Considering that both sides of this brief single are sourced from recordings of cymbals, I couldn't help but feel a bit of parallel with early Organum, at least in concept. The actual music though is something entirely unique, and is two different takes on the same source.
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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As a sporadic consumer of López's work, this album had a decidedly different feel than what I was expecting. I usually associate his name with cold, sterile digital sounds that occasionally veer into difficult territory, but always are worth the effort. Here, the work is much more organic and natural feeling, unsurprising given that it's based on field recordings of rivers in Argentina and Paraguay.
Even though its wrapped in a brightly colored, almost prog rock album cover of nymphs and mermaids, the music is the polar opposite: ritualistic improvised rhythms, clanging metal and tons of effects, all of which conveys an odd mix of sleaze and evil.
This album somehow earned a reputation for being one of Christina Carter's best despite being limited to a cassette-only edition of just 200 copies. Released during a fertile 2008 that also saw the release of Original Darkness on Kranky, and initially mistitled Texas Working Blues, this Blackest Rainbow re-release shines the spotlight on one of Christina's most direct, layered, and memorable albums.
Emeralds guitarist Mark McGuire has been releasing his solo recordings on small-run CD-R and cassette pressings since 2007. This double-disc retrospective collects 20 of his best recordings over the years as selected by McGuire and Peter Rehberg—consider it McGuire's greatest hits.
Liturgy's music is a full-on sensory assault, at once controlled and chaotic, meditative and brutal, that demands you immerse yourself fully and pay attention. This is not background listening of any sort, nor easy listening—just an hour of damn good metal.
27 is a small band. There are two numbers in the name and three people in the group. Brittle Divinity, their latest full length, is appropriately enough a small record. Their last outing, 2007's Holding on for Brighter Days was bigger and broader, more produced and more varied than what they are doing here. But I like this better.
This is a degenerate two guitar record that sounds like it was dredged from the Mississippi along with rotted bodies and tin can telephones still attached. Sludgy doesn’t even begin to describe the muck that these two guys are playing through. This is avant-garde blues as seen through carburettor syrup and burnt amps.
After so much hype, the long awaited collaboration between Sunn O))) and Boris was bound to disappoint. It starts off amazingly but overall there is something missing from the album. With 17 different musicians contributing a few of the pieces get too muddled and everyone finishes the album a bit lost. In the end it is a great idea that doesn’t quite work.
Available as two vinyl LPs or as this one CD these four solo guitar pieces range in length from around 16 to 20 minutes. On his favored Breedlove 12 string, Cam Deas plays guitar like ringing a (Tibetan) bell and with an intimate intensity that is by turns wild, meditative, melodic and transporting. Within an extended structure he rubs and thrashes the strings into an extraordinary, calm, deliberate, fluttering frenzy.
