England's Eden Maine might appear all bluster and bark from first look: a blood-red album cover and song titles which hit on everything from Satan to homicide to strongly-worded exhortations not to breathe. It seems a little bit contrived and postured. But once past the introductory wispiness of "Solstitium," Eden Maine's bite becomes painfully apparent. And yet the bark persists.
Hotter than July. This week's episode has plenty of fresh new music by Marie Davidson, Kim Gordon, Mabe Fratti, Guided By Voices, Holy Tongue meets Shackleton, Softcult, Terence Fixmer, Alan Licht, pigbaby, and Eiko Ishibashi, plus some vault goodies from Bombay S Jayashri and Pete Namlook & Richie Hawtin. Solstice moon in West Midlands, UK photo by James. Get involved: subscribe, review, rate, share with your friends, send images!
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Instrumental band Ten Past Seven have been a take them or leave them band whenever I’ve encountered them live. On disc they are a different beast: complex song structures with strong metal, jazz and post punk influences make for a fascinating and fun listen.
This double live album is another impressive release from Keiji Haino. For this concert he was joined by Sitaar Tah! (a twenty strong sitar orchestra) and a throat singer by the name of Fuyuki Yamakawa. It’s as good as it sounds.
Ex members of Windsor for the Derby contribute to this pretty little single, the first from their debut album Fear Is On Our Side: the result is a number catchy enough to have me singing along even though I can't find the lyrics to the song anywhere.
This mystic, free rock crap really loves to wander without going anywhere. Three and four minute songs end up sounding like ten minute excursions in the name of ambivalence or pure wanksterism and songwriting is sacrificed for "exotic" arrangements and instruments. First Nation try to blow that stereotype out of the water on their debut and they come damn close to outright embarrassing everyone around them.
For the most part recorded live in Vienna, this album is a consolidation of Nurse With Wound’s most recent output into one piece. The results speak for themselves; the different resources integrate with each other perfectly to give an exceptional piece of music.
Recorded in one day, then processed over three years, here is an orgasmic maelstrom. Transmitting as much calm unease as bewildering force, Aufgehoben's third release is beautifully fleet-footed, intensely musical, tantalising ugly and almost tangibly sexual. As if a winged piledriver were coupling with a steel drum, in a furnace.
This album is a collection of deceptively simple, melodic songs performed on electric guitar and bass by the composer and player who has worked his singular magic on so many of Current 93's most memorable records. Cashmore makes use of a minimal instrumental palette to create a suite of haunting melodies that seem stuck in some hazy, half-remembered, sepia-toned corridor of memory.
