Primarily the duo of Heather Young and Noah Anthony—though others have been dragged in along the way—Social Junk uses pounding beats and minimal synth to concoct some of the most pummeling pop this side of the sun. With drenched vocals and spare but wisely utilized parts the duo draw on tactics as far reaching as industrial, post-punk and Krautrock in their rugged and broken songcraft. This, their most recent sonic tastament, reaches even further into their warped world.
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Marc Richeter's Black to Comm project has always been more or less singular in its scope, seeking no less than than the outer reaches of deep drone meditation. Calling on Renate Nikolaus and Ulf Schutte to contribute electronics, bells, percussion, violins, water and more on top of his own monolithic organ play, Richter has crafted a monster with this lone 35-minute piece. Just make sure submersion is an attractive state before descending.
Carelessness, especially the calculated variety, has become a default pose for the indie rocker of today. The music of Dustin Wong radiates the same casual sensibility, but that comes from his art rather than his manners. His first solo album, Seasons, is lazy, lighthearted, and scatterbrained, but Wong's musicianship welds its disparate elements into a unified piece of art.
The passing of bassist Evan Farrell was enough to make Jason Molina think about breaking up the band, according to some recent interviews. Instead, Molina turned to his guitar and ended up writing what might be the best Magnolia Electric Co. record since the group's 2003 debut. Josephine finds the band looking forwards and backwards, breaking new ground and mining old territory and creating something strangely seductive in the process.
This marks an enormous progression from the Cremations compilation released earlier this year: there are no sound experiments or atmospheric interludes here, just killer noise-ravaged synthpop. Cold Cave's proper full-length debut (on Wes Eisold's own Heartworm Press) was well worth the wait. Also, it is amusing to note that some of the most memorable and danceable indie pop songs of the year involve Dominick Fernow of Prurient.
While no one would ever call them a "singles" band, Loop certainly did put a great deal of great tracks on 7" and 12" singles and such that never made it to their albums, except as bonus tracks on hasty CD reissues. This was originally a single disc compilation from the late 1980s of mostly Heaven’s End era singles and b-sides, but this new reissue adds in everything from the more obscure Eternal album (Fade Out era tracks), as well as a smattering of latter period singles and other unreleased tracks into a three disc compilation that serves as good of an introduction to the band as any.
As their third and final studio album, Loop had mostly excised the 1960s Technicolor psychedelia that had defined their debut, Heaven’s End, leaving only a molten orange lava of layered space rock that was entirely all their own. Like the first two albums, here it is presented remastered and with a bonus disc of outtakes and demos from the era. Even nearly 20 years after its initial issue, the mix of tight structures and improvisation, all pegged out at 11, can give any modern “loud” band a run for their money.
Although recorded at the point of the group’s disbanding in 2001, this album (remixed last year) is publically released to coincide with a reunion of the band. Here aided and abetted by members of Providence’s own Landed, the band that defined Load Records’ sound continues to do so through their own brand of sonic scum.
The latest release in LTM’s Auteur Labels series makes the odd curatorial choice of focusing on just one year in the life of Factory Records and 1984 is undeniably a rather unexpected year to pick- Martin Hannett was gone, the Haςienda (FAC-51) was not yet wildly popular and was still hemorrhaging money, and most of the label’s major bands did not record anything of consequence. Nevertheless, the gamble decisively pays off, as the rarities and obscurities compiled here showcase the freewheeling brilliance, eccentricity, and absurdity of the Factory milieu far more strikingly than any “greatest hits” compilation ever could have.
This carefully arranged and whisper-quiet record on Sedimental squeezes the time right out of life. Kyle Dunn's slow orchestral pieces emphasize tiny movements and utilize subdued instrumentation as a means of stopping the clock and highlighting minuscule developments. The result is a beautiful and flawed record, one that shares a lot with early Stars of the Lid records, but Fragments & Compositions of... is absolutely bare-bones with little dressing and no pretense.
