Those recordings that can successfully create visual atmosphere as well as an audio one are rare, but here is one that conveys, through field recordings, vintage electronics, and digital processing, a sense of cold and isolation, yet familiarity at the same time.
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Leave it to Editions Mego to release something that is so unclearly either random electronic improvisations or a highly structured piece of experimentation. But whatever it is, Altars of Science is a captivating piece of computer wizardry that is surely even more fascinating in the included 5.1 surround sound mix.
Texture is as important as ever to Yellow Swans on their new album, but this time their typical noisy elements are put to a different task. Still using gritty walls of distortion generated through guitar, voice, and electronics, Yellow Swans also add a melodic touch to these shape-shifting songs. The result is an unexpectedly gorgeous album unlike anything I've heard from them before.
Most people when asked about the distinctly Japanese dialect of what the world knows as noise can easily mention Merzbow. Some of the more well versed can even come up with Masonna. Pain Jerk and the Incapacitants, however, are often reserved for those a bit more "in the know." Both have had long, prolific careers and this disc captures both of their first, and only performances thus far in the US. The sound is every bit as brutal and engrossing on here as it is on either of their multitude of studio works.
An entirely logical and almost mythical collaboration, this joining of the two greatest studio bands in the history of audio recording has arrived with surprisingly little hype or fanfare. Undeservedly so as it is a thoroughly enjoyable album, albeit with less reinventing the wheel (or inventing some new shape to replace the wheel) than is expected from a pair of groups that are both known for their adventures in the studio.
Only a year and a half after their debut release, mwvm (aka Michael Walton) has already entered and settled into a much colder territory. Taking a step forward, Rotations moves its ten tracks on a single flowing journey through shivering layers of guitar and fx coatings. While it may share elements with post rock, isolationism and ambient musics, this is definitely of itself. Heightening this cold atmosphere, the bleached out Saturn's rings-style artwork is the perfect visual accompaniment to the excursion.
The latest bulletin from the far north's most mighty improvisers is nothing short of staggering. From start to finish it is a bewildering and bewitching journey; the familiar trappings of rock and jazz being reprogrammed into a chimera of musical styles in a strange, shifting landscape. It is the sound of absolute freedom, of musicians completely breaking away from the constraints laid upon them by those who have gone before.
Richie Hawtin has made some excellent though unexpected choices in 2007 with his still-thriving imprint. After implausibly giving newcomer JPLS a magnetic though understated full-length album showcase, the superstar DJ/producer shifts away from that informed unorthodoxy with a relatively risk-free and agreeable extended EP from one of his apparently deserving second-tier acts.
As a whole, this album is a dark journey through dense fog, mist, and pure bleakness: a disorienting pastiche of recognizable live instruments and pure electronic and sound manipulation. While it makes for some interesting textures, unfortunately the overall dynamics of the tracks are lacking.
While the album's philosophy is an integral part of its success and woven into the music, and packaging is undoubtedly personal (wax seal, unique piece of photograph as gift), still Tracks is not giving anything personal away with the liners. In terms of vision Everything Judged by Success Alone is about as close as possible to a one man vision of Godspeed You Black Emperor as anyone's likely to be able to conjure up.
