Charlemagne Palestine's monolithic 71 minute organ riff is a sensual, pleasure inducing drone. The crisply sparkling sonority creates a sense of drift, a foreword carrying motion propelled by colliding tones. Buoyed by slow changes that create illusions of movement, the experience of listening to Schlingen-Blangen is one of floating between parallel worlds of harmony and noise.
Two new shows just for you. We have squeezed out two extended release episodes for this weekend to get you through this week. They contain mostly new songs but there's also new issues from the vaults. The first show features music from Rider/Horse, Mint Field, Robert Aiki Aubrey Lowe, Anastasia Coope, ISAN, Stone Music, La Securite, Bark Psychosis, Jon Rose, Master Wilburn Burchette, Umberto, Wand, Tim Koh, Sun An, and Memory Drawings. The second episode has music by Laibach, Melt-Banana, Chuck Johnson, X, K. Yoshimatsu, Dorothy Carter, Pavel Milyakov, Violence Gratuite, Mark Templeton, Dummy, Endon, body / negative, Midwife, Alberto Boccardi, Divine. Cow in Maui from Veronika in Vienna. Get involved: subscribe, review, rate, share with your friends, send images!
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One of the first images I remember associating with Coil is the sticker that asked, "When you listen to Coil do you think of music?" After listening to Gold is the Metal many times, my answer remains a strong "no." In a discography filled with bizarre and bewildering recordings, this collection of odds and ends still stands out as one of Coil's most difficult and oblique.
This has always been a hard record for me to understand. It's not a typical long-playing album but it feels like more than just a collection of four singles. The botched track listing on my CD didn't help matters. As a product of remix culture, it's a far-reaching experiment that runs the gamut from funky breaks to outright noise.
With their live shows, Mouse On Mars defy any and all accusations andprejudiced expectations of electronic music in performance. However, asa musical token, this live collection is more of a "greatest hitsrevisited" than an essential live archive.
Ida is a perfect example of pop music in its finest form. At the heartof the group are three multi-talented singer/songwriters, who, whentogether make some of the most beautiful harmonies and memorable songs.
Although the members of XXL insist that the project be considered a new band, and not a one-offcollaboration, I can't help but suspect that this might be the onlytime XXL will be heard from. This brief album, though strong musically, feelslike the product of a specific place and time, inexorably tied to thefortnight of drinking, reveling and recording during which it wasproduced.
This CD/DVD set of Henry Jacobs'work has a lot to offer for anyone who decides to crack it openand spend a few hours exploring. The CD does amarvelous job of illustrating the breadth and variety of Jacobs' soundart, contained in 39 digestible little nuggets while the included DVD is also a fantastichistorical artifact, collecting all three episodes of a surrealtelevision show assembled in a free-associative manner.
I have long had a theory that cold and miserable climates produce the best art and music, but the Canadian underground (aside from Skinny Puppy) has never played a serious role in my record collection. Nevertheless, there is a small but flourishing scene of people there making appropriately hostile and abrasive music, and this debut release from the fledgling Prairie Fire Tapes label is an ear-shredding first step towards making the rest of the world notice it.
The late Fela Kuti was such a larger-than-life cultural supernova that it is very easy to forget that a host of other excellent Afrobeat bands spawned in his wake. Of course, the comparative obscurity cloaking the rest of that scene was also not helped by the fact that virtually none of Nigeria’s other hot bands from that period ever had their albums released outside of their native country (or even reissued once the boom had ended). On this, the fourth installment of Soundway’s Nigeria Special series, indefatigable curator Miles Claret sets out to redress that injustice (and assemble another great album in the process).
20 years ago I got my first taste of Meat Beat Manifesto in the form of Armed Audio Warfare. In the early 1990s, I knew DJs and collectors who had some of the early Sweatbox singles, but for most of my friends the Meat Beat odyssey began with this disc that served as the group's sort-of debut album. The history behind Armed Audio Warfare's release and subsequent reissues is full of mishaps and misspellings, track-listing gaffs and questions about what might have been. Now, 20 years later, I'm going back over the MBM discography to remember why it worked so well for me back in the day, and how it holds up now.
