Mick Barr's latest album sees him take the concept of a face melting guitar solo and turning it into a multi-faceted and layered composition. There is no room here for any straightforward musical structures to provide a basis for Barr to take a solo from; instead he just goes at it without any thoughts given to easing the listener in gently. The concept of free jazz is one familiar to most but here is an example of free metal, the guitar screeching away from the pack and leaving a scorched trail behind it. |
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Mick Barr's latest album sees him take the concept of a face melting guitar solo and turning it into a multi-faceted and layered composition. There is no room here for any straightforward musical structures to provide a basis for Barr to take a solo from; instead he just goes at it without any thoughts given to easing the listener in gently. The concept of free jazz is one familiar to most but here is an example of free metal, the guitar screeching away from the pack and leaving a scorched trail behind it.
8743 Hits
This is exactly what would be expected from pairing Jamey Jasta with axeman Kirk Windstein, this sludgy metalcore amalgam showcases the best qualities of both parties. Undulating with vibrancy amid its steady cathartic release, their self-titled release propounds an infectious, somewhat transcendent alternative to lesser acts in the crowded heavy music marketplace.
9315 Hits
David Reed is obsessed with the dark. Every synapse in his brain aims to realize a stygian monstrosity from the most basic electronic utterances. Into the Void successfully gathers those expressions into a crawling black chorus of sound, like a cantata sung for the terror infinite and empty space can inspire.
7691 Hits
This is the sound of Kim Gordon and Thurston Moore getting it on under their Mirror/Dash duo. Recorded in May of 2005 at the Le Weekend festival this improv set couldn't be mistaken for the work of anyone else. There is no mistaking the signature sounds of these players, Gordon's vocal remaining the ultimate love-it-or-hate-it sound in alternative circles.
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As this is Stereolab's lead vocalist's side-project, Laetitia Sadier's Monade has to suffer comparisons. Less heavy on the rock or drone than her day job, this four-piece go more for the diamante sparkle of lounge music and toe-tap Gallic cute-pop than her other band's heavier krauty feel. This, their second 'real' LP (their first being bedroom recordings), is another reliably steady and similar set of songs that won't set the world ablaze but retain a certain pop charm.
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Having had the privilege and pleasure to catch this dazzlingly deviant duo in concert on several occasions this decade, this album of covers seemed all but inevitable. Here, much to my delight, the diminutive diva and her frizzy-haired ivory tickler present some of these practiced though never before released songs on disc for the very first time.
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Collecting six vinyl-only songs onto CD for the first time, including the band's 12" debut, this album from highlights their jazz-inflected soundtracks for movies that don't exist. Among these tracks are remixes by Four Tet and Sybarite, who pick up the pace with their unique contributions yet keep the mood intact.
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This cassette's album art may be a gorgeous sky blue, but it doesn't deal in daylight metaphors: my mind's vision of the music is at direct odds to the open sky artwork. The resounding visual image of King Murnam is that of music called into being from the dark by candlelight. It's not a case of horror-flick dark flickering shadows, Jazzfinger have never been ones to shoehorn clichés, preferring to move organically.
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These two underground masters of the head trip combine forces for this lethal long-playing untitled track of subterranean mind games. This collaboration goes through purposefully blurred cycles of calm and anxiety that flow like a well-paced narrative.
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The Room40 label is quickly establishing itself as a touchstone for oblique, esoteric electronic experimentation. So on first glance, this album's cover art of a flower seems somewhat out of place among the austere design and digital graphic manipulations. It is, however, a very appropriate image given that beyond all of the digital processing and trappings, what lies beneath the layers is a subtle, beautifully melodic work that retains the innate warmth of the acoustic instruments that form the source material of these tracks.
7149 Hits
The late period Elvis sideburns that Albin Julius has been sporting in recent photos do not seem to be simply an aesthetic selection: he has fully embraced the cult of rock and roll. Although vestiges remain, he and the rest of the band have pushed away from the neofolk and avant garde martial trappings of the past into their own semi-perverted form of rock music.
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After a prolonged absence, Italy's Eidvlon re-emerge into the harsh light of day for the first time in seven years with Idolatriae, a heavy trove of dark mutterings and arcane rumblings extracted from the deepest recesses of both the human psyche and the dankest caverns of earth.
8454 Hits
Attention American Idol contestants! Luigi Tenco failed to make the final of the 1967 San Remo Festival. As a protest against the jury's taste in music, he shot himself in the head. The song Tenco performed was "Ciao Amore Ciao" and had I been judging he would still have pulled the trigger. However....
14095 Hits
The stark packaging adorning this CD gives no hint of the majesty of David Jackman's latest drone opus. Omega marks the third and final instalment of a trilogy that started with Sanctus on Robot Records and continued with Amen, also on Die Stadt.
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Our new semi-regular feature of notable new dance singles continues with reviews of Beyond the Wizard's Sleeve, Hercules & Love Affair, Underground Resistance, Matthew Dear and Fischerspooner.
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This isn't exactly what I would expect from this pairing given past collaborations, but this disassociated mix of electronic garble, dissipated guitar, and severed spoken word opens up yet another interesting starting point for Paine and Youngs to explore.
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Every time an Earth album is released I maintain that it is a contender for being their best work. This is no exception. Taking their country sound even further south, this album sees the music take on a vibrant and colorful life of its own, a step away from the monochrome bleakness of Hex. Like the Biblical reference of the album's title, the imposing muscle of Earth's music has brought forth sweetness.
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According to the label, this band was formed by writer/film-maker Philip Mullarkey to create music for and perform live with his art/film project Box. The artists, who have collaborated with the likes of Bill Laswell, Jah Wobble, Fantomas, Melt Banana and Kronos Quartet, among others, met without any planning or preparation and simply improvised together over the span of two days. They must have been a natural fit with one another, because the tracks presented here come together as a well composed suite of out there space rock/free jazz tracks rather than the live-to-tape improvisation that they truly are.
9107 Hits
Guessmen nail fat pop choruses to rowdy dancefloor organic/digital hybridised belters, cementing them into their weird rag and bone musical world. With an alleyway lyrical eye for demented characters this trio pilot the line between cartoon, narratives and character pieces. Helmed by characters with sharp collars and bloody knuckles, their chip-and-pin medicine show molarises genres till only the vitals remain.
9725 Hits
At first reference, this could easily end up pegged as a Pan Sonic side project, given that Ilpo Väisänen is one of the three members of Angel, but the music itself does not paint itself in that way, and other than the use of some textural electronic elements has no auditory connection with his other band. Don't take that as a slight against this project at all, it just an entirely different animal that, unfortunately, opens with a misstep that isn't disastrous, but isn't a high point either. The remaining three quarters, however, more than make up for it.
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