Brainwashed Radio: The Podcast Edition

Cow in Maui from Veronika in Vienna

Two new shows just for you.

We have squeezed out two extended release episodes for this weekend to get you through this week. They contain mostly new songs but there's also new issues from the vaults.

The first show features music from Rider/Horse, Mint Field, Robert Aiki Aubrey Lowe, Anastasia Coope, ISAN, Stone Music, La Securite, Bark Psychosis, Jon Rose, Master Wilburn Burchette, Umberto, Wand, Tim Koh, Sun An, and Memory Drawings.

The second episode has music by Laibach, Melt-Banana, Chuck Johnson, X, K. Yoshimatsu, Dorothy Carter, Pavel Milyakov, Violence Gratuite, Mark Templeton, Dummy, Endon, body / negative, Midwife, Alberto Boccardi, Divine.

Cow in Maui from Veronika in Vienna.

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FREIBAND, "FLYING"

Freiband is the solo project of Frans de Waard, one half of Dutchexperimental duo Beequeen. For past outings under the Freiband name, deWaard experimented with Asmus Tietchens-inspired tape-scratching,adapting the techniques into a digital medium and appropriating popmusic from the 1970s and 80s to make a unique form of experimentalglitch plunderphonia. This cute little 3" CD takes this idea a bitfurther, using source material from the Beatles' sole instrumentaltrack "Flying" from Magical Mystery Tour,reducing it to its barest structure and recomposing it for metallic,glitch-y pops and rustling undercurrents of shapeless drone.
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Hive Mind, "Sand Beasts"

Greh, Chondritic Sound's founder, has gotten a lot of attention for hisown noise work, but until hearing this I had no idea why. Death Tone,an album whose name I couldn't even get right, failed to impress mebecause it felt like one continuous spin through the same material thatwas introduced in the first five minutes of its one and only track. Sand Beasts,on the other hand, is a devastating trip through the least flatteringof sounds and, in the end, feels like it could be a recording of theugliest animals on the planet mating.
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Alexander Hacke, "Sanctuary"

Alexander Hacke's new solo album Sanctuary bears some of the hallmarks of Einstürzende Neubauten's last album Perpetuum Mobile, an album that documented the concept of travel in a very tight and streamlined way. Unlike Perpetuum Mobile,Hacke uses a myriad of styles and tempos which make it difficult tolisten to at first.
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Piano Magic, "Disaffected"

Fortunately, the title of Piano Magic's new album is not indicative of the music. There is a certain coldness and calculation to Glen Johnson's ensemble but it does not quite approach disaffection. Part of the album's chill is due to the explicit motif of ghosts and spectral images which cuts across both the music and the liner notes.

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Robert Lippok & Barbara Morgenstern, "Tesri"

With any collaboration, searching for that elusive balance betweenrespective styles doesn't necessarily yield fantastic results, with thepitfalls of compromise and dominance playing significant roles in thesongwriting process. Many times, the sound of one musician will drownout the voice of another.
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MERZBOW, "RATTUS RATTUS"

Everyone pretty much knows by now that it's pretty useless to review anew Merzbow album. Merzbow is Merzbow, and he'll always be Merzbow, andhe "does" Merzbow better than all of the Merzbow copyists out there,and it will probably always be that way. Aside from a few minorquibbles over whether digital-era Merzbow is better or worse than theoriginal analog Merzbow, there really isn't a whole lot of criticaldivision over Merzbow's output.
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Drums of Death

Drums of Death winds up as a suprisingly fun amalgam of styles and sounds that manages to overcome the threat of novelty.

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Autechre, "Untilted"

Thankfully Autechre have slowed down the rate of their output to onealbum every two years, with less EP releases in between. This hashelped allow them to create albums with only minor adjustments to aformula that has made them one of the best acts making electronicmusic. Untiltedis heavy on fractured rhythms and has very little of the whirlingambient sounds that featured prominently on some of their previousreleases.
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Colin Potter & Paul Bradley, "Live"

There is now a live document of this duo that actually rivals theirstudio output. Two live recordings from October and November of 2004compose this record; both have the timeless feel that Potter andBradley's music almost always has, but now the live environment istransformative, cohesive, and wholly coherent.
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MAJOR STARS, "4"

Major Stars are Boston's best-kept secret, as anyone who has witnessedtheir live performances over the years can certainly attest. By day,under the auspices of their basement record shop Twisted Village—trulya Boston institution—Wayne and Kate are purveyors of psychedelic rockand hard-to-find underground sounds from around the world.
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