The project's name may have instantly rang a bell in my head as a nod towards the band Total, but I’m not sure that everyone lives in a world where that connection would have been made; sadly Matthew Bower is not yet a household name. Actually playing this vinyl took a step further in revealing a moderate debt towards Bower's drone projects. This debut release from Kevin Doria's (half of Washington's weighty Growing) extra curricular pursuit has been rescued from the 2005's graveyard of cassettes revealing two heavily gorgeous slabs of fucked modern prairiescapes.
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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This international release of the Swedish singer's 2005 debut (originally only released in the icy north of Scandinavia) is a joyous collection of gentle pop music. The music is quite retro sounding, harking back to the likes of Joni Mitchell but less cloying and with enough of an edge to set it apart from the thousands of other singer songwriters that have passed through my tired ears. Until Death Comes is not a perfect album but it is a perfectly good way to spend half an hour.
This collection acts as a fantastic introduction to Sally's solo work and fronting the Sumacs. A versatile singer and talented composer with work in various genres, Doherty's name shouldn't be unfamiliar with Sol Invictus fans and those who trolled the World Serpent catalogs ages ago. This disc compiles music from her albums from 1996 through 2002, mostly originally distributed by World Serpent, along with some previously unreleased material.
Over two years after becoming the first dubstep producer to drop a full length album on a high-profile indie label, Mark Foster follows up his unshakably steady stream of vinyl-only classics with a sophomore selection full of explosive exclusives.
The duo of Manuel Stagars and Neil Carlill make strange but for the most part not very compelling music. This album has its genuinely great moments but there is a lot of dross to sift through first. Vedette may have the potential to make a truly brilliant album but they fall short on so many of the songs that it leads to a frustrating listening experience.
Considering there are 14 different artists on this compilation it is surprising how little variation there is on offer. All the tracks are similar explorations of airy, glitchy, and formless ambience. Luckily, each contribution is quite good and the album flows nicely, which is not the norm for this sort of compilation. 
Anyone with a seemingly nuclear-powered sound system in their vehicle might consider this record handy to breach urban noise-pollution levels, while simultaneously getting a sleek dose of dub, paranoia, poetry and science fiction.
Mike Kinsella's bedroom poetry has often perplexed me. I could never figure out why someone would present the barest of lyrics in the barest of settings. Though I had always enjoyed Kinsella's American Football project (a band which I have heard that he disowns somewhat these days), I had never really bought into Owen, partly for the natural discomfort it inspired in me and partly because I just didn't understand it. But I have trouble dismissing Owen's latest effort.
Looking at the cover of this album, I imagined Selda's music to be run of the mill acoustic folk; little did I expect the huge and almost psychedelic extravagance of the songs on her self-titled debut from 1976. Some of it is surprisingly modern sounding and some of it sounds kitsch in its own old-fashioned way. Even at its most peculiar it is a remarkable sounding disc.
