The second release from this Kawabata Makoto-less Acid Mothers splinter group consists of three fairly similar instrumental blues tracks. While not a huge departure from their last album, here the band comes across as more focused and succinct in their songwriting.
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Bernard Parmegiani’s fascinating, long out-of-print album finally gets its much-deserved release on CD. Originally released in 1974, this recording is as dark, unsettling, and alluring as anything being released today.
For his umpteenth album, Bill Callahan drops his Smog/(Smog) band designation and now goes by his given name, if only to distance himself from the gloom, misogyny, and misery of his previous incarnation and start fresh. Although his subject matter is indeed sunnier and his songs more polished, he thankfully retains his sense of humor and knack for wordplay.
I remember hearing a supposed "recording from hell" on Art Bell's Coast to Coast radio program years ago and upon hearing the latest project from Honey Owens (Jackie-O Motherfucker, Nudge), I was immediately reminded of those apparently satanic vibrations. Blood is Clean isn't particularly vicious, tormented, or evil in character, but Owens' ghostly voice and hazy songs on this record are uniquely haunting.
Here is sound art created from recordings made in Marfa, Texas, on and around the Donald Judd installations in 2002. It is solidly in the camp of those who consider elements of weather and the environment to be musical, and silence to be something much rarer than gold.
The title of Wrong Meeting should be taken as a fair warning, and a very apt title, for those expecting business as usual for Keith Tenniswood and Andrew Weatherall. On first listen it certainly feels like someone's replaced this TLS album with the wrong record. Despite these initial doubts this record quickly becomes one of the duo's finest efforts to date, without sounding like any of their previous records. Anyone expecting the bumpy electro of their Emissions era or the low end basement sleazy jams of From the Double Gone Chapel, will be sorely disappointed and needs to start keeping up with Weatherall's total lack of continuity.
The fifth LP from the Swedish producer is a significant expansion on its early vinyl only incarnation, with a massive bonus track added. It's a dark, yet comfortably fascinating journey through the wilds of Sweden.
