This dubwise sideproject from the established Ninja Tunesmith seditiously defects from the singer-songwriter's last album under his primary Fink moniker. Yet unlike the icy-hot textures crafted by current kings of the sound Rod Modell and Stephen Hitchell, Fin Greenall's approach curves away from deep space revisionism while skewing more towards Rhythm & Sound's rootsy reverence.
We made it to 700 episodes. While it's not a special episode per se—commemorating this milestone—you can pretty much assume that every episode is special. This one features Mark Spybey & Graham Lewis, Brian Gibson, Sote, Scanner and Neil Leonard, Susumu Yokota, Eleven Pond, Frédéric D. Oberland / Grégory Dargent / Tony Elieh / Wassim Halal, Yellow Swans, Dental waste in Saigon photo by Krisztian. Get involved: subscribe, review, rate, share with your friends, send images!
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On her fourth full-length album, Marissa Nadler takes a conscious step away from the folk purity of her earlier work, filling out her sound with full band arrangements featuring drums, bass guitar, and keyboards. The gamble pays off handsomely, and the indie-folk pinup girl and mistress of the murder ballad delivers one of her finest albums yet.
Austin, Texas's Balmorhea have garnered a quite a bit of well-deserved praise for their earlier work (Pitchfork managed to inexplicably compare their previous album to both Keith Jarrett and Arvo Part), but that did not deter them from making some very substantial changes to their sound. All Is Wild, All Is Silent is the folky chamber music sextet's first recording with a drummer and stand-up bassist. Notably, it sounds absolutely nothing like Arvo Part. I'm afraid something has gone dreadfully wrong somewhere.
While most of the recent releases from Tietchens have been Die Stadt’s archival releases and a few collaborations, this is his first full vinyl album in quite some time. As expected, it is a carefully nuanced series of pieces that fully reflects his clinical, yet inviting and engaging, take on abstract composition and sound art.
While she has already built up an impressive discography in collaborations with other artists, this is her first solo CD. This wouldn't be apparent from listening, because there is a great deal of maturity in the composition and structure of the two tracks that make up this album. Alternatingly chaotic and rhythmic, there is a lot going on in this complex disc.
While the 2009 musical landscape is teeming with C86 and new wave revivalists, none do it quite as well as The Pains Of Being Pure At Heart. Although they have been compared to a staggering number of disparate hipster touchstones (I personally think they sound most like a ballsier Field Mice), their youthful exuberance and melodic sense gives them a freshness that often transcends and surpasses their influences.
Industrial-damaged dirge-metalers Gnaw promise to be "as ugly as sound can get" and they inarguably deliver on that. This Face is a visceral, bilious, crawling, throat-shredding mangled nightmare of an album. Their singular devotion to being unpleasant deserves respect and admiration.
This album combines two pieces from either end of Ferrari’s catalogue. A piece from his classic late 1960s period is paired with a more modern composition from 2000. Both pieces show how there is no distinct sound to be associated with the composer and how he did his best to innovate consistently during his career. The album has been lovingly put together and is one of the better posthumous releases that have seen the light of day.
This documentary is a fascinating glimpse into the life, works and working methods of the late, great composer. The footage is all taken from the period prior to Ferrari’s death but despite a lack of archival video footage, this film is full of fantastic insights and sounds from all across his career. Due to Ferrari being such a fun subject, the film is as entertaining as it is spellbinding.
