Most Helpful Customer Reviews
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9 of 12 people found the following review helpful:
5.0 out of 5 stars
classical music for the 21st century? , 9 Oct 2007
few people have the ambition, the talent and ability to challenge their listeners as much as aaron funk, also known as venetian snares. from the early gabba rave on albums such as songs about my cat, to the dense rhythmic and melodic structures of huge chrome cylinder, without forgetting the beauties of the intricately arranged classic strings/breaks of "rossz....".
for followers of the music of venetian snares, aaron funk likes to continue themes explored in his earlier albums. in hospitality, the progression of drum programming first explored in huge chrome was further examined. in my downfall, venetian snares has continued the path first defined in "rossz...." of arranging beautiful classical scores often alongside his characteristic discordant breakbeat programming.
this review is being written a few days after it's release date, and like most of funk's work, time is needed to fully appreciate music so intricate. on early listenings the genius and the breathtaking vision of the album cannot be denied, like his earlier work, i greatly look forward to spending many hours getting familiar with this album.
if you have even had a brief liking for any of funk's work, then this album is a must purchase. even if you have not heard any venetian snares, but have interests in the broadly catergorised genre of "electronic" music, then this album could provide you with great enjoyment.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
an absolute masterpiece, 25 Jun 2008
well, where to begin. Possibly Mr. Funk's most stunning release since Rossz. The return of the Hungarian titles signals his forays into the realms of classical, and lets be honest this is what he really excels at. All the same-old same-old breakcore stuff just pales in comparison to Rossz and this.
So many high points, so little time. The Hollo Utca tracks are nice little fillers, but what happened to Holla Utca 1? The Hopeless Pursuit of Remission gears you up for what is to come, it builds and builds until the drums come in. Oh my the drums, takes a brilliant track to the next level.
Then you get to the 2 absolute monsters of the album, Integraation and My Half, both absolutely stunning tracks. When the beat drops in Integraation you realise this is Aaron Funk at his very very best, and My Half is one of those tracks you can listen to again and again and never ever get bored of
The further you get into the album the more downbeat and seemingly mellow it becomes. The beautifully arranged intricate I'm Sorry I Failed You, the sombre Picturesque Pit, and the breathtaking If I Could Say I Love You round off the album nicely, with the outro 'Mentioning It' finishing it off
Buy it, buy it NOW
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4 of 6 people found the following review helpful:
5.0 out of 5 stars
Brilliant, but not for everyone, 11 Nov 2007
Finally here, is Aaron Funk's most mature and developed album yet. For an artist known for his often erratic movement around the IDM, noise and drum and bass crowd, here is a true labour of love. Coherent, tight, deeply emotional and blacker than oil, this sequel to "Rossz Csillag Alatt Szuletett" is a welcome diversion for anyone who missed that previous introspective diversion.
It is, however, not for everyone.
This album is harrowing, in places. As far as I can fathom, there are themes of loss and death permeating the CD. Take track 5, "Integraation", with its' melancholy orchestra invaded, subverted and killed by breakcore noise, which then dies itself, having nothing to feed off. This is not the album to listen to if you've just had an upsetting breakup. Other titles such as "I'm Sorry I Failed You", "My Crutch" and "The Hopeless Pursuit of Remission" set the tone.
It's not necessarily for fans of Rossz either. The formula is similar, but far more minimalist in its' intentions. For me this is welcome- that album for me went a little too far into navel-gazing with its' poetry and somewhat scattered aim. There are no voices in My Downfall, and everything has been pared down and made purer.
There's also the bias away from breakcore. The majority of My Downfall is laden with slow violin-led pieces, a world away from Rossz, where cut-up beats were never far away. The effect is subdued and poignant, but it is not an album you can crack open and start dancing to. It is, however, quite danceable in places if you're in the mood.
This isn't going to convert anyone to Snares unless they're expecting the sterile, endlessly-rehashed breakbeats common elsewhere in the scene. However, for the CryDM faithful, there's a deep, meaningful and heartfelt extension of Aaron Funk's mind to be listened to and picked apart.
Just approach it with a good mood and a handkerchief. You'll need it.
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