Without a single weak track, Make has gone down as one of the most fun albums of 2005 that I missed. As GD Luxxe, Gerhard Potuznik offers up everything from sexy, hot beats to pounding, throbbing punk full of blazing guitars and explosive arrangements that blow up in the most intense and lovingly orchestrated ways possible.
Hotter than July. This week's episode has plenty of fresh new music by Marie Davidson, Kim Gordon, Mabe Fratti, Guided By Voices, Holy Tongue meets Shackleton, Softcult, Terence Fixmer, Alan Licht, pigbaby, and Eiko Ishibashi, plus some vault goodies from Bombay S Jayashri and Pete Namlook & Richie Hawtin. Solstice moon in West Midlands, UK photo by James. Get involved: subscribe, review, rate, share with your friends, send images!
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4AD's recent release of this Cocteau Twins retrospective finally does this pioneering band's back catalog justice. From the comprehensive track selection to beautifully-designed v23 art printed on a soft, textured paper with vellum overlay, this is the collection that Cocteau Twins fans have been waiting for. 
After more than a year of lying low following the release of 2004's bewildering They Were Wrong, So We Drowned,Liars return with this provocatively packaged single, a taster fortheir forthcoming full-length. Though I had hoped that Hemphill,Andrew and Gross might have decided to drop some of the abrasive,self-consciously artsy gestures that made their last album such anunsatisfyingly turgid mess, unfortunately It Fit When I Was A Kid shows that the band is travelling even further down the same rabbit hole, apparently intent on alienating everyone.
This is Ryoji Ikeda's first full-length release of new material since 2002's orchestral Op.,however, it is a return to his original form of rhythmic clicks, sonicbeeps, high pitched squeals, and low buzz. Although the claims comethat this, the first part of the Datamatics series, is built onstructures from data, Ikeda hasn't woven data into something that'sabstract or foreign sounding. The music is rather rhythmic,challenging, and completely enjoyable: something most computer musiciantypes have failed at.
The second part in Dockstader's series of albums based around recordings of radio waves packs a powerful punch. The atmospheric and cold timbres of the first volume have dissipated and have been replaced with a collection of hot, energetic pieces. The previous album was a subdued and relaxing work but with Aerial #2, Dockstader goes straight for the face.
This supergroup among the new wave of Italian experimentersput out one of my favorite records of 2004 and returned in late 2005 withanother favorite. Members ValerioTricoli, Claudio Rocchetti, and Stefano Pilia represent some of the mostmystical, lyrical music I’ve heard come out of Italyor anywhere in some time. ¾, theircollaborative group, now with percussionist Tony Arrabito, make brilliantlyinviting and adaptable music mixing melancholy chamber acoustics, ambientimprovised textures, and woven electronic and mechanical effects.
John Wiese's name is becoming as recognizable as Merzbow's. His output, though not as insane as Masami Akita's, is constant and nearly impossible to keep up with. He has worked with a number of musicians and noise-makers including Sunn 0))), Wolf Eyes, The Haters, Panicsville, and Daniel Menche. Teenage Hallucination: 1992-1999 is an attempt to consolidate much of Wiese's earliest output (some of it recorded at the age of 14) on to one disc and catch everyone up with this prolific destroyer of sound.
I nearly gave up on this album on first listen, but after learningmore about the context, things fell into place and I quickly became fascinatedby it. Across 11 tracks and in styles that range from dancey techno tocrazed piano, Rehearsing My Choir covers the life of bandmatesand siblings Eleanor and Matthew Friedberger's grandmother, withGrandma herself providing much of the vocals. 
Imagine there's an old abandoned farm house on the edge of town with nothing but the woods to keep it company. Imagine a bunch of high school kids held a party there one night and didn't come back. There wasn't any screaming, no bodies were found, no signs of violence; all the kids simply disappeared and never came back. Davenport braved that farm house and made some recordings there, only when they came back there were sounds on their tape that they didn't record. There were things happening in the background that they couldn't perceive. The contents of this disc are made up of those recordings.
This four-way split from Die Stadt is a treat. It is a double 7” with a gorgeous sleeve featuring some wonderful experimental and minimalist pieces from four top-notch sound artists. Lucky early birds who get one of the first 300 copies also get a double CD of material from the same artists. Packaged in a lovely textured sleeve, the entire collection both looks and sounds dreamy.
