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.