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Podcast Episode 339: January 22, 2017

S U R V I V EWe're excited to finally feature Adam Jones of S U R V I V E, Troller, Thousand Foot Whale Claw, and the Holodeck Records label. The second full-length S U R V I V E LP has been released only months ago, however the group have exploded in popularity since. Other music is featured by The Body, Pinkcourtesyphone, *AR, and Muslimgauze.

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Forced Exposure New Releases for 1/23/2017

New music is due from Soft Kill, Julie Byrne, and Simon Fisher Turner, while old music is due from Marcello Giombini, Rhino 39, and Current 93.


Nurse With Wound, "The Great Ecstasy of the Basic Corrupt"

cover imageThis is a long-awaited CD reissue of a largely unheard 45 RPM art edition LP from 2014.  Although the idea of getting a small Steven Stapleton painting with an album was certainly appealing at the time, I was understandably a bit apprehensive about buying an expensive album that could easily turn out to just be a bunch of regurgitated studio scraps or live recordings.  I passed.  As it turns out, however, The Great Ecstasy was (and is) actually a surprisingly excellent and cohesive album.  More importantly, this reissue appends another great rarity to the original release in the form of Silver Bromide's "Circles of Confusion," which is one of my favorite NWW pieces in years.  Given that copies of Silver Bromide are currently going for $1500, this humble CD holds an awful lot of appeal.


William Basinski, "A Shadow in Time"

cover imageFew current artists are as consistent and reliably absorbing as William Basinski, as he has carved a wonderful career out of conjuring work of hypnotic beauty from simple, well-chosen snippets from his backlog of decaying tapes.  It is not nearly as simple a formula as it sounds, but Basinski always manages to make it look effortless anyway.  Recently, however, he seems to have become a bit restless with that aesthetic, as he transformed the more traditionally Basinski-esque The Cascade into The Deluge with the aid of some feedback loops of varying lengths.  A Shadow in Time is an even more radical leap forward, as the title piece feels like a pile-up of blurred tape loops woven into a vibrantly shifting composition.  The other piece, Basinski's gorgeous tribute to David Bowie, is admittedly a bit less adventurous in structure, but is not devoid of unexpected twists either.


Rashad Becker, "Traditional Music of Notional Species Vol. II"

cover imageRashad Becker’s 2013 debut album was a singular and radical work of art, resembling nothing less than field recordings from a sinister extra-dimensional jungle.  For this follow-up, however, he apparently opted not to try to blow my mind a second time and instead just deepened and expanded upon what he had already done previously.  Naturally, the second volume is every bit as deranged and wrong-sounding as the first, so my favorite hallucinatory and Lovecraftian aural nightmare essentially just became twice as long.  I am quite fine with that state of affairs.


Muslimgauze, "Mohammad Ali Jinnah" and "Jerusalaam"

cover imageStaalplaat's tireless trawl through Bryn Jones's endless archive yielded yet another fine pair of releases to close out 2016.  Jerusalaam, the stronger and more traditionally Muslimgauze-esque of the two,  is not so much a new find as it is a straight-up reissue of the fourth album from 1998's Tandoori Dog boxed set.  However, that absorbing and varied release is expanded with a couple of lengthy unused pieces recorded for the Return of Black September album.  The much stranger Mohammad Ali Jinnah album has an even more perplexing and convoluted provenance, as it is basically an alternate version of 2002's Sarin Israel Nes Ziona, with significant variations in sequence and song lengths.  Staalplaat rightly describes it as "a release unlike anything else in Jones' discography," as classic Muslimgauze fare rubs elbows with some rather spirited forays into frayed breakbeats, experiments in obsessive repetition, and four-on-the-floor house thump.


*AR, "Earth By Means of the Currents"

cover imageRichard Skelton was atypically quiet in 2016, as he and Autumn Richardson seemed to be focusing primarily upon their publishing ventures, poetry, visual art, and Skelton's esoteric and multifarious research projects.  Fortunately, however, the duo managed to release this EP in December to accompany a series of collages they completed during a month-long residency in the Orkneys.  While it only clocks in at a lean 20 minutes, Earth by Means of the Currents is one of the more focused and powerful releases in the duo’s collaborative oeuvre, featuring both a solid foray into their warmly beautiful drone comfort zone and a buzzing, gnarled plunge into its negative image.


Pinkcourtesyphone, "Taking Into Account Only a Portion of Your Emotions"

cover imageI think at some point in the near future Richard Chartier will be releasing new material under his own name again, but as of late his focus has been on his Pinkcourtesyphone project.  There are similarities between the two monikers, but PCP tends to eschew the conceptual academics of his other work for the sake of tongue-in-cheek kitchiness, but still is an unabashed showcase for his subtle touch when it comes to performance and composition.  Additionally, this new record shows him honing his craft even more, making for his most fully realized album to date.


Rambutan, "Universal Impulses"

cover imageFor Eric Hardiman’s Rambutan project, 2016 was an uncharacteristically quiet year.  This new tape from the Upstate New York multi-instrumental experimentalist did not appear until November, and as best as I can tell it was the only release of the year.  Perhaps that singular focus on this album was a good thing, because Universal Impulses is another fascinating release, up there with Remember Me Now and Inverted Summer as a complex, beautiful and mysterious work.


2016 Readers Poll - The Results

Thanks again to everyone who participated in the Annual Brainwashed Readers Poll.

and now, the results:



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