Cobblestone Jazz - DMT
Cobblestone Jazz - Put the Lime in da Coconut
Joel Mull - Begun the End Has (Mathew Jonson Tiger Remix)
If previous years were infested with absolutely killing Mathew Jonson tunes then 2007 is turning into a grand cru year for Cobblestone Jazz. It helps of course when said Jonson is one of the three Jazzers. The single-sided 'DMT' is probably the darkest minimal tune to hit the decks in 2007. Rightout creepy with those muffled voice samples but well worth your money.
Regular 12" 'Put the Lime in the Coconut' combines the best of Jonson's wobbly techno rhythms (think 'Put Your Booty Shorts On') and the trio's jazz-inclined melodies. Don't care too much for the flip, though.
Jonson's Mull remix has been out for some time now but it is surely his best remix ever and one of the best dance tracks of the year. A cosmic delight from beginning to end.
Kelley Polar - Chrysanthemum EP
Henrik Schwarz - Walk Music
Osunlade - Elements Beyond
House is in a state of resurrection after years of slowly bleeding to death. But it is striking how most good house records have taken in a lot of techno influence. Kelley Polar strikes again with a beautiful three-tracker that, apart from the electro foundation, is rife with Age of Aquarius-style disco choirs and achingly beautiful melodies all around. Stunning as usual.
Henrik Schwarz's newest is, I humbly dare to state, without a shadow of a doubt his best yet. A tad more techno than house in a pumped up Basic Channel way and proving that Schwarz is one of the best producers in dance music right now.
The new Osunlade (on Strictly Rhythm of all labels) was a mighty surprise after years of Afro-tinged noodling from the man. There are at least five masterpieces on his new longplayer. This guy understands house (i.e. he knows that techno and house are an eternal twin) and that kind of understanding is growing rarer with the year. Amaze yourself and take a listen.
UR - Electronic Warfare 2.0
UR - Ma Ya Ya
Apart from some mid-nineties posing by Alec Empire Mad Mike's Underground Resistance remains the one and only truly political project in the whole of techno. The second episode of Electronic Warfare, as ever, makes no concessions at all, be it on the sonic or on the ideological side. Knife-sharp analog terror beats go hand in hand with soulful - albeit noisy - Red Planet-style techno. With lyrical snippets like "I'm gonna kill my radio station before it kills me" and "I am / U R / We will / Re-sist" it would be all too easy to point out the militant naivity. But only those who do not realize that every revolution requires an honest dose of naivité would come up with that kind of judgement. Essential as ever and comes with a nifty 7-inch sporting a raucous bonus track and an a capella of standout track 'Kill My Radiostation'. Judge or be judged!
'Ma Ya Ya' is from a few years ago but I only managed to lay my hands on it a few weeks ago. The combination of funky electrobeats, afro chants and accordion is just pure genius. Underground Resistance forever!!!
Q Lazarus / The The - Dark & Lovely 6
More tasty edits from Pilooski, here assisted by Krikor, who comes up with a heartbreaking electro edit of the Q Lazarus track, once part of the original Silence of the Lambs soundtrack. Pilooski himself beefs up The The's 'Giant', a track that was waiting to be reintroduced to the new dance generation.
Marc Ashken - Skream Remixes EP
Skream - Box of Dub
Andy Stott - Fear of Heights EP
Mala - Lean Forward
Dubstep's zenith is far from reached when someone like Skream (a genius that youngster) keeps providing the dope. The two remixes for Marc Ashken, originally minimal techno, are among his darkest tracks ever and they are oozing bass like snails ooze slime. The sample that rightly decries "R&B shit" is an added bonus.
The 12-inch drawn from the Box of Dub compilation on Soul Jazz sees him in straight-out dub mode. One might have doubts when there is only one extra track on this two-tracker, but 'Pass the Red Line' is one of the dubbiest tracks to ever emerge from the movement and certainly essential.
Andy Stott is the guy who cannot choose between techno and dubstep and it should come as no surprise then that the sublime Fear of Heights refrains from crossing the divide and insteads bridges both styles. Melancholic like Detroit techno and meditative like the best of Deep Chord, with, of course, deeeeeep bass.
The new DMZ comes courtesy of Mala who returns to murky dub waters after the techno cross-over of 'Left Leg Out'. 'Lean Forward' is the more dancefloor orientated track with a skanking climax after the Haile Selassie invoking break, while the slower 'Lean' reminds of Loefah's classic 'Mud' . Another topper indeed.
Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts
Saturday, August 25, 2007
Saturday, July 21, 2007
Son Electronique
2562 - Channel Two
To myself it has always been an immediacy, but hopefully it will, thanks to Appleblim and Shackleton's latest releases, Ewan Pearson opening his latest Fabric mix (sort of) with it and records like this one, become clear to the general techno/dance populace as well: (minimal) techno and dubstep were always made for each other. Take these two razorsharp technodubbers by young Dutch producer 2562 and mix them with off-kilter minimal techno, say of the Villalobos persuasion, and nobody should even notice that you are no longer playing techno. Great divides being closed, if the world at large does not start with it, it may as well be happening in music.
Shackleton feat. Jackson Del Rey - Next to Nothing
Strangely enough I find the usual Shackleton magic not entirely present on this outing for Crosstown Rebels. The techno remixes by both Guillaume and the Coutu Dumonts and Exercise One are for once far superior. They stick to the percussion and the result is two very memorable and funky as hell club stormers. Essential.
Aril Brikha - Ex Machine
Aril Brikha has to be one of the most unlucky producers of all time. He started out with 'Groove la' Chord', without any doubt one of the ten best techno tracks of all time (if not the best). It just could not get better after that. It almost did a few months ago with 'Berghain'. But there is not a single note on Ex Machine that so much as equals the power of the two aforementioned tracks. Everything is incredibly beautifully produced, everything sounds lush and warm. But it leaves me colder than both poles combined. Terrible, is it not?
Cybotron - Clear (Cobblestone Jazz Remix)
This could have been an outrageous sacrilege. But surprisingly it is far from that. It is actually very good with the Cobblestoners doubling the length of the original and adding subtle and non-invasive effects. But it will forever remain anyone's guess why they did not call this 'The Mathew Jonson Mix', because it is overly clear that those are Jonson's settings.
B12 - Slope
Talking about retro. The return of B12 is at the very least quite unexpected. After a silence of almost a decade the duo are back and they deliver. Only three tracks for the time being but 'Slope' itself can be played out by any self-respecting techno dj. The other two tracks are more akin to their previous incarnation, but even there you can hear a definite progression away from their eternal post-Transmat leanings. Awesome and welcome back.
Innersphere - Phunk (Ricardo Villalobos Remix)
Ricardo does one for the floor. It was about time. No self-reflection, darkness or ultra-minimalism this time (mind you, not that I have anything against that), just an original interpretation that will give this classic a second life. Villalobos The New Remix King? Pretty sure.
To myself it has always been an immediacy, but hopefully it will, thanks to Appleblim and Shackleton's latest releases, Ewan Pearson opening his latest Fabric mix (sort of) with it and records like this one, become clear to the general techno/dance populace as well: (minimal) techno and dubstep were always made for each other. Take these two razorsharp technodubbers by young Dutch producer 2562 and mix them with off-kilter minimal techno, say of the Villalobos persuasion, and nobody should even notice that you are no longer playing techno. Great divides being closed, if the world at large does not start with it, it may as well be happening in music.
Shackleton feat. Jackson Del Rey - Next to Nothing
Strangely enough I find the usual Shackleton magic not entirely present on this outing for Crosstown Rebels. The techno remixes by both Guillaume and the Coutu Dumonts and Exercise One are for once far superior. They stick to the percussion and the result is two very memorable and funky as hell club stormers. Essential.
Aril Brikha - Ex Machine
Aril Brikha has to be one of the most unlucky producers of all time. He started out with 'Groove la' Chord', without any doubt one of the ten best techno tracks of all time (if not the best). It just could not get better after that. It almost did a few months ago with 'Berghain'. But there is not a single note on Ex Machine that so much as equals the power of the two aforementioned tracks. Everything is incredibly beautifully produced, everything sounds lush and warm. But it leaves me colder than both poles combined. Terrible, is it not?
Cybotron - Clear (Cobblestone Jazz Remix)
This could have been an outrageous sacrilege. But surprisingly it is far from that. It is actually very good with the Cobblestoners doubling the length of the original and adding subtle and non-invasive effects. But it will forever remain anyone's guess why they did not call this 'The Mathew Jonson Mix', because it is overly clear that those are Jonson's settings.
B12 - Slope
Talking about retro. The return of B12 is at the very least quite unexpected. After a silence of almost a decade the duo are back and they deliver. Only three tracks for the time being but 'Slope' itself can be played out by any self-respecting techno dj. The other two tracks are more akin to their previous incarnation, but even there you can hear a definite progression away from their eternal post-Transmat leanings. Awesome and welcome back.
Innersphere - Phunk (Ricardo Villalobos Remix)
Ricardo does one for the floor. It was about time. No self-reflection, darkness or ultra-minimalism this time (mind you, not that I have anything against that), just an original interpretation that will give this classic a second life. Villalobos The New Remix King? Pretty sure.
Friday, July 20, 2007
Silence (and what to do with it) Part 2
Terrific interview by Dan Warburton with Radu Malfatti, a composer and player I have become obsessed with over the last few months. Almost seven years on his ideas about music (and the absence of it) still are more relevant than ever. He is also totally my kind of guy, sparing nobody and nothing, saying what has to be said and ever looking forward.
Addendum:
Following extract is, I think, the most important passus of the interview. I will deconstruct (and reconstruct) this further in the following days when I have got the time. For the time being I will refer to an earlier post of a few months ago which led to a minor discussion with K-Punk at the time (who got his point from - or agreed with the point of - Simon Reynolds) and whose argument I find I have neglected to rebut. The dichotomy/oppposition under discussion has nonetheless been grinding at the back of my mind ever since. (Incidentally, it also ties in with Ralf Wehowsky's quote I referred to a few posts below.) Anyway, more on this the following days.
"Warburton: (...) I can't decide if it's a blessing or a curse to be fantastically aware of very tiny details (acoustic or otherwise) of wherever you happen to be."
Malfatti: For me it's a blessing: the more we are aware of things the better. We can decide later if we "need" them or not, but look at all those people who are unaware of most of what's going on around them. Sure, it would be a curse if every little detail entered our brain and passed through the short-term memory gate and stayed in long-term-memory - then we really would have a lot to carry around with us! - but someone once said that we don't use more than 65% of our brain capacity, and I'm absolutely sure that most folk don't even use that. I assume that this is the underlying structure or meaning of the meditational aspect of certain human knowlege. What happens if we elevate the known into the realm of unknown, the unimportant into the realm of important? We sharpen the consciousness and I think we then are able to become aware of the acoustic environment surrounding the music - and: the music itself!!"
Addendum:
Following extract is, I think, the most important passus of the interview. I will deconstruct (and reconstruct) this further in the following days when I have got the time. For the time being I will refer to an earlier post of a few months ago which led to a minor discussion with K-Punk at the time (who got his point from - or agreed with the point of - Simon Reynolds) and whose argument I find I have neglected to rebut. The dichotomy/oppposition under discussion has nonetheless been grinding at the back of my mind ever since. (Incidentally, it also ties in with Ralf Wehowsky's quote I referred to a few posts below.) Anyway, more on this the following days.
"Warburton: (...) I can't decide if it's a blessing or a curse to be fantastically aware of very tiny details (acoustic or otherwise) of wherever you happen to be."
Malfatti: For me it's a blessing: the more we are aware of things the better. We can decide later if we "need" them or not, but look at all those people who are unaware of most of what's going on around them. Sure, it would be a curse if every little detail entered our brain and passed through the short-term memory gate and stayed in long-term-memory - then we really would have a lot to carry around with us! - but someone once said that we don't use more than 65% of our brain capacity, and I'm absolutely sure that most folk don't even use that. I assume that this is the underlying structure or meaning of the meditational aspect of certain human knowlege. What happens if we elevate the known into the realm of unknown, the unimportant into the realm of important? We sharpen the consciousness and I think we then are able to become aware of the acoustic environment surrounding the music - and: the music itself!!"
Friday, July 13, 2007
Thursday, July 12, 2007
It seems I am more and more retreating from the world of 'normal' music these days. One way or another these days I always end up, or listening to a whole lot of unstructured improv and noise assaults, or investigating the merits of this or that modernist composer (Scelsi, Webern, Xenakis). It goes even that far that a lot of my time is spent listening to silence on disc. With 'silence on disc' I mean the kind of music that makes you wonder whether it is your computer humming, the house squeaking or, indeed, the music that you put on that you are hearing at a given moment. Anyway, if less is more, nothing is everything.
None the less I am again amazed at the gullability of the common music scribe to believe that Interpol has anything whatsoever to do with Joy Division. I have never detected a single trace of Joy Division-ness in Interpol and the new album makes that point even clearer. I almost threw up when that overacting singer pointed out to the world that "it's not so bad". Ian Curtis would never have daigned to come up with a silly line like that. For Christ sakes', not only is it that bad, it is even worse. Then again, Our Love to Admire is easily their least irritating record to date, though there is not a single note on it that even comes close to the brilliant 'Evil', the group's only non-irritable sequence of notes.
On another tip: whether it is Richard James or not (I think it is him, though), I think The Tuss is absolutely worth your time.
None the less I am again amazed at the gullability of the common music scribe to believe that Interpol has anything whatsoever to do with Joy Division. I have never detected a single trace of Joy Division-ness in Interpol and the new album makes that point even clearer. I almost threw up when that overacting singer pointed out to the world that "it's not so bad". Ian Curtis would never have daigned to come up with a silly line like that. For Christ sakes', not only is it that bad, it is even worse. Then again, Our Love to Admire is easily their least irritating record to date, though there is not a single note on it that even comes close to the brilliant 'Evil', the group's only non-irritable sequence of notes.
On another tip: whether it is Richard James or not (I think it is him, though), I think The Tuss is absolutely worth your time.
Thursday, June 28, 2007
Rather Raving (about)
Helmut Lachenmann - Das Mädchen mit den Schwefelholzern
It was bound to happen. After listening to noise, improvisation and free jazz for some time I just needed to submerge myself into modern composition. Do not ask me any musical specifications about this one because I am far from steeped in the finer points of counterpoint, pitch, serialism or twelve-tone theory. But I sure know this is one of the best things I have ever heard. As you can guess from the title this is sort of an opera. There are actually not too much vocals, rather vocalisations and Sprechgesang. I just wish now that I had taken up musical theory when I was younger, because now I can only tell you that I am playing this to death. I think, though, that it, again, has to do something with the recurring silence and the minute gradations of volume in this kind of music. And of course with the fact that Ralf Wehowsky (of P16.d4) once pointed out in an interview that this music sounds right and everything by Madonna sounds wrong.
[It would not be honest to throw that last bit in the reader's face without providing any context, however. What Wehowsky meant was that to listen to pop music you do not need to adapt yourself, because the melodies are for the most part quite simple and harmonically pleasing. Listening to dissonant, unpredictable music requires of your brain that it adapts itself to patterns that it is not used to. Adapting is learning and learning is acquiring more knowledge. Anyway, I think he is right.]
Karl-Heinz Stockhausen - Mikrophonie I & II / Telemusik
Einstürzende Neubauten, but 25 years earlier. These are probably the Stockhausen works that were most ahead of their age. The musical equivalent of stealing the fire from the gods. Amazing.
Cornad Schnitzler - Rot
I knew Schnitzler from his pioneering roles in Kluster and Tangerine Dream, but I had not yet checked out his solo works. So this came on like a revelation. 'Meditation' is a mechanic ambient soundscape much in the vein of Seesselberg or Vangelis's Beaubourg, while 'Krautrock' is the real works: lots of bubbling proto-industrial electronics with an ensnaring percussion loop being segued in later on. Schnitzler's music (and there is an awful lot of it) always sounds a bit like an automatic factory turned into music, so refrain if you are looking for emotional satisfaction. Of course I am exaggerating here, because there are pleasing sweeping synth tones woven through most of 'Krautrock'.
Magma - Mekanik Destruktiw Kommandoh
Mostly when people reference Magma it is to ridicule them for their self-invented Zeuhl language and general hippy antics. But then they better take heat of this. This reminds me of Archie Shepp's Attica Blues and that's saying something. Probably one of the best prog records ever. Shows that these guys were highly knowledgeable of the most interesting periods of black music (Tribe, Strata East, Black Jazz). You have got to take the ridiculously high female chanting for granted, though, otherwise you will not be able to sit this through.
Robert Ashley - Automatic Writing
Robert Ashley now makes experimental opera's but this is something different altogether. The title track consists of no more than two voices, one female whispering in French (think L'Année Dernière à Marienbad, and closer to home Nurse With Wound's 'Echo Poème', which is a total rip-off of Ashley) and one slowed down to a sort of unholy grunt, plus some unidentified background noises.
On 'Purposeful Lady Slow Afternoon', when a girl's voice is talking about a guy who puts his fingers between her legs and then tries to put that finger in her mouth (and so on) over the sound of a music box, things get very creepy, as if you are listening to an excerpt from Sex, Lies and Videotape, but without any help of context. 'She Was a Visitor' is no more than that same sentence repeated ad nauseam over particularly uneasy listening.
One of the most powerful and impressive pieces of sound art you are bound to hear. Ever. Do not play this with the lights out, unless you want to end up in an asylum for the mentally challenged.
Robert Ashley - Private Parts
After Automatic Writing this is almost easy listening, though it is also far from that. Basically it is a guy with a soothing but also slightly bored voice reciting a text of seemingly unrelated text fragments over tablas, piano and delicate synth tones. Alienating to say the least, though less psychologically invasive as Automatic Writing.
Mordant Music - Carrion Squared
Mistah Fisha is going all "hauntological" over this ("Music is dead. Long live hauntology!", LOL), again, although he hastens to set aside this release from the label's usual output. He'd better, because this album was made for library music publisher Boosey & Hawkes* and consists of no less than 40 mini-drones à la Cluster, Conrad Schnitzler or Seesselberg. So no "hauntology" then, but kosmische music, though of course the shortness of the pieces contradict their cosmic nature. All very confusing, but that's "hauntology" for ya, I guess.
Threshold Houseboys Choir - Form Grows Rampant
Being Peter Christopherson's first outing since the demise of John Balance, Coil's other half. This actually sounds like an instrumental version of the new Throbbing Gristle album. That it contains heavy trace elements of the later Coil (and Balance's voice for that matter) will not surprise either. Themes and even melodies of certain Coil records are leisurely reemployed (especially the heavy use of vocoders from post-mortem album The Ape of Naples) and thus this sounds a lot like the slightly perverted fairy-tale music that the duo were famous for in their later carreer. And yes, you are probably right about the homosexual innuendo contained in the project's name, given the fact that Christopherson has been living in Thailand for some while now. Intriguing as ever nonetheless.
Box of Dub
Always nice to notice that dubstep has some margin for progression. The top dogs of the game come up with roots inspired dubstep and show along the way that dubstep is really only at the beginning of its odyssey. Which in this case means going back to the roots of the style and toning down the overall darkness.
Rumble in the Jungle
A supreme compilation that shows after the fact where jungle went wrong. No electronic basses or metallic percussion here, just vocally hyperactive rude boys and superfunky drum'n'bass. Party time music.
Burial - Ghost Hardware
No sign of slacking here. Three tracks in the style of the album with lots of wet background noises and sad echoing vocals. Nothing new or much progression compared to his previous outings but that need not always be the case as we all know. I would have wished he'd chosen another title, though. "Hauntology", is there no escape?
Digitalism - Idealism
Justice - †
Or I'm getting old, or I just don't like this. The Digitalism album, though, is much better than the Justice abomination, which is just plain vulgar in its desire to please the less discerning ears. Furthermore I always will despise people who choose a symbol as title for their album. I am not going to waste any more words on this, neither am I going to vilify these guys. I just think Daft punk was better. So it would seem I am getting old after all. Nevertheless I am pretty sure that these two will tear the roof off in a live setting. Mixed feelings, then.
* There are two ways to interpret the fact that Mordant's "hauntology", a music that has library music has one of its main influences, is now in turn being used as library music. You could, if you are a believer, say that "hauntology" has come full circle. One could also, more viciously, state that it pre-empts itself, having turned into a sort of parody on its own influence. Probably the truth lies somewhere between a bit of both.
It was bound to happen. After listening to noise, improvisation and free jazz for some time I just needed to submerge myself into modern composition. Do not ask me any musical specifications about this one because I am far from steeped in the finer points of counterpoint, pitch, serialism or twelve-tone theory. But I sure know this is one of the best things I have ever heard. As you can guess from the title this is sort of an opera. There are actually not too much vocals, rather vocalisations and Sprechgesang. I just wish now that I had taken up musical theory when I was younger, because now I can only tell you that I am playing this to death. I think, though, that it, again, has to do something with the recurring silence and the minute gradations of volume in this kind of music. And of course with the fact that Ralf Wehowsky (of P16.d4) once pointed out in an interview that this music sounds right and everything by Madonna sounds wrong.
[It would not be honest to throw that last bit in the reader's face without providing any context, however. What Wehowsky meant was that to listen to pop music you do not need to adapt yourself, because the melodies are for the most part quite simple and harmonically pleasing. Listening to dissonant, unpredictable music requires of your brain that it adapts itself to patterns that it is not used to. Adapting is learning and learning is acquiring more knowledge. Anyway, I think he is right.]
Karl-Heinz Stockhausen - Mikrophonie I & II / Telemusik
Einstürzende Neubauten, but 25 years earlier. These are probably the Stockhausen works that were most ahead of their age. The musical equivalent of stealing the fire from the gods. Amazing.
Cornad Schnitzler - Rot
I knew Schnitzler from his pioneering roles in Kluster and Tangerine Dream, but I had not yet checked out his solo works. So this came on like a revelation. 'Meditation' is a mechanic ambient soundscape much in the vein of Seesselberg or Vangelis's Beaubourg, while 'Krautrock' is the real works: lots of bubbling proto-industrial electronics with an ensnaring percussion loop being segued in later on. Schnitzler's music (and there is an awful lot of it) always sounds a bit like an automatic factory turned into music, so refrain if you are looking for emotional satisfaction. Of course I am exaggerating here, because there are pleasing sweeping synth tones woven through most of 'Krautrock'.
Magma - Mekanik Destruktiw Kommandoh
Mostly when people reference Magma it is to ridicule them for their self-invented Zeuhl language and general hippy antics. But then they better take heat of this. This reminds me of Archie Shepp's Attica Blues and that's saying something. Probably one of the best prog records ever. Shows that these guys were highly knowledgeable of the most interesting periods of black music (Tribe, Strata East, Black Jazz). You have got to take the ridiculously high female chanting for granted, though, otherwise you will not be able to sit this through.
Robert Ashley - Automatic Writing
Robert Ashley now makes experimental opera's but this is something different altogether. The title track consists of no more than two voices, one female whispering in French (think L'Année Dernière à Marienbad, and closer to home Nurse With Wound's 'Echo Poème', which is a total rip-off of Ashley) and one slowed down to a sort of unholy grunt, plus some unidentified background noises.
On 'Purposeful Lady Slow Afternoon', when a girl's voice is talking about a guy who puts his fingers between her legs and then tries to put that finger in her mouth (and so on) over the sound of a music box, things get very creepy, as if you are listening to an excerpt from Sex, Lies and Videotape, but without any help of context. 'She Was a Visitor' is no more than that same sentence repeated ad nauseam over particularly uneasy listening.
One of the most powerful and impressive pieces of sound art you are bound to hear. Ever. Do not play this with the lights out, unless you want to end up in an asylum for the mentally challenged.
Robert Ashley - Private Parts
After Automatic Writing this is almost easy listening, though it is also far from that. Basically it is a guy with a soothing but also slightly bored voice reciting a text of seemingly unrelated text fragments over tablas, piano and delicate synth tones. Alienating to say the least, though less psychologically invasive as Automatic Writing.
Mordant Music - Carrion Squared
Mistah Fisha is going all "hauntological" over this ("Music is dead. Long live hauntology!", LOL), again, although he hastens to set aside this release from the label's usual output. He'd better, because this album was made for library music publisher Boosey & Hawkes* and consists of no less than 40 mini-drones à la Cluster, Conrad Schnitzler or Seesselberg. So no "hauntology" then, but kosmische music, though of course the shortness of the pieces contradict their cosmic nature. All very confusing, but that's "hauntology" for ya, I guess.
Threshold Houseboys Choir - Form Grows Rampant
Being Peter Christopherson's first outing since the demise of John Balance, Coil's other half. This actually sounds like an instrumental version of the new Throbbing Gristle album. That it contains heavy trace elements of the later Coil (and Balance's voice for that matter) will not surprise either. Themes and even melodies of certain Coil records are leisurely reemployed (especially the heavy use of vocoders from post-mortem album The Ape of Naples) and thus this sounds a lot like the slightly perverted fairy-tale music that the duo were famous for in their later carreer. And yes, you are probably right about the homosexual innuendo contained in the project's name, given the fact that Christopherson has been living in Thailand for some while now. Intriguing as ever nonetheless.
Box of Dub
Always nice to notice that dubstep has some margin for progression. The top dogs of the game come up with roots inspired dubstep and show along the way that dubstep is really only at the beginning of its odyssey. Which in this case means going back to the roots of the style and toning down the overall darkness.
Rumble in the Jungle
A supreme compilation that shows after the fact where jungle went wrong. No electronic basses or metallic percussion here, just vocally hyperactive rude boys and superfunky drum'n'bass. Party time music.
Burial - Ghost Hardware
No sign of slacking here. Three tracks in the style of the album with lots of wet background noises and sad echoing vocals. Nothing new or much progression compared to his previous outings but that need not always be the case as we all know. I would have wished he'd chosen another title, though. "Hauntology", is there no escape?
Digitalism - Idealism
Justice - †
Or I'm getting old, or I just don't like this. The Digitalism album, though, is much better than the Justice abomination, which is just plain vulgar in its desire to please the less discerning ears. Furthermore I always will despise people who choose a symbol as title for their album. I am not going to waste any more words on this, neither am I going to vilify these guys. I just think Daft punk was better. So it would seem I am getting old after all. Nevertheless I am pretty sure that these two will tear the roof off in a live setting. Mixed feelings, then.
* There are two ways to interpret the fact that Mordant's "hauntology", a music that has library music has one of its main influences, is now in turn being used as library music. You could, if you are a believer, say that "hauntology" has come full circle. One could also, more viciously, state that it pre-empts itself, having turned into a sort of parody on its own influence. Probably the truth lies somewhere between a bit of both.
Saturday, June 16, 2007
Mixology
Two essential mixes floating around at the moment.
First up is Kode9's absolutely brilliant mix on the Sónar site. At the moment it is only streamable (is that an actual word?), but Kode9 has promised on his blog to make it available for download later on. And he'd better 'cause it is hot as hell featuring some brand new Hyperdub dubplates.
Next is Sebo K's mix for Resident Advisor, a site that has been responsable for the majority of good mixes on the net for the last year or so (Ewan Pearson, Ripperton, Alexander Robotnick). A very nice mix positioning itself somewhere between deep techno and house, with a few old hits thrown in for good measure.
As we speak the latest RA mix by up-and-coming man Efdemin has been added to the site. Listening to that one now, so do not really know whether it is recommendable.
First up is Kode9's absolutely brilliant mix on the Sónar site. At the moment it is only streamable (is that an actual word?), but Kode9 has promised on his blog to make it available for download later on. And he'd better 'cause it is hot as hell featuring some brand new Hyperdub dubplates.
Next is Sebo K's mix for Resident Advisor, a site that has been responsable for the majority of good mixes on the net for the last year or so (Ewan Pearson, Ripperton, Alexander Robotnick). A very nice mix positioning itself somewhere between deep techno and house, with a few old hits thrown in for good measure.
As we speak the latest RA mix by up-and-coming man Efdemin has been added to the site. Listening to that one now, so do not really know whether it is recommendable.
Friday, June 08, 2007
Vinyl ist Nicht Tod
Neu! Neu!! Neu!!! Neu!!!! Neu!!!!!
Quince - Sole Trader
I can hardly fathom how the people over at Delsin keep the quality of their releases so vertigineously high. Quince has been making ace tracks since his first release and this is another scorcher of a beauty beyond compare that does not neglect the dance floor part either. Heavily influenced by Carl Craig (Who else?) it is the kind of techno you always think they stopped making ages ago. Lots of warm strings, sharply tuned jump chords and ecstatic melodic highs remind you that Detroit techno remains the yardstick for emotionally satisfying techno.
Syncom Data - Beyond the Stars
Dubby techno business, also hailing from the Netherlands. The A-side is a fine techno dub with rootsy lyrics, while the flip harbours a beatless Carl Craig style workout that is all strings and trancey sounds, and a more rave-inspired techno track that pumps up the bpm's and will fit nicely into an inspired retro set.
Redshape - Dog Day
Single-sided monster from the maestro that has Derrick-May-in-1989 written all over it. Rave sounds are back on the block it would seem. The percussion is all Transmat, the beats hiphop. Hell of a combination.
Âme - Balandine
Why is everybody shouting about that grossly overrated 'Fiori', when this is so much better? Âme's music seems to be taking on a more epic strain with each new release, but you can not complain when they keep on producing this kind of quality. Another awesome duo, with the title track being the more ingeniously structured of the two, while 'Eoni' sticks to one good idea and makes the most of it. Innervisions rules!
Fuse presents Steve Bug
I included this one just to signal that Foremost Poets' 'Reasons to Be Dismal' (orginally released on the mighty Nu Groove) is available again on a nice fat pressing. Thanks for that, Mr. Bug. And you get two more excellent minimal techno tracks on the flip. Nice!
Wolfsdorf und Freunde
Shackleton - Blood on My Hands (Ricardo Villalobos Apocalypso Now Mix)
I just can't get this out of my head ("When I see the towers fall, fall, fall..."). Depressing and endless in a cosmic way at the same time. Why they felt the need to split the track in two halves will remain a mystery forever. But then you always have the cd-version for that experience, I suppose. My record of the year, for sure.
Beck - Cellphone's Dead (Villalobos & Ellen Allien Remixes)
Allien's version is not too bad, but couldn't possibly compete with Ricardo's already classic remix. Again Villalobos keeps it dark and moody by accentuating the spooky Gregorian chant-style sample. Anyone who wants to see his remix end up in the 2007 listings better take heed of the mighty Ricardo.
Not so M_nus
Marc Houle - Bay of Figs
Two M_nus related releases to end this round-up. Houle's double-pack is dangerously perfect minimal. And by 'minimal' I mean funky Daniel 'DBX' Bell bleeps and Hawtin spaceousness. The term 'DJ-friendly' seems to be invented for this record.
VA - Spaceships and Pings
I bought this one a few months ago, but it keeps getting better and better. So I thought, why not write a bit about this one? It was released in 2006 on Items And Things, which is a M_nus sub managed by the Magda-Houle-Pierce trio (aka Run Stop Restore). Each of the bosses get a track, with Magda going in an electro direction, Marc Houle opting for his usual spare electro-ish style and Troy Pierce keeping it moody and technoïd, the result not to dissimilar to his Louderbach alias. Konrad Black delivers the best track, though, here deviating from his usual atmospheric minimalism with a driving melodic Italo disco synth stomper. Very nice package! Catch it if you can.
Quince - Sole Trader
I can hardly fathom how the people over at Delsin keep the quality of their releases so vertigineously high. Quince has been making ace tracks since his first release and this is another scorcher of a beauty beyond compare that does not neglect the dance floor part either. Heavily influenced by Carl Craig (Who else?) it is the kind of techno you always think they stopped making ages ago. Lots of warm strings, sharply tuned jump chords and ecstatic melodic highs remind you that Detroit techno remains the yardstick for emotionally satisfying techno.
Syncom Data - Beyond the Stars
Dubby techno business, also hailing from the Netherlands. The A-side is a fine techno dub with rootsy lyrics, while the flip harbours a beatless Carl Craig style workout that is all strings and trancey sounds, and a more rave-inspired techno track that pumps up the bpm's and will fit nicely into an inspired retro set.
Redshape - Dog Day
Single-sided monster from the maestro that has Derrick-May-in-1989 written all over it. Rave sounds are back on the block it would seem. The percussion is all Transmat, the beats hiphop. Hell of a combination.
Âme - Balandine
Why is everybody shouting about that grossly overrated 'Fiori', when this is so much better? Âme's music seems to be taking on a more epic strain with each new release, but you can not complain when they keep on producing this kind of quality. Another awesome duo, with the title track being the more ingeniously structured of the two, while 'Eoni' sticks to one good idea and makes the most of it. Innervisions rules!
Fuse presents Steve Bug
I included this one just to signal that Foremost Poets' 'Reasons to Be Dismal' (orginally released on the mighty Nu Groove) is available again on a nice fat pressing. Thanks for that, Mr. Bug. And you get two more excellent minimal techno tracks on the flip. Nice!
Wolfsdorf und Freunde
Shackleton - Blood on My Hands (Ricardo Villalobos Apocalypso Now Mix)
I just can't get this out of my head ("When I see the towers fall, fall, fall..."). Depressing and endless in a cosmic way at the same time. Why they felt the need to split the track in two halves will remain a mystery forever. But then you always have the cd-version for that experience, I suppose. My record of the year, for sure.
Beck - Cellphone's Dead (Villalobos & Ellen Allien Remixes)
Allien's version is not too bad, but couldn't possibly compete with Ricardo's already classic remix. Again Villalobos keeps it dark and moody by accentuating the spooky Gregorian chant-style sample. Anyone who wants to see his remix end up in the 2007 listings better take heed of the mighty Ricardo.
Not so M_nus
Marc Houle - Bay of Figs
Two M_nus related releases to end this round-up. Houle's double-pack is dangerously perfect minimal. And by 'minimal' I mean funky Daniel 'DBX' Bell bleeps and Hawtin spaceousness. The term 'DJ-friendly' seems to be invented for this record.
VA - Spaceships and Pings
I bought this one a few months ago, but it keeps getting better and better. So I thought, why not write a bit about this one? It was released in 2006 on Items And Things, which is a M_nus sub managed by the Magda-Houle-Pierce trio (aka Run Stop Restore). Each of the bosses get a track, with Magda going in an electro direction, Marc Houle opting for his usual spare electro-ish style and Troy Pierce keeping it moody and technoïd, the result not to dissimilar to his Louderbach alias. Konrad Black delivers the best track, though, here deviating from his usual atmospheric minimalism with a driving melodic Italo disco synth stomper. Very nice package! Catch it if you can.
Thursday, May 24, 2007
Silence (and what to do with it)
Right now listening to Radu Malfatti's Nonostante II, a piece of solo piano. It stretches well over 30 minutes, but - and this is the crux - there is about ten minutes of music on the cd (and then I am being generous, I think it totals even less).Though I was forewarned by a review in The Wire, I still thought it was some kind of mistake, since the first minutes were reasonably filled with piano tones. But then a strange thing happens. You literally have to count the minutes before you get served some more notes. Sometimes you get three notes, sometimes only one, sometimes four or five. In between there is just silence.
It creates quite an awkward atmosphere. You are actually waiting for the music to come. So, what to do while you are waiting? Listening, of course. And while you are listening the sounds of the immediate environment (me typing this, lighting a fag, my pets moving through the loft, public transport in the streets) get sort of amplified. Silence yes, but no void.
With Nonostante III it is mostly the same, though the instruments (mostly clarinet) are different. The thing is, you do not mind, because it kind of puts you in touch with your surroundings, something a melomaniac like myself tends to forget. Music tends to fill up your living space, be it as a mere backdrop or as a more intense experience. Moments of silence change all that. It allows your hearing - and your body - to build up a system of suspense and release.
The effect is different also from a radical piece like Cage's 4' 33". In that case, you know there will not be any music played at all, and although Cage put it forth mostly with philosophical considerations, silence has become some kind of a gimmick, employed from time to time by many a lesser spirit, solely as an empty reference.
For the majority of people, for whom pop music is the only music they recognize as such, silence has become a threat rather than a moment of contemplation. Silence forces the mind inward or outward, stasis becomes impossible. Anyone who attends a live show these days will have noticed that artists regularly have to ask the audience to shut their big mouths. People nowadays just do not know how to handle silence anymore.
With Malfatti's recent music your listening experience is continually suspended. The surprising element of improvisation comes alive again. Most improv sets tend to be exciting for just one listening, but this way the discovery is allowed to happen time and time again.
Note the difference with minimalism. With minimal music (be it La Monte Young, Steve Reich or or the ultra-minimal techno of Richie Hawtin and Wolfgang Voigt) you tend to fill in the empty parts with your imagination. You amplify not your surroundings, but a single element within the minimal composition, which becomes a focal point. Or, alternately, you switch from one element to another, choosing to single out one sound over another. Returning silence compells you to listen more attentively, it instigates a search for sound in itself.
Ultimately this leads to the realization that silence is a defining part of music. Classical and jazz musicians and people who are into musique concrète or sound art will consider this a truism of course. But like most truisms its significance has long been lost.
Thursday, May 17, 2007
Rather Raving (about)
Grails - Burning Off Impurities
I am repeating myself but this is my record of the year so far and I am predicting the 'so far' will become a 'definitive'. Awesome record that encompasses almost everything I love: folk, ethnic sounds, the best bits of postrock, epic progressive and twangy motorik. Love it, love it, love it! Play loud and all the time!
Poor School - Voor Niets In Zijn
I am predicting hereby that Joris's productive label will be a household name by next year. After the brilliant Psalm Alarm release this is already the second absolute scorcher on Cut Hands. This guitar-drums-sax trio goes freak-out all the way on two sizzling hot avant jazzrock workouts. Blistering shit!
Merzbow - Coma Berenices
This is the first Merzbow release that I found listenable. More than that, I even enjoyed it. OK, it is still a whole lot of unpenetrable and pitch-black noise but at times I could hear some kind of beauty deep down in the heart of darkness. A nice entry into the Merzbow catalogue for the uninitiated.
Goldie presents Rufige Kru - Malice in Wonderland
Six new tracks that sound like mid-nineties d'n'b. Nothing wrong with that. Liquidly exciting.
Björk - Volta
Stop the presses of the world! Björk has made a good record. And Goldie too! This resurrection of two old lovers can be no coincidence. No, seriously, the Timbaland tracks are the best (no signs of running on empty from the R&B maestro) and even Antony is agreeable. Rejoice!
KTL - KTL 2
Four more ambientish dark epics inspired by the sounds of the previous Kindertotenlieder. Not a lot of guitar to be heard this time around (except, and this is typical, on 'Abattoir'), but still creepy as hell, particularly the almost psychotically intense 'Theme' with its distorted organ tones.
Mute Audio Documents Volume 1
37 tracks constitute the first episode of the reissue program of the first Mute releases. And what a joy it is to hear all those classics again. Fad Gadget, The Normal, Silicon Teens, Depeche Mode, DAF... each and everyone groundbreaking and, more importantly, still relevant. Also included: timely cd reissues of the insanely rare Robert Rental, Boyd Rice and Smegma 7-inches. The second set is on the way as you read this.
Embryo - Reise
From 1981 and a great mix-up of progressive, funk and ethnic sounds from the Middle East and Central Asia. The band was on a two year journey to record sounds for this album and rather unluckily got stuck in Teheran during the Islamic Revolution of Khomeiny. I just love that kind of anecdotica. An album that proves that there was still plenty of life in the old Krautrock bitch well into the eighties. Highly recommended.
M.I.A. - Bittersüss
Long time ago that there was some techno on these pages (To be honest I am very, very bored with techno, especially of the minimal persuasion, at the moment). This is a nice one, though, from Michaela Grobelny. Sexy nocturnal electro-ish not-too-minimal techno with a female touch (love those longing string samples) and featuring M.I.A.'s sensual vocal(i)s(ations) on top.
Shackleton & Appleblim - Soundboy Punishments
A fat and über-essential compilation of the first five Skull Disco releases plus some unfindable Shackleton tracks on other labels, AND - at last, at last! - the 19-minute Villalobos remix of 'Blood on My Hands', one of those addictive Ricardo remixes that gets better and better with each listening. Ricardo rules, man! But Shackleton and Appleblim rule even harder with the fattest basses on the planet and the best percussion in the whole of dubstep. Get punished!
I am repeating myself but this is my record of the year so far and I am predicting the 'so far' will become a 'definitive'. Awesome record that encompasses almost everything I love: folk, ethnic sounds, the best bits of postrock, epic progressive and twangy motorik. Love it, love it, love it! Play loud and all the time!
Poor School - Voor Niets In Zijn
I am predicting hereby that Joris's productive label will be a household name by next year. After the brilliant Psalm Alarm release this is already the second absolute scorcher on Cut Hands. This guitar-drums-sax trio goes freak-out all the way on two sizzling hot avant jazzrock workouts. Blistering shit!
Merzbow - Coma Berenices
This is the first Merzbow release that I found listenable. More than that, I even enjoyed it. OK, it is still a whole lot of unpenetrable and pitch-black noise but at times I could hear some kind of beauty deep down in the heart of darkness. A nice entry into the Merzbow catalogue for the uninitiated.
Goldie presents Rufige Kru - Malice in Wonderland
Six new tracks that sound like mid-nineties d'n'b. Nothing wrong with that. Liquidly exciting.
Björk - Volta
Stop the presses of the world! Björk has made a good record. And Goldie too! This resurrection of two old lovers can be no coincidence. No, seriously, the Timbaland tracks are the best (no signs of running on empty from the R&B maestro) and even Antony is agreeable. Rejoice!
KTL - KTL 2
Four more ambientish dark epics inspired by the sounds of the previous Kindertotenlieder. Not a lot of guitar to be heard this time around (except, and this is typical, on 'Abattoir'), but still creepy as hell, particularly the almost psychotically intense 'Theme' with its distorted organ tones.
Mute Audio Documents Volume 1
37 tracks constitute the first episode of the reissue program of the first Mute releases. And what a joy it is to hear all those classics again. Fad Gadget, The Normal, Silicon Teens, Depeche Mode, DAF... each and everyone groundbreaking and, more importantly, still relevant. Also included: timely cd reissues of the insanely rare Robert Rental, Boyd Rice and Smegma 7-inches. The second set is on the way as you read this.
Embryo - Reise
From 1981 and a great mix-up of progressive, funk and ethnic sounds from the Middle East and Central Asia. The band was on a two year journey to record sounds for this album and rather unluckily got stuck in Teheran during the Islamic Revolution of Khomeiny. I just love that kind of anecdotica. An album that proves that there was still plenty of life in the old Krautrock bitch well into the eighties. Highly recommended.
M.I.A. - Bittersüss
Long time ago that there was some techno on these pages (To be honest I am very, very bored with techno, especially of the minimal persuasion, at the moment). This is a nice one, though, from Michaela Grobelny. Sexy nocturnal electro-ish not-too-minimal techno with a female touch (love those longing string samples) and featuring M.I.A.'s sensual vocal(i)s(ations) on top.
Shackleton & Appleblim - Soundboy Punishments
A fat and über-essential compilation of the first five Skull Disco releases plus some unfindable Shackleton tracks on other labels, AND - at last, at last! - the 19-minute Villalobos remix of 'Blood on My Hands', one of those addictive Ricardo remixes that gets better and better with each listening. Ricardo rules, man! But Shackleton and Appleblim rule even harder with the fattest basses on the planet and the best percussion in the whole of dubstep. Get punished!
Sunday, May 13, 2007
You do not sense what is really wrong with a certain kind of music until you hear that one record that does things differently, grabs you totally, takes you away to places you thought you would never reach. The psychedelic noise rock that has been going under the name of New Weird America, for some time now, has been hitting rock-bottom. In the same way it is getting harder and harder to equal, let alone surpass, the intensity of Wolf Eyes or Hair Police in the noise quadrant, it was becoming almost impossible to excell in the neo-psych folk corners after definitive statements by Six Organs Of Admittance, Jack Rose, Pelt, Charalambides et alia. To cut it short: A lot of noodling has been going on lately, thousands of 'interesting' cd-r's flood the market, but nobody is making a point anymore.And then suddenly there is Grails, a band that makes you point your ears and realize there is still a margin for progress. Grails boldly reach across continents, their music is literally of this world. Like the best moments of Can, they transport you from the endless prairies and highways of America, sweep you through the Indian backlands and deserts of Central Asia and then safely put you down so you can take a breath again and marvel at the sultry Mediterranean vistas of Greece and Turkey and Spain. In the time of one record they make you feel as if you are experiencing soundless dawn and plain sunlight and atmospheric dusk and the still of the night. Grails relish in rain and thunder, wind and storm, mountains and sea, sun and moon, steam and sand. Grails has eloquence, Grails knows what intimacy is, Grails loves grand gestures, Grails revels in datails. Grails make music a discovery again. Grails prove that music can still be exciting. Grails dare but do not fail.
Grails have many things for them. But most of all, they have got IT. Hearing is believing.
Wednesday, May 09, 2007
Rather Raving (about)
Boris - Vein
I am currently very much into Boris, another one of those groups who seem to shit (or should that be vomit) records. As usual with this trio there are more versions of this record (Southern Lord even put out a special low frequency version of one of their records). There is an hardcore version (the so-called 'crust' version) and a slow/drone version. I have only heard the hardcore version and when I put it on I first thought I had mistakenly put something on by Merzbow (with whom they frequently collaborate by the way), so fuzzy and noisy is the attack. Saying that it gets more accessible further on would be a lie. This is as hardcore as it gets, with undecipherable Japanse lyrics to go with it. If you got something to drive out of your system and there is no booze around, go with Vein. The original raw shit.
Jegor Teplov - LAC
Do not know who Jegor Teplov is but I know Sleeparchive collaborated with him on this first release on the Stamp label. It actually sounds like a German version of dubstep, that is, dark, misty and technoish at the same time. Always nice to hear the bonds between minimal techno and dubstep being strengthened. Hopefully more to follow.
Battles - Atlas
This is the one with the funny-sounding vocals. Hate it or love it. More instantly loveable is DJ Koze's remix, who does not leave that much of the original intact but does a fine job anyway, especially because he shuns the easy let's-make-Kompakt-track-out-of-this-track approach.
Anaal Nathrakh - Eschaton
Ok, this is death metal, but there are also some pretty great melodies on this one. As Martijn put it once: Deep down there is something beautiful in Anaal Nathrakh. But you got to dig deeper than a title like 'Between Shit and Piss We Are Born' (which I actually think is a pretty strong title, but do not mind me). Hellish and brutal power to the max.
CoH - Patherns
How have I gone so many years without CoH. Every record I have heard until now by this Russian is great. It would be perhaps best to describe his music as subtly menacing electronics, leaving him somewhere between the Kraftwerk obssession of Dopplereffekt and the brooding soundscapes of the later Coil. On Raster-Noton and not completely anal, faut-le faire.
Fantastic Ego - Trips the Light
On Foxy Digitalis this was described as having leanings with Current 93, but in my opinion it has absolutely nothing to do with that quadrant of psychfolk. I am tending more to link it with the unholy mothergrooves of Belgium's Silvester Anfang. Considering the fact that that last reference is merely a hunch, I cannot possibly give Fantastic Ego a greater compliment than by saying his sound is pretty unique in the current all things freaky and folky climate.
Fursaxa - Alone in the Dark Wood
Most of the time I find Fursaxa, although she is always making very beautiful music, lacking spunk. She is always floating somewhere above the witches circle in the deep forest. But this one is her finest piece to date. I will probably not amuse her by comparing this to the better parts of the early Dead Can Dance discography, but that was the feeling it evoked. Anyway, for the first time I was totally involved into her music.
Library Tapes - Feelings for Something Lost
This is probably one of the most beautiful records I have ever heard. Consisting mostly of piano loops mixed up with gently creaking noise it is so much more than the sum of those parts. It sounds as if someone invaded an old derelict house, one of those places where you can hear the wind blowing through the age-old cracks, stumbled onto a dirty old creaky piano and decided to record an album on the spot with one of those old portable cassette recorders. In the league of Basinski's Disintegration Loops, and the cognoscenti will know that this is one hell of a compliment.
Holy Modal Rounders - 1&2
Never heard anything before by these folkies and it was a pleasure. Very simple bluegrass, country and folk ditties brought with the most basic means. Honest music - never thought I would ever use those two words next to one another - without pretense or pose.
Coil - The Remote Viewer
In 2030 people will still be wandering through the Coil backcatalogue and discovering masterpieces. This one was rereleased with two bonus tracks a few months ago and it defies description. But try to imagine bagpipes, hurdy gurdy and electronic beats in one song, add some early Tangerine Dream kosmische vibes, a tad of Material's 'Mantra', a spoonful of haunting emotions and you are not even halfway there. The effect alltogether is like watching Borges' City of the Immortals rising up from the steaming desert. Massive! Masterful! Genius!
I am currently very much into Boris, another one of those groups who seem to shit (or should that be vomit) records. As usual with this trio there are more versions of this record (Southern Lord even put out a special low frequency version of one of their records). There is an hardcore version (the so-called 'crust' version) and a slow/drone version. I have only heard the hardcore version and when I put it on I first thought I had mistakenly put something on by Merzbow (with whom they frequently collaborate by the way), so fuzzy and noisy is the attack. Saying that it gets more accessible further on would be a lie. This is as hardcore as it gets, with undecipherable Japanse lyrics to go with it. If you got something to drive out of your system and there is no booze around, go with Vein. The original raw shit.
Jegor Teplov - LAC
Do not know who Jegor Teplov is but I know Sleeparchive collaborated with him on this first release on the Stamp label. It actually sounds like a German version of dubstep, that is, dark, misty and technoish at the same time. Always nice to hear the bonds between minimal techno and dubstep being strengthened. Hopefully more to follow.
Battles - Atlas
This is the one with the funny-sounding vocals. Hate it or love it. More instantly loveable is DJ Koze's remix, who does not leave that much of the original intact but does a fine job anyway, especially because he shuns the easy let's-make-Kompakt-track-out-of-this-track approach.
Anaal Nathrakh - Eschaton
Ok, this is death metal, but there are also some pretty great melodies on this one. As Martijn put it once: Deep down there is something beautiful in Anaal Nathrakh. But you got to dig deeper than a title like 'Between Shit and Piss We Are Born' (which I actually think is a pretty strong title, but do not mind me). Hellish and brutal power to the max.
CoH - Patherns
How have I gone so many years without CoH. Every record I have heard until now by this Russian is great. It would be perhaps best to describe his music as subtly menacing electronics, leaving him somewhere between the Kraftwerk obssession of Dopplereffekt and the brooding soundscapes of the later Coil. On Raster-Noton and not completely anal, faut-le faire.
Fantastic Ego - Trips the Light
On Foxy Digitalis this was described as having leanings with Current 93, but in my opinion it has absolutely nothing to do with that quadrant of psychfolk. I am tending more to link it with the unholy mothergrooves of Belgium's Silvester Anfang. Considering the fact that that last reference is merely a hunch, I cannot possibly give Fantastic Ego a greater compliment than by saying his sound is pretty unique in the current all things freaky and folky climate.
Fursaxa - Alone in the Dark Wood
Most of the time I find Fursaxa, although she is always making very beautiful music, lacking spunk. She is always floating somewhere above the witches circle in the deep forest. But this one is her finest piece to date. I will probably not amuse her by comparing this to the better parts of the early Dead Can Dance discography, but that was the feeling it evoked. Anyway, for the first time I was totally involved into her music.
Library Tapes - Feelings for Something Lost
This is probably one of the most beautiful records I have ever heard. Consisting mostly of piano loops mixed up with gently creaking noise it is so much more than the sum of those parts. It sounds as if someone invaded an old derelict house, one of those places where you can hear the wind blowing through the age-old cracks, stumbled onto a dirty old creaky piano and decided to record an album on the spot with one of those old portable cassette recorders. In the league of Basinski's Disintegration Loops, and the cognoscenti will know that this is one hell of a compliment.
Holy Modal Rounders - 1&2
Never heard anything before by these folkies and it was a pleasure. Very simple bluegrass, country and folk ditties brought with the most basic means. Honest music - never thought I would ever use those two words next to one another - without pretense or pose.
Coil - The Remote Viewer
In 2030 people will still be wandering through the Coil backcatalogue and discovering masterpieces. This one was rereleased with two bonus tracks a few months ago and it defies description. But try to imagine bagpipes, hurdy gurdy and electronic beats in one song, add some early Tangerine Dream kosmische vibes, a tad of Material's 'Mantra', a spoonful of haunting emotions and you are not even halfway there. The effect alltogether is like watching Borges' City of the Immortals rising up from the steaming desert. Massive! Masterful! Genius!
Monday, May 07, 2007
Wednesday, May 02, 2007
A'right!
Am not a fan of Reynolds, but when it is good, why not say so, hey?
Nonetheless, there is something horribly wrong with music journalism if the facts of life are tackled by dinosaurs like Julian Cope and Simon Reynolds. So, thank God for the dinosaurs, then?
Nonetheless, there is something horribly wrong with music journalism if the facts of life are tackled by dinosaurs like Julian Cope and Simon Reynolds. So, thank God for the dinosaurs, then?
Monday, April 30, 2007
PoMo Farts A Go Go
"On "Xerrox", ALVA NOTO works with samples from muzak, advertising, soundtracks and entertainment programs. These sounds we hear randomly in everyday life and thereby they become an always present and available public domain. With "Xerrox" ALVA NOTO manipulates these recognizable melodic (micro) structures by the process of copying. He alienates them beyond recognition so the results manifest their connection to the original only suggestively. In this respect the original is copied to the original."
In these distressing times of jagged heteronormativity, apocalyptic multiplicity and the retro-gaze of the eventual subject my relationship with concepts and theory surrounding popular music has always been rather one of alert suspicion. When the names 'Raster-Noton' and 'Carsten Nicolai' are evoked this suspicion goes into supermega-overdrive and reaches an all-time high.
The above promotional text accompanying Alva Noto's newest project (Nicolai does not make records, he thinks up projects, that are then worked out in detail and, one is inclined to think, are only recorded because, well, they have to be, do they not), is one of the most overblown and anal commentaries I ever encountered. And as a regular record reviewer I have read quite a few promotional papers that were talking out of the metaphorical anus. I, as any other thinking being, crave my daily piece of theory. But when they lay their filthy pomo claws on my music, I am inclined to take out the air-rifle and do some serious damage.
Now, I am asking you to point out in which way there is anything revolutionary about taking samples and copying them beyond recognition? Since the birth of the sampler electronic producers have been doing just that, have they not? Tell me what is so special about that.
All this would not make me grumpy, if not the music that is the result of this incredibly original and shrewd conceptualisation were anything more than white noise and ambient. Mind you, the music on Xerrox Vol.1 (four more episodes, and, one fears, an equal amount of conceptual bullshit along with it, to follow) is some of the most pristine, alienating and beautiful sound you will have ever heard. But even after a few listenings it remains just that: white noise and ambient.
The music even sounds white. It is pure nothing music, a glacial soundtrack to accompany a perverted tourist walk through a cathedral of concrete, glass and shining design materials. Beautiful as levitating through the clouds on a sunny day, but the link with the so-called concept is non-existing.
Furthermore, what is Nicolai talking about when he states that "the results manifest their connection to the original only suggestively"? I challenge everyone to listen a few times to this recording and point out the portion(s) which he thinks manifest any connection whatsoever to a recognizable sound source. Nicolai is so kind to provide us with a list of the original sources, references like "Narita Airport", "Telephone Wait-loop" and "Seven-Eleven Tokyo".
He is right when he says that you will not recognize Narita Airport or the 7/11 in Tokyo on Xerrox Vol.1. But if he had put phrases like "Bear Fart from Amsterdam Zoo" or "80-year Old Being Porked by Said Bear" instead, you would have believed him just as well. Hell, I would even take something like "Carsten Nicolai Hurting His Membranes While Thinking Up A Marvellous New Concept" for granted. But the result would be exactly the same. Is this a cd or an encyclopedia, an example of Nicolai's "work in the transitional area between art and science"? Who knows, dear readers, who knows?
And then of course, as top of the bill, we get a phrase like: "In this respect the original is copied to the original." What the fuck is this guy talking about? Someone. Explain. This. Sentence. To. Me.
But this is not the end of it. Xerrox Vol.1, as you will by now have come to suspect, is not encased in an ordinary jewelcase. Sir, no, Sir! It is presented in a folder. If you fold this open more logorrhoea comes pouring out. Things like:
"In the end the process of copying can itself become a creative tool which analytically generates something new. The mutating copy emerges as a new original and thereby provides space for development." (The sheer invention of it! Serendipity alert!! A sound Revolution!!!)
or
"In our world of constant reproduction the immeasurable number of multiplied images corroborates the original. The copy assumes its independence and its own value. The replication equals the original, which as an icon becomes abstract and virtual." (Yes, dear readers, you read that right. This "Maître Penseur of Microtechno" dares to go all Platonic on us.)
What next? Will Xerrox Vol.2 be an "original replication" of Xerrox Vol.1? And Xerrox Vol.3 an "unrecognizable copy" of the, by that time, iconic, abstract and virtual Xerrox Vol.1? And, most important of all: will we still be able to recognize "Narita Airport" by the time Xerrox Vol.5 will have wreaked more conceptual havoc upon our poor minds? Will the "integral material component of the original remain or can this only be projected?" Give this man some time and in a few months he will be mentioning terms like "substance", "category", "free will" and "eternal recurrence". Anytime would I welcome another tsunami of Tolkien-inspired progressive rock albums with Uriah Heep-style sleeves full of wizards and sci-fi birds before taking in another helping of this kind pseudo-intellectual mumbo jumbo.
With all this mind-poisoning post-techno babble one would almost forget - and this, the ironic cruelty that is always so manifest in pomo, almost makes me weep of frustration - that Xerrox Vol.1 actually is one of the most fascinating ambient records 2007 has yielded up till now.
In these distressing times of jagged heteronormativity, apocalyptic multiplicity and the retro-gaze of the eventual subject my relationship with concepts and theory surrounding popular music has always been rather one of alert suspicion. When the names 'Raster-Noton' and 'Carsten Nicolai' are evoked this suspicion goes into supermega-overdrive and reaches an all-time high.
The above promotional text accompanying Alva Noto's newest project (Nicolai does not make records, he thinks up projects, that are then worked out in detail and, one is inclined to think, are only recorded because, well, they have to be, do they not), is one of the most overblown and anal commentaries I ever encountered. And as a regular record reviewer I have read quite a few promotional papers that were talking out of the metaphorical anus. I, as any other thinking being, crave my daily piece of theory. But when they lay their filthy pomo claws on my music, I am inclined to take out the air-rifle and do some serious damage.
Now, I am asking you to point out in which way there is anything revolutionary about taking samples and copying them beyond recognition? Since the birth of the sampler electronic producers have been doing just that, have they not? Tell me what is so special about that.
All this would not make me grumpy, if not the music that is the result of this incredibly original and shrewd conceptualisation were anything more than white noise and ambient. Mind you, the music on Xerrox Vol.1 (four more episodes, and, one fears, an equal amount of conceptual bullshit along with it, to follow) is some of the most pristine, alienating and beautiful sound you will have ever heard. But even after a few listenings it remains just that: white noise and ambient.
The music even sounds white. It is pure nothing music, a glacial soundtrack to accompany a perverted tourist walk through a cathedral of concrete, glass and shining design materials. Beautiful as levitating through the clouds on a sunny day, but the link with the so-called concept is non-existing.
Furthermore, what is Nicolai talking about when he states that "the results manifest their connection to the original only suggestively"? I challenge everyone to listen a few times to this recording and point out the portion(s) which he thinks manifest any connection whatsoever to a recognizable sound source. Nicolai is so kind to provide us with a list of the original sources, references like "Narita Airport", "Telephone Wait-loop" and "Seven-Eleven Tokyo".
He is right when he says that you will not recognize Narita Airport or the 7/11 in Tokyo on Xerrox Vol.1. But if he had put phrases like "Bear Fart from Amsterdam Zoo" or "80-year Old Being Porked by Said Bear" instead, you would have believed him just as well. Hell, I would even take something like "Carsten Nicolai Hurting His Membranes While Thinking Up A Marvellous New Concept" for granted. But the result would be exactly the same. Is this a cd or an encyclopedia, an example of Nicolai's "work in the transitional area between art and science"? Who knows, dear readers, who knows?
And then of course, as top of the bill, we get a phrase like: "In this respect the original is copied to the original." What the fuck is this guy talking about? Someone. Explain. This. Sentence. To. Me.
But this is not the end of it. Xerrox Vol.1, as you will by now have come to suspect, is not encased in an ordinary jewelcase. Sir, no, Sir! It is presented in a folder. If you fold this open more logorrhoea comes pouring out. Things like:
"In the end the process of copying can itself become a creative tool which analytically generates something new. The mutating copy emerges as a new original and thereby provides space for development." (The sheer invention of it! Serendipity alert!! A sound Revolution!!!)
or
"In our world of constant reproduction the immeasurable number of multiplied images corroborates the original. The copy assumes its independence and its own value. The replication equals the original, which as an icon becomes abstract and virtual." (Yes, dear readers, you read that right. This "Maître Penseur of Microtechno" dares to go all Platonic on us.)
What next? Will Xerrox Vol.2 be an "original replication" of Xerrox Vol.1? And Xerrox Vol.3 an "unrecognizable copy" of the, by that time, iconic, abstract and virtual Xerrox Vol.1? And, most important of all: will we still be able to recognize "Narita Airport" by the time Xerrox Vol.5 will have wreaked more conceptual havoc upon our poor minds? Will the "integral material component of the original remain or can this only be projected?" Give this man some time and in a few months he will be mentioning terms like "substance", "category", "free will" and "eternal recurrence". Anytime would I welcome another tsunami of Tolkien-inspired progressive rock albums with Uriah Heep-style sleeves full of wizards and sci-fi birds before taking in another helping of this kind pseudo-intellectual mumbo jumbo.
With all this mind-poisoning post-techno babble one would almost forget - and this, the ironic cruelty that is always so manifest in pomo, almost makes me weep of frustration - that Xerrox Vol.1 actually is one of the most fascinating ambient records 2007 has yielded up till now.
Sunday, April 29, 2007
Rather Raving (about)
Arctic Monkeys - Favourite Worst Nightmare
Apart from the bonafide heavy hitters I was not really convinced by the critically lauded first album. But I just love this record and anyone saying that this is a bad record does not know what he is talking about. And the average age of this bunch being twenty we can expect plenty of great things to come (I hope, that is). One of those rare records that makes you wish you were sixteen again.
Circle - Pori
Another record, another style. Which means in this case: how many styles can you handle? This time around endearing panoramic ambient sounds mixed up with bass-heavy electronics and off-kilter rhythms, avant garde versus free jazz versus classical, motorik hardrock with Gregorian chanting, bombastic drum work, epic synthwashes all over the place, lots of nocturnal atmospheres and a whole lot more. These guys are as difficult to follow as their song titles are to pronounce.
Jona - Smart Cats vs Dumb Dogs / Evidence
I bought his previous two 12-inches on Get Physical and this one proves that this Belgian continues his ascent to the top techno drawer. And he is doing something original with the labelsound, of which I was growing a bit tired lately. Like always he royally takes his time and just when you think this is going to be another not-much-happening minimal funk track he gets all emotional and melancholic on you.
Von Südenfed - Tromatic Reflexxions
Forget that horrible last Fall-record. This is the one to worship. Great beats and Smith in full effect. I think he needs a new band or something. Again.
Brainticket - Celestial Ocean
Most of the time Brainticket are considered to be Krautrockers but they were actually of Swiss and Italian descent. This album contains some great ethnic inspired prog. But if an inspired bootlegger/editor (think Dark and Lovely or such) added some good contemporary beats to the mighty 'Jardins', you would get a great slow sub-disco anthem. And those who were wondering where Steven 'NWW' Stapleton got those dreamy foreign sounding vocal bits, look no further, you will find plenty of those on this record. Splendid stuff!
Roxy Music - Country Life
My mother had this record since before I was born and I always liked the horribly made-up girls with the see-through underwear, but never got around to actually checking the music. And it turns out to be one of the best Roxy Music albums. Not everything is genius, but 'The Thrill of It All', 'All I Want is You', 'Out of the Blue' and 'Prairie Rose' are among the best they have ever done. Arty as fuck (dig those Weill-ian phrasings on 'Bitter-sweet') but what was ever wrong with that?
Die Tödliche Doris - " "
Ooooooh! Great deconstructed anarcho-punk artrocky stuff from Berlin. They started the whole Berlin scene along with Einstürzende Neubauten and DAF and they are just as great, but more in a chaotic No Wave style à la DNA and Teenage Jesus. What is more, they are also pleasantly disturbed. Has also one of those titles you cannot pronounce, but only read, which I think is another plus. They once released two records that you could play at the same time and then get a third record, the so-called Invisible LP, which even had a catalogue number of its own. I like those antics! Crazy as fuck and anti-everything, sounds like a Fire in the Mind kinda group.
Shining - Grindstone
Thanks for the tip, Bas! Totally freaked out mix-up of gothic, progressive, jazz, hardrock, electronics and what the fuck do I know. Audacious, ambitious, inventive and completely succeeding where others fail. With operatic vocals, always a big plus at the Fire place.
Glenn Jones - Against Which the Sea Continually Beats
Classic instrumental twangy sounds from Cul De Sac-member. Recommended for the John Fahey and Jack Rose lovers. This guy can play a mean tune.
Ibliss - Supernova
This group is what remained when Hütter and Scheider left the one-off project Organisation to start up Kraftwerk. And Ibliss in turn turned out to be another one-off. But it is a beauty. Very funky and with lots of exotic and ethnic sounds, these four tracks are among the best and most accessible the Krautrock movement ever yielded. Although titles like 'Athir' and 'Marga' promise otherwise there is nothing much psychedelic about Supernova. It sounds more akin to early disco and late jazzfunk actually, a bit like Miles Davis circa Agharta and Pangaea, but a lot tamer of course. Nonetheless well worth checking.
Moebius Neumeier Engler - Other Places
A mix-up of tribal, industrial electronics and that mighty unique Krautfeeling. And 'Sumplige Wasser' sounds like it could have been released on Kompakt, or something by the current incarnation of The Orb. Essential listenening.
Apart from the bonafide heavy hitters I was not really convinced by the critically lauded first album. But I just love this record and anyone saying that this is a bad record does not know what he is talking about. And the average age of this bunch being twenty we can expect plenty of great things to come (I hope, that is). One of those rare records that makes you wish you were sixteen again.
Circle - Pori
Another record, another style. Which means in this case: how many styles can you handle? This time around endearing panoramic ambient sounds mixed up with bass-heavy electronics and off-kilter rhythms, avant garde versus free jazz versus classical, motorik hardrock with Gregorian chanting, bombastic drum work, epic synthwashes all over the place, lots of nocturnal atmospheres and a whole lot more. These guys are as difficult to follow as their song titles are to pronounce.
Jona - Smart Cats vs Dumb Dogs / Evidence
I bought his previous two 12-inches on Get Physical and this one proves that this Belgian continues his ascent to the top techno drawer. And he is doing something original with the labelsound, of which I was growing a bit tired lately. Like always he royally takes his time and just when you think this is going to be another not-much-happening minimal funk track he gets all emotional and melancholic on you.
Von Südenfed - Tromatic Reflexxions
Forget that horrible last Fall-record. This is the one to worship. Great beats and Smith in full effect. I think he needs a new band or something. Again.
Brainticket - Celestial Ocean
Most of the time Brainticket are considered to be Krautrockers but they were actually of Swiss and Italian descent. This album contains some great ethnic inspired prog. But if an inspired bootlegger/editor (think Dark and Lovely or such) added some good contemporary beats to the mighty 'Jardins', you would get a great slow sub-disco anthem. And those who were wondering where Steven 'NWW' Stapleton got those dreamy foreign sounding vocal bits, look no further, you will find plenty of those on this record. Splendid stuff!
Roxy Music - Country Life
My mother had this record since before I was born and I always liked the horribly made-up girls with the see-through underwear, but never got around to actually checking the music. And it turns out to be one of the best Roxy Music albums. Not everything is genius, but 'The Thrill of It All', 'All I Want is You', 'Out of the Blue' and 'Prairie Rose' are among the best they have ever done. Arty as fuck (dig those Weill-ian phrasings on 'Bitter-sweet') but what was ever wrong with that?
Die Tödliche Doris - " "
Ooooooh! Great deconstructed anarcho-punk artrocky stuff from Berlin. They started the whole Berlin scene along with Einstürzende Neubauten and DAF and they are just as great, but more in a chaotic No Wave style à la DNA and Teenage Jesus. What is more, they are also pleasantly disturbed. Has also one of those titles you cannot pronounce, but only read, which I think is another plus. They once released two records that you could play at the same time and then get a third record, the so-called Invisible LP, which even had a catalogue number of its own. I like those antics! Crazy as fuck and anti-everything, sounds like a Fire in the Mind kinda group.
Shining - Grindstone
Thanks for the tip, Bas! Totally freaked out mix-up of gothic, progressive, jazz, hardrock, electronics and what the fuck do I know. Audacious, ambitious, inventive and completely succeeding where others fail. With operatic vocals, always a big plus at the Fire place.
Glenn Jones - Against Which the Sea Continually Beats
Classic instrumental twangy sounds from Cul De Sac-member. Recommended for the John Fahey and Jack Rose lovers. This guy can play a mean tune.
Ibliss - Supernova
This group is what remained when Hütter and Scheider left the one-off project Organisation to start up Kraftwerk. And Ibliss in turn turned out to be another one-off. But it is a beauty. Very funky and with lots of exotic and ethnic sounds, these four tracks are among the best and most accessible the Krautrock movement ever yielded. Although titles like 'Athir' and 'Marga' promise otherwise there is nothing much psychedelic about Supernova. It sounds more akin to early disco and late jazzfunk actually, a bit like Miles Davis circa Agharta and Pangaea, but a lot tamer of course. Nonetheless well worth checking.
Moebius Neumeier Engler - Other Places
A mix-up of tribal, industrial electronics and that mighty unique Krautfeeling. And 'Sumplige Wasser' sounds like it could have been released on Kompakt, or something by the current incarnation of The Orb. Essential listenening.
Saturday, April 28, 2007
Sunday, April 22, 2007
Thursday, April 19, 2007
Rather Raving (about)
Circle - Tower
And they noodled on. Beautiful and going nowhere in particular. But to be honest, I like everything this lot does.
Circle - Tyrant
Another Circle, another style. This one's more NWOFS (New Wave of Finnish Shoegaze).
Tod Dockstader - Electronic
There are actually two volumes with exactly the same name. Pretty far removed from the abstract musings of the Aerial series this lies somewhere between the musique concrète experiments of the GRM, krautronics à la Cluster, sci-fi dramatics and industrial. I was absolutely flabbergasted by it.
Edgar Froese - Aqua
Pretty difficult to find something worth listening to in Froese's solo discography. This one's closest to Tangerine Dream circa Phaedra.
Pan American - For Waiting For Chasing
Atmosphere, nothing but atmosphere. Americana ambient, if there were such a thing.
Aphrodite's Child - 666
I confess: I am a prog lover. And this concept album from Roussos and Vangelis about the Apocalypse is as prog as they come. With incredible opera styled vocals from Irene Pappas as a bonus. Only for the brave!
Pentangle - People on the Highway
Folkrock from Bert Jansch's group. With lots of high-pitched girl's voices singing about Albion, snow and sun, wedding dresses, mountains, sweethearts and such. Flowerchildren ahoy!
Sacrificial Totem - Hurqalya
Pagan black metal noise that would scare away even Satan himself. Disturbing shit. For those who can dig the universe-being-born aesthetics of Cluster '71.
Boredoms - Super Roots 9
One track, 40 minutes long, of totally over the top extravaganza. Including insane sampled choirs. Carmina Burana meets Japanoise.
Acid Mothers Temple - In C
Terry Riley sounds like Neu! in these hands. Grooved out!
Keiji Haino - Book of Eternity Set Aflame
Scorched earth style guitar noise rules on this one. Wouldn't be amazed if it turned out Stephen O'Malley has this one in his collection. Louder than Wolf Eyes and more unnerving than Sunn o))). Haino is The King.
And they noodled on. Beautiful and going nowhere in particular. But to be honest, I like everything this lot does.
Circle - Tyrant
Another Circle, another style. This one's more NWOFS (New Wave of Finnish Shoegaze).
Tod Dockstader - Electronic
There are actually two volumes with exactly the same name. Pretty far removed from the abstract musings of the Aerial series this lies somewhere between the musique concrète experiments of the GRM, krautronics à la Cluster, sci-fi dramatics and industrial. I was absolutely flabbergasted by it.
Edgar Froese - Aqua
Pretty difficult to find something worth listening to in Froese's solo discography. This one's closest to Tangerine Dream circa Phaedra.
Pan American - For Waiting For Chasing
Atmosphere, nothing but atmosphere. Americana ambient, if there were such a thing.
Aphrodite's Child - 666
I confess: I am a prog lover. And this concept album from Roussos and Vangelis about the Apocalypse is as prog as they come. With incredible opera styled vocals from Irene Pappas as a bonus. Only for the brave!
Pentangle - People on the Highway
Folkrock from Bert Jansch's group. With lots of high-pitched girl's voices singing about Albion, snow and sun, wedding dresses, mountains, sweethearts and such. Flowerchildren ahoy!
Sacrificial Totem - Hurqalya
Pagan black metal noise that would scare away even Satan himself. Disturbing shit. For those who can dig the universe-being-born aesthetics of Cluster '71.
Boredoms - Super Roots 9
One track, 40 minutes long, of totally over the top extravaganza. Including insane sampled choirs. Carmina Burana meets Japanoise.
Acid Mothers Temple - In C
Terry Riley sounds like Neu! in these hands. Grooved out!
Keiji Haino - Book of Eternity Set Aflame
Scorched earth style guitar noise rules on this one. Wouldn't be amazed if it turned out Stephen O'Malley has this one in his collection. Louder than Wolf Eyes and more unnerving than Sunn o))). Haino is The King.
Thursday, April 12, 2007
Rather Raving (about)
Islaja - Ulual YYY
Goddess! Goddess!! Goddess!!!
Colleen - Les Ondes Silencieuses
Out of time beauty on authentic instruments.
The Young Gods - Superready / Fragmenté
So there was nothing coming out of Switserland besides the cuckoo clock, Harry?
Hermann Nitsch - Harmoniumworks Vol. 1-12
Hypnotizing endless organ loops from the Vienna Actionist.
Alexander Tucker - Old Fog
Psychedelic folk with an atypic but rewarding voice.
Khylst - Chaos is My Name
Messages from the darkest pits of hell.
Frankie Valli - Beggin' (Pilooski Edit)
Frankie 'Four Seasons' Valli gets a postmillenial update.
Motor - Unhuman
Stomping electro-tech to set the dance floor alight.
Nico - The Frozen Borderline
What can I say? Even the demo versions are great.
Efterklang - Under Giant Trees
Another enchanting episode of the Efterklang fairytale.
Goddess! Goddess!! Goddess!!!
Colleen - Les Ondes Silencieuses
Out of time beauty on authentic instruments.
The Young Gods - Superready / Fragmenté
So there was nothing coming out of Switserland besides the cuckoo clock, Harry?
Hermann Nitsch - Harmoniumworks Vol. 1-12
Hypnotizing endless organ loops from the Vienna Actionist.
Alexander Tucker - Old Fog
Psychedelic folk with an atypic but rewarding voice.
Khylst - Chaos is My Name
Messages from the darkest pits of hell.
Frankie Valli - Beggin' (Pilooski Edit)
Frankie 'Four Seasons' Valli gets a postmillenial update.
Motor - Unhuman
Stomping electro-tech to set the dance floor alight.
Nico - The Frozen Borderline
What can I say? Even the demo versions are great.
Efterklang - Under Giant Trees
Another enchanting episode of the Efterklang fairytale.
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