- Alan Ezust and Julie Geanakakis
- Albums and Singles
Sounding like Rush at times,Battery at other times, and occasionally dipping into the Middle Ages,The Machine In The Garden's latest offering, One Winter's Night,provides us with 52 minutes of enjoyment, but I suspect we won't belistening to it many more times in the future. The discordant vocals, crashing cymbals, raw and repetitive piano line(IO's Departure), nauseating rhythms and vocal effects (TheseIllusions) detract from the kick-ass bass line and danceable rhythms ofother songs, such as Control. Miserere Mei and Shakespeare-penned FearNo More are stunning with their classical harmonies, very tastefulvoice processing, clean snyths, sharp beats and pretty piano. WindowsOf Their Eyes and Everything Alone, are pretty in their folkishsimplicity.. A wildly inconsistent album - incongruous as a machine inthe garden!
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- Mark Weddle
- Albums and Singles
"White Pepper"clocks in at less than 40 minutes with a dozen 2 to 4 minute songs. Themost shocking thing about this one is that it's not shocking at all. Ifyou're looking for "Push the Little Daisies" or "Piss Up a Rope" youcan forget it. The boys have either matured, made a conscious decisionto not be as goofy and experimental or maybe both. This is a singalongpop and power pop album for the most part with a heavy nod toward late60's Beatles. There's a few oddballs here and there: the light and airyCaribbean vibe of "Bananas and Blow" (only Ween would write a song witha chorus "stuck in my cabana, livin' on bananas and blow"), the speedmetal of "Stroker Ace" and the jazz rock ala Steely Dan (except itdoesn't suck) of "Pandy Fackler". The final three songs: "StayForever", "Falling Out" and "She's Your Baby" seem to be completelyirony free love songs, the former two with a country-esque flare."White Pepper" is definitely going to have some people scratching theirheads and likely bitching and moaning. Fuck 'em. This is a good album.Ween are currently on tour throughout the States.
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- Mark Weddle
- Albums and Singles
"Classical Atmospheres" is his 6th full length album in 9 years, the2nd of which is entirely self realized and released through his own website ($12 shipped from labreport.com). Lab Report's music delves intomenacing, soundtrack style industrial soundscapes and ambiance viaSchultz's "anti-tank guitar" invention, field recordings and samples.With "Classical Atmospheres", as one might assume from the title,Schultz explores classical themes in 5 of the 16 tracks while the restare more similar to past Lab Report work, as well as other strange newsounds. "Bombastic One" and "Bombastic Finale" are proud miniatureorchestras, the former augmented by the somewhat out of place electricguitar soloing of American Records' Johnny Polonsky. "Sad and SomewhatIntoxicated", "Soundtrack Standard" and "Horns and Strings" are briefbut beautiful classically minded piano, violin and string/horn pieces,respectively. "The Chase" is a surprising bit of uptempo, metallicrhythm fueled film noir soundtrack that might make Barry Adamson smile."Dun Dun" is a playful cartoon like loop that, as the insert itselfdescribes, 'becomes irritating' (each track is accompanied by a briefdescription and b/w photo). The remainder of the album are theambient/found sound pieces ... drones, washes, hums, thumps, bangingand clanging ... all of which are as good if not better than past work."Introduction" (with additional guitar by Dirty's Tom Slattery) isespecially eerie. These tracks are not simply random noises, they areintentional emotive environments. Altogether, "Classical Atmospheres"is Schultz's most successful and challenging (for both the artist andlistener) work to date. The balance between old and new sounds andstyles works very well and Schultz, as an artist, continues to remainunpredictable and independently push himself forward ...samples:
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- Daniel Barychko
- Albums and Singles
If I had togive "Loopstatic" a theme it would be political intrigue with theshortwave radio as a propaganda tool. From his last couple of releasesand The Wire interview its clear - Kirk seems to be in full assaultmode - using his synths more like machine guns and his samplers aspropaganda tools. A stark contrast to earlier works like DigitalLifeforms where everything is smooth and pleasing with minimalpolitical overtones. Today's stuff is much harsher - like going to ahockey game or a riot! A typical track starts with a strange, loopedshortwave sample, the mechanical, hihats and other bits start clickingaway. Resonant bursts shoot out of his synths like little laser guns asthe rhythm builds, and (only occasionally this time) ethnic percussionfinds itself enslaved to the 4/4 beat of Detroit house music. Beforeyou know it you are enveloped in a full-tilt sensurround house musicexperience. I guess you could call it mean and nasty,take-no-prisoners, subversive house music. I've never heard anythinglike it.
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- Administrator
- Albums and Singles
With "Ampday", the now canyon-sized fissures that were once tiny cracks in Kiln's parched-earth facade show more than mud and stone. Where in the past, Kiln releases provided the smallest bit of info possible, with only artwork and titles to satisfy eager minds - now, no longer must we wonder about our once-faceless Gaian scientists, and what arcane incantations were used in the creation of such wonderful sounds. Messr's Marrison, Rehberg, and Hayes, still playfully obtuse (what sound did the "levitating catslide" make?), seamlessly blend their twisting, ethereal instrumental pop with soundscapes that imitate the sounds of spreading rust or moss.
Thalassa
"Tinsunshine" is acoustic-driven and electrified at the same time, like a drum circle in a thunderstorm, with intermittent breaks of ear-tickling static and strummed guitar harmonics that mimic what must be the sound of angels crying; out of the itchy sound of pencil scratching paper on "Learning To Draw" grows an urgent ambulance siren/dopplered guitar, which gives way to calm meanderings of the trio, conjuring images of Ry Cooder's soundtrack to "Paris, Texas" redone by The Cocteau Twins. The attempts to integrate the group interactions with their penchant for earthy atmospheric wanderings are more apparent on "Ampday" than on previous releases, and it's done a deft touch. With each album, Kiln consistently shatter the Platonic Ideal of beauty and grace in music, only to rebuild it to a height out of reach of anyone but themselves.
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- Mark Weddle
- Albums and Singles
- Mark Weddle
- Albums and Singles
Bass Communion is his solo, experimentalambient outlet and this is the self titled debut album originallyreleased in April of 1998, now readily available via World SerpentDistribution. Over an hour of music is divided among four tracks (and abrief intro) that range from 10 to 25 minutes apiece. Describing thismusic simply as 'ambient' would be lazy and inaccurate. Wilson'stextures are generated or sampled from 'real' instruments then heavilyprocessed, stretched, looped, etc. to create a unique sound set."Drugged" is comprised of pad like atmospheres and long sinewy hornnotes (with the occasional subtle lick) which lead to a fewreverberated Floydian electric guitar strums and a mildly distortedfuzz out finale. It's simply gorgeous. The rest of the album couldcontinue in this vein and I'd be perfectly happy. But, Wilson opts forvariety which turns out to be for the best. "Sleep Etc" is centeredaround a long drone note loop that is saturated in bell tones andliquid gurgles. Very menacing, in a Coil "How to Destroy Angels"manner. "Orphan Coal" opens up with light percussion (so much for'ambient'!) then adds processed sound squiggles, drifting textures,female murmurs, unintelligible ghostly background chattering and,later, a deep bass guitar line. The final track, also entitled"Drugged" curiously enough, is a 25 minute slab of deep and moodyclassic ambiance. This one is for the Eno fan in all of us. The trackutilizes a 7 second Robert Fripp guitar sample loop from 1993 (which isin no way recognizable as guitar) for a gradual ebb and flow of padlike textures with slow motion bass throbs and distorted fuzz here andthere. Gorgeous, again. Altogether this is a very well balanced,beautiful album. I can easily imagine this music as a soundtrack forplanetariums, large aquariums, museums and chill out rooms. And I meanthat as a compliment. Each of the five tracks has a corresponding 2sided jewel case insert so you can choose whichever you like as thecover, which is an interesting idea I don't remember encounteringbefore. Up next for me is the 1999 2 disc follow-up "Bass Communion II"...samples:
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- Mark Weddle
- Albums and Singles
Eachmember has at least 20 years of music making experience in such bandsas: Public Image Ltd., Killing Joke, Invaders of the Heart, theRevolting Cocks, Ministry, Pigface and Murder Inc., among others, andhave worked with one another in the past on several occasions. "1" isthe debut 32 minute, 7 track EP via Atkins' Invisible Records. Thirtyseconds into the first track it's clear that this band intends to rock.And rock they do, in a very dense manner ... almost as if they'reproving a point. "Sunset Gun" is Led Zeppelin for the new millennium asWalker's massive riff and Atkins' heavy handed rhythm explode whileConnelly unleashes his poetic primal scream for the first time inseveral years. The track ends with someone in the studio saying "ok,cool!" I agree. "Damage Addict" is propelled for it's duration byWobble's big bass groove with Connelly's distorted vocal, jabs ofguitar/noise and samples of giggling children. "Scissor Quickstep" isvery aggro with an uptempo beat, sporadic riff and Connelly up frontyelling like a punk banshee. "Blame and Demand" is also deep grooveoriented, in a Killing Joke sort of way, with Walker's trademark wallof sound guitar and Connelly's gorgeous extended notes. "Leave theGround" finds Connelly in double tracked crooner/spoken mode as astatic drenched bass line and an incendiary guitar solo blaze atop thebeat. Each track is embellished by Atkins' samples, loops andproduction as well as some additional scratching by Chicago DJ Jesse DeLa Pena and synth work by Lee Fraser (Bagman, Sheep on Drugs). Thefinal two tracks are good dub remixes of "Damage Addict" and "Blame andDemand" by Bagman and Chris Cookson, respectively. Yeah, this is amonster. And that's not all. The CD-ROM portion has a sharp interfacefor biographies, lyrics, photos, band members at work video clips andthe in the studio shot "Sunset Gun" video. Very cool. The as yetuntitled album and world tour arrive and kick off in June. Don't misseither one ...samples:
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- Jason Olariu
- Albums and Singles
Comprised of guitarist Bob Massey and cellist Amy Domingues,TM's compositions defy classification. Traces of avant garde classical,improv jazz, and chamber music are balanced on one end of a scale,while heavy chunks of rock are countered on the other. "Indigo AzurCyan" begins with Domingues' setting up a mid-tempo bed, using shortbows of her cello to imply a classical bass line, until the guitardrops in a turns it upside down and dirge-like; with help on drums fromDevin Ocampo, the unflinchingly gorgeous "Every Day A Sunrise, A SummerEvery Year" is a mini epic, deftly switching from simple plucked,bowed, and tumbling beauty (Massey coaxes wonderful harmonic feedbackand stretched-out lines from his guitar) to full-stride rock in aheartbeat. Alas, comparisons to Rachel's are inevitable, but certainlyno insult. However, Telegraph Melts does not act holier-than-thou, justbecause one of them happens to be a cellist. Massey does not feel thenedd to play up to Domingues, and rightfully so. On "Cantus ForTheodore N.", which sounds more eggheaded than it is, Domingues provesshe can "rock" by sawing at her cello like lumberjack, holding her ownagainst her partner's over-driven guitar. Telegraph holding her ownagainst her partner's over-driven guitar. Telegraph Melts explorationof unplundered territory is captivating, and thankfully don't fall preyto the traps lain before them, unlike so many before.Read More
- Mark Weddle
- Albums and Singles
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- Jason Olariu
- Albums and Singles
Its sounds were derived from optical discs, onto which wererecorded actual sounds, musical or otherwise, which were then playedwith the simple depression of a key. Rob Crow (vocals) and Pea Hix(anything else), luminaries in the San Diego music scene, bring theirsecond Optiganally Yours album, and the first to be "100%Optigan-free", using in it's stead it's two toy peers. Utilisingprimarily said keyboards and vocal harmonies torn straight from theBrian Wilson handbook, OY create a sound that, while steeped heavily incamp, is catchy and enjoyable. "Oar" is a meloncholy tale of a ship'sdemise, with wonderful accompaniment by the Pacific Ocean on "oceanstylings." The machined samba of "Donut" is offset by it's spasticchorus and dissonant fuzz piano solo; "Figaro" sounds like a crate ofold jazz records fused together into a crackly slink, with a vocalcadence that sounds like it was lifted straight from a soft rock radiohit. With visions of Plone (that's sure to put Jon off!) and Tarwaterdancing in your head, the oddball "The Outer Space" spins in it'svocoder glory, with a stunted drum loop (it was rumored Ringo Starr cutsome source material for an Optigan disc) cycling below it. OY shouldbe commended for their devotion to nostalgia, experimentation, and purepop "stylings" - instead, buy the album, and I'm sure they'll be happyenough.samples:
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