Wicked review, Isaac. Also sad by the Deer Hunter review, I enjoyed the Acts, and this doesn't make me too excited about the new album. The write-up is quality as always though.
Late, but as promised. My 5th article: Rossz csillag alatt szuletett
It's probably my shortest review, and I could add to it, but I wanted to run it here and get another opinion. I worked on it last night and ended up pretty happy with the end result.
There's no denying that Aaron Funk aka' Venetian Snares is one of the most prolific musicians to be found, stacking up a frightning amount of records throughout his career that are on one token distinctively Snare, but also manage to differentiate themselves as new experimental chapters in Funk's eccentric journey to evolve his craft to the absolute peak he can take it. It's not something to sneaze at when your body of work is compared to that of Aphex Twin's Richard D James, and there's no doubt in my mind that Funk is every bit as talented, only he's never found that harmonious balance with his music to connect outside of a specific niche of fans. Not that that's a bad thing, but most of his work can be arduous to digest in large doses, pieces that are admired for their complex structure more than they are to be enjoyed any other way, there lies the main problem to me.
In the early 00's following and inspired by a trip to Hungary, Funk set out to create the album that would undoubtably by his magnum opus, one that combines the best elements of progressive rock, jazz-fuzion, drill and bass, neo-classical, breakcore and mindbending electro. It was a painstaking process as Aaron had to learn how to master certain instruments beforehand such as the Cello, which resulted in this being his most protracted project to date. His experimentalist past certainly benefited him here, as he draws from elements from his past work to compliment the ambitious undertaking . Rossz csillag alatt szuletett is not only an immediate listen, but it's classical roots makes it one of Funk's most easily accessible pieces while keeping him grounded at the core of what made him so appealing to his small crop of fans. It feels like a concept album, one that comes around once every decade, one where even the most jaded listener will stop in his track and adhere to the brilliant composition they're listening to. Drum Breaks mixed with Classical music on paper hardly seems like something to be taken seriously, but the fact that he pulls this off better than anyone before him is worthy of admiration. The drum patterns and string samples here are appropriately paced and compliment the sound well, and the frantic moments of Pizzicato and down-bow stroke just gives that already impressive ensemble a very dramatic signature indicative of Funk's descent into madness. It's something that callsback to the finest moments of 18th Century Baroque and European Folk, all merging within a soundscape that sounds every bit as modern and cutting edge as anything that came before it .
All in all, this is an album that escapes all classification, one that simultaneously pushes the bounderies of the several genres it utilizes. Very few albums are this adventurous, this daring and this justified in drawing from the source material it was inspired by. It is to note that Funk does sample the work of some greats that came before him such as Igor Stravinsky's Three Pieces for Solo Clarine
on the track Hajnal, and Edward Elgar's Cello Concerto in E minor
on Szamar Madar, but that doesn't make the collage any less impressive. It's an absolute must-listen for anyone that values good music ,and appreciates the journey of an artist's musical push toward untapped limits. It's certainly flawed and has it's awkward moments where the concoction doesn't quite mesh as you'd expect it to, but that's to be expected when you have something this intricately layered. He's performed each isolated genre better on past and subsequent albums, but never has the whole felt more complete than it does here. Rossz csillag alatt szuletett is timeless piece of art that gives me hope that artistic integrity is alive and well in the 21st century.