Brainwashed Radio: The Podcast Edition

Rubber ducks and a live duck from Matthew in the UK

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.

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Bohren & der Club of Gore, "Geisterfaust"

Nothing can stop this band from forcing me to participate in the most sinister of feelings. They're soaked in evil, sex, and those lonely and terrifying sensations that only open, dead spaces can convey. Bohren und der Club of Gore associate themselves with doom metal via their own website, were formally a self-described "hardcore" metal act, have all the mystery and intrigue of the best David Lynch films, and yet none of these descriptions get to the core of this quartet's sound.

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Mitchell Akiyama, "Small Explosions That Are Yours To Keep"

I wrote about Akiyama's last record, describing him as a kind ofaccidental hero of the instrumental glitch musicians. His newerrecordings, alone or with Desormais, channel the same tugging, emotivebaggage and fragile tension as other real-time deconstructionists(clearest touchstone: Christian Fennesz), but Akiyama's are mostcomplex, less dependenton a single instrument or one's traditional referents.
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"Drums of Death"

I was skeptical about the potential clusterfuck of a record featuringDJ Spooky, Dave Lombardo (from Slayer), and Jack Dangers, but thepresence of two of my favorite MCs of all time, Chuck D and Dälek,pushed me over the edge into "I've got to at least hear this"territory.
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ISLAJA, "PALAA AURINKOON"

While I wasn't paying attention, Finland seems to have become the newIceland. All the new underground acts worth knowing about these daysseem to hail from the sub-arctic climes of Helsinki, Tampere orJyvakyla.
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PHARAOH OVERLORD, "#3"

Though they are also from Finland, Pharaoh Overlord have scrupulouslyavoided getting lumped into the "Finnish Underground" category typifiedby Es, Kemialliset Ystavat, Avarus, etc. This is largely because theirbrand of churning, plugged-in post-Krautrock shares little in commonwith the often amateurish, willfully obscure acoustic noodling of theirgeographical contemporaries.
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"Monika Force"

Monika is the label founded by Gudrun Gut, formerly of German post-punknoir quintet Malaria!, a group that enjoyed renewed interest lately,after Chicks on Speed turned their song "Kaltes Klares Wasser" into anelectroclash anthem.
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"4 Women No Cry"

This is supposedly volume one of a series of CD/double-LP No New York-styledcompilations from Monika, all featuring 4 new female artists, eachallowed one-quarter of the running time, one vinyl side. I'mimmediately doubtful that the label will be able to maintain this levelof quality control over a larger series.
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Gang Gang Dance, "God's Money"

This Brooklyn based quartet have hit their stride with their secondproper full length release (not counting CD-Rs and higher-profilereissues of CD-Rs). Although the side-long explorations of disjointedrhythms and free form noise of their previous releases were enjoyablein their chaos, God's Moneyis the sound of a band that has found their strengths and discovered away to present them in a more coherent fashion.
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DUNGEN, "1999-2001"

For the cross-generational group of indie psychedelic rock fans that I like to call the Terrascopers, last year's Ta Det Lungtby Swedish group Dungen was a revelation. This is not to suggest thatmany others before Dungen hadn't also explored the same generalpost-Beatles territory, but merely that no one had done it with quiteas much aplomb and effectiveness as Dungen, at least not since theglory days of Elephant 6 groups like Olivia Tremor Control.
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Sybarite, "Dolorous Echo/The Mast"

Xian Hawkins composes some of the most elegant and addicting music, butremains somewhat lost in the tidal wave of other electronic composerscurrently active. It's a shame because, as Sybarite, he manages tocoerce soft, seductive, and contemplative songs out of his machineryand his music never gets old; it's never lost in an emphasis onproduction or artiness.
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