Palace/Drag City
Any attempt at summarizing Will Oldham's pre-millennial output underthe Palace name will necessarily be a difficult, even defeating task.Like that of any great songwriter, Oldham's body of work visits amultitude of distinct voices, illustrated by his undeniable lyricaldensity and legendary dissatisfaction with any kind of stable moniker.If one constant could be established, at least among his Palacerecordings, it might be the ingredient of self-doubt: that healthyfrailty that seems to provide the characteristic, tortured quiver inevery vocal; the half-sardonic/half-serious tension that fills everyother line; and the regular shifts in both the dominant persona andstylistic frame of each record. The artist's stubbornness duringinterviews has guaranteed that his songs remain the only windows intohis life, and they do create an incredibly human picture: passionate,diverse, and perpetually uneasy: always second-guessing, experimentingwith, and even contradicting his methods. Anyone who's seen Oldham livecan attest to his tendency to perform even the most sacred of fanfavorites in ways completely alien to their recorded versions, and thiskind of behavior—while aggravating for a sorry few—is largely whatkeeps him such a vibrant figure, refusing to let his music perch idlyin the ivory tower of indie, alt country, folk noir, or whatever set ofrules comes closest to housing his talent as of late.Over the decade since the first Palace record (still-)interestedparties should be used to having their expectations thwarted. In truecountry style, Oldham's Bonnie Billy has taken some Palace favorites(nominated by fans, supplemented by the artist) and rerecorded them inNashville with the city's finest session men and women. It's honestlyhard to think of Oldham agreeing to this kind of collection withoutturning it to parody. The session turns fifteen of his most fragileanthems and cryptic ballads to full-blown golden country greats, fullof enough pedal steel, fiddle and haggard crooning to make the mostdie-hard fan wince more than once. The result is equal partscelebration and satire, for as much as Oldham is having fun playinginto the C & W stereotype (at the expense of those emotionallyinvested in the originals, of course), he is obviously trying hard tomake each new version a thoughtful reworking. The artist's admitteddesire to rerecord several tracks no matter what the voted result("Viva Ultra" and "No More Workhorse Blues" among them) points to agenuine interest in revisiting older material as an older man, withboth wise distance and obvious affection. Oldham knows that this newbatch will never replace the old, and he's aiming this collection atthose well enough acquainted with Palace history to ease up attachmentsand take a long, joyful look back through the eyes of a different man.Some moments are sublime, more are shockingly different, and many aredownright painful, but Greatest Palace Music is absolutelyessential for any previous fan of Oldham, if only for a furtherchiseling of one of the roundest characters in contemporary music. NewPalace listeners, however, should be warned; start here at your ownrisk. Greatest's appeal, or lack thereof, relies on priorexposure to the originals, and if you somehow come to like this withouthearing its origins then we surely have some sort of postmodernconundrum on our hands?probably what Oldham wanted all along.
Any attempt at summarizing Will Oldham's pre-millennial output underthe Palace name will necessarily be a difficult, even defeating task.Like that of any great songwriter, Oldham's body of work visits amultitude of distinct voices, illustrated by his undeniable lyricaldensity and legendary dissatisfaction with any kind of stable moniker.If one constant could be established, at least among his Palacerecordings, it might be the ingredient of self-doubt: that healthyfrailty that seems to provide the characteristic, tortured quiver inevery vocal; the half-sardonic/half-serious tension that fills everyother line; and the regular shifts in both the dominant persona andstylistic frame of each record. The artist's stubbornness duringinterviews has guaranteed that his songs remain the only windows intohis life, and they do create an incredibly human picture: passionate,diverse, and perpetually uneasy: always second-guessing, experimentingwith, and even contradicting his methods. Anyone who's seen Oldham livecan attest to his tendency to perform even the most sacred of fanfavorites in ways completely alien to their recorded versions, and thiskind of behavior—while aggravating for a sorry few—is largely whatkeeps him such a vibrant figure, refusing to let his music perch idlyin the ivory tower of indie, alt country, folk noir, or whatever set ofrules comes closest to housing his talent as of late.Over the decade since the first Palace record (still-)interestedparties should be used to having their expectations thwarted. In truecountry style, Oldham's Bonnie Billy has taken some Palace favorites(nominated by fans, supplemented by the artist) and rerecorded them inNashville with the city's finest session men and women. It's honestlyhard to think of Oldham agreeing to this kind of collection withoutturning it to parody. The session turns fifteen of his most fragileanthems and cryptic ballads to full-blown golden country greats, fullof enough pedal steel, fiddle and haggard crooning to make the mostdie-hard fan wince more than once. The result is equal partscelebration and satire, for as much as Oldham is having fun playinginto the C & W stereotype (at the expense of those emotionallyinvested in the originals, of course), he is obviously trying hard tomake each new version a thoughtful reworking. The artist's admitteddesire to rerecord several tracks no matter what the voted result("Viva Ultra" and "No More Workhorse Blues" among them) points to agenuine interest in revisiting older material as an older man, withboth wise distance and obvious affection. Oldham knows that this newbatch will never replace the old, and he's aiming this collection atthose well enough acquainted with Palace history to ease up attachmentsand take a long, joyful look back through the eyes of a different man.Some moments are sublime, more are shockingly different, and many aredownright painful, but Greatest Palace Music is absolutelyessential for any previous fan of Oldham, if only for a furtherchiseling of one of the roundest characters in contemporary music. NewPalace listeners, however, should be warned; start here at your ownrisk. Greatest's appeal, or lack thereof, relies on priorexposure to the originals, and if you somehow come to like this withouthearing its origins then we surely have some sort of postmodernconundrum on our hands?probably what Oldham wanted all along. 
Chilling, vast and haunting no longer fully describe Mika Vainio andIlpo Vaisanen's palette, as their recorded work as Pan Sonic has recently become asvolatile and fresh as their unmatched live performances. But, whenpaired with Alan Vega's uneasy singing-muttering-growling, the equation isfamiliar; it's difficult not to think this could be a forthcomingSuicide album.
The firstdischarge on the newly minted No Fun label kicks off with a typicallynegative-titled Wolf Eyes solo affair from that dude with the longhair.
While not creating strictly-formulated conceptalbums, the Legendary Pink Dots frontman does tend to take an idea or a mood and run with itthroughout a release. This is very much apparent on Fragments ofIllumina, which has a sense of wholeness and completeness despite theradically different approaches in its songs.
Long Live Death provide a great example of dishonest music, of a music born from adolescent preoccupations with the occult that never go anywhere, but instead stay the product of an adolescent mind. David (Late) Tibet, despite his initially shocking voice, sounds convincing and absolutely believable.
The king of Shitkatapult has gone pop. While T.Raumschmiere is undoubtedly one of the most marketable and cross-over capable artists to come out of the hard, broken dance scene in Germany, his leap into mainstream whine-rock is still a little unexpected.
Harvesting all the energy of the punk world through some of the louder and more distorted acts of yesterday, this duorips up their instruments and vocal chords over the course of eightbrief tracks, proving that the guitar hasn't completely lost its edgeor destructive ability. 
Within less than a year since their previous album Dan Matz and Jason McNeely return with Giving up the Ghost. Not dissimilar to 2004’s We Fight til Death,their latest album keeps to the typical gentle but pulsing rock sound.
Vertonen is the work of Blake Edwards, owner and proprietor ofChicago's C.I.P. label, which has released work by variousexperimental, primarily electronic projects including Z'ev, The HaflerTrio, Howard Steltzer/Jason Talbot and Nautical Almanac.
Johannes Vester and Ludwig Papenburg, along with with Ludwig's brotherUlrich, formed the group Sand, whose sole album (1974's Golem) is aKrautrock classic, famous for its haunting sparseness as well as the"Artifical Head" stereo mixing method pioneered by producer KlausSchulze.
