pilgrim: New World Homestead…
The very fact that the credits on this second album by Scottish duo Human Greed includes a “doffed cap” to David Tibet and Steven Severin should well pave a way to the island they inhabit, even if not especially directly.
Pilgrim…, consisting of nine tracks in total, might bear similarities to some of Severin’s solo work or C93 in the sense that it burrows steadily into man’s deeper internal and external struggles but, sonically, it falls nearer some of NWW’s murkier musings or, closer still, Andrew Liles’ mindtrippin’.
Rich, tormented and often foreboding textures form an absorbing palette from which looped passages spring, voices dreamily and briefly make their presence felt, and the sounds of distant sawmills battle with minimalist hums. Added to such powerful and effective ingredients arrives a sense of innocence being tarnished, too. ‘Wife and Child’ perfectly captures this notion, beginning with more dream conversation which breaks down into a series of the kinda black hole swirls more commonly found on more recent work by the now sadly defunct Coil.
Sure, the reference points may be in place, but Human Greed possess both that all too rare depth barely found in such work and a genuine air of purpose-fuelled freedom. In a perfect world, more people would see Human Greed and the very best of their contemporaries for what they truly are: modern painters of our souls’ greatest and weakest points. And, in this sense, maybe it’s fair to surmise that this is where 21st Century ‘soul’ music really is? (RJ)