Brainwashed Radio: The Podcast Edition

Art table in Hammond, Indiana photo by Hilary

It's another weekend of multiple podcast episodes of brand new music and gems from the vaults.

Episode 694 features Belong, Annelies Monseré, People Like Us, Chihei Hatakeyama & Shun Ishiwaka, Causa Sui, Lee Underwood, The The, Dadadi, Nový Svět, Shuttle358, Keiji Haino, and Peter Broderick & Ensemble 0.

Episode 695 has Miki Berenyi Trio, Shackleton & Six Organs of Admittance, Olivier Cong, France Jobin & Yamil Rezc, The Cat's Miaow, Daniel Lentz, Efterklang, Mick Harvey, Lightheaded, Internazionale, Dettinger, and Jóhann Jóhannsson.

Art table in Hammond, Indiana photo by Hilary.

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Black Mountain, "In the Future"

Arrayed in dystopian garb and armed with righteous indignation, Black Mountain's newest record explodes and pounds in unison with the bombs and wars that populate Stephen McBean's lyrics.
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Stephanie Hladowski, "The High, High Nest"

The story is that these four songs are all that's left of Scatter's scrapped final album. As that free folk assembly went on their separate ways, thankfully vocalist Stephanie Hladowski has collated the tracks into this 10" EP. It feels like these songs have been pulled through the liquid mirror of a now-closed world, with this world being better off for having them. These brief glimpses of the past reveal themselves as further puzzle pieces in the reconfiguration of British traditional songs as part of a living present.

 

Singing Knives

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Matt "MV" Valentine, "P K Dick"

The MV half of MV&EE creates tense, cosmic music with very little. His meandering voice and sparkling guitar sound lonely, weird, and oddly comforting. A good match, actually, for some of Philip K. Dick's obsessions: identity, authenticity and transformation.  

 

Time Lag

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Genocide Organ, "Remember"

cover imageSome nine years ago I remember hearing much about this German industrial/power electronics band, mostly about their ultra limited LPs that fetched exorbitant amounts on the then-nascent eBay, so they instantly had cult appeal.  Dear reader, remember: this was before the days of widespread file sharing, commonplace CDRs, etc,...  So I was unable to actually hear what all the fuss was about until a friend recorded me (to MiniDisc, no less), a copy of the double live LP Remember, which I instantly remember loving.  Fast forward a few years and their entire discography is online, and I remember feeling let down once I heard these original albums.  They're not bad by any means, but they didn't quite live up to the hype that had been generated.  Now, ten years after its original release, Remember is reissued on CD, with 18 minutes of extra material recorded between 1997 and 2000.
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Suzuki Junzo, "Pieces for Hidden Circles"

cover image Compared to the other releases in the ARC series, Junzo's work stands out as being one that is very different in style and approach. Rather than seeming overly experimental or esoteric, it instead goes for an acid tinged psychedelic approach to folk and blues that still manages to convey its own sound. It isn't as dark as some of the previous discs in the series, so it would seem that ARC releases are ending on a slightly brighter note. However, there is a great deal of emotion and passion felt in the minimal guitar strums and chords.

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Griefer, "Brute Force"

cover image Noise and power electronics is always so often heavily entrenched in fascist imagery, serial killer worship, sexual depravity, etc. Not that there's anything wrong with any of that, it just gets trite after a while. Griefer instead opts to create a thematic work based around the Internet and hacking, and the imagery seeps in from the packaging and track titles into the overall sound, giving it a very cohesive feel. Although it doesn't break any new ground genre-wise, it does offer a fresh take on the established that fans will enjoy.
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Maëror Tri, "Ambient Dreams"

Before becoming Troum, Stefan Knappe and Martin Git, plus Helge Siehl, operated as Maëror Tri, releasing a slew of strange, dark albums in limited runs on cassette. Ambient Dreams first appeared in 1990 in an edition of only 18 copies but finally gets a wider release in its CD debut. Using only natural sound sources without electronics, the group crafts an eerie and gripping recording that still sounds startlingly fresh today.
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"Persian Electronic Music: Yesterday and Today, 1966-2006"

Expecting a compilation of various Iranian electronic artists from the past 40 years, I was a little disappointed to discover that this two-disc set only covers two artists, the older Alireza Mashayekhi and the more recent Ata Ebtekar, aka Sote. Even so, the music found within is as wild and vivid as anything I could have hoped for and a decent enough introduction to some of the ideas at work in avant-garde Iranian music.
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Zeni Geva, "Maximum Money Monster"

The music of Zeni Geva has variously been described as heavy metal, noise rock, math rock (apparently because of their use of atypical time signatures), death metal, thrash metal, sludge metal, doom metal and industrial metal; in truth it is all of these categories while at the same time travelling far beyond the trite parameters and restrictions usually associated with them. Maximum Money Monster originally debuted in 1990 and here includes three extra live tracks as bonus material.
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Tarab, "Wind Keeps Even Dust Away"

cover image This is the second release from Eamon Sprod's field recordings project and a wonderful collection of sound collages. In spite of a fairly hackneyed premise (the beauty in decay), he has created a number of fragile compositions that wander somewhere between Chris Watson's clear recording style and Francisco Lopez's disorientating approach to presenting sound.
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