While Sleeping People are a talented group, with a secret weapon in theacrobatic drumming of Brandon Reif, the mathematical riffage and roughand tumble timekeeping strikes me as ho-hum and fairly bland. Theintricate fingerprints of Don Caballero, King Crimson, and any numberof duel guitar bands that recorded for Dischord throughout the 1990s areon clear display here.
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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I’ve never really understood the glam-rock tag that Bobby Conn gotsidled with in his solo work. Sure, the dude and his band, the GlassGypsies, dress in sequins and gold lame stage outfits, all but invitingcomparison to the coke addled heyday of Ziggy Stardust.
Et Sans latest release (and first) on Canadian label Alien 8 is analbum that finds the band pushing themselves in familiar yetchallenging directions. The four tracks here burst at the seams withideas and inventiveness, all while managing to remain uniquelyaccessible to those unfamiliar with their influences.
Did you ever wonder where Grace Jones and Miss Kittin learned all their moves? Look no further than Gina X Performance's 1979 electro new-wave classic Nice Mover. This, along with their follow-up, X-Traordinaire, have been reissued by LTM and given the special LTM treatment with restored artwork and bonus tracks.
When I was in high school, my friends and I used to have thisdiscussion all the time about how Jack Dangers had such a signaturesound that he could take anyone else's song and remix it into somethingthat was unmistakably Meat Beat Manifesto. It shouldn't come as anysurprise then that some fifteen years later when Dangers has taken onthe task of producing a jazz record for Thirsty Ear, that the result still sounds like quintessential Meat Beat.
Infraction has been a label to watch for some time. With each newrelease the label showcases a list of consistently excellent artistswhom are always trying to bend sound towards new pleasures.
Few records have the severity of depth that this one carries with it:developing and fluid in its every contour, ever-present, but alwayshiding behind the shape of a shadow. There is no resting point, nosound or simple feeling that these four pieces lean on in order tocarry out their miles-deep melancholy.
