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Soundpool follow their critically acclaimed 2010 album Mirrors In Your Eyes with this fantastic limited CD EP (Killer Pimp will only sell 500 copies) of six remixes and reinterpretations. Syntaks, Strategy, GTO, Screen Vinyl Image, Colder, and Lawrence Chandler (of Bowery Electric fame) have all twisted and turned these soon-to-be-classic pop gems around and infused them with new life. Available separately or FREE with a purchase of the Mirrors In Your Eyes LP while supplies last.
- Shelter (Syntaks)
- Mirrors In Your Eyes (Strategy)
- Sparkle in the Dark (GTO)
- Listen (Screen Vinyl Image)
- But It's So (Colder)
- I'm So Tired (Lawrence Chandler)
"an enjoyable, stylish record" - Tiny Mix Tapes
"both exemplary and blindingly excellent" - Delusions of Adequacy
"An unstoppable sugar rush for the ears" - Textura
"This is music you haphazardly pogo stick to in the middle of a barely-lit club while psychedelic light stencils flash erratically over you and your posse. " - Alget Eaters
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Despite running a serious reissue campaign for Cluster and related releases, I am surprised that Bureau B have only come around to reissuing the first Cluster LP now. Featuring the core duo of Dieter Moebius and Hans-Jochim Roedelius, their debut also features the legendary Conny Plank both as a performer and as producer. This is the definitive reissue, it restores the original running order of the album and, best of all, it still sounds exceptional.
The opening piece, "7:42," set the template for abstract electronic music for the next forty years. When I first heard this album years ago, I realized that the likes of Brian Eno and Throbbing Gristle were not as original as I had previously thought, Moebius and Roedelius were already leagues ahead of everyone at the beginning of their career as Cluster. That is not to say they emerged from a vacuum as they had already released two similar but inferior studio albums with Conrad Schnitzler as Kluster (although subsequent live recordings from Kluster have shown the seeds of Cluster were already sprouting during Moebius and Roedelius’ tenure in Kluster).
The middle section of the album, "15:43," takes the already incendiary sound birthed in the previous piece and pushes outward and inward simultaneously. Their music captures both the feeling of witnessing an impossibly rare cosmic event and experiencing the deepest spiritual awakening at the same time. They would occasionally reach this sort of zenith throughout their career but never with the same potency and immediacy as they did here. Rhythmic but never straying into pure rhythms and abstract without becoming ambient (despite what has been written about them), this is the ultimate in expressionist electronic music.
The final piece (which occupies the entire second side of the album if you plump for the LP reissue) combines fiery electronic drones with gas-like jets of sound, punctuated with metallic and glassy elements to the point of saturation. It is dizzying, entrancing and perfect. These three Germans could have stopped their respective careers here and still be considered the giants of electronic music that they are today (thankfully they kept going though!). "21:32" still sounds utterly modern, if a band like Emeralds released this today I would be as gobsmacked now as I imagine Cluster's audience were in 1971.
Sadly, Cluster may be no more (as Roedelius left Moebius to form Qluster) but their legacy will live on based on their inimitable back catalog. Having this essential component fully available again has been long overdue but obviously entirely welcome. Out of all the great experimental albums from Germany in this period, Cluster still sound like they have come from the future and on this album that feeling comes through the strongest.
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Originally released on CD-R in 2005, this vinyl only reissue of vocalist Jessika Kenney and violist Eyvind Kang’s collaboration is one of the inaugural releases on Stephen O’Malley’s new Ideologic Organ label. Both artists have worked with O’Malley in Sunn O))) but to expect anything remotely like O’Malley’s own music would be a mistake. This is quiet, contemplative, and fully acoustic; both artists explore the relationships between each others' craft. They intentionally break down the barriers between voice and viola and between playing music and singing.
Thorughout Aestuarium, Kenney’s voice drifts into Kang’s viola like a river into the sea; the two merge into one and become indistinguishable from each other. In the opening moments of "Orcus Pellicano," my ears are bamboozled by this strange symbiosis of timbre. Together, Kenney’s voice and the viola form a third instrument that retains some of the individual character of both instruments but with another dimension that either on its own is incapable of creating. This idea of mixing two similar timbres to form a new middle ground between the two is reflected in the album’s title, an archaic term for an estuary.
Kenney’s interest in Persian music comes through strong on Aestuarium as she explores scales more in line with traditional Middle Eastern music than with western composition. Kang is more than adept both at following Kenney’s lead and in taking the reins himself; at times it is hard to tell who is following who as they almost become one Janus-like figure. On "Unnamed Figures," their respective performances become so entwined that it is hard to believe that one mind is not controlling both musicians. It sounds like Kenney is trying to make Kang play outside his comfort zone and at the same time Kang is pulling Kenney to a point where her voice is tested to its limits.
While I made clear that this is nothing like Sunn O))), it is easy to see why O’Malley would pick this album for his label. Kenney and Kang chase timbre and tone in the same way O’Malley and Greg Anderson do in Sunn O))). In this way, Aestuarium is more than a collection of songs by the duo, here Kenney and Kang have created deeply spiritual as well as conceptual music that could easily have come from a thousand years ago or from 2005. In any case, I wish I had heard this album when it first came out as I feel I have been missing out on something incredible for too long.
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I don't think there could be a more apropos title for this slab of destruction from one of the innovators of noise as we know it. Rather than the handmade instruments and conceptual endeavors of The Haters, Jupitter-Larsen simply works with the sound of cars smashing into one another, which will either entertain or be as annoying as all hell.
I for one have to say I am firmly in the "enjoy" camp on this one.There's a certain childishly destructive glee to be had in hearing the shattering windows and squealing tires, the same that drives people to secretly enjoy the vicarious thrill of seeing wreckage alongside the highway, as well as many people’s only motivation for watching automobile races:the potential danger of destruction.
Now, the thing is that this is essentially ALL this record is.That's not to say it is entirely repetitive, but the same sounds are used throughout, with a minimal amount of effects to be heard.The sides are discernible though:the A side is focused more on squeals and shrieking tires, while the B side is more of a metallic clattering, emphasizing the aftermath while the other side is the prelude to devastation.
The whole album reminded me a bit of David Jackman's Machine Gun Fighting, at least conceptually.There is a greater diversity of sounds and layering on this record though, which keeps it from getting too stale.It might not be the most complex sounding composition, but it doesn’t strive to be.Instead it's a gleefully violent collage that really takes the idea of "noise" to its logical end.No matter what though, it’s a record that could easily silence obnoxious neighbors if needed.
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As I mentioned in my review of the split 7" a few weeks ago, these are easily two of my favorite artists working in the more experimentally focused metal scene (that currently doesn't have an inane genre tag, which I'm perfectly fine with). Unlike that single, this one sided LP has the two projects working collaboratively, with the results completely living up to expectations.
Jenks Miller's solo project Horseback has recently received wider exposure due to reissues via Relapse, but Horseback still remains far more complex than most other artists with a metal bent to their sound.Chicago's Locrian is now a trio after vocalist/keyboardist Terence Hannum and guitarist Andre Foisy added the accomplished experimental percussionist Steven Hess to their lineup last year.Coming off 2010's distinctly different LPs Territories and The Crystal World, they have developed into a unique balance of dark atmospheres and avant garde sounds.This release is partially a celebration of the upcoming Utech Music Festival, as these two are both the headlining acts, but it’s anything but a merchandising cash grab.
The shorter "The Gift" opens with heavily reverberated guitar noises and improvised percussion from Hess.Amidst the swirling chaos there’s guitar to be heard: rapid, sparsely effected notes that shine like a pinhole of light in the otherwise oppressive blackness.The vocals sound more like Horseback to me, so I'm guessing it’s Miller's guttural, pained vocals that instantly reminded me of Danny from The Shining.Half way in the drums lock into a more traditional rhythm, and the remainder would almost be a lush ambient piece if it wasn’t so heavy and evil sounding.
The longer "Our Epitaph" slowly lurches along over a sparse distorted bass and drum rhythm, which, when combined with the monastic, chanted vocals (which sound like Hannum, but I’m guessing), feels like a ritualistic chant, austere and focused.In the background a combination of guitar and synthesizer come together violently, slowly becoming the focus and engulfing the liturgical chants.
The thing is, this sounds not like a collaboration in the traditional sense but like a singular project that perfectly balances the influence of the individual parts.Miller's unique combination of black metal and old school minimalism perfectly matches Locrian's film-score like bleakness and juxtaposition of noise and structure.  New Dominions sounds like the work of both artists, but neither one in particular.It highlights both of their strengths, blended into a perfectly unified whole that's among the best I have ever heard in this currently unnamed category of experimental metal.I just hope this isn’t the only collaboration these two bands will unleash.
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Jesu is back with another mammoth slab of religious iconography, loathing, and detuned metal chords played deadly slow. If Loveless wasn't already taken, that might be a more fitting title for this record of empty-hearted love songs.
Ascension begins with "Fools," a song which lays out the Jesu philosophy clearly enough. A mournful acoustic guitar, rhythm loop, and hushed lyrics about "fools," "heaven," and "hope" give way to a deep wall of metal riffing slowed down to quarter time. The words and chords repeat and then grind on for another five minutes until Justin Broadrick's voice, drowned out by dissonant guitars, stretches to sing "You'll be there at my end." The song is humorless and cynical but it seems to be coming from a romantic place, as if Broadrick desperately wants to write love songs but has nothing worth pulling from to make them sweet.
Other songs like "Broken Home" and "Black Lies" support the notion that Ascension is going nowhere fun, fast. The album rings out with bitterness but it's not the kind of bleak, nihilism that might be expected given Broadrick's dark and unforgiving history with Godflesh. Instead, Ascension feels tragic, as if birthed from someone who wants love and faith to brighten the day, but can not believe that things will work out in the end.
"Broken Home" is my favorite song on the record and it may be the best example of what Jesu does so very well. The song is intensely personal, made almost painfully honest with a dry and cracking vocal that sits atop slow metal riffing and a drum beat that sounds as if it's going to fall apart at any moment. Like many of the songs on Ascension, it is notably pretty but also quite broken and sad.
Broadrick makes one misstep here with the sped-up "Sedation," a song that almost sounds like a mid 1990s college radio number. It plays to his worst inclination to sing sincerely but outside of his range, and the upbeat tempo simply breaks the album's otherwise steady flow in a jarring way. Once that bump is over though, the album lurches forward through "Brave New World," "December," and "King of Kings"—all songs that stick firmly to the formula laid out in "Fools," and provide more evidence that Jesu is one of the most consistent acts in recent times.
Beneath the walls of slow-burning guitar and crash cymbals and the dreadful heartache that turns nearly every song into a lament, Ascension seems like it is trying to be a hopeful record. I'm not sure that Broadrick believes that his stories can have happy endings, but this seems to be what hope sounds like when it pushes itself out of continual ugliness.
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Gruenrekorder
Thankfully like in all good stories, the good prevails. The field recordings sound a little clichéd but etzin’s “Voegal-Verteidgung der Nester” is a wonderful piece, four minutes inside of a murder of crows is exactly what does it for me as regards field recordings. On the other hand, the album’s opener “Zwergohreulen in der Vikos-Schlucht” by Costa Groehn documenting insect life in Greece is a bit tedious. Groehn wins me back with “Baustelle” later on: a far more interesting recording of percussive rhythms from what sounds like a canteen or a factory.
In more traditional music areas on AudioArt Compilation 02, Ohrginal are the highlight. Their “Kombinationen 04” is the least experimental thing on the album: it is straightforward and simple with a drummer playing a lazy beat in front of mainly synth-produced rhythms and melodies. It is one of those musical nuggets that is worth keeping a compilation for. What is not worth keeping a compilation for is the work of Dirk HuelsTrunk and three tracks are given up to this man. “Forward” and “Fall Out” are two of the most boring things I’ve heard in a long time, both consist of chopped up vocals, whereas “Nie” is just annoying. All of his work on AudioArt Compilation 02 sounds pretentious and amateurish. I’ve no problem with being pretentious once you have the material to back it up. HuelsTrunk does not have said material.
Apart from these tracks mentioned the rest of the CD is a mixture of noise and electronic music that vary in quality from pieces that provide good ambience in your chosen listening space to some pretty decent recordings. AudioArt Compilation 02 is a mixed bag, the majority of pieces will cry out for repeated playings and others I wish would apologise for wasting my valuable listening time. Such is the nature of compilations.
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Myrmyr - Fire Star
Under The Spire Recordings
Spire041 LP/CD
Listen to samples and order: http://underthespire.co.uk
1-3 Hot Snow (Side A)
4 Fire Serpent’s Lull (Side A)
5 Thunder Stars (Side B)
6 Golden Ashes (Side B)
This sophomore release from Agnes Szelag (Evon, Dokuro) and Marielle Jakobsons (Darwinsbitch, Date Palms) is an album of astonishing fragile beauty and darker, more foreboding atmospheres. Following their critically acclaimed debut album, The Amber Sea (Digitalis, 2009) Fire Star was recorded during a snowstorm on Shasta Mountain April 6-9 2010. The duo performs on violin, cello, voices, harps, bells, and electronics. It is recorded by The Norman Conquest and mastered by Miles Boison.
Spire041 is super limited to 200 vinyl LP and 150 CD (CD will only be available directly from the label, vinyl more widely distributed). Initial vinyl pre-orders from the label will also get a copy of the CD:
http://www.underthespire.co.uk/releases-buy/myrmyr
::myrmyr.net ::
underthespire.co.uk
Myrmyr is Agnes Szelag & Marielle Jakobsons from Oakland, California. With a foundation of violin and cello, the duo creates an intimate post-classical atmosphere inspired by folk elements of their common Eastern European ancestry. Since 2004, they have performed across the US, collaborated with dozens of musicians and filmmakers, and premiered several works for large ensembles such as sfSound & the Oakland Active Orchestra.
Their debut album was hailed as “one of the most unique and absorbing albums we’ve heard this year” by Boomkat. Myrmyr has been nationally syndicated on KQED for the show SPARK, performed at the Stone (NY), the De Young Museum (SF), as well as several national festivals, published in the Leonardo Music Journal, and received an American Composer’s Forum Grant
::myrmyr.net ::
underthespire.co.uk.
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MATT CHRISTENSEN
A CRADLE IN THE BOWERY
Under The SpireRecordings
Vinyl and CD available now.
http://www.underthespire.co.uk/
Matt Christensen of Chicago’s premier pastoral bliss inducers Zelienople ventures out on his own with this triumphant set of dedications to his young daughter. Siphoning strains of melancholic Americana through the trancelike prisms of groups such as Spaceman 3 and Galaxie 500, he creates swirling vistas on tracks such as mesmeric opener Someday I Won’t Matter that’ll be familiar to his group’s many admirers. But elsewhere Christensen pares back the layers to reveal this beautiful album’s emotive, breathing core, baring pellucid folk patinas that recall everyone from Nick Drake to Damon & Naomi, all shrouded in Christensen’s distinctive, nebulous veil.
Featuring contributions from Type head honcho/Xela stud John Twells, as well as post-production wizardry from Pete Jørgensen, A Cradle In The Bowery marks a milestone in the catalogue of the burgeoning Under The Spire imprint and documents a pivotal stage in Christensen’s own personal journey and continuing evolution as an artist.
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MATT CHRISTENSEN
A CRADLE IN THE BOWERY
Under The SpireRecordings
Vinyl and CD available to order now.
http://www.underthespire.co.uk/
Matt Christensen of Chicago’s premier pastoral bliss inducers Zelienople ventures out on his own with this triumphant set of dedications to his young daughter. Siphoning strains of melancholic Americana through the trancelike prisms of groups such as Spaceman 3 and Galaxie 500, he creates swirling vistas on tracks such as mesmeric opener Someday I Won’t Matter that’ll be familiar to his group’s many admirers. But elsewhere Christensen pares back the layers to reveal this beautiful album’s emotive, breathing core, baring pellucid folk patinas that recall everyone from Nick Drake to Damon & Naomi, all shrouded in Christensen’s distinctive, nebulous veil.
Featuring contributions from Type head honcho/Xela stud John Twells, as well as post-production wizardry from Pete Jørgensen, A Cradle In The Bowery marks a milestone in the catalogue of the burgeoning Under The Spire imprint and documents a pivotal stage in Christensen’s own personal journey and continuing evolution as an artist.
Matt Christensen - Someday I Won't Matter by Under The Spire Matt Christensen - Daddy by Under The Spire
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Twenty Knives follow the compiled track "The Royal Vomitorium" and free EP The Royal Invitation with an intriguing album wherein a spaceship crashes and the pilot explores a weird terrain guided by a small robot. With an overblown digital game sensibility and an air of glam-electronica, this is slightly dated harmoniously malfunctioning music. I enjoy it more for knowing nothing about the artist and the whole concept being almost as laughable as it is mysterious.
In the 1970s, concept albums were popping up faster than hands at a meeting to get a free lifetime supply of Belgian ale. I can do without most of the better known ones but still have a huge soft spot for some of the so-called minor attempts. There was Virginia Astley’s twee pastoral record From Gardens Where We Feel Secure bathed in the minute sounds and details of a single day spent in rural England; an atmosphere of comfort and dread in time passing. Home’s The Alchemist also leaps to mind: a tale of schoolboy friendship, magic, the lure of treasure and sacrifice and the inherent destruction in both; somewhat sunk by muddy production. Both remain memorable and had an identifiable concept.
The Royal We has less clarity and is less reliable than either of those efforts. It perhaps belongs more with Spacemate and Klub Londinium (two projects of Sudden Sway, a largely forgotten group with an ear for vaguely futuristic concepts, an eye for mind-bogging inanity, and a bizarre sense of humor). Twenty Knives seem to have a similar approach wherein the future is a bit of an impenetrable mess, a plethora of hollow opportunities and irritating value systems.
The Royal We includes several engagingly clicky songs the most euphoric of which may be "Royal, Inc." Other pieces share a triumphal atmosphere quite out of keeping with some of the sinister lyrics. At least I think they are sinister, the record uses digitized singing throughout: doubtless necessary to the concept, but often hard to decipher. Luckily I enjoy going back to try to work out what’s going on. Somewhat clearer is "The Royal Computorium," a conversation between the robot and one of the "users" who have passed through the island. The robot’s intentions are unclear, it rambles on and cracks the occasional awful joke before drugging the user, who's responses are the sounds of one of two buttons for either yes or no answers. Following this, neither the title track nor two shorter, peaceful, instrumental pieces reveal anything.
The album was written, recorded, and produced by someone called "SJM" between 2007-2011. It is a puzzling facade which embraces and mocks notions of consensus and paranoia; a light record which nevertheless alludes to contradictory aspects of ordinary life in the technology-dominated near future. It was preceded by The Royal Invitation EP which can be downloaded at the Twenty Knives website where a message states: "This informational data repository is provided to you on behalf of the Royal Holy Island's Travel and Information Committee. Unfortunately we cannot field any further inquiries via this repository; please wait patiently for your brochure. If you are accessing this site via a public information terminal, please wash your hands to prevent the spread of disease."
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