We have finally cleared out the backlog of great music and present some new episodes.
Episode 711 features music from The Jesus and Mary Chain, Zola Jesus, Duster, Sangre Nueva, Dialect, The Bug, Cleared, Mount Eerie, Mulatu Astatke & Hoodna Orchestra, Hayden Pedigo, Bistro Boy, and Ibukun Sunday.
Episode 712 has tunes by Mazza Vision, Waveskania, Black Pus, Sam Gendel, Benny Bock, and Hans Kjorstad, Katharina Grosse, Carina Khorkhordina, Tintin Patrone, Billy Roisz, and Stefan Schneider, His Name Is Alive, artificial memory trace, mclusky, Justin Walter, mastroKristo, Başak Günak, and William Basinski.
Episode 713 brings you sounds from Mouse On Mars, Leavs, Lawrence English, Mo Dotti, Wendy Eisenberg, Envy, Ben Lukas Boysen, Cindytalk, Mercury Rev, White Poppy, Anadol & Marie Klock, and Galaxie 500.
Skolavordustigur Street in Reykjavík photo by Jon (your Podcast DJ).
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Put out by a small Japanese label that apparently gets no minor thrill off disseminating deliberately obscure reissues, this kooky collection of leftfield funk showcases an artist too unknown to have the honor of being forgotten, begging the obvious question of whether such a set even needs to exist.
One perfunctory glance at this compilation's comically menacing cover—portraying an artificially red-eyed Wicked Witch a.k.a. Richard Simms decked out in a shiny black jumpsuit adorned with Rob Halford's spikes—might negatively bias potential listeners from the start. Yet this low-rent netherworld Rick James identity, possibly swiped from the front cover of Street Songs, should hardly faze those familiar with the notoriously over-the-top imagery, grandiose concepts, and labyrinthine mythologies associated with some of funk music's best known acts. The Parliament-Funkadelic universe alone constructed such disorienting and convoluted storylines and ludicrous characters that no amount of recreational drug use could ultimately explain (But oh God, what incredible music!). Taken in the context of these forebears along with Washington D.C. in the late '70s and early '80s, Simms' get-up makes enough sense, and matches the decidedly dark nature of his bizarre if mostly unremarkable tunes.
Admittedly and predictably, much of the material here is heavily derivative of Simms' more talented and successful funk contemporaries, as seen through a D.I.Y. lens. On the vocal version of "Electric War," he blurts out an almost passable Rick James impression suitable for karaoke but not for much else. Still, the instrumental take reveals that, given the opportunity, Wicked Witch wouldn't have necessarily minded usurping the mantle of the then-reigning Super Freak. Originally credited to Paradiagm, an ensemble in which Simms featured on bass and vocals, "Vera's Back" is the centerpiece here, a 12 minute doozy undeniably indebted to the P-Funk catalog, replete with a keyboard solo that nods towards the great Bernie Worrell.
Simms comes closest to discovering a sound of his own on 1983's "Erratic Behaviour," a standout of haunted machine music throbbing with the tenebrous tones and atmospheres of the first Suicide album. While the least funky of the bunch, its unique groove oozes a creepiness that most self-described goth acts of the last two-and-a-half years couldn't muster in their gloomiest nightmares. The track's original B-side, "X-Rated," nudges Wicked Witch back into the more recognizable confines of funk, yet still shines with outsider appeal. Had Simms chosen to continue along this murky path, there might have been more music worth mining for this set.
Wasting little time, Diana Rogerson is back with another album of unhinged and gloomy psychedelica. Aided this time by Andrew Liles, this album shows a marked difference to her previous releases. While some of the pieces are surprisingly accessible and (dare I say it) musical, the harder edges of this album are made of a far different material than the scratchy creepiness of Chrystal Belle Scrodd. This impressive album sees Rogerson shed the soft cocoon of A Bad Diana and bear her claws for the first time in ages.
Since the mid-'60s, synthesizer and musique concrete experimentalist Asmus Tietchens has been an enduring symbol of artistically motivated musical work. This album, the 12th in an ongoing series of his works and the second in a four part series originally released on Hampster Records, sees Tietchens "recycling" previous pieces made between 1967 and 1970. Originally released in 1989, the album is intended more as a demonstration of the variety of techniques utilized than a presentation of new pieces culled from old works.
"Mineral 4" opens the disc with a synthesizer exploration that sounds like a ping pong game in a cavernous hallway. Its gestural punctuations are encapsulated in swathes of silence, giving the work a physicality rarely achieved with so few sonic resources. "Drahtmensch 1" follows it with a similarly percussive piece, albeit a more metallic one, sounding like some strange merger between a Karlheinz Stockhausen percussion piece and the industrial soundscapes of Nocturnal Emissions.
The droning crescendo of "Ultima Terra" is marked by its static lushness—as its volume becomes louder, its details reveal themselves, displaying a world of sound in itself. Later, "Modal 5" takes choral-like repetitions and meshes them with the echoing atmosphere present throughout the album. Odd synthesized lurches bound about behind the rich pulsing fore of the work.
"Ein Fleißiges Insekt 2" features well-like kerplunking of sounds beneath the kinetic scraping of insect-like movements. "Kryptophonie 2" presents an eerie world of glacial moments. Synthesizer sounds glide about behind mists of delicate reverberations and mechanical chugging rhythms. The less cohesive "Gesichter Von Gestern" incorporates radio broadcasts and space-like synth sounds as it quickly romps through a variety of moods in its brief minute.
In addition to the album's original twenty tracks this reissue provides two bonus tracks. "Kryptophonie 1" features loops which mesh in and out of phase with each other as they ebb and sway about, eventually evolving into some loping mythical creature all its own. "Zweite Sekunde" presents an exploration in rhythm as taps are bounced about the speakers and turned into whispered echoes of the original.
Abfleischung, while hardly the best demonstration of Tietchen's capabilities, does offer a fascinating glimpse into his working method. Each piece serves as its own distinct world, and it is the abundance of details within those that keep the work as rewarding as it is. Tietchens is a sonic sculptor in the truest sense, and here he is able to display the depth of his talents while providing a window into how he utilizes them.
Germany's Analog Africa unleashes yet another amazing collection of long-lost African funk recordings. This, the follow-up to last year's uniformly beloved African Scream Contest, focuses entirely on Benin's staggeringly prolific (and largely unheard) Orchestre Poly-Rythmo de Cotonou.
During the course of several trips to Benin, Analog Africa's tireless record-collector Samy Ben Redjeb compiled several hundred tracks recorded by Orchestre Poly-Rythmo de Cotonou between 1970-1983. This is the first of two expected compilations and focuses entirely on "secret" recordings that the band made on small labels while under an exclusive contract to Albarika Store. All of the tracks were originally issued in very limited pressings and only one has ever been released outside the band's home country. The music is uniformly raw and underproduced (in a good, visceral way), largely because the covert and budget-impaired nature of the releases necessitated that they be recorded in private homes with only one or two microphones.
It is difficult to pick a stand-out track, as they are nearly all uniformly solid. Nevertheless, I'm quite fond of "Dis Moi La Verité," despite the fact that it eschews any African percussion influence. This handicap is easily overcome by the tight and infectious bass line, and the call-and-response vocals are quite catchy. "Mi Homlan Dadalé" plays much more to the band's strength of wild and unusual percussion and is probably my favorite.
It is obvious why Redjeb decided to devote so much time and effort to making these recordings available, as the band has a rather unique sound and they are consistently excellent. There are many similarities to Senegal's Etoile de Dakar, especially the clean, simple guitar lines and and the Latin-tinged percussion. However, the Orchestre is much more bass-heavy and rhythmically complex (as well as quirky and varied). Or course, the occasional flourishes of endearingly clumsy and weird psychedelic organ are a large part of their charm too. Regrettably, the Orchestre lacks a frontman with the presence and star-power of Etoile's Youssou N'Dour, which may be at least partly to blame for their comparative obscurity. That said, the vocals certainly aren't bad, just not particularly charismatic or unique (and early N'Dour can be off-puttingly over-the-top sometimes anyway). In fact, a prominent vocalist might actually have been a liability for these guys, as it it is the groove that takes center stage, not the songwriting.
Yet another reason for the band's singular sound is that Benin is the birthplace of Vodun (or voodoo) and the band makes inspired and inventive use of its complex, ritualistic percussion. The band reference a number of traditional Beninese rhythms here, but they all invariably wind up incorporated into lively, propulsive grooves. Interestingly, one of the primary rhythms deployed here is Sakpata, which is dedicated to a deity known primarily for protecting people from smallpox. I do not currently have smallpox, so I was regrettably unable to test its effectiveness. Nevertheless, it is certainly refreshing for funk to take such a humaintarian and healthy turn (especially given the lengthy wake of unwanted pregancies and venereal diseases that American funk has presumably left behind it).
Redjeb seems to have preternatural and unerring good taste, as the two streaming mixes posted on his blog are no less impressive (and obscure). It is frustrating that releases are so slow to trickle out of his label, given the seemingly endless vein of material. Of course, I'm sure finding the recordings, sifting through them all, tracking down the bands, writing exhaustive liner notes, and securing the necessary rights are all very time-consuming and non-lucrative endeavors. Consequently, my impatience and gluttony is tempered by my deep appreciation for Redjeb's devotion and energy. I can't wait to hear what he releases next.
Wasting little time, Diana Rogerson is back with another album of unhinged and gloomy psychedelica. Aided this time by Andrew Liles, this album shows a marked difference to her previous releases. While some of the pieces are surprisingly accessible and (dare I say it) musical, the harder edges of this album are made of a far different material than the scratchy creepiness of Chrystal Belle Scrodd. This impressive album sees Rogerson shed the soft cocoon of A Bad Diana and bear her claws for the first time in ages.
No Birds Do Sing is a much more raucous affair compared to 2007’s The Lights Are On But No-one’s Home. The music thumps hard and constantly sounds like it is going to implode under its own energy. Rogerson gives what is arguably the best vocal performance of her career. She completely lets loose, swinging between a sultry devil on “Can I Tempt You With All This?” and a screeching harpy on “Should the Prayer Wheel Turn.” This sometimes makes for a difficult listen as she give such a pained performance that, much like Diamanda Galás, even though the pieces are incredibly good, they are too draining to listen to as often as I would like. Referencing the title of her last album, when she utters “I’m so scared because I’m still not, I’m still not at home,” it gives me the chills.
Musically, Liles brings with him the eclecticism of his other collaborations (there are shades of Fini!, his album with Faust’s Jean-Hervé Peron on the rockier parts of this album). The almost funky drum beats and keyboards of “Can I Tempt You With All This?” and its later sister track stand out in contrast to the exotic rhythms and instrumentation of the other pieces. There seems to be a move away from the Nurse With Wound moods and sounds explored by Rogerson with her Chrystal Belle Scrodd and A Bad Diana albums (perhaps due to Steven Stapleton taking a backseat here, providing only “post production consultation” and artwork). This has resulted in a freakier sounding album than any other NWW-related release I have heard. The uneasy Middle Eastern “Ever Afflicted With” is haunting and hypnotic, creating an unsettling mood that is then exacerbated by the pulsing, tribal beat of “Ki Denga Pepo.” Rogerson’s cries are merged with those of a baby for a truly disturbing experience.
Rogerson and Liles have put together a remarkable album. No Birds Do Sing is difficult without being completely obtuse yet at times it is also conversely one of Rogerson’s and/or Liles’ most accessible albums. It pushes and pulls the listener around like a rag doll; just when I feel I am going to break the duo relent for a moment, allowing a breather to recover. It makes for an exciting listening experience.
Ever since 1970 when composer Terry Riley first became a disciple of legendary Indian vocalist and yogi Pandit Pran Nath, Eastern inflections have pervaded his music. It comes as no surprise to find him dipping into those waters once again on this release where the virtuosic pipa player Wu Man joins Kronos Quartet for a sacred journey reminiscent of initiation into adulthood, of innocence transformed into experience.
LUC FERRARI: Archives Génétiquement Modifiées / Société 2 CD (ROBOT 39)
Robot Records is honored and pleased to present two historic compositions for the first time on CD by the late, great Luc Ferrari.
The programme opens with "Archives Génétiquement Modifiées" (Genetically Modified Archives), a work for "memorized sounds" from 2000. This composition (subtitled: Exploitation of the Concepts 3) was the third in a series of later pieces in which Mr.Ferrari revisited aspects of his early concepts and compositional strategies to create wholly new works. The result here is a very bizarre, sensual, and beautifully-paced electroacoustic work of aural memories and (re)collections created by Mr. Ferrari utilizing sounds from his vast archive of musical activities.
After a short "intermission", the programmecontinues with a true highlight of Mr.Ferrari's early instrumental workentitled "Société 2" from 1968. Subtitled "And if the piano were abody of a woman" (for 4 soloists and 16 instruments), this composition appeared opposite "Presque Rien" on the legendary Deutsche Grammaphon LP. "Société 2" may be viewed as an erotically charged piece of musicaltheatre where the soloists "compete" for the attention of a woman (the piano).This concerto with its gestures and a fantastic kaleidescope of styles and color shows the extravagant qualities of the piano in its "harmony,imagination,and brutality".
Packaged in a full color digipak with 20 page bilingual booklet featuring Mr. Ferrari's early artwork, notations, and programme notes along with an extensive commentary by Jim O'Rourke and Jay Sanders.Remastered sound with audio restoration by fellow INA GRM alumnus Jean Schwarz. A wonderful glimpe into the world of one of the most legendary, unique, and inspiring musical figures of the 20th Century.
Please visit www.robotrecords.com for more details and secure online ordering.
Robot Records P.O. Box 120004 San Antonio, Texas 78212 U.S.A. www.robotrecords.com
Thanks to everyone who voted in this year's Readers Poll. Once again you, the Brainwashed readers, have voiced your opinion on the best and worst of the year and the Brainwashed staff and contributors have voiced our own—occasionally clashing—opinions. All the best wishes for 2009!
Album of the Year
Matmos, "Supreme Balloon" (Matador)
"This is far and away the best record Matmos has ever released. Their signature cadence, abrupt editing style, and virtuosic tendencies are all present, but without a gimmick in sight. I've loved many of their past albums, but this one is more pure and potent." - Lucas Schleicher
"To me 2008 was year of the synth, where releases like this and from Four Tet and Bomb The Bass brilliantly exploited the sounds of the synth. This album is easily the cream of the crop." - Jon Whitney
"In my review for the album, I complained about the lack of a central conceptual conceit uniting the songs on Supreme Balloon. It's true that the album isn't as rigidly structural or conceptually playful as albums like The Rose Has Teeth or A Chance to Cut, but over time it reveals itself as joyfully perverse and masterful in its own unique way. And it must be said that the 2xLP version is vastly superior to the mass-market CD version, both because of its beautiful artwork and the full complement of bonus tracks, which are some of my favorite tracks recorded for these sessions." - Jonathan Dean
"Matmos proves they don't have to sample the sound of ejaculation or use slugs and laser beams to make a great record. The result of their retreat from microphones is pure electronic bliss." - Justin Patrick
Earth, "The Bees Made Honey in the Lion's Skull" (Southern Lord)
"Dylan and the boys go a bit less country and a bit more gospel, and what results is a more diverse, more fleshed out take on the sound Hex started." - Creaig Dunton
Fennesz, "Black Sea" (Touch)
"This is the first Christian Fennesz album I've loved from the get-go. Endless Summer took me forever to appreciate and his collaborations with other musicians don't exactly represent his typical output. "Black Sea" is beautiful, though, and is easily one of Fennesz's best records." - Lucas Schleicher
"Somehow Christian has managed to be both dissonantly oblique, yet craft some of the most beautiful melodies of any album this year." - Creaig Dunton
Nick Cave and the Bad Seeds, "Dig!!!, Lazarus, Dig!!!" (Anti)
"A much more enjoyable return to form compared to the disappointing (and dull) Abattoir Blues/Lyre of Orpheus release." - Creaig Dunton
"I wish he'd go back to primarily singing rather than primarily orating like a preacher." - Jon Whitney
Deerhunter, "Microcastle" (Kranky)
Boris, "Smile" (Southern Lord)
"Boris goes even more rock, but I wish they would have stuck to the lusher, more fuzzed out sound they started on Pink." - Creaig Dunton
Fuck Buttons, "Street Horrrsing" (ATP)
"Much like breakthrough albums by Brooklyn noiseniks Black Dice, Growing, and Gang Gang Dance, the debut by Bristol's Fuck Buttons was experimental, exploratory and psychedelic in a way that was able to capture an audience well beyond the usual coterie of noise freaks. This record had its share of detractors, but many listeners who would not normally go in for structureless-ness, fragmentation, and effects-laden vocals were captured by Street Horrrsing, proving that experimental music has a rarely acknowledged potential to speak beyond its own, often narrow milieu." - Jonathan Dean
"Dancy noise even the Pitchfork kids can (pretend to) like." - Creaig Dunton
"I completely don't get it. I understand the style but the writing is so boring, uninspiring, cliche, and predictable that I call shenanigans." - Jon Whitney
Nurse With Wound, "Huffin' Rag Blues" (United Jnana)
Deerhunter, "Weird Era Cont." (Kranky)
Thee Silver Mt. Zion Memorial Orchestra & Tra-La-La Band, "13 Blues for Thirteen Moons" (Constellation)
Autechre, "Quaristice" (Warp)
"Autechre keep popping up on year-end lists, but they keep releasing mediocre records. These guys are responsible for me loving electronic music as much as I do, but Quaristice is almost certainly evidence that they've passed their prime. It's better than their last two records, but it's still nothing to write home about." - Lucas Schleicher
"Well, at least the songs were shorter this time." - Creaig Dunton
"Yeah BUT there's a lot more of them this time." - Jon Whitney
Burning Star Core, "Challenger" (Hospital Productions)
Grouper, "Dragging A Dead Deer Up A Hill" (Type)
"More voice, less haze, still bliss from Liz Harris." - Duncan Edwards
"This was easily one of my top ten most-played albums for 2008. The notion of yet another freak-folk songstress spitting out an album of reverb and delay-drenched songs sounds terrible on paper, but the album's submerged melodies and narcotic soundscapes won me over immediately." - Jonathan Dean
Windy & Carl, "Songs for the Broken Hearted" (Kranky)
Grails, "Take Refuge in Clean Living" (Important)
"Grails are on the chart twice, but Take Refuge is much, much better than Doomsdayer's Holiday. Its relative brevity, instant heaviosity, and epic hugeness make it the clear winner. Not that it was a contest." - Jonathan Dean
Portishead, "Third" (Mercury)
"Portishead needed to try something new and they did here. Third is their most adventurous and most diverse record, but it's absolutely in line with their previous work." -Matthew Jeanes
"A lot of people hated this record when it came out and the whole thing confused me the first time I put it on the record player, but it grew on me like few other records did this year. If it weren't for Beth's voice, I'd have never guessed it was Portishead. That turned out to be a blessing; plenty of musicians release comeback records that remind us of why they were great, but Portishead actually bothered to move forward." - Lucas Schleicher
"There was hype, hype, hype, hype, hype and then... a comeback album that was actually worth the bother!" - John Kealy
Gang Gang Dance, "Saint Dymphna" (The Social Registry)
"With this album, Gang Gang Dance went even further in the trajectory suggested by their now-classic album God's Money, experimenting with the structures and textures of dance-pop, HipHop and dub. Along the way, they might have lost some of their underground/avant-garde cred, but they've gained a whole new audience enraptured by their fractured, kaleidoscopic vision of 21st century dance music." - Jonathan Dean
"A horrible fucking record. Why the fuck do people like this so much after hearing God's Money? They've moved backwards instead of forwards. Sure, it's accessible, but it's also predictable and horribly bland." - Lucas Schleicher
Atlas Sound, "Let the Blind Lead Those Who Can See But Cannot Feel" (Kranky)
Sigur Rós, "Með Suð í Eyrum Við Spilum Endalaust" (XL)
"How this record manages to go from manic and almost silly to downright morose in the span of an hour, I will never know. The first few songs will throw fans for a loop, but they also shed light on the band's humorous side that's been evident for a while for those who really wanted to listen." - Matthew Jeanes
"There was a time when I looked forward to Sigur Rós albums with excitement, now they're Coldplay in Icelandic!" - John Kealy
Bohren Und Der Club Der Gore, "Dolores" (Ipecac)
Flying Lotus, "Los Angeles" (Warp)
"High-tech instrumental HipHop for a generation weaned on Warp-style IDM and Adult Swim. Let us rejoice." - Jonathan Dean
Baby Dee, "Safe Inside the Day" (Drag City)
Growing, "All the Way" (The Social Registry)
Spiritualized, "Songs in A&E" (Sanctuary)
Evangelista, "Hello, Voyager" (Constellation)
James Blackshaw, "The Litany of Echoes" (Tompkins Square)
"The closest James has gotten to Diamanda." - Jon Whitney
Emeralds, "Solar Bridge" (Hanson)
"Counters any possible argument that 2008 was a sucky year for music." - John Kealy
Birchville Cat Motel, "Gunpowder Temple of Heaven" (Pica Disk)
SoiSong, "Soi-Jin-No-Hi" (Not on label)
"Ivan Pavlov of COH goes head to head with the formidable Peter "Sleazy" Christopherson; an austere electronic minimalist locks horns with a post-industrial maximalist. Unfortunately, the minimalist wins, and although there are moments of brilliance here that hint at better things to come, mostly these songs lack compelling momentum, and wear out their welcome." - Jonathan Dean
Black Mountain, "Into the Future" (Jagjaguwar)
Stereolab, "Chemical Chords" (4AD)
"Seeing Stereolab live completely changed the way I thought about the band. "Chemical Chords" was just an OK record, but hearing the music live... that's a different story." - Lucas Schleicher
Kevin Drumm, "Imperial Distortion" (Hospital Productions)
Meat Beat Manifesto, "Autoimmune" (Metropolis)
"Swamped in trunk rattling bass, this is an album to roll out in your hoopty with. Only be prepared when the rims fall off, because that is when the gears shift into overdrive. Hydro-phonic scratches met blurred words before scooting me off into something dug up from the classic era of electronic tape music." - Justin Patrick
Paavoharju, "Laulu Laakson Kukista" (Fonal)
Diamanda Galás, "Guilty, Guilty, Guilty" (Mute)
Max Richter, "24 Postcards In Full Color" (Fat Cat)
"In Richter's hands ringtones are so not shit that no one will ever answer the phone." - Duncan Edwards
Mogwai, "The Hawk is Howling" (Matador)
"I found this record more satisfying than Mogwai's last couple of outings." - Matthew Jeanes
Boduf Songs, "How Shadows Chase the Balance" (Kranky)
"One of the most memorable performances at Brainwaves." - Jon Whitney
Melvins, "Nude With Boots" (Ipecac)
Benoit Pioulard, "Temper" (Kranky)
Jim O'Rourke, "Long Night" (Streamline)
The Fall, "Imperial Wax Solvent" (Sanctuary)
COH, "COH Plays Cosey" (Raster Noton)
"Although I think I prefer her as a guitarist, Cosey makes a good instrument too." - Creaig Dunton
Edward Ka-Spel, "Dream Logik Part Two" (Beta-Lactam Ring)
Machinefabriek, "Dauw" (Dekorder)
Sic Alps, "U.S. EZ" (Slitbreeze)
Nine Inch Nails, "Ghosts I-IV" (The Null Corporation)
"It sure is great having a NIN record without Trent's voice and annoyingly adolescent lyrics. More cinematic than anything else, the "Ghosts" record deserves to be on the list simply because it is the most extreme and experimental Reznor has been since he asked Coil and Jim Thirlwell to remix his stuff." - Lucas Schleicher
"Shockingly, Trent still had some good music left in him. Too bad The Slip lived up to its name in terms of quality control." - John Kealy
"Trent's better when he lets us more easily pick if we want his (albeit lacking) take on experimental, or pop/rock." - Creaig Dunton
Ryoji Ikeda, "Test Pattern" (Raster Noton)
"It's like a punk band placed through a high-pass filter." - Jon Whitney
Throbbing Gristle, "The Thirty-Second Annual Report of" (Industrial)
"While a bit excessive (in concept and definitely in cost), it is interesting to hear the modernized take on this classic." - Creaig Dunton
Windy Weber, "I Hate People" (Blue Flea)
Nadja, "Desire in Uneasiness" (Crucial Blast)
"Live drums make this band much better, which says a lot, because I've got much love for drum machines." - Creaig Dunton
School of Seven Bells, "Alpinisms" (Ghostly International)
Venetian Snares, "Detrimentalist" (Planet Mu)
Wire, "Object 47" (Pink Flag)
"What a pitiful showing for the new Wire album. Sure, it failed to live up to the promise of 2007's Read & Burn 03 and sounded more like a Githead record, but it offends me to see it rank lower than Throbbing Gristle's high-priced vanity release. It's not like enough people actually own a physical copy of The Thirty-Second Annual Report of to make a proper assessment." -Gary Suarez
"Sort of like a modernized take on the 1980s Wire, it gets better with each listen, though it still feels weird lacking Bruce Gilbert's obtuseness." - Creaig Dunton
Bardo Pond, "Batholith" (Three Lobed)
Fire On Fire, "The Orchard" (Young God)
Hush Arbors, "Hush Arbors" (Ecstatic Peace)
Johann Johannson, "Fordlandia" (4AD)
"More music for Iconic American Names. Aches, swells, and bursts - in a not nasty way." -Duncan Edwards
Nine Inch Nails, "The Slip" (The Null Corporation)
"Is it bad that I liked this album? Because I did. And I do." - Creaig Dunton
The Black Angels, "Directions to See a Ghost" (Light in the Attic)
"This record is bleak and dense and always a welcome break from rock music." - Matthew Jeanes
Sun Kil Moon, "April" (Caldo Verde)
Ascend, "Ample Fire Within" (Southern Lord)
The Threshold HouseBoys Choir, "Amulet Edition" (Threshold House)
Andrew Liles and Daniel Menche, "The Progeny of Flies" (Beta-lactam Ring)
Harvey Milk, "Life... The Best Game in Town" (Hydra Head)
irr. app. (ext.), "Aspiring to an Empty Gesture Volume 1" (Errata in Excelsus)
Torche, "Meanderthal" (Hydra Head)
Andrew Liles, "Ouarda (The Subtle Art of Phyllorhodomancy)" (Dirter)
Barn Owl, "From Our Mouths a Perpetual Light" (Not Not Fun)
Cloudland Canyon, "Lie In Light" (Kranky)
Fleet Foxes, "Fleet Foxes" (Sub Pop)
Nadja, "Bliss Torn from Emptiness" (Profound Lore)
Sonic Youth with Med Mats Gustafsson & Merzbow, "Andre Sider af Sonic Youth" (SYR)
Tindersticks, "The Hungry Saw" (Beggars Banquet)
Xiu Xiu, "Women As Lovers" (Kill Rock Stars)
"Best use of unlikely singer for a Queen cover in 2008 (Michael Gira on "Under Pressure")." - John Kealy
Hercules and Love Affair, "Hercules and Love Affair" (Mute)
"My favorite album of the years squeaks in at number 85. Hands-down the best contemporary disco/house record to be released all year, if not all decade." - Jonathan Dean
"Easily the most overrated record of the year. Antony's contributions are brilliant but the rest falls rather flat for me." - Jon Whitney
Indian Jewelry, "Free Gold" (Now We Are Free)
Nadja, "Thaumoradiance" (Archive)
The Alps, "III" (Type)
The Caretaker, "Persistent Repetition Of Phrases" (Install)
Dan Friel, "Ghost Town" (Important)
Library Tapes, "A Summer Beneath the Trees" (Make Mine Music)
The Notwist, "The Devil, You & Me" (Domino)
Deerhoof, "Offend Maggie" (Kill Rock Stars)
Lawrence English, "Kiri No Oto" (Touch)
Aethenor, "Betimes Black Cloudmasses" (VHF)
Aidan Baker, "Book of Nods" (Beta-Lactam Ring)
Excepter, "Debt Dept" (Paw Tracks)
Little Annie & Paul Wallfisch, "When Good Things Happen to Bad Pianos" (Durtro Jnana)
"Little Annie is the siren of the recession, and this is its soundtrack. Her uniquely delicate, damaged delivery on pop fare like Tina Turner's "Private Dancer" and U2's "I Still Haven't Found What I'm Looking For" transmutes the digestible radio staples into something meaningful and introspective. David Tibet deserves our respect for continuing to nurture one of the most talented and underrated performers alive today." - Gary Suarez
Mount Eerie/Julie Doiron/Fred Squire, "Lost Wisdom" (P.W.Elverum & Sun)
"Phil Elverum achieved an ambition to record with Doiron and the result is lovely, icy monuments to the human condition." - Duncan Edwards
The Magnetic Fields, "Distortion" (Nonesuch)
Singles of the Year
Current 93, "Birth Canal Blues" (Durtro/Jnana)
"David Tibet waves goodbye to longtime collaborators Steven Stapleton and Michael Cashmore, and hello to Baby Dee and Andrew Liles, producing an EP that showcases some thrilling new possibilities for the future of apocalyptic folk, including some vocals that skirt the outer edge of black metal." - Jonathan Dean
"2008 saw the unearthing of yet another apocryphal EP from Current 93.Tibet's revelatory voice is accompanied by Baby Dee on Piano and the indefatigable Andrew Liles provides the hallucinatory mix. Though God Is Love this disc has moments that put the fear of him into me as well." - Justin Patrick
Antony & the Johnsons, "Another World" (Secretly Canadian)
"The title track might be the weakest song on here, a pretty but banal environmental plea. No, it's all about "Shake That Devil," which is on a shortlist for my pick of best song of the year." - Jonathan Dean
Nurse With Wound, "The Bacteria Magnet" (Dirter)
Animal Collective, "Water Curses" (Domino)
Growing, "Lateral" (The Social Registry)
Jesu, "Why Are We Not Perfect" (Hydra Head)
"The bonus tracks here are not as essential as the originals, but the reissue of the first real "pop" Jesu release still captivates." - Creaig Dunton
Oren Ambarchi, "A Final Kiss On Poisoned Lips" (Table of the Elements)
Four Tet, "Ringer" (Domino)
Fennesz, "June" (Table of the Elements)
Sonic Youth, "SYR7: J'accuse Ted Hughes/Agnes B Musique" (SYR)
Jesu / Envy, "Split" (Daymare)
"Envy's take on shoegaze hardcore is good, but the real treat is the two sprawling, glitch influenced Jesu take on synth pop, which still fits in some good metal riffs here and there." - Creaig Dunton
Current 93, "Black Ships Ate the Dancefloor" (Durtro/Jnana)
"Is this on here because people really liked it, or because the cult of Current 93 showed up in droves to vote in the poll? I suspect the latter. The J.G. Thirlwell "remix" of "Black Ships Ate the Sky" might be the funniest things released all year, but like a Dr. Demento record, its novelty wears off quickly." - Jonathan Dean
Jesu / Battle Of Mice, "Split" (Robotic Empire)
"The Jesu tracks are somewhat sparse and less interesting than his other material has been, but still good. More than I can say for the Battle of Mice half." - Creaig Dunton
Andrew Liles & Fovea Hex, "Gone Every Morning" (Die Stadt)
Fleet Foxes, "Sun Giant" (Sub Pop)
""Mykonos" is the reason Fleet Foxes are so great in my mind. Their full-length was a great record, but "Sun Giant" is more concise, more imaginative, and the better release from this band in '08." - Lucas Schleicher
Marc Almond and Michael Cashmore, "Gabriel and The Lunatic Lover" (Durtro Jnana)
Low, "Santa's Coming Over" (Sub Pop)
Jessica Bailiff and Annelise Monsere, "Jessica Bailiff and Annelise Monsere" (Morc)
"Beautifully delicate and fragile sounds that sound like they were recorded right next to you." - Creaig Dunton
Piano Magic, "Dark Horses" (Make Mine Music)
Nudge, "Infinity Padlock" (Audraglint)
"Are we sure this is really Nudge? How much can this band change in a short period of time and still use the name with which they began?" - Lucas Schleicher
Vault/Reissue of the Year
Coil, "The New Backwards" (Threshold House)
"It feels very strange to call this a "vault" album, because though the demo tracks on which these songs are based are in some cases almost 20 years old, this album is unmistakably a contemporary work, using digital means to resuscitate a series of false starts and loose ends." - Jonathan Dean
Current 93, "Dogs Blood Rising" (Durtro/Jnana)
"Still as disturbing and creepy as the first time I heard it, just without the original bonus tracks, but the addition of a full-album reworking by Andrew Liles." - Creaig Dunton
A Place To Bury Strangers, "A Place To Bury Strangers" (Rocket Girl)
Current 93, "Nature Unveiled" (Durtro/Jnana)
"While having these albums re-released with a superior mix is outstanding enough, the Liles remixes really stand out in my mind. "Nature Unveiled" has aged incredibly well, but hearing Liles reimagine that album was the real treat." - Lucas Schleicher
Sunn O))), "ØØ Void" (Daymare)
Mogwai, "Young Team" (Chemikal Underground)
"The dawn of the intense brooding sound of the seminal Scots." - Duncan Edwards
"When I was young, all of this was just fields and Mogwai released great albums." - John Kealy
Nurse With Wound, "Gyllenskold, Geijerstam, and I at Rydberg's" (United Jnana)
Nurse With Wound, "Man with the Woman Face" (ICR)
Matmos, "The West" (Autofact)
Sunn O))), "Domkirke" (Southern Lord)
"Beautifully presented and recorded, this set shows that O'Malley and Anderson are more than just two chords and infinite sustain. I think there's at least three chords here." - Creaig Dunton
Mission of Burma, "Vs." (Matador)
"The nervy, moody full length is cleaned up and given the addition of single & b-sides tracks, as well as a decent looking DVD performance." - Creaig Dunton
Psychic TV, "Force the Hand of Chance" (Some Bizzare)
Nurse With Wound, "Angry Eelectric Finger: Images/Zero Mix" (Beta-Lactam Ring)
23 Skidoo, "Seven Songs" (LTM)
"Play that blueprint deconstructed Tibetan funk, white boy." - Duncan Edwards
Einstürzende Neubauten, "Jewels" (Potomak)
Nurse With Wound, "The Musty Odour of Pierced Rectums" (Beta-lactam Ring)
"For those who did not get one of the 300 CD-Rs of the original pressing, its transition to marbelized vinyl comes as a blessing. The artwork on the sleeve is vintage Santini, and when played the smell evoked is unwiped and unwashed, but in a good, dirty, way." - Justin Patrick
Mission of Burma, "Signals, Calls, and Marches" (Matador)
Loop, "Heaven's End" (Reactor)
"The debut is cleaned up with added alternate mixes and Peel Session tracks, and sounds just as good as it ever did." - Creaig Dunton
23 Skidoo, "Urban Gamelan" (LTM)
Arthur Russell, "Love Is Overtaking Me" (Audika)
"The best stuff to be pulled from Russell's basement yet. Next thing we know, he'll have an album out documenting his ability as rapper." - Lucas Schleicher
The Residents, "Eskimo" (Mute)
"The eyeball gang at their (in)authentic best. Whale meat, again." - Duncan Edwards
Loop, "Fade Out" (Reactor)
"The high point of their discography benefits greatly from the new mastering, with some interesting alternate takes that have never been heard." - Creaig Dunton
The Residents, "Duck Stab!" (Mute)
Sun City Girls, "You're Never Alone with a Cigarette" (Abduction)
"Gorgeous and raucous. You missed the Bishops the first time around, but no matter, with more collected volumes like this to come this is just the start of a beautiful friendship." - Duncan Edwards
Jack Rose, "Dr. Ragtime and His Pals / Self-Titled" (Tequila Sunrise)
Boxed Set of the Year
Coil, "The Ape of Naples" (Important)
Gas, "Nah Und Fern" (Kompakt)
"I tried very hard to like the material on this compilation, but it hasn't aged very well. The entire Gas project might've sounded impressive when it was released, but the music simply isn't as interesting or involving as 99% of what Touch or Kranky has released in the last several years. Maybe its importance can be found in some historical context, but I really don't understand why repetitive rhythms and ambient sounds are anything special. It sounds as though two approaches to electronic music were smashed together without any concern for unity." - Lucas Schleicher
Pole, "123" (Scape)
"I didn't buy the Pole box, because I still have the originals. Nonetheless, I stand by this set, in the hopes of encouraging Stefan Betke to stop releasing crap like Steingarten." -Gary Suarez
"Hey, Stefan Betke, are you listening? How about making some good music again?" - Jonathan Dean
"Videos like this remind me that more people need to simply pick up a camera and go shooting and couple the footage with music." - Jon Whitney
Hercules and Love Affair, "Blind"
"Pure sexxx." - Jonathan Dean
"The more I hear and see this video, the less I am impressed with it. Antony's the best part of the whole thing and the video itself is what? A portrayal of Roman decadence as seen through the eyes of half-porn and half-fantasy director? Right." - Lucas Schleicher
Boris, "My Neighbor Satan"
"Boris' most recent output has been awful, but this painfully boring video brings their sucking to a whole new level." - Lucas Schleicher
"This is my pick for Song Of The Year. Vacillating between eerie psychedelia and full-on Satanic majesty, this is Boris' "Planet Caravan". Stark and simple, the video masterfully evokes both hallucinatory hazes and death throes." - Gary Suarez
Mogwai, "Batcat"
"The video was fun." - Matthew Jeanes
Sigur Ros, "Gobbledigook"
"It's a sign of how Sigur Ros has changed for the worse - whereas before they had socially unacceptable subjects in videos now it's all about skinny, young, cute people." - Jon Whitney
Boris, "Statement"
"The band looks as bored as I feel when watching this video; the music is bland and so is the performance." - Lucas Schleicher
"Videos like these are the reason why I never check out videos anymore." - John Kealy
Antony & the Johnsons, "Another World"
Boduf Songs, "Pitiful Shadow Engulfed In Darkness"
Bomb the Bass, "Butterfingers"
"I'll never look at a synth the same way again." - Jon Whitney
Matmos, "Exciter Lamp"
Baby Dee, "The Dance of Diminishing Possibilities"
Bomb the Bass, "So Special"
Iron and Wine, "Boy with a Coin"
MIA, "Paper Planes"
Nudge, "Cymatic"
Stereolab, "Neon Beanbag"
Goldfrapp, "Happiness"
"I wonder if Peter Wolf has seen this." - Jon Whitney
Nudge, "War Song"
Benoit Pioulard, "Idyll"
Hot Chip, "Ready for the Floor"
Tricky, "Council Estate"
"The video was ultimately more interesting than the song, but both made me feel anxious. For them to be over. It kept me listening longer than I would have with only the music though." - Justin Patrick
Hercules and Love Affair, "You Belong"
The Sea and Cake, "Weekend"
The BPA, "Toe Jam"
"Best use of censorship in 2008." - Lucas Schleicher
"Easily the video which most makes everybody's heads turn and gaze at. Maybe just to see if the bars slip up!" - Jon Whitney
Dillinger Escape Plan, "Milk Lizard"
Artist of the Year
(The winners of this category are calculated by the total number of points they received for all their entries in the poll.)
Nurse With Wound
Current 93
Coil
Deerhunter
Matmos
Label of the Year
(The winners of this category are also calculated by the total number of points they received for all their entries in the poll.)
Kranky
Important
Matador
Southern Lord
Durtro Jnana
Lifetime Achievement Recognition
(As chosen by the Brainwashed Staff and Contributors.)
Merzbow
(Masami Akita)
"For many of us miscreants, the work of Masami Akita played some role in the development of our painstakingly esoteric musical tastes. Tint, a maxi-single from 1997 for the long-defunct Vinyl Communications imprint, was the first Merzbow release I ever purchased, essentially because of its low price. As a young college student hungry for new sounds, I initially found this jarring work to be, yes, unlistenable. Yet during this time I learned to appreciate and delight in the aural catharsis unlocked by Merzbow's wanton abrasiveness. Though his superhuman prolificacy often draws jeers and exasperated sighs from many, I have encountered many jewels (several practically at random) from his vast and growing discography, including his unparalleled Satanstornade collaboration with Russell Haswell. From the sadomasochistic themes of Music For Bondage Performance to the more recent animal rights sloganeering of Bloody Sea, Merzbow has always attempted to infuse some sort of message into his releases, clearly to reject any detractor's claims of the meaninglessness of noise. For almost thirty years, this nerdy looking Japanese guy has been smashing eardrums on his own terms, all the while cultivating a following of fanatical consumers and appreciative followers. As lovers of difficult music, we all are all Mr. Akita's debt for the doors he opened, the artists he inspired/inspires, and the creative path he continues along." - Gary Suarez
"Merzbow has his ups and downs, his good days and his truly awful days. Yet this is all part of his longevity. Those crap, throwaway albums on obscure and forgettable noise labels are as much part of Masami Akita's appeal as classic albums like Pulse Demon, 1930, and Venereology. His music is all about no control and no holding back so it is fitting that his release schedule operates in a similar manner. This is why I feel that he is worthy of this award. He is one of the most singular artists in any realm of music. In a world where credability is a meaningless term, Akita is a defiant slap in the face. That he is still making such intimidating noise after almost 30 years is remarkable, that we are still listening (and able to listen) after this long is incredible!" - John Kealy
"I will say that this has been a banner year for Merzbow. I've digested more than I think most sane people ever would this year but three of his releases this year, Eucalypse, Dolphin Sonar, and the Pinhas collab have easily been his best (and quite diverse within his body of work) since round about 2002, and easily filling up most of my top 5 merzbow albums." - Michael Barrett
Worst Album of the Year
These are indeed the losers, those who received the most negative votes from the poll entries.
Cat Power, "Jukebox" (Matador)
"How long can you release substandard, undernourished albums of cutesy postmodern cover versions, and play live shows that are famous for their awfulness, and still continue to be a critical darling and indie pinup girl? For Chan Marshall, the answer is thirteen fucking years. It ends now." - Jonathan Dean
"MAKE THE HURTING STOP. Her first covers album was fantastic, but did we really need two of them? And did the second one really need different editions? No. What happened to Chan? Please God, let her remember "You Are Free" and how awesome it was." - Lucas Schleicher
"Yes- this is bad. But I take comfort in the fact that recording two cover albums has probably prevented Chan from working on even worse original material." - Tony D'Amico
Motorhead, "Motorizer" (Steamhammer/SPV)
"I can't believe Motorhead are on a worst albums list. This will haunt me." - John Kealy
Von Magnet, "Ni prédateur ni proie" (Ant-Zen)
Eleonoora Rosenholm, "Älä Kysy Kuolleilta, He Sanoivat" (Fonal)
"The rest of the worst seem like perfectly understandable choices, but I am genuinely flummoxed by the inclusion of Fonal supergroup Eleanoora Rosenholm. Am I retarded? I really liked this album. Somebody please tell me why I shouldn't." - Jonathan Dean
Boom Pam, "Puerto Rican Nights" (Essay)
Shelleyan Orphan, "We Have Everything We Need" (One Little Indian)
"Really, readers? Did you actually hear this? It's pretty damn awesome." - Jon Whitney
Norma Jean, "The Anti Mother" (Solid State)
Kingdom Of Sorrow, "Kingdom Of Sorrow" (Relapse)
Bob Mould, "District Line" (Anti-)
"Bob, come on, you're not Fall Out Boy." - Jon Whitney
Bauhaus, "Go Away White" (Bauhaus Music)
"Go away Bauhaus." - John Kealy
"Three albums that I thoroughly enjoyed this year (Kingdom Of Sorrow, Motorhead, Norma Jean) ended up in the "worst of 2008" category. Clearly I am out of touch with the tastes of the Deerhunter fetishists that make up our readership. Do you people only listen to metal sanctioned by Stephen O'Malley? Your loss, schmucks. KIRK WINDSTEIN RULES!" -Gary Suarez
La Fever Lit is Larsen’s eighth album in 13 years of activity, it is also first studio album since 2006 Seies, after the double live Larsen & Friends CD/DVD set Abeceda. Also being released at the same time is a deluxe Larsen live LP titled LLL.
La Fever Lit features the legendary dubdiva/post-punk-cabaret icon, from Crass to On-u sound via NWW, Coil & C93, Little Annie aka Annie Anxiety Badnez.
Musically, La Fever Lit opens slowly, intentionally & deliberately. La Fever Lit could be considered the most focused Larsen record yet but at the same time it's also their most experimental and floating. Much of the material on La Fever Lit was composed for architecture, having been written to be played in Torino's landmark Mole Antonelliano which is now a national film museum. Performing from the elicoidal stair inside the huge dome of this futuristic building, Larsen spread out massive revererations of sound and bouncing lights upon the audience. Somehow, these bouncing lights are a big part of Larsen's new sound. Cinematic pop, illuminating rhythms, musical weightlessness and the nocturnal noire narrative style of Annie Anxiety.
Larsen delivers one of their most unique musical offerings but it's ultimately Annie Anxiety who defines the album. Having seen Larsen live a few years back she offered to sing and La Fever Lit was the perfect record for her vocal companionship. Her lyrics, her moods and her delivery, especially on Lefrak City Limits, deliver the listener to an old and twisted reality, drowned in melancholy, where characters lives suddenly make sense if only for a few suspended seconds framed in frozen time. All of this happens while Julia Kent delivers her most beautiful offerings to the Larsen sound and Marco Milanesio's production is so in tune with Larsen's sound that he is able to extraxt the textures that their music is built on.
Every listen brings you a little closer to La Fever Lit.
Ever since his breakthrough Endless Summer album, Christian Fennesz has been well regarded as an artist and composer in the world outside of the beard stroking listeners that labels like Touch and Mego cater to (myself included). On this album, it's not hard to see how this crossover happened: even with all of the odder and less decipherable digital elements, there is a core of melody that is beautiful and undeniable.
The opening title track is the centerpiece of the album, a 10-plus minute composition of squeaky, waxy textures, gentle organ tones, quiet noises and soft acoustic guitar. It is a long, but dynamic composition of varying textures of harshness and beauty that is really unmatched by most other things I've heard this year. It is nicely balanced by the closing "Saffron Rebellion", which is similar in structure and approach, but different in color and timbre.
"The Colour of Three," featuring guest musician Anthony Pateras on prepared piano, is of a similar structure, based upon raw digital flanged sounds and heavily effected guitar tones. The mix is heavy and lush, but also warm and inviting. Even through all the abstraction, the gentle musical elements are clear throughout, ending with subtlety and the more plaintive piano elements. This warmth is also notable in "Perfume for Winter", a shorter track of carefully controlled guitar feedback and crackling bits of static that are as warm and comforting as a fireplace in the winter.
There is a darker feeling to "Glide," which is a collaboration with Rosy Parlane: its static backing and reverbed clanks are rather desolate until thick organ tones swell up, giving a richer, more angelic coda to an otherwise bleak song. Less dark, but more mournful, is "Glass Ceiling," with its muted electronic tones and oddly treated electronic elements, with occasional bits of audible, clear guitar thrown in.
In some of the pieces, Fennesz is content to allow his guitar playing to go untreated or effected: acoustic guitar stays the focus on "Grey Scale," even with subtle electronic effects and elements around it. The electric guitar plucks on "Vacuum" are clear and pure enough, along with the crystalline electronic chimes that, even with the more abrasive ending, never strays away from calm and relaxing waters.
As an album, Black Sea is a captivating and engaging disc that not only has a strong, solid feel to it, but each of the individual tracks are their own separate entities as well. The sheer complexity and depth of the tracks are the album’s strongest suit, and the underlying sense of song and melody that are here makes it transcend from the world of just complex intellectual music into an immensely fascinating and inviting work that anyone with a sense of hearing should be able to appreciate.
On his second full-length release, this young Greek composer continues refining his technique of meshing abrasive electronic noises, pure digital drones, and field recordings into small audio ethnographies that are more than happy to make jarring, unexpected transitions.
Consisting of two 20 minute pieces, the first half, “Komdu! Hvert?” is the more subtle and simple of the two tracks. Opening with quiet rushing water that gradually and gradually increases in intensity, it is met early on by a deep pulsing bass tone that can definitely cause pain at higher volumes.
This slowly transitions into a whistling track of white noise, the bass thump replaced with a droning low end tone, slowly being met with looping found sound elements and other indecipherable textures. Eventually sheets of shimmering tones and chirping birds become the focus of the track, a more ambient and lighter resolution to a dark beginning. The piece closes with a high-tension line like hum and the sound of crickets, a perfect metaphor for the combination of organic and synthetic presented here.
“Torched Estates” is, in comparison, simultaneously more complex and dissonant in comparison. It begins with sheets of rain that get louder and louder as a high frequency emergency tone cuts through the mix, which is painful enough before a swelling of digital noise becomes the focus, all culminating into a violent quick digital squelch before falling away, leaving an eardrum numbing bass note.
This constant rumbling eventually enshrouds a subtle bit of static and clicking that stays consistent, eventually allowing layers of analog lo-fi noise to come in and command attention. While it begins to resemble a harsh noise recording in intensity, dynamically it stays sparse enough to allow the subtleties to be heard, rather than just violently commanding attention. It ends with the emergency type tones that opened the track, the sound of a typewriter, and eventually a shrill, tinnitus inducing tone that would make Ryoji Ikeda proud.
While still a young composer, Thanasis Kaproulias is already establishing himself as a powerful and innovative artist in this field of experimental music. His attention to detail is especially noteworthy, as is his use of pure electronic as well as organic found sounds in unison. I foresee Novi_sad being regarded as among the top experimentalists in the very near future.