When the only complaint I have about a record is that it's far, far tooshort, that's got to be a good thing. This collaboration betweenJessica Bailiff and Rachel Staggs could go on for another hour and I'dbe more than happy to get lost in it.
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Minimum-Maximum is a fine overview of Kraftwerk’s career. When I first heard the CD version
I was glad to hear again what I had experienced live but only with this DVD do I feel that the
Kraftwerk live experience has been reproduced in the quality that it is worthy of.
This single precedes Film School’s forthcoming album. If the album is as patchy as On and On then I’ll probably steer clear. If it avoids the pitfalls of the dodgy B-side included on this single, it might be worth a look.
Edith Frost’s music has always had a certain derivative quality to it.Past releases have always hewed a little too close to the alt-countryline to make it stand out amongst the rest. Her previous release,Wonder, Wonder, saw her incorporating more overt pop flourishes toprovide her well-defined sound with a few more options. On It’s a Game,Frost strips her sound to its basics, both returning to herwell-defined sound yet tweaking it just slightly so as to providelittle gems that allow the record to avoid rote repetition.
On paper this album is a great idea. Give some babies toys, instruments or whatever and record the results. Unfortunately Kindermusik amounts to nothing but uninteresting tracks that are essentially field recordings of playrooms. Nursery With Wound it isn’t.
Kites' 12" single with Prurient excited me quite a lot. The circus-like approach to noise that Christopher Forgues took on as Kites sounded fresh because it didn't sound like one long stream of random noises; a popular approach to making "free noise." Forgues' latest on Load is a scattered album, however. His often compelling ideas aren't articulated very well and though I'm convinced a political message peppers the entire album, the music and words are often too scattered to understand exactly what message the album might have, if any.
Paul Dickow's Community Library label, formed in the Spring of 2005, subscribes to a mantra of sorts: music without borders or community without geography. It's a costly mantra in the case of Sawako's first recording on the label. "Sawako +" is Sawako assembling various sound samples given to her by friends and musicians from all over the globe. If it weren't for its brevity, Omnibus would be a very unsatisfying grab bag of strange, random sound.
The Rogers Sisters are from New York and sound like they were born 25 years too late. If all the members of Blondie and Talking Heads were dead they would be rolling in their graves. I’ve no problem with taking influence from an era but trying to recreate it in such an awful way is obscene.
This is another reissue that is perfect for existing fans, as it's beena sought after item, fetching high prices at online auctions. Honestly,and the band is well aware of this, while there are some great songscontained, it's simply not as strong a caliber as is the writing andproduction that the band have found their international acclaim with.
Kinski blew my mind the first time I saw them. They tore the roof offTerrastock 5 in Boston, unleashing a loud, blistering, and healthy mixof psych-rock and pop with a sound clean enough to hear the great songsrather than be buried in a barrage of overwhelming distortion. The bandworked together and didn't step on each others toes in some sloppy messthat other modern day psych rockers are far too guilty of.
