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).
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Tiger Saw are from Newburyport, Massachusetts, or, at least, that's where they began. After writing most of their debut alone in Los Angeles, Dylan Metrano brought those songs home to Newburyport, where he found like-minded souls to help him bring those creations to life. In listening to their records, it seems he found more along the lines of kindred spirits who were lying in wait for this sound to come along. It is not a wholly original sound (are there any of those anymore?), as Tiger Saw play primarily slowcore music in the vain of Low or 27. But it is a new twist, as most songs possess a jazz structure, but a rock-like instrumentation. And it is a lovely listen.
Kimchee
"Blessed Are the Trials We Will Find" is Tiger Saw's sophomore release after their self-released 1999 debut. The songs found here will appeal to you because of their sheer beauty, and the strong ensemble that performs them. The duel-vocal syrup of Juliet Nelson and Metrano is a perfect complement to the instrumentation, mainly guitar and drums, but with occasional strings, organ, and even melodica thrown in for good measure. The thing that stands out the most, though, is Metrano's lyrics, which, thankfully, never seem to rest on one particular subject or genre. True, he does write of relationships between people more than once on "Trials," but he also writes of being lost at sea, and of being alone. And you know instantly what he speaks of, and where he's been. It's that familiar in listening. The two instrumental tracks also show off the versatility of the band, and the comfortable way the have with their instruments. Also included on the CD is a video for a beautiful song called 'Nightingale' that is quite well done. Check out Tiger Saw: you'll be glad you did. -
Mix albums. Usually pretty shit. Brainfreeze was pretty good, theK&D Sessions weren't without their charms. But generally the ghostof Ibiza looms over them all, and if it doesn't then they're usuallypacked with the DJ's own material or remixes of friends' material.Plus, most of them are just too blinkered - pure techno or drum n'bass, no variety. Basically many of us just want an album to put on ata party that won't empty the room within a few minutes. And, unlessyour friends are all hip, cool culture vultures, that means yourSpeedranch / Jansky Noise mix disc isn't going to cut it. Last year we got the ultimate party album courtesy of the Avalanches.Well, summer's on the way, and that one was played to death last year.Still great, but time for something new. So, Soulwax, show us whatyou've got. Belgian band Soulwax, previously known as the rockers behind lastyear's minor hit 'Much Against Everyone's Advice', have thrown thekitchen sink into this mix tape, and some of the parts have got jumbledup. So, where Skee-lo and the Breeders are listed together, they aretogether. He raps acapella over a Cannonball instrumental. Shouldn'twork, but does. Ditto Basement Jaxx shouting over Emerson, Lake andPalmer, or Salt N' Pepa calling on us to 'Push It, Push It real good'to the strains of Iggy and the Stooges. We also get Destiny's Childdoing the 'Independent Women' thing with 10cc's mellow 'DreadlockHoliday' in the background. You may be wondering what an albumfeaturing Kylie Minogue, Destiny's Child and Basement Jaxx is doinggetting a review in the Brain. Well, this particular album alsofeatures the Residents, the Velvet Underground, Adult and Peaches. Andit blends Dolly Parton into Royksopp, which can't be bad. Don't know how they got copyright for all this, but they did, sometimesthrough licensing cover versions, or sampling samples (MichaelJackson's 'Billie Jean' slips through the net on this technicality,using a dance record which samples the original). Basically, this album is enjoyed in two stages. First listen or two,you're comparing the new 'versions' with the originals, and sniggeringaway at how wonderfully post-modern the whole thing is. But soon you'rejust tapping your foot, and calling your friends around. It's just tooinfectious, too catchy, it puts too wide a smile on your face not tolove it. Summer's here. Don't worry, your Low records will still be there in theFall. For now, to quote a (surely copyrighted) drink's company's slogan- Let the sun into your spirit. Further info on the tracks used, and copyright/licensing difficulties is at www.2manydjs.org - Read More
Music should never be judged purely. It should be judged on how 'wrong'or how 'right' it feels in the ears of them who listen. This may not bea reason why V/Vm have taken the trouble to simultaneously release twovery different selections of 'good things' which they claim areactually the same. Both discs have twelve tracks with the same titles.Previous plunderous releases enabled by the VVMCPS laws such as 'SickLove' might be aptly described as corny, but make no mistake it's wheaton the cover of these two. This is pure germ of V/Vm - remember theearliest V/Vm 12" releases or the Fat Cat split with Third EyeFoundation and that'll give you some idea of what to expect from the CDwith the regular yellow wheat. If I wanted to be cheeky I could tellyou that this is what it would sound like if V/Vm helped Aphex Twinwithout doing any hacking, but I know Jim's sickly traumatised by thedeath of the racist granny robot so I'll try not to mention AFX and hisinfluence again. Whatever, this is the sound of V/Vm distilled to pureessence of wheat beer hoedown direct from the mythical school thatplays records with wooden styli. The inverted blue wheat disc is likethe imagined brick bashing your head the next day in hangover city. Myguess was that it's the same tracks but crunched up through distortionand ring modulation and all that fun stuff, but someone in the knowsays this is not so, and the two CD's are not exactly the same lengtheither. In fact there's so much of that digital processing on the blueone that even though its massive robot noise approaches all consumingnuclear meltdown the sound seems to run a bit thin at times. Obviouslythe blue one is the one for noise heads to hear, just don't mentionMerzbow. A lot of it actually sounds like it could be mashed uprecordings of explosions. "The View Below Me Was Always the Same" isthe deceptively titled intro to each CD. Yellow is Caretaker type organswells. Blue is a discordant ring modulator sweep punctuated byexplosions. "The Truth is Dead" is the conclusion they reach before theunderwater Aphex beat excursion "Some Things Look Better Baby." Sorry Iforgot I said I wouldn't mention that Twin again. This far into theblue disc and it's deafening machine grind all the way until completelyfucked relentless deaf disco splatters brains. The idea is probablythat the yellow one is right in that its more conventionally tuneful,but wrong in that this kind of thing is not expected of V/Vm; blue iswrong in that it's a big noise but right in that it confirms V/Vm'sreputation for making big cacophony. But how did it make me feel? Theblue one made me feel like a daffodil in a rainstorm but the yellow onemade me feel like a witch in beat. With all this hack lack and wheatygoodness V/Vm will be claiming they're serious artists next. But ofcourse they always were?
So, the goal is to figure out which one is right and which one iswrong? Actually, I find that the best way to listen to each of these isat the same time. Not all the tunes match up, but if you've got aboombox and a home stereo in your livingroom, try one disc in eitherand hit play. You won't have any goofy delays like that goddamnedFlaming Lips thingy! Do I hear porn sounds? - Read More
Do you remember what your first dream was like? When you woke up youwere either so glad it was over, or you wanted to go back and live inthat world forever. Sometimes you'd have the dream again and again,like some foreboding message or prophecy. If I had a dream where I ameverything I want to be, I would want Parlour to provide thesoundtrack. And I would want that dream to happen every time I go tosleep, just so I could hear that music again. Tim Furnish, best knownfor his work in Cerebellum and Crain, formed Parlour by joining withthe experimental band Paden in 1999, and the result is nothing short ofstunning. A strong rhythm section drives each track, with keyboardbeeps, whistles, and samples joined with hypnotic guitars and bassfeeding the frenzy. Furnish's dabbling in Aerial M and The ForCarnation have had an influence on him, as this music is dark in tone,but not sinister. From the opening track, 'Stipendlax,' with its simpleguitar chords and droning bass; to the funky bass and keyboards of'Aflipperput'; to the simple lullaby melody of 'Sleeper'; to thelaidback groove of 'Weeds That Grow Into Trees'; Parlour infect youwith their driven, relaxing tone. Every track is a lot to absorb in onelisten, as there's so much happening on so many different levels.Fortunately, although the music is simple, it is never repetitive. Eachtrack builds and builds, adding elements that intersect, intertwine,and interrupt your brain's normal activity. It's that infecting andthat endearing. This is cerebral math rock. This is the sound ofdreams. And I'm going to sleep here pretty soon.
Mark Nelson has shed some layers for the latest full-length release as Pan•American. No longer is he trading tapes with friends like the first or recruiting other players to guest like the second album. Much like the last Labradford album, this time it's all him. For those who have been following his career with the various singles and compilation track contribututions, the sound should come as no surprise. The influence from various other "micro-house" type people can be felt as there's more non-musical outside sounds like underlying electronic hiss, clicks and pops. What separates Nelson from the rest of the crowd is his undeniable talents as both a great musician and composer. Despite the overall quiet nature of the disc, his subtle synthetic organ melodies are lush and involved, inviting and even sexy. I'm almost embarassed to admit that 'The River' makes for a great record to underscore quite a romatic evening to. While many other uses can include schoolwork, housework, or quiet time, it is a fascinating album to completely tune the world out and zone out to. Yummmm.
After a critically acclaimed EP, a single release, and severalcompilation appearances, 27 release "Animal Life" their debutfull-length on Kimchee Records. Recorded "at home" by the band andself-produced, "Life" shows off the same elements listeners alreadyknow and love about 27, but here the band spreads its wings anddelivers its first masterpiece. Seeing 27 live, you hear a lot more interms of dynamics than what was heard on "Songs From the Edge of theWing." Those dynamics are heard here, in all their glory, plus someinteresting additions to 27's sound. There is a greater integration ofsamples (including one from Charles Mingus on the first track), andsprinklings here and there of horns (drummer Neil Coulon playsclarinet) and strings. Overall, though, the songwriting has improved,though the subject matter is still very much the same. Songs of frailtyand failed relationships never sounded this lush. There is also anattack in these songs, hidden just below the surface, that can utterlydestroy you, and should, were it not for the sheer beauty of it all.And everywhere, Maria Christopher's voice is clear and soaring, asalways, even when double-tracked and softly sung. There is anothervoice adding flavor on these songs, too, as Ayal Naor harmonizes andfollows Christopher's lead on select tracks, most notably on 'Undone.'These songs are more striking than anything 27 have put to tape so far.The intimacy seems more enveloping, the instrumentation warmer. By thetime you reach 'Cavalla,' the album's ten minute closer, with itshaunting crickets and whistle that gradually fade into the band'ssteady and heavy rhythm, you're utterly a believer. "Didn't youlearn?/It's supposed to burn" sings Christopher, right before theybring the wall of sound back in to show you how it's done when it'sdone right. There are no missteps or weaknesses here. This is slow rockmusic of the highest quality. Don't miss out. "Animal Life" isavailable now on the 27 website, with wider release soon. -
Soon after the inaugural 'Spiral Scratch' EP, Pete Shelley and HowardDevoto parted ways, Shelley carrying on with the Buzzcocks and Devotomoving on to Magazine. A quarter century later they've reunited forlive shows and this album, possibly a one-off. Firstly the duo are tobe commended for not retreading their punk origins, choosing instead toexplore a more contemporary direction. Unfortunately that direction islame electronica. Devoto's peculiar voice is the same as ever, but Ifind it much more annoying here with a backdrop of bland beats, datedsynth textures and cheesy wanking. The handful of short instrumentalsdon't fare too much better, even with the addition of saxophones on "OnSolids". A computer and software does not an electronic musician make.It's either ironic or telling that the two songs most faithful to theirroots - "Can You See Me Shining?" and "'Til The Stars In His Eyes AreDead" - are by far the best, especially the latter with its high energyand heavy guitar riffage (if you heard or bought the single, don'texpect the rest of the album to sound like it!) Sure, they would havebeen lambasted by most critics and fans had the entire album been like"Stars", but sometimes it's best to just do what you do best. The videoportion of the disc is live footage of two songs, Shelley and Devotolooking about as bored as I am with the material. Get Magazine'sbrilliant career retrospective 'Maybe It's Right To Be Nervous Instead'box set instead!
Historically, the Rephlex label has defined and embodied the term"taking the piss." With tongues planted in their cheeks, the notoriouslabel owners Richard D. James and Grant Wilson-Claridge release, onaverage, nine questionable albums for every good one. So it's always awelcome relief to see a new Global Goon album at the record store.Though often, and incorrectly, rumored to be an Aphex Twin project,Jonny Hawk is his own man, wearing his influences on his sleeve like ageezer's cufflinks. Global Goon doesn't seem to mind promoting thatdated Artifical Intelligence sound, and for that we are thankful. Whileluminaries like Autechre continue to stray further and further awayfrom melody, the opening track on 'Vatican Nitez' ("Business Man")brings us back to when Warp was in its heyday, dropping classic uponclassic. Warbly analog synths, flatulent stabs, and coherant drumscarry this album for the most part, most noticeably on songs like"Stan's Slaves" & "Crudulus". The memorable "I'm On The 73" recallsa time before trip hop and downtempo, with an old-school hip hop grooveplaying awkward yet pleasant games with delay effects. With 'VaticanNitez', Global Goon confirms his place as one of the strongest acts onthe label (which isn't saying all that much) and one of the most uniquein today's IDM scene. I'm looking forward to a time in the future whenpeople rediscover the 90's; a time when Jonny Hawk can be regarded forholding down the fort while even the generals defected.
Somewhere, right now, indie rock kids are overjoyed beyond belief listening to this record. Why? Because Go Back Snowball is a project by two men that they readily worship for the music they release with their full-time bands. And people have often wondered in conversations at coffee shops and record stores what it would be like if they actually made a record together. The wonder is over, as Bob Pollard and Mac McCaughan, of Guided By Voices and Superchunk/Portastatic respectively, have joined forces for "Calling Zero." And it's almost as good as you'd expect it to be.
Pollard is a king of melody, often showing fantastic ability on GBV records in finding a vocal line where no one in their right mind could. And McCaughan is the master of instrumentation, writing triumphant indie rock with Superchunk and playing all the instruments in his quirky but solid side project Portastatic. The genesis of this record is reportedly like that of Pollard's recent Airport 5 collaborations with Tobin Sprout: McCaughan records all the music and sends it to Pollard, then Pollard has free reign with it for vocals and lyrics. And the results are certainly a good sign of what is possible here, and a worthwhile listen to be sure. But it's far from perfect. Primarily, the problems here are due to the arrangement that spawned the collaboration in the first place. Pollard is at the mercy of whatever music McCaughan gives him, and there are a few tracks here where you can almost picture the elder statesman saying "What in the hell can I do with THIS?!" ('Again the Waterloo') Pollard is, in his own right, a fantastic songwriter, and I think the results would have been that much more dynamic had they actually wrote some songs together and recorded them in the studio together, not a reasonable facsimilie of it. And the lyrics are classic Pollard, which is both a good and bad thing. He's shown such growth and maturity on the past two GBV records in his lyrics, so why does it seem he's going out of his way to be oddball again here? ('Throat of Throats': 'Vultures looping through fiery hoops/In third dimension jumping suits') It sounds just like you'd think, though: Pollard fronting Portastatic. If that sounds like something you'd like to hear, try it on. It really is a great record, and I hope they collaborate again. Given the prolific nature of both men, it's certainly possible. But please, gents, next time sit in the same room with each other a few times first? -
Music nerds need to have fun some times. Unfortunately I think thoseare the only people who would find entertainment in the "irony" of thisrelease. No, this isn't a brand new full-length from the long-forgottenkickass On-U Sound dub band Playgroup from the 1980s (despite the onetrack which experiments with instrumental dub), it's the project byTrevor Jackson, owner of Output Records and former remix artist knownas Underdog. If there's anything to express on this recording, it's thefacts that #1: he's either got a ton of money or a lot of productionskills and connections and #2: he's a rather dull writer, with mundanelyrics, oversimplified beats and repetitious riffs that wear out theirwelcome 30 seconds into every track. The self-titled debut album isclearly a post-post-disco record: just a few years shy of making asplash. (Note: the trend has clearly moved onto the 1980s-retro, duh!)Months ago, I thought this was a seriously feverish heavy recording,but take my warning, that feeling fades quick. Further listens invarious environments show its limits, as it's really only heavy whenplayed in loud volumes with the bass turned way up. Some times a goodfeel gets going, but out-of-place guitar riffs, saxophones or othersounds almost always seemingly taint any attempt at purity. In manyways I'm reminded of the Malcom McLaren from 20 years ago: a whiteBritish music businessman and producer who regurgitated black cultureand was praised by the white music press and higher-brow music fans,but was never authentic enough to really break down the boundaries thatkept him an "artist" rather than the "superstar" he was shooting to be.Guest vocalists like Kathleen Hanna and Shinehead don't do the albummuch help and the cover of Paul Simon's "18 Ways to Leave Your Lover"is downright painful. I couldn't help but cringe every "yahoo" shout in"Front 2 Back" or each time some tough-acting guy spoke "bounce,""scram," and "uh huh," in between the sung lines of the ghastly PaulSimon cover. Jackson's got a great ear for production, a ton of supportfrom the highest paid music critics, and probably tons of managerstrying to land him TV advertisements, but at the end of the day I canhonestly say that I'm personally embarassed to own this record,nevermind play it around others or in the car with the windows rolleddown.