Avutmã_Press reviews

Having appeared on Hymen rec., the second album of Nebulo immediately attracted our attention. We wrote already about his debut release Kolia, this time it’s even more interesting for us to listen and see the direction followed by this mysterious musician from France. The album starts with composition “Lactoz Pill” - it’s already not the gloomy introduction as in case with track “Ant” in the previous release casting over dark thoughts. This time the project’s author Thomas Pujols displayed himself and moved to the side of the open light and open space. And this is the main difference between the releases Kolia and Avutma. By the way, the decisive difference. Music became more bright, free, less reserved, in the role of tinted corners the author uses noises and active noise effects. Idm and clicks’n’cuts are present here in plenty, clicks and the effect of jumping up sound cross all music of album Avutma.
Darkness is absent here at all, though in compositions there is still enough sadness, piano parties and inner desertion. Soundtrack for unshot films, unpainted pictures and unlived life, but all is about how it all might look like. Such parts of compositions as “Stramir”, “Kido”, “Pause” demonstrably show it. And the tenth track “Substeel Animal” is to my mind one of the best tracks in this release, the second visiting card left by the musician. It’s the true idm as Nebulo sees it - catching, memorable, sensitive and fragile. General impression after listening and looking through the photos used for Avutma design is rather positive. I suppose that in the next album if it will be, all may be even more interesting and original. Here, of no doubt, new healthy synthesis and sound solutions are needed. And cardinal sound solutions as well as searching for new instruments for creative self-expression.

Russian review

Ghostly networks: Different tones, playing styles, and effects are chopped and channelled into dense repetitive layers.

Asides from the simple fact that they
appear, fragile and self-possessed, solitary and rich, the musical
themes of Avutma seem strange since they are displayed as a delicate
ecosystem of manifold density. In presenting this ambiguous world of
fiction and fragmentation, all held in check by a fine feel for rhythm
and texture, Nebulo injects expression and vulnerability into the
debris of modernism. 
Different tones, playing styles, and effects are chopped and
channelled into dense repetitive layers that capture the imagination
with consistency. A gentle interplay of accents, declarations,
questions and answers follows, unfolding in a blithe manner, but with
enough blurred details to keep the succession of events well beyond
There is thus no apparent attempt to lead the music in one direction
or another.Instead, he maintains a contradictory tension that
indirectly fosters a constant becoming, rather than a simple chameleon
changing of colors. ”Lactoz Pill” ensphere’s slender threads of sound
with looping squiggles, spackled with beats of bracing grittiness. All
of these antagonistic elements create a complex unity touched by calm
gentility, subdued confusion, and indiscreet animosity. These units
then splinter, shift about in a tactful bit of subterfuge, and finally
rebuild themselves into significant variations on the same basic
Ghostly networks are the stuff of “Stramir”, evincing the potential
power of the fragment to entice and swiftly enshroud the external
environment in its fine latticework.Without steering the proceedings
into glum sentimentality, organic instruments are made manifest in the
odd place over the course of the albums duration. Most notably,
"Limbes/Coton-Poudre" builds from a relatively stable sonic backdrop,
broken by wet, whimpering cries of alien hatchlings. In due time, a
ghostly warble cycle and a barrage of clicking digitalia expands the
scope of the action, before the sharp silver hues of an organ sets the
whole surface aglow. There is a childlike freshness in these rich and
serious sonic excursions; Nebulo gracefully setting off in a variety of
directions with little apparent concern for where he’ll end up.
By Max Schaefer
Homepage: Nebulo
Homepage: Hymen Records

By Tobias Fischer, published 2009-02-17
The work from a man is the eternal variation of a same thematic
Borges said. An idea that gets reflected in the mirror of the infinite
in which the self looks into, it’s the same question asked from
different syntax constructions, basically finding the same response
almost like in the play from the same song with different chords,
different instruments and different musicians, cutting its parts and
pasting them in different sequentiality or taking parts away and
leaving silences in between. In that sense, art is a repetition, a
relentless reconstruction of the universe around and within the self,
limited to his inner contents and perception. Music is recycling.
Of course there is some recycling that is better than others. And
this is not a matter of simple knowledge, or rational understanding,
perhaps it has more to do with sensibility and perception actually. A
work like “AvutmA” from the French band Nebulo kinda gives me this
feeling, Avutma is basically a reconstruction in the form of musical
conformations, using IDM stylistics and re-using divergent electronica
subgenres to construct its own vision, its own idea or manifestation on
the Universe. There is nothing new, yet, something totally fresh.
The work is settled into minimal melancholic ambient with often
surreal landscapes and curious sacral reflections, somehow mystic and
spiritually questing at times. Above all, strongly cinematic music,
intimate and reflexive; A must for the remnants from the day.
exquisite. Constructed with delicate ambient atmospheres that mostly
consolidate the dominant role from the work, leaving few space for
rhythmic passages and these found within that serve only as an
establishment of the sensations transmitted. Calmed and quiet the music
fills the listener space with its peaceful reflections slowly, not by
hectic or chaotic transitions but rather meditative like momentums and
subtle approximations, leaving all to the listener’s mind. At times
there is a classical tone into it, organic and sensitive, subtly poetic
but anchored in rational constructions.
Spiritual nevertheless, highly modern but not abstract, more earthly
and vivid, compensated in observation. When you experience “AvutmA” you
can find eventually that this is something similar to something you
have heard before but you’re unsure on what is it, contains elements
that can evocate past experiences, not only from music, but also your
own life and experience, some portion of childlike simplicity or
adulthood difficulty. I find particularly hard to dissect “Avutma”
songs, as they are some kind of uncanny life forms with rather
interesting conformation on their own, not needing to be explained
through consequently interpretation. In this sense the work directly
appeals to the subjective order from the listener and serves no simple
labour as entertainment, more like a conversation, or an array of
diverse anecdotes narrated in poetic tone and adorned with the magic
simplicity of its development. “AvutmA” is a work about life and mainly
appeals to it, sonically moving the listener with its aural effects.
There is also another interesting factor on the “AvutmA” experience
and it constitutes is rarity, perhaps as life itself with the often
recurrent possibility of unexpected change, turn of the circumstances
and events, there is no proper call for equilibrium, order or control,
as all these are somehow determined to reform, defying even logic or
reason. That happens whenever you listen to this work, all of sudden
something happens and the manifested evocation throws you somewhere
else, even the vibration changes, the rhythm disappears or subsequently
comes as storm.

The more mechanical aspect from Nebulo “AvutmA” shows us a diverse
experimentation with electronica subgenres. Portions of glitch, finest
organic ambient, minimal breakcore and downtempo condense the core of
the work where surprises are the common denominator that gives “AvutmA”
its special touch and particular secret, that only the listener can
intuitively find. The general attempt to avoid mechanical frenzy and
robotic enthusiasm marks another independent incidence not only for the
aural experience but as divergence from the Hymen label often
enthusiastic for more works more based on rhythm, or at least with a
rhythm more centred on muscles and less on brains. This is the opposite
medicine, perhaps we all should try it more often.
contributed by Jack The ripper

Autumn has reached the North western parts of Europe. Apparently it has also reached the sound of French composer Nebulo. The yellow-red toned color of leaves and paling trees on the cover-sleeve in itself reveals the melancholic tone saturating this second full length of Nebula. The twelve pieces on the album titled “Avutma” swims in the borderlands between ambient textures and IDM with elements of clicks’n’cuts adding a little complexity to the otherwise gentle tone. Momentarily the compositions turns slightly noisier, otherwise the listener is brought safely across an ocean of comfortably drifting expressions. Beautiful. (NM)
Track of the day

I have been listening to Avutma on constant rotation because the tracks on this album are stellar, just straight up stellar. I’ve also been a huge fan of French native Nebulo since his 2006 release of Kolia which quite frankly was the IDM/Ambient album of the year. What’s really outstanding about Nebulo are his compositions, sound, energy, and everything in between. A truly epic effort for a very cinematic album. If your a fan of Hecker your in for a real treat. Not only is it as classic and timeless as Harmony in Ultraviolet but it is as unique and beautiful sounding with a very distinct perspective. Ness will agree with me (I’m sure), but this is very inspirational music to work too. For me personally, its great music to reflect on as well. This album is flying under all major radars (eMusic, iTunes). Finding it was very difficult. The only places I found that you can get the release were mostly in Europe and I wish I could point you to a particular website to buy it. I found it on Amazon, The Omega Order, N5 Mailorder and Equilibrium. You can order the album from Hymen Records, too. You have to do your best to get this album. IT’S WELL WORTH THE TIME AND MONEY. Look out for upcoming Nebulo remixes from Architect and Hecq as well. Nebulo MySpace. Get it here.

Let me say it right from the start, with his new album “Avutma” Nebulo build a monument for himself. After the release of his album “Kolia” it was a fact that he owns a special talent to combine IDM with carefully selected Electronica elements and kind of classical elements. Now with the creation of “Avutma” he sharpened his profile by finding a way to fuse freedom for the listener and a kind of concept in his music. The rising tension of this musical narration is nonesuch. The first tracks of the album doesn’t own any rhythmic elements but the flow of the sounds and edited natural instruments build a unique rhythm in the head of the listener. Than when Nebulo uses beats the sounds change their timbre and staff the role of the storyteller. But all that happens without any hectic or agitations, the beauty of the sounds have the weight and can make walls come tumbling down. Nebulo leaves it all to the listener of his compositions, where the journey and where it starts. The beauty of the sounds, the joy and the bitterness dispersed with one note was never heard before. This album creates a free space for the listener, a place to resist all the music that wants to take control over its listener…

Absolute beautiful, unique and path breaking….

Perfect ten

This album from Nebulo on Hymen Records sounds partly like your typical Hymen release, but is also very special in sound. It has the usual sounds of idm glitch and break-beats, but also some experimental post-rock elements. It’s also more emotional and less clinical then some of the Hymen acts, which is also what makes this release somewhat different.

On the Hymen site there are some lines about this release:

"… with this cd has created a closed opus that might be seen as a concept album in which the listener has to decide what the concept is."

And also:

"… listening to ‘avutma’ is like walking in a dimly lit basement never knowing what’s
behind the next curve, and who or what is actually casting these shadows on the walls…
… avutma might be the soundtrack of today’s grand guignol.”

This is actually a pretty good synopsis on what the music is about. The music is very involved with the listener in its combination of sad, uplifting and raging structures. The various emotions of us humans are on display here. We go through quiet piano pieces, glitchy space sounds and harder distorted fragments. It feels like some sort of musical abstraction of someone’s emotional life.This combined with broad musical knowledge makes this a very impressive release. The album again contains beautiful artwork by our good man salt. So put it on your shopping list quickly!

That’s a big scorer point for Hymen: every release they bring out
surprises in one or another way, nothing seems to be foreseeable. This
also counts for the French act NEBULO, the music-project of Thomas P. Musically this ”Avutma”
album offers a sci-fi sound-trip into a very own cold and foggy world.
Pianos and organs got several times fx-manipulated to build a musically
ground construct. Synth layers and subtle modified beats accomplishing
this surreal scenario, which can described as a mixture of Ambient, IDM
and Clicks’n’Cuts. The Ambient influence is surely the most
recognizable ingredient, since this album doesn’t offer too much hectic
and the possibility of a rhythmically movement. Some crunchy beatings
here and there invade the walls of sounds to fill in at least some
linearity. At times this complete sound scenario leads into a climax of
surrealism and a real psycho-hypnotic impression. Not that easy to
follow track by track, this ”Avutma”
album seems to be designed to satisfy the die-hard Ambient-Electronica
freaks only. To me this album is a bit too personal-minded and it could
need some more light extracted out of a more mass-compatible sound
construct – but that’s only a personal impression. Not bad at all, but
maybe this work requires too much spins from the listener until
completely satisfaction joins in?

Review by: Marc Tater
Révélation française de la célèbre maison Hymen, Nebulo signe avec Ãvutmã son deuxième album. On retrouve dans la musique de Nebulo tous les ingrédients qui font d’Ãvutmã un produit 100 % IDM. Les grooves rappellent ceux de Clark. L’ambiance évoque les travaux d’Hecq. Le tout a une vague parenté avec Autechre. Nebulo fait parti de cette frange d’IDM qui aspire à plonger l’auditeur dans un engourdissement dépressif. Les claviers pleurent leur chant sur de précieuses rythmiques cristallines. Les compositions sont des constructions fragiles qui oscillent sans cesse entre l’explosion et la rupture. Ãvutmã allie l’orgue sacré aux cloches de verre célestes tintant les unes contre les autres avec délicatesse.

Nebulo cultive tantôt la dissonance pour donner à ses fantasmagories un parfum de mélancolie (Lactoz Pill), tantôt l’harmonie légère et stéréophonique pour les rendre féériques (Stramir). Son IDM est bien ficelé, il est vrai, mais on pourra regretter qu’il peine à se distinguer de la production actuelle. Les quelques accents post-rock sur Coton-poudre ou indus sur Videogamma ne seront guère que les seules surprises qu’il nous réserve. L’album est bon mais n’apporte rien de neuf, si ce n’est qu’une façon de plus de faire une musique déjà entendue. Qu’à cela ne tienne, ce bémol ne vient en rien entacher la qualité d’Ãvutmã. Les amateurs du genre sauront reconnaître dans ses compositions précautionneuses une maîtrise du glitch qui n’a pas à rougir de ses influences.

Chroniqué par Tehanor
le 19/10/2008
Rauschende Felder

Das zweite Album Nebulos bereitet uns auf den Herbst vor Text: Jens Pacholsky Das Licht ist weniger grell dieser Tage. Dafür sind die Kontraste intensiver. Dichtes Gelb und tief tönendes Rotbraun. Elegisch ziehen elektronische Winde übers Land, stürmen von Zeit zu Zeit in Rhythmusböen einen sich wiegenden Wald. Es raschelt allerorts. Zweige brechen im statischen Knistern. Und dann diese Stille vor dem Sturm. Die Nebelschwaden über zerfurchten Klangfeldern am frühen Morgen, wenn die Sonne implodiert. Das Knacken der ersten Frostsprengungen im Untergrund. Irgendwo wird ein Haufen Blätter von einer Windhose davon getragen.
Auf seinem zweiten Album differenziert Thomas Pujol sein Klangspektrum weiter aus. Er driftet zwischen Ambient, Electronica und glitschigen HipHop-Breaks. Die hektischen Ausbrüche werden von einer allumfassenden Ruhe begleitet und im Zaum gehalten. GinormousKettel treffen Flying Lotus, Plaid und Frog Pocket in einer Art stiller Breakbeat-Meditation zwischen modulierten Spieluhren und überlagerten Nanopianos. Bereits auf seinem Debüt »Kolia« (Hymen) hatte der Franzose einen cineastischen Soundtrack vorgelegt, der aus minutiös geschichteten Bildern bestand. Sein Nachfolger bewegt sich mit derselben Genauigkeit durch eine melancholische, farbenfrohe und turbulente Herbstlandschaft, die den vermaledeiten Sommer schnell vergessen lässt. und :: »Avutma« von Nebulo ist bei Hymen/Antzen erschienen
:: Nebulo Sounds Veröffentlicht am 11.10.2008 um 11:52 unter Töne.

Zu den aktuellen Hymen Acts mit am schärfsten herausgearbeitetem Profil darf man zweifelsohne Nebulo zählen. Aus einer Reihe von Genreversatzstücken aus Ambient über IDM bis hin zu Collagierung von Feldaufnahmen extrahiert der hinter Nebulo stehende Thomas P. einen eigenständigen Electronicasound mit Hang zum Surrealen und Düsteren, welcher im Verlauf des Albums mit weit mehr als nur einem kreativen Hakenschlag aufzuwarten weiß. Am spannendsten wird es immer dann auf „Avutma”, wenn P. die rhythmische Auskleidung der Tracks etwas an den Rand schiebt und sich mehr dem Klang an sich zuwendet. Dann entstehen wunderbare Momente wie der majestätische Wall-Of-Sound in „Substeel Animal”. Tipp!

Freunde von Industrial und Experimental Music dürfen im Jahr ein paar Mal mehr Weihnachten feiern. Immer dann, wenn Hymen Records ein neues Release hervorzaubert. Die kleine Schwester des bedeutenden Labels Ant Zen beschert uns nun ein besonders schönes Präsent. „ãvutmã” heißt das Ding, sein Schöpfer nebulo – IDM/Ambient vom Feinsten!

Der Franzose Thomas Pujols, der sich hinter dem mystischen nebulo verbirgt, veröffentlichte bereits vor zwei Jahren sein Debüt. Nachdem „kolia” die Messlatte schon ordentlich hoch gesteckt hat und in der Magagin-Redaktion als Sahneschnitte der 2006er-Experimental-Releases geahndet wurde, darf man nun sehr gespannt sein, ob „ãvutmã” seinem Vorgänger das Wasser reichen kann.

Es kann. Nebulös wie das Pseudonym verspricht, ist auch diese Platte: verwunschen, surreal, rätselhaft, ein bisschen unheimlich. Neben einem ausgewogenen Maß synthetischer Klänge und Beats scheut nebulo aber auch nicht die echten Instrumente. Klavier und Orgel, Glockenspiel und sogar eine E-Gitarre liefern einige Überraschungseffekte - so in Track 9. Da donnert es plötzlich brachial los, mit Trommeln und allem. Dann entfaltet sich ein zartes Elektro-Gefrickel minimalistisch vor sich hin. Assoziationen in allen Farben und Formen.

Bedeutsam ist auch, dass die Einheit „Track” für Herrn Pujols offensichtlich eine zu grobe Unterteilung ist, sodass einige Songs nochmals gesplittet werden, um auf den kleinsten gemeinsamen Nenner zu kommen. „ãvutmã” ist wie ein Mosaik, das erst in einzelne winzige Steinchen zersetzt wird, um daraus dann als Gesamtkunstwerk zu erstrahlen.

nebulo hat diese Aufgabe mit Perfektion bewältigt. „ãvutmã” bedeutet im Türkischen so etwas wie Zuspruch oder Trösten. Diese Platte vermag bestimmt ein treuer Freund zu werden: unterhaltsam und aufrichtig. Ein prima Begleiter und so komplex und synästhetisch wie Filmmusik, zu der man keinen Film mehr braucht.L. Krutzinna

Fragmentarisches Sounddesign, das klingt wie fallende Nadeln oder collagenhaftes Übereinanderlegen von Tönen, ist kennzeichnend für Nebulos Musik. Schon auf seinem Debüt “Kolia” bastelte der Franzose Thomas P. seine Musik aus Versatzstücken. Sie wirkten wie mit schlechtem Leim zusammengeklebt und zerfielen zeitweise beim Hören wieder in ihre Einzelteile. “Avutma”, sein neues Album, verfolgt ein ähnliches Konzept.

Minimalistische Electronic, Synthies, Gitarre, Klavier und sogar Orgel folgen scheinbar lose aufeinander und bilden eher eine Stimmungs- als eine Reihenfolge. Dazu Clicks’n’Cuts, die ein wenig Struktur vortäuschen. “Avutma” entpuppt sich als unvorhersehbar, als Klangerlebnis mit überraschenden Wendungen. Stets einer gewissen Schwermut Tribut zollend, erbaut Nebulo Phantasiegebilde, die sich ständig verändern. Getragene Synthieflächen, heftige Gitarrenriffs, Orgelpassagen, Glockentöne oder Geräuschsamples, alles wird in unsichtbaren Mustern zusammengefügt. Damit wird “Avutma” schwer in seiner Gesamtheit erfassbar, ist dafür aber stets abwechslungsreich.