- Administrator
- Albums and Singles
![](http://www.brainwashed.com/brain/images/devendra_banhart-rejoicing_in_the_hands.jpg)
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- Taylor McLaren
- Albums and Singles
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- Taylor McLaren
- Albums and Singles
![](http://www.brainwashed.com/brain/images/rammellzee-this_is_what.jpg)
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- Administrator
- Albums and Singles
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- Administrator
- Albums and Singles
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- Administrator
- Albums and Singles
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- Bo HeinBurmese Golden Drum
- Mar Mar AyeBeautiful Town
- Tonte TheintanLover of the Winter and Snow
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- Administrator
- Albums and Singles
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- Administrator
- Albums and Singles
Composed mostly of wandering guitar echoes and fuzzed-out machine noise or rhythms, the heart of these songs lay in their zen-like construction. The eleven songs that make up this record drift by in a fog that sends all images into slow-motion: light becomes amazingly intense and the simplest of movements stand as monuments to the beauty of the body.Noise Factory
M.D. Matheson's formula is simple and effective: a lone guitar (sometimes two, one heavily processed) bounces above a wash of percussive loops or noise washes full of coal factories and abandoned warehouses. The melodies are always haunting and carry with them a degree of melancholy, but The Isolationist is never bogged down by drab arrangements or depressingly slow developments. "Killing the Corners" moves along at a walking pace with a steady and easy rhythm of skipping snares, but the mood is that of a cold rainstorm somewhere on the shore of an industrial and rusting city. The formula of guitar-solo plus odd tapes loops and/or rhythms rarely changes, however. The simplicity that drew me half way through the album leaves me a lot bored at times. "Passing Secrets Through the Window" attempts to shift the emphasis from guitars to soft fuzz and eerie radio samples and does so quite well, but it represents only one change of pace; Matheson needs to provide more. In fact, right after the lazy stroll of "Passing Secrets..." Matheson decides he's a little bored and provides the most upbeat (if you can call it that) song on the album. This is a relatively small complaint, though. The melodies are gorgeous, the arrangements come together beautifully (though they are all similar), and the music affects a sense of weightlessness and breathing room that serves as an excellent therapeutic. A change of pace and perhaps a more varied selection of tracks would be great, but I find it hard to complain over these melodies.
samples:
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- TJ Norris
- Albums and Singles
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The third full-length album from Yoshimi P-We's female rock quartet, Kila Kila Kila refuses to immediately deliver the goods as generously or bountifully as their previous two albums of densely layered psychedelia. Green and Gold and Feather Float were jam-packed with kaleidoscopic melodies and shimmering guitars, creating thick syrupy whirlpools of hypnotic grooves with saccharine group harmonies and bright, sparkling production. Kila Kila Kila is a more difficult proposition, with Yoshimi P-We veering away from her pop tendencies, preferring instead to emphasize the more abstract and improvisatory elements of her music.
- Administrator
- Albums and Singles
The third full-length album from Yoshimi P-We's female rock quartet, Kila Kila Kila refuses to immediately deliver the goods as generously or bountifully as their previous two albums of densely layered psychedelia. Green and Gold and Feather Float were jam-packed with kaleidoscopic melodies and shimmering guitars, creating thick syrupy whirlpools of hypnotic grooves with saccharine group harmonies and bright, sparkling production. Kila Kila Kila is a more difficult proposition, with Yoshimi P-We veering away from her pop tendencies, preferring instead to emphasize the more abstract and improvisatory elements of her music.
"Ene Soda" is a sparse call-and-response between Yoshimi's sporadic electric guitar wallops and an array of twinkling bells and effervescent percussion. "Suzuki Ring Neng" takes a cue from Asa Chang and Junray, slowly developing out of clipped phonetic utterances and looped percussive retorts, finally exploding into a luminous Kraut-prog jam, complete with a mesmerizing bassline and chirping synthesizers. OOIOO takes a crack at Tortoise-style post-rock instrumentalism with the energetic jazz of "On Mani," driven by a pount-counterpoint conversation between trumpets and two lively drummers. "Northern Lights" is another extended jazz-rock improvisation, with some oddly mutated vocals and Yamatsuka Eye-trademarked birdcalls forming competing textures. "Aster" is something again entirely again, a 15-minute disparate avant-rock exploration featuring guitar melodies that seem to quote freely from traditional Japanese folk styles, echoed in delicious vocal harmonies that float cloudlike over the driving rhythms. It's hard to say exactly why I don't have the same affection for Kila Kila Kila as I have had for OOIOO's previous albums. It's certainly marvelously produced, with each instrument crisply resonating, each part intertwining into a complex whole. Compared to their past work, however, it feels a little thin and underdeveloped, perhaps a result of Yoshimi's new emphasis on improvisation and away from studio multitracking. That said, it's still a fine album by a talented group that are probably incapable of making anything other than buoyant and adventurous music. 
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