Add another awkward band name to your collection. After receiving newsof the forthcoming release of "Inception and Silence Undivided" onSteven Stapleton's United Dairies label, I was curious to find outabout the project. Matt Waldron has been recording and releasing musicas irr.app(ext.) since 1998. The first release, "an uncertin animal,ruptured; tissue expanding in conversation" has a matchinglysurrealistic sound and equally disturbing accompanying artwork (lots ofasparagus-esque vegetation and mutated muscle tissue). It was aco-release between Waldron's own Errata In Excelsus label and theIcelandic label, Fire Inc. I contacted Matt and subsequently receivedfive of his CDs, discs of which I was looking forward to digesting,dissecting and reporting about, but in the time I've had them, themusic just becomes more unraveling with every listen. It's no surprisethat Stapleton was interested in his work, which is essentially areinterpretation of the never before released on CD, long out of printand masters destroyed LP, "Insect and Individual Silenced" by Nursewith Wound. I haven't heard it yet, but after hearing hours of workwhich never wears thin, I'm highly anticipating it. Waldron's work isvery atypical of the volumes of CD-Rs that float around. It's advanced,sonically challenging, created from a collage of musically imitatingsounds both found and created, seamlessly constructed. Matt seems tohave an unchallengable ear for when to introduce pianos, clanging,backwards bits, cut-up sounds, digital demons, resurrective rumblings,and only an occasional pulse. Yeah, it's pretty dark. I find myselfgoing through evenings where I feel I want to just throw the discs allon, one after another, kill the lights and get a complete sensoryoverload. Maybe it's time to try some new drugs. Either way, theofficial irr.app(ext.) web site is still being constructed, but there'san email address on the bottom. http://www.misanthrope.com/irr/Perhaps he'll give you a good deal if you want to buy some of thesegems before he's scoring insane horror films, producing your favoriteelectronic bands or becomes too busy to be bothered with the generalpublic!samples:
- Antedelirational Music Box (from Dust Pincher Appliances)
- Nascere e Crescere e Ardere D'inconsapevolezza (from Radiand Black Future)
- (internal dialogue) (from An Uncertain Animal)
The electropop revival has seen it's first casualty. With 'Alright OnTop' Luke Slater, revered for his techno-electro work under numerousmonikers, makes a significant step away from the dancefloor and towardsthe bargain bin. Not nearly as kitschy as Miss Kittin or Felix ThaHousecat, the tracks on here have none of the trashy hip glamour thathas been slapped to the backside of this new new wave. Rather thancopying what seems to be working for everyone else (or sticking to whathe does best and progressing a bit), Slater presents some bizarrehybrid of a mediocre New Order cover band and a 90's "electronica"one-hit wonder. In fairness, you do have to give the man some creditfor doing what he wants to do (and hopefully bracing for criticism fromhis fanbase) and paying tribute to music he truly loves. However, weaksongwriting (dubbed in true press release style as 'songtronica')accompanies uninventive and boring lyrics, making for an overallembarassment when compared to his strong backcatalog. To be honest, I'mhoping this electropop fad (or whatever you want to call it) pisses offand dies quickly like Detroit ghetto-booty music did. I'm not feelin'it... and it's already produced at least one awful album from aonce-solid producer. 
Okay, I know this dude's friends with the Fridge guys but the kickofftrack on this EP+video sounds too strikingly similar to "Kinoshita"from Fridge's 1999 single. Dan Snaith is a Canadian who's studies havelanded him in London, where he now makes his home and his muisc. 
If you're Icelandic, you're probably already aware of OlafurJosephsson's project, as his career got a large boost by opening forgodspeed you black emperor! last month in Reykjavik. His "band" nametranslates as Digital Hakon (Hakon the Good was the king of Norway inthe 10th century and has a long legacy of being name checked innumerous songs) and the music is probably the most amazingly producedCD-Rs I have ever received. 
David Edwards deserves an "A" for effort on his debut full-lengthrelease as Minotaur Shock. The interplay of organic piano and guitarwith electronic instruments and sampled beats blends nicely in thisshimmery recordng of tinkling melodies and sharp rhythms. When I sawthe names Fridge and Four Tet dropped in writeups on this album,naturally my interest was piqued, but seeing those names made me expectsomething somewhat derivative of the two. 
The scene is Brooklyn, NY. The time is present day (okay, 2001. This release came out last year, but I just found it for review). And the music is by... Hey! Who the heck are these guys? From Arena Rock Recording Co. comes this compilation of both unknown and well-known Brooklyn bands. And what better cause could there be but donating all the proceeds to the Brooklyn Animal Resource Coalition? Arena Rock has introduced us to some superior rock bands in the past, and Brooklyn has a history of being the birthplace for impressive rock. And the results are astonishing. This is, quite simply, the best 2-CD multiple band compilation I have ever heard.
In the grand tradition of celebrities venturing forth from their meagerbeginnings to great acclaim and stardom, comes Claudia. Claudia, thelatest one name celebrity, the airline hostess, the actress (SaturdayNight Live, Sex and the City, and more), and now, the entertainer. Onher debut release, this CD single on Sourmash USA, Claudia introducesthe world to her voice, and opens her heart to us all. 
For this five track EP on Germany's Crippled Dick Hot Wax, omnipresent artiste Lydia Lunch teams up with Los Angeleno instrumental duo Tommy Grenas and Len Del Rio, aka The Anubian Nights. Strange bedfellows? Hardly. The Nights' solid grooves are both live and looped, drawing on smoky bar jazz, Martin Denny exotica and electronica. 
Music should never be purely judged by how it sounds. It should also bejudged by how it makes the listener feel upon listening. Whatexperiences it inspires. What textures and emotions it invokes. Onthese qualities alone, Pilote takes the taco.
