We have finally cleared out the backlog of great music and present some new episodes.
Episode 711 features music from The Jesus and Mary Chain, Zola Jesus, Duster, Sangre Nueva, Dialect, The Bug, Cleared, Mount Eerie, Mulatu Astatke & Hoodna Orchestra, Hayden Pedigo, Bistro Boy, and Ibukun Sunday.
Episode 712 has tunes by Mazza Vision, Waveskania, Black Pus, Sam Gendel, Benny Bock, and Hans Kjorstad, Katharina Grosse, Carina Khorkhordina, Tintin Patrone, Billy Roisz, and Stefan Schneider, His Name Is Alive, artificial memory trace, mclusky, Justin Walter, mastroKristo, Başak Günak, and William Basinski.
Episode 713 brings you sounds from Mouse On Mars, Leavs, Lawrence English, Mo Dotti, Wendy Eisenberg, Envy, Ben Lukas Boysen, Cindytalk, Mercury Rev, White Poppy, Anadol & Marie Klock, and Galaxie 500.
Skolavordustigur Street in Reykjavík photo by Jon (your Podcast DJ).
Get involved: subscribe, review, rate, share with your friends, send images!
Apparently the penultimate installment in the long-running series of compilations from Sub Rosa, this volume continues the tradition of putting some of the bigger names (Z'ev, Stephen O’Malley) with some newer and up and coming artists (Torturing Nurse, Robert Piotrowicz), but this time with a seemingly stronger bent towards contemporary "noise," which is a good thing.
While the "bigger names" from the Japanese noise scene, such as Merzbow and Masonna have already been represented in these compilations, there sits nicely towards the end of the first disc a block of tracks that will make any fan of the genre giddy.The segment begins with an early track from Kohei Gomi, better known as Pain Jerk.Recorded in 1993, "Aufheben" demonstrates that even at this early stage he was defining his sound through jerky, quick cuts and edits, but the penchant for rhythmic loops he later refined isn't quite in place yet.The double dose of Hijokaidan and the Incapacitants back to back made me quite happy, and reminded me of that sequencing of the two bands on the classic Japanese/American Noise Treaty, which is what attracted me to the genre some 15 years ago.The Hijokaidan track "Untitled" is from 1994 and clocks in at nearly 12 minutes and captures the core trio in their prime:T. Mikawa's shrill, enveloping electronic noise, Jojo Hiroshige's abused guitar squall, and Junko’s intentionally abrasive screams.Unlike their traditional "harsh noise wall" approach, there’s some variation and almost rhythms to be found here.
Mikawa and co-conspirator Fumio Kosakai follow that up with the Incapacitants' "Shall We Die?" from 1990, a slightly more restrained sound from them of lost shortwave radio static and buzzing oscillator leads.While at first it sounds like a frozen wall of noise, a closer inspection reveals a microcosm of sound and activity at work.It sounds exactly like the Incapacitants, and any good fan would be annoyed if it didn't.Rounding out the dose of harshness is the newer Chinese band Torturing Nurse, who delivers a dynamic, violent collage of feedback and overdriven tones that definitely sounds influenced by the Japanese masters with "Yes or No", but with a feeling all their own.As if to reinforce the point that not all electronic music from Asia is raw noise, Sachiko M’s "2808200" ends the subset of tracks with a sterile, minimal study of test tones via sampler, resulting in a sparse, yet compelling piece that is the polar opposite of what preceded it.
A briefer study of the American noise artists opens the second disc, first with a 1980 performance by Z'ev, a battering sprawl of metal percussion and the decay of industrial civilization that sounds as fresh today as it did 30 years ago. The Daniel Menche piece "Fulmination" comes from unknown sources, but is a slow, dark trudging work of maxed out bass frequencies and a subtle, rhythmic thump that eventually transforms into what sounds like trains or mechanical crashes in a piece that takes its time in its slow development and structural variations.Contrasting Menche's 12 minute mediation, John Wiese contributes a 2 minute blast of punk noise in "New Wave Dust," full of abrasive laptop tones and jump edits that strongly display the more chaotic, unpredictable flavor of noise.
John Duncan's "The Nazca Transmissions #2" is a glassy, creepy pastiche of sound that, whether or not sourced from the actual Nazca lines in Peru and then summarily cursed in their production (according to the liner notes), has a disturbing otherwordly quality that speaks for itself.Stephen O'Malley’s "Dolmens & Lighthouses" unsurprisingly piles on the low frequencies, but is a tonal, minimalist digital composition of haunting sounds that feels connected conceptually to Sunn O))), but has an identity all its own.Polish artist Robert Piotrowicz's "Lincoln Sea Ice Walk" uses his love of modular analog synths to sculpt a layered, dense wall of sound that is slow, but glorious in its development.
The earlier artists are not as represented here, arguably because their work has been covered rather well in previous installments of this series.Henry Cowell's "The Banshee" predates many other studies in the avant garde of the piano, here from a 1957 recorded performance.The traditional sound of hammered strings is present, but the roaring reverberations and scraped strings overshadow the notes and strongly represent the titular terrifying spirit.Dick Raaymaker's "Piano-forte" from 1960 feels like the natural follow-up, but is an even further abstraction of the sounds of the piano, here cut up and spliced into disorienting, chaotic bursts of sound.
While it might be somewhat less diverse than the prior volumes of this series, the strength of the mostly exclusive noise pieces caused me to instantly fall in love with it.Coupled then with the lesser-known artists representing the other genres of electronic music, the result is a brilliant blend of the familiar and the new that puts this as probably my favorite installment thus far.
The combination of Carsten Nicolai’s Alva Noto persona and Blixa Bargeld has been established as a live entity and the videos that have surfaced online have been tantalizing. This first official output by the duo has finally landed and this EP lives up to all my expectations. Across the two sides of this 12", Nicolai and Bargeld cover huge amounts of ground in a short space of time. From typical Raster-Noton electronics to songs about moles (the digging mammals rather than skin tags), this is as surprising as it is brilliant.
The title track sounds exactly as I anticipated this collaboration to sound: Nicolai’s shattered, asymmetrical beats forming a surreal stage for Bargeld to traverse. The title is interesting in itself: the author B. Traven was apparently a pseudonym for a German actor and fugitive named Ret Marut; both Bargeld and Nicolai hide behind pseudonyms and the idea of the two sides of such a personality shaking hands with itself is wonderful piece of surrealism. Bargeld’s vocals are presented in a number of ways from whispered confessions to what sounds like a loudspeaker before his trademark scream erupts. Nicolai assimilates the scream into the fabric of the music until it sounds as synthesized as the rest of its components. "Ret Marut Handshake" is immediately followed by an unlikely cover of Harry Nilsson’s "One." Here Bargeld is in full crooning mode, reminiscent of Einstürzende Neubauten songs like "Stella Maris" and "Sabrina" but even more tender. In an alternative universe, he could have made a good living from singing pop songs but Nicolai’s beautiful but non-commercial textures and beeps keep this from ever becoming a number one; this is understated and delicate which is about as far from modern pop music as you can get.
The second side of the EP sees the duo break with convention with an eclectic mix of compositions. The mutated dance floor rhythms of "Electricity is Fiction" whirl like particles in an agitated fluid, Bargeld’s lyrics bouncing off Nicolai’s beats like tiny nuclear interactions. The hyperactive piece feels like it should give way to an explosion at some point but instead it leads into "Bernsteinzimmer" which develops at a glacial pace. The sustained strings bring to mind the noir-inflected works of Manorexia or even Neubauten’s classic "The Garden." The final piece again has the duo twisting out of any convenient categorization by covering the traditional "I Wish I Was a Mole in the Ground." This song about a (formerly/currently?) imprisoned drifter wishing to escape his life by becoming the aforementioned burrowing mammal is performed in an almost jaunty way before dissolving into a sinister locked groove.
A full album of new material is mooted for later this year and based on this prelude it should be astounding. It would be easy for two such prominent artists to walk on eggshells around each other but Nicolai and Bargeld seem to be able to retain both their distinctive musical personalities without sacrificing any of the music’s integrity.
The third in a series of three releases (completing the arc that began with Retreat and Return, both released simultaneously last year), this piece also formed the basis of Eleh’s one and only live performance earlier this year at Mutek. Diverting from the usual pursuit of pure tone, Repose sees Eleh adopting a grittier, grainier palette of sound in addition to those ethereal sound waves which dominate the rest of the releases. This is a bewitching but regrettably short experiment with positive results.
The single piece on Repose, "Circle Two: Coastal Rotation for Dune Loop," opens with a most un-Eleh crackle. The rough noise sounds more like some of Eleh’s label mates on Touch; it would not be out of place on a BJ Nilsen or Philip Jeck recording. Within seconds an ominous deep bass tone slowly repeats, only to be later joined by an irregular higher pitched noise. Altogether, the music is a departure from the almost clinical drones of previous Eleh releases. The piece moves completely away from any recognizable sound waves into a low rumble rustling noise before returning to that repeating bass tone which seems to last an eternity with each repetition as the sound gradually transfers its vibrations to the matter in the room, including me.
It is easy to get lost in slow alterations in tone and attack. Even simple procedures like adjusting the volume brings about noticeably drastic changes in the character of the piece and while La Monte Young has always been an easy comparison to make with Eleh, the music has taken what Young had sowed with "Drift Study" and refined it while combining the concept with more modern ideas on sound construction. The careful attention to detail reveals itself with equally careful listening. As I play through this LP again, I wonder how "Circle Two" sounded that night at Mutek and what kind of acoustic effects were present considering the much larger amounts of amplification available in a live situation. As if there were not enough mysteries surrounding Eleh...
There is one thing that detracts from this release and that is its length: I would have preferred more music on the second side instead of an etching; Repose looks beautiful (as well as the etching, there is also a photograph in the sleeve in a sealed envelope. Mine appears to be some sort of frost-covered vegetation) but for the price, I would like to listen to Eleh for longer. Especially so considering how good this one side of music is.
Unlike most acts of their vintage, The Legendary Pink Dots look forward. After more than 25 years, they continue to make compelling new music that is demanded by fans and maintains the high level of quality that set their careers in motion. Led by singer/songwriter Edward Ka-Spel and keyboardist/songwriter Phil “Silverman” Knight, the band continues to create their singular brand of modern psychedelia. Edward Ka-Spel’s lyrics breathe with a sagacity and cleverness only found in rock’s greatest writers. Their new album “Seconds Late For The Brighton Line” finds the band in familiar territory; pulsing Krautrock, dark and sinister pop and epic post-industrial soundscapes. The album invites the listener to put on head phones, close their eyes and embark on a technicolor journey. Stand out tracks include the epic electronic groove of “Russian Roulette”, the pretty naivete of “Someday” and the chilling goth-pop of “Endless Time.” The recent departure of long-time band members Niels Van Hoorn & Martijn De Kleer has left The Legendary Pink Dots to operate as a trio with added guest players. The new crew will embark on an extensive North American tour this Fall that celebrates the band’s 30th Anniversary.
In 1991 three exceptionally creative and influential records were dropped on a mostly deaf audience. It took many years for people to catch up with Talk Talk's Laughing Stock and Slint's Spiderland, and by then numerous other bands had already borrowed their ideas and built new ones upon them. Unfortunately, Swans' White Light from the Mouth of Infinity is still waiting for people to catch up. It completes the trajectory that was begun with Children of God and it perfects the ideas that were only half-realized on The Burning World. More than an influential record, it is arguably Swans' finest and most concise accomplishment to date.
Swans changed dramatically in the time between Children of God and White Light. Drummer Ted Parsons and bassist Algis Kyzis, one of the best rhythm sections in rock music, were absent by 1989 and sorely missed. The Burning World had demonstrated that Michael Gira and Jarboe were interested in taking Swans somewhere else musically, but poor production choices and too few sympathetic musicians prevented them from realizing their vision fully. It must have been tempting then for Michael and Jarboe to call on old friends for their next album, but instead they moved forward and assembled a large cast of mostly new collaborators. Parsons and Kyzis were still gone, replaced by Jenny Wade on bass, Dots percussionist Vincent Signorelli, and drummer Anton Fier, who founded The Golden Palominos and had played with everyone from The Feelies to Pere Ubu. Norman Westberg was still on board, but two other guitarists had been added to the ensemble: Christoph Hahn and Clinton Steele. Much of what I've read about White Light suggests that they were the primary guitarists in the studio, and both are credited in the liner notes before Norman is. Nicky Skopelitis (also a member of The Golden Palominos) was the only musician other than Westberg to survive The Burning World sessions, but it's difficult to assess how large a role he played given the diverse number of instruments for which he is credited. This is the group that, along with a few others, went into the studio and turned out Swans' most cohesive and complete statement.
But White Light isn't the evolutionary step forward that Children of God or The Burning World was. Gira and Jarboe had already moved past the stentorian assault of earlier records, both as Swans and as World of Skin. They had also covered Joy Division's "Love Will Tear Us Apart" and Blind Faith's "Can't Find My Way Home," proving that they were as comfortable with popular song styles as they were with their post-punk and No Wave influences. As Creaig Dunton pointed out in his review of The Burning World, Swans had composed some fantastic songs since turning their sound down ("God Damn the Sun" and "Mona Lisa, Mother Earth" especially). The band had already begun a slow and clumsy metamorphosis, but they had yet to complete it. All they needed to do was find the right lens through which they could focus their energies and things were sure to take off. That's where White Light comes in: it marries the band's more spacious and subdued efforts with the intensity and drama for which they had become notorious. On White Light their quiet ballads swarm with inviting melodies and brooding, often sad atmospheres. The aggressive songs exhibit restraint and overwhelming power without taking recourse to overt brutality. Gira and company had integrated all the loose threads from past works and synthesized them into an epic, frequently orchestral aesthetic that could handle any material tossed at it.
Their transformation into such a flexible and dynamic unit is evidenced by how clearly past songs are reflected in White Light. Even if it isn't an evolutionary recording, it is a transformative one that bears all kinds of new fruit. I mean transformative literally, too. Many of the songs on White Light sound like twisted reflections of songs from The Burning World. For instance, the meek "I Remember Who You Are" sounds like it could have been the form from which the stunning "Songs for Dead Time" was sculpted. And the intriguing, but ultimately flat "(She's a) Universal Emptiness" might have been the soil from which the majestic "You Know Nothing" grew. That latter song is especially superb, replete as it is with Jarboe's spectral harmonies, Gira's paradoxically romantic and frightening condescension, and its superb chorus. But if calling the record transformative sounds exaggerative, consider the album's opening moments, where a small child is heard cooing and crying before "Better Than You" begins, perhaps suggesting birth and birthing pains. Or think on the many lyrics and images throughout the record that suggest failing, dying, and becoming something new. One of the most striking is "Song for the Sun," where Michael, in an almost elated tone (and in blinding contrast to "God Damn the Sun"), sings, "But I won't cry, no / I will survive the light of the sun as it enters me / Let it come right in, let the sun come in." Musically and lyrically, Swans are concerned with change and transformation throughout White Light. Deryk Thomas' artwork adds weight to that interpretation, too, suggesting rebirth by way of spring, love, and possibly Easter. And if that isn't convincing enough, then read over the lyrics to "The Most Unfortunate Lie," where Gira reflects, "The light shows my face in the mirror / and my hand as it reaches to touch / the evidence of pain and delusion / and a mind which was never clear enough." Things must have cleared up in the studio during the recording of this album and everyone present must have recognized it to some extent. At least a few of these songs had to be written or redrafted during the album's recording. Of course, it could be that White Light is where everything happily and haphazardly fell into place, the lyrics reflecting the band's regeneration only by chance.
All of this ignores how excellent White Light is on its own, though, without reference to anything from the past. Were it actually still in print, a newcomer could begin exploring Swans with this album and fall in love thanks to its many strong melodies, excellent arrangements, tremendous scope, and various moods. In fact, if Soundtracks for the Blind had never happened, White Light might have gone down as the band's most diverse and dynamic recording. Fans might argue it isn't as far-reaching and experimental as later Swans albums are, but it doesn't have as many loose ends either. White Light flows like a Bosch painting from start to finish, its unique instrumentation and surprising tangents forming a pleasing, if disturbing, whole. Songs like "Love Will Save You" and "Why Are We Alive?" show Gira's interest in American music growing and his ability as a songwriter developing, and "Failure" is nothing short of a classic. Michael frequently plays it at his solo shows and fans still whisper about it beforehand, wondering if they'll get the chance to hear it performed. Taken into consideration on their own, every song on White Light is an excellent example of Swans' several virtues.
And that is as good a reason as any to wonder why White Light ended up being butchered and spread across Various Failures and Forever Burned years later. While Swans would use White Light's various conventions as a starting point for exploring new territory on later albums, its songs do not sit comfortably next to the music from Love of Life, nor do they benefit from being interspersed among various B-sides and outtakes. Taking those songs out of their proper context and then splitting them up over three discs simply makes no sense. Gira hasn't reissued anything by Swans since 2003 and nothing he has reissued adequately represents this album's scope. That needs to change, if only to make White Light available again for listeners who would be all too happy to pay for it. As of right now, blogs and other illegal sites are the only places it is available. Rather than fund the next Swans album with a collection of acoustic demos, Young God could release a deluxe edition of White Light that contained all the demos, B-sides, and instrumental stuff on a second disc, where they belong.
Despite being out-of-print, White Light has become a massively influential record. Swans obviously left a mark on everyone from Low to Godspeed You! Black Emperor, Mogwai, and Explosions in the Sky. Arguments for their influence on many other bands could be made, too (Bark Psychosis and Sigur Rós among them). "Helpless Child" and "The Sound" might have solidified their contribution to post-rock more firmly, but the seeds for those experiments were planted on songs like "Why are We Alive?," "Will We Survive," and "Miracle of Love." For as long as I've been listening to Michael Gira's music and talking about it with others, Soundtracks for the Blind has been touted as their ultimate achievement and the place where all their experiments came to shine most brilliantly. But I think it's about time White Light from the Mouth of Infinity is recognized as their masterpiece. This is the album where Swans found new life and the mouth from which the rest of Gira's career flows, including Angels of Light.
Close on the heels of last year's Caress, Redact, the latest work from Public Speaking’s Jason Anthony Harris (along with some friends) is an even further refinement of his deconstruction of soulful pop and R&B sounds. With equal measures vocals, piano, found sounds, and synth noises, he shapes these disparate elements into catchy songs, albeit within a depressing and bleak context.
The most striking development on Grace Upon Grace is the fact that each piece is, at its core, composed for just vocal and piano. Harris intentionally wrote the album this way, a method that is not necessarily associated with creating what can be rather challenging music at times.However, this really just serves to solidify Harris' continuing growth and evolution as not just a sound artist, but also as a songwriter.Running through the record is a thematic structure linking the five songs too, namely the intersection of politics and religion and the fanaticism associated with both (so, very timely).
The opener "Backbone" exemplifies this stripped down approach right from the opening of droning electronics, snappy beats, and bass guitar.Soon Harris' vocals and piano take the forefront, nicely accented by skittering electronics all about, later even featuring a bit of trumpet from Jon Mizrachi.For its unconventional structure, it is a rather simple arrangement, capturing the sadness of the current political climate perfectly."Trespass" is another of the more skeletal works, built around found sounds and strange noises layered together into effective rhythms.Here Harris' voice is accompanied by that of Sophie Chernin as well, creating a strong duality of tone that complements the jerky beats and found sound collages rather nicely.
For other songs, however, Harris’ arrangements are a bit more complex.The electronic rhythms, bass guitar, and vocals all appear again on "Music of the Victors" as well, but in a greater complexity and richer mix.There are more layers of instrumentation, even some erratic electric guitar (courtesy of Zach Ryalls) added that fleshes out the sound even more, building to an almost jazzy conclusion to the piece."The Most Dishonest People in the World" is more about up front, dramatic vocals and jerky piano at first, then blended heavily with skittering electronics to make for a more dissonant piece, but one that still feels loosely grounded in conventional songwriting and composition.
The album culminates with "Burnt Offerings", leading off with squalling noises segueing into subway field recordings before locking into erratic beats and piano.The arrangement is unconventional, mostly built upon piano, drum machine, and found sounds, but Harris makes it work cohesively, mixing together and delivering a strong, memorable chorus while ending the song on a random, erratic note.For those who are not necessarily fond of vocal heavy music, or who want to hear more of the eccentricities of the music, the second half is simply an instrumental mix of the five songs that, while interesting, are not as strong as the vocal versions.
As Public Speaking, Jason Anthony Harris is carving out a nice niche for himself, blending the worlds of more conventional R&B songwriting with abstract, very avant garde structures and instrumentation that seem at odds with each other, initially.It is a strange pairing to be sure, but it works brilliantly, no doubt because of Harris' skills in mixing and instrumentation, but also a strong voice.Conceptually I found the album to be a bit of a downer overall (not surprising given the context and its all too real appropriateness for 2017) but it is so adeptly executed that I could not help but enjoy Grace Upon Grace, even if it does little to lighten the mood.
Lasted is the third album by Thomas Meluch under the alias Benoit Pioulard. Thomas has toured throughout North America and Europe since his last record, the process of which has had a marked impact on the development of these songs as lyrics and structures have been scrapped, tweaked and reworked in the live setting. As with previous albums it was recorded and mixed in domestic isolation, this time throughout the rainy season in his current home of Portland, Oregon.
While the extent of the dreary climate’s influence on the results is left to the listener’s discretion, what is certain is that Thomas has a preternatural ability to weave disparate sound components into a cohesive sonic tapestry, mixing a varied palette of field recordings and percussive elements along with melancholy melodies to create songs that recall - and are akin to - vespers of long-buried memories.
9. weird door 10. ailleurs 11. passenger 12. tack & tower 13. a coin on the tongue 14. nod
selected discography:
Precis 2006 kranky
Temper 2008 kranky
press quotes for Temper:
"Pioulard's distinctive process of melding opposites into a unified whole is a rare talent and one that will always be welcomed." Skyscraper
"Pioulard is equally gifted at creating uniquely outdoorsy sound worlds as he is at crafting hook-filled songs." All Music Guide
"This is baby-making music for sasquatches; break-up soundtracks for amoebas. Benoît Pioulard’s tarp of harmonized vocals are slid like a piece of wax between the mess below and prickly melody, bright and stereo, on top." Cokemachineglow
"Meluch's aesthetics remain hushed but at the same time fill a room with his swirling microcosm of creaks and close mic-ed strums, and of course his mournful but pleasing croon anchored squarely to the top of the mix." Raven Sings the Blues
"Pioulard's work is a remarkably effortless cohabitation between bedroom electronics and wistful songwriting." The Wire
title: This Alone Above All Else In Spite Of Everything
catalog#: krank144
formats available: LP/Digital
release date: September 6, 2010
content:
The fourth Boduf Songs extended play was created using Mathew Sweet's standard recording set up of a single microphone and a small array of instruments, but it comes with a few surprises - most notably the prominence of electric guitar, bass and stomping drums on a few tracks. All of the elements that make his previous sound creations so arresting are still present; the impeccable song structures, the minimal approach, the delicate yet dominant singing. The album opens with the naked sound of the hammers of an old upright piano striking strings, an apt metaphor for the lyrical content which is just as raw and exposed. Mathew broadens his vocal approach here, exploring range and employing some unpredictable, well-placed harmonies. This Alone Above All Else In Spite Of Everything is effectively a concept record, and makes for a dramatic journey. Mat states "There is a theme that runs through each song and the track order is paramount to that - it's a hugely important part of making a record work." So pay attention.
track listing:
1. Bought Myself A Cat O’Nine 2. Decapitation Blues 3. Absolutely Null And Utterly Void
4. I Have Decided To Pass Through Matter 5. Green They Were, And Golden Eyed
6. We Get on Slowly 7. The Giant Umbilical Cord That Connects Your Brain to the Centre of the Universe 8. I Am Going Away And I Am Never Coming Back
selected discography:
Boduf Songs 2005 kranky
Lion Devours the Sun 2006 kranky
How Shadows Chase the Balance 2008 kranky
press quotes for How Shadows Change the Balance:
"How Shadows Chase the Balance is among the most spiritually and psychologically devastating albums I've ever heard, but it's also a simple album about living life, about our peculiar position in the universe and the candid exploration of the impact those experiences have on all of us. It's also, by a large margin, one of the strongest albums I've heard this year." Tiny Mix Tapes
"...crawling folk songs drenched in a stew of fire, brimstone and, of course, blood. Yes, How Shadows Chase the Balance is in love with the gloom but rarely does despair sound this sweet." Exclaim
“How Shadows Chase the Balance is often so suffocatingly bleak that its anger and despair rarely rise above a faint but insistent ghostly presence, like the beating of a tell-tale heart. Unsettling and gorgeous..." All Music Guide
"In Boduf Songs' brutal theology, darkness devours light, death defeats the living, and nature and culture are at perpetual fisticuffs." Pitchfork
"Boduf Songs makes some of the duskiest, autumnal and beautiful loner psychedelia." Stereogum
Easily the most maligned release in Swans' discography, there is a definite awkwardness to it, no doubt in part to major label pressures and the heavy hand of Bill Laswell on the production. However, listening to the material in context, it does show the evolution of the band's sound, even with its obtuseness. While it does have a certain "sore thumb" quality to it, it is a necessary evolutionary step for the band that’s flawed, and a flawed Swans album is better than most other bands at their best.
When the more folk-tinged era of Swans was compiled on 1999s Various Failures, a large portion of the material on this album was ignored, reduced to only two tracks, while Love of Life and White Light From the Mouth of Infinity were both significantly represented.This was later fixed with the limited release of Forever Burned, which contained the album in its entirety, along with the tracks left off of Various Failures from the two subsequent albums, but even then the reissue was tough to come by.
One of the biggest issues with this album is the loss of control Michael Gira had to deal with in its creation.Sharing production duties with Bill Laswell and a slew of his session musicians, there was to be a definite Laswell stamp on the sound.For a band without a clearly established identity, this could be a good thing, because for how prolific he was (and is), Laswell knows what he's doing and is certainly not a amateur in the studio.But Swans were not a band trying to find themselves:by this point they were a monolithic force of nature that knew what they wanted to do.Due to the fact that the only Gira, Jarboe, and Norman Westberg are present, they're outnumbered by Laswell's associates, which surely was another strike against the album sounding like a true Swans one.
The acoustic guitars and dark American folk vibes that were toyed with on Children of God are in full effect here, with absolutely no hints of the concrete walls of guitar noise that characterized their previous work.However, too much of the more folk influenced sound they were cultivating is obscured by bouzouki, tablas, and other stereotypical "world music" sounds, which unfortunately strips a lot of the identity away from the disc.
While not challenging by any means, many of these songs still stand as strong compositions:opener "The River That Runs With Love Won't Run Dry" features a rather standard acoustic/electric hybrid sound with the appropriate dose of Gira's apocalyptic lyrics that still gives it a definitive Swans feeling, even if the slew of stringed instruments hint at something else."Let It Come Down" has a similar feel and structure, but features less of the heavy hand of Laswell and his cast of session players in comparison, retaining a sparser sound that fits just as well on their later albums.
There are moments where the sound begins to drift too far into forgettable major label facelessness, such as "Mona Lisa, Mother Earth" and "Saved."While the former retains a bit of darkness that has characterized the band, the latter, with lyrics such as "When sunlight falls on your shoulder/you look like a creature from heaven" are just a bit TOO far from the likes of "Raping A Slave" for its own good.On its own it's not an entirely bad song, but within the greater context of Swans, it sticks out as severely lacking.
Somewhat ironically, one of the most definitive late-period Swans songs appeared on this album.The closing "God Damn the Sun" encapsulated the Johnny Cash/Leonard Cohen hybrid that the band returned to on subsequent releases, and has been a live staple of Angels of Light since their inception.The intensely depressing lyrics fit the thematic mould of traditional country, but in a very authentic sense, and thus remains a serious downer, yet simultaneously a beautiful song.
It's not hard to see why both Gira and fans have targeted this disc as being a less than stellar album, because it simply does have too much polish to it, in a bad way. While those who followed Swans from the beginning were probably the most dismayed upon this release 21 years ago, because it so clearly signified the death of the heavy, sludgy sound that was on its way out with the previous Children of God album.However, once they were able to better shape the sound on the subsequent releases on Gira's own Young God imprint, it obviously is a necessary evolutionary step in their career.The thing for me is, there's a number of good songs here, they just suffer from cluttered percussion and spotty execution.I have always wondered what The Burning World would sound like without Laswell's session musicians and the influence of Uni/MCA Records on the final release.If this had been a fully Gira-led production on an independent label from the beginning, I think the world would have a much different perspective on it.It is certainly not a shining star in the Swans discography, but it's better than many would lead one to believe.
This is the kind of music that makes my brain feel like it is chewing itself. The five short works here act as a kind of clearing house for my mind; listening enforces defragmentation. These works act like miniature vacuum cleaners, erasing all the info-garbage that tends to accumulate after a few uninterrupted hours of total media immersion. Visceral and cacophonous it reminds me I have a body. Listening to noise is healthy.
I tend to think of noise in magickal terms: it performs the same kind of psychic function as a banishing ritual does, cleansing the area in which it is played, or the mind of the person who plays or listens to it. I’m not suggesting that Jeff Carey subscribes to this viewpoint, but these are the types of experiences I am in search of when listening to the style. The noise I enjoy also has an ecstatic quality, putting me back in touch with my body. This is especially important to me as I am a writer who works in a library, and with the vast swathes of information and media at my disposal it is easy to get stuck in my head. Meditation is good for calming the mind, but noise cuts to the chase and silences my thoughts for me.
This EP does all of this for me in a way that is quick and succinct. Recorded live and direct-to-disc without overdubs it captures the immediacy of his electro-instrumental style. As an electronic musician who is dedicated to performance, Jeff Carey creates his own software and gear allowing him to control all parameters of composition in real time. The sounds themselves do not belie their construction, and they seem as if they were perfected in a hermetically sealed chamber. While clearly digital the songs are muscular and vigorous.
"Ctrl" opens the disc with a fluttering of gelatinous flubber, interspersed with quick squelches, clicks, clacks, and mechanical clucks. "Mod" seems to use more ring modulation, lending pleasant glissando and resonance to the signals. "Freq" is quieter, focusing in on static. It moves along like soft stream of gently attenuated and polished white noise. While all the material is highly abstract "Trig" is also the most dissonant. Scraping sounds, akin to bowed metal, zoom alongside the prominent percussive blasts that give the song its meat. The disc ends about twenty minutes after it starts, making this a perfect listen for when I need to quiet the caterwauling of my mind. That external noise can create internal silence is an essential paradox of this music.