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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The latest in the trend of Russian-released collections has taken the form of a new comp from the Tear Garden. While every album from the group is still in print, this collection is worth mentioning for a few reasons. The type is entirely in Cyrillic, so it should be noted that there are two previously unreleased songs included, "Good Evening Houston" and "Good Night Little Lights" (unlike the last Tear Garden compilation, A Bouquet of Black Orchids which came with nothing extra).
It's also limited to a numbered edition of 2000 for those who might be interested. As a compilation, however, it doesn't really pull together -my- favorite tunes nor do I feel it provides an accurate representation of the range of Tear Garden material. Congratulations to the collaborators for including "You and Me and Rainbows" which could easily be one of the greatest songs recorded in the 1980s, yet I'm always picky when it comes to comps, preferring that songs are assembled in some sort of chronology to show a nice progression, this one just seems haphazardly tossed together. New fans looking to experiment with Tear Garden stuff probably shouldn't bother with this collection. The two new songs are a bit of a departure, with the first being an upbeat heavily electronic number, while the second is is more of an experimental downtempo percussively chiming piece. If you can't live without every release, by all means pick it up. The artwork with all these pictures of moss is actually pretty interesting and it's always neat to have a CD in your collection with completely different writing. That plus collections always seems to get me more familiar with songs I might not have been keen on before, as they're taken completely out of context with the rest of the albums they were originally released with.
For many years now I've gone without a Lustmord disc in my collectiondespite many people trying to convince me I should have some. Whatlittle I've heard of Brian Williams' 20 years to date project failed toimpress me and now that I have this disc in my possession, well, I'mstill unimpressed. The 64 minutes of "Metavoid" rely heavily upon thesound design skills Williams has put to use for dozens of films thepast 7 years, including "The Crow" and "Strange Days". Dark ambientcurrents and growls, padded with strings and angelic voices, areinterrupted by effected voices and often clumsy tribal/industrialpercussion and sound effects. Drab, clich? and predictable with equallydrab, clich? and predictable track titles. I feel as though I'mpartaking in some sort of pagan funeral dirge. Yuck. It's simply tryingtoo hard to be dark with little subtlety, always the key to superioratmospheric music as far as I'm concerned. That said, there are a fewredeeming qualities such as the climactic build of the nearly 12 minute"The Eliminating Angel" and the pure ambiance of "Oblivion". Butoverall, I think these sounds would be better relegated to cinematicbackdrop .
One of the more recent releases in Raster-Noton's clear series, "Wohltemperiert" ("Probably") is another collaboration between √ò (Mika Vainio of Pan Sonic) and Noto (Carsten Nicolai, founder of Noton). Primarily recorded during the winter of 1998 in New York City with gear borrowed from Larry Seven, the disc comes in a transparent flip top Trimpak inside a card sleeve jacket. Nicolai's contributions are seemingly minimal as the high pitched tones and glitches that are his usual auditory signature are used here economically. It's the sparse hum and pulse which are Vainio's forte that make up the bulk of these 61 minutes.
With a pair of new discs for Soleilmoon Recordings, both limited to 500copies, British sound artist Nick Parkin explores and simulates theprocesses of decay, geological and chemical, upon cities andlandscapes. Feeding field recordings, samples and instruments(percussion, flute, keyboards) into a Macintosh for additionalprocessing, he creates about 2 hours worth of slow moving, butgenerally busy, textured sound glaciers. It has become difficult for meto get really excited about these sort of works, having heard so manyof them in recent years, but together the two discs offer up muchworthwhile ambiance. When Parkin takes the tried and true 'less ismore' approach on the "Entropolis" disc, he strikes gold. Strip-miningaway the extraneous sound debris leaves tracks such as "Pulvial","Residues of Night" and "Eurus" with more ambient breathing space,making for moving pieces. But it's the sounds of nature that permeate the "Geomorphic" disc thatare more interesting, giving it a distinctly comforting and earthlyfeel. The elements shape the land throughout, "Talus" and "Moraine" inparticular being a fascinating jumble of water and ice soaked pebblesand boulders. Nicely done mate .
I love ambient guitar music. I am a sucker for it. If a band has guitarchords being played at a respectable volume, with all sorts of soundsswirling in and out, surrounding it, and playfully caressing the guitarline throughout, it's a relatively sure thing that I'll love it (evenif it seems to go on for an extraordinarily long time). Drone music, asit is often called, is amazing to me for this very reason. Thosefamiliar with the works of both of these bands will find lots to likeon this release, available now via mail order through The MusicFellowship (see www.musicfellowship.comfor more info). This split single, released on Music Fellowship tocommemorate the landing/windy + carl tour, features the newestrecordings by both bands, recorded specifically for this release. Italso features hand-painted covers by windy (they have a band, they runa record store, and she paints -- is she busy enough?), which are quitelovely. windy + carl's contribution, "untitled," is classic windy +carl, all epic guitars and chimes. It's soothing in its simple beauty,and leaves you wanting more, despite its near 16-minute running time.The other three tracks on this release are landing creations, and Imust say I was extremely pleased after "circuit" to hear their workhere. This is what I was talking about in my landing review two weeksago when I said I wanted to hear the band try something new. On"along," landing work their own drone magic, still using the delayeffects, but minus the distortion. It's exquisite in its stirringmajesty. When the drone fades, and the clean guitar tones take over,playing a playful yet somber line, you're already hooked, unable toturn away. Simply gorgeous. In fact, all three landing contributionsare pretty amazing. "Where the leaves no longer grow" is spacy anddreamy, and "passage to sleep" is the whispers of a nymph joined withthe sounds of the sea over a bed of acoustic guitar and delayed droneguitar. In fact, it seems almost as if, in places, landing and windy +carl are becoming one. What a dream that would be. Pick this release upand never let it go: it's that good.
From the Connecticut-based label Sonic Syrup comes an 8-song EP ofmaterial recorded between 1993 and 1997 by Scott Cortez, theinstrumentalist behind Lovesliescrushing. With Astrobrite, Cortezespouses much of the same blissfully noisy guitar layers as he has withhis other project; however, '8 Candy' takes a contrastingly morepop-driven approach, reflected in the sugary-sweet titles of trackssuch as "Sucker", "Jawbreaker", and "Sweettart". Comparisons to MyBloody Valentine's classic album 'Loveless' are inevitable, althoughAstrobrite descends a step or two further down the lo-fi ladder, beinga touch more texturally abrasive. The liner notes themselves tout "thebest in lo-fi four track aural pleasure -- listen at extreme volumes".Despite its pretty, uncomplicated song structures, topped off byCortez's winsome vocals and indecipherable lyrics, Astrobrite lacks theinnovative edge and sonic diversity of Lovesliescrushing (whoseforthcoming album on Sonic Syrup is eagerly anticipated). This releasewill, in all likelihood, still appeal to fans of MBV, unless they areslightly put-off by its uncanny resemblance to the latter.
Though this release came out back in June of 2001, I thought it deserved some mentioning here. And although Susumu's last album, "Sakura," gained him amazingly good press, including "Best Electronica Album of the Year" from The Wire magazine, this newer album struck me as being more progressive and subtle than his previous recordings: pure electronic bliss when at its best moments. Other times it can fade into the background but such is the nature of much ambient music. This album has apparently gained him "genuis" status amongst many of his contemporary artists and critics alike, comparing him to other such electro-luminaries as Aphex Twin and the legendary Brian Eno. The airy layers here can be truly beautiful, branching to anywhere from an oddly jazzy improv feel with fuzzy, minimalistic piano melodies, down to droney samples, trip-hop-esque beats and spacey (yet quite homely) instrumentation. The emotions here tend to leave me a bit on the bland side, but it seems more about the production and sound quality with this release - and it certainly is precise. This album was released on The Leaf Label in conjunction with Skintone.
One of the more recent releases in Raster-Noton's clear series, "Wohltemperiert" ("Probably") is another collaboration between √ò (Mika Vainio of Pan Sonic) and Noto (Carsten Nicolai, founder of Noton). Primarily recorded during the winter of 1998 in New York City with gear borrowed from Larry Seven, the disc comes in a transparent flip top Trimpak inside a card sleeve jacket. Nicolai's contributions are seemingly minimal as the high pitched tones and glitches that are his usual auditory signature are used here economically. It's the sparse hum and pulse which are Vainio's forte that make up the bulk of these 61 minutes.
Raster-Noton
Of the 15 tracks, the lengthiest, the 4 to 8 minute ones, are the most rewarding as steady/wavering tones, compressed air, static and oscillating rhythms form meditative jet streams of sound. It's all rather stark, chilly and undefinable save for moments reminiscent of a dental water pick, a chirping cricket, clanking bottles, etc. (and if fabric could literally breathe, "Mur" would be its snoring). The final 3 tracks, about 2 and 1/2 minutes total, break away with a chatter of squiggles and the unexpectedly cute "Zwielichtmelodie" ("Twilight Melody"). "Wohltemperiert" offers little in the way of surprises but it will all make perfect sense to collectors of Raster-Noton's austere minimalism.
While some may feel it's in poor taste to review something I'm actuallyco-releasing, I also feel it's in poor taste not to share my opinion onsomething I love so incredibly. This story actually starts over three years ago. Fridge's drummer, SamJeffers and I both were on the Pure-Impure mailing list. I had nevermet nor talked to the guy but liked the first couple releases from theband. He had pointed people on the list to the website he created forthe group and made some hint at perhaps "that web guy Jon Whitney"might be able to help them out with advice or something. Flattered thatthis guy across the ocean in a cool band knew who little ole' me was, Ibegan talking to him and as the 'Sevens and Twelves' compilation wasreleased, I had offered to do a website for the group on brainwashed.At the time (1998) I had a fairly good rapport with Thrill Jockey andKranky, when the group released 'Eph' by 1999, I had builtrelationships in Matador, Merge, and Mute. All of these people I beggedto give Fridge a chance. Just listen to them, perhaps pick up theirstuff and bring them over here to the USA! The general word on thestreet was positive but the labels had other priorities at the time. Iwent to the UK with my friend Nick on a vacation and happened to beable to catch Fridge in a show with To Rococo Rot and was not let downin the least. Sam sent me a CD of 'Happiness' back in February or Marchof this year I think, I don't believe his intentions were of anythingelse than to gauge my opinion. This time around the album was -too-good to give to anybody else. I had to release it myself, andthankfully with the collaborative efforts of Temporary Residence, ithas finally materialized. Fridge are a group, a trio of friends who grew up together in Londonand have been recording together for many years. Try to remove yourselffrom the other reviews and blurbs which call this Kieran Hebden's"other project", as this is clearly something quite different. [Ifyou're looking for the catchy electro hooks and sampled riffs whichlitter Four Tet records, forget about this release all together.] It'sa remarkable output of three talented musicians who are completelyunafraid to try their hand at electronics, beats, emotional guitarmelodies or improvisation. Tactfully they succeed at bending genredefinition and deliver a solid and graceful album. They have learnedtheir instruments enough to get the sounds and melodies swimming aroundin their heads out — but never distort the songs with mathematicalsolos or over-the-top post-jazz wankery. 'Happiness' is nine songswhich don't lie to the listener, as their song titles adequatelydescribe the center stage elements of each song, "Melodica andTrombone," "Cut Up Piano and Xylophone," "Five Four Child Voice","Harmonics", etc... Months after hearing it for the first time, I still get emotionallycaught up if Other Music happens to be playing it in the store or theradio station happens to be playing one of the cuts. Three weeks fromtoday I'll be greeting them as they arrive for the first time as agroup to the USA and I would lie if I said it won't be an emotionalmoment. Thanks to the band for one of my favorite albums of the yearand the opportunity to share it with so many. Hope those who are ablecan come out and see them live next month. Tour dates are on the website.
I love ambient guitar music. I am a sucker for it. If a band has guitarchords being played at a respectable volume, with all sorts of soundsswirling in and out, surrounding it, and playfully caressing the guitarline throughout, it's a relatively sure thing that I'll love it (evenif it seems to go on for an extraordinarily long time). Drone music, asit is often called, is amazing to me for this very reason. Thosefamiliar with the works of both of these bands will find lots to likeon this release, available now via mail order through The MusicFellowship (see www.musicfellowship.comfor more info). This split single, released on Music Fellowship tocommemorate the landing/windy + carl tour, features the newestrecordings by both bands, recorded specifically for this release. Italso features hand-painted covers by windy (they have a band, they runa record store, and she paints -- is she busy enough?), which are quitelovely. windy + carl's contribution, "untitled," is classic windy +carl, all epic guitars and chimes. It's soothing in its simple beauty,and leaves you wanting more, despite its near 16-minute running time.The other three tracks on this release are landing creations, and Imust say I was extremely pleased after "circuit" to hear their workhere. This is what I was talking about in my landing review two weeksago when I said I wanted to hear the band try something new. On"along," landing work their own drone magic, still using the delayeffects, but minus the distortion. It's exquisite in its stirringmajesty. When the drone fades, and the clean guitar tones take over,playing a playful yet somber line, you're already hooked, unable toturn away. Simply gorgeous. In fact, all three landing contributionsare pretty amazing. "Where the leaves no longer grow" is spacy anddreamy, and "passage to sleep" is the whispers of a nymph joined withthe sounds of the sea over a bed of acoustic guitar and delayed droneguitar. In fact, it seems almost as if, in places, landing and windy +carl are becoming one. What a dream that would be. Pick this release upand never let it go: it's that good.
Sometimes a piece of music enters your life and has a tough time leaving your CD player. The debut full-lengther from this New Orleans-based duo happens to be one of the most addictive albums I have heard in months. I have said this before and I'll say it again: great organic musicians make for great electronic musicians, and we have heard hints of what this duo could do earlier this year with their contributions to the Scarlet Diva soundtrack as well as some remix they allegedly did for Nine Inch Nails.
Their debut is clean and sharp, with delicately crafted electronics gently glistening over the live playing of organs, electric piano, bass, guitar, drums and percussion. This is what I was dreaming of when I listened to the soundtrack and was anxious to hear an electronic band bring that live feel into the mix. Audiofiles would be happy to know this CD bears a high-definition logo (which means something to the effect of being superbly enhanced on expensive equipment). On regular equipment, however, the music sounds fine enough, with supersonic psychologically-stimulating ticks which move the beat finer than any laptop composition that bore a click and cut logo from any excessive German record label. Composition, structure and an incredible competancy can be shown from track to track on this 18-minute slice of electronic bliss. This disc has been tested in my car, in the walkman, on the radio and in the house and while it passes with flying colors in all places, the best experience is to sit back and simply tune every other distraction out. The duo is touring the USA starting this week on Hefty's Immediate Action tour. Don't miss this show as Slicker, Twine and Beneath Autumn Sky are also on the bill. For dates, check out Hefty's website.