After two weekends away, the backlog has become immense, so we present a whopping FOUR new episodes for the spooky season!
Episode 717 features Medicine, Fennesz, Papa M, Earthen Sea, Nero, memotone, Karate, ØKSE, Otis Gayle, more eaze, Jon Mueller, and Lauren Auder + Wendy & Lisa.
Episode 718 has The Legendary Pink Dots, Throbbing Gristle, Von Spar / Eiko Ishibashi / Joe Talia / Tatsuhisa Yamamoto, Ladytron, Cate Brooks, Bill Callahan, Jill Fraser, Angelo Harmsworth, Laibach, and Mike Cooper.
Episode 719 music by Angel Bat Dawid, Philip Jeck, A.M. Blue, KMRU, Songs: Ohia, Craven Faults, tashi dorji, Black Rain, The Ghostwriters, Windy & Carl.
Episode 720 brings you tunes from Lewis Spybey, Jules Reidy, Mogwai, Surya Botofasina, Patrick Cowley, Anthony Moore, Innocence Mission, Matt Elliott, Rodan, and Sorrow.
Photo of a Halloween scene in Ogunquit by DJ Jon.
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artist: Mudsuckers title: Mudsuckers catalog number: imprec104 format: cd release date: August 22, 2006
Swamp noise drone. Feedback is layered like mud on the carcass of song structure. Robert uses primitive cassette manipulation as well as digital processing to thicken the sound into a swamp. Think Credence Clearwater Revival without the one chord they knew. On three of the songs, Pete uses his analog reel-to-reel wall-of-sound processing apparatus. Longjaw Mudsuckers was inspired by a mid-eighties cassette where Merzbow mixed John Hudak’s nature sounds into a screaming mass of sonic debris. Robert recorded a stream after the huge New Year’s Day storm and Pete plugged it into his system, making it sound at times like a stream, an ocean, and robots whispering mechanical secrets. This CD contains some of the first recordings of Tom Carter’s circuit bending. Individual attributes of Gabe Mindel’s guitar roar, Tom Carter’s ebow laptop whirl, and Horton’s clanky homemades merge into the mud stew. Driving the swirl are samples of boogie woogie piano, riffs from the session, and pounding drums of guests Michael Donnelly and Doug “Moonshine” Jin. The last number, SWEET, conjures the bar room sound of Kansas City, 1920, but recorded inside a thermonuclear reactor. The sounds created are so raw and tormented it’s hard to believe they were having a good time. Must have something to do with the times, the war and the general vacuity of that season’s holidays.
How did these recordings happen? During the torrential rains of December 2005, caused by global warming, Robert Horton invited Tom Carter, Gabe and Pete of the Yellow Swans, and Glenn Donaldson up the hill to his home in El Cerrito for food, drink, and music-making. As it turned out, Pete and Glenn couldn’t make it, so Gabe, Tom, and Robert vibrated the peaceful El Cerrito neighborhood to mud. We had beer, wine and much feedback. The turbulence of the sounds matched the late December weather. The following week when Pete came over to overdub his sounds, Robert had found an article on mudsuckers in the Berkeley Daily Planet. The headline was “Mudsuckers may be ugly, but they have value.” A band was born.
A mudsucker is a fish that’s mostly a mouth, which spends its whole life on one patch of mudflat. Scientists use these fish to monitor carcinogens, endocrine disrupters, and other toxic chemicals in coastal waters. The group’s name as well as some of the song titles were taken from this article. The second song, Here Come the Mud Dragons was a phrase spoken by three kids splashing in the mud in a local park. Another song Electric Sunflower, was named by Glenn Donaldson in an email explaining why he couldn’t be at the session.
artist: Grails title: Black Tar Prophecies Vol 1,2,3 catalog number: imprec105 format: cd release date: August 22, 2006
Important is proud to release The Black Tar Prophecies in it's complete form including two tracks not available on the limited edition European vinyl only releases.
At the start of 2005 Grails returned to the US from a month long European tour. Stepping off the plane most of the band walked in one direction and the violinist strayed off in another. It ended up being the last time most anyone would see or talk to him. A bandmate of 3 records and 5 years had vanished only to exist in the form of vague rumors (violin hocked for petty cash, living on the streets, etc). As the varied reports of brief encounters and sightings grew stranger and darker, the band started a series of recordings called Black Tar Prophecies. The remaining members had particular dissatisfactions with how the band had been grouped into the innocuous contemporary 'post-rock' movement. This frustration, combined with newly liberated instrumental roles, introduced new possibilities for the band's sound. In this way the collected Black Tar Prophecies ends up being a more idiosyncratic mission statement for future Grails recordings, revealing their fondness for the groundfloor 60's and 70's experimental artists that saw music as a process of discovery as opposed to the pre-conceived, pre-parametered, commodified sport that underground music has become. A parallel is now forming between Grails and old-school experimental bands like Faust who, rejecting their past, started over from the beginning to build new languages in music.Grails third full length recording, and first full length since leaving Neurosis' label Neurot, is The Black Tar Prophecies. Seven of these nine tracks from this full length were released in small highly sought after pressings of 12” vinyl on two European labels. . The Black Tar Prophecies is a massive evoltionary step in the established Grails sound and it is shrouded in change and pain. The somewhat clinical studio sound and recording style which has established them a tremendous following has been replaced with a much more free and conceptual recording style. This method liberated the group in the studio and these recordings feel much more open, heavy and for lack of a better term “psychadelic.” We're not talking about the cliché co-opted psychadelic fashion, but psychadelia as a reckless embrace of new states of mind and possibilities. This sound has always existed within a Grails song but now it's been heavilly pushed to the foreground. Perhaps even more elloquently and simply stated, Black Tar Prophecies 1-3 is their best record yet.
artist: Merzbow title: Minazow Volume Two catalog number: imprec107 format: LP release date: August 22, 2006
Not to be confused with Merzbow's recent cd release on Important titled Minazow Vol 1, this is Minazow Volume 2 featuring new tracks dedicated to the memory of the mighty Minazow. This release is on vinyl only, housed in a deluxe heavy duty textured tip-on gatefold sleeve and pressed on green vinyl. Limited edition of 1000.
Minazow Vol 2 is Merzbow's tribute to the beloved male elephant seal who lived life in captivity at a Tokyo aquarium. Masami Akita often visited the seal at the aquarium and was allowed to access Minazo behind the scenes.
Minazo, an Elephant seal, died at 5:15 pm on October 4, 2005. He was 11 years old, still young for an elephant seal whose life expectancy is 20 years on average. Whatever the cause of death, I feel sad and angry each time I hear about animals dying in captivity far away from their natural habitat. Minazo was raised at the Enoshima Aquarium in Kanagawa Prefecture. With a strong build, 5 meters in height and 2 tons in weight, he was the only male elephant seal in Japan. Director Yukiko Hori said in her book "The Story of An Aquarium" (published by Iwanami Shoten) that Minazo was brought to Japan from Uruguay in 1995. His name, which consists of three kanji characters meaning "beautiful", "male", and "elephant", was chosen from 1,500 public suggestions. The aquarium had raised male and female elephant seals called Daikichi and Omiya, who had been brought from the Antarctic island of South Georgia in 1964. After they died in 1977 and 1979, specimens were made using their skins, which are currently displayed at the aqarium. Hori said that the previous experience with the two seals was of help in raising Minazo. Minazo became popular through TV appearances. He was once introduced on a variety show as a look-alike for wrestler Bob Sapp, an insult to Minazo. Elephant seals have far greater strength than humans, and can even crush a car when they get really mad. Bob would have been beaten in a second. Minazo was forced to perform various stunts before audience at each mealtime, such as holding a bucket with one flipper, bending back like a prawn, and standing still while a keeper jumped and clung on him. The hard work made him exhausted and might have caused his early death. Many of the aquariums in Japan have become mere amusement establishments. If their mission includes breeding and protecting endangered animals, they must continue feeding the animals in captivity responsibly. I, however, believe that they should eventually end the exhibition of animals in the name of academic research, and instead start functioning as animal shelters only. - Masami Akita, Tokyo 2006
artist: Flaherty/Corsano/Yeh title: A Rock In The Snow catalog number: imprec095 format: cd release date: July 25, 2006
Together Chris Corsano and Paul Flaherty have re-written the concept of modern free-jazz with their post-hardcore punk style approach of euphoric togetherness. Ferocious, spontaneous, explosive and aggressively lyric they've established their groundbreaking duo with loads of shows and a host of tremendous recordings.
When tales of C. Spencer Yeh's Burning Star Core project reached Corsano/Flaherty the duo were eager to see him jam. Fortunately, fate brought them together at the DeStijl/Freedom From festival where Corsano/Flaherty were playing in the Dream/Aktion Unit (with Thurston Moore) and Yeh was there with Burning Star Core. His performance caught the Corsano/Flaherty duo on fire and Yeh's temperature was raised (literally) when he suddenly came down with the flu following his show. Fortunately for Yeh, Flaherty packed him in ice down in the festival hall basement and a solid relationship was forged. Lives were saved. Jams ensued. The power trio of Flaherty/Corsano/Yeh was formed. Liner notes by John Olson aka Johnny Coors.
various artists: IMPREC100 title: A Users Guide To The First 100 Important Records Releases catalog number: imprec100 format: cd
Celebrating the first 100 records on Important is IMPREC100. This a free sampler containing tracks from Anoice, Ocean, Citay, James Blackshaw, Diane Cluck, The Dresden Dolls, Barbez, Muslimgauze, Beequeen, Larsen, XXL and many more. While all tracks have been previously released, The Dresden Dolls and Ocean tracks were both exclusive to very limited edition vinyl releases and have not been issued on cd until now.
artist: Boris title: Vein catalog number: imprec100 format: Picture disc lp release date: sometime between now and Aug 22, 2006.
Japan's Boris has chosen to follow Pink (Southern Lord) with this deluxe vinyl only offering. Vein is a completely transparent picture disc lp with a border image on the outter perimeter of the vinyl which is actually screen printed on the clear mylar "picture". The grooves begin within the image and this record is housed in a transparent picture disc jacket affixed with two custom cut stickers.
Japan's highest ranked ampgods Boris have created Vein; an exploding singular monolith rooted firmly in all of Boris' sounds. Opening hard and heavy with more guitar feedback than you'd think a thick chunk of vinyl could hold they proceed to plunder the Boris audio-vaults bringing out and incorporating all of the elements that make Boris. Vein has massive methodical low end guitar drone, explosive thrash metal, sound samples and plenty of feedback to go around. Bow down fellow worshipers and let this thick chunk of sound explode around you. This record is so heavy you're going to blow your speakers just thinking about listening to it.
Recorded in one day, then processed over three years, here is an orgasmic maelstrom. Transmitting as much calm unease as bewildering force, Aufgehoben's third release is beautifully fleet-footed, intensely musical, tantalising ugly and almost tangibly sexual. As if a winged piledriver were coupling with a steel drum, in a furnace.
The dynamic of controlled rage and loose agility in these sounds allows distortion and crushing weight to convey structure (of sorts), suggest tension, power, struggle, and ecstacy. It's left for us to decide when it is tender or violent, casually murderous or lovely. In the swirl, stutter and slam of twin drummers, electronics and guitar, I hear irritation, the layering of musical nacre, and formation of pearls. Surrendering to the implausible rhythm (it's pointless to tap your foot) allows for a strange relaxation to occur in the listener.
Far from creating contrived sterility, the three-year attention to detail pays off, with Aufgehoben appearing to never indulge in bloodless thrash or plodding wankery. No cliche distracts the listeners from organic engagement with the energy, sweetness and integrity of this music. Equally, they don't tip into a parody of extremity, and deserve to avoid attracting jaded evocations of darkness, evil, or aggression. Sure, at times the volume goes up to 11, but it's timed to perfection and a fine balance is undisturbed.
Like discussing past liaisons with a true love, it seems improper or gratuitous to liken "Anno Fauve" to past proponents of anything similar. Suffice to say, comparisons favor Aufgehoben's (mainly) unknown players. In truth, the identity mystery pleases me, probably more than it should. I listened to the CD and was gobsmacked. Apparently there is a different version with some changes in content, track order and packaging. Taking fetishism further, 200 are available (hand-numbered) in clear vinyl, for those who find that sexy. I must confess, I do.
This album is a collection of deceptively simple, melodic songs performed on electric guitar and bass by the composer and player who has worked his singular magic on so many of Current 93's most memorable records. Cashmore makes use of a minimal instrumental palette to create a suite of haunting melodies that seem stuck in some hazy, half-remembered, sepia-toned corridor of memory.
I've often thought that Michael Cashmore was the quiet, unheralded genius looming in the shadows of David Tibet's long-running musical project. Current 93's finest moments—Thunder Perfect Mind, Of Ruine or Some Blazing Starre and All the Pretty Little Horses—seem utterly dependent upon Cashmore's ravishing and evocative melodies, drawing from diverse influences both modern and antique, fertile cross-breeds of mediaeval musical modes with British trad-folk, subtle nods to American influences and 1960s psych-folk revivalists. However, press for Current 93 seemed to focus mainly on David Tibet's idiosyncratic lyrical universe, or Steven Stapleton's audio mutations, and Cashmore's key contributions were often barely mentioned. This sad state of affairs was once again confirmed when the Castle/Sanctuary double-disc Current 93 anthology Judas As Black Moth was recently accidentally pressed with liner notes containing no mention of Cashmore's central, indispensible role in Current 93.
Cashmore released an EP and two albums as Nature and Organisation from 1994 to 1998 (one a collection of unfinished musical sketches), which featured Cashmore's songwriting and compositional skills along with a host of guest players and vocalists drawn from World Serpent Distribution's stable of apocalyptic folk luminaries. However, for Sleep England, Cashmore has pared it down to just one man and his guitar, stripping away layers of dense lyrical arcana and excessive knob-twiddling to reveal thirteen fragile and beautiful melodies that are simply constructed and simply executed, with the sort of poise and self-possession of which only a veteran artist is capable. In an independent record market that has lately become congested with scads of Fahey/Basho/Kottke-copping solo guitar albums, Sleep England is in a category by itself, with no obvious peers.
Avid listeners of Current 93 will immediately recognize Cashmore's trademark style on full display here; those poised, symmetrical melodic progressions of tenderly fingerpicked notes; hypnotic and lovely themes slowly revealing themselves over time. A sense of yearning prevails, along with a sense of glorious ravishment at these notes finding themselves in each other's presence. Cashmore lays it on thick and sweet, unafraid of reaching out for more beauty when it is appropriate, and holding back when the moment calls for a more skeletal outlining of melody. There are spaces between the notes on Sleep England, but they are often filled in with the guitar's own pulsating, organic reverb, as well as subtle background details: rickety unspooling drones or gentle textural murmurs, notes impressionistically smearing out into oblivion. Cashmore once again utilizes effects which give his guitar a sound not unlike a harpsichord, all the more appropriate for music that seems consciously to evoke mediaeval composition. Many of these tracks could not have been accomplished without overdubbing, but this doesn't detract from the feeling that the music is being played by one artist alone with his chosen instrument.
Unfettered by Current 93's darker lyrical themes, Cashmore is freed to explore the gentler, pastoral side of his art, occasionally veering towards the elaboration of precious and ear-pleasing pop melodies. Paradoxically, this seems to add even more of a melancholy cast to these songs, all of this ravishing beauty remaining unresolved; melting away into a distant, nebulous past of memories which continue to obscure over time. If anything negative could be said about Cashmore's album, it is that it becomes a touch repetitive over the course of thirteen songs. Not that the artist is guilty of self-plagiarism, but his style has such a signature sound—a single, coherent thread running through his work with Current 93 and Nature and Organisation—that it can't help but seem, at times, as if certain themes and progressions are all too familiar, especially since the instrumental palette differs so little. This is a small criticism, however, when I find myself lost in the sweet, nostalgic hinterlands of the album's title track, a studied evocation of an English neverland only glimpsed in vaporous, ephemeral memories.
IDM mutated when Four Tet took over and turned some of the cold energy related to that genre into warm, fuzzy, sunshine-born tones. Now I know that cold minimalism still thrives in some corners of the world, but there's really no reason to settle for extremes when nice mediums like this exist.
Inch-Time is the project of Stefan Panczak. His music will be familiar to anyone that listened to the likes of Arovane or Autechre years ago because, to some degree, he mimics the strange beauty they pulled from their computers and sound banks (at least, before Autechre abandoned melodic beauty for sheer technical sprawl). Added to the rich, beat-centric vibrations of this classic approach is all the warmth and softness of laying in the grass on a lazy afternoon. Panczak's music blends natural instruments with the cricket programming that comes with the territory. The blend is lovely, if obviously derivative.
When I say that Four Tet changed the landscape of this genre, I mean that he took what was a very technical and perhaps over-saturated musical approach and made it inviting to everyone with a brain and a soft spot for playful music. His technique was different enough to cause others to take a second look. Inch-Time is the first example of how that approach has been disseminated into other musician's minds. The result is sugar sweet, but it reminds me too much of its parents. At one point a certain melody and a certain instrument immediately reminded me of another group.
It's enough to disappoint me, but not enough to keep from saying this is a fine record of decent music. I only wish Inch-Time could separate itself from its influences. Instead of tempting me towards albums I haven't heard in awhile, it should be making me want to listen to it again and again. Unfortunately I already have some other discs in my hand am ready to get my satisfaction straight from the source.
Maintaining a consistent level of excellence during improvisational collaborations is a difficult task. Sometimes even when the musicians and the audience find the results cathartic, they don’t always translate well to recorded media. Unfortunately, After at Once is one of those instances.
One of the problems with this album is that much of it sounds like a recorded band practice, and the useful musical phrases are proportionate to any impromptu brainstorming. “A Short Cry,” for instance, has drones that aren’t particularly interesting on their own soon joined by clanging that’s merely distracting. Screams startle the band into action on “Touches,” driving them into a nice tribal pulse, but when the scream comes again after the group abruptly stops several minutes later, it seems that their previous adrenaline burst has left them too exhausted to rouse themselves again and not much comes of it. “Between Blue & Yellow” has decent drumming, but the horns that join the song have limited expressive value.
The title track has fairly ominous drones, but the sarod playing doesn’t go anywhere. Also, the haunting piano near the end of the song is too infrequent and too hard to hear to be fully appreciated. “Awake There” meanders all over the place, with occasional crashes that come out of nowhere to try to galvanize the other musicians, but too frequently I had to keep pinching myself to stay awake. The most structured song is “Sword Abandoned,” with solid melodic playing and vocals, but there are howling sounds swirling in the background that don’t complement the other music.
There are some decent spots here and there, but I’ve heard it done much better elsewhere.
Despite a clear admiration for the ambient tradition, some irksome excesses such as sonic squiggles and skittery noises mar the intrinsic beauty of this composition.
Best known for his critically lauded Akufen productions on Force Inc. and Trapez, of which I was only occasionally enamoured, Leclair released this album back in 2005, and, for some reason unbeknownst to me, Mutek has decided to reissue it alongside discs from Crackhaus and Skipsapiens "exclusively" for the U.S. market. The 71 minute long work, divided into nine time-coded sections, goes through various transitions, sometimes building constructively on previous themes, other times veering into more surprising terrain with mixed outcomes.
The opening track, billed as a collaboration between Leclair and Mille Plateaux act Rechenzentrum, introduces the warm effected pads that decorate the aural canvus of the entire record. "64e jour" takes the piece to the next level, employing a rather simple repetitious melody to accompany the pads and manufactured glitches. The rain that appears near its end ushers in the more natural environs of "85e jour," full of tropical and oceanic flourishes exemplifying a rare case where Leclair's rampant experimentation pays off in execution. On "114e jour," that watery glaze fades out and makes way for diced guitar strums and echoey stabs that soon reveal a housier swing, inciting an anticipation that fails to be fulfilled as Leclair digresses back to hodgepodge clatter for the sake of clatter.
The guitar returns for "150e jour" as Leclair builds a multi-tracked folk-infused and vaguely Balearic electronic structure much better than most attempts by lesser bedroom-based artists, finally dropping a proper, albeit muted, 4/4 beat around the six minute mark. After such an effectively executed section, he somehow manages to digress yet again on the following cut, combining aquatic gurgles and one-dimensional static that evolves into something more minimal, rhythmic, and, at this point, familiar, yet just as disappointing. "205e jour" stirs things up instantly by reinserting some of the overall piece's best musical elements before abruptly shifting gears for a club-friendly closer replete with all the trimmings of quality microhouse.
Frequently throughout my active listening of Musique pour 3 Femmes Enceintes, I wished Leclair would have just let his ambient textures and luscious melodies breathe without the constant interruption of his superfluous sample contructions. As I've implied throughout, these intrusions more often than not tend to spoil the broth of an otherwise sumptuous stew.
Recorded in one day, then processed over three years, here is an orgasmic maelstrom. Transmitting as much calm unease as bewildering force, Aufgehoben's third release is beautifully fleet-footed, intensely musical, tantalising ugly and almost tangibly sexual. As if a winged piledriver were coupling with a steel drum, in a furnace.
This album is a collection of deceptively simple, melodic songs performed on electric guitar and bass by the composer and player who has worked his singular magic on so many of Current 93's most memorable records. Cashmore makes use of a minimal instrumental palette to create a suite of haunting melodies that seem stuck in some hazy, half-remembered, sepia-toned corridor of memory.
Maintaining a consistent level of excellence during improvisational collaborations is a difficult task. Sometimes even when the musicians and the audience find the results cathartic, they don’t always translate well to recorded media. Unfortunately, After at Once is one of those instances.
Despite a clear admiration for the ambient tradition, some irksome excesses such as sonic squiggles and skittery noises mar the intrinsic beauty of this composition.
