- Jason Olariu
- Albums and Singles

Read More
- Administrator
- Albums and Singles

Read More
- Administrator
- Albums and Singles
Read More
- Administrator
- Albums and Singles

Zero Hour
For nearly all of the songs, the first measures start up in a wonderful electro glitchy rhythmic interplay, eventually kicking in to a fuzz-bass based pop tune, indie-pop (if possible) in nature. Music must evolve, and thus indie glitch-pop is born (?) as this album represents what you might get when you cross Coil with Magnetic Fields and Sam Prekop (of The Sea and Cake) at the vocals. Taking a break from the easy-melody pop, a few tracks break the electro mold and step over the line, rejecting vocals and adding a small horn section, living percussion players, nasty sounding organs and saxophone vs. drum break downs. Stereolab fans beware, as I have heard they're touring around with the band here and there for their current tour. The tunes keep your head bobbing, the melodies warm your soul and the electronics tickle your brain. Hunt this one out because Zero Hour isn't necessesarily an easy label to hunt down.
Read More
- Administrator
- Albums and Singles
Just when you think Mute USA dropped the ball and turned their back on music in general (re: the exodus of classics such as Einsturzende Neubauten, Diamanda Galas and Nick Cave from the US label) they shock us all and strike a deal.
 
Mute US has entered a new market with German post-kraut-rock releases now due from To Rococo Rot, Kriedler and Schneider TM. "The Amateur View" is To Rococo Rot's first full-length release in the USA - preceeding this was the EP release on now defunct label Emperor Jones/Trance Syndicate as well as a couple European-only releases on City Slang and Kitty-Yo. To Rococo Rot take their music seriously and produce professionally with an audibly perfectionistic touch - a gentle yet appropriate blend of drum machines and live drums, sequenced and performed keyboards, samples and live bass. The tunes are pleasant, the tempo moves well throughout the entire disc, the sounce are slick and polished, there's nothing sloppy here. Don't let the title fool you, this album is anything but amateurish.
Read More
- Administrator
- Albums and Singles

Read More

- Administrator
- Albums and Singles

Read More
- Gil Gershman
- Albums and Singles
Read More
- Gil Gershman
- Albums and Singles
To the uninitiated, Blonk sounds like a madman - babbling excitedly in non-languages, spitting guttural noises and pitched burps like a Speak-N-Spell rewired by a lunatic. He's quite sane, and enormously entertaining, an avid devotee of the obscure history of sound poetry.
Dadaist and surrealist poets were drawn to the rhythm of language, applying their cut-up and repetition techniques to words, vowel sounds, consonant clusters and lip and lingual sounds. The results can be as stirringly meditative as Velimir Khlebnikov's "Kolokol Uma (Ringing The Bell of Mind)" or as playful as Blonk's own "Geen Krimp," an exhaustive study in the Dutch language's most problematic letter combinations (lots of "gr"s and "krs"), and the playful lip farts of "Labior." At the other extreme of this vocal-lore is Man Ray's "Lautgedicht," a text with all words gleefuly "XXXXX"-ed out, performed by Blonk like a Conehead love-call. Blonk's choking-victim gurgle and spirited brays, whoops, smacks and hoots would get him tossed from even the most liberal restaurant, making Vocalor the perfect vicarious thrill for those who have had it with the snotty properiety of their local art scene.
Read More
- Noah Jurcin
- Albums and Singles
Read More