New York’s No Wave scene of the late ‘70s was a brief but visionary moment in music history centering around bands whose members were frequently non-musicians but came from a variety of artistic backgrounds. While this documentary is by no means a definitive statement, it certainly sheds some light on what the movement was all about and what it meant to many of those involved, and how their pioneering spirit may or may not live on in the music of the generations who followed.
Hotter than July. This week's episode has plenty of fresh new music by Marie Davidson, Kim Gordon, Mabe Fratti, Guided By Voices, Holy Tongue meets Shackleton, Softcult, Terence Fixmer, Alan Licht, pigbaby, and Eiko Ishibashi, plus some vault goodies from Bombay S Jayashri and Pete Namlook & Richie Hawtin. Solstice moon in West Midlands, UK photo by James. Get involved: subscribe, review, rate, share with your friends, send images!
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Although as per usual, the performance is short (only around 30 minutes) this is a powerful and exciting album. Slowly building up like a stalker moving through the bushes before ending in a bloody mess, this is Wolf Eyes at the top of their game. Braxton fits in perfectly, adding an extra dimension to the noise that lifts Black Vomit from being just another Wolf Eyes live CD to an essential release.
She was a tightrope walker, a writer, performed with Coum, was billed next to This Heat, and appeared in Derek Jarman's film Jubilee before becoming a musician of any kind, and yet none of these facts could prepare anyone for the quirky and sultry music on this, her second album. She was called unmusical, considered unprofessional, and never once sat herself along side the French royalty to which she was compared, but most of all she was blatantly playful and 22 years removed she's still as intriguing and confusing as she must've been then.
Black metal has always been associated with archaic or dying idealism, murder, violence, and generally over-the-top theatrics, but Urgehal takes it all to a new, disgusting level. Their artwork, unlike previous releases, isn't immediately repulsive, but just a glance at the lyrics will reveal some antisocial, perhaps misanthropic Norwegians in desperate need of a girlfriend or reading material that has nothing to do with either Satan or the Marquis de Sade.
Tom Jenkinson returns as Squarepusher with a cheery and chirpy collection of songs. While the madness that runs through his music is still present, it has taken a backseat to more sedate musicianship. Most of the songs rely more on melody with the chaotic drum rushes and squawks of noise used to punctuate the pieces. While I wouldn’t call it commercial, it does sound like it could be a chance for Jenkinson to emerge a little more into the mainstream.
The music here is a very hip combination of drones and folk although it doesn’t sound as generic as I feared. There are times when it sounds run-of-the-mill but equally there are times when it’s out there on its own. Nirmala’s talent is evident but, as good as it is, something about his music doesn’t sit right with me.
There is an infinite amount of combinations of notes, keys, instrumentation and rhythms to avail of and some bands insist and going down the path well trodden. The Clientele not only go down the path well trodden but pace back and forth on its most worn out section. Strange Geometry is a disappointingly average album.
Like last year’s Mirages, Harmony is further refinement of the charred, static airscape that’s been in steady unveiling since Hecker’s first under his own name.
This record is a resounding success. From the first note, the sound is cavernous, and entombed beneath some of the most mournful orchestration imaginable are musical secrets and recycled sonic treasure.
As a household name for anyone who knows his or her electronic music, it’s a surprise that its taken this long for Andrew Weatherall’s to drop his first solo record. Aside from a few remixes and mix records, he’s always been a team player in projects like Sabres of Paradise and Two Lone Swordsmen. Always seen as more of an ideas man than a knob twiddler, this five track EP reveals again his skill for crossing the genre gaps and keeping his vision as eclectic as ever, but this time on his own.
