The four untitled pieces that make up this (similarly untitled) cassette were recorded one November in 2016 as John Olson (Spykes) was in the upstate New York area and looking to collaborate. Thus enters electronics virtuoso Mike Griffin (Parashi, also a member of psych rock collective Burnt Hills), and the two got together in Griffin's suburban basement studio. With Olson in full on psy jazz mode and Griffin manning the pedals, the final product is a combination of two disparate, yet perfectly complementary performers.
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Back in 2001, Eyvind Kang recorded an absolutely wonderful album on Sun City Girls' Abduction imprint (Live Low To The Earth In The Iron Age), which I naturally missed because everything related to Sun City Girls was maddeningly difficult to find in those days. Also, I was not at all familiar with Kang back then, though he has long since become a reliably ubiquitous presence in the experimental music scene. Sadly, Live Low is still woefully out-of-print, but Kang has finally recorded its follow-up anyway. Plainlight is quite a bit different from the drone- and shoegaze-influenced post-rock of its predecessor though, as the only real consistent thread between the two is a vague aesthetic of rustic psychedelia. Instead, the two albums feel like very different stages of the same long journey, which is a large part of why Plainlight took so long to appear: Kang did not want to repeat himself and patiently waited until the next stage of this project's natural evolution finally revealed itself. If Live Low To The Earth can be said to resemble a slow, subtly hallucinatory journey across a vast, open plain, the more structured and ritualistic Plainlight is a glimpse inside an ancient and remote temple nestled in the mountains.
I cannot think of many other projects that have been quite as instantly revered as Fred Welton Warmsley III's Dedekind Cut, nor can I think of any other artists who could comfortably fit in at both Hospital Productions and Kranky. Tahoe, Warmsley's first album for the latter, admittedly focuses primarily on Dedekind Cut's more meditative, drone-based side, but there are still some moments ("Spiral," for example) that would not seem out of place on a Raime or Haxan Cloak album. That shifting and elusive aesthetic sometimes leads to some unusual sequencing choices and disorienting mood shifts, but any potential grumblings I may have about Dedekind Cut's fitfully focused vision are silenced by how gorgeous these pieces can be when Warmsley hits the mark (which he does with truly impressive frequency). This is one of the best albums that Kranky has released in a long time.
The Skull Defekts have long been one of the most baffling, wonderful, and unpredictable bands in underground music, equally likely to dazzle, disappoint, or just thoroughly confuse me with each fresh release. While far from infallible, they were also a restlessly experimental, viscerally heavy, and frequently fascinating creative force. Consequently, I am very sad to see them go, as The Skull Defekts is the band's farewell album (though a bit of the band's brutal alchemy continues to live on in The Orchestra of Constant Distress). As far as swan songs go, however, I am pleased to say that The Skull Defekts' final chapter is an especially strong one, inventively balancing noisy experimentation, art-damaged rock, and visceral brute force.
This confident and well-balanced record by multi-instrumentalist and producer Jason Wietlispach confounded my high expectations. From the intriguing choice of instruments and the way they are played and recorded, to the subtle variety and flow of the music, it is an inspired assemblage of diverse musical elements. Some are finely layered and deliberately structured, others more improvised, but all add to the unfussy atmosphere and clear sense of direction pervading Oak Creek Recordings.
Cedars is the second collaboration to be released between electronic artists Alan F. Jones and Derek Rogers, though unlike the previous Repetend, Parallax (2015), this is a live recording, rather than a studio collaboration. Recorded in May 2017 in Dallas, Texas, the single piece that comprises this album highlights the different, at times contradictory approaches Jones and Rogers have towards art and composition, and the whole performance seems to be defined by these contrasts, yet somehow the overall sound gels together brilliantly.
The Turkish artist Ekin Fil (also known as Ekin Üzeltüzenci) follows up her excellent 2016 LP Being Near (also available on Helen Scarsdale) with two distinctly different, yet both exceptional new releases. The reasons for these differences are obvious, with one being a conventional album and the other a film score, but each also cast a focus on different aspects to her work, with the former emphasizing her unique pop sensibilities within a traditional song framework, while the latter her approach to electronics and production.
Remarkably, this is Silvia Kastel's first solo full-length album, which is an improbably late milestone given that she has been prolifically releasing a steady flow of unusual and inventive tapes and collaborations for almost a decade. Her aesthetic over the years has been quite a chameleonic and unpredictably evolving one, blithely delving into noise, no wave, sound art, modular synthesizer experiments, and a genre-blurring array of other excursions. Characteristically, Air Lows is similarly hard to categorize, but its shadowy, deconstructionist vignettes are certainly a good fit for Blackest Ever Black, evoking the feel of a sleepwalker slowly making their way through an abandoned landscape of urban decay. Some of these pieces are admittedly more fully formed than others, making for a bit of an exasperating whole at times, but the stronger moments definitely have a darkly languorous allure.
