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New Tear Garden project is now accepting funding

https://d2tqed3y8k290k.cloudfront.net/incentives/000/174/708/icons/large.jpgThe Tear Garden is now 30 years old. The project, originated by Edward Ka-Spel (of Legendary Pink Dots) and Cevin Key (of Skinny Puppy) has expanded to include numerous other players and have released seven full-length albums, two EPs, and two compilations. For the next project, the group has opened up funding from friends and fans through Pledge Music. On the site are available pre-orders of signed versions of the forthcoming LP and CD as well as merchandise and tickets for a listening party. Through a video, Edward explains the logistics, the plans, and even hints to that long-promised Tear Garden tour.

 

Forced Exposure New Releases for 7/25/2016

New music is due from Mato, Sophie Hutchings, and Sam Shalabi, while old music is due from The Jumping Jacques, Wooden Horse, and Brother Ah.

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Robert Turman & Aaron Dilloway, "Blizzard"

cover imageBlizzard is a luxurious reissue of a CDr Aaron Dilloway originally put out on his Hanson imprint back in 2009, presented here in high quality double vinyl.  Dilloway and Robert Turman recorded these four pieces together during an actual blizzard, which not only further enhances mood, but also seems to creep in throughout these lengthy compositions.  Largely based upon analog synthesizer and tape manipulation, the duo not only captures the frigid, isolated mood of being caught in a massive snowstorm, but the sounds of one as well.

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Black Sun Productions, "Toilet Chant" and "Dies Juvenalis"

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Hallow Ground continues their impressive recent run with two vinyl reissues from these erstwhile Coil collaborators and eternally provocative and intriguing iconoclasts.  Both of these releases were originally issued as very limited CDrs on the band’s own Anarcocks label in the mid-2000s, so they never managed to get the attention that they richly deserve, making this quite a worthy pair for a vinyl resurrection (one more so than the other, admittedly).  Unsurprisingly, the Coil influence is quite strong on both, as Massimo and Pierce traffic primarily in stuttering, hallucinatory electronics and eerie moods.  In fact, Jhonn Balance himself even contributes vocals (of a sort) to Toilet Chant’s "E2 = Tree 3."  If Black Sun Productions are derivative of Coil here, however, they seem to have been focused primarily upon the bizarre and unpredictable fare of the Unnatural History series.  More Coil-eque music in that vein is certainly fine by me, but each album also boasts at least one piece that admirably transcends that long shadow to blossom into something wonderfully beautiful and unique.

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Nakama, "Grand Line"

cover imageThe quartet of Nakama (Adrian Løseth Waade on violin, Ayumi Tanaka on piano, Andreas Wildhagen playing drums, and Christian Meaas Svendsen providing double bass) expand upon their use of silence in juxtaposition with experimental jazz from their previous record, Before the Storm, into this newer, more conceptually structured work.  The album is based upon Svendsen's structuring, which instructs the performers to improvise their playing reacting to a visual structure, giving the work an additional layer of complexity that makes the album all the more compelling.

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Personable, "Oyster"

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M. Geddes Gengras’s Collected Works (The Moog Years) was a huge album for me, but one of reasons that it is so great is that it distilled the best material from several tapes and several years of work.  I wish such retrospectives were more frequent: Gengras’s prodigious output has an exasperating tendency to dilute his artistry, as he is extremely restless in his creative evolution and it seems like every new step winds up publicly documented.  That tendency is probably cool for obsessive fans, but it also has the unfortunate result of leaving a voluminous wake of releases that fail to live up to their potential.  Granted, Gengras is never short on ideas–I just wish he would linger on them long enough to craft something lasting and great more often.  Consequently, this latest record under Gengras's analog techno guise is quite a wonderful surprise, capturing him in unwaveringly fine form.  This is exactly the kind of album that I was hoping for.

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Alan Vega, 1938-2016

2016 has claimed yet another undeniably important musician of our lifetime. We are all heartbroken at the loss of Alan Vega here at Brainwashed and are thankful for his years of contribution to music, challenging not only the institution of pop and rock, but even challenging the conventions within the punk scene of the '70s, most significantly alongside Martin Rev in Suicide. Vega remained active in music both with Suicide and other collaborations through last year and our hearts go out to his family and friends.

http://variety.com/2016/music/news/alan-vega-dead-suicide-1201816050/

 

Wire, "Nocturnal Koreans"

cover imageWire’s latest mini-album is a somewhat darker, subtly more experimental, and arguably superior sister to their self-titled 2015 release.  In fact, these songs were all written during the very same period, but they were split off into their own release because they ostensibly shared a path directly opposed to the aesthetic of Wire: the self-titled album was a deliberately no-frills document of what the band actually sounds like when they play together in a room, while Koreans documents what they can achieve with studio enhancements and liberal editing.  Despite those very different approaches, the two albums do not actually seem all that different to my ears.  I guess I was hoping for a bit more of a radical departure than this.  While there are a few intriguing exceptions, Koreans mostly just sounds like more of the same hook-heavy and slightly off-kilter songcraft that I always expect from Wire.  That is certainly not a bad thing, but Nocturnal Koreans is definitely more solid than revelatory.

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Solo Andata, "In The Lens"

cover imageFor their fourth record, the duo of Kane Ikin and Paul Fiocco took a different approach, and decided to revisit fragments of previous recordings that lay forgotten on various hard drives and cassette tapes for a multitude of years.  Beginning with these elements, they then reworked the material and recorded new parts, making these recordings a sort of hybrid of unreleased works and new material.  Because of that, In The Lens may at times feel more like a collection of songs rather than a full-fledged album, but that is no major detriment considering how well these compositions are executed.

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MJ Guider, "Precious Systems"

cover imageAfter a bit of a long slumber, Kranky has resurfaced with the first full-length from New Orleans’ Melissa Guion.  Guion’s previous discography is a bit lean, as she has previously only released one cassette back in 2014, but she seems to have quite a fully formed aesthetic that will no doubt delight fans of the Kranky milieu.  In fact, it is quite hard to discuss Precious Systems without making favorable comparisons to Grouper, as Guion is quite a similarly enthusiastic proponent of hazy, reverb-swathed vocals.  Musically, however, MJ Guider is far more indebted to shoegaze and gauzy 4AD-style Romanticism, crafting propulsive and hook-filled songs that feel artfully hollowed-out and slowed to a narcotic crawl.

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The Eye: Video of the Day

Jesu

YouTube Video


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Review of the Day

Stefan Jaworzyn, "Principles of Inertia"

cover imageAs a former member of Skullflower and Ascension, Jaworzyn was one of the elite guitar manglers of the '90s noise rock UK scene before seemingly disappearing form the earth.  Last year, along with a series of Skullflower reissues, Jaworzyn reappeared with a few singles embracing electronic instrumentation, while still pursuing that world of noise and entropy he did via six strings.  Principles of Inertia is another manifestation of this electronic infatuation, with a joyful disregard for genre traditions or conventions.


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