Arvio

Deadwood brings us an hour's worth of clever power electronics. This Swedish artist clearly favors long sound surfaces with small rhythm structures (a sound here, another there) that keep them together, accompanied by vocals clearly reminiscent of the artist's metal background. The vocals actually fit the general sound-style quite well. The album leaves a weird feeling afterwards. Its structures are clearly functioning nicely, and the tracks are interesting. Especially the diversity between noise-ambient segments and screaming vocal fury work great. Yet the soundscape is very thin, leading to a weakening of the impact of the compositions. Further compression would have done this album a lot of good, because it's obvious that this is music meant to hit the audience with strength, instead of being just thin art-noise.

Deadwood's style is at its most powerful during the harsher segments, while slower parts such as Crushing On stay quite uninteresting. By far the best combination of elements comes out on the parts resembling MZ.412. The title track is an especially good example of this, but the last minutes of Bitch on the… really show just how well this kind of stuff can actually work when the right combination is found. This album is a very uneven whole, alternating from brilliant to boring, and the sound-production style should clearly have been deeper and rougher. Yet it must be said, that Deadwood seems to be an exceptionally promising newcomer to the scene, so I for one am eagerly waiting for more

Incomplete and unpolished, yet not at all bad.

Jiituomas

Deadwood - 8 19

Ruotsalainen Deadwood tarjoilee tunnin paketin näppärää voimaelektroniikkaa. Yhtyeen tyyliin kuuluu selvästi pitkien äänipintojen käyttö, pienet koossa pitävät rytmirakenteet (yksi ääni siellä täällä, mutta harkitusti) sekä tekijän metallitaustasta muistuttavat vokaalit - jotka tässä tapauksessa sopivat oikein hyvin kokonaisuuteen. Albumista jää hyvin outo tuntu: sen rakenteet ovat hyvinkin toimivia, ja kappaleet kiinnostavia - erityisesti vaihtelu noiseambient-tyylisten osuuksien ja huutavan vokaalipauhun välillä pelaa hyvin.	Artisti: Deadwood Formaatti: CD Levy-yhtiö: Cold Spring Julkaisuvuosi: 2005 Kokonaiskesto: 60:50 Kappaleita: 6
Äänimaailma on kuitenkin hirveän ohut ja se syö kokonaisuudelta pahasti tehoa. Kompressoinnille olisi todella ollut käyttöä, sillä tämä on selvästi tarkoitettu lyömään eikä vain taide-esitykseksi. Artistin tyyli on selvästi tehokkaimmillaan voimakkaimpina kausina, ja hitaammat raidat kuten Crushing On jäävät varsin tylsiksi. Selvästi näppärimmin palaset loksahtavat kohdalleen MZ.412-tyyppisissä kappaleissa. Erityisesti nimiraita on tästä mainio esimerkki, mutta Bitch on the ... -kappaleen viimeiset minuutit todella näyttävät miten hyvin konsepti parhaimmillaan rullaa. Kovin epätasainen kokonaisuus tämä on, vaihdellen mahtavasta tylsään, ja soundimaailmakin olisi kaivannut selvästi lisää rouheutta. Mutta on todettava, että Deadwood vaikuttaa poikkeuksellisen lupaavalta tulokkaalta, joten ainakin minä jään odottelemaan mielenkiinnolla jatkoa. Keskeneräisen ja hiomattoman oloinen, mutta ei missään tapauksessa huono. Jiituomas

Takaisin - Kokoelmat - A - B - C - D - E - F - G - H - I - J - K - L - M - N - O - P - R - S - T - U - V - W - Demot

Deadwood brings us an hour's worth of clever power electronics. This Swedish artist clearly favors long sound surfaces with small rhythm structures (a sound here, another there) that keep them together, accompanied by vocals clearly reminiscent of the artist's metal background. The vocals actually fit the general sound-style quite well. The album leaves a weird feeling afterwards. Its structures are clearly functioning nicely, and the tracks are interesting. Especially the diversity between noise-ambient segments and screaming vocal fury work great. Yet the soundscape is very thin, leading to a weakening of the impact of the compositions. Further compression would have done this album a lot of good, because it's obvious that this is music meant to hit the audience with strength, instead of being just thin art-noise. Deadwood's style is at its most powerful during the harsher segments, while slower parts such as Crushing On stay quite uninteresting. By far the best combination of elements comes out on the parts resembling MZ.412. The title track is an especially good example of this, but the last minutes of Bitch on the… really show just how well this kind of stuff can actually work when the right combination is found. This album is a very uneven whole, alternating from brilliant to boring, and the sound-production style should clearly have been deeper and rougher. Yet it must be said, that Deadwood seems to be an exceptionally promising newcomer to the scene, so I for one am eagerly waiting for more Incomplete and unpolished, yet not at all bad. Jiituomas