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The quasi-anonymous Cerberus Shoal seems to be one of the most prolific and diversified bands that I've encountered. This Portland, Maine collective — and the constantly evolving lineup of the band merits that term — seems to have mastered a new style with each release. With 1999's "homb" cd on Temporary Residence, Cerberus Shoal delivered their exemplary thesis on dark, ambient rock. The dynamics and instrumentation, combined with minimal but rythmic percussion, fused together to make one of the most beautiful and original releases of recent years.
Later that year, the Shoal (as bandmembers are known to refer to band) released "Crash My Moon Yacht" on the small label North East Indie. A perfect companion to "homb," this album marked the maturity of the band and created a stiro of anticipation for their next release. "Garden Fly, Drip Eye" is that release. Gone is the ambient droning, flowing percussion and Can-influenced atmosphere. Instead we have a more aggressive Cerberus Shoal, with very imposing vocals sung simultaneously by all six band members, further solidifying their collective status. Bursts of homemade instruments, childrens toys, and bombastic drumming bring to mind June of 44 if perhaps they had given up their prefered themes of travel in favor of surrealist love poems and an abandoned playground. "Garden Eye, Drip Fly" is not the record I was expecting from this album, but I wasn't surprised to hear it either. The band seems to be driving forward across sonic territory, experimenting with new sounds and styles and stretching the artistic and musical capabilities of each member to the max. Cerberus Shoal presents challenging music, music that is rewarding and strikingly creative, redefining itself constantly and refusing to stagnate.
 
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- Atom Heart - Sea (Stuffit)
- Pimmon - Morse Fin
- 8bit - Can't U Hear the Rave?
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The first time I caught DOS in performance, the Pan Sonic influence wasapparent, and this was born out by the opening track on the Phonia 12",which also trod similar ground to some of Mick Harris' darker tracks.The System was certainly operating under its own steam by the time ofthe dynamic 'compact disc digital audio' CD-R, but following this acouple of live appearances saw whatever small Disco portion there everwas in these technoid endeavours dwindling. Stripped down minimal loopswere well to the fore.
This disc follows that trajectory, whirling round and round in a seriesof skillfully edited rhythmic loop constructions which revel intextural exploration underpinned by a playful but subtle sense ofhumour. Each of the fifteen tracks is an exploration of repetitionusually juxtaposing two different timbres, occasionally three. Tapsdripping in robotic precision give way to twittering comfortable sinewaves clogging the ether. Bells ringing joyfully 'Because Children AreMatter' back on to an accurate simulation of the hum of the crankyportable computer from BBC space opera Blake's 7. Well that broughtback some sonic memories, but now I'd like to hear the telephone cablelaser guns and teleport too. The pumping kaga-chug of the 'Weiss Squad'makes me feel like I'm resting my mindbrain on the engine of aspaceship made out of a discarded air freshener, as I try to download afrosty chunk of cryogenic toast. Have I earnt my final reward foracceptable behaviour yet?
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- Chris Rosenau - Two Ice Fields,...
- Hal Rammel - Three Days from Anywhere
- John Kannenberg - Lave
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As multi-instrumentalist improvisational rock-based music becomes more popular with the emergence of groups like Volcano the Bear, Jackie-O Motherfucker, Pele, and others, Rollerball's music pursues a more structured, orchestrated environment on their current release from Roadcone. "Trail" sees this Portland, Oregon-based quintet adding more blocky beats, electronic processing and effective use of not playing to the mix. In addition, there's more focus instruments as various members often take the lead with horns, clarinet, vocals or stringed instruments.The band has certainly lost no ground with their increase of focus material; in fact there seems to be more colorful noisemakers added this time around including two members who listed 'painting' as an instrument and one including a letterpress. Fans of the improvisational sound of Ryan Moore and Neils Van Hoorn heavy LPD/Tear Garden would most likely find themselves bobbing their heads to the ten-minute "Butter Fairy". Even Meat Beat Manifesto fans would be charmed with the album's openers which almost organically mimic some of the experimentation going on with something like "The Thumb" from Actual Sounds + Voices. An unexpected vocal track, "Narcisse", alarmingly jumps out of nowhere with a refrain whose lyrics I'm struggling with, reminding me that it's always those songs we -almost- know that get stuck in our heads, as they circle around furiously until we figure out what in the world they're saying. Oh, Rollerball are damn good at that! Fans of the more improvisational noise will get a charge from some of the other offerings like "White Death" but for the most part this disc is a much more constructed, cohesive element than what has surfaced before from the band. This month sees the group embarking on a European tour including dates in Italy and the United Kingdom, with any luck shows across the USA will follow.
 
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