Coming in under the wire at the end of the year is this flawless EP from Rjyan Kidwell. While Sketchi on Temporary Residence was the most recently released full-length album by Cex, Exotical Privates is linked to his last release on Automation, last year's fantastic and underrated Actual Fucking with Nice Nice. Billed as remixes from that LP this EP stands on its own perfectly well.
Two new shows just for you. We have squeezed out two extended release episodes for this weekend to get you through this week. They contain mostly new songs but there's also new issues from the vaults. The first show features music from Rider/Horse, Mint Field, Robert Aiki Aubrey Lowe, Anastasia Coope, ISAN, Stone Music, La Securite, Bark Psychosis, Jon Rose, Master Wilburn Burchette, Umberto, Wand, Tim Koh, Sun An, and Memory Drawings. The second episode has music by Laibach, Melt-Banana, Chuck Johnson, X, K. Yoshimatsu, Dorothy Carter, Pavel Milyakov, Violence Gratuite, Mark Templeton, Dummy, Endon, body / negative, Midwife, Alberto Boccardi, Divine. Cow in Maui from Veronika in Vienna. Get involved: subscribe, review, rate, share with your friends, send images!
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Back in 1993, Inade released Burning Flesh on two cassettes which immediately made an impression on the underground music scene, with its blackest of black dark ambient sketches and soul-crushing gloom, and established the reputation and credentials of the two protagonists René Lehmann and Knut Enderlein. The follow-up, Aldebaran, originally released in 1996 equally caused something of a commotion when news of its imminent reissue–in a new third, unlimited, edition–emerged earlier this year. For those of us who missed it the first time around, myself included, this has been something of a much anticipated release.
Dark, brooding music from Norway usually involves corpse paint and an obscure relationship with Satan or other so-called dark forces; indeed, restraint and delicacy are hard to come by in the world of spiked gauntlets and troll vocalists. On the other hand, bands like Ulver write albums like Shadows of the Sun, demonstrating that fragile arrangements and understatement are often more oppressive than any heavy-handed guitar riff.
With Heather Leigh turning her pedal steel loose on audiences across Europe, this live disc is more sonically aggressive than her previous releases. In performance Heather might have usually sat static at her pedal steel tearing at the strings, but the sounds still have the ability to rear up and forward like some venom sluicing cobra. Her evolution towards something between the state of song and primacy continues, but this time with sinews motorized by force.
This is a reissue of a reissue, the original version of consolidated Burning Witch's two releases onto one CD. This new version splits them onto separate discs and includes other tracks recorded at the time that ended up on split releases with Goatsnake and Asva. Considering Burning Witch releases are now nigh on impossible to find, it is a good job Southern Lord have made this (rather lovely looking) package. The music is heavy beyond heavy; by the end of the two discs I am left with a feeling of having pushed a boulder up a hill for eternity and thinking that eternity is not long enough.
The phenomenal Trunk label keep up their unique work by giving Marc Wilkinson's score for a 1971 cult British horror movie its first ever release. Film fans, soundtrack aficionados, and addicts of obscure music will all be thrilled, as Blood on Satan's Claw is beautiful and disconcerting in equal measure.
All the trademark stylings and sensibilities that have helped to propel Masami Akita's name to the top of the list of respected noise artists are here in abundance on this single 41:29 track CD, released on No Fun's own No Fun Productions label and wrapped in a gorgeous cover drawn by Akita himself.
This Portland, Maine based group are members of art-punk-prog-chaos collective Cerberus Shoal along with North East Indie labelmate Micah Blue Smaldone reinvented as a kind of mutant 'bluegrass/folky' quintet using traditional instruments (plus a few unusual ones) such as upright bass, banjo, piano, harmonium, and accordion in addition to harmonized vocals. This is anything but traditional bluegrass or folk, however, as there's a distinctly uneasy edge and fractured sense of reality bordering on dark psychedelia that removes it a million miles from the mainstream forms of those genres, while also acknowledging the debt owed to those uniquely American styles of music.
It's good to know that rock music isn't truly dead. Sure, the coroner has been called out many times to check the corpse, but as long as albums like this are around, there will be a bit of pulse left in the ol’ body. Here is yet another recontexualization of the various fragments of rock in the past four decades into a unique brew that doesn’t specifically sound like any previous band, but the vibe of their legacies are definitely there.
