The sparse credits that accompany this disc do not make clear if this is an actual collaboration or a split release, though it is obvious that Swedish electronics wizard Nilsen leads the way on the first piece, while everyone's favorite industrial percussionist is the focus of the second. Regardless, the cryptic liner notes and black-on-black artwork are completely appropriate visual representations of the dark expanse that constitutes this album.
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As a way of celebrating a decade of his label Intransitive, as well as the anniversary of his first album, Stone Blind, Boston based tape fetishist Howard Stelzer returns to his roots and dissects that early work to construct something entirely new but remaining true to his love of all things cassette.
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.
Kevin Doherty of Sleep Research Facility originally released this album in 2001, based on the first eight minutes of the film Alien and named after the freight ship of which Ripley was a crew member. At the end of 2007, it was reissued with new artwork and a bonus track on the original label.
For their fourth release, these black metallers from Israel have produced an album of no worth whatsoever. The music is unimaginative and some of the lyrics are downright ridiculous; two huge problems that are not redeemed by even a shred of any sort of passion. This sounds like music made by people who understand how the genre should sound but do not actually like it.
Recorded live in the studio over two nights, this is a double CD of jams by the ever wonderful Bardo Pond and Japan's equally loveable LSD March. The music tilts from sounding like outtakes from Bardo Pond's Selections CD-Rs to LSD March's heady live sound. All the descriptions and superlatives that have been attributed to either band apply just as well to this monster of an album that they have spawned.
This single track, 18+ minute improvisation by a veritable super-group of six string abuse and experimentation (including members of Wilco and Sonic Youth), aided and abetted by the No Fun Fest curator and analog electronics wizard, actually has a misleading title. While these guitarists could be expected to create a squall of guitar noise like a bag of wet cats rolling down a hill, it instead shows an admirable level of free jazz type restraint and balance.
