Okay, I know this albumis about five years old but I strongly think it's worth mentioning. Acouple weeks ago I found a place online where I could order the UKpressing of this disc, which I had always known was clearly a differentversion than the US release which I have owned for years. I was notready for such an incredibly pleasant and drastic surprise.Everything's beefed up and played out with the force and energy thatblows the US release away completely. Although Justin Warfield's rap isweak, the opening tune, "Bug Powder Dust" hits hundreds of times harderwith a powerful pounding driving bass line and an incredible melodycompletely missing on the one I already had. Other guests and othertracks follow suit with an abrasive side of dub completely void on theother version, currently collecting dust in my collection. Playingthroughout the disc on nearly all of the tracks is a star-studded teamof various Dub Syndicate veterans Skip MacDonald, Doug Wimbish, KeithLeBlanc and Bim Sherman. Guest vocalists and players include SineadO'Connor, Jah Wobble and other singers. An 11th track, "5ml. Barrel," aspoken word piece from Will Self backed by some incredible music wasn'teven on the US version. It's no wonder to me, looking back how thisdisc bombed in North America.
Sure, everybody's heard rave things about him and his music but anyone who's bought one of the albums or seen him in concert has thought there could be something more. This is it. The album is clean and clear, all the music flows well and at the end I'm hitting play again. It's not far from the first few albums - a little drum and bass, some loungey organ tunes, choral vocal samples all mixed in with an appropriate progression.
"I've Lost That Loving Feline" and "Stone Cold Said So" wash over the listener as very nice punchy beat tunes with pretty samples taking the front stage. The second track, "What is it With You?" hits me with a keyboard progression all to remeniscent of Architecture and Morality-era OMD, while the 11-minute "Are You Still a Cliche?" just blows me away with its grand and beautiful sounding acoustic forward/reverse guitar - combined with solo vocalist and orchestral samples. An easy contender for a Lynch film broken hearted dream sequence.
I really had no idea what to expect when I put this disc on, and was quickly blown (okay, washed) away.5WM are Windy and Carl of, well, Windy And Carl fame, along withpal Greg, AKA Violet Glass Oracle. Starting points may be W&C's"Antarctica" Ep, "Occasional Light" by September Plateau, or maybe evenan ADD-fueled Main. Carl Hultgren's trademark post-Reilly guitar sheetsbillow from end to end, both in fore and background, with electronicice floes disrupting any sense of total tranquility. Fractured beatsand rusty machines (the last breath of a 404, out-of-focus Moogs)occasionally bob to the surface, only to be washed over again bycascading waves of endlessly delayed feedback. "The Devils And AngelsAre The Same" could have been an out-take from "Selected Ambient WorksVol.2"; both versions of "Sleeping To Technology" have a very aquaticfeel to them, thanks to the depth charge bass and soothing repetitiousflow. Close your eyes, and picture the sea anemones lazily floating by.Transcendental? More like otherworldly. Read More
With their latestrelease--their 6th or 7th perhaps?--the Austin via Houston duo ofChristina and Tom Carter have created a disc of subtle psychedelia,imbued with reverberating guitar echoes and luscious drones.Recordedon Christmas Eve 1995, Internal / Eternal flows together as a seamlesscomposition, with the majority of the tracks consisting of guitar notesthat seem as if they are echoing across a vacant room, bouncing againstthe walls, pitches bent and morphed by the acoustics. Faint voices canbe heard in the background at certain points, and subtle atmosphericslend to the album to give it a very haunting, hollow, quality. What isnew, however, is the Arabic feel lent to much of the disc. It's as ifyou are standing in a deserted casbah, only to hear the music of thedesert and the departed wash in from over the distant dunes. While thisaccounts for the first 7 tracks of the album, the last track, "CityPrison," is a departure from this sound. Samples wander around lost inthis soundscape, and various other aural objects including sampledvoices and digital blips contribute to give this track more of amusique concrete feeling, a la Nurse With Wound. Darlings of thepsychedelic / drone music world, Charalambides are one of those bandsthat you find yourself wishing to be a bit more popular, but yet find acertain joy in keeping them to yourselves.
Three new cd offeringsfrom the Berlin based Basic Channel / Chain Reaction family: Fluxion"Vibrant Forms" and Hallucinator "Landlocked" on Chain Reaction and"Round One to Round Five 1993 - 1999" on Main Street Records, allavailable domestically in the U.S. via EFA/Caroline.CRhave thankfully done away with the frustratingly impractical metal tinsin favor of biodegradable or glossy digipacks which are made to looklike the tins. No more breaking the cds when trying to get them out!The same descriptive words can often be accurately applied to themajority of the CR artists: minimal, techno, dub, washes, texturedsoundscapes, subtle shifting etc. You either love or hate this music... it will either bore you to tears or grab you and not let go. Two words set the Fluxion and Hallucinator discs apart: tedious andenthralling, respectively. Most of "Vibrant Forms" is missing the "it",the subtle ebb and flow of changing rhythms and textures, that makesthis music so beautiful. Most of these tracks put the beat in theforefront and do little to pull you in thanks to less than exciting andrarely shifted loops. Two of the 10 tracks, which happen to be thelongest at 9:30 +, have "it" while the rest are difficult to sitthrough. "Landlocked" on the other hand has "it" from start to finish.These tracks are ambient journeys, most of which happen to have somesort of beat and/or bass line. Hallucinator use a wider set of styles(ambient, techno, bits of dub, tribal and jazz) and palette of sounds(thick textured washes, water, sampled clankings, bell tones, synthnoises) to create one of the more diverse, yet cohesive, set of tracksof any CR cd to date. "Round One to Round Five 1993-99" collects all of the Main Street 12"sreleased between 1994 and 1999. The first two rounds are thumpin'upbeat house tracks featuring Andy Caine on vocals. In all honesty, Ihave trouble discerning a good house track from a bad house track ...but these 2 are at least tolerable. I much prefer the "Chicago'sTwisted" and 2 dub mixes which strip out most of the vocals and aremore in the CR style. The next three rounds feature Tikiman's smoothreggae vocals and corresponding dub versions. These tracks are in theexact same spacey-dub vein as the 1998 Rhythm and Sound w/Tikiman"Showcase" cd from Burial Mix. Great stuff, but only if you want more.To recap: thumbs up for the Hallucinator and Round One to Round Five,thumbs down for Fluxion. Bang for your buck: "Vibrant Forms" is the'shortest' of the 3 clocking in at just under 70 minutes while "RoundOne.." comes in just shy of 80 minutes! Next up from Chain Reaction areArovane "Atol Scrap" via Din on January 25th and Vladislav Delay"Militia" on February 8th ...
Despite their seeminglyunlikely French origin, Rajna's latest album Yahili so stronglyreflects the band's passion for South Asian music that their nativecountry becomes easily forgotten.The trio play an extensive list ofIndian and Tibetan instruments including dulcimer, yang t'chin, gongs,bells, shamanic drums, and a host of others which the band lists on thesleeve of the beautiful digipak. Yahili, in contrast with Rajna's priorrelease Ishati, is less atmospheric and leans more towards traditionalmusic. Recorded in a Tibetan monastery, this album drips with easternexoticism and meditative melancholy. Jeanne Lefebvre's rich, powerfulvocals are a focal point, assisting in the fluidity with which the moodof the album goes from trance-inducing rhythms to oriental lullabies.All in all, Rajna's music is both romantic and spiritual, and as theythemselves note: "Rajna est l'invitation au voyage." Read More
After disbanding in 1996, two-thirds of the masterful German drone trio Maeror Tri moved on to a new project, Troum. The overall sound of this Cohort Records release isreplete with a dark exotic beauty. "Daur" is somber and minimal,blending low rumbles, mechanical reverberations, and the lush sounds ofa yang t'chin. "Venustas" as well has a decidedly Far Eastern quality,and "Krypte" is strongly reminiscent of early 4AD instrumental pieces:a pretty guitar line with lots of ethereal effects and processingsurrounded by heavenly washes. This 10" released on Cohort Recordsmarks a striking departure in sound, not only from the music of MaerorTri, but from conventional ambient music in general. In fact the onlything about this 10" that resembles Troum's former project is theinventive packaging. The dark blue vinyl 10" comes in a sleeve made ofcork. The sole disappointment of this release is its brevity, buthopefully the future will bring more soon from Troum, and I lookforward to it.
Once again, JonathanWhiskey hits one out of the ballpark. Kicking off their split 7"series, the concept behind it being one unknown band and one known, theonly thing I could possibly gripe about is the near-impossible to openmailer sleeve.
"Smiling Pets" is a SonyJapan tribute album to the Beach Boys available domestically via theSecret Chiefs 3 / Mr. Bungle "Web of Mimicry" web site. As you wouldguess from the title, the 17 covers found here draw primarily on thelegendary, influential 1965-66 "Pet Sounds" and (the never finished orofficially released) "Smile" albums. Normally I'm wary of any tributealbum, especially one taking on something as sacred as these 2 albums,but the quality of the covers really surprised me. Prior to hearingthis disc I was only familiar with 3 of the artists (Jim O'Rourke andDavid Grubbs, formerly of Gastr Del Sol and Thurston Moore of SonicYouth), the rest being: Adventures in Stereo, Secret Chiefs 3,Melt-Banana, SHORT HAIR FRONT, The Olivia Tremor Control, SportsGuitar, Ono Tetsu, FORMS, Harpy, Seagull Screaming Kiss Her Kiss Her,The Ships, David Grubbs, Feelds, John McEntire and DM3. Who are thesepeople? I have no idea and it doesn't really matter. The covers rangefrom relatively true to bizarre interpretations of the originals andthe artists seem to come from a wide range of musical styles. There's alittle bit of pop punk, rockabilly and noise mixed in with the morestraightforward pop and rock. Some of the stranger sounds include:female and male Japanese accented English vocals, strings, harmonica,bells, banjo, sample and noise collages, electronics, drum machines,electric guitar noise ... not all that much unlike the originals interms of diverse instrumentation and general wackiness (especially the"Smile" tunes). Only 2 tracks annoy me: Sports Guitar's whinyPavement-like "Wonderful" and David Grubb's inferior vocals on "WindChimes". Other than that, these covers are a lot of fun. This cd is forthe adventurous listener who can appreciate both the pop symphony andavant-garde visions of Brian Wilson as realized by an equallyavant-garde selection of artists. The big drawback is the $28 price tagwhich will most likely relegate "Smiling Pets" to the short lists ofonly the most fanatical Bungle/Sonic Youth/Gastr Del Sol fans and BeachBoys completests. Read More
Once again, JonathanWhiskey hits one out of the ballpark. Kicking off their split 7"series, the concept behind it being one unknown band and one known, theonly thing I could possibly gripe about is the near-impossible to openmailer sleeve. But it's a small, insignificant complaint. Lazarus Clampgive us "North", a beautifully disturbing tune that incorporates bitsof Hood and Slint, utilising the latter's quiet-to-loud dynamics. Theunknowns here, Grecians 2 By Bukowski, offer us a sound not heard muchin today's indie rock. "David Dark" brings to mind early Seefeel, witha solid rhythm section to anchor things from straying to far. A genericstaticky sample, which surfaces from the low-end murk halfway through,gives the song n almost early to mid-80's industrial dance feel to it.Not a bad initial offering. Let's hope Phil at JW keeps on dredging upthe class talent! All Jonathan Whiskey releases available athttp://www.normanrecords.com.
The Rootsman is anEnglish DJ/dub musician with 15 years experience and a discography thatincludes over two dozen EPs and albums since 1994. "Versions of theUnseen" is a 6 track remix EP follow-up to the most recent album"Realms of the Unseen" on Third Eye Music and is thankfully availabledomestically for ~$7 via Portland, OR label BSI Records. This is myfirst taste of Rootsman besides his 2 remix albums with Muslimgauze:"City Of Djinn" (which is being re-issued by Third Eye in February) and"Return to the City Of Djinn". The 6 tracks here include the albumversions of "Al Andalus" and "Beyond the Hills", 2 Rootsman dub mixesof the former and a Ras Boras (of Treponem Pal) remix of the latter,and the non album track "Imitator" remade by BSI's Landau. Of the 3versions of "Al Andalus", the album version is the best. MC Johnny Lonedrops a laid back Spanish history rhyme about "Al Andalus land of kingsand queens" over a smooth, mid tempo dub-hip-hop backing. The dub mixesare similar and, of course, delete much of the vocals save for theoccasional blurt out through the echo chamber. "Imitator" is very inyour face with barrages of snare heavy drumming and sudden sampledvocal outbursts. You can dance to it, but you might hurt yourself. The2 versions of "Beyond the Hills" are very different. Ras Boras' remixis uptempo and playful with a bleepy electro sound and an amusing Dr.Dre style high-pitched keyboard melody. The original is down tempo withsome gentle wailing female vocals, piano, gurgling synth lines,beautiful flute (?) melodies and tabla rhythms. All together, this EPis nice and varied and good news for dub fans. I'm intrigued enough toseek out an album next.