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Two new shows just for you. We have squeezed out two extended release episodes for this weekend to get you through this week. They contain mostly new songs but there's also new issues from the vaults. The first show features music from Rider/Horse, Mint Field, Robert Aiki Aubrey Lowe, Anastasia Coope, ISAN, Stone Music, La Securite, Bark Psychosis, Jon Rose, Master Wilburn Burchette, Umberto, Wand, Tim Koh, Sun An, and Memory Drawings. The second episode has music by Laibach, Melt-Banana, Chuck Johnson, X, K. Yoshimatsu, Dorothy Carter, Pavel Milyakov, Violence Gratuite, Mark Templeton, Dummy, Endon, body / negative, Midwife, Alberto Boccardi, Divine. Cow in Maui from Veronika in Vienna. Get involved: subscribe, review, rate, share with your friends, send images! |
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Sound are the duo of Eric Lumbleau (of Vas Deferens Organization) and Joel Zoch. Their first release for Beta-Lactam Ring is the Screaming Zenith double LP beautifully packaged in a deluxe gatefold sleeve adorned with grotesquely distorted pornography. This is the first clue of the twisted sonic perversions waiting inside. The second clue is the dadaist song titles, full of goofy alliteration and lysergic wordplay. Sound's sound is a quivering gelatin of sinister whimsy: Aphex-style beat sequencing rubs shoulders with Numan-esque keyboards, fuzzy Western guitars, creepy voice loops and sudden, terrifying plunges into ring-modulated, echo-chambered oblivion.
The essence of 'doing it yourself' is to avoid any hints of compromise, watering down, or loss of vision so that you may release a work that is totally and completely pure. It's a personal expression that is something to be proud of. Unfortunately, it seems that along the road to self-actualization some people eschew both quality control and thoughtful planning.
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"Oh beloved woman of liberty, come to me, burn away all my impurity," beseeches that preacher of individuality Jaz Coleman on the primal invocation of the awesome new Killing Joke album. No big surprise that he didn't grace Ladyfest Manchester with his presence, busy as he is hailing the Fall of the US Empire, but a lot of women of liberty did. There was no death but at least one resurrection at the show. The organisers, including Heena the librarian, Jo (lynchpin of the Blame the Parents collective) and Lee (of Help Yourself Manchester) did a flawless job of creating an impressive new alternative environment. The only shame was that the carnival could last for just four days, and I only caught the second half.
Upon first listen, The Civil War sounds completely unlike anything I've ever heard from Matmos. Initially, it is quite a struggle to place this new album in context with their previous work, which is characterized by minutely detailed electronica full of samples constructed from non-musical objects and field recordings. In stark contrast, most of the tracks on The Civil War are non-conceptual, traditionally structured songs with easily digestible melodies and chord progressions. Many of the medieval, folk and symphonic instruments on this album reach the listener untouched, without the usual precise surgical edits and digital processing that Drew Daniel and MC Schmidt have built their career on. This will be quite a shock for those who have become acquainted with Matmos through albums such as Quasi Objects and A Chance to Cut is a Chance to Cure. Even The West, though it was purportedly an exploration of country and blues, still shared the same fascination with sample-derived audio minutiae. So, it's fair to say that The Civil War is quite a departure. Luckily, the gamble pays off.
I believe The Civil War is a singularly original record, effortlessly merging the medievalist whimsy of late-60's British folk revivalism with the collective unconscious of America's folk music past, all glued together with Matmos' incredible ear for sonic detail. On The Civil War, Matmos dares to allow simple melodies and crisply reproduced instruments to assert themselves as the primary element of the music. For the most part, Matmos have masked any obvious laptop editing and sequencing, preferring instead to let the digital processing underscore and accentuate the songs, rather than deconstruct them. Drew Daniel and MC Schmidt have spoken about the influence of The Incredible String Band on the new album. With classic albums like The Hangman's Beautiful Daughter and Wee Tam, the Incredibles created a new musical lexicon with their unorthodox, free-form combinations of medieval, Celtic, American, Oriental and Indian folk traditions, which were blended with amazing fluidity and imbued with a pastoral, psychedelic mysticism all its own. With The Civil War, Matmos are creating an ISB-like amalgam for the post-techno generation.
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