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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This collection of compositions shows how much Laporte is in love with the subtleties of sound and atmosphere. Shifts in timbre and slight changes in texture are the order of the day, the end result being five wonderful pieces that each explores the physical nature of sound. He avoids needlessly complicated ideas and instead lets the sounds that would normally go unnoticed come to the fore.
Like Chris Watson and BJ Nilson's recent album Storm, "Électro-Prana" captures not only the sound of a storm but also, short of actually getting wet, the feeling of being caught out in it. It is hard not to shiver and look for cover when listening to Laporte's recordings of ice storms made from many recordings of the wind whistling through doors and windows. It is great fun to listen to it in bed, wrapping the covers tight even though the real weather outside far warmer. Laporte reproduces the atmosphere of the storm perfectly, it is possible to hear each whistle and whine distinctly.
By far the most interesting of the five compositions is "Dans le Ventre du Dragon." Here Laporte records music being played in an empty cargo ship. A massive natural reverb warps the instruments, the brass wind instruments sound like they are buzzing past like giant insects. It is a very simple concept but Laporte makes sure it sounds extraordinary with his clean recording and postproduction. It is easy to imagine a huge, rusting juggernaut with a few musicians skulking around the bottom, every sound they make swallowed up by the emptiness and the void around them.
A lot of electroacoustic composers get sidetracked by theory and utilising software that is interesting from a music technology point of view but not so interesting to listen to. Laporte steps away from all that malarkey and concentrates on capturing fascinating sounds. Each of the five pieces that make up Soundmatters are feasts for the ear; Laporte combines the right amount of intellectualism with buckets of beautiful noise. He does not seem afraid to move outside any comfort zone he might have; none of the compositions sound like each other as Laporte utilises different techniques to recording sound and vastly different sources of sound (from the traditionally musical to the mechanical to the natural).
Soundmatters is a rich listening experience and a joy to listen to. The attention to detail in terms of sonic nuances is amazing. All of the pieces are utterly engaging: there are so many intricacies and fine alterations in tone that it is impossible to take it all in. However when armed with a comfortable chair and a nice set of headphones, the challenge of taking it all in is a task well worth pursuing.
One of the largest surprise hits of 2006 was Beirut's Gulag Orkestar, which received widespread acclaim for its innovative combination of Balkan and pop melodies. Even more surprising was that it was the work of one 19-year-old kid, Zach Condon, and done almost completely in his bedroom. Now, two years later, Condon has just completed six months of work on his follow up record, which evokes the forgotten charms of older approaches to pop music.
The new record (yet to be titled) will be released on October 9th on Ba Da Bing!, and features a notable shift in sound from Gulag. With song titles like "Nantes" and "Cherbourg," the record is more a love letter to French culture. Featuring thirteen tracks in all, this new album continues on the trajectory that began with the Lon Gisland EP, where the entire eight member band plays along on the recordings. Besides the eight member orkestar and guests, Owen Pallett of Final Fantasy adds lush string arrangements to the songs, as well as guest vocals on a track entitled "Cliquot."
The album was recorded in two separate sessions - at the A Hawk and a Hacksaw practice space, and at Arcade Fire's ornate studios outside of Montreal. To date, Gulag Orkestar has sold over 100,000 copies worldwide.
Beirut will be playing a limited number of North American shows this fall in theatrical venues. Colleen, whose new album Les Ondes Silencieuse is out this month on The Leaf Label, will open.
Tour dates:
September 23rd - Princeton, NJ - Terrace F Club September 24th – New York, NY - Worldess Music Series @ Society for Ethical Culture September 26th - New York, NY - Delacorte Theater September 30th – Montreal, QU – La Salla Rosa October 2nd - Toronto, ONT - Danforth Music Hall October 4th – Chicago, IL Portage Theater October 8th – San Francisco, CA - Herbst Theater October 9th – San Francisco, CA - Herbst Theater October 10th – Los Angeles, CA - Avalon
Tracklisting:
0. A Call To Arms 1. Nantes 2. A Sunday Smile 3. Guyamas Sonora 4. La Banlieu 5. Cliquot 6. The Penalty 7. Forks and Knives (La Fête) 8. In The Mausoleum 9. Un Dernier Verre (Pour la Route) 10. Cherbourg 11. St. Apollonia 12. The Flying Club Cup Read More
Hera Ma Nono is the exhilarating sophomore effort from Kenyan and American cooperative Extra Golden. Kenyan benga music and American rock first met with a friendly handshake on the group’s 2006 debut, Ok-Oyot System, and are now fully integrated in a union that represents the vanguard of both styles and transcends the very notion of authenticity.
The group’s future was uncertain after the unfortunate loss of singer/guitarist/co-founder Otieno Jagwasi in 2005. However, an invitation to perform at the 2006 Chicago World Music Festival presented an intriguing opportunity for a US concert debut and a chance to return to the studio. The group called on Opiyo Bilongo to fill the void, a singer/guitarist who has been a dangerous presence on the Kenyan Benga scene for over a decade. Guitarist Ian Eagleson had helped Bilongo record two albums with his group Bilongo Golden Stars back in 2004, sessions that are highlighted on Bilongo’s debut U.S. release, What Do People Want? on Kanyo Records. Onyango Wuod Omari, whose singular drumming punctuated Ok-Oyot System, would also make the trip. For several months and through almost interminable hassles, Eagleson and guitarist Alex Minoff worked feverishly with Onyango Jagwasi (brother of the late Otieno) to make Extra Golden’s concert debut a reality. After countless international phone calls, a great deal of hustling, and some help from people in high places (the office of Illinois Senator Barack Obama helped the group clear their final visa hurdles), Opiyo Bilongo and Onyango Wuod Omari got their visas just a few hours before their scheduled departure. This would be the first journey outside of East Africa for both benga stars. Six weeks of memorable performances followed at both rock venues and private Kenyan functions, then Extra Golden retreated to an isolated location on Lake Wallenpaupack in the Pocono Mountains of Pennsylvania. As with Ok-Oyot System, the band recorded using their “Nyathi Otenga Flying Studio,” but the session for Hera Ma Nono couldn’t have been more different. Instead of three hours in an open-air Nairobi nightclub, the group had five days in a private house. They had access to a variety of guitar amplifiers and effects, and perhaps the biggest difference was the drumkit. The set that Onyango used on Ok-Oyot System was, to be kind, broken. In Pennsylvania, he had a fully-functional kit with a large assortment of tom-toms. These new amenities helped to take the band’s sound in a new direction. With the loss of Otieno Jagwasi, new voices have also contributed to Extra Golden’s new sound. Bilongo, revered in Kenya for his singing and composing, penned and sang lead on “Obama”, “I Miss You” and “Love Hijackers.” Onyango Wuod Omari, while still a sought-after session drummer in Nairobi, has moved into the role of lead vocalist, and can be heard on “Night Runners” and “Hera Ma Nono.” And while he didn’t make the trip this time, Onyango Jagwasi penned the lyrics and sang lead on album-opener “Jakolando,” a tribute to his brother that takes its title from a nickname shared by both. Hera Ma Nono also features some special guests. Austin-based Dennis Rathnaw played percussion on several tracks, and David Egan, a renowned songwriter from Lafayette, Lousiana, played the piano. Hera Ma Nono is Luo for “love in vain”, a theme that reverberates throughout the album. While on “I Miss You”, “Love Hijackers” and the title track, it refers to the love that exists between two people, this same theme applies in less traditional ways in other songs. “Jakolando” and “Brothers Gone Away” illustrate the cruelty of prematurely losing family members and friends. “Street Parade” praises the citizens and culture of New Orleans, who despite a passionate allegiance to their home are punished by its harsh ecology. In a more upbeat lyrical turn, “Obama” thanks the Senator and others who helped Extra Golden reunite to make this recording. Such songs of praise are benga custom, and in keeping with that custom, Obama’s wife and mother receive thanks too. Finally, “Night Runners” contemplates the jajuok, the creepy, nocturnal creatures of Luo folklore. Through it all, Hera Ma Nono shows that, while the defining element of Extra Golden may be its cross-cultural cooperation, styles like Rock and Benga are not quite as disparate as some may believe. Both arose from people cranking up electric guitars and singing melodic songs over propulsive rhythms in an attempt to entertain an audience. Though they may have to cross seas and petition governments just to play a few shows, the members of Extra Golden go about their work with a few simple goals in mind: to write songs that tell stories of life, love and loss; to praise people and places that are dear to their hearts; and, most of all, to create a sound that people of different backgrounds and generations can enjoy.
Mariska Baars records as Soccer Committee and sC is her first release on a label. At the wrong time the overall sound seems bleak, the voice uninspiring, the guitar playing drab; but at the right time the pace and subtlety of her austere style is as captivating as Low.
Baars hails from the Netherlands, where soccer (Association Football) remains defined by the great 1974 and 1978 Dutch national soccer teams, often referred to as the best to never win the World Cup. Their philosophy of Total Football, remains a blueprint for high-level individual technique in all positions allowing for greater tactical flexibility and creative expression throughout the team. Soccer Committee's confidence in her technique, attention to detail, and sleek economy is clear; she uses one note where others would place ten. A single pluck is often left to resound into the air, simultaneously demanding attention, and creating space for her words to stand out.
In Chinese legend, it is thought that if a carp can leap a particular waterfall it will become a dragon. However, opening track "Carps" seems more a consideration of the double-meaning of the word, as in "carping." The fish are notorious bottom-feeders, considered pests, muddying water and disturbing vegetation; like people who indulge in constant petty quibbling. Other than that there seems no reason why: "When carps swim, it's time to leave." Either way, far too few songs mention fish, so it's good to have another. "Here I Go Again" contains a few more notes and thus seem a few iotas faster than much of sC, as does "Flock" where her voice fades to a frustratingly inaudible whisper. The playful "Carriage" might have been lifted from Just Another Diamond Day. Agonizing slowness returns on "True," which is brief and excellent. She does not rule the world, but Soccer Committee's adherence to her philosophy is admirable.
One day earlier this year, No Age released five separate pieces of vinyl on five different labels. Thankfully, Weirdo Rippers collects some of the blissful and spiky highlights on one of my favorite records of 2007.
No Age are singing drummer Dean Spunt and guitarist Randy Randall. If they are just another band from LA then I am a bakewell tart. They have made an album to cherish. Starting with a couple of minutes of sirenic guitar-buzz and crashing waves, "Every Artist Needs A Tragedy" erupts into a cartoonish thrash and wail joyfully reminscent of Big In Japan's "Suicide A Go Go." This is obviously a track to start a gig and the jolt from hypnotic goosebump to full-on release makes me want to see this band and soon. "Boy Void" follows with a more metallic, clanging, rush of spunky power.
A slightly resigned feeling of nostalgia for 1977 crept over me, but No Age are not retreading a retro path. The looped feedback, stomping, and harmonic moans of "I Wanna Sleep" has a hypnotic quality oddly redolent of Matching Mole, but gravitating to an agitated crescendo that the 1973 radicals could only have attained by discovering amphetamines and/or skateboarding mid-song. "My Life's Alright Without You" seems to jumps back and forth between two songs like a distorted two-minute version of The Fiery Furnaces' entire Blueberry Boat album. Economy be praised.
In days gone by "Everybody's Down" might have been on thousands of jukeboxes. It is a simple burst of throbbing excitement, as lean as a cigarette. "Sunspots" follows, as sweet and trippy as the title suggests; lush waves seem propelled by an aching bass, if only it were five times as long. At this point, Weirdo Rippers goes beyond the contrast of alternating between styles and merges them. I hesitate to suggest that No Age have invented a new sub-genre; but if they haven't, they still might. The sublime "Loosen This Job" triumphs in blending garage aggression, stuttering static, and lush distortion, to create a sound that exceeds the sum of those parts. Sound can be a religious experience and here is an opportunity to worship, even as the line "Why are there so many records in my life" raises a smile. "Neck Escaper" starts with a looping sparkling guitar, punctuated by ticking, thudding drums, before crashing through the gears with a layer of charged fuzz and brilliant off-kilter vocals. Two minutes of listening I'll never regret.
From a crawling pace, eventually "Dead Plane" takes The Ramones to a more distorted, trancelike, and dumber place than ever before. On "Semi-Sorted" the duo use looped feedback, crunching guitars, cavernous thumps and cascading drumrolls to create an ecstatic garage/gamelan storm from the center of which Spunt calmly chants several lines, including "hope is just a word that you avoid". "Escarpement" reprises the sea that opened the album, but the waves and bleeps of sound suggest a craft going underwater on a new journey.
There is nothing in the DIY aesthetic which stipulates that energy must overwhelm all else. No Age take care to ensure that composition and melody are not sacrified. The balance between rawness and sophistication is just about perfect. The album art shows a building called The Smell, an all-ages grassroots space supporting underground art and music. Spunt and Randall have played and curated other shows there. Weirdo Rippers reminds me less of actual cigarette smoke, storage units, leaning against walls, ruining a favorite shirt, squinting to see through a bug-splattered windscreen, exhaustion, happiness, or what Don van Vliet has called "breaking up the catatonic state"; than more of paintings and photographs of those images. Again, the balance between the creation and destruction of hypnosis is adept. No Age are going to be offered a better studio, get new clothes, interviews, gushing reviews of their next record from critics who missed this one, offers of collaboration and all the rest. I hope this is not their only few minutes of mystery and raw brilliance.
Durtro Jnana issues a remastered, repackaged edition of this hard-to-find album by Current 93, widely acknowledged as one of their finest. Released after the breakthrough apocalyptic folk masterpiece Thunder Perfect Mind, but before the maximalist phantasmagoria of The Inmost Light trilogy, Of Ruine strikes a perfect balance between melody and pscyhedelic experimentation, between lyrical clarity and impenetrable esoterica.
According to David Keenan, author of England's Hidden Reverse, this album is Current 93's best, and listening to it again all these years later, it's hard to disagree. Partly explaining the album's success is its efficient length and linear, narrative trajectory. The liner notes instruct the listener that the album "is to be regarded as one piece," with the track separations representing chapters or sections. Compared to the sprawling double-album that preceded it, Of Ruine is refreshing in its slimness, each track bleeding into the next in a very organic way. Although each track has its own unique melody and atmosphere, the compositional palette across the album remains consistent and minimal: Cashmore's fingerpicked guitar and bass, filled out with Stapleton's psychedelic drones. Only the occasional sprikling of bells or a brief percussive introduction interrupts the album's striking simplicity. Tibet's vocals are occasional joined by Phoebe Cheshire, who opens the album by reading a peculiar quote from British cat artist Louis Wain, a surreal and poetic description of a kitten playing with a ball.
For this album, Tibet and Cashmore drew heavily upon medieval music, directly adapting or drawing inspiration from a suite of liturgical, consort and funeral pieces by composers such as Anthony Holborne, William Lawes and Calum Ruadh. This gives the album a courtliness and melodic coherence that stands out in Current 93's considerable oevre. The production on the album is also first-rate, highlighting each resonant pluck of the guitars, with a canny use of echo and reverb that punctuates the text.
The text itself is one of David Tibet's best, combining the familiar use of mystical Christian metaphors with personal autobiography, which is expanded to encompass England's history, specifically the death of absolute monarchy. For all of its historical and poetic aspirations however, Tibet does not run aground and become the victim of his own complexity and intelligence. To the contrary, the lyrics of this album are probably second only to All the Pretty Little Horses in terms of clarity and relatability. The loose narrative arc relates a tale of existential wandering, a fall into the abyss of melancholy and guilt, and finally a reclamation of innocence and a chance for salvation. This is perhaps a well-worn narrative in the annals of Christian confession, from St. Augustine all the way to Tammy Faye Baker, but this familiarity accounts for its universal nature.
This is probably the last great Current 93 album that desperately needed a reissue: for years the World Serpent edition of the LP and CD have been quite scarce, trading hands for inflated prices of eBay and GEMM. This affordable digipack CD edition on Durtro Jnana is allegedly remastered, although aside from a bit of a volume increase, I could not detect much of a change from the old CD and LP editions in my collection. One big change is the album art, and unfortunately, this is a change very much for the worse. Although the cover is a bit more attractive, the lyrics and liner notes are a real hack job. Some typographical errors were corrected, but I almost couldn't tell, because the booklet is all but unreadable. Instead of the white-on-royal-blue layout of the old booklet, the background has been replaced by what looks to be handwritten text on tea-stained parchment, over which the lyrics are printed in white font. This renders the lyrics extraordinarily difficult to decipher, and for music that is so driven by the strength of text, this is a tragic mistake.
Still, it is wonderful to have this album finally back in print. Even with the artwork, newer fans of Current 93 have ample reason to rejoice. This album not only fills in the missing link between its better-known bookends, but it is also a striking masterpiece of subtlety and restrained beauty.
With 2003's Leave Luck To Heaven album and Backstroke, its subsequent companion EP, Matthew Dear unveiled unexpected pop nuggets discovered amidst the gurgling, glitchy rhythms. Including his own effected vocals offered a welcoming doorway for curious novices to enter and pretentious purists, if they so chose, to leave. His best release yet, Asa Breed rewards those who opted to stay.
Rejecting the somewhat malleable rules of techno while simultaneously embracing its aesthetics, Dear makes a successful and, yes, natural shift from producer to songwriter with these 13 quirky compositions. Though arguably the most appropriate term for Asa Breed, synthpop too often implies plasticity: an inherent lack of substance or musical credibility. Countless new wave artists are derided by those who, given the opportunity, would have gleefully adored them during their heyday, much in the same way that traditional musicians are wont to defensively dismiss electronic musicians. While Dear could hardly be charged with emulating The Human League or Heaven 17, many of these songs owe a great deal to their moment in pop music history.
Yet, Dear rises above the teeming glut of accessible electronica noodlers by espousing eclecticism and a respect for what catches the ear. "Midnight Lovers" features impassioned singing over acoustic guitar strums and a plodding bare bones beat, while, conversely, opener "Fleece On Brain" blossoms with interweaving classic and progressive melodies and an unnaturally deep, near spoken vocal familiar to fans of the aforementioned releases. Those who have caught Dear's delightful DJ sets over the years will enjoy peppy danceable cuts like "Neighborhoods" and the Prince-like electrofunk of "Shy". "Death To Feelers" takes a simple plonked Artificial Intelligence period bell loop, lays it over some broken percussion, and creates something equally exotic and familiar.
Previously released on 10" vinyl, "Deserter" exudes coruscating clarity, the applied and amplified fusion of post-punk single and post-IDM anthem. While not quite as brooding as today's indie darlings, Dear's passive yet catchy delivery seems sincere seeping through the dissonant atmospheres, reverberating bleeps, and Stephen Morris-inspired drums. Without question, Asa Breed showcases an exceptional artist at a remarkable point in his career. Whether it is the springboard for greater success or the brink of catastrophe remains unknown.
While it is not quite a return to form for Rasputina, Oh Perilous World is a step back in the right direction. I know that the overly goth trappings of the group might not be everyone's cup of tea but I have always had a soft spot for Melora Creager's group. This sixth album sees Rasputina move further from the dark chamber music of their earlier releases. The songs are linked by a rough concept which makes the album feel, for better and for worse, like an eccentric Broadway musical.
Creager's songs are all based on the world's recent troubled history but transposing the events back to 1816, tying them in with a story of a Floridian queen who goes to war in a blimp. It is not the world’s greatest plot but it at least leads to some nice songs. "1816, The Year without a Summer" is a grand introduction to the album and some clunky lyrics aside, heralds a return to form for Rasputina. The album's strength and at times, also its weakness, is Creager's acting via singing. For most of the album it works well. "Child Soldier Rebellion" takes on the stories of Africa's child militia and adds in bizarre imagery of airships. Instead of cheapening the harrowing images of child soldiers, it reinforces the horror of the situation. Unfortunately Creager sometimes has too hard tried to work the concept into a song and it all goes a little Andrew Lloyd Webber such as on (the thankfully short) "Old Yellowcake Breaking News."
Although the cello is still the primary instrument employed by the group, Rasputina are moving further and further away from the Victorian chamber group that they started as. Mixing more styles and influences with each album has led to mixed results. Each of their most recent albums (and Oh Perilous World is no exception) has been patchy: cracks appearing especially where there is a more straightforward rock approach to the sound. One particular peeve I have with the music here is Jonathan TeBeest's metronomic drumming. While he provides a robust rhythmical base, he lacks expression. Luckily cellos are naturally very expressive and they counteract his somewhat clinical drumming.
Overall, Oh Perilous World is not the best album released by Rasputina but it is not terrible by any means. I accept there are only so many spooky goth albums you can do before imploding but I wonder how much steam there is left in Rasputina at this point in their career. Granted, a lot of the songs included here are fairly strong compared to those on their last album, Frustration Plantation, but the cracks that have appeared in the last few years have not been filled. The group flounders too often on these last couple of albums to make me have faith in them for much longer.
Multi-instrumentalist Mattias Gustavsson of Dungen enlists a few kindred spirits to help him create a joyous album celebrating the wonders of nature. Despite my initial wariness of its sunny outlook, this album turned out to be surprisingly well-rounded. It has stylistic changes, beautiful arrangements, and excellent singing in equal measure and yet still manages to take enough chances to keep it unpredictable.
Although they share an occasional stylistic signpost with Dungen, Life On Earth! is its own creature. The group's most Dungen-sounding track is the opener, which surprised me considering it's called "Life on Earth." I was taken aback by the opening flute solo, but as it builds in intensity and the anticipation grows, the rush of instruments that follows in its wake is that much more of a balm. The next song, "Sell Your Soul to Me," convinced me to do just that. Amazing harmonies, a relaxing tempo, and Eastern drones oscillating in the background combined for blissful effect, further aided by the brief but fiery freak-out that erupts in the middle.
Another big difference from Dungen is that Gustavsson sings in English. He has great control over his voice and is able to sing convincingly over a loud band or lead an acoustic song with equal captivation. Additionally, the treatment of vocals on this album respects and utilizes the voice as an instrument in a way that a lot of rock music doesn't anymore. A good example of this is "City on the Sea," with its tender main vocal overtaken by an increasing number of voices weaving through the mix like spirits.
Sometimes the focus can shift within a song quite drastically. "Life Turns Fast" begins as a blistering rocker that's eventually smothered by wordless singing. From here, the song collapses into a percussive maelstrom, which is then further deconstructed by effects. Even the mellow songs aren't lacking for complexity. While the harmonies at the beginning and end of "You Are There" may reveal the band's unabashed admiration for the Beatles' "Sun King," the starkly epic excursion in its middle indicates a celestial body altogether alien. And on the otherwise light and fragile "Barefoot on Tiptoe," quiet microtonal violins add subtle abrasion to lend the track a textural integrity found lacking in some of the dopier examples of optimistic music in recent history.
The instruments and arrangements are constantly evolving all over this album, yet they're blended with such a master touch that the shifts feel natural rather than jarring, even when the group interjects noisy electronic instruments. The production detail makes these gorgeous songs something special. The album is a fun ride the whole way through: a harmless but satisfying way to derange the senses.
A few months back, while reviewing Pole's recent album, I commented that ~scape's relevance was diminishing in tandem with the tragic creative downfall of its once-trailblazing founder. However, perhaps I spoke a bit prematurely, given the latest unique and luxurious sounds from this dubsonic bulwark for the otherwise sagging imprint.
Depending on who you ask, Montreal's Scott Monteith represents either the tail end of ~scape's mind-altering first wave or the hopeful beginning of its much less memorable second.Stefan Betke's label first hit the scene when dub techno rode a feverish high, producing near-classic releases from artists like Kit Clayton and Jan Jelinek, but it later floundered with motley hit-or-miss offerings that departed, at times dramatically, from its archetypal style.Deadbeat, however, maintained a certain consistency, long after most of his labelmates grew weary of such post-Jamaican trappings.Grounded in dub's naturally spacious environs, Journeyman's Annual takes his sound to exciting places both old and new.
Opener "Lost Luggage" commences with swirling atmospheres, echoing snares, and sparse instrumentation that seems just a few inches from dubstep, until a gorgeous lead melody appears that leaves little doubt that Monteith has been listening to artists like Kode9 and Loefah.Similarly, deep and groovy "Melbourne Round Midnight" eases through with a percussive one-drop plonk and evolving currents of intricate sound design.While an entire album in this chilled digi-dub vein would undoubtedly be well received, the rest of the disc shows the artist instead making progressive strides with dancehall.He recruits Jah Cutta from his native Canada for the rowdy and raunchy "Gimme A Little Slack," a single-worthy cut that would sound killer over a proper soundsystem.With the sound clash in mind, Monteith versions the track for "Gimme A Little Dub," fleshing out the original riddim a bit with some signature bleeps and glitchy clicks.Recalling Adrian Sherwood's excellent 2006 solo album, "Where Has My Love Gone" and "Turbulence" build basic yet infectious techno structures around its island rhythm, generating a pleasant hybrid sound.
Hardly a purist, Monteith eagerly and methodically blends styles without hesitation."Refund Me" has the grimey Bubbz spitting verses a over a crunchy Jamaican loop of overcooked electronics while Moral Undulations contributes his anti-capitalist spoken word poetry to the minimal yet firm "Deep In Country."The album finishes strong with a bonus remix of the ever-eclectic Saul Williams' "Black Stacey," remodeling the opinionated rapper's confessional original into an offbeat yet oddly tenacious composition and verifying the cogency of Deadbeat as a viable and valuable producer.
One of the original Factory bands returns after a 21 year silence with a new album that captures the classic post-punk feel with modern day trappings. While some elements of nostalgia from that "classic" age creeps in, it still feels fresh, current, and fascinating.
Part-Primitv manages to up where the previous material left off, which is no small feat given the long break the band had. S25 aren’t afraid to stick with what worked for them in the past, but do not come across as being stuck in history or unwilling to try new things. The angular, yet catchy, post punk is here ("Gene," "Cry") as are electronic based tracks ("Roma," "Power Base"). Some of the nostalgia isn't quite as welcome, however. “Dream” (one of two tracks featuring vocals from late S25 member Jenny Cassidy) is almost TOO deeply rooted in its techno pulse beat and club synthesizers, could be about any nameless late '80s/early '90s techno pop band. It's a good track, but it does sort of stick out as a time capsule of an age many would like to forget.
Other tracks take the vintage trappings and recontextualize them into a completely different beast, such as the New Edition R&B synths and hip-hop drum machines that are the building blocks to the punk pop of "Better Make Your Mind Up." Some parallels can also be drawn to early contemporaries The Fall, specifically the garage drums and crunchy bass-centric tracks like "Can't Let Go" and "Nick." Sometimes the influences are almost disturbingly blatant, like the bass line lifted explicitly from Joy Division's "Transmission" for "Gene" (though in this case meshed with a rockabilly guitar riff that makes us dance differently than "to the radio"). The more conventional pop tracks, like the analog synths and acid house tinges of "Poppy Fields" show what New Order should have done after Technique—all day-glow neon and Ibiza beach parties—while the electronic strings, acoustic guitar, and '60’s pop vocals of "She's So Pretty" are pure foot tapping saccharine.
Maybe due to the fact that the core members remained the same from the early days of the band, Section 25 were able to rise above the unenviable task of writing, recording and releasing material after 21 years apart. Part-Primitiv is hopefully not just a reunion album, but the first installment of a rejuvenated career.