Made in 1986 by two aspiring documentary filmmakers from Baltimore, Heavy Metal Parking Lot has since become an underground cult phenomenon and probably one of the widest seen documentary short-subjects ever produced. This DVD release is the first for HMPL, pulling the film out of the underground bootleg VHS tape-trading culture in which it has thrived for two decades by word-of-mouth alone, and into the mainstream, adding commentary, outtakes and hours of nifty bonus features.
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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On the second full-length from Drop The Lime, Luca Venezia throws down heavy beats that probably won’t lure anyone not previously so inclined onto the dance floor, yet the album never gives those already there a reason to leave.
Norway’s Terje Isungset returns to the Ice Hotel for his follow-up to 2002’s Iceman Is. Like that album, all the instruments used are made from ice, including ice percussion, iceofon, icehorn, and iceharp. Joining him is Sidsel Endresen, who co-wrote many of the songs and contributes vocals, for an album of ethereal, crystalline beauty.
Brooklyn’s Dirty on Purpose cannot help but make elegant compositions out of simple ingredients. Layers of multi-tracked vocals, glittering melodies, and a subtlety of drone stack up in each song. This could be called space rock if it weren’t so firmly grounded in the terrestrial. It’s better described as dream-pop because the songs celebrate many of our earthly delights but viewed, perhaps, through the haze of a dream or memory. Hallelujah Sirens is a smart collection of songs which could be campfire serenades, lakeside dirges, or starry-eyed minuets.
If Songs Could Be Held is an incredibly bad album. Granted some of the music is pleasant and the entire disc is well produced but the songs are boring and mediocre at the best of times. Thomas is one of those too serious but not interesting enough singer songwriters that are ten a penny these days. There are dozens like her in every city, anyone can go see another identikit performer for free so there's no point in wasting money on this.
On her second album, Italy's Miss Violetta Beauregarde packs 16 songs into a mere 20 minutes, yet each one brims with more ideas than some bands' entire albums. Created from crappy electronics, glitch beats, screams, with occasional samples and other noises, her frenetic, anarchic nihilism is a much needed kick in the head.
Anyone that manages to weave a mystery around them are bound to win some fascination from appreciators and press alike. Whether or not there's any substance behind their mystery is another story altogether. Uton unveils floating events and sounds in the same way a magician unleashes doves from a hat or a sleeve, but without the awe or sense of wonder. Mystery Revolution amounts to a bunch of floating stuff and very little more.
This isn't the first extra-curricular activity from Low's main singer/songwriter to surface, however, those who are looking for something like "Sleep Song," or Hospital Children or Black Eyed Snakes type recordings are in for a surprise. The title of Solo Guitar should be a hint, as this recording is more for the fans of the uneasy listening of Loren Mazzacane Connors or Keiji Haino on a calm day.
Christian McShane and Aaron Molina make music from instruments that they don’t know how to use (this is a deliberate move, not a criticism of their playing technique!). On this fourth album by the duo, they are joined by a few guests to jam out a few improvisations. The music they create ranges varies in quality but there are some choice nuggets dotted throughout the disc.
On the surface, Follow the Train’s full-length debut has it all. The production is sumptuous, and the skilled musicians frequently create gorgeous, yearning passages. Even the cover is vaguely arty and aesthetically pleasing. Scratching a little deeper, however, I found ordinary lyrics, sometimes painfully so, and little else that generates much excitement.
