These two releases by the Norwegian artist are her first releases despite a long career focussed on sound installations (although she has released work on compilations and worked with Chris Watson and Sigur Rós on field recordings for their Heima movie). A short live CD and a 7” single, they are not exactly meaty but the material included is strong despite the brevity of most of the tracks. The recordings are crystal clear and manipulated beautifully; the two discs are truly remarkable.
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Considering music videos seem to be only broadcast on YouTube, I wonder why bands go through the bother and expense of making them when they could be producing more music. Granted there are those times when picture and sound come together to make something powerful but this certainly is not one of those times. A crappy homage to the gorier side of '70s and '80s horror movies and a bunch of ropey live footage was never a good idea, how it got as far as being pressed on DVD is beyond me.
Not quite a lost classic and hardly considered a hit in its own time, this accomplished solo debut from an enduring talent is not some mere soul curio. Unlike records rereleased to satisfy some obsessive collectors' lust for digging up obscure R&B regardless of true quality, this album succeeds on its own merits and the potency of its performances.
Much like labelmate Minotaur Shock, Belgium's Dim Dim takes a contrarian and perverse approach to contemporary electronic dance music. Whip is a loopy, absurdist dance party of an album, largely due to Jerry Dimmer's skillful and deranged incorporation of exotica, turntablism, and Negativland-style plunderphonics.
Adhering to the edicts of minimalist techno, the music produced by Jon Gaiser is only minimally enjoyable. Focused listening provides few rewards, but is unobtrusive as the soundtrack to a night spent in back room of a club. At its least it gave me a rhythm to tap along with on my feet.
This German duo is a rave late and a Deutschmark short. However, those stuck on an interminable techno beat will rejoice; this music from electronica’s sordid past has been faithfully recreated for them yet again.
This compiles eight rather austere avant-garde guitar works from artists spanning the world (yet featuring a disproportionate number of Texans). Thankfully, one of those Texans is Jandek, who conspicuously counterbalances the somewhat academic sensibility of the album. Despite this aesthetic of high-art sterility, the album has a impressively high success rate.
Dukkha traffic in “true Sheffield black psychedelia” and appear to consist solely of an unnamed and enigmatic British guitarist. However, I am deeply skeptical of both his purity (the four tracks are stylistically varied) and his degree of evilness (Buddhist author Alan Watts is listed as his sole influence). He probably actually is from Sheffield though. Regardless, this is some intriguing (if somewhat flawed) stuff.
Using E-bows (probably) and sculpted feedback, this guitar-based drone duo from Grenoble, France have achieved a masterful balance between womblike bliss and disquietude. This is an understated and obscure gem.
Anyone who has ever run a label, booked a venue, or reviewed a record knows what its like to be overwhelmed the volume of music vying for your attention. Between day-jobs, time-out, and catching some shut-eye, there isn’t enough time in the day to give every artist out there exposure, regardless of whether they deserve it or not. Faced with that dilemma, Cardboard Records decided to err on the side of generosity in the process of compiling this double CD.
