Body and voice, the two oldest iinstruments known to humankind, are the only ones featured on this album. The group, which is all female by the way, uses rhythmic call and response chants to give archaic stylings to contemporary performance art. The concept in of itself is great, but the Boys' rejection of songwriting makes for a repetitious listening.
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Believe it or not, the title only gives a taste of the irony put to tape here. Over the course of 19 songs, Lazy Magnet rummages though almost every form of popular music, sometimes covering several genres in space of a few seconds. Band leader Jeremy Harris and company have the musical chops to pull off such a scatterbrained project, but the silly lyrics and non-stop pastiche get to be wearing.
Released the same year as Nature Unveiled, Current 93's second full-length record is more uneven than its predecessor and less coherent. Time has been kind to Current 93's debut, but Dogs Blood Rising feels a little like Tibet's leftover thoughts and ideas forced onto record. It nonetheless boasts of several outstanding moments and marks Tibet's first obvious movement away from the trappings of the so-called industrial culture.
The immediate aftermath of Jane's Addiction's disbanding yielded an even split of its membership into two unusual projects. Flamboyant frontman Perry Farrell and drummer Stephen Perkins formed Porno For Pyros, darker and even more psychedelic than their former band. With far less popular success, bassist Eric Avery and guitarist Dave Navarro started Deconstruction, a one-time project with the former taking on vocal responsibilities.
This slice of progressive folk music from the summer of 1970 is a charming recording by the duo of David McNiven and Angie Rew augmented by a rhythm section of Danny Thompson and Terry Cox, on loan from Pentangle. What's so funny about youthful possibility and childhood memory?
The tenth studio album by Jack Dangers' main musical outlet takes a maximalist approach, combining apocalyptic dubstep and industrial-strength breakbeats with the assimilative spirit of a beat hacker. In the process, he creates an album true to the MBM legacy: one foot in cyber-age cross-genre multimedia assemblage, and one foot firmly planted in the timeless psychedelic ocean of sound.
Having made themselves a household name with their drone collaboration with Sunn O)))'s Altar album, as well as their "breakthrough" (ugh) album Pink, the overly prolific trio have set the bar high with this new full length album. They manage to keep the quality high, though they still don't stray far from the template, and are perhaps heading more and more into conventionality.
The Public Eyesore label has been extremely prolific in recent years, bringing out some of the most abstract and out of left field works from artists that are either extremely obscure or simply getting their start in the world of sound art. Bob Marsh's disc therefore definitely fits in the raison d'etre of the label, as it is almost impossible to classify, yet has the sense of experimentation and even some sonic similarities to some of the most abstract of the early industrialists.
