As David Thrussell's Snog project continues to drift further andfurther away from EBM, somewhat recently veering into politicallycharged country/folk music, the abstract technoid funk and industrialinformed experimentation of Black Lung serves more and more as his solelifeline to an otherwise alienated audience.
Give us an hour, we'll give you music to remember. This week we bring you an episode with brand new music from Softcult, Jim Rafferty, karen vogt, Ex-Easter Island Head, Jon Collin, James Devane, Garth Erasmus, Gary Wilson, and K. Freund, plus some music from the archives from Goldblum, Rachel Goswell, Roy Montgomery. Rubber ducks and a live duck photo from Matthew in the UK. Get involved: subscribe, review, rate, share with your friends, send images!
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Lets just ignore the hype surrounding doom/black/dark/atmospheric/etc. metal for a second and pretend that this approach to making music is a powerful musical tool. A tool akin to an epic-maker in a can.
Effacement is quite a divergence,and I think an improvement, on the work I’ve heard from Korber. Like so many Swiss and Viennese before him,Korber is most easily lumped in the microsound category: digital music rifewith microscopically-distanced sound fragments and closed silences, though lesspulverized towards a glitchist all-over-ness than instead dissected andlaboriously sutured into a celebration of nuance, the notes of the noise ratherthan the noise between the notes.
The first time I popped this in I thought to myself, "Oh great, the Japanese have their own version of Bjork." After another ten minutes I was convinced this duo was constructing more than just pseudo-adolescent hysteria for fans of electronic pop.
Ever since the recent, baffling critical legitimization of metal, agaggle of new black/death/doom metal bands, or bands coyly playing withthe same techniques and aesthetic concerns at several removes of irony,have been ushered into existence.
I can't think of any experience in the world more emotionally painfulthan a parent losing a child. No matter the circumstances (accident,disease, etc,... ), one experience is common to all survivors: the need to seek somekind of closure, which nothing can bring. A gaping emotional voidremains. Fans and friends looking for closure with the final studioalbum from Coil are not going to find it here.
The fourth effort from this side project of better-known group John Brown's Body, BassChalice is a come-down in THC talk for 10 Foot Ganja Plant, when filed next to the previous two albums titled, subtly, Hillside Airstrip and Midnight Landing.
Try as it may to convince us otherwise, rap is a silly thing. So muchso that it becomes self-defeating, too: rappers swagger and boast,strutting like peacocks as they spin fantastical yarns and spendcountless hours in comical self agrandizement so farcical you'd have tobe a suburban adolescent to swallow it all. And all this in the name ofrealness.
The title is a little strange largely for the fact that it is a
Jonathan Richman song which Galaxie 500 covered but did not pen
themselves. I would even be hesitant to say that they popularized the
tune, but perhaps the title was just too perfect for Plexifilm to
ignore (messy details of authorship be damned). Nonetheless, it makes
me want to collect a bunch of White Lion bootlegs and make a DVD
entitled Radar Love, or maybe a bunch of Great White TV appearances and
call it Once Bitten, Twice Shy.
This video documentary, produced and originally released in 1993, has a ton of great footage and interviews from all members of the band from their inception through 1993's Tabula Rasa. 
