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THE SOUNDBYTE - "Rivers Of Broken Glass" - REVIEWS

Discussion in 'code666' started by Emi, Nov 15, 2004.

  1. jedifart

    jedifart Member

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    From Metalworks Magazine #5 (www.metalworksmagazine.com):

    The Soundbyte
    ‘River of Broken Glass’
    Amaranth Recordings
    The Soundbyte is a solo project of Trond Engum of The 3rd and the Mortal fame, and ‘River of Broken Glass’ was recorded on a boat in the North Sea, which is something new. On display here is one man’s passion and ideas. There is no routine; this is how it happened - no explanation, it simply is because it is. There are many digital sounds throughout, along with the earthy tones of acoustic instruments readdressing the balance between the two. The Soundbyte is a project that has evolved through many years, which can be heard, so this is certainly no whim. Along with Trond, there is a female vocalist who has a Jarboe quality about her voice. The balance drawn between straight songs and ambient soundscapes is remarkable, presenting a consistency that will not be apparent with a casual listen. Trond manages to transcend so many genres, leaving The Soundbyte unable to be pinned into any corner. This restores faith in originality and the belief that music can still progress to new plains. www.amaranthrecordings.com
    7/10 Dave McCallum
     
  2. Bard F

    Bard F Member

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    From: Abyss webzine

    (http://www.sklisen.cz/abyss/recenze/thesoundbyte_river.htm)

    Už se mi dlouho nestalo, abych nějaké nahrávce podlehl na několik týdnů. Debut "River Of Broken Glass" norského projektu THE SOUNDBYTE doslova prostoupil mou duší a stal se velmi zvaným hostem mého přehrávače. Když jsem si o skupině zjistil více, tak uhodil hřebíček na hlavičku. Není divu, že se jedná o tak nesmírně kvalitní dílo, když za ním stojí velmi talentovaný multiinstrumentalista Trond Engum z avantgardních THE 3RD AND THE MORTAL. Ostatně ruku k dílu z téže kapely přiložil i bubeník Rune Hoemsnes (taktéž MANES). Jako další host se představila vynikající zpěvačka Berit Stensland a trombonista Peder Drege.

    O THE SOUNBYTE mohu hovořit pouze v superlativech. Trond si pohrál s každým detailem, s každou zvukovou skulinkou, až můžeme hovořit o šíleném pedantství. Není divu, že výsledek je prost chyb a nedostatků, když na něm Mistr pracoval již od roku 1998.

    Z desky "River Of Broken Glass" tryskají emoce mohutným proudem, emoce však velmi melancholické a temné. Nejlépe by se hudba THE SOUNBYTE hodila jako soundtrack k nějakému filmu noir z poloviny minulého století, neboť z ní čiší jistá reminiscence zašlých časů, jakási nostalgická ponurost. Představte si deštivý podvečer, kdy stojíte jen za svitu pouličních lamp v Paříži kolem řeky Seiny ponořené v mlze, v okolí ani živáčka a vy jen čekáte, až si pro vás přijdou lidé v černých overalech a kloboucích, posazeních hluboko na temeni. Z dálky pomalu přijíždí černá limuzína, a tak dále... Ano, z "River Of Broken Glass" čiší jakási gangsterská rebelie ("Waiting"), ovšem stejně tak dusné erotično Moulin Rouge ("Monyon") či šansonová chytlavost, jako vystřižená z nějakého zakouřeného baru ("The Line"). Zaregistroval jsem i momenty evokující nějaký temný sci-fi film (vzpomeňme hlavně na BLADE RUNNER). Třeba hned úvodní "Fall" nás svou atmosférou přenáší do časů, kdy se androidi stávají lidmi více, než je zdrávo. Podobné nálady dotváří především nazvučení bicích, původně jsem měl za to, že jde o automat. Každý úder do bubnů doprovází nepřirozené echo, čímž hudba nabývá na chladně kovové atmosféře.

    Celkovému výtečnému dojmu z CD napomohl rovněž zvuk a puntičkářská práce s aranžemi. Všechny nástroje jsou velmi dobře čitelné a zároveň však nepostrádají svůj přirozený sound. Kytary však znějí poněkud atypicky. Rozhodně nečekejte sekané riffování ani sólíčkové onanie. Právě v nich vidím největší inovativní přísun projektu THE SOUNBYTE. Trond si pohrává se strunami s takovou ladností, že jeho hra působí až meditativním dojmem ("Reflections of Broken Glass"). Současně z jejich zvuku cítím i jakési doomové aroma či psychedelickou rozvláčnost.

    Na závěr by se neškodilo zmínit, že o emisi desky se postaralo vydavatelství Amaranth Records, za jehož založením nestojí nikdo menší, než Davide Tiso z avantgardní jazz metalové skupiny EPHEL DUATH.

    Hodnocení: 100 %

    Stephen | 13.04.05
     
  3. Bard F

    Bard F Member

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    From Ancient Spirit (Germany)

    (http://www.ancientspirit.de/reviews/cdreview/t/thesoundbyte1.htm)

    Ex-THIRD AND THE MORTAL-Mastermind Trond Engum mit höchst interessantem Avantgarde-Trip-Ambient-Dub-Dark-Sphere-Rock zwischen seiner Ex-Band, ULVER, RADIOHEAD, TIAMAT, GODSPEED! YOU BLACK EMPEROR, JOY DIVISION und David Lynch-Filmen angesiedelt. Auch SIGUR ROS- und NICK CAVE-Fans sollten unbedingt reinhören. Überragend: ’Lie’ und ’Reflections Of Broken Glass’.

    Hage, 10,5 Punkte
     
  4. Emi

    Emi underdog

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    from KRONIK

    http://www.kronic.it/rec_get.asp?sID=11689

    rate: 4/5

    E’l naufragar m’è dolce in questo mare


    Prima uscita per l’etichetta di Davide Tiso (Ephel Duath), l’opera di Trond Engum (ex 3rd and The Mortal) si dice sia stata composta e registrata su di una barca al largo nei mari del nord.

    Al di là della leggenda, la sensazione è quella! Un viaggio nella bruma, dove più che muoversi veramente sembra di ondeggiare, galleggiare in una atmosfera liquida, translucida, palpabile, oleosa ma non greve, guidati da una voce grave, a tratti recitativa, accompagnata eterei interventi femminili. Per le chitarre, elemento presente ma non dominante in un disco che contempla tutte le soluzioni espressive, organiche ed elettroniche, la distorsione non è certo l’effetto più usato; parliamo piuttosto di echi, riverberi, slide, suoni naturali o stranianti, che aumentano l’effetto tenebroso, ma non inquietante (il primo trittico, che culmina in una “Addiction Complete” maestosa, scura ed ipnotica).

    Nella sezione centrale i toni e le voci si fanno più “chiari” e mossi, anche se mai solari, e più vicini alla musicalità rock (o meglio post-rock), senza per questo rinunciare all’andamento oscillante; da segnalare “Waiting”, che, con i suoi archi ed ottoni, sarebbe strepitosa come sigla per un episodio un 007!
    Si ritorna su lidi ossianici, psichedelici e sognanti con la lunga “Reflections Of Broken Glass”, piena di rumori naturali, silenzi, vocalizzi femminili ed echi lontani, che ritornano all’orecchio dalle nebbie, mentre cala definitivamente la notte (“The Dark”).
     
  5. Emi

    Emi underdog

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    from BABYLON

    http://www.babylonmagazine.net/vis_...HE SOUNDBYTE&nome_disco=River Of Broken Glass

    rate: 8/10

    Scivolare languidamente sugli abissi del Mare del Nord, mentre l'occhio si perde sulla ripetitività d'onde lunghe, ed una pungente aria salina scalfisce il volto d'un penetrante gelo graffiante... Un viaggio lungo due mesi, a bordo d'una nave solcante profonde ed alienanti distese, e nel frattempo si evolve una sensibilità artistica sul suono della più fisica natura... Trond Engum, geniale mente dei The Third And The Mortal, in questo progetto solista definito come "cold cutting music", riesce a fondere perfettamente l'esperienza vissuta in mare aperto col suo background tecnologico: un armonico sodalizio tra suoni organici campionati, contestualizzati in una matrice a metà strada tra l'acustico chitarristico ed il digitale. A questo, va ad aggiungersi un complesso intrico vocale, differente per ogni brano, volto a suscitare emozioni sempre nuove in perfetta eufonia col pezzo: pulizia e limpidezza, oppure esasperazione effettistica; maschile, oppure femminile, oppure intonatissima coesistenza; abbandono, lascivia, oppure convinzione e drammaticità interpretative, nell'intento di dipingere un panorama psichico inaspettato e del tutto originale. Ci sorprende, ad un certo e circoscritto punto, l'incursione d'un trombone... Pensate all'esasperante monotonia della sconfinatezza d'acque, il cui cambio cromatico di riflesso al cielo sia fonte d'ispirazioni sottili e fugaci; pensate poi, ad un clima severo ed intransigente, in grado di stringere l'animo in una morsa di freddo che renda incapaci di tiepidi slanci; pensate infine, ad un moto perpetuo ed imprevedibile, che schiuda le viscere a riflessioni sull'umana impotenza messe a tacere dal più puro e desolante terrore... La crudezza imperscrutabile dei Void Of Silence, l'eleganza dei Monumentum, la disillusione e la schizofrenia dei Maanes, in un lento incedere senza fine, senza meta, senza speranza.
     
  6. circus_brimstone

    circus_brimstone Forest: Sold Out

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    from: The Metal Observer (Canada)

    http://www.metal-observer.com/articles.php?lid=1&sid=1&id=8285

    rate: 7/10
    by: Jason Jordan

    I guess I should begin by stating that this is the solo project of Trond Engum (THE 3RD AND THE MORTAL) that was released a few months ago on Davide Tiso’s (EPHEL DUATH) Amaranth Recordings label. So, with that fact out of the way, I can move on to tell you that “Rivers Of Broken Glass” has some interesting moments, but ultimately goes belly-up by the time the record ends. THE SOUNDBYTE have many notable characteristics, it’s true, though this particular album seems bland.

    Naturally, “Rivers Of Broken Glass” features a slew of electronic elements since Engum helms everything himself. Perhaps the best exemplification of the composer’s proficiency in programming can be derived from “Monyon” with its refreshing subtleties. However, I didn’t care for the female vox that hover around in the aforementioned. And, furthermore, Engum’s vocals are too drab, although they’re admittedly more soothing than soporific. I have trouble finding great value in compositions such as “Lie” and “Water.” But “Waiting” utilizes a big-band sound that is rarely heard these days, which unintentionally becomes a throwback to Tiso’s own brainchild in EPHEL DUATH. “Til Ungdommen” and “Reflections Of Broken Glass” – with their incessant, female-rendered vox – won’t be extolled by me anytime soon. “The Dark” doesn’t achieve much either.

    For the most part, “Rivers Of Broken Glass” just wasn’t able to move me in any significant way. There were parts that impressed me, sure, but overall THE SOUNDBYTE’s debut tries to reach too far. I expected more from a solo project that had tie-ins with other groups that I favour. In short, this album is essentially innocuous but it also doesn’t stand out by any means. (Online July 26, 2005)


    :oops:
    I wanted to like it more than I did. Honest!
    :wave:
     

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