14 April 2002

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Albums and Singles

Soon after the inaugural 'Spiral Scratch' EP, Pete Shelley and HowardDevoto parted ways, Shelley carrying on with the Buzzcocks and Devotomoving on to Magazine. A quarter century later they've reunited forlive shows and this album, possibly a one-off. Firstly the duo are tobe commended for not retreading their punk origins, choosing instead toexplore a more contemporary direction. Unfortunately that direction islame electronica. Devoto's peculiar voice is the same as ever, but Ifind it much more annoying here with a backdrop of bland beats, datedsynth textures and cheesy wanking. The handful of short instrumentalsdon't fare too much better, even with the addition of saxophones on "OnSolids". A computer and software does not an electronic musician make.It's either ironic or telling that the two songs most faithful to theirroots - "Can You See Me Shining?" and "'Til The Stars In His Eyes AreDead" - are by far the best, especially the latter with its high energyand heavy guitar riffage (if you heard or bought the single, don'texpect the rest of the album to sound like it!) Sure, they would havebeen lambasted by most critics and fans had the entire album been like"Stars", but sometimes it's best to just do what you do best. The videoportion of the disc is live footage of two songs, Shelley and Devotolooking about as bored as I am with the material. Get Magazine'sbrilliant career retrospective 'Maybe It's Right To Be Nervous Instead'box set instead!

samples:

• Can You See Me Shining
• On Solids
• 'Til the Stars in His Eyes Are Dead

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14 April 2002

Administrator

Albums and Singles

Historically, the Rephlex label has defined and embodied the term"taking the piss." With tongues planted in their cheeks, the notoriouslabel owners Richard D. James and Grant Wilson-Claridge release, onaverage, nine questionable albums for every good one. So it's always awelcome relief to see a new Global Goon album at the record store.Though often, and incorrectly, rumored to be an Aphex Twin project,Jonny Hawk is his own man, wearing his influences on his sleeve like ageezer's cufflinks. Global Goon doesn't seem to mind promoting thatdated Artifical Intelligence sound, and for that we are thankful. Whileluminaries like Autechre continue to stray further and further awayfrom melody, the opening track on 'Vatican Nitez' ("Business Man")brings us back to when Warp was in its heyday, dropping classic uponclassic. Warbly analog synths, flatulent stabs, and coherant drumscarry this album for the most part, most noticeably on songs like"Stan's Slaves" & "Crudulus". The memorable "I'm On The 73" recallsa time before trip hop and downtempo, with an old-school hip hop grooveplaying awkward yet pleasant games with delay effects. With 'VaticanNitez', Global Goon confirms his place as one of the strongest acts onthe label (which isn't saying all that much) and one of the most uniquein today's IDM scene. I'm looking forward to a time in the future whenpeople rediscover the 90's; a time when Jonny Hawk can be regarded forholding down the fort while even the generals defected.

samples:

• Business Man
• Crudulus
• I'm on the 73

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14 April 2002

Administrator

Albums and Singles

Somewhere, right now, indie rock kids are overjoyed beyond belief listening to this record. Why? Because Go Back Snowball is a project by two men that they readily worship for the music they release with their full-time bands. And people have often wondered in conversations at coffee shops and record stores what it would be like if they actually made a record together. The wonder is over, as Bob Pollard and Mac McCaughan, of Guided By Voices and Superchunk/Portastatic respectively, have joined forces for "Calling Zero." And it's almost as good as you'd expect it to be.

Pollard is a king of melody, often showing fantastic ability on GBV records in finding a vocal line where no one in their right mind could. And McCaughan is the master of instrumentation, writing triumphant indie rock with Superchunk and playing all the instruments in his quirky but solid side project Portastatic. The genesis of this record is reportedly like that of Pollard's recent Airport 5 collaborations with Tobin Sprout: McCaughan records all the music and sends it to Pollard, then Pollard has free reign with it for vocals and lyrics. And the results are certainly a good sign of what is possible here, and a worthwhile listen to be sure. But it's far from perfect. Primarily, the problems here are due to the arrangement that spawned the collaboration in the first place. Pollard is at the mercy of whatever music McCaughan gives him, and there are a few tracks here where you can almost picture the elder statesman saying "What in the hell can I do with THIS?!" ('Again the Waterloo') Pollard is, in his own right, a fantastic songwriter, and I think the results would have been that much more dynamic had they actually wrote some songs together and recorded them in the studio together, not a reasonable facsimilie of it. And the lyrics are classic Pollard, which is both a good and bad thing. He's shown such growth and maturity on the past two GBV records in his lyrics, so why does it seem he's going out of his way to be oddball again here? ('Throat of Throats': 'Vultures looping through fiery hoops/In third dimension jumping suits') It sounds just like you'd think, though: Pollard fronting Portastatic. If that sounds like something you'd like to hear, try it on. It really is a great record, and I hope they collaborate again. Given the prolific nature of both men, it's certainly possible. But please, gents, next time sit in the same room with each other a few times first? -

samples:

• Never Forget Where You Get Them
• Again The Waterloo
• Go Gold

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14 April 2002

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Albums and Singles

Music nerds need to have fun some times. Unfortunately I think thoseare the only people who would find entertainment in the "irony" of thisrelease. No, this isn't a brand new full-length from the long-forgottenkickass On-U Sound dub band Playgroup from the 1980s (despite the onetrack which experiments with instrumental dub), it's the project byTrevor Jackson, owner of Output Records and former remix artist knownas Underdog. If there's anything to express on this recording, it's thefacts that #1: he's either got a ton of money or a lot of productionskills and connections and #2: he's a rather dull writer, with mundanelyrics, oversimplified beats and repetitious riffs that wear out theirwelcome 30 seconds into every track. The self-titled debut album isclearly a post-post-disco record: just a few years shy of making asplash. (Note: the trend has clearly moved onto the 1980s-retro, duh!)Months ago, I thought this was a seriously feverish heavy recording,but take my warning, that feeling fades quick. Further listens invarious environments show its limits, as it's really only heavy whenplayed in loud volumes with the bass turned way up. Some times a goodfeel gets going, but out-of-place guitar riffs, saxophones or othersounds almost always seemingly taint any attempt at purity. In manyways I'm reminded of the Malcom McLaren from 20 years ago: a whiteBritish music businessman and producer who regurgitated black cultureand was praised by the white music press and higher-brow music fans,but was never authentic enough to really break down the boundaries thatkept him an "artist" rather than the "superstar" he was shooting to be.Guest vocalists like Kathleen Hanna and Shinehead don't do the albummuch help and the cover of Paul Simon's "18 Ways to Leave Your Lover"is downright painful. I couldn't help but cringe every "yahoo" shout in"Front 2 Back" or each time some tough-acting guy spoke "bounce,""scram," and "uh huh," in between the sung lines of the ghastly PaulSimon cover. Jackson's got a great ear for production, a ton of supportfrom the highest paid music critics, and probably tons of managerstrying to land him TV advertisements, but at the end of the day I canhonestly say that I'm personally embarassed to own this record,nevermind play it around others or in the car with the windows rolleddown.

samples:

• Bring it On
• Fatal
• Make it Happen

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07 April 2002

Administrator

Albums and Singles

Series 7 is a project on the UK-based label Bella Union, formed byformer Cocteau Twins Robin Guthrie and Simon Raymonde. Over sevenreleases, seven artists will take seven days to record seven songs. TheMeat Beat Manifesto founder/front-man's contribution is probably theclosest he has ever come to the Meat Beat sound while recording as JackDangers. While it's hypnotic and infectious and a much anticipatedsound, it's not, however, a Meat Beat record. The beats are here,Jack's production has without a doubt presented for our listeningpleasure that signature sound fans all know and love, but there'ssomething just not quite there. It could be the absence of sung orvocally sampling tracks, strong lead instruments, or heavy tune riffs.This isn't a bad thing, however, as it seems to be that the goals ofthis series is to harness what these few musicians are able to come upwith in a short time without countless chances to change, modify,retouch, etc... It's enough to wet my personal appetite for now whilewe wait patiently for the next big MBM offering.

samples:

• Nano
• Every Technique
• No Secrets No Surprises

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07 April 2002

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Albums and Singles

The "5 Tracks" CDR, published in a tiny edition of 100 copies in abeautiful silver-on-black circular sleeve, documents a solo guitar andelectronics concert by improvising guitarist Giuseppe Ielasi in Athens,Greece. Ielasi's improvisations do not contain many typicallyinstrumental gestures; every track sounds like a composed piece of tapemusic, with careful attention paid to the stereo field and to suddenshifts in dynamics and texture. Only a few times do we hear arecognizable volume pedal or a hand rubbing some glass on a guitarstring. For the most part, the level of detail and patience here arethe kind most often found in meticulous studio creations. The highpoint for me is the fourth track, a lengthy piece that starts as hightones and feedback and very slowly (VERY slowly!) adds percussiveelements and crackling synthesizer; the sense of assured calm thatpervades every piece is rare, and just wonderful. There are certainlyaffinities between "5 Tracks" and Kevin Drumm's seminal "Guitar" CD,but I don't think any improviser with an interest in electronic musicwasn't inspired in some way after that album came out.
Recorded after "5 Tracks', the "Right After" CD does not appear tocontain any guitar at all (at least, not according to the credits).Ielasi's partner on this album is Domenico Sciajno, formerly a bassistand currently one of the most musical and interesting of allimprovising laptop players. Sciajno's computer and Ielasi's electronics(a tableful of gadgets, I imagine) are integrated here into a seamlesssingle voice. I can only assume that the music is improvised due to thehistory of the publisher, Erstwhile Records, but if I had no suchbackground I might not guess as much. If "5 Tracks" only occasionallybelies its uneditted live and improvised nature, "Right After" does notat all. The high sine tones are out in force right from the start,which can be either exhilirating or annoying, depending on yourpatience for such things. The second half turns somber, with calm quietprevailing over the jarring cuts that open the disc. Much moreaggressive and strange than Ielasi's other recordings, "Right After" isalso one of the very best and most cohesive releases on the Erstwhilelabel. More info at www.anet.gr/absurd and www.erstwhile.com.

samples:

• track 3
• track 5

A very different improvising group from Italy is the strangelypunctuated tu m'. There is virtually no information given on thepackage of tu m's debut CD, but it sure sounds like a laptop to me(that telltale digital high-pitched whine is unmistakable). The groupmoves carefully through six relatively beat-oriented improvisations.The pieces develop slowly and deliberately, with loops rising up andfading out, sine tones entering steadily and cutting out, muted beatstaking a place somewhere in the background and thump thump thumpingalong. Though the music is improvised, it sounds more similar to theabstract Mille Plateaux or Ritornell bands (Neina springs immediatelyto mind) than to what one might think of as "improv". The recordingquality is muddy at times, especially when tu m' brings out the heavybass, so many of the digital details are lost in an undifferentiatedmurk. This could have benefitted from a cleaner production, but theideas still come across. More info at www.cut.fm. - 

samples:

• track 4
• track 5

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07 April 2002

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Albums and Singles

Raised form the semi-ashes of Red Red Meat, Califone started as a soloproject of sorts for that group's Tim Rutili. Eventaully, however, hestarted to bring other people in to play, adding dimension and flavorto the sound, and, eventually, two of the other three members of RedRed Meat, Ben Massarella and Brian Deck. After the release of theircohesive and coherent debut LP "Roomsound" last year on Rutili andMassarella's own Perishable imprint, this year Califone reissues theirfirst self-titled EPs on Flydaddy and Road Cone on Perishable, addingtwo tracks and an official title. "Good Weather" is a view into theCalifone of before, and having heard "Roomsound," it's a great lookinto how jaunting and disparate their sound was early on. Yes, there isclearly a Bowie influence, as well as rural mountain geetar-pickin'.But work it all together with some driving percussion, samples andpiano here and there, and change direction on virtually every track,and what you get takes on a life of its own. You can almost hear aconscious shift between tracks 1-7 and 8-12, where the productionvalues went up, the vocal harmonies move to the front seat, and theinstrumentation is more varied. It's a fascinating listen, evolution ofsound-wise. Of the two bonus tracks, one is a remix of the earliertrack "To Hush a Sick Transmission" sans vocals, and the other is thebest Califone track you've never heard, as it's never been heard untilnow. All in all, a great reissue that shows the early potential of thisensemble considering where they are now.

samples:

• To Hush a Sick Transmission
• Don't Let Me Die Nervous
• When the Snakehandler Slips

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07 April 2002

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Albums and Singles

These two are the latest 7" singles in a series initiated by Tonschachtto showcase different strategies of contemporary—not necessarilyelectronic experimental—music. The design is the same as the previousreleases: a white typewriter font on black and vice versa on the infosheet enclosed. Nothing shall distract the listeners attention fromlistening itself. No. 009 features Auckland, New Zealand resident RosyParlane with "Kees.1" and "Kees.2". Side one sets a reduced breakbeatagainst an approaching intense swarm of electronic drones. On theflipside, "Kees.2" continues with an almost orchestral drone fadinginto distraction. Carefully selected sounds are introduced at first,while more sounds are seemingly randomly brought in, step by step,until a new structure evolves. As soon as the piece has completelymutated into something different, it stops. At first both pieces seemto be a bit short but each get to a point which gains and rewards yourattention without having to wait a full CD length for it.

samples:

• Kees.1
• Kees.2

Thebetter known Vibracathedral Orchestra from the UK grace No. 010.Working with a variety of more traditional instruments, they sound abit like an outtake of the fictive 'Industrial Unplugged' Series."Oblong Two" is the far darker and heavier one of the two. It's mood isan ambiguous drift leading your ears towards amazement. The title trackleaves the impression of optimistic ignorance in midst the wasteland.This is not really my pair of shoes but I'm sure lovers of freestylepost-everything will enjoy it. These editions are numbered and featureexclusive tracks and should be available at normal 7" single prices.For more info on this extraordinary series check out www.tonschacht.com.

samples:

• Oblong Two
• The One you Call the Ghost Train

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07 April 2002

Eric Satin

Albums and Singles

Burnt Friedman presents a smidgeon of material from Uwe Schmidt'smassive Rather Interesting back catalog for his own Nonplace label. Forthe 42 minute continuous mix, Friedman selects 14 of his favoritetracks from eight of Schmidt's many monikers (he's probably best knownas Atom? or Atom Heart). First off, I must confess that I don't own asingle Rather Interesting release. I figure this will be a good placefor me to start considering I'm an adamant collector of Freidman's workand the duo's collaborations as Flanger. Friedman's bright and spaciousaural imprint is all over the disc, either through his mixing, his ownoverdubbing or simply a like-minded approach. The main vibe is theirusual one of jazz and electronica de latina, a blurred lines blend ofsampled/programmed/played musica, sometimes at the mercy of glitchifiedhyper-editing. The rhythms vary from techno to tango and they neverstop as pianos and keys noodle, bass lines bounce and slide,electronics blip and bloop, horns and vibes dabble and faux audiencesclap in appreciation. At first it is indeed a rather interesting mix,always on the move and seamlessly sewn together, but after awhile it'sa tad too cutesy and/or bland for my taste and I start to loseinterest. What's missing is the dark beauty and black humor of some ofFriedman's solo output that I love so much. I just simply preferFriedman and Flanger's stuff over Schmidt's, simple as that. And thatgives me a sigh of relief considering the financial commitmentnecessary to keep up with Rather Interesting, not to mention all ofSchmidt's other endeavors.

samples:

• Follow Me to San Jose
• Midisport - All Notes Off
• Ondas - Stereo Kiss

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07 April 2002

Administrator

Albums and Singles

While I can truly say I have enjoyed Town and Country albums for years,I hadn't had such an incredible appreciation and awe for them until Ifinally had a chance to see them live. Friday night at the ZeitgeistGallery in Cambridge, the quartet performed a number of songs fromthis, their fourth release. While it's musically apparent that thisChicago-based drum-less multi-insturmentalist acoustic instrumentquartet have a serious history of improvisation, every song, every noteis cold-calculated and executed with the skillfullness of professionalperfection. I'm still marvelling at the amount of instruments whichcould actually fit in the tiny room. Through the night, the fourmusicians shifted around between acoustic guitars, double basses (yes,there was one song where two were played), bass clarinet, celeste,harmonium, cornet, and most impressively, a stunning set of handchimes. I couldn't keep my eyes off these things, as they had to berearranged between each song depending on which notes were used. Thesound was phenomenal, dreamlike, intoxicating and swirling and makes mevisualize the albums so much more than ever. To magically accent theevening, there was brief snowstorm outside which fit the second song onthe album, "I'm Appealing" almost perfectly, as the song is filled witha harp-like effect by rhythmically strumming what could possibly be32nd notes on two acoustic guitars. You can buy the album and get thesame effect but I highly recommend both doing that and going to see theshow if they're anywhere near you. Tour dates are posted at thrilljockey.com. Sure, it's a bit mathematical, a bit clinical, a bit music schooly, but it's really a stunning listen.

samples:

• Going to Kamakura
• Palms
• Bookmobile

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