Mark McGee, formerly of To Kill A Petty Bourgeoisie, has partnered up with a new female vocalist, Nicole Tollefson, to follow the path he pioneered in his previous band, combining harsh, noisy electronics and guitar with pure, delicate female vocals to excellent effect, although it seems that the harsher end of the spectrum has been reigned in somewhat.
Three new episodes for your listening enjoyment. After two weeks off, we are back with three brand new episodes: three hours / 36 tunes. Episode 697 features music from Beak>, Brothertiger, Kate Carr, Gnod, Taylor Deupree, FIN, Church Andrews & Matt Davies, Ortrotasce, Bill MacKay, Celer, Kaboom Karavan, and Ida. Episode 698 boasts a lineup of tracks from Susanna, Nonpareils, KMRU, A Place To Bury Strangers, final, Coti K., Dalton Alexander, Akio Suzuki, The Shadow Ring, Filther, Aaron Dilloway, and Ghost Dubs. Episode 699 is bursting at the seams with jams from Crash Course In Science, Chrystabell and David Lynch, Machinedrum, Ekin Fil, Finlay Shakespeare, Actress, Mercury Rev, Dave Brown / Jason Kahn, øjeRum, d'Eon, Jeremy Gignoux, and Shellac. Mountain photo taken in Japan by Chris. Get involved: subscribe, review, rate, share with your friends, send images!
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Following up their acclaimed debut LP The Persistence of Meaning, this Brooklyn duo of Joshua Convey and Luke Krnkr serve up another release of dark, mysterious murk that channels krautrock as much as harsh noise. With an A side that goes for more musical elements, and a harsher, disjointed B side, the combination works wonderfully.
In an unexpected move, Front 242's Daniel Bressanutti has rejoined former member Dirk Bergen (who left soon after the Geography album) to start this new project, heavily rooted in classic analog synth technology and an apparent love of the Blade Runner soundtrack. While being spread across two discs comes across as excessive, there's still a good album’s worth of tracks in here.
For the final Fad Gadget album, Frank Tovey went to Berlin, home of touring mates Einstürzende Neubauten, and once again sought to expand the sound beyond the synth domination of prior releases. Unsurprisingly, the result incorporates much more abrasive percussive sources, but Tovey remained within his element of entertainer/commentator role when it came to the subject matter at hand.
This live concert in, no surprise, Rome sees David Tibet joined by Maja Elliott on piano and John Contreras on cello. Performed around the same time as Tibet was creating the first installment in his Aleph trilogy. However, as the line up suggests, this was not the ferocious psychedelic rock that Current 93 were unleashing in the studio. Instead, the group play through a quiet, tender set of old favorites and (at the time) new compositions.
The latest album from Italy’s Architeuthis Rex sees them continuing to confound and entrance with their eclectic and heavy sound. More focused and unsettling than their debut album, here they once again plumb the depths to uncover a world of sounds which sound like they come from some bottomless fissure in the middle of the ocean. Taking as much inspiration from aquatic zoology (in its various forms) as from music, Urania is a fantastic exploration of concept and sound.
Mohn is the newest collaborative project for two German techno mainstays: Wolfgang Voigt (aka Studio 1, Mike Ink, Gas) and Jörg Burger (aka the Bionaut, Triola, the Modernist). The duo's debut self-titled album sticks to territory in between the steady, physical pulse of "Tiefental," from last year's Total 12 compilation, and "Manifesto," a damn near beat-less, immersive storm-cloud of ambience from Pop Ambient 2012.
Pitre's latest composition is certainly an impressive and mesmerizing one, but it is quite a daunting challenge to find words to describe quite why it works so well.  Built around computer-randomized patterns of harmonics and fleshed out by a sextet of strings and dulcimer, Feel Free's beauty lies in its rippling, organic near-stasis: this is classical music blurred, stretched, and rendered in such a pointillist fashion as to seem like a languid, blissful, and formless haze.
After last year's acclaimed Please Stop Loving Me and the Ante Algo Azul subscription series, Szczepanik has almost simultaneously put out his first and second vinyl releases. While the two albums could hardly be more different from each other, both carry the composer's careful attention to detail and creation of beautiful, sparse music.
