A duo of Wilhelm Herich and Brigant Moloch (both of Anenzephalia and also half of Genocide Organ), this new project is unsurprisingly bleak and gray synth heavy industrial. It does, however, separate itself pretty well from the duo’s other projects by focusing less on oppressive atmospheres and noise outbursts and more on a depressive rhythmic pulse and a focus on their industrial heritage.
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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At four pieces spread across three separate CDs, the term "sprawling" immediately came to my mind with this set. Even though it is a lengthy recording, the pieces are so distinct and different from one another that it is a challenging, but rewarding listen.
Out of retirement, off of hiatus, back for another round—whatever you call it, Lamb's newest full length is as good as it is unexpected. After exploding into the world with a classic debut album, it has taken the band four more shots to come up with a worthy follow up, but they have finally done it.
The latest album to feature Chris Watson shows a different side to his art, harking back to his roots in Cabaret Voltaire and The Hafler Trio while staying true to his current role as a field recorder. The two pieces (one a collaboration with Marcus Davidson and the other a solo work) are both designed as performance pieces utilising Watson’s recordings of nature as the source. However, trickery and aesthetics play a role here that has been absent from his body of work for a long, long time. It sounds like you are there but "there" is not as it seems.
Recorded and rebuilt over half a decade ago, this odd little collaboration between Wastell, a cellist who for this album plays only a tam-tam gong, and everyone's favorite Norwegian noise master on processing and composition, finally sees the light of day on this single track album. Over the course of 40 minutes, the single instrument source is bent and reshaped so much that it bears little to no resemblance to its untreated counterpart, and that’s why this work succeeds.
With his latest album as Asva, G. Stuart Dahlquist (Sunn O))), Burning Witch, Goatsnake) leaves metal behind and sets out on his own distinct path. Recent interviews tell me that he has spent the last three years investigating Josef Albers' color theory, losing musical weight on the Arvo Pärt diet, and studying the way sounds mutate and dazzle us when set in different contexts. As a result, his music has become less extroverted, more sonically inclusive, and equally more profound. Presences of Absences impresses with its density of sound and a fantastic vocal performance from Kayo Dot's Toby Driver, but its simple and patient manner is what makes it exceptional.
Marielle Jakobsons' trajectory since her stunning solo debut as Darwinbitch in 2009 has been devoted to rather curious and specific stylistic detours, dabbling in both Indian classical music (with Date Palms) and Eastern European traditional music (on Myrmyr's The Amber Sea).  This time around, however, Marielle and Agnes Szelag eschew any overtly global/traditional nods and play things comparatively straight, delivering an alternately enchanting and disturbing suite of classical-damaged drone pieces.
For her fifth album, Marissa Nadler has started to let the light into her music. The reverb pedal has been left aside and her words have been put into stark relief by new instrumentation that gives her music a more country feel. This change in style has not diluted her vision; the move feels natural and sounds like it was meant to happen at some point in her career.
