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- The entire CD-R can also be heard online via Fflint Central.
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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'62-56' was first to surface after that, materializing from Tigerbeat6in July. While it's billed as an Extended Play single, the disc haseleven tracks and totals over 45 minutes. What does separate it frommost album characteristics is the whole array of different styles Lanerchooses to let loose with, rather than limit himself to a coherenttheme. Here, Laner's unafraid to play with beautiful melodies,Kraftwerkian/Mousey punchy beat-friendly tracks, glitchy cutups andeven toy with the power of suggestion with the spoken vocals on thedisc's closer. There's even a rather interesting 15+ minute improvbetween Brad and other noteworthy local laptop owners Blectum fromBlechdom, Lesser and Kid 606 which would easily please anyexperimental-Stockhausen worshipping musique concrete fan.
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(new), on the other hand is Laner's contribution to Fällt's 'InvalidObjects' 3" CD series. If I've learned anything from Raster-Noton, it'sthat I never need to buy all the albums in a series ever again.Especially with 'Invalid Objects' where the series consists of 24releases, all priced over $10 here in the USA. Only 250 of each discwas pressed, however, and the series includes the usual gang of idiotslike Pita, Scanner, Kim Cascone, and Richard Chartier. This timearound, I only bought the three I cared about (this one, V/Vm andPimmon) instead of wasting my money on piles of crapola like the 20' to2000 disappointment. Laner's contribution consists of 14 one-minutelong tracks, ranging from low sub-frequencies, frighteningly loudabrasions, live drums, tone bursts, electronic twitters, playgroundrecordings and orchestral samples. It's entertaining and no lessendearing as his other releases, as with each track running right intoeach other, completing the whole more like one intricate 14-minute longtrack. At the end of the day, however, it's not something I'd pull forfrom the shelves frequently.
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Tigerbeat6 released "Greatest Hits" in October, but the cover andpromos were being passed around before September 11th. Unlike any otheralbum which bears the same name, this one features reconstructions by ahost of friends as opposed to collecting old, previously releasedthings. Perhaps it's quite appropriate the cover features a collapsingbuilding, as the "remixes" on this disc are completely reformed piecesfrom the bricks supplied by the Electric Company, himself. (Of course,the back should probably include the new building erected in itsplace.) In addition to the proverbial TB6 posse, re-erectors includePhthalo's Phthalocyanine, Tom Recchion, µ-Ziq, Geoff White and thenotoriously erect Leafcutter John. The erections [you were waiting forme to use that word] aren't a clever display of genre-straddling likethe conventional remix record, but do showcase the reinterpretivestyles of each artist. Like the broken record sounding Pimmon track,the acoustic guitar loops of Electric Company himself. Okay, so it'sreally just a remix album, but it's very nice to listen to.
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Based on my first encounters with Ambarchi’s work, I have always associated him with the abstract, post-rock tinged world of experimental guitar noise and drone. However, following up his recent Audience of One album, this album continues his transition into more "song" oriented work, and brilliantly so. Simple, but hypnotic in its execution, it a taut, dramatic 30-plus minute single track that grabbed my attention immediately and has stood up strongly ever since.
Much ado has been made about its two hour duration, and Michael Gira's assertion that The Seer represents the culmination of the entire Swans discography, which is not to be disregarded. From the monolithic, visceral guitar stabs, to the dark, folk hued melodies, and dissonant, deconstructed samples and loops, it all appears here, sometimes within the same song. Thankfully, it does not come across as a conclusion, but the culmination and self-actualization of a long, unparalleled career.
Currently only available as limited edition CD-R (though there are plans for a regular CD/vinyl release soon), these three soundtracks for short films of Derek Jarman have provided Stephen Thrower and Ossian Brown plenty of inspiration following their superb album Wounded Galaxies Tap at the Window of last year. Some of the same textures and moods are revisited but it is already possible to hear that Cyclobe are developing creatively at an unprecedented rate. Between Wounded Galaxies… and this, they have completely met, exceeded, and destroyed any expectations I may have had of them.
There was always the fear that the reformed Swans might have been a one-shot moment of greatness but The Seer counters any argument that My Father Will Guide Me Up a Rope to the Sky was an aberration. Across the two hours, the group cover more ground here than most bands cover in a career. This is visionary, powerful statement that manages to be both visceral and transcendental, something more akin to a birth than rock music.