Pan Sonic's Mika Vainio remixes Popol Vuh's "Nachts: Schnee" from the 1987 soundtrack Cobra Verde, and crafts a piece that balances craving and anguish. Haswell & Hecker undertake the impossible: "Aguirre I" from the 1972 soundtrack Aguirre - The Wrath Of God.
Hotter than July. This week's episode has plenty of fresh new music by Marie Davidson, Kim Gordon, Mabe Fratti, Guided By Voices, Holy Tongue meets Shackleton, Softcult, Terence Fixmer, Alan Licht, pigbaby, and Eiko Ishibashi, plus some vault goodies from Bombay S Jayashri and Pete Namlook & Richie Hawtin. Solstice moon in West Midlands, UK photo by James. Get involved: subscribe, review, rate, share with your friends, send images!
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These two releases from the enigmatic Anthony Mangicapra's ever-changing Hoor-Paar-Kraat project could have been from two completely different artists. The first, an LP reissue of two older pieces, is a heavy and superb release and the second, a CD-R of new material, is equally wonderful but is cut from a completely different cloth. Both releases are from that same spectrum of musical surrealism as Nurse With Wound and Irr. App. (Ext.) but never apes these obvious influences. Unfortunately, like the rest of the Hoor-Paar-Kraat catalogue, these two albums are quite limited so are unlikely to be easy to find for long.
For his first proper full-length album in nearly a decade, Douglas P. sets the time machine back to the early 1990s, returning to the guitars-and-windchimes sound that characterized classic Death in June albums such as Rose Clouds of Holocaust and But What Ends When the Symbols Shatter? The only problem is, you can never really go home again, and this album proves it.
As part of Important Records' quadruple-vinyl issue of Coil's swansong The Ape of Naples, an album of new material has been included, finally making good on the long-scheduled-but- interminably-delayed Backwards album. For The New Backwards, Sleazy and Danny Hyde have returned to the storied Nothing Records session tapes and created a suite of six songs that engage in an oddly ambivalent conversation between Coil's distant past and its posthumous present.
Austere delivery makes Dagonite everything it is. Aside from the obvious references to H.P. Lovecraft there are few if any embellishments on this record. That fact calls attention to Brown Jenkins' greatest strengths (raw simplicity and a strong sense of purpose) and weaknesses (raw simplicity).
Both of the artists working on this piece are known for stretching the boundaries of music: Mueller heads up the Crouton label, one of the most active and prestigious recent electro-acoustic labels, while Jerman has been working for years to redefine percussion, using such things as cacti as instruments. Here the two take their love of sound to a full on audio-visual level that gives the listener a rare glimpse into the creation of such work.
As an artist whose work often crosses the boundaries into the visual as well as the audio, it is interesting to hear a music only work from Monterio. His dedication to working with singular sound sources through an album's worth of material may call to mind other artists such as Akifumi Nakajima (Aube) in approach, but the results are in a world of their own. Here, using only the sound of his voice, the artist creates a frightening soundscape that still maintains a conventional, almost musical feel to it.
