Coil is easily playing some of their most haunting, spectral, hypnotic, and sublime material ever, combining the new with the old and doing so without the outcome sounding muddled or too disparate.
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Canadian born London dweller Dan Snaith has reintroduced Manitoba with his second full-length release. Up In Flamesis a fantastic surprise, as it is a complete turn around from themeandering simplicity of the relatively trendy instrumental electronicmusic on earlier releases. With vocals, guitars, bombastic organic andsamples drums, feverishly catchy melodies, and a complete overload ofcollected sounds, instruments and an excess of quirky samples, thiscould easibly be one of the most maximalistic recordings by one personin a long while. With the keen skill of roping everything into ablissful melodic soup, this album is easily poised to be thebreakthrough hit of the spring. From the opener "I've Lived on a DirtRoad All My Life," there is no irony, no pulled punches, as the musicjust barrels in with nearly no introduction. A gorgeous interlude endsthe piece with a moment to let things settle in and stays rather lowkey for the instrumental follower. "Skunks" opens and closes with thesounds of frogs (what identifiable sounds do skunks make after all?)but is propelled along with bass and guitar playing, layers of drums,screechy sax, The energy blasts back in with the one-two punch of thetwo vocal tracks "Hendrix with KO," and the single "Jacknuggeted,"which could easily be two of my fave songs on the disc. Snaith isn'tafraid to stack killer drum samples upon drum samples, hand claps, fillthe rest in with gorgeous harp sweeps and always make it a point to endon a good note. With songs like "Bijoux," this one man army hasachieved what numerous multi-member ensembles have only ever dreamt of.If anything, on the vocal tracks, Snaith probably could try and get alittle more confident with his voice so it's not as buried in the mix.Other than that very, very minor observation, this album is flawless.Manitoba is set to tour North America with Four Tet and Prefuse 73.Promises have been made to turn Manitoba into a fully realized liveband with two drummers, guitars and a whole mess of other people. Let'shope this happens.
2002 was a good year for James Murphy. Not only did his label, co-ownedwith Pat Mahoney, release some of the year's best records (Black Dice'sBeaches and Canyons and The Rapture's "House of Jealous Lovers"), buthis own self-proclaimed "electro-disco" one-man group, LCD Soundsystem,put out the underground dance hit of the summer. His second release asLCD Soundsystem simultaneously caps off a spectacular 2002 for Murphywhile hinting at an even better 2003. "Give It Up" begins where the"Losing My Edge" 12" left off, but with some minor adjustments. Goneare the Casio beats and the hipster-scene criticism, and much of theelectro influence. Instead, we're given a fuller, more band orientatedsound (although it's Murphy who plays all the instruments), featuring apropulsive, funked-up bass line and an all-around fiercer rhythmsection. The result is an instantly danceable track, engaging from thevery first notes of the opening drum roll. One would expect more of thesame on the flip side of the 7", but "Tired" delivers a pounding, dirtyrocker that is quite befuddling at first. But after a few listens, it'sclear that Murphy (along with Mahoney on this track) can just as easilywrite songs that sound more appropriate in a dank bar than at a chicdance club. Yet, even though Murphy has proved he can do more than justwrite a good dance tune (although it's still what he does best), Iwould hate to see LCD Soundsystem release a full-length anytime soon.After two singles as good as "Losing My Edge" and "Give It Up," I'd bebegging to hear an LP, but I have a nagging feeling that these tunesare best served up in small doses.
While I love sociological criticism woven into art, if it is so deliberate that it is an album's strongest point, I'm bound to be disappointed after the first listen. That being said, Lovebomb is an extremely well-founded concept album about love and the expression of culturally specific social processes, an overarching thesis that I won't attempt to evaluate. Thaemlitz covers many angles and perspectives in his exploration of this ubiquitous emotion, using generally interesting, but sometimes run of the mill, electro-acoustic music.
After my first listen to this album at a low volume level, I was alittle worried because there didn't seem to be much going on; butluckily, subsequent listens on a decent system revealed a great levelof detail, much of it buried under immense low end. The focal point isthe periodic repetition of a low-pass-filtered percussive sound,stretched out to such an extent that its booming decay lingers longenough to reveal the slow fluctuations of a vibrating membrane. This isaccompanied by a harmonically rich, but somewhat muted, midrange dronethat very slowly fades from complete silence to full volume and thenback again to nothingness, bringing new layers of sound with eachiteration. The tonal elements resemble Köner's more recent Unerforschtes Gebietrecording in their texture and evocation of abandoned places. Here theyare softer. The percussion and gradual variations in amplitude lend amysterious—and somewhat human—element to an otherwise uninhabitedlandscape. Midway through the piece, the drone descends ratherconspicuously through four closely-spaced notes, in what is reminiscentof a threateningly futuristic movie soundtrack. After this big event,some quiet, almost mechanical, filtered noise emerges, along withrepeated bass-rich volume swells that sound like more stretched outpercussion, this time played backwards. The slight hissing and patientrise and fall in volume are like breathing; and the middle part of thisrecording is really quite beautiful, despite the abundance of low-endmaking it almost claustrophobic and morose. Shades of the descendingmelody are audible as the original sounds return, and the drum soundre-enters and grows more and more extended throughout the remainder ofthe piece. It finally ends with a sustained rumble. Even with thelimited range of sound that Köner seems to have confined himself to, Daikan is quite stunning and is a fine addition to the Köner collection. 
This two disc set is comprised of installations and live performances and, despite some interesting departures from Köner's recent output, is encumbered by its scope and formlessness.
This Michigan group can also be added to the list of unexpected treatsduring the Terrastock 5 festival. Their new full-length album is also aburst of instrumental rock energy, introduced through a wall ofoverdriven guitar noise in a short introductory track "Detroit." Fromthe start, the instruments are tactfully given their own breathing roomfrom each other so the ebbs and flows of repeated phrases don't easilyfade into a dreary oblivion. The band picks up speed with the morelavish "Tall Winds," incorporating more movement within the melodies,and by the third and fourth track, the group has shifted gears into alive performance mode, blurring the lines between songs' endings andbeginnings. Songs like "Purple," and "Ghost Ship" open with a melodyprovided by bass guitar, with creative and consise drumming, but eachare predictably overcome by the gritty sounds of loud guitars, theformer ending in an anthemic wash that turns into an almost directionedimprovisation. While I'm fond of the appropriate production decisionson this album and can hear a group which uses a bit of restrain when itcomes to stepping on each others toes, I feel like there's somethingmissing which was clearly "there" at their live shows. Perhaps this ishow I will constantly feel about recorded drone rock albums, but it'sthat intangible further development which could hypothetically be acatalyst to something incredible.
I have no problems with countlessly referring to the awesome Terrastockfestival last year. With Terrastock, as opposed to pretty much anyover-hyped multi-band fest, it's an opportunity to see some uncommonbands mixed in with the more popular fanfare. Sure, everybody lovestalking about ATP, CMJ and SXSW, but nearly all of those bands tourextensively and play sizable shows all their own. Bands like Kinski,Motorpsycho and this San Franciscan quartet were some of the unexpectedtasty treats the crowds were wowed to in September in Boston, alongsidethe omnipresent Sonic Youth (do they -ever- turn down a fest?), Damonand Naomi, and Acid Mothers Temple. While SubArachnoid Space are hardlya new band, the sound that night was somewhat of a new sound for thegroup. While they dished out the instrumental distortion-heavy guitarwork, the rhythm section was doing something quite exciting andrefreshing. The drummer and bassist had a dub thing going on betweenthem which worked in a peculiar yet delicious way. Talking to the groupand some fans afterwards, I was disappointed to find out that theirolder recordings, some of which were available that night, were notrepresentative of the show. It's now almost April and their currentalbum is finally available. Unfortunately, that dub-like vibe remainsonly a fading memory as it was clearly not captured. "The Harsh Factsof Life" is a strong opening to the album and showcases a tightly-knitgroup with a bass and drums clearly in sync with each other while theguitars drone on. While SubArachnoid Space's sound is clearly takingthe bombastic, quiet/loud approach popularized by numerous angryinstrumental rock bands over the last few years, the group's melodictendencies are more towards long, drawn out parts more remeniscent ofmusic from a couple decades back. Much like an improvisationalensemble, the band begins with a strong idea and lets themselves getcarried away. This is a tactic which works well in a live setting, butappropriately capturing rehearsed improvisation for a studio albumisn't the easiest task. Unfortunately, the down side is that to me thismusic becomes almost too predictable at times, with songs that startoff strong but end up in a rather sparse and directionless wash whilethe band often repeats themselves, meandering through hollow, lengthydrones. With that in mind, I'm anxious to see the band live again,because in that environment it works much better. On top of that I needsome sort of indication that my memory isn't lying to me at this point. 
"They bestride the Earth." John Peel said that once on his old BBC World Service show to introduce a Fall song and as a vague reference to how he would often stretch his own programming rules in their case. I feel the same way about Mika Vainio. Unfair preferential treatment is in order and a new release must be celebrated. Vainio's recorded works have been in the areas of techno (as √ò, Philus), installations (Onko), out electro-rock (Pan Sonic and Endless), and finally soundscapes, which is where In The Land belongs together with Kajo and Ydin. In this context and that of nineties and naughties electronica, In The Land is hardly radical but it is exceptional.
Invariably, the image of an artist has to have a measured effect ontheir music, be it a positive or negative one. Some bands are all imageand can't muster a good song to meet it, while others have full soundsand amazing songs but absolutely no image. Pavement certainly fit inthe latter category, a band that had so little self image they couldn'teven properly announce their own demise. With Pavement gone, StephenMalkmus emerged from the ashes to make music that is all image, littlesubstance, and completely mediocre. What with the pin-up shots formen's magazines and interviews about his sex life, it seems Mr. Malkmushas had little time to formulate anything besides a passable effort onhis second solo LP, which also marks the first time he's shared thebill with his backing band the Jicks. He still has a knack for quirky,understated lyrics, and no one can take that away from him, but themusic on Pig Libis in stylistic shambles. Some fans have tried to explain it away withterms like "indie prog" and lengthy descriptions of the darker imagery,but they can't describe around the fact that it's dull. True, Malkmusgets closer to the Pavement sound on this record only in that it'ssloppier than his last release. The band does sound more in tune witheach other, like these songs are creations of the whole crew, but theytrip along like a wounded animal rather than stroll or strut. From theplayful nature of "Water and a Seat," with its call and answer andcacophonous backing vocals to the too long jam of "1% of One," Malkmusdoes sound more comfortable in his voice and the melodies are prettycatchy. That makes it all the more disappointing when there's no payoff. The songs that have promise are too short, and the ones that havenowhere to go get there and stay there far too long. I started gettinginto the album a little on "(Do Not Feed The) Oyster," but was turnedaway by the drum roll break into jam territory. All over the album areannoying sounds and noises, usually the overly campy keyboards fromMike Clark and Malkmus himself. Anchoring it all together is anoverwhelming feeling that this record exists only as a marketing tool,released just so Malkmus can say he "stretched his legs" on a releaseand "tried something different." Malkmus' image is the only thing thatholds this record together and the reason why rabid fans have alreadybought every copy on the shelves in the local record shop. For mostfans, the man can do no wrong. For me, he certainly tried to do wrongall over this record, and sometimes he succeeded beyond all doubt orreason.
