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Sizzle “Muermotivo”

Paradise Noise (Fr.) fanzine #13, November 2003:
Des ambiences froides, un univers claustrophobe, un regard dans l’abîme, la musique de SIZZLE pourrait parfaitement évoquer la fin du monde. Ici tout est synthétique, glacial, les machines laissent peu de place au sentiment humain. On est pas très loin d’un monde décrit par DICK, ou mis en image par des génies comme LYNCH. A posséder.

Fear Drop (Fr.) magazine #11, Summer 2004:
On se rappelle Sizzle, l’un des projets de M.Reina, alias Le K., manager du label Facthedral’s Hall, comme un territoire bouillonnant, où les drones en mouvements n’en finissaient pas de régurgiter d’épais fantômes mélodiques, issues de gestes ambiants souvent éprouvés. Aujourd’hui, si la texture est toujours visitée, il s’agit d’une contrepartie rythmique, aussi sèche que les premiers CDR’s étaient arrosés, mais également vivante. Au long des morceaux, plusieurs modèles rythmiques sont convoqués, depuis certaines conventions électro-industrielles élégantes, récemment héritées de musiciens comme Delta Files, ou Orphx, jusqu’à des effondrements en écho, ou plus loin des claudications éclairées par des harmoniques ondulants. Grain, ponçage, caisse claire franche, crécelle saturées, beats vissés, autant de matières dures visitées par Sizzle, discrètement augmentées de sons périphériques malléables, festons discrets.

Connexion Bizarre (Por.), October 2005 :
A second edition of “Muermotivo”, originally released in 2003 containing three bonus tracks. Musically, this album differs from “Full ScreenAp%gy” first of all by the use of more varied musical elements for realization of concepts. “Muermotivo” begins quite well: “Post 9 (I.G.M.)” tunes up on a specific atmosphere, “inviting” listener to walk, at least in imagination, on industrial landscapes to the accompaniment of Muermotivo and its noise ambient. The following track, “Photon Noir” continues in a slightly different manner, going deeper into unusual, avantgarde sound at the beginning, but right away going back to minimalistic electronic with doubled or even tripled combined beats and fine background. The bonus tracks “H.B.G.D. Select/Start” and “Funeral Process”, a drum’n’noise track, appeared earlier in music compilations. “Mantra” stands out from the other tracks in “Muermotivo” by featuring electric guitar. Besides the fact that the guitar is the leading sound here, it doesn’t contrast with the electronic elements and turns the whole composition into an organic structure without sharp edges. The album ends with two previously unreleased tracks – “Muermotivo – Golden Lazy Mix” (written by Padre PC) and “The Peek Sweep” (written by Patrice Bal). The first presents experiments based on breakbeat and the second ones is based on noise-ambient elements. [6/10]

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Sizzle “Full Screen Apology”

Connexion Bizarre (Por.), October 2005 :
Frankly speaking, music from French projects has constantly impressed me in a favourable way. It feels as if they are getting their inspiration from some other, very different source than projects from countries like Germany, UK, Belgium, USA or Canada (even though it wouldn’t be correct to assume that electronic music from these countries sounds the same). For some reason this release from Sizzle has led me to such conclusions. Not because it is something very special, but as a part of a set of French releases I recently heard. After starting with unhurried ambient, full of different noise installments, Sizzle unexpectedly morph their sounds to an experimental area, in the middle of the second track, “Videotech”. So the music for several minutes becomes more rhythmic and structured. After that we can hear ambient again, but this time even more impregnated with noise, which soon again transforms into a more precise structure. “Cathodic Education”, one of the last tracks, may be one of the best tracks in this CD – it presents unhurried electronica which brings about mental images of a city at night, full of lights and the special charm of night streets. “Full Screen Ap%gy” ends with a huge (over 13 minutes) track where a kind of selection from the previous tracks may be heard. The main faults of this release are a certain monotony as well as similarity between some tracks and music parts which make it lose some interest. [5/10]

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Chalung-gra “Kalonga Incantations”

Red Neon website (Be.), February 2004 :
Ladies and Gentleman… Your attention ! If you like dark-ambient here is a masterpiece. Nice sounds, slow evolving music. A record with a deep soul… Not too short and not too long (a very important thing). Graphism and illustrations are very nice. Please, grab it before it’s too late. Limited edition of 50 copies. The dream is an edition on good old vinyl but i am dreaming…

Fear Drop (Fr.) magazine #11, Summer 2004 :
Pour retrouver les éclairages ambiants, il sera indispensable d’écouter le nouvel alias de M.Reina, Chalung-gra, qui reprend en les multipliant, les qualités bourdonnantes mélancoliques des précédents disques de Sizzle. En plein territoire ambiant industriel, il suit les exemples édifiants de Robert Rich et Final, il parvient À se ménager des zones de flottaison sans cadavres lustmordiens, ni aucune autre pépite difficilement assimilable. Profitant plutôt de gestes introspectifs, Reina expose la texture granuleuse et le cœur lumineux des nappes qu’il chevauche, des plaques émues par l’archet. Superposant les couches harmoniques qu’il dénude, il fait de sa concession un jardin en terrasses. Étages plus ou moins denses, à la luminosité tantôt matinale tantôt crépusculaire, les longs étirements des deux morceaux (en moyenne une vingtaine de minutes chacun) sont autant de mouvements souples et vigoureux d’une mélancolie orangée, grisée d’échos métalliques figurant peut-être un artisanat assidu, une sincère apnée dans des champs encore prodigues pour qui sait les fertiliser.

Connexion Bizarre (Por.), September 2005 :
Chalung-gra has created timeless music of meditation and solitude on “Kalonga Incantations”, a limited edition, two-track release of 50 copies. It is music for coastlines awash in fog and filtered light, for glacial granite lakes, glass-surfaced with cold, deep serenity. It is music of reverberating colors and atmospheric wanderings – the music of the Aurora Borealis – equally haunting and mysterious. “Kalonga Incantations” lends itself to imaginative displacement; typical for the dark ambient genre it follows. From mellow, syrupy tones to vaguely grinding drones, “Kalonga Incantations” ressonates abstraction in a rather predictable fashion. However, with the extensive “Cari Cali” and “Kahloubhra,” Chalung-gra succeeds in rekindling interest in these banal dark ambient tones and drones with a show of quality and masterful competence. One might imagine landscapes of billowing clouds, moving in various distinct layers through the stratosphere, as “Kalonga Incantations” moves through its metamorphoses of airy synths and quivering bass. Nothing is sudden, no sound is unexpected, no pulse misplaced, and everything flows with a calming sense of majesty. Before long, the better part of an hour has stealthily slipped by unnoticed, and perhaps a portion of worldly stress and exhaustion has gone with it. This music is meant to transport the listener to no destination in particular, except simply beyond. [7/10]