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- Rompere l'Indifference de l'Inexitable Avant Que l'On Vienne Rompere le Sommeil de l'Inanime
- Partially Sabotaged Distraction
- Erreur; Errance; Interdits de par Leurs Nouvelles Possibilites
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- Terry McGaughey
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I may as well admit this before I go on: Miss America is one of my favorite records of all time. I remember I saw her perform as part of Nick Cave's Meltdown two years ago. I got so excited when she came onstage that I shouted "Mary - I miss you!!". She replied "Well, I don't miss you...I see you every day." That probably tells us a little of the expectation she has felt in the intervening 15 years since Miss America, and why she has chosen to put this out as a soundtrack rather then a 'proper' album.
But all the elements that made Miss America so incredible are all there; Rusty McCarthy's pristine, Derek Bailey-like guitar playing; odd time signatures that shift and pull like Miles Davis; and that voice—swooping upwards, catching in her throat, gibbering and crooning like Billie Holiday crossed with Patti Smith.
The most stunning tracks on the album are the most conventional; 'Never Came Back' swings like 'Shiny Beast'-period Beefheart with O'Hara doing her most conventional singing yet. The song then promptly disintegrates into a lose and limbre jazz shuffle, and O'Hara begins a slow crescendo of manic scatting. 'Scary Latin Love Song' is O'Hara in dementia mode; over a hyperventilating Ozomatli-type Latin groove, she gibbers in Hispanic, squawks, shrieks and then calms down. The album is pervaded with a 'Taxi Driver' sense of disquiet, and it's only once -- on the joyous 'Have You Gone', where the Leningrand Cowboys meets Patsy Cline -- that there's sense of resolution. Then it closes with the ludicrous 'Hello Yellow Goose', with O'Hara's voice distorted beyond recognition over what sounds like Shock Headed Peters.
Welcome back Mary. -
 
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samples:
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- Albums and Singles
samples:
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Danish musician Jonas Munk is 1/4 of the group Limp, and this, hisdebut full-length release from Morr, would please anybody captivated byLimp's recently released debut EP, 'Orion'. Much like 'Orion', 'Ascend'features a number of lush soundscapes and swirling, spaced-out,sometimes slightly out-of-tune keyboard-driven melodies with theoccasional sprinkling of a sparse acoustic guitar riff. Unlike the Limpstuff, however, all the beats contained herein are electronicallygenerated, often hacked up, but never straying terribly far off-course.The cover art may suggest a more earthly focus but Munk is definitelylying on his back, looking up to the sky, tinkering diligently in hisbasement for hours after the nighttime hurrah, before the crack ofdawn, while the sound of crickets fucking fills the outside air. Headout onto the lawn for a breath of fresh air, lie on the grass and lookup, doze off and you're awoken by the repetitive pitters of theneighbor's sprinkler only moments before the sun rises. Get some sleep,you've got work in a few hours. Time to listen to the fruits of theovernight sessions on the subway ride in. Have a sip of morningcoffee,... very nice.
samples:
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