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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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With an impressive cast of characters including 2Mex, Saul Williams, and Mia Doi Todd, Thavius Beck's newest record charts a few different paths but manages to carve out a unique path for the LA-based producer. I was a fan of Thavius Beck's last record for Mush, but Thru is even stronger and stranger.
On the third album from A Hawk and a Hacksaw, Jeremy Barnes has held to his word and touring member Heather Trost now joins him in the studio to make a superb collection of new tunes. It is not a break away from the previous releases but it is a continuation of a high quality back catalogue. The Way the Wind Blows hangs together better and feels more complete, especially with the addition of more odd instruments and even stronger arrangements.
This is the product of a collaboration between Italian Gianluigi Di Costanzoand American Brian Salter that wants to come off as a timeless work ofelectronic pop music, but only makes it half-way there. What BochumWelt learns the hard way is that the middle of the road is a dangerousplace to be.
The debut full-length album from Delia and Gavin is like an extended single, comprised of four songs extended to their full potential, each stretching between 11 and 13 minutes, which is the perfect amount of time to pull anybody into 'the zone' and then drop them out before anything bad happens. The jagged, staccato sounds generated by the meticulous sequencing create nothing short of an aural strobe light, in the way that staring at it for extended periods of time can easily tamper with -all- senses of the body.
This 1995 album is one of those extraordinarily rare instances in which a remix album was actually a great idea. For one, it focuses almost entirely on material from Evanescence, an album that many (myself included) consider to be Scorn's peak, capturing Mick Harris during that all-too-brief nexus in which his more visceral impulses and his love of disquieting ambiance were in perfect balance. Then, of course, he managed to assemble several of the most compelling and uncompromising denizens of electronic music's shadowy fringes (Coil, Autechre, etc.) to warp it all to their liking.
The major recurrent theme for Soundway compilations is documenting that fragile and fleeting period when two cultures collide and the resulting music still seems exciting, fresh, and revolutionary. Palenque Palenque certainly fits nicely within that aesthetic, but the absorption of African music into Colombia did not follow a predictable path all, as this is a deeply strange and somewhat baffling album (albeit quite a likable one). Rather than sounding like a Latinized Fela Kuti, some of the artists more closely resemble a young Steve Reich on amphetamines trying to construct an Afro-Latin dance album from tape loops.
This piece for two pianos and a viola was one of the last pieces Luc Ferrari wrote and this recording documents its posthumous premiere along with a rehearsal performance. The two sides of this LP demonstrate that Ferrari was by no means running out of steam by the end of his life. The music as captivating as any of his other works for conventional instrumentation. Tense, violent and beautiful, Didascalies 2 is a potent reminder of Ferrari’s talent as a composer.
For this album the Magic Carpathians have played many roles: field guides, sonic scouts, and acoustic archaeologists investigating the musical heritage of the land they call their home. They have been applying the varnish to some improvised sessions recorded over a nearly sleepless two day period high up in a mountain lodge back in 2008. The results are like the whorls in a piece of wood picked up off the forest floor: fractal like, mesmerizing and endlessly intricate.
It has been three years since the last Amp (proper) full-lengther, the phenomenal 'Stenorette' release on Kranky (produced by Robert Hampson of Main). Since then, there have been a couple releases as A.M.P. Studio (but don't ask me to describe the distinction between entities). While the world awaits another full-length masterpiece, the group has decided to collect recordings made on the road during their 1998/99 European tour, from in-studio performances at AJZ radio in Switzerland and the famed VPRO in the Netherlands.
