Simon Kealoha's Calika project brings a fresh perspective to bedroom vibe electronica. Fractured and reconstructed though it may be, Small Talk Kills Me is a record composed of songs more than experiments and that's a welcome change of pace.
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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For most in the international community, the last few years have been anything but good, chock full of bad news and an ever-worsening outlook for the future (United Defense stockholders aside). But for Brooklyn's Dr. Israel, all the war, death and destruction around the globe had a silver lining: how else would he have been able to muster all the outrage and righteous indignation that is Patterns of War?
Six songs of orchestral electronic suspension populate Ryan Teague's first album on Type Records and the majority of them are fairly bland examples of music I've heard before. I could toss the terms evocative or pretty or hypnotizing around all I wanted, but it wouldn't change the fact that I've heard better examples of this style elsewhere.
This is the first full length collaboration between noise’s oldworkhorse, Merzbow, and one of the more exciting artists in the field,John Wiese. The album is slow to take off but when it does, all enginesare blazing and both eardrums are burst. It is one of the betterreleases from Merzbow in recent months and another string to Wiese’sbow.
Volcano the Bear's ability to swing between the experimental, the traditional, energetic performance and pop structure means there are high expectations on Aaron Moore and this, his solo debut. Not only does this package include an exceptional album but the quick to purchase can also find accompanying visuals on a DVD constructed by Italian filmmaker Francesco Paladino (and an extra unreleased track).
London's Bush Chemists are practioners of dub, but it ain't yourgranddaddy's dub. Imagine if Lee Perry had been into the UK housescene, dropping E instead of puffing ganj and gyrating to pulsing highnotes rather than grooving to throbbing basslines. Where Perry and likeluminaries were noodlers—fooling around with tracks in the studio,throwing in a horn, fading out a guitar at random—the Chemists' musicfeels like they're trying to be scientists, using structured originalcompositions rather than dubbing out existing tracks.
I'd love it if someone put out a new slab of roller-rink rockingelectro every few months so that I could at least daydream aboutrollerskating while I'm in my car with the subwoofer thumping funky 808throbs at me. Jimmy Edgar's newest is such a record: a lovelyslice of new school meets old school on wheels. If I can leaveall of the record's fashion-conscious hoo ha behind, I'll be just fine.
Lavishly packaged in a beautifully presented wallet, this two-disc recording of Earth live in New York serves as a wonderful epilogue to their recent album Hex. Featuring the same line up as on that album, Live Hex sees Carlson and company showcasing their latest material and applying their newer, sparser sound to older songs from Earth’s back catalogue.
RazorX is the production team of Brits The Bug (Kevin Martin of TechnoAnimal, God, Ice, and more) and The Rootsman, who make blistering,aggressive hardcore dancehall tracks with the levels pinned to the redunderneath some of some of the most creative Jamaican MCs, and thisawesome two CD set collects the first ten 7" singles.
I Am Spoonbender is one of a handful of groups in serious danger offalling through the cracks merely because they were unfairly andinaccurately lumped in with the glut of trendy Electroclash groups thatfound brief, faddish popularity in the early 2000s. After the wreckagecleared and everyone came to their senses, it seemed that IAS and a fewother bands only tenuously connected to this scene were effectivelydisposed of in certain critical circles, like the proverbial baby with the bathwater, despite thefact that they significantly preceded the trend and differdrastically in their musical approach and content.
