Up until this release I've never liked Aaron Dilloway's solo material. It's always seemed a little too keen in 'going for the all out 100% sick assault' as opposed to any gradients between that and anything less than pitch black. This release sees a ditching of density in favour of a little cheap subtlety putting it up there with the best of his work with Wolf Eyes, if not amongst the best of 2005's total Noise output.
Two new shows just for you. We have squeezed out two extended release episodes for this weekend to get you through this week. They contain mostly new songs but there's also new issues from the vaults. The first show features music from Rider/Horse, Mint Field, Robert Aiki Aubrey Lowe, Anastasia Coope, ISAN, Stone Music, La Securite, Bark Psychosis, Jon Rose, Master Wilburn Burchette, Umberto, Wand, Tim Koh, Sun An, and Memory Drawings. The second episode has music by Laibach, Melt-Banana, Chuck Johnson, X, K. Yoshimatsu, Dorothy Carter, Pavel Milyakov, Violence Gratuite, Mark Templeton, Dummy, Endon, body / negative, Midwife, Alberto Boccardi, Divine. Cow in Maui from Veronika in Vienna. Get involved: subscribe, review, rate, share with your friends, send images!
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Matthew S. Waldron's releases are more like captured events than bits of recorded material. This may be the result of his chosen methods of construction or it may be the product of the information and systems that feed his non-philosophy. Several interviews reveal him to be a deeply passionate individual whose music serves as an (irrational) extension of his beliefs and thought processes; this is made quite clear on Perekluchenie. He unveils a wrecking ball of written, spoken, and musical dialogue both immersive and fascinating, a complete package of reflection and strange association.
It would be easy to not give Brakes a second chance. The Englishfoursome have all the tics and tendencies that make me want to paintthem with the “British Post-Punk” brush and move along. Spiky guitars?Yep. Pissed of vocals? Check. Record released by Rough Trade?Obviously. But there's something else here that won't let me do awaywith them just yet.
Carrying the same amount of silence, space and field recordings as itdoes accessible melody, this single forty minute piece is a patchwork ofplaces and memories. This is an album that journeys through differenttimes, styles and moments in real time stopping off every once in awhile to take in the view.
Showcasing two hard to find collaborative projects of the late Jhonn Balance, Griefis a beautiful and moving tribute to the man. Funereal statues shot inblack and white on both sides of the picture disc set the tone of themusic etched into its surface.
I have to admit the first listen of this album left me thinking, "Whatthe hell was *that*?" With thin vocals and dreamy, disjointed lyricslaid over distorted guitar, hip-hoppy beats, and the occasional sample,this release is something Beck might do after a week or so of sleepdeprivation.
I must admit to being rather dismissive about much of the current waveof so-called "free folk," and certainly I've also been guilty ofdeclaring much of the music it has produced as being the product of aninsufferable scenesterism. However, I've also been among the first to praise the truly worthyexamples of the genre, and this new release by The One Ensemble ofDaniel Padden clearly demonstrates that amazing work continues to comeout of the new folk zeitgeist.
This two-CD set contains the now-defunct band's second (and last) albumand an EP of, well, odds and ends, and both CDs are filled with themusical equivalent of cotton candy: sweet, soft, and fuzzy with nonutritional value to speak of, but it's sure fun to eat.
Rollie Pemberton (aka Cadence Weapon) isn't just another 19 year old MC / producer looking to provide the world with explicitly commercial hip hop to soundtrack international youth culture. He also isn't looking to strap himself stylistically to the back of MF Doom, Cage or Slug to get his dues as this self produced independent debut ignores both the obvious underground and overground.
Beingthe last night of the year I'm making preparations to head out, andthere are few better soundtracks to doing exactly that than this year's release from Phon.O,which is easily one of the best party albums of 2005. The sounds are dirty, fat, meaty, big, and bouncy: exactly what thedoctor ordered for a year that seemingly had a lot of more cleaner,quieter, introspective releases at the forefront of everybody'sminds. 
