Podcast Episodes 717-720 are live!
After two weekends away, the backlog has become immense, so we present a whopping FOUR new episodes for the spooky season!
Episode 717 features Medicine, Fennesz, Papa M, Earthen Sea, Nero, memotone, Karate, ØKSE, Otis Gayle, more eaze, Jon Mueller, and Lauren Auder + Wendy & Lisa.
Episode 718 has The Legendary Pink Dots, Throbbing Gristle, Von Spar / Eiko Ishibashi / Joe Talia / Tatsuhisa Yamamoto, Ladytron, Cate Brooks, Bill Callahan, Jill Fraser, Angelo Harmsworth, Laibach, and Mike Cooper.
Episode 719 music by Angel Bat Dawid, Philip Jeck, A.M. Blue, KMRU, Songs: Ohia, Craven Faults, tashi dorji, Black Rain, The Ghostwriters, Windy & Carl.
Episode 720 brings you tunes from Lewis Spybey, Jules Reidy, Mogwai, Surya Botofasina, Patrick Cowley, Anthony Moore, Innocence Mission, Matt Elliott, Rodan, and Sorrow.
Photo of a Halloween scene in Ogunquit by DJ Jon.
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This is the latest in a series of CDs presenting one live performance from each stage of the Fall's more-than-25-years-long career. Most of the tunes on "Live in Zabreb" come from the "Extricate" album of 1990, a point in the Fall's life when they were past the angular, percussive post-punk scream of their classic albums (such as "Hex Enduction Hour") and were moving ever-closer to repetitive techno-rock.
What a great influence Weezer have had on the youth music scene. Their fun-sounding geek rock was almost revolutionary to most kids (who unfortunately had heard nothing like Weezer before) when "Undone: The Sweater Song" hit the radio and television airwaves. And now the kids influenced by Weezer and the like are starting to record music.
The first track on Tom Jenkinson's new album, 'Go Plastic' seems to dojust that. "My Red Hot Car" begins like a soft-core porn featuringraver-style actors.The stars would spend a lot of time fucking with the compostition ofnaked break beats, use a lot of pitch bending for flair, and maybe evenshow blatant disregard for melodic structure that pleases one's ears oreven that which exists at all.This disc is rife with thin beats and whack bass sounds (that's rightacid basslines reprasent in 2001!! yea-eah. no). When listening, watchout for unfulfilling "break" sections and boring melodies that soundlike the portamento-style hijinx of DR. Dre a la 'The Chronic', minusthe "it being good" part. A few tracks on the CD are decent, like thethird track, "Go! Spastic". Tommy gets into a really nice breakbeatmashup but you may end up turned off as I was by the acid bass thatbegins the track and the thin, icky breakdown at around the two minutemark. I'd like to dance to this track at its finest moments but aroundfour mnutes, there is a gross reverb used and it detracts from mereally feelin the track as a whole. 
Don't let the sticker on the front steer you away, just because thisdisc might be 'outtakes' from their last album's sessions, in no wayshould it -not- be considered a bonafide Ida album. In fact I'm goingto step out on a limb and say I even like this better than 'Will YouFind Me' as it almost speaks more direct and honest, with lesspost-production coloring and more in-studio risks taken. Low on the popsongs and high on the personal stories, the opener "Let's Go Walking",along with "Arrowheads" and "So Worn Out" cut right to the chase whilethe delicate beauty of "So Long" and "Ocean of Glass" are nothing lessthan heart-melting. Whether it's the girls or the guys taking the leadvocal tracks, the pitch perfect melodies and harmonies are alwaysstrong. Typical Ida, right? But then there's instrumentalimprovisational gems like "Ignatia Amara" and "The Braille Night" thatremind us Ida aren't just some of the better singers/songwritersaround, but are also quite diverse player/composers. My fave trackremains "Blizzard of '78," for both the power and drive but thesentimental historical value for a Bostonian like myself. Strangelyenough the lyrical content of that track (listed as "Blizzard of '78")makes more sense to be named "The Braille Night" (listed as track 7, ableak instrumental track which would be more suggestive of the blizzardthat seized the nort east 23 years ago). Either way it's a mighty fineoffering, which, as an 'outtake record' flows together better than manyalbum releases by others. Now let's get that f'ing Insound tour supportCD back into print.
Sonna are addictive. Extremely so. After hearing the first track onthis release, "The Opener," I immediately had to hear it again. Andagain. Five times later, I hadn't even heard the second track and Iwanted more of the first. Bizarre. I'd never heard Sonna up until now,and I can say if this album, their debut full-length, is highlyanticipated, I can see why. This is music you put on when you have workto get done that absolutely can't hold off on it any longer. In thesesongs you hear both the yin and yang simultaneously, so while workingyou are constantly stiumlated to finish your goal because it isnecessary, all the while thinking about the doom of failure. It's afascinating listen. A friend once remarked to me, "How can you listento all of these indie-rock instrumental bands. They all sound the sameto me." Recently at a party I hosted, I played Sonna in my room and heheard them, immediately remarking how different they sounded from allof the other bands I listen to. This is a testament not only to howunique Sonna are, but how easily one can grow to love them. Variedtempos, instrumentation, and levels keep the listener guessing, but notenough to think it a different band entirely. Tracks are on the longerside, but not too long that they bore the listener. I found the buildon the second track, "Low and to the Side," to be one of my favoritemoments on the record, as the cymbal crashes get louder and louder andlonger and longer. Then they stop suddenly as the guitars play the lastfew notes of the song. And what little vocals are present complementthe music wonderfully, adding to the charm of the record. The pressrelease says this band will certainly grab fans of Tortoise, Papa M,Codeine, and Yo La Tengo. I couldn't agree more. I am a fan of allthose bands, and now I'm a fan of Sonna. Worth a listen or twelve.
For those who first heard Retina on Hefty's 'Immediate Action' seriesand fell in love like I, a full-length is now readily available. Whilethere's a sea of electronic piranhas trying to out-chomp each other interms of experimentalism, in turn stretching technology beyond alistenable threshold, a certain amount of composition and structure hasbecome compromised. Thankfully labels like Chicago-based Hefty havebeen focusing on releasing musicians who aren't necessarily pushing theboundaries, but doing an awesome job at the music they're doing.Retina's full-lengther pulls in some supersonic high pitched elementsand swirls them up in an effective dub-influenced mix combining awonderful serving of low-end bass, and attractive head-bobbing beats.Picture 90s-era Richard H. Kirk that doesn't bore you for 8 minuteseach song or stretch far longer than an hour. Not coming clear yet? Howabout a true intelligent dance music act who at loud volumes causesuncontrollable hip and brain gyrations? Yeah, it's pretty damned cool.
6 yrs ago Peter Adarkwah and Ben Jolly graduated from their legendary,free-form turntable exhibitions in London (known to include a mixtureof brazilian grooves, hip-hop, funk, disco, techno and the like) toembark on a progressive mission. Their label, "Barely Breaking Even",has laced us with the rare jems of those genres and more since. Thelatest BBE releases, housed 'neath the "Beat Generation" umbrella, areno exception. Hold tight as I mention Marley Marl, Jazzy Jeff, DJSpinna, and my personal favorite, 88 keys in the same sentence. Nowimagine that same list to include King Britt, Pete Rock, and Jay Dee;then give them the freedom to do whatever they want. Sound sick? Well,the first two presents from this series are just that. Jay Dee's'Welcome to Detroit' and Pete Rock's 'Petestrumentals' offer, rather,pave us a new direction in hip-hop, while raising the bar in productionto a stellar level.
Pete Rock can be credited for creating the smooth, jazzy, downtempofeel, that others like Jay Dee are perfecting today. 'Petestrumentals'is like an educational pamphlet, detailing the proper way to constructan emcee canvas. It refrains from becoming a cluttered, "over-the-top"production effort, and leaves room for vocal compliments. For instance,'The Boss' sultley shows his fine sample manipulation by initiallyusing a simple piano loop for the songs first few bars. It then beginsplaying backwards, all in timely fashion. 'Play Dis Only at Night'takes the very familiar bass line in 'Check the Rhime' and almost makesyou forget that someone else tried to use it previously. 
Those who have followed Spring Heel Jack's evolution from day one through last year's collaboration with Low and the Disappeared LP think they might have been prepared for what was next, right? Perhaps. Last year the Blue Series from Thirsty Ear surfaced with The Matthew Shipp Quartet's album, 'Pastoral Composure', this year Shipp and an extended family have been paired up with the former early drum 'n bass champions, Spring Heel Jack for the continuum of the Blue Series.
Nick Willscher is a New York City-based sound sculptor whose ambitiousCD-R trilogy "Solutiore of Stareau" probably slipped beneath your radarlast year. Well, don't worry, it did mine too. Now disc one isavailable as the debut release from Infraction Records, the new inhouse imprint of music retailer Riouxs Records, following up on thereissue of disc three as "Willscher" by Apartment B Records. This 70minute continuous piece (indexed at the noticeable transitions everyfive minutes) is a fairly minimal, malleable mass of low volume sound.Tones and soft fuzz abruptly flicker on/off to give a cut-up pulse tothe otherwise lukewarm haze. Unidentifiable fragments surface and sinkhelping to create an otherworldly effect. Meanwhile, a beautiful,recurring drone signature slowly swan dives in and out of a handful oftracks. But perhaps the most beautiful moment of all is thedeconstruction that takes place within the final track, the previoushour plus gently fading from short-term memory in crackles and signalnoise. Altogether it makes me think of what a Vladislav Delay trackre-processed by Kurt Ralske might sound like: soundscape bliss, though,not quite as breathtakingly so as Delay's "Anima". Regardless, keep anear out for this guy (as well as Infraction) 'cause he's definitelyonto something. Zammuto has since appeared on numerous compilations andthe drastically different "Full Martyr Status" remix EP is availablefor download from notype.com. 
Bullshit bullshit BULLSHIT!!! Hey Mego scam artists, I'm calling yourbluff. After falling for the Michiko Kusaki scam pulled by the cohortsover at Angelika Koehlermann, I don't believe the story this time. Irefuse to think there's a cute Japanese drunk model making pretty musiclike this, suddenly discovered by Peter Rehberg of Mego at an artexhibit in Tokyo. Without a doubt, this is yet another balding Austrianguy who's as sick of making nerdy faceless, structureless glitch-boyambient laptop fuckery as I'm sick of hearing it. Don't get me wrong,Tujiko Noriko, or whoever is behind this, has a strong starting album,with shiny melodies, matched by undeniably cute vocals and/or distortedbreakbeats depending on which track. It's wonderful and captivating,and indeed quite literally a breath of fresh air, with orchestralsamples amidst the piano sounds on the Japanese-titled fifth track. Anorgan melody, "Tokyo" opens the second half of the disc with a songwhich strangely reminds me of a Mark Eitzel b-side from the "TakeCourage" 7"! From there, the sound gets somewhat tired, making me thinkthe release of this was rather premature, pulling out all the strongcards a bit too soon. Noriko's voice falters out of tune and almostbecomes unlistenable on "Girl Meets Boy" and struggles to recover on"Differencia." The rest of the disc never fully captures the energyfrom the first half of the disc but still ends quite gracefully. Boyswith yellow fever would certainly fall head over heels for a disc likethis.
Veritable one-man-band J.G. Thirlwell returns with his first fulllength as Foetus proper since 1995's somewhat misguided major labeleffort "Gash". Holed up in his well-stocked NYC-based studio, theself-proclaimed 'Master of Disaster' learns and uses whatever he needsto forge his unique brand of industrial-jazz-swing-big-band-rock. With"Flow" he hasn't reinvented the wheel but he has built a better mousetrap. The over-saturation of heavy guitar that plagued "Gash" has beentastefully restricted to let the underbelly of sound flourish. Poundingrhythms — often constructed of jackhammers, shattered glass and metalon metal — lay a solid foundation for dense arrangements of horns,strings, bass, guitars, synths, samples and the one and only caterwaul.It could very easily be a giant mess, and in a way it is, butgloriously so as Thirlwell's composition skills are the glue that holdsit all together. And lyrically he's as clever as ever with numerous andhumorous insights, clich³s, puns, and pop culture references. "QuickFix" and "The Need Machine" are fun to sing along with as they knockyou down. "Cirrhosis of the Heart" draws a parallel between love andalcoholism over a lighthearted cocktail jazz jaunt. "Mandelay" and theepic, near 13 minute "Kreibabe" juxtapose quiet and simply brutalpassages. One of my favorite lines from the latter - "I wanna whisk youaway with me / I'll be the whisker / you be the whiskey". "Suspect" isa film noir joyride while "Heuldoch 7B" is pure big band bombast."Someone Who Cares" is foetal pop, featuring lovely horn and guitarsolos and female backing vocals. Yep, "Flow" is quintessential, classicFoetus. Other projects in the can: Manorexia "Volvox Turbo" (availablenow at the shows or foetus.org) and the companion album "Blow"(September 16) with remixes by Panacea, Amon Tobin, DJ Food, FranzTreichler of The Young Gods, Kid 606, Jay Wasco, PanSonic, CharlieClouser, Phylr, Ursula 1000, Kidney Thieves/Sean Beavan and Thirlwellhimself. Foetus are currently on tour in the U.S. through July.
