Background/Info: Jean-Marc Lederman is one of those Belgian electronic pioneers belonging to the collective memory. We all remember him for his involvement in The Weathermen while more recently he took the electro community by surprise being part of Ghost & Writer. Lederman now gets back to solo-experiments under his own name. It’s the second full length, which has been released 2 years after “The Last Broadcast On Earth”.
Content: Forget about all electro-pop and other early EBM and electro-wave experiments this artist has been involved with. “The Space Between Worlds” reveals another side of this musician. “The Space Between Worlds” moves on there where “The Last Broadcast On Earth” stopped. The music is definitely experimental, but also on the edge of cinematographic music.
+ + + : This is a side of Lederman’s talent we’re not used to hearing. Experimental music always is more ‘difficult’ to understand, but what I’ve understood or just felt is the fascination of the artist for sound- and noise creation. It sounds abstract, but features refined treatments and crystalline bleeps. It also is a diversified work, which also features orchestral arrangements and even some jazzy influences. If you don’t know it’s Jean-Marc Lederman, I can assure you it’s quite difficult to recognize who’s hiding behind this work. It simply reveals the open-minded vision of the musician.
– – – : This album is not the most accessible piece of Jean-Marc Lederman. I don’t have the feeling he did it to conquer a wider audience, but just for the pleasure of exorcising some old sonic demons.
Conclusion: I can’t say I’m wild of this album and I’m not sure this album would get a lot attention if it was not Jean-Marc Lederman operating behind the machines. But it’s an artist of many talents and dealing with multiple influences. Let’s say this is the abstract side of his music genius.
Best songs: “The Man From Oslo”, “Enter The Dragonette”, “The dark Frontier”.
Since you’re here …
… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. And unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can. So you can see why we need to ask for your help.
Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.
If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.
The donations are safely powered by Paypal.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.