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Unwritten |
www.lostateminor.com
Releasing their second album, Unwritten, The Artificial Sea is a collaboration between two impressive American artists, Kevin C. Smith and Alina Simone. With this collaboration comes a sense of old unified with new, where the meshing of jazz, electronic and pop is as seductive as it is captivating. The artists have constructed a delicately deep story through ambient soundscapes, haunting vocals and the resonance of beautiful string instruments.
http://leonardslair.wordpress.com/
It was back in 2006 when The Artificial Sea released their debut, the rather fine City Island. With the wounded sparrow vocals of Alina Simone complemented by Kevin C. Smith’s sonic meddling, they created a dark, compelling world, mixing the industrial with the pastoral. Now they’re back and just as confrontational as before.
‘Kaleidoscope’ reveals the full extent of Simone’s range in her emotionally cracked delivery (part Beth Gibbons/part folk singer) as Smith - aided by baritone guitar and cello – creates a glistening backdrop. Although this opener is hardly pop music, most of Unwritten is far more esoteric and – to be frank – weirder. A lonely trumpet adds to the already rather moody ‘The Gift’, ’Baited Breath’ is based on the simplest of drum loops with Simone left to fill in the wavering melodic gaps, whilst ’Brighter Days’ wavers even further but Smith’s insistent guitar and eerie effects provide the ballast to form a very good song. Then the bravest moment of all is saved for last with a re-imagining of Ravel’s ‘Le Gibet’; a sure sign of the eerie minimalist roots which underpin The Artificial Sea’s performances.
With their innovative and uncompromising take on torch songs, comparisons will inevitably be made to Portishead. However, that’s certainly no bad thing since this is another group of musicians prepared to experiment; leaving an indelible impression on any style they take on.
www.inkoma.com
Three years after City Island, - and since then, one of my favorites in my record collection, - the couple Simone/Smith is back with Unwritten, - ten new songs of soothing elegance and disarming ambience. Pop delicacy conciliated with magnetic buzzing electronica, mostly drumless, - where “The Gift” - more than others - is a simple fragile/nude song, fragile as well as touching, - able, with a few minimal sounds and Alina's passionate vocals, of soaring in the air, while “Arm's Length” represents the band's trademark for perfect seductively instrumental interludes.
Romantic loves and pain for love run along tracks such as “Baited Breath,” “Hey Child,” “Kaleidoscope” (lovely crafted with placid cello sounds and electric guitar riffs), - and now and then Kevin Smith shows off his measured addiction to signals/glitch music and sampled noises - while there's a little of Björk, Beth Gibbons, Shannon Wright, Emelie Molin in Alina Simone's talent, - all coordinates to try to describe the melancholic power of her voice, - a poignant and yearning desire/vehicle of catharsis for the listener (“Sea Drive”): the two, together, give shape to mellow and lenitive tunes, perfect to heal up your wounds, or make you feel happy they're still open, so that someone can lick them for you.
http://www.noizemakesenemies.co.uk
In 2006, The Artificial Sea released their first album, City Island (read our review). Now, four years later they are back with follow up Unwritten. Bringing their electronic melodic indie sounds back, can the Brooklyn duo Kevin C. Smith and Alina Simone deliver on that promise?
Opening track, ‘Kaleidoscope’ is haunting as Alina’s voice compliments the guitar and cello in this electronic but also folksy sound. As the album moves on, there is a strong synth sound, which surprisingly works well with the mellow songs. ‘Dangerous Days’ is a strong track. Alina’s voice and Kevin’s musical talent make for the perfect ambient and relaxing atmosphere.
Other stand out tracks includes ‘Glass’, ‘Arms Length’ and ‘The Gift’. This album has all the qualities of a perfect late summer chill out soundtrack. This is not necessarily a chart breaking number one album but if you are into your folk music but like a little bit of a twist then Unwritten is surely the album for you.
http://www.verbicidemagazine.com
The Artificial Sea is a duo of American artists who put together a blend of multi-instrumental wonder from the superbly talented Kevin C. Smith with Alina Simone delivering lyrics with a sound that carries a haunting reminiscence of Björk with a head cold. Needless to say, the vocals are a bit of an acquired taste at best. But, if you can get past or actually enjoy the vocals then you will be treated to an astounding array of instruments with a marvelous ethereal quality with a sound that varies from track to track but always shows a lightness of touch that belies the best qualities of the sounds of The xx or classic Arcade Fire. Some songs though just fall apart with the vocals taking such a prominent position they decimate the delicacy of the music, with “Baited Breath” being a prime culprit. But overall, Unwritten is a respectable album that genuinely shows off some strong instrumental and production talent.
das klienicum
in der einschätzung um das aktuelle album von the artificial sea könnten einer der protagonisten der band und ich nicht weiter auseinander liegen. während kevin c. smith meint, dass unwritten organischer, gebundener klänge als der vorgänger , so glaube ich ein artifizielles werk zu vernehmen. ein kunstprodukt, wie aus einer schmiede, da die eisernen ornamente stück für stück über dem amboss geschlagen sein wollen, um schließlich aneinander gereiht ein von schönheit getriebenes ganzes zu ergeben. der so vertraute gesang alinas bildet auf dem 2010er werk des multiinstrumentalisten und der ukrainerin die seelenvolle mitte, er ist unmittelbar, stechend, auf unruhig machende weise ernsthaft und von einer besessenheit erfasst, wie sie die aufweisen, denen man alles zutraut und die zugleich voller weisheit stecken.
bei "kaleidoscope", dem opener des zweiten albums von the artificial sea, sind kevin und ich uns allerdings einig. es ist einer der schönsten songs, die die beiden bisher kreierten. in stilvolles ambiente gestellt, weicht alinas gesang jegliches ornament zu gefügigem beiwerk auf, so dass alles ineinander fliesst und der von gitarre, von sparsam gesetzter perkussion und wenigem mehr benetzte song zu einer kleinen sensation gerät. weniger, weil er auftrumpft, sondern, mehr, weil sein understatement staunend macht. das wenige, und kevin hat es in seinem interview ja angedeutet, macht das mehr auf diesem album. der punktuelle eingriff, das im mittelpunkt belassen von songidee und gesang, die feinfaserige unterstützung, das klare separieren einzelner instrumente bewirkt das luftige, atmende und zugleich geerdete von unwritten. keine noten, die jauchzend gen himmel locken, kein zuviel an harmonien und anderweitigen glanztaten, opium für den aufmerksamen hörer. alina simone und kevin c. smith haben davon eine menge zu bieten. jedem song auf unwritten liegt eine basis zugrunde, die für einen eigenen charakter sorgt und zugleich den bogen spannt, um alle zehn tracks in das gemeinsame boot zu holen. "the gift" wird durch eine in den singsang mit alina eintretende, aufgeweichte, helle gitarrensaite bestimmt und durch eine wie im freien feld positionierte trompete befördert. ein zueinander wenden, ein gegenseitiges abgleichen, weil die eine nicht ohne die anderen kann, weil der zauber verginge, würde sich alina allein im kreis drehen. "hey child" nimmt den tänzelnden takt auf und überzeugt mit einer überspannten gesangsleistung, die zwischen wohl und wehe changiert, "baited breath" ist ein fröstelnder, unaufgeräumter schleicher, "arm's length" mäandert anstandslos über synthiewolken, flottiert von dieser einen transparenten gitarre, ein entweichen ins instrumentale, das umgehend durch "brighter days" gebrochen wird, das stolpernd gerät, dessen elemente, das klavier, das glockenspiel, die sechssaitige und schließlich die singende säge, sich zu einer einheit fügen. schließlich begegnen wir in "glass" einer fragilen komposition, in der sich kevin etwas mehr an spitzfindiges und außergewöhnliches halten kann, in aller kürze, mit "dangerous day" einem filigranen ausflug an bongo, harmonika und gitarre, der allein durch alinas stimme erdung findet und in "sea drive" einen kurzatmigen wie zittrigen auftritt.
dem außergewöhnlichen paar, der in die staaten ausgewanderten ukrainerin alina simone und dem virtuosen klangkünstler kevin c. smith, ist ein irre schönes album gelungen voll verschlagener einfachheit, voll verückter unglaublichkeit, voll staunender kindlichkeit. seine größe macht das waage halten vom zur kunst geratenen zwang und der freizügigkeit des alles machbaren aus. der zugang ist über geräumige bahnen möglich, die sich dem hörer zuhauf offerien.
Unwritten is the long awaited follow up to the 2007 album City Island from The Artificial Sea.
The Artificial Sea is Brooklyn duo, Kevin C. Smith & Alina Simone where Kevin composes all the music and plays most of the instruments whilst Alina adds the lyrics and vocals.
Although Kevin plays a wide range of instruments and there are some 3rd party contributions on cello, drums and trumpet the songs are very lo-fi and minimalist. Although this experimental/electronica sound is often ambient I am reluctant to consider it as such due to the emotional vocals from Alina. Perhaps the fact that her family were political refugees (her father refused an 'invitation' to join the KGB and was tagged as 'refusal to cooperate' so fled to the US when Alina was young) gives her the passionate sound.
Anyway, it's a very interesting album with some beautiful moments and, although it's unlikely to affect the album charts, earns a place in the music world.
http://thefirenote.blogspot.com
The calmness of sound itself is the take home point from The Artificial Sea's sophomore record Unwritten. The album is driven by the siren vocals of Alina Simone and the composed music of Kevin C. Smith that is supported with an array of building soundscapes, anchored with smooth string and horn undertones. Unwritten is perfect for a day when you have time to sit and absorb the duo's music, as its stories told by Simone can be both lonely and engaging in the same breath. The Artificial Sea is currently looking for a bigger audience and with this effort, I see no reason that people who love a Björk, Mary Timony, or Kristin Hersh won't dig this album.
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Reviewed |
Outsider Music Press
Remix albums amaze and bewilder me. This is probably because I have no technical knowledge on how the programmers do what they do. While some may argue remixes are inherently breaking all sorts of copyright laws, I’ll continue to stand behind the concept as a musical science with a genuine loyalty to the originators and a totally postmodern approach to sonic revision.Speaking of remixes, The Artificial Sea has a new remix album out. It is a collection of songs revamped by various remixers from their 2006's City Island, as well as their brand spankin’ new album, Unwritten.
The Artificial Sea has always been a sort of fluid musical project since inception. The duo is a long distance euphonious affair, between instrumentalist and beat maker Kevin C. Smith, residing in Pittsburgh, and singer/wordsmith, Alina Simone, mostly in NYC (and world wide touring her solo project which has received some indie-cred points in reverent publications such as Pitchfork, Village Voice and the New Yorker).
Lots of headphone friendly ear candy can be found in Reviewed. Most of the album can be described as soothing and atmospheric thus is an album that is perfect to zone out to find inner solace after a long day in the world. It takes guts to give up your art for outsider pursual. However, Kevin C. Smith is pretty happy with the results of their electronic trickery. “It’s a pleasant surprise to hear what direction other people take our music in and I’ve been consistently pleased with the results,” he states proudly.
Better yet – The Artificial Sea’s Reviewed is available for free via soundzfromnowhere, a Luxembourg based weblabel which operates under the Creative Commons principals of sharing music for personal and creative use to enlighten and free artists from the heavy hands of corporate society.
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City Island |
www.crashinin.com
City Island is the debut album from Kevin and Alina. The duo's slow melancholy electronic melody instantly conjures up memories of past Portishead releases. Their soothing, electronic soundscapes would make perfect music for a rainy day backdrop.
www.leonardslair.co.uk
With its warped guitar riff, intense percussion and wounded sparrow vocals, The Artificial Sea have made an early bid to become the Portishead of the 21st Century with their song "Gloryhole." It's an excellent dramatic start; made all the more special by the fact that this New York duo are a humble,
self-produced act. The ambition and scope of their oeuvre is there for all to see, however and even though "Gloryhole" is probably their best song, the remainder of City Island is full of edgy, dark melody. A throbbing bassline makes "The Light Of 1,000 Televisions" a slick, jazzy delight, "Tunnel
Vision" is mournful and moving whilst the sinister and subtle "Ride This Thing" bears close resemblance to the Cranes. Another highpoint is "Things We Spent" where they manage to produce a tender, teary love song made all the more unusual by wonky instrumentation and an almost classical tune. This
is sterling, stirring and imaginative music that deserves a much higher profile. 4 out of 5
Pythie impitoyable de ce duo new-yorkais, Alina Simone est née en Ukraine : on ignorait que Siouxsie Sioux y avait ouvert une garderie d’enfants, avec cours de chant autoritaire obligatoires. Ce chant tourmenté, ces guitares inquiètes, cette basse qui murmure gravement : The Artificial Sea est une banquise, sur laquelle errent, hagards, des restes de civilisation, d’un rock gothique dépenaillé à un trip-hop aux élégances laminées.
Car si on pense parfois à Portishead pour cette suavité glaciale, voire à la Björk d’Homogenic pour ces boléros désolés, The Artificial Sea en serait une version lo-fi, en hypothermie. Une carcasse aux formes pourtant étonnamment charnelles et sexy, bricolée à la main verte par Kevin C. Smith : instruments organiques épars et électronique discrète y forment un dédale nettement plus riche et complexe qu’une écoute discrète le laisserait supposer – un écrin de glace pour la voix pétrifiante d’Alina Simone, version cryogénisée de Nina Simone.
www.mille-feuille.fr
City Island est une formidable preuve qu'il ne faut pas se fier aux apparences et qu'un artiste peut souvent révéler plusieurs facettes. d'Alina
Simone on se souvenait surtout de cet ep magistral, nous ramenant aux heures de gloire de Cat Power : même envie d'en découdre avec le monde
entier depuis sa chambre, même beauté fièrement rèche. L'idée d'entendre The Artificial Sea, son projet avec Kevin Smith
(aucun lien avec le réalisateur de Clerks) était donc forcément alléchante. Pour être franc, la déception fût grande
aux premières écoutes, puisqu'à la place de chansons à la colère contenue, on y entend plutôt une sorte de Bjork en goguette,
perdue dans une grande ville.
La fuite, voilà justement un excellent moyen pour finir par rentrer dans ce disque, beaucoup plus organique qu'on pourrait le penser de prime abord. Comme si on pouvait le découper en deux, on se dit que la meilleure façon de découvrir ce City Island serait de prendre sa voiture et de la lancer dans une direction inconnue. Et là première partie du disque. Ensuite, une fois débarqué(e) dans cette location nouvelle, apprendre à l'apprivoiser. D'où la seconde partie (imaginaire, rappelons le) du disque.
Les chansons sont en effet assez abstraites pour devoir nécessiter plusieurs écoutes avant de pouvoir mener à bien leur mission de séduction. Comme bien souvent la plongée totale dans l'inconnu pour l'auditeur semble un peu abrupte avant de révéler ses charmes, le faisant au compte-goutte, presque avec un plaisir pervers.
Ca n'est donc pas un hasard si c'est sur la dernière partie du disque qu'Alina Simone décide de finir par se (dé)livrer un peu plus, agrippant sa guitare comme on peut s'accaparer quelques bribes d'optimisme, même dans les situations les plus compromises. Evitant avec soin de faire exploser ses notes, la charmante américaine se montre alors sous son meilleur profil pour broder des douces toiles, portées par une voix enjoleuse et parfaite d'un bout à l'autre du disque. On pourra ainsi voir différement le début du disque, qui comme un parcours initiatique, finit par mener à la beauté sensible et etherée du folk d'Alina Simone. Qu'on a donc de plus en plus envie de retrouver au plus vite.
www.liepaper.com
The Artificial Sea is a collaboration between Kevin C. Smith and Alina Simone. Simone is a singer/songwriter who released her debut EP (Prettier In The
Dark) to scattered acclaim in 2005. Simone is currently preparing a full length release for her solo vehicle. Until then, there is City Island, which,
so far, is only being released in Europe. Simone’s solo work tends to be a stripped-down affair that is often compared to the likes of Cat Power,
Mirah, and PJ Harvey. City Island will no doubt receive Portishead and Beth Gibbons comparisons, and while that is acceptable to an extent, there is
a lot more happening here.
Smith, a former music instructor, reportedly met Simone while giving a theremin lesson. He plays all of the instruments (guitar, synth, DIY electronics) on City Island and Simone, of course, sings. “Gloryhole,” the opening track, gives the best representation of City Island. Drums and bass boom alongside Simone’s haunting voice as a synth swirls through the wreckage. The theatrical “Tunnel Vision” offers Simone’s best vocal performance to date and is the track that truly sold me on City Island. “The Light of 1,000 Televisions” and “Vor” are, if I dare say, authentic trip-hop, a hard thing to come by these days.
One of the few complaints I have is that “Things We Spent” and “Happy Ending” are too thin to be truly substantial. Granted, City Island pushes Simone in a completely different direction than her solo work. This is an experience that should bode well for her full length. The album establishes Smith as a promising noisemaker and I am interested to hear any future releases from him. It is unfortunate that City Island has yet to solicit a U.S. distributor. This is a successful collaboration worth seeking out.
www.theblackandwhitemag.com
Stop holding your breath for the long promised Portishead reunion. Why? Well, the reason is wrapped up in 10 trippy songs by The Artificial Sea. City
Island opens with the male-female duo fronting their strongest hooks. "Gloryhole" is a hypnotic and spacy voyage into artful trip-hop bliss. Alina Simone is loaded
with powerful soul, and these songs prove to be the perfect outlet. Master-instrumentalist Kevin Smith creates the grooving soundscapes, and he wisely changes tempos
and atmospheres to keep you listening. City Island is an album largely driven by backbeats, guitars that are shoegazing yet funky, big bass lines, and at
the heart of The Artificial Sea is Simone. Squarely put, bands like Goldfrapp, Black Box Recorder, and even the aforementioned Portishead, have the vocal
talent to carry records on their lone shoulders. The same can be said about this band, and like the others, The Artificial Sea is equally propelled by
the musical innovation of Smith. All of the songs safely live within dreamland, and bare a chic otherworldly presence. The atmospheric moods are urban and
slightly off-kilter, and when you hear City Island as a whole, it's clear that while they wear some obvious influences, this band is not an imitation
of the past. For fans of every band already mentioned, plus The Go! Team, Cocteau Twins, and Melt Inside-era Yellow6.Rating: 7.4
www.inkoma.com
Damn good debut for Artists Kevin C. Smith (NY, usa) and Alina Simone (Kharkiv, Ukraine), The Artificial Sea's core. "Tunnel Visions" is on heavy rotation on my current
playlist, such it's obscure, full of desperate love, catchy, - a combination of upbeat, broken heart cello, guitars and subtle melancholic vocals. Alina's
gentle voice makes me think of a fragile soul between Bjork ("Things We Spent") and Cat Power ("Ride This Thing"), - and if i mentioned to Portishead it might
only be reductive, if not in reason of the great attention given by Kevin to composition ("Better Living's" trip hop ambient), programming, minimal electronics
and sound samples in use. "The Light Of 1,000 Televisions," as well "Vor" (perfect in its chorus), "Milemaker's" dramatic beauty or the enchanting lullaby on
diamonica "Things We Spent" made this album simply imaginative, delicate and even perfect if chosen as a melodies box to play before You sleep. Warmly suggested.
http://noizemakesenemies.blogspot.com
Flowing out of Brooklyn like a Björk / Sigur Rós collaboration, duo The Artificial Sea forge trippy ambient soundscapes with a European flavour. With elements of Kid-A era Radiohead, early Massive Attack, Brian Eno and Leftfield. Two gifted individuals creating precise compositions. Adroit, creative and beautiful.
Kevin C. Smith, composer and multi-instrumentalist takes an array of sounds to create cavernous dimensions and atmospheres. Experimental use of keyboards, brass, woodwind, strings, programming and live and mechanical percussion form unworldly, dark melodic formations. Occasionally juxtaposing them with light piano or glockenspiel notes floating delicately through the songs like wisps of summer cloud.
Ukrainian born Alina Simone provides the lyrics and vocals of the project. She is a vocalist who demands attention, a captivating voice that ensnares the imagination, intensely melancholic treading the fence between tenderness and anguish. Her eastern European influence comes through in Smith’s music too, “Vor” features hypnotic and fascinating woodwind sounds the like of witch you’d expect to find charming snakes in Arabian market places.
Just as the music features clashes of light and dark, confusing and enlightening, so to do the lyrics venture from the cryptic to the every day, from the brutally honest to the gorgeously poetic: “no one wants our happy ending, they want love that got fucked up and blew away” “white sheets burn out someday, somewhere glow lights, joy ride meet me at the cross roads at the sign where the dears cross cars turn, wheels hit like waves.”
As much modern art as it is music, like a vast and complex sculptural installation, it forces the listener to think deeply about what their hearing – about it’s meaning and symbolism, about what it’s creator is trying to convey. It is impossible to listen to The Artificial Sea and just let it wash over you. This is a highly thought provoking, highly intelligent piece of craftsmanship in musical form. Enchanting, mesmerising and simply sensational.
Prettier in the Dark avait laissé dans ma mémoire bien plus qu'un souvenir, il m'a longtemps hanté, rageant à l'idée que ce disque si court pouvait être le seul d'Alina Simone. C'est avec surprise que je retrouvais Alina au chant et à l'écriture d'un album en duo avec le compositeur Kevin C. Smith sous le nom de The Artificial Sea. Il ne m'en fallait pas plus pour dévorer le disque comme un survivant de lost se jetterait, perdu sur son île, sur des caisses de bordeaux à la dérive. La dérive des continents, responsable de l'insularité ne m'en voudra pas de la traîner devant les tribunaux afin de me rapprocher de cette île le plus possible, de cette ville loin du monde des fades. Dés "Gloryhole" (titre à méditer messieurs dames) nous retrouvons la voix de cette jumelle vocale de Chan Marshall, mais si loin du folk, si prêt de Portishead ou du meilleur de Björk. On chavire sur cette île, car l'album est volontairement aguicheur et les morceaux les plus directs cassent nos amarres. La basse de "The Light of 1,000 Televisions" danse main dans la main avec le désespoir, alors que "Tunnel Vision," joué avec la boite à rythme d'arise therfore réchauffe les corps en les collant. En avançant le propos s'épaissi, comme si cette île densifiait sa végétation, sa faune (l'envoûtant "Vor") sans aucune balise autre qu'une rythmique minimale. Si l'écoute de ce disque provoque des réactions elliptiques, c'est qu'il suggère beaucoup plus qu'il avance à l'image de cette voix en mal d'assurance, fragilisé à chaque instant même lorsque le terrain parait conquis d'avance ("Outpost" touchant). Après l'ovni Hoepffner, travelling music se spécialise dans l'intriguant. La possibilité d'une île.
This Brooklyn, New York-based band's album has been released on the French label Travelling Music...a seemingly appropriate home for this obscure little duo. The Artificial Sea is Kevin C. Smith (who plays the music) and Alina Simone (who writes the lyrics and sings). This duo creates atmospheric soft pop tracks with strangely haunting melodies. Unlike many of their contemporaries, these folks have the good sense to leave plenty of wide open space in their recordings...thus allowing listeners to concentrate on the substance that is inherent in the music. Combining snippets of ideas from 1970s progressive rock with bits and pieces from 1990s slo-core bands...Smith and Simone have managed to come up with an album that is uniquely soothing and satisfying. Our favorite tracks are "Gloryhole," "Tunnel Vision," "Things We Spent," and "Outpost." Nice packaging on this one. Recommended for fans of Björk. (Rating: 5) [out of 6 "Quite Excellent"]
This record starts with the same drum pattern that “La La Love You” from the Pixies (from Doolittle) uses and then singer Alina starts in the same soothing croon that Kim Gordon often has, and that lays down the basic coordinates for City Island in some ways – though through the next ten tracks a lot of different, wonderful and exciting things happen that would make it unfair to pinpoint The Artificial Sea to these two poles only. These are just associations from the first five seconds of this album, but very strong and depicting ones, so they are put right in the beginning deservedly. And anyway, these poles are so far apart that a whole globe fits in between. Enough space for any good band to find unique and unexplored areas to dwell in. And they find it about thirty seconds later.
The Artificial Sea is a Brooklyn duo of Kevin C. Smith programming and playing instruments and a female singer called Alina. This band structure of programmer / singer has become something of a standard in the last years all around the world. It depends on the abilities of the programmer and the vocal range of the singer to get the music out of the usual downbeat, laidback lounge crooning that rolls on by nicely in the background or is quickly being used as a backdrop to the clicking of cocktail glasses and the hiss of mature conversation. Dinner music – what a despicable (if necessary) world of music. The Artificial Sea are fortunately able to stand on their own. I see them in a small club, dim tables and artificial candles, all faces focused on them. Way better.
Smith’s music is simple yet depicting and effective. He sometimes uses only small arrangements, working with a drumbeat and only some sounds on top to open free space for singer Alina to explore the full range of her croon (for example on “Things We Spent”). Then he introduces real instruments, guitars, a lonely saxophone in the background and else, and builds layers of sounds with a strong Massive Attack bass line. The atmospheres range from laid back gentle afternoon (rainy ones preferred) to hinting at claustrophobic urban nightmares (for example “The Light of 1,000 Televisions” or the one track using vocal samples instead of the singing voice: “Better Living“), though they never stray into truly disturbing territory. So, yes this is electronic music with a strong urban background and an interest in the downsides and dark corners, but it is not Johnny YesNo. Maybe because Kevin C. Smith works out his music late at night after work in his private apartment and doesn’t want to disturb the neighbor.
Without the singing, though, this would be interesting but not as fascinating and intriguing as it is. Alina croons and sighs, sings and wails. She is on the lookout for her own voice somewhere between aforementioned Kim Gordon and Björk, which is fabulous, because neither are traditional singers but focused on being individual and unique. Alina adds sparks and emotions to the music, from the gloriously shining first track “Gloryhole” to the retracted, introverted closer of “Milemarker.”
That is about all I know about The Artificial Sea, and because I don’t care about the number of friendship-ticket-exchangers a band has I never check out MySpace (except if some friend I trust hints me to something) I am reluctant to get any more information. If it isn’t within these ten tracks, then it probably isn’t worth mentioning anyway. But I do know that City Island is a wonderful album of moving songs that will definitely enhance the cracked ambience.
Somewhere between trip hop, the underworld, and the moon lays The Artificial Sea. This New York two piece cross pollinates genres like Darwin did with roses and has no problems mixing their gothic influences with their sensual desires.
Their debut album City Island is a testament to their ability to genre hop and make music that while dark and intriguing is still appealing. City Island is not a pop album that's all high energy, in fact, it never reaches a pace faster than crawl. It's almost as if The Artificial Sea is like a musical version of the Tortoise and the Hare with the songs just slowly patiently whispering by in an unassuming manner coming to a conclusion in what seems like an eternity later. In addition to moving at a snails pace the songs on City Island are so quiet and ethereal that it truly is possible to hear a pin drop while listening. The Artificial Sea are truly hauntingly stunning band that is not in much of a hurry to be anywhere or make any kind of noise.
Despite their unassuming nature, eerie sound, and The Artificial Sea's master of defying genre boundaries most of the songs on City Island sounds alike. Throughout the album there really isn't a lot to differentiate each of the songs. Whether its because of the pace, the minimalist arrangements, or something else, the album suffers a bit because of the lack of differentiation between songs.
In listening to City Island it becomes harder and harder to separate tracks from one another and by the time the album ends it plays in your mind like one long song. Its unfortunate because the minimalist nature of the album is intriguing but in the long run works against it.
The Artificial Sea is an intriguing band. Their sparse arrangements and ghostly atmosphere's are very cool but lack that little something that sets them apart. With a bit of work and some divergence The Artificial Sea could be a very very special band.
foutraque
Envoûtant et ultra marquant, l’album City island du duo new yorkais The Artificial Sea risque de devenir rapidement le disque de chevet des nombreux amoureux d’univers planants et langoureux… La superbe voix (très joliment) voilée d’Alina Simone et les musiques - entre trip hop, jazz, folk et pop - composées par Kevin C. Smith se mélangent à merveille pour créer des plages en apesanteur, loin du bruit quotidien et des tracas routiniers. Les machines (discrètes), les instruments vintage, les arrangements d’une sobriété remarquable et la voix, parfaitement maîtrisée, impressionnent durablement l’oreille, avec un effet délicieusement addictif. Comme les paysages sonores esquissés par Beth Gibbons, Portishead, Björk ou encore Cat Power (auxquels les morceaux de The Artificial Sea font penser… ), la sensation produite par ces comptines américaines (mais universelles) est tout simplement jouissive ; l’auditeur se sent bien, comme s’il était au milieu d’un cocon, en train de survoler des pays étrangement inconnus… Ce disque est donc très réussi et, à ce titre, mérite d’être écouté par le plus grand nombre. Avec un répertoire d’une telle qualité, les prestations scéniques d’Alina Simone et Kevin C. Smith doivent être absolument incroyables !
Opus
It seems like a lot of electronica-laced pop acts out there focus on making music that is all pretty and floaty, blending wispy (often female) vocals with gurgling, glitchy electronics and ethereal, ringing guitars. Some groups under this umbrella that immediately leap to mind include Park Avenue Music, Lullatone, Casiotone For The Painfully Alone, and Piana.
However, I have difficulty lumping The Artificial Sea in with the aforementioned artists. While the music of Brooklyn-based duo Kevin C. Smith and Alina Simone contains many of the same elements, there’s nothing all that cutesy or floaty about their music.
Rather, there’s a tension and anxiety lurking in the shadows of City Island that seems at odds with what most folks might be expecting from an electronic pop act. At odds, and yet also quite beguiling.
I suspect much of this has to do with Alina Simone’s vocals. Whereas vocalists such as Jeannette Faith and Naoko Sasaki sing in a childlike, playful, and dreamlike manner, Simone’s voice is edgier, thinner, perhaps even a bit unhinged and desperately desperate in a manner more akin to Insides’ Kirsty Yates than the Cocteau Twins’ Elizabeth Fraser.
On “Gloryhole,” the album’s opening track, Simone’s voice careens all over the place, gasping and straining as if she’s being strangled or trying to tell you something incredibly urgent with her final breath. Elsewhere, such as on “The Light of 1,000 Televisions,” she’s content to just meander off on her own, babbling to herself or scatting away in the distance. The listener is left in something of a lurch, left scrambling to make sense of it all on their own.
While this can be a bit frustrating, it’s also fascinating. And when Simone sings in a more straightforward manner, such as on “Tunnel Vision,” the urgency and emotion in her voice is quite affecting.
Simone’s voice, in all of its form, is ably matched by Kevin C. Smith’s layered sonics. At times, they lack a bit too much subtlety: witness the sampled drug-related lecture on “Better Living,” which seems clever at first, but doesn’t hold up to repeated listens. But for much of the album, his programming, sampling, and arranging provides an interesting context for Simone’s voice and adds to the murky atmosphere.
At first glance, portions of the music seem a little dated, a bit too indebted to late 90s trip-hop, chill-out, and IDM. But in execution, it’s no less affecting. The loping bassline and jazzy drumming on “The Light Of 1,000 Televisions” is reminiscent of Bowery Electric’s Lushlife, providing just the right amount of aloof, jazzy cool for Simone’s meandering, introspective voice while distant-yet-ominous synths and strings circle around the perimeter adding enough ominous flourish.
The beats on “Tunnel Vision” stutter in glacial fits while a cello keens in the distance, only adding to the regretful tone of Simone’s voice. One can almost picture the near-empty bar to which Simone sings as Smith backs her up on the sampler: cigarette smoke lazily floats upwards in the dim light while a dozen hushed, illicit conversations mix in with the plucked strings and synthetic rhythms.
The wah guitar, liquid-y organ, and trebly middle-eastern samples lend “Vor” an exotic texture quite appropriate for Simone’s glossolalia, the atmosphere verging on cinematic. One can almost see the back alley hitmen from Wong Kar-Wai’s Fallen Angels lurking in those samples.
Restraint seems to be Smith’s primary modus operandi. While there are occasional orchestral surges and climaxes (“The Light of 1,000 Televisions”), he keeps things at an almost threadbare level (by the time the album ends with “Milemarker,” Simone is all alone except for a handful of synthetic gurgles and a somber cello). The listener is left to fill in the blanks, create the mental pictures, and imagine what’s going on in those spaces between the sounds. And given the terse, urgent manner of Simone’s vocals, whatever’s going on must be something rather dangerous and forbidden.
Suggestion and subtlety goes a long way towards holding my interest, be it with a movie, CD, or book. Those are qualities that City Island has, to great effect. The Artificial Sea’s music is a little rough around the edges, but by and large, it’s a solid debut whose restraint leaves the listener wanting more—in a very good way.
Alternatifs
Issu de la scène new-yorkaise, The Artificial Sea distille un trip-hop qui sonne dès les premières minutes comme un brassage des influences, une synthèse des sonorités actuelles et passées. Portées par un chant féminin atmosphérique, délicatement posé sur des instrumentations enivrantes, les compositions du groupe se détachent des modes actuelles. Mélange des sonorités et des cultures, écouter The Artificial Sea est synonyme d’évasion et d’émotions. En découvrant ce City Island, on se dit que les deux américains sont dépositaires d’un univers propre qui enfonce les portes du trip-hop pour effleurer le jazz ou encore l’électro et la pop. Parfois entraînant, souvent minimaliste, chaque titre apporte son lot de surprises. Sans détour disons que la rencontre entre Alina Simone et Kevin C. Smith a été le déclencheur d’une étonnante productivité car une musique aussi touchante ne peut être que le fruit d’une réunion de deux artistes très particuliers. Kevin C.Smith est la tête pensante de l’œuvre du duo mais sans la voix si particulière d’Alina, aucune de ces compos n’aurait eu le relief qu’elles ont aujourd’hui. Rencontre improbable et pourtant magique, compositions terrifiante de sensibilité, The Artificial Sea pose une empreinte indélébile sur les sonorités trip-hop actuelles.
Rockomondo
Ceux qui ont vu The Artificial Sea incarné par la seule Alina Simone lors de sa dernière tournée française en novembre 2006 risquent fort d'être surpris par ce premier album. Car si Alina Simone est bien la voix de ce duo de Brooklyn, c'est son partenaire Kevin C. Smith qui en signe tous les arrangements. Et cela change singulièrement la donne. On avait vu sur scène une chanteuse à guitare dans l'esprit de Shannon Wright, voilà sur disque un mélange réussi de sons électroniques et organiques, concocté à base de synthétiseurs vintage, de consoles de jeux antidéluviennes, de samples en tout genre, mais aussi de guitares et de cordes. Cataloguée "trip-hop" par un bon nombre de chroniqueurs, la musique de The Artificial Sea se révèle cependant infiniment plus complexe que ne pourrait le laisser penser cet étiquetage trop hâtif. Sa beauté crépusculaire n'a pas fini de nous hanter. On saura gré au label toulousain Travelling Music de nous en avoir fait profiter.
Dream Magazine
This intriguing two piece Brooklyn band is made up of electronic multi-instrumentalist Kevin C. Smith, and singer/lyricist Alina. They make a fractured and gauzy stumbling dream-logical sort of downbeat pop which goes off into ten different directions. From the downcast electro-chamber music of "Tunnel Vision," to the glittering whispers of "Ride This Thing" which blooms into a hypnotic dream-pop ode to unfulfilled longing. The Erik Satie meets Hood on Björk’s patio sound and forlorn loveliness of "Things We Spent," to the spare lonely pulsings of "Milemarker."
La Magic Box
On parle souvent de la fuite des cerveaux, moins de l’arrivée des talents. The Artificial Sea est un duo américain qui vit toujours à New York mais il est signé sur la structure toulousaine Travelling. Ce City Island apparaîtra comme un effet positif de la mondialisation tant ce disque va vite devenir essentiel pour tous les amoureux de voix féminines aussi personnelles que bouleversantes. Alina Simone devient sous nos oreilles envoutées le chaînon manquant entre Cat Power, de Beth Gibbons et et Björk (plus proche de l’Américaine sur le plus rock "Gloryhole"; de l’Anglaise sur "Happy Ending," de l’Islandaise sur "Tunnel Vision"), trois références qui économisent tout un tas de verbiage rendu inutile, sur une personnalité à fleur de peau, des intonations fiévreuses et autres images d’excellence. C’est vrai que la voix d’Alina marque l’épiderme de n’importe quel auditeur normalement constitué (c’est-à-dire avec des oreilles). Mais celle-ci n’occulte pas le reste, l’apport de Kevin C. Smith, l’autre partie du duo, qui dessine les paysages parfaits pour la voix de sa compagne. The Artificial sea a dépassé le trip hop, l’a débarrassé de son emphase sombre, de son académisme bien comme il faut ; tout ça dans le but de lui faire retrouver sa chair originelle. Ainsi dégraissée, utilisant des boucles à bon escient ("Vor" et son petit côté brésilien à la Smoke City), ne plombant pas tout sous un jazz de bon ton, la musique de the Artificial Sea délaisse les bars lounge bien comme il faut où la musique est utilisée à usage décoratif pour réinvestir la vraie vie, avec ses émotions crues et brutes. Même si le duo utilise beaucoup de machines et aime l’electronica, il émane de leur musique un parfum d’acoustique rehaussé de violoncelle et même de saxophone ("Outpost" et sa guitare électrique en forme de toile d’araignée). Bref en dépit de son The Artificial Sea distille de l’authenticité par tous les pores de sa musique. 9/10
Froggy's Delight
Le duo ricain The Artificial Sea livre un premier album de choix chez l’exigeant label toulousain Travelling Music (Hoepffner, Lemoine, CancelN, Andrew Sweeny…). Le début de cet album ("Goryhole") me rappelle curieusement au bon souvenir des morceaux cools de Dirty de Sonic Youth. Bien que la comparaison soit osée, voire tirée par les cheveux, il est indéniable que la ligne de basse légèrement dissonante et les guitares aériennes, ainsi que le beat chaloupé nous entraînent tous dans cette direction. Ca commence bien. Mais ce qui saisit surtout c’est la voix cristalline d’Alina Simone, le + de cette pile bipolaire qu’est The Artificial Sea. On ne peut s’empêcher d’évoquer à la fois Björk et Cat Power pour le grain et le côté peut-être femme-enfant que l’on a envie de réconforter….
La suite revêt des atours plus jazzy, ambiance "The Rebirth of Cool" et "Tunnel Vision" évoquera par exemple l’ambiance mystique et sophistiquée d’Homogenic avec son mélange de cordes haletantes et désarticulées et de beats post-Matmos alors que les paroles entonnent un "I was lost… in the commotion" de bon aloi, assez mystérieux pour que l’on se laisse emporter par l’étrangeté automatique de "Ride This Thing" avec voix susurrées au creux de l’oreille et rythme ascétique, savamment groovy. "Vor" confine des ambiances orientales sur une basse décomplexée et des arrangements non-loin des atmosphères distillées par Portishead en son temps. Orgue asthmatique et confidences sur fond de beat box au régime sur "Things we spent" et "Happy Ending". "Outpost" remet au goût du jour les mélodies pop sur fond d’arpèges inversés, symbole d’un passé mouvementé qui fournit aujourd’hui le tapis rouge de l’inspiration alors qu’un saxophone facétieux se fait une place de choix près de la cheminée. Un son qui réussit le pari de mêler influences palpables et nouveauté dans l’approche et surtout une fraîcheur indéniable dans le son, sans oublier une voix magnifiquement écorchée qui suggère que l’île dont il s’agit vaut le coup d’être recherchée.
Intramuros Mensuel #312
Dès la première plage des cet album mélancolique, on pense à Björk dans sa période Kukl… une bonne touché de trip-hop en plus. Quelle voix cette Alina Simone, chanteuse ukrainienne installée à New York où ce duo nous a concocté cette curiosité où se mêlent électronique et vrai instruments dans une parfaite harmonie. (dans le bacs)
Tone and Groove
The Brooklyn duo of Kevin Smith and Alina Simone create synth noir, with breathy, sensual vocals that rise into moments of emotive power reminiscent of Kim Gordon and Björk. Portishead comes to mind, as well. These dreamy urbanscapes are like driving home from a late night clubshow, down near-deserted streets in a strange, but appealing city.
Music Spotlight
The debut album from Brooklyn duo Kevin C. Smith and Alina Simone (AKA The Artificial Sea), City Island gets off to a good start with early standout track “Gloryhole” – a track that blends together some good electronic effects, punchy drums which drive the song forward, and an impressive vocal delivery from Alina. It’s an ambitious and imposing start to the album, and shows much potential for the rest of the album.
“The Light of 1,000 Televisions” is a more laidback and relaxed affair in comparison, with an insistent beat in the background driving the song along at a steady pace. This relaxed approach is the setting for much of the album, with Alina’s vocals and lyrics being ably backed up by some interesting techniques and soundscapes. A perfect example is “Tunnel Vision”, a song which uses strings to good effect, while “Ride This Thing” has a dark, almost sinister feel running through it.
“Vor” has a Middle Eastern vibe running through it and this, along with the other experimental directions and approaches that some of the tracks on City Island take, seems to work surprisingly well. “Things We Spent” and “Happy Ending” are reasonable efforts but just lack that certain something to really make them standout, while “Better Living” is the most experimental track on the album but it doesn’t really possess the qualities needed to hold the listener’s attention.
Next up is “Outpost” – the main highlight of the album with another impressive vocal performance from Alina combined with some elements of jazz, and more importantly a memorable melody before “Milemarker” ensures the album finishes strongly.
City Island is an intriguing listen and contains some impressively imaginative soundscapes and strong vocal performances, and while the experimental nature of the album does at times leave the listener wondering quite where the album is heading, it is an album which never proves dull or uninteresting and this ensures that it is definitely worth a listen.
Rating: 7/10
RetroLowFi
Remember Portishead? The duo made two really beautiful trip-hop records packed with dark songs about obsession and loneliness but that somehow were still unbelievably silky and sexy. Sadly, Portishead is no more. However, thankfully, we have The Artificial Sea to step in.
The Artificial Sea is the Brooklyn-based duo Kevin C. Smith and Alina Simone. Smith supplies the swirling synth, samples, and beats, and Simone supplies the voice. Simone’s voice is perhaps The Artificial Sea’s strongest weapon, as it can bend and meld as it shapes to fit the requirements of whatever mood Smith creates. It’s frankly pretty amazing.
The result isn’t exactly Dummy, but it’s definitely within the same realm. In the opener, “Gloryhole,” Simone wails and shrieks with terrifying urgency as a synth coils behind her. Think Björk but not so hysterical and about a thousand times more full. Honestly, I can’t understand a damn word Simone is saying, but it doesn’t matter. In the next song, “The Light of 1,000 Televisions,” Simone is almost a different singer. The wails are gone, and she almost whispers every word. Meanwhile, Smith throws out a throbbing bassline, making “Televisions” an enormously slick tune. “Better Living” is an odd one, as it features a sample of someone giving a speech about tripping while slow-moving drums rumble in the background. This one seems a bit too obvious, but I suppose it could be wonderful if a listener was imbibing hallucinogens. “Outpost” is perhaps the closest we get to a pop song, and damn if it’s not a good one. Simple beats and no vocal acrobatics, but pleasing nonetheless.
As City Island dwells on, many of the songs tend to meld together. However, being trip-hop, that tendency does occasionally creep up. Nonetheless, City Island seems to be one of the few albums where that’s okay. Here, it’s the mood that is created that matters. I’m not sure what precisely that mood is, but it certainly is pleasing.
Tangents
I know nothing about The Artificial Sea other than that they are a Brooklyn based duo with a rather astonishingly fine album called City Island out on the small French label Travelling Music. It’s an album of ravishing ideas that pull together fluid beats, perfectly tinny electronics, found sound textures and samples and a mesmerising voice that conjures thoughts of Cocteau Twins, Björk or Electrum. It’s all gloriously downbeat, beautifully desolate, naturally twisted and hugely impressive. The sound of raindrops glistening on the eyelashes of angels with dirty faces.
Sound as Language
The Artificial Sea are an interesting and talented duo from Brooklyn, NY. Kevin C. Smith is the instrumentalist and Alina Simone provides the vocals. The duo plays a somber brand of indie/electronica that brings to mind the likes of Portishead and Björk. Smith “records with a collection of guitars, obsolete synthesizers, vintage video game consoles, homemade electronics, and found sound.” I guess this style could be considered what was once called trip-hop. Although I have not heard that term in years.
The Artificial Sea’s sound is all in the details. Taken at face value, City Island may perhaps be easily dismissed. If one chooses to delve further though, there is a great deal to be dissected and enjoyed. Smith’s musical experiments are certainly worth exploration. They are simply fascinating. His musical experiments provide an eclectic, yet minimal and restrained backdrop for the seductive and unique vocal stylings of Alina Simone. The give and take between Smith and Simone is a thing of beauty. Never once does either one overtake the other. They compliment each other to remarkable results.
The Artificial Sea have crafted a familiar, yet unique album. City Island is an album that creates an unmistakable mood with each listen. It is a wonderful balance the duo has struck here on their debut. City Island is a record that simply begs for many late night listens.
RIYL: Portishead, Björk, Lali Puna
Longuer d’Ondes
Amis des anti-étiquettes, cet album est pour vous. Bien sûr le vecteur électronique est l'outil qui a servi à composer cette trame sonore, pourtant il est peut-être plus juste de qualifier son compositeur, Kevin C. Smith, de plasticien et d'impressionniste. Le collage des sons, des rythmes, des ambiances parlent à l'inconscient qui en réponse, renvoie des couleurs grises, des ambiances crépusculaires, des sentiments de malaise et de claustrophobie. Dans ce huis clos ambiant, une voix papillonne, celle d'Alina Simone. Attirée par la lumière extérieure, elle ne cesse de se blesser en l'approchant, mais lutte sans relâche, sans fin. Avec City island, le duo new yorkais offre une possibilité d'expression musicale fascinante dont les écoutes répétées ne viendront pas à bout du mystère.
Robots and Electronic Brains
A Brooklyn two-piece made up of Kevin (instruments) and Alina (lyrics and singing) with an album that would probably do the business for fans of Björk’s earlier stuff, especially if they were open-minded about her Sugarcubes past. So it’s beats, and the beats soften the impact of the electronics going on in the background and the beats provide the anchor for Alina’s gorgeous and otherworldly vocals. Pop-Off Tuesday do the same kind of thing but a notch or two further down the scale towards the Cocteau Twins.
Kiel 4 Kiel
Da muss man schon schwer mit den Tränen kämpfen, wenn man weiß, dass man die Debütplatte von The Arftifical Sea hierzulande nicht kaufen kann und lediglich über das Internet beim Label ordern kann. Aber da hat diese Vorgehensweise etwas mit der Platte gemein, denn auch die Musik ist herrlich geheimnisvoll und vorzüglich unorthodox. Das Verwunderliche dabei ist, dass dieses Werk beim französischen Indie Label Travellling Music veröffentlicht wird, das bis dato der Zunft des gitarrenverliebten Singer / Songwriters mit Veröffentlichungen huldigt. Doch The Artifical Seas Musik ist der Missing Link zwischen den Portishead-Platten und Goldfrapps Felt Mountain.
Ihre Songs sind ebenfalls so kunstvoll gestaltet, besitzen eine ähnliche Intensität und erwischen einen und bohren sich tief ein. Dieses Duo aus New York macht das abgehalfterte Flaggschiff namens TripHop wieder flott, denn hier werden überall kleine Bilder aufgebaut. An jeder Ecke gibt es Neues zu entdecken, und überall klaffen neue Soundscapes.
Manchmal wummern die Bässe geheimnisvoll und tief wie bei „Milemaker“, das ganze klingt dann so einsam und auch ein wenig beängstigend, dass man eine Gänsehaut bekommt. Oder „The Light Of 1000 Televisions“, welches mit HipHop Beats ausgestattet so klingt wie Massive Attack mit neu erlangtem Mut zum Experiment, denn zwischen den Beats, die dicht am HipHop sind, ist auch Platz für Jazzfragmente.
Der Mann hinter den Sounds, Kevin C. Smith schafft es, dass die Lieder elegant in einen Bereich der herrlichen Abwesenheit abdriften, ohne dabei im Belanglosen zu verenden.
Das ist sicherlich auch der Hauptverdienst des vortrefflichen Gegenparts der Sängerin Alina Simone. Alina verleiht mit ihrer gehaltvollen Stimme den Sounds die richtige Unterstreichung, Dynamik und Tiefe.
Gut, ein Song wie „Better Living“ mit seinen geschnipselten Gesprächsfetzen wirkt deplaziert, und der Klang der Aufnahme ist leider auch noch nicht perfekt. Trotzdem schon ein ziemlich perfektes Album, und das nächste ist dann ein Meisterwerk!
brb life
The Artificial Sea is a collaboration between Kevin C. Smith and Alina Simone in which her impassioned vocals and impressionistic lyrics are set to his bedroom soundscapes and melodies. Embracing a spectrum of sounds and techniques including vintage synthesizers and drum machines, obscure samples and found sound, circuit bent creations and homemade electronics, as well as good old guitar, bass, and drums, these disparate strains are all tied together with a restrained aesthetic and fearless beauty. Recorded almost entirely at home they have rejected over-production (for aesthetic as well as practical reasons) and instead welcome any rough edges as integral to the work. The result is at once pleasing and unsettling, comforting and tense. Kevin and Alina write their parts in isolation and usually have little to no say in what the other does. Despite this isolationism (and a virtual lack of common musical touchstones) their individual contributions combine to form a cohesive, organic whole. Their first alum City Island found a home on France’s excellent Travelling Music and a follow up is currently underway. Check out some of their tunes as well as some cool videos on myspace.
CNET Download.com
Cross the baroque elegies of Zach Condon's new Beirut work with spacey English trip-hop and the frozen indie pop of Sigur Rós, and you'll be in the ballpark of this Brooklyn-based act. The abstraction level is high, but deep wells of emotion help bring the thing off.
Ambient Falls
Kevin C. Smith and Alina Simone combine to form The Artificial Sea. With Alina’s beautiful and powerful vocals blending with Kevin’s creative soundscapes they are a potent force. I must admit when I first "Glory Hole," the opening track on City Island, I wasn’t expecting much from the rest of the album. Musically messy and with undefined lyrics it wasn’t a promising start. But as soon as the first track is over the album transforms into something very special. The stripped down approach taken on the rest of the tracks along with some excellent production really lets Alina’s voice shine. The extra definition really helps you to appreciate what an excellent musician Kevin C. Smith is too. Everything seems to fit perfectly and there are plenty of twists to keep things interesting. They chose not to over-produce the album and instead welcomed rough edges. It’s an approach that works perfectly for them, the raw emotion clear to hear. City Island is a stunning debut from a duo who have clearly found a unique voice in a crowded genre. This is a group who truly deserve success and if they keep delivering music like this I’m sure they will succeed. From a disappointing start City Island soon became one of the finest albums I’ve heard all year. A masterpiece.
les cadavres ont les mains moites
les requins blancs sont durs d'oreille
Pour un peu , ça pourrait presque paraître paradoxal . C'est vrai après tout , tout le monde y va de son petit compte rendu sur les concerts parisiens d'arcade fire et , moi , grand amateur des canadiens devant l'eternel , je ne vais pas en parler . Enfin , pas tout de suite du moins . Il faudra attendre une semaine de plus pour cela .
Le pire c'est que j'étais à Paris le 19 et le 20 mars . C'est un comble quand même . En même temps le but initiatique du voyage n'était pas l'olympia mais plutôt une partie de pêche . De pêche aux requins . en plein coeur de la defense . Attention pas n'importe lesquels de requins . Les grands blancs , ceux qui sont réputés moins sympas que leurs copains . Et je ne sais pas pourquoi , les grands requins , dès qu'on leur parle chiffres et finance , tout va bien mais dès qu'on parle musique c'est un désastre absolu . A croire qu'ils n'ont pas l'ouie musicale .
C'est bien connu , pour pêcher , il faut de l'eau et dans le cas présent plutôt de l'eau salée et comme , à ma connaissance , il n'y a encore ni mer ni océan dans la capitale , je me suis dit que j'allais emporter dans mon sac l'album de "the artificial sea " . Vous voyez tout se tient .
Il y a en certains qui , un jour , ont dit que le trip-hop était mort . Il y en a d'autres qui ont dit qu'on était déjà passé dans une ère post trip-hop avec la sortie de laylow , l'album de cirkus , l'année dernière . Il y en a enfin qui ont toujours considéré ce genre comme mineur et pas du tout complexe . Et bien tous ceux là ont tout faux .
Non, le trip hop est bien vivace . Oui le trip hop est d'une richesse incroyable , d'une complexité sensationnelle , d'une variété de tons et de sons inouie . Et d'un point émotionnel , c'est largement aussi éfficace que n'importe quel songwriter à la guitare sêche .
Pour tout cela , city island , l'album de "the artificial sea " ( sorti l'année dernière chez travelling music ) est un sommet du genre. Comme quoi portishead et Massive attack ne sont pas sans dignes héritiers .
On commence par le monsieur . L'arrangeur en chef se nomme kevin c smith . Quelque part il y a de l'autisme chez ce gars là . C'est un type qui doit se terrer chez lui et s'amuser à fabriquer des puzzles à partir de pièces qui proviennent pas du même modèle . je sais pas moi , il doit être de la même famille que matisse (le peintre ) . Alors voilà kevin , il prend un peu de jazz , un peu de musique cinématographique , un peu d'électro , un peu de pop , quelques beats hip hopiens et il mélange le tout . Attention pas n'importe comment , sinon ça serait trop facile . Là tout se tient , tout s'enchaîne , tout s'entrecroise et , nom de sort , c'est un labyrinthe incroyable dans lequel on a envie de se perdre . Et bien vous pouvez bien prendre les mêmes ingrédients et essayer de faire pareil , ça ne ressemblera jamais à rien . Chez kevin au contraire c'est beau .
L'autre moitié du groupe , c'est une fille parce que , c'est bien connu , dans tous les bons groupes de trip hop , il y a une miss à la voix inoubliable qui se met sur le devant de la scène . Là pour le coup , c'est alina simone qui s'y colle .
Alina c'est un peu une fille qui regarde beth gibbons par le trou de la serrure , qui trempe ses doigts dans la confiture en compagnie de regina spektor et qui demande à chan marshall quel est le chemin le plus court pour rejoindre la forêt . Moi je sais pas pourquoi , elle me fait penser à nina miranda (de l'excellent groupe oublié "smoke city").
alina a vécu en ukraine , ce qui explique sans doute son chant froid de sirène , a appris la mélancolie en écoutant cat power et s'endort surêment en écoutant du portishead . enfin bref les deux reunis (alina simone et kevin smith) forment un duo magique , capable de bouleverser l'auditeur de gloryhole (titre d'ouverture de leur album) à milemarker (titre de cloture ) . il y a rien de plus à dire . "city island" est une île acceuillante . Achetez donc cet album et pour vous allécher écoutez ces quelques mp3 qui vous feront voyager à travers plusieurs continents , qui vous emmeneront dans des plaines glaciales de sibérie , dans les ruelles chaudes de la nouvelle orleans , dans les bars de bristol et au bout du compte sur le sommet de l'everest .The Devil Has The Best Tuna
Brooklyn duo, The Artificial Sea, fashion melancholic, smoky jazz infused soundscapes that quietly crawl out of the speakers like silent tears from a weeping madonna. Like a Lamb/ Björk trip hop supergroup their haunting, ethereal, slightly edgy music hints at a record collection that includes The Cranes, Portishead, Everything But The Girl, Tuxedomoon and Massive Attack.
It’s the Money Shot!!
The Artificial Sea sent me a note recommending their music after I made a post about AK-Momo. It's been months since their album was officially released, and I still haven't quite figured them out.
From the beginning, I was in love with Alina Simone's voice. I also am intrigued by Kevin C. Smith's production and instrumental skills. The two met "over what was arguably the worst theremin lesson in history". City Island is the result of their musical partnership, and it's a blend of mostly mellow (kind of sexy?) tunes. Their sound has been compared to Lali Puna, Björk, and Portishead. Their sound is also incredibly difficult to pinpoint. You can't just hear one song by The Artificial Sea and understand everything they're about. The music ranges from epic ("Gloryhole") to minimal ("Ride This Thing"). It's easy to think that you'd be turned off by these inconsistencies, but they actually make the whole body of work stronger by showcasing the versatility of Simone and Smith's individual talents.
"Gloryhole" was a surprise for me, simply because I never expected myself to like a song called "Gloryhole". Arguably it is one of the few somewhat upbeat songs on the album, and arguably it is one of the best songs on the album. I have to confess that I have no idea what Alina Simone is saying on this song, but I don't care. The mere tone of her voice is enough to carry me through Smith's sleek production...and with a title like "Gloryhole", it's probably for the best that I don't know what she's saying.
du bruit qui pense
De l'hiver en avance, en provenance de New York.
The Artificial Sea, soit Kevin C. Smith et Alina Simone, est basé à Brooklyn, et sa chanteuse a grandi en Ukraine, ce qui n'est peut-être pas pour rien dans l'atmosphère hivernale de ses chansons. Le duo revendique des influences qui vont de Kraftwerk à Belle & Sebastian via Brian Eno, mais ses morceaux feraient plus sûrement penser à du Portishead polaire, et la très belle voix d'Alina Simone voisine entre Dolores O'Riordan des Cranberries, pour le timbre, et Björk, pour la diction appuyée.
L'album City Island, sorti l'année dernière, a même eu droit à une critique louangeuse des Inrocks. L'un des titres, Gloryhole, figure sur la compile "Autoprod 2006" de la Fnac Forum. Et puisque Tunnel Visions est sous licence CC sur le site du label, Travelling Music, autant vous en faire profiter. Je ne suis pas tout à fait convaincue par le "pont" vers 1'45", un peu trop expérimentalo-björkesque pour être honnête, mais dans l'ensemble, c'est de très bonne facture.
Pop Tarts Suck Toasted
Ahhh the synth pop duo!!! Is there anything simpler, yet utterly beloved as this area of the indie rock world? Probably not, but that doesn't mean that everyone is able to succeed within the boundaries of the two person set-up. Some people fall flat on their faces, but not The Artificial Sea, no this Brooklyn based synth pop duo excels with their simple pairing. With Kevin C. Smith handling the instrumentation, some girl named Alina Simone singing beautifully over it, this is the type of music that makes us fall in love with the whole genre of synth pop duos!
On their debut album, City Island, the band employs a plethora of different instruments and synths to get the sound just right. But with Alina singing with heartbreaking beauty it would be extremely difficult to screw anything up. Throughout the album Kevin Smith continuously changes the tempos and atmospheres of his sounds, giving City Island a vibrant feeling of constant change, keeping the album from ever seeming repeatative or stale. Alina's voice maintains the same heartbreaking, desperate call throughout leading the album to sound like the heart wrenching soundtrack to a long lonely walk home. It's beautiful and desperate and everything one could look for in this brand of music.
Sadly this album came out last year which means that I've missed out on months of listening and only now have I come around to this magnificent pairing. The two work so well off of one another, each showcasing their individual talents while being able to work to create one pretty sound. It's an excellent album and a truly talented duo and something I think you should all take a listen to.
Here Comes the Flood
The Artificial Sea, a Brooklyn based duo consisting of Kevin C. Smith on programming and instruments and Alina on vocals, is a mash-up of the early Sugarcubes with the rhythms of Air. It's not lounge, it's not your basic electronic down tempo, this is music that goes well with daydreaming. They released an album in 2006. City Island is an album that will appeal to music lovers who are into German synth bands like Neu!, Kraftwerk and Propaganda. You can find remixed versions of the tracks from the album on their MySpace.
Bozuk Kaset
Hiçimdeki Deniz
Kiz blogu moduna geçerek kis gelsin istiyorum sevgili okur, naiflestiremediklerimizden misiniz mi amour? Geçenlerde "Samimi ol canimi ye" ekseninde The Artificial Sea ile karsilasma sansina eristim, zaten onlarca blog kendileri hakkinda pek hos tanimlarda bulunmus simdiye kadar, demek ki gündemin gerisinde kalmisiz anacim... Ama müzigin de zamani olmuyor sanirim, çünkü hayatta da agzimiza siçacak veya bizi kudurtucak seyler beklemedigimiz anlarda geliyor mütemadiyen... Müzikte de bu kadar güne bagli kalmak da tabi biraz kitlesel saplantilarin eseridir zannimca, formalite icabi formal nesnelerin saçimindan çikarimlar sanal mastürbasyonun evrimine özdes...
Yine de the ebesinin örekesis vb. gruplarindan mahrum kalmamak da lazim, The Artificial Sea'den de güzel bir seyler yakalanacagini saniyorum, allah sahibine bagislasin, tü tü tüh.
Even In The Future Nothing Works
I am really surprised to be reviewing this, mostly because these guys should be very well known by now, their music is applicable to television. For example they could appear on a medical drama show, a romantic comedy show, or in a number of movie genres.
The easiest comparison for me to draw was The Sneaker Pimps. But they have a little something else, a more soul. Think Sneaker Pimps with a serve of quality folk music for the side dish. Good music for driving around on overcast days, and brooding by yourself.
Track number 5, Vor, was my favourite. Introverted/different/imaginative are 3 words that came to mind in trying to describe this. The music has an Indian/gypsy edge though, very downplayed. I recommend this to people in their Mid 20s all the way through the 30s. It’s very chic and designed, in a positive way.