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Blackfilm


London, UK-based, the term cinematic gets tossed around a great deal in the music reviewing business, especially when it comes to those genres and styles of an electronic inclination. For the most part anything appearing particularly dark, atmospheric and epic seems to get pasted with this descriptor, and much of that undeservedly so. Perhaps the right adjective at the time, in comparison to Blackfilm's self-titled debut album, most other so-called cinematic peers fall short. This stuff simply defines cinematic. Its orchestral nuances and muffled piano (Interference), spectral voices and effective interlude transitions (Eastern and Untitled), among other elements, serve to elucidate this formative strategy. As the second release for young label Spectraliquid (based in Athens, Greece), Blackfilm reflects a promising musical direction and, more significantly, astute artist selectivity. The disc invites its listener in with Come & See, an introduction to both the sound textures and strong thematic aspects that intertwine its ten compositions. Blackfilm brings a post-structuralist film noir quality to the forefront of pieces characterized as sweeping, ghostly, orchestral, downtempo and, of course, epic. Brilliant Stalingrad figures prominently in this idea; its ten-minute duration encompasses abandoned Cold War ambience and ominous post-urban illbient alike. In shorter tracks, other strengths come to prominence. The gently pushing bass tones in Five Years are masterful, while th...

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