The concept of a "true mask" is quite an oxymoron, because what could be a "true" façade? I’m not entirely sure how that applies to this album, however, because while it is a very well done combination of black metal and power electronics/noise, neither of those seem like mutually exclusive genres. Regardless of that, the sound is a good mix of lo fi crunch and metal burn that might not be anything new, it’s something familiar done well.
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I always hearing a label with a distinctive "sound" trying new things: while the Hymen/Ant-Zen axis has been mining the world of industrial and noise tinged electronica for years (without becoming stagnant), something completely out of character can be either a rousing success or utter failure. Thankfully, this disc falls completely into the former, with each track defying expectations and going even more “out there” than the one before.
It was inevitable that my quest for truly outlandish music would lead me to the deranged audio landscapes of Caroliner. Where my quest will lead me after exploring the many records in their unhinged ouvre I do not know. As for now I content myself with the warped cognitive dissonance they provide.
Aranos has always been reliably unpredictable and this strange, disorienting, and difficult new album will do nothing to dispel that perception. It begins as a cerebral drone work, but Surrounded by Hermits gradually escalates (degenerates?) into Dadaist cabaret, absurdist noise, and mischievous buffoonery with characteristic anarchic glee.
This collaboration between the English double bassist and one of my favorite drummers is superb. While Corsano rarely disappoints, when he is matched by a player who is equally as inventive and fluid then things heat up nicely. Edwards puts his immense experience to full use during this album, the two players sparking off each other to create music with enormous clout. Tsktsking is repeatedly brilliant, all four pieces showing that these two musicians are at the top of their respective games.
The only full-length album from this London based trio has been high on my needs-a-CD-reissue list for years. Originally released in 1988 on the Mute subsidiary Product Inc., this abrasive and unapologetic stew of noise rock, punk, and reggae is a vibrant and flawless classic that sounds as peerless now as it did 21 years ago.
Important Records describes this seventh(!) solo album by Grails/Om drummer Emil Amos as “going toe to toe with Roger Waters in the race to become the most bitter songwriter in the world”, but I don’t quite see it (too bad, as I love bitterness). Instead, it seems like an exuberant and odd (though sometimes surprisingly successful) collision between existentialist introversion and the virile extroversion of the best classic rock.
This large box of vinyl collects up tons of odds and ends from the Nurse With Wound archive years and it is a considerably good collection of Steven Stapleton’s earliest sonic explorations. The hours of material included here cover all the tape collections, compilation tracks and live recordings that have been out of print for years (decades in most cases). It goes without saying that this is a treasure trove for anyone like me who looks at those rare recordings for sale online, looks in their wallet and sighs with resignation that those recordings will go to someone else. With superb sound quality and a decadent presentation (well, red velour), it is an absolute goldmine of classic recordings and I simply cannot get enough of it.
Emily Jane White’s melancholy and dusty Americana is an unexpected surprise on a label that is better known for being home to acts like Merzbow and Acid Mothers Temple, but it was easy to see why Important Records wanted to put this out once I heard it. Dark Undercoat is an often powerful and mesmerizing debut.
On the surface, it seems odd that this album would be put out by Taylor Deupree’s 12k label, one that is known for its challenging, often esoteric, output of heady clinical electronic sounds. Small Color is a band that leans far more into the realms of pop than expected from the label. However, by putting this album in the context of the label’s discography, it both shows that 12k does not want to be pigeonholed and that there is far more going on with this band than only pop sounds: there’s a world of complexity that fits right in on the roster.
