A series of improvisations based on the sea, Low Cloud Means Death sees guitarist Tetuzi Akiyama, percussionist Kevin Corcoran and accordionist, pianist and general musical mastermind Christian Kiefer engaging in some sparse instrumental dialogue that falls somewhere between Morton Feldman's glacial compositions and the patient interactions of Henry Threadgill's Air while maintaining a subtle, near folksy chordal palette.
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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Culled from recordings discovered by member Klaus Freudigmann, this disc represents a crucial bit of evidence in the lesser known manifestation of Kluster. Recorded live in 1971, Vulcano sees the trio of Conrad Schnitzler, Wolfgang Seidel, and the aforementioned Freudigmann engaging in far more experimental electronic excursions than their counterparts, Roedelius and Mobius, would ever delve into.
Born out of improvisations and a drawn-out postproduction, this album could have been an overworked mess. Instead, this is one of those occasions where slow and steady wins the race. After four years working together, these three collaborators have created a serene collection of gentle music. Fragile melodies and ghostly atmospheres are balanced by blissful jams, all coming together to make a truly remarkable release.
This odd little multicolored 7" record puts these two relatively young projects together, and demonstrates just how diverse the so called "noise" scene can be. While both mix elements of contemporary drone, Locrian layers and moulds sound into structured chaos, while Katchmare focuses on simple, singular sounds to create an oddly toned piece of noise.
Originally released a bit over ten years ago, this third (and final) album from the Sutcliffe Jugend side project had always been one of the lost masterpieces, as far I was concerned. It was the most fully realized work of dark, anger fueled hate rock that the band put out, and ranks up there with the best work of somewhat similar bands like Swans, Godflesh, and Big Black. Time has been kind to the disc, which sounds just as powerful and forceful today as it was upon release, and now it is much more widely available.
A single track live collaboration between the two New York composers, this was recorded in Portugal last year and focuses on the duo's interest in the composite of piano and digital music, both in the sense of laptop processing piano, and as the two working in harmony as different instruments. The result is a beautiful collage of sounds that never sounds like to disparate technologies in competition, but working together in a complex piece of art.
Harry Smith's 1952 Anthology of American Folk Music has long been considered the Holy Grail of Americana and was an enormous influence on an entire generation of folkies (including John Fahey and Bob Dylan). Art Rosenbaum's Art of Field Recording series also plunges deep into Greil Marcus's "Old, Weird America" but with some inspired and welcome differences. While the impact of Smith's archival work is impossible to repeat, Rosenbaum's work is similarly essential.
The first stateside release by 4AD's Minotaur Shock is a bizarre and frustrating assemblage of disparate elements that cannot happily co-exist (Philip Glass, Frank Zappa, Italian house music, etc.). While often garish and annoying, Amateur Dramatics nevertheless features what is easily one of the best dance tracks to be released in 2008.
Pooling members from inside the Toronto improv scene, Blah Blah 666 remain an iconoclastic outfit. Their chosen name and album title belie their relaxed spontaneity. Starting with a straightforward overture featuring soft vocals and slide guitar, their music quickly gives way to unhinged time signatures, consistently defying my expectations at ever turn. Their solipsistic approach to musical styles reminded me of staying up all night with good friends, and the slap happy feeling that comes from being sleep deprived.
As much as I enjoy the music of KTL, there is a feeling that having heard one album, you have heard them all. This album bucks this trend to some degree; there is a feeling that that parameters that Stephen O'Malley and Peter Rehberg work within are widening. The darkness that permeates KTL's music is blacker than ever but the music has more gravity, pulling the listener in with more force than KTL have shown before.
