Strange Attractors
I have no problems with countlessly referring to the awesome Terrastockfestival last year. With Terrastock, as opposed to pretty much anyover-hyped multi-band fest, it's an opportunity to see some uncommonbands mixed in with the more popular fanfare. Sure, everybody lovestalking about ATP, CMJ and SXSW, but nearly all of those bands tourextensively and play sizable shows all their own. Bands like Kinski,Motorpsycho and this San Franciscan quartet were some of the unexpectedtasty treats the crowds were wowed to in September in Boston, alongsidethe omnipresent Sonic Youth (do they -ever- turn down a fest?), Damonand Naomi, and Acid Mothers Temple. While SubArachnoid Space are hardlya new band, the sound that night was somewhat of a new sound for thegroup. While they dished out the instrumental distortion-heavy guitarwork, the rhythm section was doing something quite exciting andrefreshing. The drummer and bassist had a dub thing going on betweenthem which worked in a peculiar yet delicious way. Talking to the groupand some fans afterwards, I was disappointed to find out that theirolder recordings, some of which were available that night, were notrepresentative of the show. It's now almost April and their currentalbum is finally available. Unfortunately, that dub-like vibe remainsonly a fading memory as it was clearly not captured. "The Harsh Factsof Life" is a strong opening to the album and showcases a tightly-knitgroup with a bass and drums clearly in sync with each other while theguitars drone on. While SubArachnoid Space's sound is clearly takingthe bombastic, quiet/loud approach popularized by numerous angryinstrumental rock bands over the last few years, the group's melodictendencies are more towards long, drawn out parts more remeniscent ofmusic from a couple decades back. Much like an improvisationalensemble, the band begins with a strong idea and lets themselves getcarried away. This is a tactic which works well in a live setting, butappropriately capturing rehearsed improvisation for a studio albumisn't the easiest task. Unfortunately, the down side is that to me thismusic becomes almost too predictable at times, with songs that startoff strong but end up in a rather sparse and directionless wash whilethe band often repeats themselves, meandering through hollow, lengthydrones. With that in mind, I'm anxious to see the band live again,because in that environment it works much better. On top of that I needsome sort of indication that my memory isn't lying to me at this point.
I have no problems with countlessly referring to the awesome Terrastockfestival last year. With Terrastock, as opposed to pretty much anyover-hyped multi-band fest, it's an opportunity to see some uncommonbands mixed in with the more popular fanfare. Sure, everybody lovestalking about ATP, CMJ and SXSW, but nearly all of those bands tourextensively and play sizable shows all their own. Bands like Kinski,Motorpsycho and this San Franciscan quartet were some of the unexpectedtasty treats the crowds were wowed to in September in Boston, alongsidethe omnipresent Sonic Youth (do they -ever- turn down a fest?), Damonand Naomi, and Acid Mothers Temple. While SubArachnoid Space are hardlya new band, the sound that night was somewhat of a new sound for thegroup. While they dished out the instrumental distortion-heavy guitarwork, the rhythm section was doing something quite exciting andrefreshing. The drummer and bassist had a dub thing going on betweenthem which worked in a peculiar yet delicious way. Talking to the groupand some fans afterwards, I was disappointed to find out that theirolder recordings, some of which were available that night, were notrepresentative of the show. It's now almost April and their currentalbum is finally available. Unfortunately, that dub-like vibe remainsonly a fading memory as it was clearly not captured. "The Harsh Factsof Life" is a strong opening to the album and showcases a tightly-knitgroup with a bass and drums clearly in sync with each other while theguitars drone on. While SubArachnoid Space's sound is clearly takingthe bombastic, quiet/loud approach popularized by numerous angryinstrumental rock bands over the last few years, the group's melodictendencies are more towards long, drawn out parts more remeniscent ofmusic from a couple decades back. Much like an improvisationalensemble, the band begins with a strong idea and lets themselves getcarried away. This is a tactic which works well in a live setting, butappropriately capturing rehearsed improvisation for a studio albumisn't the easiest task. Unfortunately, the down side is that to me thismusic becomes almost too predictable at times, with songs that startoff strong but end up in a rather sparse and directionless wash whilethe band often repeats themselves, meandering through hollow, lengthydrones. With that in mind, I'm anxious to see the band live again,because in that environment it works much better. On top of that I needsome sort of indication that my memory isn't lying to me at this point. 
"They bestride the Earth." John Peel said that once on his old BBC World Service show to introduce a Fall song and as a vague reference to how he would often stretch his own programming rules in their case. I feel the same way about Mika Vainio. Unfair preferential treatment is in order and a new release must be celebrated. Vainio's recorded works have been in the areas of techno (as √ò, Philus), installations (Onko), out electro-rock (Pan Sonic and Endless), and finally soundscapes, which is where In The Land belongs together with Kajo and Ydin. In this context and that of nineties and naughties electronica, In The Land is hardly radical but it is exceptional.
Invariably, the image of an artist has to have a measured effect ontheir music, be it a positive or negative one. Some bands are all imageand can't muster a good song to meet it, while others have full soundsand amazing songs but absolutely no image. Pavement certainly fit inthe latter category, a band that had so little self image they couldn'teven properly announce their own demise. With Pavement gone, StephenMalkmus emerged from the ashes to make music that is all image, littlesubstance, and completely mediocre. What with the pin-up shots formen's magazines and interviews about his sex life, it seems Mr. Malkmushas had little time to formulate anything besides a passable effort onhis second solo LP, which also marks the first time he's shared thebill with his backing band the Jicks. He still has a knack for quirky,understated lyrics, and no one can take that away from him, but themusic on Pig Libis in stylistic shambles. Some fans have tried to explain it away withterms like "indie prog" and lengthy descriptions of the darker imagery,but they can't describe around the fact that it's dull. True, Malkmusgets closer to the Pavement sound on this record only in that it'ssloppier than his last release. The band does sound more in tune witheach other, like these songs are creations of the whole crew, but theytrip along like a wounded animal rather than stroll or strut. From theplayful nature of "Water and a Seat," with its call and answer andcacophonous backing vocals to the too long jam of "1% of One," Malkmusdoes sound more comfortable in his voice and the melodies are prettycatchy. That makes it all the more disappointing when there's no payoff. The songs that have promise are too short, and the ones that havenowhere to go get there and stay there far too long. I started gettinginto the album a little on "(Do Not Feed The) Oyster," but was turnedaway by the drum roll break into jam territory. All over the album areannoying sounds and noises, usually the overly campy keyboards fromMike Clark and Malkmus himself. Anchoring it all together is anoverwhelming feeling that this record exists only as a marketing tool,released just so Malkmus can say he "stretched his legs" on a releaseand "tried something different." Malkmus' image is the only thing thatholds this record together and the reason why rabid fans have alreadybought every copy on the shelves in the local record shop. For mostfans, the man can do no wrong. For me, he certainly tried to do wrongall over this record, and sometimes he succeeded beyond all doubt orreason.
For those who either missed or were unable to get the Horse HospitalCD release last year, the Nurse With Wound contribution, "Salt," hasnow basically been expanded. In its original 60+ minute form, the musicpretty much played as a loop for the entire duration. The sound wavedback and forth between two chords, providing a cold and creepy feelingof ship being lost at sea. The purpose for the original work wasoriginally to provide aural ambience to the art exhibit at the HorseHospital gallery. With this version, efforts have been made to makethis more of a foreground-listening experience, but there's honestlynot much else added. Along with the fluctuating orchestral-like chords,other loops are added bit by bit, including sounds that resemble apassing car, a boat horn, piano, creaking boards, and a creaky door. Ataround the 18-minute mark, all extraneous sounds taken out, leaving thesound of water. Eventually the water fades out, leaving only thedroning two chords. Effects fade off shortly thereafter and the droneeventually dies. NWW fans expecting something dense and maximalisticlike An Awkward Pause will probably not enjoy this album as much as fans of the droning NWW heard on albums like Soliloquoy for Lilith or A Missing Sense. 
This four-piece art-rock outfit is from the misty, seaside town ofBrighton, England. Yet, proximity to the salty brine of the Atlantichas had more of an impact on their wardrobe than their music. Dressedon stage in military regalia cross-bred with Boy Scout fashion, BritishSea Power look more like retired ship captains than a band. Combinethis with their penchant for naturalistic stage sets—consisting ofstrategically placed trees, limbs and large, stuffed birds—and youmight begin to think this band is all image and no substance.Musically, "Childhood Memories" disguises itself as laid back tune, butemerges as a stunning rocker. It opens with a deceivingly subtle, yetterribly catchy hook that occasionally builds up into something larger,only to come down gently to where it began. The tension that thisbuilds finally explodes at the end, as the guitars swarm together tobuild a wall of sound behind lead singer Yan's repeated chant of "Andwe go, and we go, and we go!" The B-side, labeled as "Favours in theBeetroot Fields," is actually the (supposedly) CD exclusive track"Strange Communication." It's a gentle, breezy track dominated by Yan'slonging vocals and lyrics such as "Well I don't even remember thefall/and I don't even remember at all/and you'll probably never see meagain/Such a strange communication," display how, after a couple ofhit-and-miss early singles, this band has finally come into their own.With a full-length on its way, it's perfect timing. 
Tigerbeat6's website describes Deathas a remix album "by people who love Numbers, for people who loveNumbers," and it's an apt statement. Though you don't have to befamiliar with Numbers Life to enjoy these remixes, itdefinitely helps. Most of the remixes find Numbers' raw energychanneled onto the dancefloor, and why shouldn't they? After all, thehistory of the remix is rooted in the 12" single. Most remixers havefun with their interpretations of the songs, and it makes sense thatthey would—Numbers is a fun band. Gold Chains opens Death witha much-expected cheeky, clubby, self-referencing take on "Prison Life,"complete with a skit and a '77-style punk outro; Dymaxion'ssample-heavy "What is the Product?" is well-constructed and, though itbarely avoids being overly-quirky with its Speak'n'Spell samples, fitswell within the Numbers aesthetic. Kid 606's obligatory remix (of "WeLike Having These Things") is undeniably (and uncharachteristically?)catchy with a melodic pulsing bassline, and the Numan-esque synth soloat the end is really quite pretty. GD Luxxe's "Get Away Mix" of "PrisonLife" comes closest to the perfect remix in the traditional sense ofthe term. He keeps the basic feel of the song intact, reproducing theoriginal bassline and sampling Numbers' vocals, while adding verses ofhis own. The end result is a remix that stays true to the sourcematerial, while at the same time becoming a definitive GD Luxxe track.Caro and Kit Clayton also add their own lyrics to their interpretationsof "Intercom," and "Information," respectively, but it's GD Luxxe'strack that works best in this respect. The most notable divergence fromthe four-on-the-floor is Stars As Eyes, who buck the trend byconverting "I'm Shy" (retitled "I Have a Headache This Big") into adark post-rock anthem, propelled by a one-note guitar line a la theSupremes' "Keep Me Hanging On." Credit should also be given to Stars AsEyes for being one of the only remixers to utilize Indra Duris' drumsounds, instead of replacing them with a quantized drum machine beat.As with any remix album, there are some less-than-stellar tracks, butthey're in the minorit. (If I'm forced to name names: Dwayne Sodahberk,DAT Politics, and Uprock.) Most likely the reason that Deathworks better than most remix albums is because Numbers' source materialis open-ended enough to allow a myriad of remixing possibilities, mostof which are just damned catchy.
Palestine's music is not very well known today, partly because thereare few recordings available, but also because he moved on to othermedia as the massive commercialism of minimalist music developed in thelate seventies and eighties. His seemingly narrow escape from the titleof "minimalist composer" was fortuitous since what that has come toimply in musical terms today does no justice to his work. His music isdistinct from what became mainstream minimalism by its focus on soundrather than process and its deep emotional expressionism as opposed toaesthetics, grandeur and polish. Thus Morton Feldman is a much closerneighbor than is Steve Reich. "Schlingen-Blängen" is a drone organpiece which demonstrates Palestine's genius for pulling unbelievablesounds, colors and effects out of a familiar instrument. It isbasically one chord sustained for seventy minutes with infrequentadditions and removals of tones and changes of registration. Thisapproach to making music, of using stasis to force the listener intoconcentration on the sound itself, is very difficult to do well and Ihave never heard it so successfully performed as on this disk. First,there is the choice of the initial chord and its registration andalready it is clear that the musician has exquisite taste andexpressive powers, not unlike Messiaen in those aspects. Then beginsthe impressionism. The old Dutch organ in the church of the smallFriesland village of Farmsum Delftzijl starts magically to sing its ownmelodies and rhythms without the player needing to move any controls.The illusion of rapid activity is the result of interferences among thecomponents of the chord within the organ and the church. Such effectsare not unfamiliar but their depth and extent here are staggering.Above the dazzling impressionism is the expressionism, these rapidcycles of intensity, melody and colors, as though they were playingsome non-existent process-music score, are as painfully beautiful asthe original chord. Palestine's comment, "I'm the living hybrid in myown work of the physical gesturality of Jackson Pollock and thespiritual color chemistry of Mark Rothko," hits the nail on the head.The quality of the recording conveys enough of the massive physicalityof the experience to be satisfying while still conveying the sadnessthat one couldn't have been there. The acoustic space of the old churchis precisely rendered. Anyone that enjoys drone music and static soundpainting in any genre should own this CD—Charlemagne Palestine's musicis the archetype. 
If Matmos albums can be considered electronic records for the mind,Drew Daniel's first full-length record as Soft Pink Truth isundoubtedly an electronic record for the ass. Do You Party?should probably contain a warning that 'chunky subhuman basslines atloud levels (from the opening track, "Everybody's Soft" and permeatingthroughout the entire disc) may cause uncontrollable rhythmic pelvicmovement.' Here, Daniel has gotten in touch with his sexy inner discodiva, still dancing down at Club Uranus. Do You Party? like acoming-out party, where everything that has been building up for yearsfinally manifests and explodes for the whole world to see, hear, feeland enjoy. Along with catchy melodies and punchy beats, the album is aparty mix littered with samples upon samples, tactfully andrhythmically integrated words and sounds accent beats which make for alisten both entertaining as it is dancable. The overload of samples islike a box full of a collection of keychains or souvenir spoons thatfinally needs to be emptied from the quirky "girl oh girl" samples from"Tender Studies" to grunting and groaning samples elsewhere. BlecchyBlevin Blectum has joined in for a vocal contribution to thehead-spinning Vanity 6 cover tune "Make Up," thumping enough to givemost electroclashers an example to follow. Daniel's partner in crime,Martin has donated a few synth lines here and there, but sounds ofsurgery or other musically-forged field recordings are nowhere to befound. This album isn't built for headphonic solitude or an employer'scomputer speakers, but can be fully appreciated on a bass-flatteringsound system, in the clubs, at home, or in a vehicle pimped-out withcustom rims and tinted windows. What you -can- enjoy on your computer,however, is the bonus of the included video for "Promofunk." Now ifonly I could get my hands on those 12" singles. 
