Artist: Cyril M.
Title: Attraction & Répulsions
Keywords: Drone, Dark Ambient, Noise, Electronica
Reviewer: Alex Spalding
It’s a bit lonely tonight at Yeah I Know It Sucks. Audio Hater’s been fired for having pursued a course of villainry… Dick Assholson went with him, before even getting a chance to stain anything with a review – a name like that, you just know he’d be up to no good. Kai is, I believe, on a brief vacation for the time being. So I, lone music journalist, shall be doing my part to keep this place in order. I’ll try not to burn the house down. Oh, that’s such a cliche thing to say…
I’ve had a desire to review Cyril M.’s sophomore album on Sirona-Records for awhile now. I think that tonight is the night…
This is just one track, clocking in @ 34:55. It begins with a whirring, almost similar in profile to the running of a reel of film. Then, what sounds like Medieval altos, almost Gregorian but peculiar, float into the mix. The artist adds spoken word, hushed. After awhile, a synth sound that resembles feedback… or feedback that resembles a synthesizer? Probably the former, but it’s anyone’s guess. Dis-chords are sustained. Portamento is up, the notes slide up and down imaginary scales. The effect is disorienting. The audio has reached vertigo. A flute pipes in for a moment, sounding beautiful but sparse, really nicely juxtaposed against the strangeitude that has unfolded. The synths begin to sound as though they are phasing, and then a distorted wah sound comes in. This is pretty psychedelic… I love how all of the sounds seem to be speaking to each other, or effecting each other in subtle ways. The sinuous LFOs start going nuts. Samples of screams come in. This is normally the part where you’d wake up and think, “Oh, what a horrible dream!” Instead, it has been put to music so we can push past it and see what lies beyond. The altos, which may have audibly been inert for a time in the mix begin coming again, responding as they might to the mayhem, and the synths too start going into complete chaos mode. Soon the synth begins to sound like a theremin. The spoken word returns with the dissolution of most of the rest of the sounds. The tape loop starts to skip. More feedback comes in, and then more synthetic cacophony. Another synth creates a sort of bassy whale song and eventually the wah comes back, while all the sounds begin to find their harmony with each other before being blown to bits by blasts of noise, shrieking chaos. Toward the very end, a martial drum emerges, putting to silence everything else that came before, but joined by the flute from before which has finally come to play contentedly now that the others are gone.
Is the attraction in the repulsion, or vice versa? I do not know. But, it was clear that this album was made by someone with a quality of thought to the purpose of each sound to be used in the construction. It didn’t feel as automatic or intuited out as Cyril’s previous album, but shows clarity of purpose. You should download it at the following link: