Plenty of new music to be had this week from Laetitia Sadier and Storefront Church, Six Organs of Admittance, Able Noise, Yui Onodera, SML, Clinic Stars, Austyn Wohlers, Build Buildings, Zelienople, and Lea Thomas, plus some older tunes by Farah, Guy Blakeslee, Jessica Bailiff, and Richard H. Kirk.
Lake in Girdwood, Alaska by Johnny.
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Last week, GVSB. This week, their side project New Wet Kojak. Johnny Temple and Scott McCloud of GVSB record with other local musicians in their hometown of Washington, DC, to create music very much in the GVSB vain, but with horns and a broader, sexier sound. Ever-present, though, is the appealing yet odd voice of McCloud, who here utters phrases that many might see as just plain incoherent. But it all works, and the resulting sound is hard to ignore.
Previous albums saw New Wet Kojak being more ethereal, less structured, with a heavy edge. They wanted to rock your booty while they blew your mind. Sometimes it was abrasive, sometimes so unstructured and frantic you didn't know which way was up. And the horns, while great-sounding, seemed like an after-thought in areas. "Do Things" has none of these problems. The release is mostly laid-back, groovy, and pop-music sound byte oriented. The horns are nicely integrated to provide for a fuller, more realized sound. Best of all, New Wet Kojak still want to rock that booty. Despite the band members' commitments to their other projects, New Wet Kojak does tour frequently, and they're amazing live. And with GVSB on temporary hiatus while they sorted out their label problems, New Wet Kojak hit the and recorded a new EP, "No. 4," earlier this year. But it's "Do Things," released in 2000 but virtually ignored, that showed us the new New Wet Kojak roadmap.
Do yourself a favour and get this one... Bourbonese QualkÍs unspectacular return is one of the best things thisyear had to offer music-wise. Miles Miles and Simon Crab continue theirunique traces where they left of with 'Unpop' nearly a decade ago. Uncompromising with references to none besides their own work, theyblend electronic and accoustic instrumentation to manifest their veryown soundscapes which generate a nearly uncomparable atmosphere. RayBradburyÍs Mars Chronicles are about the nearest I can think off.Otherworldly harmonies are set against subtilerhythms, tapemanipulations and metallic sounds. Even a Sax and vocals find theirplace without spoiling the overall mood which is gentle and playful,free of any dogmaÍs and boundaries. A well balanced piece of work whichwill certainly stand the test of time. If you canÇt afford or find it - half of the album is downloadable from www.bourbonesqualk.com.
I became rather excited once I figured out, via some online research, that this is the soundtrack for a film by Iceland's Fridrik Thor Fridriksson. Some of Fridriksson's other films, such as Children of Nature and Angels of the Universe, featured impressive soundtracks that included Hilmar Örn Hilmarsson and Sigur Rós. Too bad they're not on this one.
Óskabörn þjóðarinnar (English title "Plan B") traces the lives of deviants in Reykjavik and 14 groups provide the backing music. The first thing that comes to my mind when listening is bands from the old Eastern Block countries who tried desperately to imitate Western bands. Here we have, presumably, all Icelandic groups doing much the same geared toward rock with some pop, synth pop, funk and - brace yourself - hip hop too.
Much of it is bland or just plain bad and downright cringe inducing in places, such as XXX Rottweilerhundar rapping "my style is phat, when I got my gat" (something tells me Iceland doesn't have anything remotely comparable to Compton). Dip's "Mind in a Vice" is a welcome jazz-y vision and Biogen are the lone purveyor of an electronic track, nearly 8 minutes, but not very interesting. It's the more hardcore tracks by Purrkur Pillnikk, Minus and Brain Police that manage best to erase the geographical genre lines and prove to be the highlights for me. Otherwise, yuck. Come on Iceland ... give us more innovative stuff like Björk, Sigur Rós and Múm!
Solid State is, without a doubt, the best IDM album released in 2001.Now, them's fightin' words, I know - but let us consider thecontenders. Brothomstates' "Claro" was an excerise in derivativenesswhich went absolutely nowhere. "Drukqs"? No, thank you, 1996 was fiveyears ago. "Confield"? Very interesting and pushing experimentalboundaries, but not something you listen to often. "Double Figure"?Now, there's a contender, but.. anyway, Solid State rules. The twoDutch brothers known as Funckarma have singlehandedly tapped into thatamazing Tri Repetae-style of IDM, added some real instruments, and madean album that sounds brand new while feeling delightfully familiar.What I'm trying to say is that Solid State is clearly influenced by themasters, Autechre - but never so much that it sounds like a ripoff orsomething unoriginal (*cough* Funkstorung). What really sets it apart,though, is the beautiful (and real) instrumentation - upright bass in"Lolala," sighing violins in "Bace"... lush sounds that give it anorganic edge the likes of which you only find in something like, say,Plaid's latest album. But electronic-noodling fans, fear not, sinceSolid State delivers those goods too: just listen to "Nuncas" and feelthe way the synth squiggles between your ears.... it's classic. Trulyclassic. These guys clearly aren't getting the recognition they deserve.
Just in time for the holidays is the reissue of V/Vm Test Records' veryfirst Christmas single! Included on the new 3" are all six tracks fromthe original 7" single plus a brand new Christmas treat for 2001: atimeless terrible Paul McCartney tune that time forgot, "Pipes ofPeace". Sure, we all know that the Stockport crew are a bunch of hacks,but there's something amazingly charming about the sounds of deformedclassics threadded through hosts of effects, banks and glitches alongwith creepy new takes on irritating joyous songs unavoidable like thatSalvation Army guy with the bell who won't stop. After a long day ofavoiding grouchy drivers, pushy shoppers and everything else that comesalong with the holiday season, it's nice to throw on something hauntinglike Animal's "Oil Come All Ye Industrial" or the chopped-up audiocollage of Prof. Broxburn's "Christmas Fractions and Brandy Snaps" atunbearingly loud volumes. I think that's even James and Andy singingkaraoke on the V/Vm live show 1997 track! And to think these guys claimto have never heard of Nurse With Wound!
Just in time for the holidays is the reissue of V/Vm Test Records' veryfirst Christmas single! Included on the new 3" are all six tracks fromthe original 7" single plus a brand new Christmas treat for 2001: atimeless terrible Paul McCartney tune that time forgot, "Pipes ofPeace". Sure, we all know that the Stockport crew are a bunch of hacks,but there's something amazingly charming about the sounds of deformedclassics threadded through hosts of effects, banks and glitches alongwith creepy new takes on irritating joyous songs unavoidable like thatSalvation Army guy with the bell who won't stop. After a long day ofavoiding grouchy drivers, pushy shoppers and everything else that comesalong with the holiday season, it's nice to throw on something hauntinglike Animal's "Oil Come All Ye Industrial" or the chopped-up audiocollage of Prof. Broxburn's "Christmas Fractions and Brandy Snaps" atunbearingly loud volumes. I think that's even James and Andy singingkaraoke on the V/Vm live show 1997 track! And to think these guys claimto have never heard of Nurse With Wound!
Solid State is, without a doubt, the best IDM album released in 2001.Now, them's fightin' words, I know - but let us consider thecontenders. Brothomstates' "Claro" was an excerise in derivativenesswhich went absolutely nowhere. "Drukqs"? No, thank you, 1996 was fiveyears ago. "Confield"? Very interesting and pushing experimentalboundaries, but not something you listen to often. "Double Figure"?Now, there's a contender, but.. anyway, Solid State rules. The twoDutch brothers known as Funckarma have singlehandedly tapped into thatamazing Tri Repetae-style of IDM, added some real instruments, and madean album that sounds brand new while feeling delightfully familiar.What I'm trying to say is that Solid State is clearly influenced by themasters, Autechre - but never so much that it sounds like a ripoff orsomething unoriginal (*cough* Funkstorung). What really sets it apart,though, is the beautiful (and real) instrumentation - upright bass in"Lolala," sighing violins in "Bace"... lush sounds that give it anorganic edge the likes of which you only find in something like, say,Plaid's latest album. But electronic-noodling fans, fear not, sinceSolid State delivers those goods too: just listen to "Nuncas" and feelthe way the synth squiggles between your ears.... it's classic. Trulyclassic. These guys clearly aren't getting the recognition they deserve.
Just in time for the holidays is the reissue of V/Vm Test Records' veryfirst Christmas single! Included on the new 3" are all six tracks fromthe original 7" single plus a brand new Christmas treat for 2001: atimeless terrible Paul McCartney tune that time forgot, "Pipes ofPeace". Sure, we all know that the Stockport crew are a bunch of hacks,but there's something amazingly charming about the sounds of deformedclassics threadded through hosts of effects, banks and glitches alongwith creepy new takes on irritating joyous songs unavoidable like thatSalvation Army guy with the bell who won't stop. After a long day ofavoiding grouchy drivers, pushy shoppers and everything else that comesalong with the holiday season, it's nice to throw on something hauntinglike Animal's "Oil Come All Ye Industrial" or the chopped-up audiocollage of Prof. Broxburn's "Christmas Fractions and Brandy Snaps" atunbearingly loud volumes. I think that's even James and Andy singingkaraoke on the V/Vm live show 1997 track! And to think these guys claimto have never heard of Nurse With Wound!
You know those collaborations you read or hear about and you think toyourself 'now that's gonna be cool' but then you finally hear it andare completely underwhelmed? Ok then, lets file this one in that bin. Iceland's Kitchen Motors label has been unifying and challengingdifferent artists with their commendable Motorlab series, this beingthe 3rd installment. They approached Adamson and Pan Sonic to compose avocal piece for Iceland's HljÑmeyki choir and that they did this pastApril in Reykjavik. For about 12 and 1/2 minutes, "The Hymn of the 7thIllusion" aimlessly treks through windy terrain, simple vocal 'ahhhs'and bass reverberations being somewhat of a guiding light. It's aminimal bore that never achieves any sort of tension or serves any sortof purpose. After a silent 24 second interlude, an even more dull 23minute glitchified remix by The Hafler Trio only adds insult to injury.A tremendous waste of potential all around that doesn't even begin totap the talents of those involved. Me, I semi-patiently continue towait for the new Adamson album, "Nothing Hill", due out early next year.
Before you fill out that brainwashed poll's category of "bestcompilation," make sure you own this collection. If you are stillunconvinced the Chicago-based Hefty Records is one of the strongestmodern electornic music labels, then this compilation will surelychange your mind. 'Immediate Action' was first reported on The Brainabout a year ago, as a series of limited 12" singles which suddenlypopped up in record stores and clubs all over the world. The premisewas to manufacture and distribute all the records quick, sinking littleor no money into artwork and promotion. The result was an assortment offine singles from Tortoise's John Herndon's dub guise A Grape Dope, theorganic live jazz and post-production electronic manipulations ofSamadha Trio, the hypnotic electornic Retina from Italy, the deepechoes of Twine, and Savath + Savalas - the now legendary and muchsought after project from Prefuse 73/Delarosa and Asora mastermindScott Heren. Along with these came a bit of remix work of John Hughesfrom the 'Scarlet Diva' by people like the Scott Heren and theundisputable Telefon Tel Aviv as well as a Slicker collaboration withthe Aluminum Group. For the most part, all records were gone as quicklyas they came in. For the CD release, the song collection has beennoticably truncated, missing A Grape Dope's "Time Makes You Suffer";Retina's "No Escape from Paradise"; plus "Hour 36" and "Loki" fromSamadha Trio. Consequently, 'bonus' tracks are included like unusedremixes and tracks from Bogdan Raczynski, Beneath Autumn Sky, andRetina. The end result is a fine assortment totalling over two hours ofsome of my favorite depth-penetrating electronics which never getboring, predictable or mundane. Those music fans who have addictivecollector tendencies should act soon if they want the bonus 12" that'savailable to accompany the comp., I don't know what's on it yet butyears from now it'll be a fine, much sought-after prize in yourcollection.
Time travel the easy way: just follow the beat and dive into nostalgia.The early 80's are present just like Vicious Pink Phenomena (ViciousPink later on) or Ensemble Pittoresque never went away. As hommage, TheHacker (Michel Amato) incorporates parts of Memorabila (Soft Cell) andI Feel Love (D. Summer / G. Moroder), but that`s about it withwellknown reference points. Cheap sounding drum boxes, syn-drum effects, synthetics that don'tpretend to be anything else but a synthesizer, minimal sequencer linesand the deadpan vocals of Caroline Herve make up a charming differenceto all the 'greatest hits' stuff everyone gets confronted with toooften from that period. The irony in the lyrics and song titles like "1982", "Frank Sinatra" or"DJ Song" makes it more believable this French duo took a sidestep fromcurrent music to follow their obsessions. The result is a sleazy newwave disco tech noir album, danceable, enjoyable and if you get thedrift - nearly pnotizing.