Martyn Bates' elusive work as Migraine Inducers issued before his involvement with Eyeless in Gaza finally gets released on CD. Originally circulated on cassette in a tiny quantity as Dissonance/Antagonistic Music in 1979, it later saw a marginally wider release in the United States in somewhat abbreviated form. The complete version of this legendary album is included here, as is a second disc recorded in 1994 with Gaza partner Peter Becker to complete the work.
We made it to 700 episodes. While it's not a special episode per se—commemorating this milestone—you can pretty much assume that every episode is special. This one features Mark Spybey & Graham Lewis, Brian Gibson, Sote, Scanner and Neil Leonard, Susumu Yokota, Eleven Pond, Frédéric D. Oberland / Grégory Dargent / Tony Elieh / Wassim Halal, Yellow Swans, Dental waste in Saigon photo by Krisztian. Get involved: subscribe, review, rate, share with your friends, send images!
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While The Narcotic Story is not Oxbow's best, there are some great songs on it that refine their bluesier side but there is not as much of the heavy Oxbow that has flexed its muscles on previous releases. However, it is far from a bad album and certainly will not disappoint those who have enjoyed their output so far.
The sound of a western town at dawn gone mad with isolation, We Are Him is a document of Gira's manic undulations through blues, country, blackened rock 'n' roll, and primal exorcism. It is a sullen, fallen, redemptive, contradictory plea to touch the light and joy of God or to know that suffering is our final and only fate.
On their latest for Rephlex, the loyal Brothers D'arcangelo synthesize praiseworthy tracks bubbling with such nostalgic tension that, much to my amazement and delight, I want to care about IDM all over again. While everyone else seems preoccupied with that old tired is-it-AFX-or-not debate over The Tuss' latest releases for the label, they should be giving it up for these guys instead.
The latest release from Norway's hungriest noise composers is comparatively a more subdued affair, and it is much more subtle than its boisterous title would have one to believe. John Hegre and Lasse Marhaug present a noteworthy combination of heavily controlled guitar feedback and studio treatments characterize the work as a whole, but each piece is very different from the next.
Released with the help of United Dairies and Jnana Records, Freida Abtan's music is a strange cinematography of metaphysical conundrums and invisible events. Contained herein is time frozen, inspected, and unwoven into infinite threads of unusual shapes and proportions. Abtan's subtle flourishes are impressive, sometimes simultaneously fantastic and terrifying, but they do not add up to a wholly consistent album.
