Originally composed for five channel video installations by artist Byron Westbrook (who has worked with the likes of Rhys Chatham and Phill Niblock), the four pieces that make up this album stand strongly on their own as a traditional two channel listening experience. Based upon a variety of pre-recorded and live sources, some of which were weaved together to create singular works, the results often show little semblance of their original forms and become something else entirely.
Look up Music for gazing upwards brought to you by Meat Beat Manifesto & scott crow, +/-, Aurora Borealis, The Veldt, Not Waving & Romance, W.A.T., The Handover, Abul Mogard & Rafael Anton Irisarri, Mulatu Astatke, Paul St. Hilaire & René Löwe, Songs: Ohia, and Shellac. Aurora Borealis image from California by Steve. Get involved: subscribe, review, rate, share with your friends, send images!
|
While I have always associated Shiflet with his harsher noise output, his work goes much deeper than that, and this self-released album demonstrates his versatility. His synthesis of harsh noise, droning textures, and hidden melodies showcases a careful equilibrium that he retains throughout.
I have yet to encounter a disappointing major Dust-to-Digital release, and this three-disc collection of the choicest bits from John Heneghan's archive of early 78s continues that hot streak beautifully.  Focusing entirely on the many facets of romance (and not skimping on the negative ones), Heneghan wisely opts to skip most of the "serious" artists from the era and instead plunges headlong into the most satisfying examples of hillbilly kitsch, Hawaiiana, casual racism, yodeling, clumsy lewdness, and spectacular poor taste that the '20s and '30s had to offer.
This 1967 recording features an intriguing line-up of alto sax, cello, and two bass players. Since Tyler played on Albert Ayler's Bells and Spirits Rejoice it is no surprise that on his own album he challenges the other musicians to explore restless improvisation and avoid locking into too much of a groove.
Giuseppe presents an extraordinarily sucessful and ecumenical set of turntable jams on the third and final EP in his Stunt trilogy. With fragmented samples bent into dance cadences and abrupt vocalizations serving as melodic leads, (third) Stunt smacks of both Oval's glitch-worship and Autechre's cold symmetries circa Tri Repetae. More soulful than either, Ielasi stays ahead of his influences by injecting his signature ambient glow into the mix and by adding a touch of dubstep grit.
As a duo of drummer Marshall Trammell and guitarist/electronic specialist Zachary James Watkins, Black Spirituals work with unconventional arrangements. The immediate reference point I thought of, Lightening Bolt, is anything but appropriate as far as music goes. While that duo's sound was based upon rapid-fire freak-outs and spastic thrashing, Trammell and James are more deliberate, methodical, and disciplined, but no less thrilling or engaging.
Blood Bright Star's Reuben Sawyer might be primarily known as a visual artist, but his growing discography as a musician indicates that he is a man of many talents. The Silver Head, a four song 12" has him locking into a classically minimalist groove that pulls brilliantly from post punk, krautrock, and metal. The results retain just the right amount of experimentation, while still resulting in a memorable suite of songs.
Although Jeff Witscher is best known these days for his work as Rene Hell, he has actually been on the scene for quite a long time and has cycled through a number of both guises and styles.  One of his more beloved early projects was this one, which was reserved for his ambient drone work.  Unfortunately, most of Marble Sky's releases were only available as limited-run cassettes, so this collection of that rare material is quite a useful and timely one.  While there is probably nothing here that anyone will find stylistically revelatory in 2014, Witscher's execution is quite superb, striking the perfect balance between dreamy bliss and frayed, static-gnawed edges.
