Beefed up to a more rhythmic trio for this release, Religious Knives do their best work so far as part of the so far untouchable No Fun Rotten LP series. Mouthus’ Nate Nelson joins Maya Miller and Mike Bernstein in bringing a secular adhan audience to a matinee horror performance.
Three new episodes for your listening enjoyment. After two weeks off, we are back with three brand new episodes: three hours / 36 tunes. Episode 697 features music from Beak>, Brothertiger, Kate Carr, Gnod, Taylor Deupree, FIN, Church Andrews & Matt Davies, Ortrotasce, Bill MacKay, Celer, Kaboom Karavan, and Ida. Episode 698 boasts a lineup of tracks from Susanna, Nonpareils, KMRU, A Place To Bury Strangers, final, Coti K., Dalton Alexander, Akio Suzuki, The Shadow Ring, Filther, Aaron Dilloway, and Ghost Dubs. Episode 699 is bursting at the seams with jams from Crash Course In Science, Chrystabell and David Lynch, Machinedrum, Ekin Fil, Finlay Shakespeare, Actress, Mercury Rev, Dave Brown / Jason Kahn, øjeRum, d'Eon, Jeremy Gignoux, and Shellac. Mountain photo taken in Japan by Chris. Get involved: subscribe, review, rate, share with your friends, send images!
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Nadja is the heavy guitar-driven project between Aidan Baker and Leah Buckarell. Listening to the overloaded intensity and slow, but forceful grit is like trying to stand firm while being deluged with gigantic buckets of shockingly cold water.
Floret Silva is a pure 70s art rock project, from concept to execution, a progressive folk adaptation of the 13th-century medieval songs collectively known as the Carmina Burana. Remarkably, it does not collapse under the weight of its own concept, and holds up quite well nearly 30 years after its recording.
Graveyards are the most organic and traditionally structured of all of John Olson’s (Wolf Eyes) side projects. With improvisational jazz relying more these days on chemistry than the highs and distances of what’s left to explore, this trio are consistently drawing me ever closer, and deeper, to the heart of their sound.
Dwayne Sodahberk's latest for Tigerbeat6 pushes some of the glitchy electronics with which the artist is often associated to the background, allowing the simple pop melodies to rise to the fore. Though perhaps less experimental than some of his other work, Cut Open wins by being direct.
Anticipating a new full length, Sonig reissues every side of non-album Lithops material on one disc, with unreleased tracks from the same time period. At least three of these singles have been long out of print, and as bittersweet as it is to see my $2 copy of “Tubino-see-through / Filterabend” (Static Caravan 1, clear-vinyl, hand-stamped sleeve, decal insert) swiftly devalued, having the rest of these immediately available is almost better than a new record from Jan St. Werner.
Maybe it’s a bit too early to call, but right now I’d say it is safe to say that Stay Afraid, the latest release from Brooklyn noise-rockers Parts and Labor is the first great fist-in-the-air rock record of 2006. With all the instruments jacked up within an inch of their lives, the band goes flat out on every song here, and comes up victorious for the most part.
2nd Gen mastermind Wajid Yaseen also works under the alias Uniform with partner Alice Kemp, and Protocol is their latest effort for Planet Mu. Despite Planet Mu's ruptured dance tendencies, 2nd Gen's reputation for heavy break beats, and Uniform's first album for Ad Noiseam of abstract beat compositions, Protocol takes a hard left turn into unexpected territory.
Japanese instrumental group Anoice cherish melodies over everything. This, their debut release, doesn’t redefine music but it does carve out its own little space somewhere near the sea and sets up its own nest of ideas.
With their sixth full-length album, Drew Daniel and M.C. Schmidt once again approach their music from the conceptual level, hitting upon a brilliant idea and elaborating it perfectly. The ten "audio portraits" that comprise the album evidence a precision of concept and working method that is almost fetishistic in its exactness, but nonetheless provides an engaging, humorous and often illuminating listening experience.
