Review :: Von Bingen – Von Bingen



In the not-too-distant future, Joshua Stevenson will be listed in the canon of modern Canadian synthesia. Earlier this year we saw the release of Josh’s debut into meanderonic minimalism via his solo project magneticring. Meanwhile, an ensemble of Vancouver-area heavyweights (including Josh), titling themselves Von Bingen, reared a massive, ugly head in the latter half of the annum with a difficult-to-find LP of perturbed disquality. Channeling the early fuse of Irrlicht-era Klaus Schulze with droning, distorted guitar fanfare amongst cathedrals of unorganic chambers, Von Bingen subjects you to a sexcellent multi-textual unification of analog-electro genius. Pulsing mechanics, forced dualities, and atonal guitar workouts part the static stasis within the dark shadows of your listening cosmos and reveal the inner beat of our earthic tunings. Part psychedelic, part synthetic, part experimental, but as a whole, rewarding on multiple listens; an entity better heard than read. Packaged with a loving, two-colour essay.

Dans un avenir pas trop loin, Joshua Stevenson, se joindra aux rangs de la synthesthésie moderne du Canada. Plus tôt cette année on a vu le lancement du début de Josh dans le minimalisme nébuleux avec son projet solo magneticring. Pendant ce temps, un ensemble des poids lourds vancouverois (y compris Josh), en s’appellant Von Bingen, a pointé le bout de son nez à la fin de l’année avec un LP difficile-à-trouver d’une disqualité troublée. Étant inspiré par la première mèche de Klaus Schulze à l’ère d’Irrlicht avec la fanfare bourdonnante et déformée de la guitare parmi les cathédrales de chambres inorganiques, Von Bingen te sousmet à une unification multi-textuelle sexcellente du génie analog-electro. La mécanique pulsante, les dualités forcées, et les exercices atonales de guitare séparent l’équilibre statique dans les ombres noires de ton cosmos de l’écoute, en révélant le rythme intérieur de nos mélodies terrestres. Une partie psychédélique, une partie synthétique, une partie experimentale, mais en entier, il est gratifiantes à l’écoute multiple; une entité qu’il vaut mieux écouter que lire. Emballé avec une rédaction aimante en deux couleurs.

Von Bingen – Eyeglasses of Kentucky

Von Bingen – Murray 606




file under: 12", british columbia, New Canadiana.

birthed: 2010-01-19

11 comments


11 thoughts on “Review :: Von Bingen – Von Bingen

  1. You misspelled Klaus Schulze and your nonexistent adjective extravaganza is callow. You conferred rather overblown status upon these talented and imaginative, albeit quite unknown, bands. Its a tad obvious. I also don’t think that the Von Bingen sound has “a massive, ugly head”….(wtf?)
    Try harder next time? Or should I say, try a bit “less”? It might prove to be more in the end. And you might actually be taken seriously.
    unorganic vs. inorganic, hmmmmm….
    did you actually use the word “genius”??? wow. How about a “nugget of genius”? Trite, my friend, trite.

  2. Wow Matt, take it down a notch. Do you blast every piece of web journalism you come across or do you have a specific beef with this guy in particular? I would save this level of vitriol for say, perhaps the comments section of the CBC webpage or perhaps your local tabloid newspaper. I can’t understand what the desire is to lambast someone to this degree. Maybe you’re just a toxic person.

    On another subject, I think Von Bingen has created a pretty nice little album here, I’m looking forward to hearing more.

  3. Hey Matt, how about you write your own reviews. Or go back to teaching English. In a classroom. Reviewing reviews is about the lamest a critic can get. Genius from music is relative. Like all reviews. Get a life.

  4. I think people really should take a look at the info on the page. It is said that this page is not a review site but a site for the people running it to talk about those obscure albums they love that others would have no chance of hearing otherwise. So, if you are writing about something you are totally into, with the goal of showing it to people who might also dig it, why wouldn’t you be excited and show it in your writing. When you show a friend a record that is sweet, are you really gonna pick it apart into all its pros and cons, or are you going to say: “this record made my head explode.” I could be wrong, but I understnad this website as a method of connecting fans with music they don’t have access to it because of limitted copies or distribution and to create links in the outsider music scene in the country, not to rate albums or do other snooty things.

  5. I’ve been a music journalist in New Zealand for about 10 years – I started watching this site recently, and you guys are pretty cool for supporting Canadian subculture. Matt has a point. I guess if you do want to be taken somewhat seriously and continue to tout these underground musicians, and gain a wider audience, you should tighten up your prose a bit.

  6. HI Damian,

    Thanks for your note. I’m glad to hear someone from New Zealand is tracking my progress.

    I think your and Matt’s opinion, while somewhat valid (though, I think, fundamentally, you just don’t understand my style of writing) completely misses the point of this website.

    1) Reviews // write-ups are NOT critical

    I’m not interested in music analysis. I’m interested in curation. The writing is, in fact, very secondary to the whole process.

    2) Curation

    This is the most important aspect of the site. I’m not trying to be a music journalist. Trends in the distribution of musical awareness point to curation being a significant factor. How many kids can quote a Pitchfork review? How many kids know which and what records were reviewed by Pitchfork?

    3) Fun

    So, if curation is the driving force behind my philosophy, the writing is secondary and a creative exercise I do for fun. OF course, with that in mind, the writing is going to be outlandish, full of hyperbole and made-up words; I’m trying to convey an image of the enthusiasm bubbling in my mind. It’s an impossible task. However, there are play buttons at the bottom of every review, with plenty of links, so you can make up your own mind about how and what the music sounds like. You don’t need me to tell you. You have ears, listen!

    What you need is someone to sift through the hundreds of MySpaces, cassettes, tapes, 7″s, projects, mp3 uploads, e-mails, newspaper articles, and live shows to find you the subjective cream of the crop of Canadian fringe. And, I believe I have been doing this quite successfully (thanks, in addition, to all the contributors and artists for their end of the work).

    5) Summary

    I appreciate your tact in bringing this up, Damian. However, both your comment and Matt’s stem from a fundamental difference in philosophy in how music and information is distributed in this age. The focus of Weird Canada is curatorial. The writing is secondary. Furthermore, I don’t think you “get” my writing style. Which is cool, because a lot of people don’t. And that’s kind of the point.

    Again, I appreciate your constructive and critical comments, stated tactfully and with the patience that comes from someone who obviously cares enough to write and post it.

    Hearts,

    Aaron Levin
    Weird Canada / Cantor Records
    http://www.weirdcanada.com / http://www.cantorrecords.com

    PS – Yes, I know “curation” is not a word. Deal with it.

    PPS – Can you please find me original Wreck Small Speakers on Expensive Stereos cassettes? Thanks! ;)

  7. In any case, this is one of the best sounding canadian records I’ve heard in a long time. Seriously sick production, turn this up on yer system. 21st Century Psych Post-Industrial!

  8. Pingback: weird canada » Review :: Mode Moderne – Ghosts Emerging

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