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REVIEWS FOR CRYPTESTHESIA - (English / Deutsch)
Here is a great new review for Cryptesthesia in Dark Entries Magazine
http://www.darkentries.be/index.php?nav=cds&zoekID=1053
English translation:
(Note:
I tried my best to translate the original Dutch-language review as
literally as possible but there are some minor differences which I
couldn't avoid.)
Glenn
Love is an artist from the Canadian electro-ambient scene who may not
be as well-known (yet) in our country but who's got all assets to
become well-known. It is a real pleasure for me to present you the
music of this man of whom I myself had never heard before. The subject
of this review, 'Cryptesthesia' (a real existing word!) is his third
full-CD as well as the first album on which he sings. Although "sing"
may not be the right word here. "Experimental, repetitive rambling
which is deeply mixed into the music" looks a better description to me
when referring to his vocals. But in the in case of 'Cryptesthesia',
this is by no means a demerit. The music on this record is so
experimental itself I couldn't imagine any other vocals to go along
with it. By using the word "experimental", I intend to say I'm not
quite able to link it with a certain genre or subgenre as I'm not
really able to compare it with anything else. There are some
unmistakable elements of electro, EBM and ambient but Glenn Love's
influences go obviously much further than that. But let's not focus too
much on musical divisions. It's more important to mention that certain
Glenn Love tracks have an undeniable club potential in spite of their
mainly experimental nature. This is particularly the case with the more
electro-driven tracks 'Hang On', 'Sagt Mir Wo' and 'Schnee Von Gestern'
which are so catchy it's hard for me not to move. But most other tracks
have a definite up- or midtempo feel as well. Because of this, the CD
will be undoubtedly more appreciated by a dancefloor-loving audience
than by fans of "real" experimental dark electronic music like IDM and
some industrial. However, the psychedelic somewhat creepy title track
'Cryptesthesia' as well as the melancholic guitar-driven instrumental
'Outskirts' are a worthy competitor when it comes to being
experimental. EBM fans on the other hand will love the tracks 'Oil Peak
(Auto De Fe Mix)' and 'Airships (Wutklang Mix)'. That way, there's something
for everyone. Highly recommended, this 'Cryptesthesia' by Glenn Love,
at least if you like something different from the more familiar,
"commercial" club electro. I myself am already convinced.
[ML]
http://www.myspace.com/virus_of_time
Here is a link to an interview with Glenn Love at - http://www.toronto-goth.com
Review by CSCR Music Director / Alternavox.net - January 2009
Cryptesthesia is a compilation of wonderful beats, where Industrial
meets Dark Electro Dance, in a combination fused for the lovers of the
Heavy dark beats, which are further completed by experimental vocals
and strong melodic elements.
When I first received Glenn Love’s Cryptesthesia, I did not know what to expect, since I am not quite aware of the Industrial scene in Canada, even though I quite enjoy the heavier side of electronic music as well as all the fashion that
revolves around it. One thing is for sure: once I started listening to
the Cryptesthesia I could not stop!
I will put it this way, if Combichrist, Mechanical Moth and Goth Minister were to have a kid, it would definitely sound like Glenn Love’s Cryptesthesia.
This album (which was released by Sonic-X Records on September 5th, 2008) emerges the listener into a profound Musical Journey through the world of Dark
Electro Underground, in the way of a snowball-effect. The songs are
very upbeat and as they progress, their beats get heavier and heavier,
making you crave more. After listening to this album about a dozen
times now, they kind of remind me of the underground Industrial
movement in South America, in particular of a band called Lujhboia.
Cryptesthesia was recorded at TS-Musix Studio in Germany and was
engineered andproduced by Tommy Steuer, who is known from previously
working with bands such as Skorbut and Kaos-Frequenz.
As many of you may know, the industrial scene in Germany is of gigantic proportions and for us to have our very own Canadian artist being produced by a
German Record label is an honor that reflects the quality of his music,
which puts it at the top of its class. I personally like the entire album, but if I was to pick a few songs to recommend, those would be 1,
2, 3, 6, and 7.
If you want to find out more about Glenn Love, please visit http://www.glennlove.com
Link:http://fusionradio.ca/forum/index.php?s=8af54a778fd1d72a16221bb147009cbf&showtopic=7&pid=9&st=0&#entry9
Translated review from the Dutch weblog IkEcht
Glenn Love is a Canadian musician that I
wasn't familiar with yet. Despite that, he has just released this, his
third album, on (yet again) the German label Sonic-X. Apparently he has
a good reputation as a live act too. If I am to trust our big friend
Wikipedia, the word "cryptesthesia" means "hidden sensation" and,
frankly, I am hard-pressed to find a more suitable description.
The album opens with "Death Desire" and you would be forgiven if
your first thought was "Suicide Commando"; dark rhythms, pounding beats
and distorted vocals that are yelling "Death Desire"... doesn't seem an
unreasonable comparison then, does it? But no, this is no Suicide
Commando clone, this has a face all of its own. It is exactly the
relatively lighter and more upbeat tracks that set Glenn Love apart
from darker aggrotech acts. Cryptesthesia is a fantastic combination of
rhythms, infectious beats and samples that has the imperative "DANCE!!"
written all over it. And for a change I am not bugged by the
near-continuous repetition of a few lines of text in many songs, mostly
because the vocals are buried quite deep in the mix. One after the
other great, and actually quite euphoric, tune pours forth from this
album. "Schnee Von Gestern" features a really well done break in the
middle, whereas on "Sagt Mir Wo" Glenn combines heaps of samples and
rhythms, making for a pleasantly chaotic song. I find it sheer
impossible to pick out more favourites as, and I know this sounds
cliche, they are all good! I guess I can add a track like "Oil Peak",
remixed by a certain Auto De Fe, to this list.
It is almost too much to listen to in one sitting, and album
closers "River" and "Outskirts" are two welcome yet overdue breaks. But
that's really the only quibble I have. As a whole, cryptesthesia is
like a weed, it's growing on me here like nothing else. Those into EBM,
aggrotech or just plain techno are warmly recommended to check this
out. Personally, I'm adding this to my list of favourite acts like VNV
Nation, Feindlug or older work of Suicide Commmando. Fuckin' brilliant.
- songsoverruins
Originally written for the Dutch weblog IkEcht (http://ikecht.web-log.nl/ikecht/), English translation by the author.
Translated review from DarkSpy Magazine
Dark Spy ( September 2008 Issue )
The next album in front of me, is from the Canadian one man band “Glenn Love”.
From the first minutes of the opening song “Death Desire”, you recognize the elegant mixture of Industrial, Gothic and Electronic beats.
Hard electronics mixed with a futuristic speaking-singing gives Glenn’s music a powerful and desirable effect.
This very special mixture guides like a thread through all ten songs. Seducing
and hard hitting like cement at the same time, this is how the artist
presents his new album. It is remarkable, his rhythms stay in your head
and really motivate everyone to dance.
Glenn Love is a musician from Toronto, who understands how to fabricate good music without loosing sight of his main ideas.
German original by: Verena Pichler .
Review from Chain D.L.K. - January 2009
Rating 3.5 out of 5
The connection between the Canadian DJ
and Electro/Industrial artist GLENN LOVE and the German Sonic-X label
seems to be a constant one, since after his now more than 2 years olf
predecessor ”Belle Epoque”, he releases a new studio work. After having
toured intensely through Europe and America and with the grown
impressions taken out of all foreign areas in the past years, GLENN now
offers with ”Cryptesthesia” an album turning musically more directly
forward to EBM and Dark Electro music. The tracks have definitely
received more speed and - surprise, surprise - contrary to his past album,
he now has decided to sing. More than this, he also has learned German
in the past and some first tunes with lyrics in this language are
featured too (”Sagt Mir Wo” or ”Schnee Von Gestern”). GLENN uses a lot
of different FX manipulations on his dark sounding voice, although I
tend to say, that he hasn’t found an ideal kind of procession so far –
the vocals are the weak part in his general sound outfit and do still
need some polishing. Best tracks can be named with the title track, the
already mentioned ”Sagt Mir Wo” and ”Hang On”, since they all should be
able to keep the fans stomping. Not that bad work, and even more
recommendable, since GLENN avoids it to jump on the already passed
Hellectro-train. A bit more polishing work here and there and GLENN
starts an assault against the throne of the genre.
Review by Marc Tater
Link:http://www.chaindlk.com/reviews/?id=4899
Elektrauma.de
Als „Belle Epoque“, der
Vorgänger von „Cryptesthesia“ erschien, hatte Glenn Love aus Toronto
einen starken Hang zur elektronischen Musik der 80er Jahre gehabt.
Davon ist jetzt nichts, aber auch rein gar nichts mehr zu
hören. Wie ein Wirbelsturm fegt das neue Album über die Gehörgänge weg.
Die Beats peitschen ein und die albtraumhaften Synthesizermelodien
werden von einer verzerrten Stimme gekrönt. Dieser radikale Stilwandel
mag man angesichts der filigranen Arbeitsweise auf seinem Vorgänger
vielleicht übel nehmen. Andererseits zünden die Industrial-Songs auch.
Glenn Love hat für sich anscheinend alle Grenzen gesprengt und macht
das, was ihm gerade in den Sinn kommt. Mit „Schnee von gestern“ und
„Sagt mir wo“ versucht er sich auch an der deutschen Sprache. Das
klappt sogar ganz gut, wenngleich sich diese Stücke auf nur einen Satz beschränken. Es ist immer noch die Musik, die Glenn Love in den
Vordergrund schiebt, das gesprochene Wort hat für den Soundtüftler kaum
eine Bedeutung.
„Cryptesthesia“ erinnert in seiner minimalen, drastischen Art und Weise dem EBM der frühen 90er Jahre – schmutzig,
dreckig und endzeitlich. Besonders „Airships“ rast im Wutklang Mix mit
einer wahnsinnigen Geschwindigkeit durch. Nur „River“ und „Outskirts“
nimmt das Tempo heraus. An Brachialität büßen aber auch diese beiden
Tracks nicht ein. „Cryptesthesia“ ist ein kompromissloses Werk, das gerade deswegen an Charme gewinnt.
(verfasst
von Nuuc)
wertung 5 von 6
Link:http://www.elektrauma.de/rezensionen.php4?KritikNummer=1853
Oblivion - Metal and Gothic Magazine
Bereits mit „Belle Epoque“ konnte der Kanadier Glenn Love positiv auf sich
aufmerksam machen, nur schade, dass das Album seinerzeit ein wenig in
dem Veröffentlichungswahn untergegangen ist. „Crypthesthesia“ ist die
musikalisch konsequente Fortführung jenes Albums, alleine mit dem
Unterschied, dass sich Glenn Love nicht mehr ganz so vehement zwischen
alle elektronischen Stühle
setzen, sondern ihre musikalischen Konturen geschärft haben und nun
konsequent auf elektronische und stets tanzbare Düsterhymnen setzen.
Brillant dabei, dass es Glenn Love mit einfachsten musikalischen
Mitteln gelingt Songs zu erschaffen, die gnadenlos ins Ohr und ins Bein
gehen
und keinerlei Anstalten machen, sich wieder zu verlieren. Bestes
Beispiel hierfür sind „Sagt mir wo“ und das unmittelbar nachfolgende
Titelstück, die mit ihren einfachen aber effektiven Rhythmen und den
nachhaltigen Melodien, die häufig durch eine leicht angezerrte Stimme
charakterisiert werden, dauerhaft im Ohr bleiben und jeden Tanzboden
zum Brennen bringen. War „Belle Epoque“ - bei aller Klasse – noch von
vielfältigen musikalischen Einflüssen geprägt, so beweist
„Crypthesthesia“, dass auch die Reduktion auf „weniger“ durchaus „mehr“
sein kann. Ein grossartiges Album, dass für Freunde elektronischer
Kunst ohne Frage eine Bereicherung darstellt.
9/10 - MK
Link:http://www.obliveon.de/pn-om/modules.php?op=modload&name=cdreviews&file=index&req=showcontent&id=12315&cfletter=G
BI Musix Best of Musik
Sound: 9 von 10, Booklet: 9 von 10, Laufzeit: 7 von 10, Spezials: 7 von 10, Gesamtbewertung: 8 von 10
Insidern unter uns, dürfte er mittlerweile kein Unbekannter mehr sein:
Glenn Love. In früheren Zeiten agierte der Kanadier eher in Richtung
Rave. Mittlerweile berauscht er jedoch die Sparte Dark
Electro/Industrial, wobei man es noch deutlich heraus hören kann, dass
er einst in den Gefilden des Ambient und Celtic Folk zugegen war. Das
Ergebnis kann sich hören lassen, denn diese Mischung ist nicht nur
hochexplosiv, sondern auch ein zündender Stoff, der jedes
Electro-/Industrial-Herz höher schlagen lässt.
Mit “Cryptethesia“ liegt mir eine Scheibe vor, die es in sich hat.
Irgendwie schrill, schräg und doch etwas Besonderes, etwas vollkommen
Neuartiges. Glenn Love versteht es eben, durch angenehme Rhythmen und
clubtaugliche Beats zu begeistern.
Erstmals macht Glenn Love auch von seiner Stimme Gebrauch. Und dies
sowohl in deutsch (”Schnee von gestern“ und “Sagt mir wo“) als auch
in english please, was dem Gesamtkonstrukt noch ein Stück
Persönlichkeit verleiht. Seine Tracks untermalt er mit dem ein oder
anderen Sprachsample. Knallharte Beats gepaart mit einer gehörigen
Prise fetter Basslines. Unnachgiebig knallt er uns mit seinen zehn
Titeln gellende, jedoch angenehme Sounds um die Ohren. Die einzelnen
musikalischen Elemente harmonieren miteinander und man empfindet, dass
hier eine gewaltige Portion Feinfühligkeit dahinter steckt!
Dass Glenn Love auch ruhiger kann, zeigt er mit den beiden letzten
Songs “River“ und “Outskirts“. Die Scheibe nimmt somit ein
milderes Ende, hat dennoch bis zum Ausklang nichts an ihrer
Brachialität verloren.Alles in Allem ist die Scheibe zwar fast durchweg im selben Rhythmus
komponiert, allerdings hat jeder einzelne Song seine ganz persönliche
Note. Dieser Stoff ist mit Sicherheit nicht nur etwas für die
Tanzflächen, sondern auch etwas um zu Hause in Fahrt zu kommen.Anspieltipps: “Schnee von gestern, Cryptesthesia, River.
link:http://www.b1musix.de/?p=2182
Glenn Love Im Interview Artikel von Lucy von Leibnitz:
http://www.uselinks.de/articles,id1151,0,glenn_love_interview.html
Terrorverlag Alternative Music Webzine
Kanada ist eher als das Land der „unendlichen Weiten“ und Holzfäller
bekannt. Aber auch einige Dark-Electro-Projekte wie ASSEMBLAGE 23 oder
die EBM-Legende FRONT LINE ASSEMBLY stammen aus dem hohen Norden. GLENN
LOVE ist in unseren Gefilden eher weniger bekannt. Das könnte sich mit
seinem gerade erschienenen dritten Album „Cryptesthesia“ und
zahlreichen Live-Performances in Europa ändern.
Waren die ersten Scheiben noch vermischt mit Elementen aus Trance,
Ambient und sogar der keltischen Musik, ist „Cryptesthesia“ ein reines
Dark-Electro-Album mit stampfenden Beats, durchweg tanzbaren Rhythmen,
auflockernden Trance-Melodien und verzerrtem Gesang geworden. Typisch
für diese Art Musik. Aber gut gemacht und viele der Tracks haben
durchaus das Potenzial, sich auf den heimischen Dancefloors zu
etablieren. Musikalisch kann Mr. Love locker mit Combos wie SUICIDE
COMMANDO oder WUMPSCUT mithalten. Auch in Kanada hat man das große
Potential der deutschen Dark-Elektro-Szene erkannt. GLENN LOVEs neues
Album erscheint wie schon der Vorgänger auf dem deutschen Label
Sonic-X, einem Sublabel von Danse Macabre, auf dem unter anderem
natürlich auch DAS ICH zu Hause sind. Zudem sind einige der Tracks auf
Deutsch gesungen.
Aus dem Einheitsbrei vieler Dark-Electro-Bands sticht GLENN LOVE
jedenfalls weit heraus. Ebenfalls positiv zu erwähnen ist, dass der
Kanadier seine Musik nicht unter haufenweise Samples versteckt. Dass
Glenn auf „Cryptesthesia“ erstmals seine Stimme zum Einsatz kommen
lässt, ist ebenfalls sehr förderlich. Zusammenfassend ist das
vorliegende Album ein gelungenes Werk mit vielen potentiellen Hits.
Bleibt zu hoffen, dass diese auch ihren Weg in die „schwarzen Clubs“
finden. Denn genau da gehören sie hin und weniger in den heimischen
CD-Player.
link: http://www.musik.terrorverlag.de/rezensionen.php?select_cd=7933
Northern Gothics Webzine
Dunkle elektronische Musik aus Kanada? Da schnalzen Kenner doch gerne mit der Zunge. ASSEMBLAGE 23 und natürlich FRONT LINE ASSEMBLY seien nur stellvertretend für viele ausgezeichnete und erfolgreiche Acts aus
Nordamerika genannt. Dagegen ist der Musiker GLENN LOVE bislang
hierzulande weniger bekannt. Wer nicht gerade ein Insider der
Electro-Ambient-Szene ist dürfte bislang mit dem Namen wenig anfangen
können.
Das
Label Sonic-X schickt sich nun an, diesen unhaltbaren Zustand zu ändern
und schickt 'Cryptesthesia' ins Rennen. Dies ist bereits das dritte
Album des Kanadiers. Das Debüt 'Cruel Utopia' (2001) fand vor allem in
seiner Heimat Beachtung. Der Zweitling 'Belle Epogue' (2006) verschob
die musikalischen Koordinaten des Künstlers mehr hin zu Dark Electro,
wobei auch Einflüsse aus Neo-Folk, Trance und Ambient hörbar waren.
Diesen Weg beschreitet GLENN LOVE auch mit 'Cryptesthesia' konsequent
weiter. Allerdings ist von Ambient nicht mehr übrig geblieben. Strictly
Dancefloor-orientiert gibt die Scheibe mächtig Gas. Erstmals sind hier
deutliche Industrial-Elemente hörbar. Die Leichtigkeit des Trance
schimmert bisweilen noch durch, aber überwiegend geht es schon sehr
treibend-aggressiv zu Werke. Dark-Rave im besten Sinne? Ja, zumal Herr
Love erstmals auch mit Gesang (teilweise sogar in deutscher Sprache)
arbeitet. Dieses Stilmittel gibt den Tracks noch mehr Tiefe und spricht
für das Bemühen, den zehn Songs der Scheibe ein individuelles Gesicht
zu verleihen.
Dark-Electro ist ja mitunter sehr stupide und so mancher Act versucht,
durch einen Sample-Overkill etwas Abwechslung in das Rythmus-Gewitter
zu bringen. Solcher Hilfsmittel muss sich GLENN LOVE
jedoch nicht bedienen. Die Titel sind abwechslungsreich genug und der
Kandier versteht es vortrefflich, genug offene und versteckte (diese
entdeckt man allerdings erst nach mehrmaligem geduldigen Durchhören)
Gimmicks in das Album einzubauen.
Seine Roots aus Ambient und Celtic Folk treten dabei allerdings kaum
noch zu Tage. man muß schon sehr aufpassen, um das eine oder andere
Fragment dieser Spielarten zu entdecken. Aber in erster Linie ist dies
auch kein Album zum Hören, sondern entfaltet seine Stärken eindeutig im
Clubeinsatz.
Diese Lebensberechtigung wird auch nicht durch die vergleichsweise
ruhigeren Tracks auf dem Album wie 'Nuit Musee' oder 'Cryptesthesia'
geschmälert, die dennoch gut funktionieren.
GLENN LOVE macht Musik für die späteren Stunden im ambitionierten Club
- wenn die Hits 'abgearbeitet' sind und DJ und Publikum noch Lust auf
etwas Neues und Innovatives haben. Und genau in diesen Neugierigen
dürfte 'Cryptesthesia' auch die Zielgruppe finden, die das gelungene
Output des Nordamerikaners gebührend zu goutieren weiß.
Mein Fazit: An der breiten, nur durchschnittlich
interessierten Masse wird dieses Album leider als eines von vielen
Electro-Alben vorbei gehen. Zu erwähnen sei letztlich noch, dass die
Scheibe in Deutschland, nämlich im saarländischen TS-Musix-Studio
produziert und gemastert wurde. Ob dieser Heimvorteil was nützt? Man
wird sehen...
Link:http://www.northern-gothics.de/index.php?option=com_content&task=view&id=592&Itemid=139
DarkSound
Glenn Love tritt mit seinem dritten Longplayer „ Cryptesthesia“ in die
Fußstapfen des Dark-Electros und Industrials, ohne seinen bisherigen
Weg des Ambient und Celtic Folk gänzlich zu verlassen. Und was dabei
herauskommt, kann sich getrost auch in der Schwarzen Szene hören
lassen. Mit „Cryptesthesia“ beweist dieser ehrgeizige
Underground-Künstler aus Toronto (Kanada), dass er auch elektronische
Industrialmusik arrangieren kann. Die Tracks erklingen fließend und
unbeschwert aus den Boxen.
Durchgehend ertönen eindringliche und
beachtlich komponierte Melodien, welche vereint mit den rhythmischen
Beats harmonieren. Besonders auffällig bei „Cryptesthesia“ ist, dass
Glenn Love erstmalig eigene Vocals zum Einsatz bringt und das sowohl in
englisch als auch in deutsch ('Schnee von gestern' und 'Sagt mir wo').
Auch der ein oder andere Sprachsample macht sich hier und da bemerkbar.
FAZIT:
Damit hat Glenn Love wirklich ein feinsinniges Album geschaffen,
welches meiner Meinung nach auch die Leistung aufbringt, die Clubs zu
erobern. Jedoch könnte Glenn Love in Zukunft etwas mehr Abwechslung
einbauen und diesem typischen Sound noch etwas mehr Eigensinn verpassen.
Anspieltipps: 'Death Desire', 'Schnee von gestern', 'Nuit Musee', „Hang on“
Link:http://www.darksound.eu/topMusic-op-album-idartist-275-idalbum-312.html
Side-Line Oct. 2008
Glenn Love – Cryptesthesia (cd Sonic-X Records)
Canadian electro-musician Glenn finished this 3rd album at the German TS-Musix studio. The original 10 tracks were recorded last summer and served already for the project's Fall 2007 mini tour. Glenn Love’s music is driven with hard industrial-dance beats, lush dark textures, experimental vocal structures and voice samples. In his online myspace bio I discovered his influences. Bands like Massive Attack, Ministry, Nine Inch Nails, Mlada Fronta, This Morn' Omina, Leftfield, Tom Waits, Amon Tobin, Caberet Voltaire, Kraftwerk, Skinny Puppy are mentioned. Although this is an industrial album, from the very beginning you can hear the man’s musical taste has a broad range. Avoiding the stereo type, sometimes (at high volume) painful industrial beats, this project chooses for a more polished sound, without losing the aggressive energy. Repetitive elements are found in songs like “Sagt Mir Wo”, although there are only a few vocal lines in this song, the repetition never becomes boring. Glenn Love succeeds in building up his songs in interesting pieces, while a lot of songs are based on one note. “Nuit Musée” is the perfect club friendly song without real vocals, only a few efficient vocal samples with strings reminding me of the earlier Suicide Commando. Together with the preceding song, “Hang On” and “Oil Peak – Auto De Fe Mix” we get the dark electronic climax in the second part of the album. Down tempo, but still industrial song “River” is worth mentioning, while closing track “Outskirts” might have been perfect without omitting the vocal part. To be honest, when the name Glenn Love was mentioned, I thought I was holding kind of a Mark Almond album in my hands but I was wrong. This is a real ‘tainted’ Glenn Love if you ask me. Interesting, fresh, upbeat industrial!
(NOA:7/8)
Sonic Seducer Oct. 2008
Glenn Love "Cryptesthesia" (Sonic-X/Alive)
This sound doesn't fit into any known folder.
Placed somewhere in the middle of Ambient, Dark Electro, Trance and Industrial. Electro-Allrounder Glenn Love is not inventing the music once again, but he's perfecting his own style and is going new ways.
Already the first track "Death Desire" makes you desire for more.
The song gets you slowly from behind. If you catch it (the song) once, you won't get it out of your mind that fast.
The following songs "Schnee von Gestern" und "Sag mir wo"
are accelerating.
Further, full of pressure and very industrial are coming up "Cryptesthesia" and "Nuit Musee" followed by "Hang on", in a little more classical electro style.
Especially powerful is the track "Oil peak" and even more "Airships" in the mix version "Wutklang".
At least at this point the listener should react with inevitable epileptic attacks.
Music which is polarizing: Either you are enthusiastic or close to a nervous breakdown.
But no worries, "River" and "Outskirts" provide a reconcilable finish and spread at the end an ample sound-carpet on which you can completely relax.
If you are listening carefully you may even figure out some of these Celtic Folk influences, which the artist made use of, even before playing the CD a second time.
By now Glenn Loves third Album "Cryptesthesia" represents brilliantly produced, complex electronic music. Its nuts and goes straight in the ear.
Original in German by Kai Reinbold
Translation by Dennis Korth
REVIEWS FOR BELLE EPOQUE
Glenn Love - Belle epoque (cd Sonic-X)
Posted on 16 Nov, 2006 - Side-line Magazine
I can’t remember to have heard of this Canadian artist before. The official debut-cd reveals an interesting melting pot of electronics. It sounds quite fresh and full of nice electronic effects although I’m missing vocals. By the exception of one single track all the songs remain instrumentals and that’s maybe a point that has to be reconsidered. The only song with vocals is the “Mars ascending”-cut, but the remixed version by AntiStasis. Among the coolest pieces I’ll mention the harder “Landwehr” containing some heavier, industrial sounds and the more into wave like “Seventh veil”. Notice by the way that labelmate T.H. Industry made a remix as well. It’s a remix of “Iceland”, but I here prefer the original version! This is a project that can grow, but there’re some interesting ideas running through this debut! www.sonic-x.de (DP:6)
DP.
Here is a translated review from Zillo Magazine - February 2006
With this his fifth album the Canadian Underground artist Glenn Love rigorously continues what had already distinguished his previous recordings. With his Dark Electronic Beats he produces purely instrumental soundscapes that are partly dark, partly wonderfully dreamy, mixes them with atmospheric Ambient, groovy Trance and even elements of Celtic music. What should be positively emphasized is that he still creates this flowing atmospheric world of music in the "old fashioned way " by exclusively using Hardware-Synthesizers. The disc's 13 tracks demonstrate great variety, since numbers such as "Airships" and " Der Letzte Abend" are ideally suited to Chillout, while "Lanwehr" or "Mars Ascending" with their grooves would not be out of place even at the clubs. The last-mentioned track is also available as an AntiStasis Remix, and the driving opening number "Iceland" re-appears at the end in a tougher guise by the German Industrial Project T.H. Industry. A very successful work that does justice to its name by offering the listener a beautiful epoque.
S.P.
English translation Judith Orban August 2006
Here is a new translated review from Medienkonverter.de :
Medienkonverter.de Review of
GLENN LOVE BELLE EPOQUE
by Björn
Attention: hot electronic tip! Canadian Glenn Love is back with Belle Epoque, his second presentation after Cruel Utopia in November 2001. Here in Germany/Europe probably only insiders are familiar with his project, but in North America this active underground artist has already garnered much praise from his live performances at Canadian dark raves as well as on main stages, a reputation not least confirmed by his top ranking on hit-charts and much radio play. Purely instrumental (like the rest of the album) Belle Epoque is an electronic conglomeration, presenting plenty of variety ranging from monotonous forward thrust to complex, calm numbers and yet maintaining a very clearly recognizable through-line. The whole project was deliberately performed on analog synthesizers only, with no playing around on PCs. Of course its clear that other toys such as samplers were used, but really only to produce beats and samples for loops providing a fascinating, rhythmical trip into a soundscape that is sometimes chillout-heavy, peaceful, warm-sounding, even occasionally abyss-hugging, at other times beat-heavy and harsh.
The first cut, Iceland, immediately provides good proof for this recommendation without first having to listen to the entire album. The sounds Love uses instantly awaken memories of earlier, analog days the drumset and bassline are there in full force. On Airships, Belle Epoque or Waking Dreams Glenn Loves playful way with sounds makes for a very pleasant tootling dancing rhythmically through your brain, Waking Dreams also seems to follow traces of Cyclotimias Eschaton. Opulent but not over-ornate, these titles are an inspiring feast for the ears, especially through earphones. Listening like that also allows you to most easily discern his self-confessed combination of Neo-Folk, Celtic, Electro, Ambient and Trance influences. On this CD the absolute groove with a rhythm that makes you move can be found in Landwehr. This track, equally infectious and atmospheric, is so compelling that it makes reaching for the skip button definitely worthwhile for back that is; by the way, for Seventh Veil see Landwehr. Best would be to use the repeat button only once at the very end; although the two re-mixes of Anti-Stasis and T.H. Industry are certainly not the worst, theyre not really in harmony with Glenns second release, nor is the first-time introduced Mars Ascending among his best songs. However, the Iceland re-mix could surely rock any electro dancefloor.
Belle Epoque shouldnt just decorate your shelf, but instead be constantly used in your well assorted CD collection. It doesnt matter how you interpret the meaning of the title whether as a reminder of earlier times (more musical underpinning than the actual historical background), or as an independent beautiful work, or as the impetus for a new musical flowering. In any case, in contrast to all of todays many releases which generally can always be compared to some other musical style, Glenn Love and his recognizably individual style is in a category unto itself, namely Electronica at its finest and entertaining on top of it. Even if you have no interest in such music, you absolutely should listen to Iceland with its distorted, whirring guitar riffs, Airships, Landwehr, Waking Dreams and Seventh Veil!
Rating 5 out of 6 stars !
English translation by Judith Orban
July 2006
June 26th 2006
I will add a new review from Zillo Magazine as soon as I get it translated.
Review SONIC SEDUCER - March 2006
Glenn Love "Belle Epoque"
Whether Glenn Love is his real name or if he just thought up a particularly delightful pseudonym shall remain an open question here, for it ranks among the rather less interesting aspects of this extremely interesting second album by the meticulous Canadian sound manipulator. Yet Love's darkly pounding electronics are neither noisy Power-Industrial nor ritual Ambient, and least of all any dance-floor Electro. That in his native land Love frequently provides sound for Chill-Out-Zones at murky Raves fits into the picture, because it would be possible to describe "Belle Epoque" as dance music for people who don't like to dance. Though his tracks are rhythmically stringent and provocatively monotonous throughout, they are more suited to building up a mood than to wearing away the urge to move. Glenn Love approaches the work so unobtrusively that, in the beginning, the album is almost in danger of rushing past the listener - only after 3 or 4 pieces you notice that the restrained but relentlessly pumping material possesses massively hypnotic Loop qualities. If Martin Rev had a notion to re-release the last Suicide album, this time without Alan Vegas' singing (or what Vegas thinks is singing), the result might perhaps sound similar to "Belle Eppoque". And you might just have to program out the two Electro Mixes of T.H. Industry and Anti Stasis, that seem somewhat out of context but are probably necessary in view of club suitability.
Tremendous disc.
Thomas Pilgrim
LEGACY MAGAZINE - March 2006
Glenn Love "Belle Epoque" (Sonic X/SXD)
Techno in the Legacy Soundcheck??? That's probably what some colleagues thought too, and in their utter amazement handed out low point fines. But aside from the fact that 95% of Legacy writers should never be given any technoid music to review, GLENN LOVE'S creations have a greater right to exist than it appears. The man is actually a DJ, comes from Toronto/Canada, and also creates his own original music in his spare time. His 2001 debut album titled "Cruel Utopia" seems to have done well on his home turf, and therefore the German label Sonic X was prepared to give the man a leg-up in releasing its successor "Belle Epoque". But this disc contains not merely Techno, for the name GLENN LOVE stands for a colourful and vast - though partly somewhat antiquated - range of electronic music, encompassing elements of Ambient, Industrial, Trance, Chill-Out and EBM. It's nicely categorized on the label flyer as 'Dark Electronic Soundscapes', since there's no doubt it is 'dark', it's 'electronic' in any case, and instead of conventional songs the listener gets to hear instrumental, mostly atmospheric expanses of sound. Nevertheless the album is danceable and from time to time the 13 songs (including remixes of AntiStasis and T.H. Industry) produce an hypnotic effect. Frequently you get the feeling of listening to a soundtrack, while in your imagination you watch cameras rush through post-modern industrial waste lands and big city ghettos. Also remarkable is the fact that GLENN LOVE - contrary to tendencies on the current music market - is said to have rendered his songs exclusively with genuine Hardware Synthesizers. So there's no chance for Plug ins. "Belle Epoque" may be a controversial album not only for its erroneous placement on the Legacy-Soundcheck, but also because it doesn't offer readymade Standard Electro, revealing instead the attempt to add an individual note to the genre. For some spoiled modern-age-Electro fans this may be hard to swallow at first, but it says something about the artist's daring. (SB)
10 points
Review Oblivion Magazine - December 2005
With "Belle Epoque" the Canadian Glenn Love has produced a truly remarkable and satisfying electro album, for here an underlying technoidal and ambient soundcarpet is overlaid with the most varied musical influences, and the whole is woven into a conglomerate of sound that has ultimately resulted in a really fascinating and entertaining album. These musical influences run the gamut from early Simple Minds or Ultravox through Celtic rythms and melodies, to distorted industrial grooves and samples, all the way to futuristic-sounding soundscapes à la early Jean-Michel Jarre or Klaus Schulze and Tangerine Dream (just listen to "Airships"). In addition, "Belle Epoque" maintains throughout a slightly dark, melancholy undertone. In Canada "Belle Epoque" had already made its debut this past summer, and we can only rejoice that a distribution label has been found for this musical jewel, which so clearly demonstrates that even in today's Electroscene it is possible to follow new and innovative roads. With this disc Glenn Love has succeeded in producing a master work. Unconditionally recommended for purchase.
Raiting 9/10 - MK
Review Elektrauma - January 2006
Put on the CD right away and listened to the first song…wow! Glenn Love, a musician and artist from Toronto (Canada), instantly inspires enthusiasm. The life-force of the first song "Iceland" is its simplicity, displayed in swirling bass runs and the staccato melody. The very first grooves of "Belle Epoque" prove that pure electronic instrumental music can be inspiring when it is arranged intelligently. Glenn Love's specialty is to rely on the good old synthesizer and, without using computer-generated music, to revive the craft of punctiliously pursuing detail. That's why Glenn Love's creations always have that touch of '80s Underground Electronics à la Fad Gadget or Umo Detic. Though the beginning might hint at a dance album, the later cuts show that Love is not interested in conquering the clubs. Above all, the songs want to create atmoshphere. And he does that very successfully. "Waking Dreams on the Bridge of Night" uses broad expanses and minimal drum programming. In contrast "Seventh Veil" is filled with driving percussion and seductive guitar. These are only a few examples of how music is defined here. Only the remixes at the end were really not necessary. Glenn Love is a living example of how to do electronic music. A 'must listen' in any case.
Raiting 5/6
Review Dark Heart Magazine - November 2005
With "Belle Epoque" Glenn Love presents the successor to his debut disc "Cruel Utopia". Once again he mixes in an interesting way a variety of musical influences, such as Ambient, Trance, and Electro, to produce a dark instrumental sound track of a particular kind. By listening to this CD you undertake a journey - not only of Glenn Love's musical world, but also of your own spirit. The consistently ambitious songs offer a lot of scope for interpretation and your own ideas. In that regard the title of the album "Belle Epoque" seems very suitable - a journey through a different era. Originally the phrase was applied to the artistic heyday and economic changes of the period 1871 - 1914 in Europe so abruptly ended by WW I. And some of the songs reverberate with a kind of melancholy that this era is over. The CD comprises 13 songs, among them 2 remixes of T.H. Industry and AntiStasis! Independent Electronic Music for connoisseurs! Recommendations:"Iceland", "Darkroom", "Mars Ascending".
Conclusion: Give a listen!
Raiting 3/5
Review Re-flexion - December 2005
I can't quite follow this euphoria, though "Belle Epoque" is good, it is just that. Nevertheless it is worthwhile to listen to Glenn Love's world of sound and form your own opinion.
Raiting 70%
Review Chain DLK - December 2005
Hailing from Toronto, Canada, Glenn Love is a sole underground musician and successful live performer at some dark raves in his home country. With this full length CD now released under the wing of the German Sonic-X label he presents his second official studio release. It is music based globally on Dark Electro themes which plays and combines with several different elements like Electronica, Trance or Ambient. Instrumental music more designed for some Chill-out areas than any straight dancefloors – I would recommend the use of a good pair of headphones. This CD features 11 original tracks done by Glenn Love plus two remix works constructed by ANTISTASIS and T.H. INDUSTRY to make sure a straighter and dancefloor-friendly attitude. The best tracks here are to my taste the more darker pieces like "Walking Dreams" because of the thick synth layers, and the easy-listening "Airships", which features some Trance elements. I like the own identity of the sounds and the ideas behind this project. This music is something special asides all hyped styles and trends. Congrats to the artist and Sonic-X for this courageous release – moreover because I think that any bigger commercial success will not happen in our "short-hair-rivethead" generation. I see it quite difficult to earn any recognition without the use of vocals – so is life and unfortunately an unwritten rule of the scene. Nevertheless it is nice and enjoying – I hope it will enter unforeseen success!
Raiting 70%
Review Morbid Outlook - November 2005
A new album from the Canadian electronic artist, acclaimed for his 2001 release, "Cruel Utopia". Trance electonica with strong grooves and atmosphere. Excellent club music as well as good "busy music" while doin' stuff around the house. There is a continual sense of urgency and import that repeatedly pulls your ear back to it no matter what else you might be doing. This dude is bad in the best sense of the term.
REVIEWS FOR CRUEL UTOPIA
June 2005 review from UndergroundPress in South Africa.
Review by NachtwaertZ - December 2004
With his fourth album "Cruel Utopia", the Canadian Underground artist Glenn Love from Toronto has put on the market a disc that truly blew me away. "Cruel Utopia" is as great for dancing as it is suitable background for a session. A contradiction ? No, it really works. Especially lovers of electronic Ambientsounds will enjoy this CD, because the seven tracks are simply superb, and stand out from the usual dark sound collages. The music is situated somewhere between Trance, Darkambient and Electro. It conjures up a magical atmosphere, and I use it often to launch a party - or rather a session. The CD prevents the mood from becoming too dark or getting too deep. Nevertheless it allows for "playing" without the mood being disturbed by it. Used together with strobe lights the disc provides fabulous dance music. My first thought when I listened to it was," mystical." Glenn Love does everything himself, and used almost exclusively his own sound creations and loops during the seven months that he worked on the project. Unfortunately his first three discs are not for sale in Germany.
Review by Starvox Magazine - December 2003
For several years now, we've been listening to Goth bands producing reformulated (some would say regurgitated) 80s music. Glenn Love is part of the Next Wave. His synthesizer stylings are firmly grounded in the late 90s/early Aughties; instead of hearkening back to Depeche Mode, his "Cruel Utopia" evokes a darker Astral Projection, an Infected and Poisonous Mushroom. It's Thoroughly Modern Music, which shows all the strengths and weaknesses of Trance/Ambient dance music.
In the best trance tradition, he finds a Really Cool Sound and repeats it until he comes up with another Really Cool Sound. This is not really very interesting, unless you're chemically enhanced. Arnold Schoenberg, Robert Fripp and Brian Eno, among others, broke the rules AFTER they learned them. At its worst, this is lazy, not challenging, composition.
"Cipher" is tuneful, and has a danceable beat, but Love doesn't really go anywhere with it. At 7:25, it's a good two minutes too long. The drum machine sounds, well, like a drum machine. While "Photo" and "Mind" have a bit more of an edge, Love doesn't really develop on his themes. It's unfortunate; he has a good ear, and a feel for music which gets under your skin. He could benefit from some composition classes, or from a study of Serialism or other alternative ways of developing tension within a tune.
Of course, it could just be that I'm a boring old fart who doesn't understand post-postmodern music. "Cruel Utopia" begins with a slightly faster beat, and a pulsating bass line that put my JBL subwoofer through its paces. I've gathered that in Cali many once-industrial DJs have repackaged themselves as "Psytrance." They should include this track in their mixes, then segue into "Kool Utopia." The jaunty circuslike opening, reiterated throughout various permutations, captures joy and dread in one fell swoop that you can dance to... dark ambient trance at its best.
"In Exile" and "Sea of Forgotten Dreams..." may be the strongest tracks on the CD. Both build up an atmosphere of dread, playing samples and dissonance against a pulsing beat. It's music that makes you nervous even as you shake your booty. If Love continues in this direction, his next CD will definitely be worth listening for. His recent tours of Germany should expose him to a new audience... and should also be a great educational experience. The country which gave the world Kraftwerk and which discovered Giorgio Moroder certainly has a few things to offer a talented young synth artist like Love.
Review by Morbid Outlook Magazine - August 2003
This Torontonian musician paints an electronic soundscape that exudes all that is sci-fi. Very Blade Runner ambient; this isn’t music you casually listen to, it’s something you absorb.
Check out the review in the German magazine www.ragazzi-music.de - March 2003
Here's the translated review from Ragazzi Magazine; With his fourth work "Cruel Utopia",the Canadian Underground artist Glenn Love has finally also arrived on the German market. And enthusiasts of ambient sounds now have cause to rejoice, for the seven tracks are all sound constructs worth listening to, and considerably better than the often monotonous offerings of this genre. Even though he is not necessarily comparable in musical terms, Glenn Love can justifiably be cited in the same breath as his Canadian colleagues Bill Leeb and Rhys Fulber (Frontline Assembly). These two had already conjured up similar soundscapes with early works of their side projects 'Delerium' and 'Will'. Dark and mysterious, atmospheric and grooving, the tracks of "Cruel Utopia" forge their trail, flowing between Trance, dark Electro and Ambient. Like opaque veils of fog, a mysterious rhythm drifts through the songs. Pleasantly supported by this rhythm, the listener slides into the music picture that Glenn Love devises for the eyes and ears of the traveller. This artist does not simply process existing loops and samples. He still programs each sound himself, like a painter grinding his own paint colors. Amazingly, a few parallels to the instrumental songs of Spylabs "This Utopia" album are to be found in Glenn Love's "Cruel Utopia". Magnificent! (can be ordered through sxdistribution.de)
Interview by Dark Heart Magazine - December 2002
Read the Dark Heart Magazine Interview Here
Review by Dark Heart Magazine - December 2002
Read the german review here
Review from the Canadian-Music.com Newsletter - July 2002
Electronica at its finest. This is perhaps the best CD in this genre that I've received this year. Very moody and dripping with originality, each song is a journey into another dimension. Very cool! Let me put it this way, if you're into dark ambient trance then you must get this CD.
S.
Review from Exclaim! Magazine - August 2002
CRUEL UTOPIA is a strong fourth album from this one-man dark electronic/ambient project. From the first track the clean, polished programming stands out. With no vocals, the songs remain simple but not amateur. There's also a bit of a retro feel to CRUEL UTOPIA, but it is updated with the current flavour of ambient and trip-hop, but much much darker of course. Clocking in at about 30 minutes, this disc is the perfect length for ambient music of this variety. The intensity of Love's work shows through, but the edge is definately mellow.
Coreen Wolanski.
Chart Attack Review - May 2002
Glenn Love appears to be well-versed in the nuances of contemporary dance music, although his latest release gives these sounds a darker spin. As its title suggests, an underlying cold, gothic tone pervades through Cruel Utopia's seven tracks. Love mixes up the beats, but retains a Spartan electronic backdrop that brings to mind Plastikman's recent work. An impressive effort, adding the proper melodic support where necessary, but always allowing the throbbing electronic pulses to propel the music.
Darrin Keene
Review by Dj Lord Pale of SAVAGE GARDEN
I always have a moment of doubt when someone hands me a disc to promo. Especially when its giving is accompanied by the words ambient. What normally follows is me in a darkened room trying to decide whether the disc creator was on an amphetamine come down or conversely I was way to straight to understand it. That's not a problem I had with Cruel utopia. It stands and speaks for itself. The intricately laid out rhythms are as organic and full of life as it gets. Its not a driving album with all the subtly of a steam train. Rather it is a slow and melodic creation that is as individual as the person who listens to it. Its difficult to describe any ambient album, especially when its good. A truly good album is unique. This is Cruel utopias greatest virtue. Its originality. It doesn't try to drown you in sound. Its a soundscape that speaks of joy, despair, hope, and salvation. Its melodies wash over you and speak to something deep within. What that is I don't now. What I do know is it feels right. This is an album that you don't just listen too. You let it wrap you in its arms, and listen to its whisper of other worlds.
DJ Lord Pale,
Savage Garden
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