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Not to be outdone by retro obsessiveness of analogue (and oddly enough days of the week), the latest Lali Puna song to surface comes perfectly equipped with crackly 78 rpm vinyl sounds. The song is a bit of a departure for the group as it is has beefier percussion and beat sounds, a slowed down tempo, and the spoken drone of Valerie with a minimal number of musical instrument sounds. It's almost as if this is the band's attempt at creating their impression of a surrealistic musicbox number to be used as the musical backrdop for a Brothers Quay short.
ISAN's side is unsurprisingly an unoffensive melodic number from the duo, underscoring recordings from a British newscast. Originally recorded in 2001, the song could easily have been a throwaway track as it's not even nearly as musically compelling as anything on their 'Lucky Cat' release last year on Morr. Future split 7" single releases planned for this growing Italian label include Pan•American/To Rococo Rot, Calexico/Black Heart Procession, Califone, Geoff Farina, and Melt Banana. (Unhip, my ass!)
samples:
- Lali Puna - Common Ground
- ISAN - Little Boy Sitting Up In Bed Looking at the Moon
 
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I think there's only so many ways you can describe four-minute pretty little melodies. There is something, however, in this Isan recording from 2002 which makes it somewhat sounding more like a strong A-side for this single than the B-side of the split with Lali Puna.
Perhaps it's due to the fact that, in comparison to the Phonophani song, Isan has a much stronger interest in melodic structure within a strict time signature, while Phonophani easily sounds like randomized synth noodling within a key signature put through some fuzzy distortion. By the end of the Isan track, however, the melody hasn't gone far, while at the end of the Phonophani track, the tune has evolved from slow trickle of individually sounding tones to a downpour of notes. More than four minutes of this and I would probably run screaming for the "eject" button on my turntable. The synth sounds for both artists are undeniably as sweet as a cavity-inducing baklava but after digesting just these two, I'm feeling that I want something with a bit more flavor.
 
samples:
- Isan - My Soaring Heart
- Phonophani - Beyond That Place, Dragons!
 
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Much like Isan, Xian Hawkins has also built a strong career on a number of incredibly noteworthy electronics-laden 7" single releases. This one is no exception. Released shortly after his full-length 4AD debut, the A-side is a brand new song while the B-side, "The Fourth Way," is an alternate version of "The Fourth Day" from the 'Nonument' LP.
The two paired together prominently feature Xian's adventures exploring the sound of the human voice, something uncommon to the Sybarite sound. "The Fourth Way" features vocal samples while "Scene of the Crime" features singing by Jennifer Charles. In both cases, the vocals work fantastically alongside Hawkins' multi-instrumental electronic playings and reprocessings. "Scene of the Crime" has some amazingly strong guitar sounds while "The Fourth Way" has one of those melodies that gets stuck in your head all day long. Hawkins is used to recording and releasing music in tiny batches and, in all honesty, I think the quality of each of these two songs alone is far superior to much of his full-length album. A CD version of this single contains one additional exclusive track, "International Date Line." Sybarite's 'Travels in Constants' EP should be available either now or very soon from Temporary Residence.
 
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Rumah Sakit craft instrumental rock with fierce energy and a bizarre structure that achieves stunning results. After their debut album on Temporary Residence, the members took a hiatus to concentrate on their other projects. Then they recorded some more, and those tracks appear here, but now, they're on hiatus again. Only two albums in three years might make some wonder about their longevity, and, in fact, there are rumors that this album may be the band's swan song.
If that is true, this would be a fantastic final effort. These songs crackle with the energy of a practiced ensemble, a group that has grown very comfortable with each other and is now ready to create almost symbiotic music. They are in the pocket on every note, and it's a joy to listen to. Considering its members are in other groups like Sweep The Leg Johnny and Howard Hello, as well as the Tarentel connection, this group is very energetic and focused, unlike most others in the genre. The instrument choices are very generic rock on this release, with bass, guitar and drums creating the noises, but it's no slouch for it. These songs are the band's best, and they know it. The ten-minute-plus title track starts and stops several times with perfect precision, while the strangely titled 'No One Likes a Grumpy Cripple' soars with squelching solos and ecstatic drum fills. Known for their amazing live shows that have to be seen to be believed, Rumah Sakit have also seen it fit to include a couple live recordings on the CD, as well, just to prove it's all for real. Of these, 'Go Horsey Go' is the more interesting, as it begins with a delicately played guitar arpeggio, then builds to a full firefight with all guns blazing. Hopefully it's not their last, as there's still a lot of mileage in this group of players.
 
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Few have suffered the changes and shifts Tarentel have and continued to make music. After at least six personnel changes (and at least as many releases, including two full-lengths), Tarentel collect their singles from 1999-2000 here on one CD. Tarentel have always created sprawling compositions, often with very simple beginnings that build to more orchestrated heights, and this release shows their evolution as a group well. It all begins with "The Waltz," with very pretty guitar and bass in—you guessed it—waltz time, which is a very solid instrumental track though not very original or grabbing at first listen. The experimentation with laptop noise begins on "Looking for Things," another gorgeous track with insular sounds jutting in for effect as well as what sounds like sampled radio at the end. Things really get going with the visceral double-shot of "Two Sides of Myself" parts One and Two (also the shortest tracks of the album), with a haunting structure and feel. These tracks were the most moving to me, as they do show two sides to Tarentel: the structured, planned side, and the morphing, amoebic side. Both are effective, but only because the band separates them so well here. Together, they don't work as well. Especially when they end up resulting in a twenty-five minute exploration like "Searching for Things." It probably started out as a great piece of music, but then it gets dragged out for no apparent reason with echoes of percussion and guitar in the background and seeming transmissions from space and guitar in the foreground. I like Tarentel, and this release works well to show their strengths and compile their ever-changing sound. I'd just like to hear more music in the huge span of time. As a whole, though, this is great music for aquariums, from the shark tank to the sardine bowl.
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As the title may suggest, the latest release from the once nomadic James Bradell (aka Funki Porcini) is a wonderous collection of musical dreamscapes and headnodding grooves to relax with. Assisted by the musical (and visual) talents of Team Alcohol (Rupert Small), the disc's fourteen compositions, comprised of droning synth and guitar layers, funky, jazzy rhythms and sampled dialogue that sounds right out of a sci-fi B-movie, vary from subtle to conspicuous.
Tracks like "Last Night Over Norway," "Offshore Birmingham" and the aptly-titled "Sleepy" can evoke the urge to turn down the comforter on a lazy weekend afternoon, while the B3-driven "We're Out Of Here" and "16 Megatons" will have you poppin' your fingers with a smirk. Most noteable is the seriously slippery-grooved "Weow," which sounds as if The Orb were jamming with The Meters. Accompanying the disc is a DVD of eight visual interpretations (six tracks from the disc, plus two bonuses) which explore the world of macro photography and seamless loops, all synching up beautifully with the music. It's a great multimedia artshow for your living room without the overpriced drinks and snooty, turtleneck-wearing people.
 
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When we left Loscil—aka Scott Morgan—last, he had released his debut 'Triple Point' to much acclaim, and was preparing to tour behind the release. That was scant a year ago, and now Loscil is back, having toured the earth and recorded a mother of a concept album. 'Submers' is very much a continuation of the same ideals Morgan has upheld before—singular artistic vision, music created on keyboards and computers—but he plumbs new territories this time around.
Each track is named after a submarine, and the songs all have an eerie spaciness that makes them feel very detached in nature. Very appropriate for songs about huge metal vessels that travel miles below the ocean's surface, for defense use or not. The sound is very much the same, though this time I got the feeling of a more cohesive release than the last CD. Songs blend into each other well with dense keyboards and simple click beats over top. Then they build, adding intensity and textures/flavors until they achieve fervent but understated pace, then fade out gracefully. Morgan has a real ear for production, and these tracks are crystal clear, with a violent tension that sits just underneath it all, waiting to pounce, but revelling in the torture of not attacking instead. There are tracks that sound like sonar bouncing off the hull of a ship, or the slow pulse of the "caterpillar drive" from "Hunt For Red October". The whole time I listened, I felt very much alone, and the thought of that almost drove me insane. The album closes with an almost funereal requiem called "Kursk," after the Russian submarine we all saw on CNN with tales of its fallen crew. It's a tribute and a dirge, a respectful sending up of these men who subject themselves to unreal situations and fears—the ultimate bravery. Loscil gains major points for dreaming up a concept this brave, embracing it, and succeeding in creating a moving and stirring listening experience.
Samples can be found here.
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"Bang bang! That awful sound!" said Cher in a song of the same name, and like any critical listener in search of a cheap laugh I was primed to apply that reference here. After all, it's easy enough for an instrumental rock group to come off as either hideously discordant or sleep-inducingly masturbatory. But the problem is, even the most awful sounds on Oma Yang’s second full-length release are sublime, and theirs is the sort of masturbation you'd pay good money to see (though you might not want to volunteer for clean-up duty afterwards).
On the front cover of this particular 'Bang Bang' CD, a sloppy-looking man wearing wet, baggy underwear contemplates an algae-spotted river from the shore. On the back cover, he just dives right in. Drums, bass and guitar come together on this occasionally harrowing mix of tracks, sometimes joined by a welcome synth or organ. When these guys throw rock, jazz, and smooth psychedelia into the mix, does it work? It can be as beautiful as a quiet, echoing horn on "Oh Yeah...I Get Jokes" and as jarring as the tempo changes and discordant notes on "No Backdoor To Heaven, Just A Front Door To Hell." Somehow, even the studio trickery and synth warblings of "A Paper Bag Holds Great Secrets" manages to fit in and sound chummy. Just as the jangling and thumping begins to get on your nerves the mood will switch to something placid as a rippling brook (a quiet song you could knit a sweater to while humming along)...but before the track is over that sloppy guy will jump right in again and shake things up, dropping stitches and jumping influences, proving that the Oma Yang guys know more than just how to write cute song titles. The best songs on this CD are over five minutes long, allowing the band to expand, twist, distort, and demolish their theme, leaving me eagerly awaiting the day they decide to record a single hour-long track. "Awful sound?" Well, occasionally yes, but in a good way. Sometimes lush, sometimes minimal, always capable and never dull is Oma Yang.
 
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The idea behind the 'In the Fishtank' series sounds really good: get two (or more) bands touring the area (broadly, the Netherlands,) and get them to record a live album in the studio, spontaneously. Like most things that look great on paper, the execution fails gloriously, and on many levels. Maybe Sonic Youth was having a bad day, or possibly the I.C.P. or The Ex took over a whole lot of the sound on this album, but please, if you have anything else you'd rather do, don't hesitate to do that instead of listening to this album. It has all the annoying qualities of a pretentious John Zorn release (and none of the positive, like the amazing musicianship of some of the early John Zorn stuff.) The rush of recording constraints forced on the groups probably didn't help the creation of their numbered tracks. The seemingly random numbering of the tracks gives me the impression that these pieces were just made with no intent in mind, just to take up time. Weird atonal honking horns are ok, but not if they're boring you to death. If you like Sonic Youth (or any of the other bands,) at all, avoid this thing like the plague.
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After numerous tours of rapping live, Cex has finally released his first album with rhymes. While those who only know his instrumental output might be put off by this, others, like I, who have been following his career a little more closely will be more than satisfied with the first true expression of the Baltimore boy wonder's talents.
Long the enfant-terrible of electronic music, Kidwell has finally given a voice to all the frustrations he has with the creative world he inhabits. Songs like "Brutal Exposure" and "One Cex" let us know exactly how he feels about modern music and the majority of the album's remaining time is spent telling us how he is going to go about changing it. Not by inventing new styles, but by bringing in a new attitude. Every verse on the album is full of it and I don't think I've heard so much sass in six tracks since the opening half of Miss E's 'So Addictive'. Kidwell is pushing the message that art and entertainment are one and the same, so it comes as no surprise to find the occassional song about bicycles, middle school and fisting in amongst the antagonism. Most of the rhymes are amusing, but it's when Cex stops beating his chest and lives up to his self-proclaimed position as the #1 entertainer in the world on songs like "Ghost Rider," that he really excels. The album's beats continue to be influenced by MTV as much as they are by Warp, but its the rhymes that are the focus of 'Tall, Dark and Handcuffed'. Sure, they may be a little self-obsessed but Kidwell is only human, and that's a quality in his music we should all be celebrating.
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Sit down, make yourself comfortable, this album is far from both the post-industrial noise nor the minimalistic drone stuff David Jackman is usually known for his releases as Organum. Recorded between 1990 and 1993 (originally released in 1994), the album opens with the stunning epic 16¬Ω-minute, "Aurora," which is probably the closest Organum got to Taj Mahal Tavelers. "Aurora" features fantastic guitar sounds, exotic wind instruments, and unidentifiable shining and piercing other sounds by Dinah Jane Rowe, Christoph Heemann and Jim O'Rourke.
This is all accompanied by a driving improvised drum contribution by AMM's Eddie Prevost, providing an even more trecherous, ominous feel, almsot like the dust clouds whipping into whirlwinds as the prelude to a magnificent storm. The title track continues the feel with more drones, bowed cymbals and beautiful wind instrument sounds. Absent of the drum set, "Sphyx" is only the work of Jackman and O'Rourke. "Multa" by Heemann and Jackman closes the original LP with less intense drones, but piercing sounds and a heavily delayed percussive sound keeping the tempo. Two bonus tracks, "Æo" (short for Aeolian) and "Shining Star" appear on CD for the first time. These subtle, gorgeous tracks, which further exploit Jackman's obsession with beautiful wind instruments, are also originally from 1994 but only appeared on a small 7" single run. After years of being unavailable and appropriately highly sought after, Robot has released a small number of these CDs. The original three tracks are undeniably regarded as some of Organum's finest moments and the bonus addition makes this release even more irresistable. With a limited to 700 copies, this can easily be cleaned off the shelves before Christmas time.
 
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