01 April 2001

Administrator

Albums and Singles

Jean-Michel's second CD release is an excellent follow-up to Marshmallow Rooms (see the brain vol 3 issue 17),containing some pretty ambience mixed with electro-crunchiness, whackedbreakbeats, and old-school techno, providing a an aurally stimulatingexperience. Like most of my favorite intelligent-techno bands,Jean-Michel expertly oscillates his effects and adds and subtractssounds to keep things evolving, as if a story is being told. But whatsets him apart is his excellent use of acoustic guitar to set theelegent mood, juxtoposed with a seasoning of brief splashes ofhighly-processed, other-worldly noise, guaranteed to grab yourattention.
On the recording side, there is one gripe - his CD tracks frequentlyare at a level which is a tad too high and the overloading, whileperhaps adding character to some of the songs, is sometimes obviouslyunintentional. Perhaps his many vinyl releases do not share thisproblem? His very obscure German record label, Eleganz,seems to be primarily a vinyl shop, always releasing his songs first onthe esteemed 12" format. Good luck finding his stuff on this side ofthe atlantic.

samples:

• Connected
• Extra-Ladezone
• New Medium Softpack

 

 

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01 April 2001

Administrator

Albums and Singles

Christopher Penrose is a thirty something Californian who has receiveddegrees in music composition at UC San Diego and Princeton University.He currently resides in Japan and works as a researcher, composer anddeveloper of audio software for Apple's Rhapsody operating system. Thetwo 20 and 24 minute tracks on this disc are likely products of thatsoftware, possibly his image to sound program. Penrose is obviouslymaking a statement on the Americanization of the world as the digipackfeatures clever artwork by him of Stars and Stripes flags with thestars replaced by other nations flags and corporate logos. The titlerefers to 'one who vociferously supports one's country, especially onewho supports a belligerent foreign policy', no doubt a phenomenon hehas experienced firsthand in Japan. The title track churns throughcountless processed samples and passages, far too many to detail oreven identify, but most are seemingly random snippets of sound andmusic interspersed with several spoken statements: "here is what youthink", "be a winner at losing", "I love my body", "she is America",etc. "MK/Ultra" features an 8 minute wavering synthetic drone, apanicked phone call to a radio station from a recently dischargedsoldier who believes aliens are among us, and a numbered list ofunusual life lessons and suggestions delivered in a digitized voice,culminating with "walk slowly, but kill that motherfucker if he triesto take your money" repeated ad nauseam. Penrose's compositions arejust plain odd, both in content and juxtaposition, but also interestingwith a well balanced mix of ambient, noisy, serious and humorousmoments. Though, without the artwork I'd be somewhat puzzled as to whatit's all about ...

 

samples:

• MK Ultra
• American Jingo

 

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01 April 2001

Administrator

Albums and Singles

Aeron Bergman is a founding member of NYC based label Lucky KitchenRecords and this CD is his first for Germany's Tom. "The Tale of theUnhappy American" is a science fiction fairy tale told with words andsounds. Eleven short spoken word tracks are followed by correspondingmusical tracks, all less than four minutes, often to interpret theaction of each scene. The story follows the narrator's journey from thesurroundings of home to a futuristic battlefield and beyond via a hoverbike. There doesn't seem to be any sort of moral really, just a briefadventure then back home. The music is predominantly pretty ambientelectronic twinkles, waves, drones, static and gurgles, with theoccasional noisier passage. These sounds, despite being electronicand/or computer generated as I believe they are, feel very naturalalmost as if they are field recordings of the sounds of insects, powerlines, flight, water, battle, machines, different times of day/night,etc. There's a child-like naiveté to everything here: the concept,story, the music and the packaging. And it works. It's simply cute,fun, warm and relaxing. Next up for Bergman, as 1/2 of Alejandra andAeron, are "Kitchen" a split 12" on Fat Cat and "The Tale of Pip" fulllength on Autobus/LK in April and May ...

 

samples:

• 1
• 2
• 3

 

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01 April 2001

Administrator

Albums and Singles

This year, 4AD's UK office has been reintroducing the public to thecatalogue of some of their former brightest stars. Heidi Berry'santhology "Pomegranate" gathers 14 songs from her three 4AD albums andadds a few extra bits. 4AD fans might not know her name but they sureknow her voice, as it's all over the final This Mortal Coil album,'Blood'. Her first album was released in 1989 but her first record for4AD, 'Love' was released in 1991 shortly after This Mortal Coil's'Blood'. 'Pomegranate' jumbles up her tracks in a non-chronologicalorder, with the basic folk-inspired acoustic songs interwoven withsongs with lush string arrangements and captivating swirling pianomelodies. There's something magical about that voice which shines invarious spots but can also get quite improperly placed when accompaniedby the Lost Girls in the collection's closer, "Needle's Eye".
"Life in the Gladhouse" collects 16 album and single tracks from ModernEnglish between the years 1980 and 1984. While most people in the worldwill only credit them for the mega retro feel-good 80s anthem "I MeltWith You," the group had a much darker, angry and artful repertoirestretching over the course of three notable albums. Program the CD toplay the songs in chronological order and you can see how the groupcame into existence during the punk movement and exited during theearly 80s wave of new romantics. While I don't usually agree to "bestof" compilations from groups who only have three albums represented, acollection like this or Heidi Berry's will be helpful to people who arefamiliar with the small slice, but interested in hearing more. InModern English's case it's the big hit, only popularized long after itsinception, Heidi Berry's case being the voice of 'Blood.'
"Ciao!,"on the other hand makes less sense. The group's popularity was muchstronger and to release a best of from a group also with a three-albumcareer like this is rather unnecesary. Unlike the past two collections,there is a chronological order executed here, in reverse however. Thedisc only grabs a few hits and some popular album tracks, heavy on thecatty most recent stuff (including the gratuitous Javis Crocker duetfrom 'Lushlife') and light on the beautiful two-girl harmonies onlayers upon layers of guitar wash, which captured everybody's attentionand love of the group in the first place. I fell in love with Lush'smusic over a decade ago and still hold much of their music dear to myheart, yet I'm not endorsing this collection. If they really wanted torelease a worthy retrospective, a collection of b-sides and compilationtracks would be wonderful. Over their short career, the group hasaccumulated an impressive non-album repertoire which couldn't fit onanything less than two lengthy compact discs.
ThePixies were arguably one of the most influential bands of the late 80sand also arguably the last truly alternative band to gain recognitionon a large scale. They intelligently and almost accidentally combinedsmart riffs with surf-punk and abstract lyrics with hooks catchy enoughto make Lennon and McCartney jealous. In 1991, following the band'sfinal album, Nirvana fucked everything up, thrusting recycled Pixiesriffs repackaged as 'grunge' into the mainstream, merging 'alternative'and top 40 radio, forcing them all to cater to the new incarnation ofpop music. Thankfully it also surpressed hair bands, until thefollowing year when Pearl Jam surfaced as a repackaged Winger. I couldgo on for hours on the subsequent decline in individuality andextinction of daring record companies whose risk-taking was high andrewards were somewhat honorable, but that's another essay. That asidethis collection, 'The Complete B-Sides' doesn't do much more than itclaims, collecting all the singles tracks which didn't appear on thealbums, in chronological order from the start. Absent however are acouple lingering other tracks which appeared on compilations like'Rubyat' and 'I'm Your Fan: Songs of Leonard Cohen.' As a bonus acouple of their music videos are included - their breathrough hit,"Here Comes Your Man" and "Alison," which sadly enough omits the entirefirst part of the music video, "Dig for Fire." The commentary byCharlie Thompson (currently known as Frank Black, formerly known asBlack Francis) is short and direct, not surprisingly so as he's alwaysseemed to be more enthusiastic about current projects than reflectiveof his glory days in the Pixies.

 

samples:

• Heidi Berry - Little Fox
• Heidi Berry - Cradle
• Modern English - Gathering Dust
• Modern English - Swans on Glass
• Lush - Lovelife
• Lush - Nothing Natural
• Pixies - Theme From Narc
• Pixies - Into the White

 

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25 March 2001

Administrator

Albums and Singles

While the Fat Cat people boast about their committment to introducingfresh new artists, they've played the game relatively safe for theirentire existence. A successful record label has to establish themselvespretty much before they can make bold moves like this one, releasing aCD comprised entirely of demos received by the label from completeunknowns. Fat Cat established themselves by releasing an assortment ofbuzzworthy 12" split singles, sneaking in a relatively unknown act onone side with an established act on the other side. In sales it'scalled the "foot in the door technique" — now that we've got yourattention, try this! The label's intentions are well and this techniquesure paid off.
Conceived over two years ago, this collection gathers 74 minutes ofpeople you most likely have never heard of, many of which will probablynot surface again. While Fat Cat have pointed out that they love all ofthese songs, limitations of the label have only allowed them time,budget and manpower to do full releases of a couple, two of which Com.Aand Duplo Remote have tracks appearing here. The collection issurprisingly impressive, starting off with the brief abrasive noise ofQT?, continuing on with glitch electronica Autechre worshipping soundof Phluidbox, the sci-fi death theme sounds from Jetone and pentatonicAsian taste of Zooey. By the time it reaches the slick production ofthe instrumental Fridge-ish jam, Ukiyo-E's "Val Doonican," the grandscope of the collection is shifted, transforming it from a collectionof random electronics to something more. At this point, the compilationof unknowns begins to strangely mirror a well-constructed soundtrack oran 80s-era cassette-only comp. Changes continue when the poundingabrasive head nodding track from Moneyshot bursts in, a melancholypiano piece from Beans arrives a few tracks later, followed by moreelectronic and organic contributions including the gorgeous low-temposubmission from Cytokine.
While each of the 19 songs on here are quality work, it's easy to tellthat all of these artists are still in the infancy of their careers,with much more to learn about originality, composition and production.Much like releases like the "Rising from the Red Sand" comps forexample, I'm predicting this disc will become one of those collectablereferences on discographies popping up years from now. On the horizonfor the label is a section on their website with exchanges of musiclike this and hopefully more collections.

samples:

• Moneyshot - Trocchi Travelled Inward
• Jetone - Pil
• Ukiyo-E - Val Doonican
• Cytokine - Movement

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25 March 2001

Charles Monaco

Albums and Singles

It isn't until the fifth track of 'Hoshi No Koe' that you hear musicstrongly resembling the majority of Nobukazu Takemura's previous work.In and of itself, this isn't such a bad thing. To continue to rely onthe same reverb-laden, scratched, looped, and manipulated CD soundswhich have come to be so closely associated with Takemura (as well ashis "Child's View" alias) would have been redundant, if still quitepleasant to listen to. With the release of the "Sign" 12-inch a fewmonths back, Takemura signaled a shift away from the avant-gardeindulgence of 15-minute tracks of skipping digital beats, and towardsan almost danceable mix of vocoder-enhanced vocals, 4/4 rhythms, andcatchy melodies - and which kept his trademark sound as coolornamentation to what was his most single-y track yet.
On 'Hoshi No Koe', Takemura shifts back into the avant-garde, whichagain, in and of itself, isn't such a bad thing. Unfortunately, themanner in which he does so is. Gone are the so fresh, so cleancompositions, walls of sound, and floods of echoes perfected on thelikes of 'Funfair' and 'Scope.' Instead, here we hear a handful ofwell-constructed and intriguing tracks separated by what comes off verystrongly as nothing but filler: throwaway Casio noodling on "One Day,""White Sheep and Small Light," and "A Theme For Little Animals";wanna-be clicky minimalism on "Honey Comb" and "Trampoline"; and slowmeticulous beatless repetition on "Stairs In Stars" and "In TheRoom-Roof-Wood". Some of these tracks are less offensivelynot-thought-through than others, but all display a startling lack ofcleverness and ingenuity, and what is most vexing, a seeming lack ofeffort on the part of Takemura, who plays all instruments and producedall tracks on the album. It is one thing to not exactly "get" the newdirection in which a musician wants to take you, but it is anotherthing to not understand at all why he wants to take you there. This isthe case with 'Hoshi No Koe' - there is a clear lack of directionthroughout the overly lengthy 78 minutes that would probably surpriseanyone who has tracked Takemura's work to this point.
This is not to say that his genius doesn't manage to shine through atleast a few times. "Sign" is on the album (the aforementioned track 5)and its the obvious winner of the bunch, and "Anemometer" is asimilarly terrific (if unnecessarily lengthy) melding of bouncy beatsand trademark Takemura sounds. "A Chrysalis" starts out sounding likeexperimental wanking, but slowly and beautifully evolves over its 17minutes into a downtempo exploration of rhythm and tone that wouldn'tbe out of place on 'Scope'. Finishing the CD is the wonderful "TheVoice Of A Fish," which is similarly subdued, subtle, and complex - allcharacteristics which are in short supply on most of the previous tentracks. For whatever reason, these traits - which made Takemura soexciting on previous efforts - are anomalies here.

samples:

• Sign

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25 March 2001

Administrator

Albums and Singles

The Angels of Light are the current song writing device of Michael Gira of Young God Records. How I Loved You, follow-up to 1999's superb debut New Mother, commits to tape many of the songs from the now legendary first tour and others written since. It is a collection of love songs of sorts with references to various women and Gira's parents, whom grace the front and back cover of the digipack.

Young God

Each of the ten songs begins with Gira's inimitable voice - from whisper to caterwaul - and acoustic guitar and are then tastefully embellished by the band with lap steel, percussion, organ, bass, electric guitar, piano, accordion, melodica, female and male backing vocals. "Untitled Love Song" sways gently and lovingly with perhaps the most beautiful melody and straightforward, heartfelt lyric of Gira's career to date. "My True Body" gallops like a wild stallion in double time, Gira vehemently declaring "I can see the footsteps of Jesus!" "Song for Nico" is reminiscent of Swans with warm female 'la la la's. "New City in the Future" and "Two Women" are the epics, nearly 12 minutes apiece, both deeply moody with passages of mantra and crescendo. "My Suicide" swaggers like a Johnny Cash spiritual, Gira confessing "I hate you for your love, and I hate you for your sex" in a droll croon. "New York Girls" quietly assesses the qualities of the feminine urbanite, culminating with several minutes of instrumental expedition.

Overall How I Loved You is relatively soft and restrained save for a few moments, Gira's songs capturing and conveying a pure and natural emotion that's truly beautiful. It's yet another masterpiece. The Angels of Light will likely tour later this year. Check the new Young God site for information.

samples available here

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25 March 2001

Administrator

Albums and Singles

The debut full-length from Belgium's Scratch Pet Land resembles what anaudio Rorscharch Test might sound like. Fans of the quirky Sonig soundfrom groups like Vert, Mouse On Mars and Wang Inc. should be warnedthat the proverbial happy blippy sounds don't really jump in until thefourth track and don't stay very long as this German duo seems to havean amazingly short span of attention. Given the chance however, thisfull-length debut is quite pleasing, with creative crack addict-likemelodies and noisy audio scribbles. There are spots where the soundsappear to be strange mutated samples of kids hiccuping in a playground,short tunes of randomized aural splotches, or a musicallyimpressionistic walk across a stained glass carpet crunching betweenyour feet. When the melodies do arrive they stand as shining moments ofan almost Kraftwerkian tributary nature. Forty-two minutes of randomtest tones, pots, pans, circus animals, babies and flying saucer soundslater I'm left somewhat confused, but rather satisfied. 

samples:

• Escargot Couleurs !
• Alo Fab / Next is Papa Kaba Trio
• Baudoux Baba

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25 March 2001

Administrator

Albums and Singles

Thomas Brinkmann is a prolific producer of numerous minimal/experimental techno platters, both digital and analogue. His tools here are simple but unique: a knife, a pile of old records, 2 turntables, a mixer, an isolator and an effects unit. If I'm to understand the process correctly, Brinkmann literally cut the locked grooves into the records and then played and mixed them to create the 10 4-7 minute, binary titled tracks.A circular rhythmic shuffle of thuds, thumps, scratches, static pops and clicks is not only the foundation, it's the entirety of each track. The first and last tracks also contain minute vocal tidbits. Brinkmann seems intent on culling music from where there is no music to create a sort of 'techno'. "0011" becomes increasingly abrasive as the revolutions increase. "0100" playfully plasters high RPM skips. "0101" manages an almost dub resonance with reverberated pops and a gentle energy hum. "1010" simply declares "Berlin" a few times in a boisterous voice amidst the clutter ... perhaps an unnecessary reminder of the most likely place on Earth that such music would come from. Altogether "Klick" is rather clinical but surprisingly varied and enjoyable. There's plenty of groove to be found and enjoyed within the grooves.

samples:

• 0101
• 1010
• 0011

 

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25 March 2001

Administrator

Albums and Singles

Taking a break between albums, the Tied & Tickled Trio have released a brief 8-song collection of remixes from last year's "EA1 EA2" album. The disc is released through Morr Music in Germany and features remixes by Console, Kandis, Max.Ernst and others. For the most part the remixes basically go one of two ways. Some of the tracks are pumped up discotheque versions of the songs while others take a route accenting the more jazzy elements. The Max.Ernst cuts are quite watery with obnoxiously repetitious horn loops while the Console mix flows nicely with an element of technological mastery.

Console, a.k.a. Martin Gretchmann a.k.a. 'that guy in the Notwist who -isn't- in the Tied & Tickled Trio' has also released a disc of remixes, but this one's from the other side of the mixing board. 'Console Yourself' is eight tracks of other peoples songs remixed by Gretchmann, over the course of three years, including an overlap from the Tied & Tickled remix disc. Also featured on the disc are remixes of Isan, Barbara Morganstern, Ammer/Hage and even a Console song remixed by Console. Gretchmann's mixes stand out as he's got a keen ear for when to keep a loop going and when to kill it. While both of these discs are good to have for collectors, they're nowhere to start for people who aren't existing fans already. I personally recommend the most recent full-length albums from each of the three, Console's "Rocket in the Pocket", Tied & Tickled Trio's "EA1 EA2" and of course the Notwist's "Shrink." With any luck at least one of these entities will release something excellent later on this year.

 

samples:

• Hip Young Things - 1¬Ω - Console remix
• Barbara Morgenstern - Das Wort - Console + Hometrainer remix
• Tied & Tickled Trio - EA1 EA2 nr. 10 - Wechsel Garland remix
• Tied & Tickled Trio - Utrom mix - Kandis remix

 

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