Ida is a perfect example of pop music in its finest form. At the heartof the group are three multi-talented singer/songwriters, who, whentogether make some of the most beautiful harmonies and memorable songs.
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With their live shows, Mouse On Mars defy any and all accusations andprejudiced expectations of electronic music in performance. However, asa musical token, this live collection is more of a "greatest hitsrevisited" than an essential live archive.
This CD/DVD set of Henry Jacobs'work has a lot to offer for anyone who decides to crack it openand spend a few hours exploring. The CD does amarvelous job of illustrating the breadth and variety of Jacobs' soundart, contained in 39 digestible little nuggets while the included DVD is also a fantastichistorical artifact, collecting all three episodes of a surrealtelevision show assembled in a free-associative manner.
Although the members of XXL insist that the project be considered a new band, and not a one-offcollaboration, I can't help but suspect that this might be the onlytime XXL will be heard from. This brief album, though strong musically, feelslike the product of a specific place and time, inexorably tied to thefortnight of drinking, reveling and recording during which it wasproduced.
I have long had a theory that cold and miserable climates produce the best art and music, but the Canadian underground (aside from Skinny Puppy) has never played a serious role in my record collection. Nevertheless, there is a small but flourishing scene of people there making appropriately hostile and abrasive music, and this debut release from the fledgling Prairie Fire Tapes label is an ear-shredding first step towards making the rest of the world notice it.
The late Fela Kuti was such a larger-than-life cultural supernova that it is very easy to forget that a host of other excellent Afrobeat bands spawned in his wake. Of course, the comparative obscurity cloaking the rest of that scene was also not helped by the fact that virtually none of Nigeria’s other hot bands from that period ever had their albums released outside of their native country (or even reissued once the boom had ended). On this, the fourth installment of Soundway’s Nigeria Special series, indefatigable curator Miles Claret sets out to redress that injustice (and assemble another great album in the process).
20 years ago I got my first taste of Meat Beat Manifesto in the form of Armed Audio Warfare. In the early 1990s, I knew DJs and collectors who had some of the early Sweatbox singles, but for most of my friends the Meat Beat odyssey began with this disc that served as the group's sort-of debut album. The history behind Armed Audio Warfare's release and subsequent reissues is full of mishaps and misspellings, track-listing gaffs and questions about what might have been. Now, 20 years later, I'm going back over the MBM discography to remember why it worked so well for me back in the day, and how it holds up now.
Looking back, it has only been a bit over a year since the Greyfield Shrines LP, my first exposure to these guys, yet in that year I’ve heard as significant amount of development and change in their work. While that release was reminiscent of the intentionally minimalist drone of Sunn O))), subsequent work has brought in greater elements of noise, electronic music, and post-punk alternative. This LP is perhaps the ultimate culmination of that, being released by no less than four labels and featuring guest appearances from members of Bloodyminded, Nachtmystium, Yakuza, and Velnias.
The announcement of Yellow Swans' dissolution last spring was a very disappointing one for many, as the duo were very firmly entrenched as one of the leading lights of the North American noise scene. Their final album together makes for a strong end to an impressive career, yet it displays a degree of evolution that is unexpected for a band at the end of their life. The band has certainly come a long way from their more unrestrained roots, but it seems like that trajectory may have continued still further if allowed. Obviously, vanishing in style with enticing hints of still more unrealized potential to come is an admirable feat of showmanship, but it is also a frustrating one.
A Young Person's Guide to Kyle Bobby Dunn is the first record from Kyle that I have really loved. Built in part from songs featured on his 2009 album, Fervency, Dunn's latest adds a second disc of all new songs, which fit together perfectly and emphasize his unique approach to orchestral ambience and soundtrack music. Where I heard apprehension and hesitation in his music before, I now hear more confidence and a greater willingness to experiment.
