This reissue of their sixth album (not including those done with Brian Eno) is a most welcome sight. Often overlooked in favor of their '70s output (understandably considering how good those albums are), Curiosum remains a curiosity in the Cluster back catalogue. It is quite different to their earlier works, less serious sounding than previous albums. However, the variation of styles and approaches on this album means it comes across as more of a compilation than a fully fleshed out album. Yet, I argue that its disparate nature is part of its charm.
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While the artist roster reads like the authors of an academic journal, anyone who has had their nose in modern experimental/electronic music surely knows most, if not all of the participants listed. While originally issued in the early parts of this decade, this massive collaboration of guitar innovation and laptop artistry predates many of these artists' best known works and it shows that even in these salad days, these guys were (and still are) at the top of their game.
Working alone, Marchetti has solidly established himself as truly a shaman of sound. His combination of worldwide field recordings and subtle treatments has created a world that is both alien and familiar, warm and harrowing. Here working alongside Yôko Higashi, the two weave sound that goes from the industrial realm into the wilds of Africa, and then back again.
The original FM3 Buddha Machines appear to have struck a chord with the members of Throbbing Gristle (a number of them appearing in some of Chris Carter’s gear photos on his Flickr account) so it is no surprise that they have created their own version with the help of Christian Virant. Containing 13 loops from the TG arsenal and redesigned to look far more stylish than previous models, Gristleism is a slimmed down Buddha with teeth.
Combining country, American surf music and the classic Ennio Morricone Spaghetti Western soundtracks, this album sounds like a lost gem from the '60s. However, this trio (supplemented by some seriously cool guest musicians) are not just an ersatz tribute to the past. This is a brilliant homage to these various styles of music that has buckets of enthusiasm and passion to make up for its lack of modernity.
The world does not need another black metal band but the guys from Liturgy don’t care. This is fine by me as this is one of the best albums in the genre for a long time. Consolidating the ground won via their Immortal Life EP, the group has expanded in size and in scope. Instead of focussing on a scary aesthetic and not coming up with decent music, they have gone the opposite route of 99% of most modern black metal groups and actually made music worth listening to.
Released a few months prior on cassette (continuing the underground’s fetishization of that unreliable magnetic media format), this live recording appears on the wider CD format, remastered to take better advantage of the digital media, and continues this new but prolific band’s trek into dense, heavy drone that somehow manages to keep lighter, airy ambient moments appearing in the otherwise gray mist.
In interviews leading up to this release on Mark Kozelek's (Red House Painters) label, Justin Broadrick said he had intentionally set out to make a "pop" record. Considering many of the prior Jesu EP’s (Silver, Lifeline, Why Are We Not Perfect) were already creeping into this territory, the fact this might be his most conventional release is not shocking. However, with Broadrick’s return to organic guitar sounds, the combination puts this surprisingly as close to Godflesh as any of his recent releases have been.
This second volume of Analog Africa's excellent Orchestre Poly-Rythmo career retrospective is yet another treasure trove of lost Afro-funk gems. While a bit slicker than its predecessor, the heavy voodoo grooves remain and should serve to further cement the Orchestre’s new-found international reputation as one of Africa’s most exciting and innovative bands.
This consists of five relatively lengthy works culled from an eclectic array of recordings by this renowned Aussie experimental guitarist. The unifying theme seems to be that all are rare or out-of-print, which should make completists quite happy (especially ones without record players). Those new to Ambarchi should probably go elsewhere first, but casual fans will likely find many pleasantly diverting (though not revelatory) moments here to tide them over until Oren's next album emerges.
