This is the sound of post-rave culture chopped up and spitviolently back at the heads of those who remember what it was like totweet on whistles incessantly in a warehouse at five in the morning,but it's also a trip through Mathhead's unique headspace by way of hissampler. Mathhead'sdebut for Reduced Phat represents the most fun I've had with abreakbeat record in some time.
We made it to 700 episodes. While it's not a special episode per se—commemorating this milestone—you can pretty much assume that every episode is special. This one features Mark Spybey & Graham Lewis, Brian Gibson, Sote, Scanner and Neil Leonard, Susumu Yokota, Eleven Pond, Frédéric D. Oberland / Grégory Dargent / Tony Elieh / Wassim Halal, Yellow Swans, Dental waste in Saigon photo by Krisztian. Get involved: subscribe, review, rate, share with your friends, send images!
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Blackshaw might well have been outgunned by the more famous style-fusing traditional guitar players (e.g. Fahey, Rose and Chasny) in terms of recognition, but things look likely to be on the turn. After the 12 string sucker punch combination of Celeste and Sunshrine releases, this gatefold Important (and important) release consolidates his position as more than just an up-and-comer.
After nearly three years of relative incubation, Aereogramme hasresurfaced with a monster EP showcasing, in only 32 minutes, theirrepertoire of noise, affinity for technology, mastery of songcraft,lust for those heavy metal chords, and respect of beautiful pop. Ifthat's not enough, Seclusion comes equipped with a music video,repeated (same video, different songs), directed by Steven Morrison andpaying homage to Japanese horror directors Hideo Nakata and TakashiShimizu.
Bubbles is justwhat I had hoped for this collaboration, only a debut in the most officialsense as Allien and Sascha Ring (Apparat) have been working together and sideby side for several years, on remixes, each other’s records, and helping runtwo of Berlin’s best label’s, Bpitch Control and Shitkatapult. I’ve heard both artists evolve over the pastfive years and become more similar in sound.
Nearly four years after crafting Playthroughs Keith Fullerton Whitman is finally returning to the sound that practically defined his place among the masters of experimental music. Working again with processed guitar, Whitman has modified the setup used to write Playthroughs and come away sounding fresh and exciting once more. This time around the music is more prodigious and towering than ever, a wall of incandescent guitars backed by the flicker of digital starlight.
When I was 16, I saw the Spanish group Aina play for about 30 people insomeone’s living room in Washington, DC. It was the first or seconddate on what was to ultimately be their last tour of the States beforedisbanding. While this may seem like a somewhat random way to start offa review for another band, the experience nonetheless left animpression. Aina sounded like one of the best bands I had heard at thatpoint, boasting a full sound literally dripping with jagged hooks andan anthemic quality that recalled Jawbox–how was it they weren’tselling out clubs all over the place?
Homosexual artwork and unconventional approaches aren't enough to get me badmouthing the newest from Liars. Plenty of complaints have been unfairly leveled upon this now awkward trio, most of them having to do with the fact that the music sounds intentionally difficult and unfocused. Drum's Not Dead is devoid of shock tactics, however, and the music is a shimmering, chaotic, and surprisingly pretty mess.
Alex Neilson (Directing Hand, Taurpis Tula, the One Ensemble of Daniel Padden) and Frank Janiurek’s new project magnificently combines acoustic experiments, digital breakdowns, slow drone and vocal melody. This 3" CDR’s single 22 minute long track further reinforces the idea of free percussive playing as a thing of beauty, not of noise.
The last time around Sam Coomes and Janet Weiss delivered what everyone thought was their scathing political record. Reading interviews with them, however, suggests the band are far more personal than that and therefore more exciting and insightful. Quasi's latest on Touch and Go is stripped down, grittier, and perhaps just a little brighter than anything else they've done. Quasi may have found some room in their music for hope.
Acid Mothers Temple have no shame, and that's not such a bad thing.They've taken aim at their idols before by approximating the albumcovers or titles of Hendrix, Zappa, and King Crimson, among others, andhave paid tribute to the likes of Hawkwind and Gong. This time they settheir sights on Black Sabbath, even going so far as to reenact thecover of Sabbath's first album, with Acid Mother guru Kawabata Makotoenrobed before a countryside home. With their other tributes, theobject of reverence is a starting point, not a destination in itself,and this one proves to be no exception.
