North East Indie
CerberusShoal have a long history of interesting musical choices, and theirlatest split-EP series is no exception. Available in limited editioncopies with varied types of original artwork on different media, theseries features the Shoal working with artists they know personallyand/or greatly respect with no set format. There are no pre-arrangedrules, only that both collaborators agree to a loose theme of somesort, or a method to the madness. In the case of this initial offeringin the series, the Düne and the Shoal each recorded original songs withlittle vinettes in between. The songs are acoustic instrument-based,and are all about love or personal relationships in various forms. Itsounds almost like a combination doomed for failure, but the endproduct will surprise fans of both bands. Herman Düne's material issimple and quick with pleasing melodies and energy, with themes thatstart light and energetic and end dark and labored. "I Want a Woman"features a brilliant spoken-word interlude about a planned date, andlamented harmony vocals about the plight of the lonely man. "If SomeoneLoves You" is musically playful, but the theme is a little more urgentand depressed with its chorus: "If someone loves you, it sure is notme." They definitely prepare you for the tone of Cerberus Shoal on"That Woman is a Murderess," where sparse violin and percussion meetwith the haunting vocal of David-Ivar Herman Düne. A strange vinettefollows, and the Shoal saunter in with "Sweetie," far from the purelyloving song that its title might suggest. Middle Easterninstrumentation and rhythms meet with a grand choral vocal performance.It's spine-tingling, and when the lyrics do eventually reveal theirquiet horror, it's no real surprise, but it still raises hairs. Theirother proper song, "Bouzouki," has the same general vocal performance,with a greater concentration on harmony, and the pace of "Hava Nagila."You can see, especially at the end, how both bands incorporatedelements of the other, making sounds that stir and slide as well asthey jab and jump. Collaborations like this are rare, and I certainlyhope these groups find time to work together proper in a studio. I canhardly wait to hear what they'd conjure up then.
CerberusShoal have a long history of interesting musical choices, and theirlatest split-EP series is no exception. Available in limited editioncopies with varied types of original artwork on different media, theseries features the Shoal working with artists they know personallyand/or greatly respect with no set format. There are no pre-arrangedrules, only that both collaborators agree to a loose theme of somesort, or a method to the madness. In the case of this initial offeringin the series, the Düne and the Shoal each recorded original songs withlittle vinettes in between. The songs are acoustic instrument-based,and are all about love or personal relationships in various forms. Itsounds almost like a combination doomed for failure, but the endproduct will surprise fans of both bands. Herman Düne's material issimple and quick with pleasing melodies and energy, with themes thatstart light and energetic and end dark and labored. "I Want a Woman"features a brilliant spoken-word interlude about a planned date, andlamented harmony vocals about the plight of the lonely man. "If SomeoneLoves You" is musically playful, but the theme is a little more urgentand depressed with its chorus: "If someone loves you, it sure is notme." They definitely prepare you for the tone of Cerberus Shoal on"That Woman is a Murderess," where sparse violin and percussion meetwith the haunting vocal of David-Ivar Herman Düne. A strange vinettefollows, and the Shoal saunter in with "Sweetie," far from the purelyloving song that its title might suggest. Middle Easterninstrumentation and rhythms meet with a grand choral vocal performance.It's spine-tingling, and when the lyrics do eventually reveal theirquiet horror, it's no real surprise, but it still raises hairs. Theirother proper song, "Bouzouki," has the same general vocal performance,with a greater concentration on harmony, and the pace of "Hava Nagila."You can see, especially at the end, how both bands incorporatedelements of the other, making sounds that stir and slide as well asthey jab and jump. Collaborations like this are rare, and I certainlyhope these groups find time to work together proper in a studio. I canhardly wait to hear what they'd conjure up then.- Herman Düne - I Want a Woman
- Herman Düne - That Woman is a Murderess
- Cerberus Shoal - Sweetie
- Cerberus Shoal - Bouzouki
This is an old record in more ways than one. Released in 2001 inNorway, it was recently picked up and released by Ipecac this February.The album is a mix of old-timey soul, rhythm & blues and doo-woptimbres and samples pasted together very well with electronics and liveinstrumentation. Kaada is essentially Eric Kaada and four powerbooks,augmented with live drums and bass and a mixture of sampled and livevocals in the aforementioned doo-wop and soul vein. I really liked thefact that the songs aren't stereotypically "electronic"—no fast cuts ofnoise for no good reason except to be "glitchy", no weird electronicnoises for the sake of weird electronic noises. Throughout the album, Ifound myself humming along and enjoying the songs because they're funand poppy enough to do that. Between the thunderous rolling drums of"Black California" and the hypnotic second single, "No You Don't" withit's sway between sad and creepy. Speaking of "No You Don't", check outthe video, over at 
Many US fans of SOTL had not heard this album when their 2-CD epic, The Tired Sounds of...was put out on Kranky, so the label released this 2000 full-length onthese shores in time for the band's East Coast tour last fall.Originally released on the Belgian Sub Rosa label, Avec Laudenum was a shift in the science that is SOTL, as they tried more structure on their long, ambient compositions. After hearing Tired Soundsand listening to this release, the gap between their earlier works andthe splendor of that set is filled in quite nicely. Brian McBride andAdam Wiltzie recorded Avec Laudenum by mail, but you couldn'ttell by what you hear. It's just as warm, dense, and compelling astheir earlier works, but there's more of a desire to make everythingmove like a symphony. The songs start off with minimal melodies onkeyboard or sampler, instruments are added, and the ingredients swelland soar, expanding to a large, full sound. For a band like Yo La Tengoto record music to accompany nature films seems somewhat odd; Stars ofthe Lid would not be out of place at all to record an album of musicfor aquariums. It's the kind of music you want to relax to, to put onbefore you go to sleep to work new dreams for you, or to learn aboutthe secrets of the deep or the universe. It prepares your mind foralmost anything. The first three tracks, "The Atomium" parts onethrough three, are a hint at the multi-part extended works to come,with a very simple note progression that shifts through three tonesalong its path. Encompassing half the album, it was the duo's mostambitious effort yet, and also their most moving. It ends abruptlybefore the nine-minute "Dust Breeding," a swell-and-buzz track wherethe space between the notes is just as important as the notesthemselves. The echo on the track is particularly effective, but as itfades away to let in more crystalline keyboard sounds you'd never missit. The album closes with the beautiful "I Will Surround You," proofpositive that you don't need much in terms of instruments and notes toevoke tears. For fans it is a must, and for others I would recommendthis release as an introduction to the band. It's just enough of ataste to prepare you for the outer reaches of their brand of orchestraldrone. 
This takes me back twelve years or so to the days when I'd rarelyentertain a platter on the turntable that didn't involve tunes with alot of distorted guitar and shouting. That can still be a very goodthing, and if I was some kid weened on the post-rock continuum,whatever the hell that may be, I'd probably have my socks rocked byGiddy Motors. However, I've got so many old AmRep and Touch and Goalbums and suchlike that do this kind of thing with a tad more venomthat I can't help but have a few reservations. If I saw the band play agig I'd almost definitely be more enthusiastic than I am sat at homewith CD spinning, but that's always been the nature of the rockbeast.There's always room for one more rock band who can actually rockwithout resorting to corny old gestures. There seems to be a risingwave of post-grunge riffers storming venues around the UK. Alongsidesuch scene stalwarts as Part Chimp and Macrocosmica and relativenewcomers such as Terashima, Giddy Motors may well be the mostinventive of this boisterous bunch. My main criticism is that thesinger sounds a bit forced and silly at times, particularly on "Sassy"where his ranting cockney wideboy head-inside-out delivery begins toirk, but this is compensated for by a tight rhythm section who justkeep moving and plying all bad manner of unpredictable feints andparries. Any band who gets compared to the Birthday Party has a lot tolive up to though, and if they can muster even half the intensity it'llbe well worth hearing from a stage. "Dog Hands" is more like the JesusLizard replacing David Yow with that weird crooner from US Maple. GiddyMotors show they're capable of subtlety and light and shade subtlety on"Venus Medallist," the albums' deceptively lulling penultimate trackthat pulls off a lovely moodshift with cello, space synth whoosh andprettily plucked acoustic guitar. Steve Albini has recorded this debutalbum from the south London-based trio so you can be assured that ithits hard and precise. Unlike the drastically overrated and slightlyirritating Mclusky, Giddy Motors throw up a few quirks, sparks andspasms that hint that the best is yet to come if they can just keeppushing. When I think about the light years Boredoms have travelledfrom the Anal By AnalEP, I hope that a band like Giddy Motors can go a similar distance asit could be an exciting voyage to experience. The next step in theirjagged journey comes courtesy of the album's opening assault "Magmanic"lifted as a single. This is accompanied by a twisted bad German coversong obscurity from the Swiss group Grauzone, who I'd never heard ofbefore, and a more intense take on the album's "Bottle Opener" retitled"Tight Sauce," which might be their finest few minutes. The singlegives a pretty good idea of what the band are all about, and therefrain "It started changing," could almost be a self referentialmanifesto of sorts, but the album is more filling. They should behitting venues around the UK right about now. 
Even if I didn't know the truth, I would seriously think that thisdebut album is the result of somebody who clearly listens to a LOT ofmusic and is a big fan of numerous styles of unique recordings. Fromthe opening "Intro," the stage is set by a collage of various differentstyles cut and pasted together. With a fierce drum solo, the albumlaunches into full gear with the catchy "He's So Dumb," paying homageto laid back funk with a sexy bass riff, ample percussion and cleverlyrics. After the interlude, "Everything's a Shade of Green," is thealbum's finger-snapping 1950's doo-wop tribute, but after this point,the styles become less clearly distinguishable. Songs like the vocal(but lyric-less) "Visit to Venus," and the endearing "Will There BeYodeling in Heaven" are possibly two of the most optimistic songs I'veheard in a long while, and with what sounds like toy xylophones,Hawaiian guitar, nose holding and a parade of sound effects samples,the music appropriately backs up the lyrical optimism. "The InventedPart of the World" is oddly remeniscent of very, very early LPDcassette-only recordings, "What Do You Take Me For" could easily be anundiscovered gem, as a future outtake of one of thoseadult-contemporary songs from the 1970s piped through the loudspeakersat drug stores, and songs like "Let's Get Rid of Richard," and "TheAnti-Beard Song (Go Go Goatee)" push the humor card a bit too far formy tastes, but I'm sure can easily become mega indie radio hits. "ILike What You Like," however, is so irresistably sweet, moms all overthe world should take a hint. Perhaps if mothers sang their children tosleep at night, there might be less bitterness in the world. There ishope. This album is evidence.
Eric Idle was on the Daily Show last week and he said something thatstuck with me: "Everybody from Leicester is a bit weird." Of course hewas saying this in reference to his dear friend, the late GrahamChapman, but it can probably easily be applied to Volcano the Bear (andmost likely a number of people from Leicester), as their music is,well, a bit weird. In addition, Vocano the Bear's music is also (notunlike Mr. Chapman) both very charming and witty. Fellow bear, DanielPadden's first solo release actually doesn't come without the help ofother Volcano members and additional friends. As weird as theinstrumentation can get—with kazoos, ballophon, and otherunidentifiable sounds—the music on this disc is stunningly pleasant.Padden's solo debut is a very closely knit aural tapestry of dreamlikeproportions, with off-the-cuff sung vocal tracks, string pieces, andpiano tinklings. While it's still heavily-rooted in experimental andimprovisational music, these are all songs with well-craftedstructures, often with a loop (piano, clarinet, percussion) beginningthe song, and an exceptionally played instrument taking the lead.Whether it's the drone from an accordion-ish sounding instrument on"Scratch Apparatus," the pretty vocals on "Fledgling," or a twistedcalliope-like circus sounds of "Spiders on Ice," not one song on heresounds like a failed attempt at composition. With a growing number ofimprovisational musicians and groups popping up, occasionally gainingmore attention than deserved, it's an extra special treat to havesomebody around who can still write a coherent song and piece togethera well thought-out album. More solo and side projects from the Bearsare due later on this year and I'll be anxious to hear them all. 
I first met Amanda Palmer eight years ago. After seeing her firstperform at piano in her parents house with a small crowd gatheredaround, I knew she could be a star. After seeing the Dolls perform justover a week ago, I was completely wrong. Amanda Palmer is beyondpotential star, she is the next rock and roll savior. It didn't comewithout the addition of a fantastic drummer she found in BrianViglione. After years of seeing Palmer play solo, the change iscompletely evident as the crowds are now staggering (a sold outcapacity of Middle East downstairs is 575 people and their show waspretty damned close), many of which are singing along and rolling inthe joy. A full-length record is now in its final stages beforerelease, but until then, this CD is a perfect way to catch up on thebest of the last couple years. It consists of 11 popular crowdfavorites, recorded in concert venues both large and small, rehearsalspaces, and radio station studios. Palmer doesn't simply play thepiano, she makes it her bitch, and Viglione's drum work is tactfullyrefined and carefully reserved, playing off Palmer's tight-stopping andsassy cues which change their mind like the most stereotypical womanwould demand you to allow. The songs are always entertaining, farbeyond expectation in every way, both in their off-kilter rhythmicmotives and peculiar subject matter, owing as much to theatricalcabaret-type tunes as to the Pink Dots. Sure, she sings about love, butI'm sure these songs are all purely fiction from the mind of a dreamerwho sleeps with a notepad by the bed. "Bank of Boston Beauty Queen" isan autobiographical reflection on growing up a goth teen, "ChristopherLydon" is the story of Palmer's obsession with a former local NPRcelebrity, and the deep, direct power of "Will," with strings added issensationally appetite-wetting for the full-length record (especiallywith the lyric, "I don't mind if you read while I'm coming!"). As thisdisc collects recordings from a number of sources, the sound is,expectedly inconsistent, but fear not, this will be a much sought afteritem in the years to come.
This disc is the perfect accompaniment to the cold greyness of latewinter. The music, low frequency drones fading slowly in and out, overa consistent, gentle rumbling, and the packaging, adorned with antiquemaps of the Arctic, suggest exploration of desolate, frozen expansesdescribed by the title (which translates to Unexplored Area). Thelayers of sounds move so unhurriedly that they are reassuringlypeaceful, despite their frigid bleakness and vaguely ominous tonality.What is striking about this recording is that Köner, in addition to hisexcellent usage of sonic color; and texture, displays a very musicalsensibility; the phrasing and pitches of the drifting bass tones hintat melody, albeit a glacial one. Throughout the two parts of thiscomposition, the rumbling is joined at times by what sounds like an icywind, and Köner also employs a heavily filtered noisy source, subtlyshifting to resemble radio crackle, distant aircraft, and a strongrain. Apparently, much of this originated as a recording of a projectorshowing a piece of dusty, blank 16mm film; this fits well with thearchaic isolationism at the core of Köner's work. Though the piece isquite languid and pretty static, the sounds are so deep that this isnot a negative criticism. The third track—a bonus that was added tothis CD reissue of the original picture LP release—is from a videosoundtrack contribution. The music is similar in style to the previousparts but is much simpler and sparser, although it contains someadditional instrumentation in the form of mellow synthesizer-likesounds and reverb-heavy squeaking. The voice of what must be theprotagonist in the film narrates letters to another character in whichshe discusses light, darkness, space, and distance. While it isrelatively unobtrusive and fits the existential mood, outside thecontext of the video, I find the dialogue a little distracting andprefer the first two tracks. The main part of this album far exceededmy expectations; and in spite of, or perhaps because of, its coldemptiness, it really creates an appealing atmosphere.
With a name like Kling Klang you might expect a band to have some sympathies with a very famous seminal German band. This would be a fair assumption, and whilst Kling Klang prefer to look the part of kids from seventies Brit sit coms rather than showroom dummies, they are so deeply rooted in Kraftwerk and Neu! homage that it'd be painful if they weren't so damn good.
