Thursday, December 30, 2010

[Artists] JAck FiDo


JAck FiDo
JAcK FiDo
Jamendo

Wyrm In The Hills, The Cities (Bandcamp)


Actually quite much is changed since Wyrm`s previous, 2-track release We Cannot Hear The Stars (2010). Indeed, the US-based project has abandoned their minimal, low-frequencied noise vibrations (The Unknown Is Infinity), and secondly, partly, electronic-infused post-rock concept (We Cannot Hear The Stars). Or the way round, a new, also 2-track album can be dealt with as the sequel and progression of the last named track on We Cannot Hear The Stars, making out difference in more epic, static guitar-riffed appearances. More concretely, the wide, potent-buzzing basic layer is fringed by a few elements, for instance, loosely pulsating rhythms at times, moreover, which are almost unheardable and at the closure of the issue seem to be just the set of vibrations of the album`s integrated, seamless parts. Notwithstanding its radical drone/drone doom/drone metal/drone doom metal husk, and regarding its almost invariable, almost endlessly emitting drone-based soundscape, indeed, by the very minimalism-esque type of conceptual approach it has managed to get into much bigger joint area with minimal music composers like La Monte Young, Terry Riley, and even Steve Reich, rather than ordinary metal bands. No doubt, Wyrm`s issue has very pragmatic sense and field of application - it is might be directed for individuals who are searching up for help to fix up his/her minds. Indeed, it is a very relaxing trip into the infinity.

Listen to it here

8.9

[Artists] Serifs

Serifs/Bandcamp
Asthmatic Kitty
Lastfm
Alfred Brown
John Valenti

[Artists] Electric Rainbow


ELECTRIC RAINBOW-ELECTRIC FLAVOUR

Electric Rainbow | Myspace Music Videos

Jamendo

ELECTRIC RAINBOW-THE STARTING POINT

Electric Rainbow | Myspace Music Videos

Myspace
Lastfm

Wednesday, December 29, 2010

[Compilation] Totokoko Christmas Compilation (Totokoko)


Here is a compilation of 19 tracks from Japan, though, more concretely, if to check out for the names, not all the artists are the Japanese heritage by their roots. For instance, Ryan Cohen, who offers opportunity to Ron Sexsmith`s Maybe This Christmas. This is a compilation which is dedicated to the Christmas (as the Christmas present with music, drawings/illustrations/photos and one video by the Totokoko label) showcasing a vast array of diverse indie spheres, veering from restrained keyboards-driven indie pop and folktronica/fingepicked guitar pop wrapped in by glockenspiel chords and accidental concrete music sounds to more shibuya-kei-touched dynamic outputs, chamber-alike infused progressions, lo-fi-inflected sonic backbones, creeping, capella-near notches and some instrumental, piano-relied "interludes". The only exception is the closure track Wallpaper of the Soul by Kraffa which is used to be a 100 percent-electronic one being deep(ly) techno(-)reflected and even slightly dubstep-hued. The favorites of mine are [.que]`s Silver Light, Wool Strings`s Sleep Green, and AMERICAN GREEN`s The Clock Tower And The Fountain, and Ibuki Yushi`s Noel Readying Experience.

All in all, in fact, it may be seem at times that the compilation is not pretended to be upon the highest aesthetical level because of the natural restriction of conceptual thing on its own, on the other side, it is filled with heartful touches for the biggest red-letter day and quiet times.

Listen to it here

Tuesday, December 28, 2010

[Artists] Time Columns





Time Columns/Bandcamp
Myspace
Lastfm

Spagetti Bolonnaise Disco1 (42 Records/Bandcamp)


Behind this cheesy name can be found a delicious whole of 6 notches, of psychedelic oriented songs obviously compiled of 60`s British music influences, on the first side, running on the more pop-oriented currents (The Beatles, The Byrds), and on the other side, on fusion/jazz rock-relied blasts (the Canterbury scene), and on the third side, chillout moods. However, an Italian quintet consisting of Elia Domeneghetti, Guido Bianchini, Andrea Mancin, Paolo Michelazzi, and Oliviero Farneti who sang in English, play up their "disco" concept in an excellent mode, operating with quasi march-like rhythms, colourful brass sections, smooth jazz parts, vibraphone-played shreds, vibrating electric organ snippets or overpouringly grooving, acid-filled synths (for instance, the ending track Dedicated to Wyatt but Wyatt Wasn`t Listening). In a nutshell, it can be said, indeed, the Italians do it better (it is a cliche, of course, having some pieces of truth inside it, though).

Listen to it here

9.1

Interview with Dave Keifer/Cagey House


I sent some questions over to the United States, to David Keifer aka Cagey House, a webaudio legend whose year of 2010 was dedicated to constructing lots of crafty issues apparently looked upon very purpose to be improved on his cut and paste/sound collage/plunderphonics/sampledelic/hauntology approach.


The year 2010 is coming soon to its very closure having been very profilic for you. More concretely, are you satisfied with your goals and those realizations in principle?


In general, I was pretty happy with what I came up with this year. There was a kind of density on the tracks I made in 2010 that hadn't been there previously. That's especially true of Flapper with Tuba and some of the tracks on Ratty Boo. The only thing I was kind of disappointed with was the spoken word parts on Stupid Grin. I had thought that coming up with texts would be really easy, but it's not. So if I'm going to continue in that direction, I'll have to work a lot harder than I thought I would. Which isn't necessarily a bad thing.

Indeed, regarding your dense, alchemist-alike, even obviously tiresome way to explore the tracks, could you step backwards and analyze what were the basic differences and features of the issues?

Looking back, this year was about achieving a higher level of density - a kind of multi-voice critical mass. Up until around November of 2009, my main technique had been a kind of sequential collage. I'd make different tracks, then cut them up and string certain parts of them together, one after another. The Major Monk tracks and the B for Breakfast tracks are good examples of that. But then when I was finishing up Camping with Jimmie, which was one of the last things I made for Do the Magnet, I got to the point where I actually had two different tracks running at the same time - one in the left channel and one in the right. And it was a really cool effect. Then, without really thinking about it much, I just kind of threw myself into that kind of "everything at once" style of writing. Flapper with Tuba is really just an extended experiment in that. Each of those numbers started out as a little scrap of melody which I would keep dubbing back over itself - after some tinkering with voicings, and pitch and tempo. The cool thing is that, to me at least, they had a lot of emotional impact - they really took on a life of their own, and didn't sound just like experiments in technique. Through the rest of the year, I kept trying to expand that technique. And I started dubbing larger structures over themselves and over each other. For instance, instead of staring out with just a little bit of melody, I'd start out with more elaborated things, things that already had multiple parts to see how they would sound when played simultaneously with themselves, or some other multi-part thing. Most of the time the results were horrible, and I had to abandon them, but every now and then things got really interesting, and wild.

What could the melomans expect for the next year by you? What are your further doings to be planned out?

I have an album called June through the Window coming out on Weird and Wired in January. That one has lots of the really dense stuff on it. There's also lots more of that on an as-yet un-named album that I hope will be out on Just Not Normal later in the spring. That one also has some much simpler music on it as well. After that, I really don't know. My wife bought an ipod touch, and there's tons of music app for that. It would be fun to explore that - to be able to write away from a PC - to be able to write on the sofa, or even outdoors, that would be great! In any event, I'd like to really hone the emotional impact of what I do. A lot of the time I get hung up on method - I'd like to really start focusing on the buzz the music gives off.

Thanks a lot, David!

[Artists] Jean Dean


Myspace
Lastfm

[Old but important] Time Columns Sunriseinthesea EP (Bandcamp)


Time Column`s debut, the 5-track Sunriseinthesea EP (released on the 25th December of 2009 promptly after the ensemble`s first US-based tour had finished off) has already been looping at the non-stop regime for some hours in my headphones, and indeed, as for the whole set the better sorts of scents are brought forth after every following listen time. Two guys - Kenny Eaton and Jordan Miller - coming from Baltimore, Maryland, USA, exploiting guitars, keyboards, drums, and effect-sustained devices (moreover, Gibson Echoplex can be suggested as their third member) to conjure a mix of fusion/jazz rock, post-rock, math-rock, and classically layered progressive rock sound. No doubt, their interplay is an instrumental rock-relied synergic reflection, which does search for diverse chord compounds and complex, cadence-based realms, sometimes being "stuck" in restraint runs and even introspective hoverings, the another time, yet, blown up into the acceleration of synth-infused guitar grimaces, acquiring lots of panoramic flashlights to be brightened up and broadened into near-epic glider trips. Indeed, it is a solid example of intelligent rock music which can be enjoyed at the duo`s concert tour coming soon at the beginning of the January of 2011.

Listen to it here

Monday, December 27, 2010

Th.en.d Metaphors EP (Mixgalaxy)


The Berlin-based Norman Dauskardt aka Th.en.d has released two EPs to date. His first, the 3-track issue Schizophrenic Birth (2009, Acustronica) was composed in a seemingly loose way, yet, regarding some aesthetical intentions and sonic feats, it can be admitted now, those aspects of the sonority foresaw the future upon the next release(s). Beside overwhelming, lazy downtempo milieus, or more punctually, below the lustrous play of colours the motorik rhythms are pretending for the dominating position to be overtaken sometime. Moreover, though The Beatles and The Doors are referred as Dauskardt`s main influences, the krautrock-ish angle is the most evident characteristic on the new record. In any cases, it is not possible that a decent German-based experimental musician could somehow have had no idea about the glorious tradition and continuity of the Teutonic experimental rock scene. Buzz-injected, heavy-weighted in a psychedelic way, symphonic-inflected synth chords, austere yet dynamic metronome-drowned beats do play up a solid whole, first of all, reminding the doings of NEU!, and the soundscape of recent compatriots by the likes of Mina, Cidulator, Isolèe, and Lali Puna as well. If you wish call it as neokrautrock, or call it as post-disco, however, it is quite impossible to resist against the kind of mesmerizing, determined rhythm-based magic sound.

Listen to it here

9.3

[Artists] Channeller

Channeller
Myspace
Lastfm

A Sunny Day in Glasgow Autumn, Again (ASDIG)


Ben Daniels-headed Philadelphian sextet released the third album, as a total sum, having the longitude of 33 minutes on 11 tracks. Vis à vis with their previous, shoegaze-meets-doo wop album Ashes Grammar (2009) it is used to be a bit more straightforward shoegaze/atmospheric/electronic pop release, though, in principle, the basic elements for manipulating to get involved in new patterns are previously the same ones, featuring catchy harmonic walls, burbling keyboard surfaces, blissful, female-based vocal oozings, fuzz-infused guitars, and lo-fi-inflected, synth-driven, rough-formatted cadences at times. Aside 100/0 (Snowdays forever), which sounds as a shoddily nude tribute to Stereolab and Laetitia Sadier, it might be watched upon it as a possible go-ahead, even rock-ish format for the English-French combo. Yet, nowadays, when Stereolab might be considered as an ensemble without its proper place and time, reflecting via retrodelic memories upon the past time cliches only while ASDIG has much more to add for, because of having incorporated the influences by the poptronica/chillwave movement and vital shoegaze hooks as well.

Listen to it here

8.7

Sunday, December 26, 2010

Jean Dean Steps (Jean Dean)


I have big pleasure and honour to announce the Tallinn-based ensemble Jean Dean released recently their debut single Steps and video for it at their Myspace page. Undoubtedly it is the day single (and obviously for the next days as well) of mine because of creating vast monumentums and evoking lots of nostalgic memories in my head and shaking strongly some of my soul`s inactivated edges and pouring over the imaginary borders, offering a flying platform for to get glidered from the snowy present toward the fairy tale-alike past to be drowned into great parallels applicated to Estonia and the United Kingdom as well. In any cases, Jean Dean is a quartet consisting of musicians known by their previous and parallel independent musical activities in various groups. Kene Vernik (song, guitar), Allan Pilter (guitar, synths, harmonica, electronics), Margit Korbe (synths, backing vocals), and Inga Nõlvak (bass, backing vocals) are intended to create suggestive, dream-filled (not catchy tunes in the first sense, though) soundscapes with crisscrossed guitar lines, velvet-infected noisy indie feedbacks, with lots ups and downs and key changes. If to come back to the above cued reference it reminds of apparently forgotten Estonian band 1983 (having been active in the first half of 90`s) and of course Lush ( their line-up consisted of 3 women and a man as well!), though, Jean Dean is used to be a bit more murky, a bit more dark-hued, more detailly, via mostly Kene Vernik`s lush, velvet-filled timbre. A perfect workout indeed. The nineties are coming back? It seems to be so at least...

Listen to it here

10.0

Muhr Her Fall Themes (Bandcamp)


The Montrèal-based musician Vincent Fugère can be considered a webaudio legend, having released countless albums under his aliases during the last 12 years. Indeed, aside as Muhr, he has also used such aliases as Koei, Vizion, Kaminari Synthesis, A Few Days Until Never Again, and Life As A Tree and managed 2 records - Apegenine and Camomille. By having been heavy-drifted above the realms of subtle electronica, drone, ambient, post-rock, and modern classical/chamber music Fugère has been a part of the conscience of his hometown`s famous experimental scene. More concretely, the albums like Drames Et Précipies (2006, Zymogen), Poussière (2007, Serein), Anthèmes pour les Regrets (2008, 12rec), and Farewell Anthology (2009, Soft Phase) can be labelled as pure gold by conjured stunning accents based upon the meandering on and between the area of elemental appearance of the nature and invisible closeness to the civilization. So if someone is really into the sound of Hauschka, Daniel Maze, Bosques de mi Mente, GY!BE, Max Richter, Sylvain Chauveau, The Sight Below, Fugère`s soundscapes may complete the kind of array for you.

In fact, after Farewell Anthology the quebecois has had serious hesitations either to continue or to make the final closure as Muhr, but fortunately decided to trundle on with his new numbers. At Her Fall Themes are represented 10 tracks of minor, piano-based insights stepping over to the more brighter voyages directed over to imaginary landscapes being sometimes seasoned with march-infused cadences are beautiful appearances which, in principle, may be stayed for the last examples regarding his creation so far.

Listen to it here

8.8

Alexander Martovsky Libidolove, Mortidowar (Foundamental Network)


A young, 23 year-old musician from Minsk, Belarus, Alexander Martovsky has been active throughout the ending year, having issued no more or less albums than 3. The album Libidolove, Mortidowar, after his previous workouts M42, and Keep Quiet, Everybody Is Sleeping, reflects upon his skillfully aesthetical and professional aspirations, and it might be, still searchings for certain realms to get landed somewhere for having a possibility to be settle down into a mould for his personal future. Actually the last intention may not make much difference at all, as a final result being ideally reached off in principle and represented as one of the best notches in 2010. In a more concrete way, there are 14 tracks building up a exhilarating whole between lush shoegaze-filled soundscape, mesmerizing poptronica and post-rock-ish blowups, minor symphonic arrangements a la Ennio Morricone, and rigid/austere electronic music experiments, subtle IDM-cadenced opalescence and malignant drum and bass-based motorik whips, and for much more, and for much more. All in all, it reminds of 2010`s superb works of Monokle & Galun (In Frame), and Foxes in Fiction (Swung from The Branches). No doubt, listening to the tracks like You, and Heaven, what should it be described for? Would this album predict Martovsky`s position as a further experimental rock star or, on the other hand, shows up the overally screwed-up substance of pop business?

Listen to it here

10.0

Wednesday, December 22, 2010

Raw Moans + LAY BAC beko_70 (Beko DSL)


There is a fine joint release by LAC BAC and Raw Moans, the kind of one-man-bands, coming from Austin and San Diego, USA, respectively. More detailly, two tracks by both sides, used to be quite similar to each other, however, it can be drawn the gap between them. Raw Moans is up here, to reflect upon minimal, dreamy floating, though, doing it that way which will show up the devoid or at least restraint of his feelings. It is mainly a blend of hazy monotonic chord array and loose motorik rhythms. LAC BAC does play up disco house-drenched, heavy-filtered bedroom visions similar to Ariel Pink`s early doings, on the other side, the second track Ralf Goes Out is based upon a highly down-pitched cadence to offer the platform for Jsef Calamusa`s murky voice to be appeared everywhere.

All in all, it might be seemed as a following example riding on the chillwave and witch house hype, yet, undoubtedly it is a split masterfully composed and played out.

Listen to it here

9.0

[Artists] Crookram


Crookram
Bankrupt Recordings
Budabeats
Lastfm

[Old but important] Dog Bite The Yellow Springs EP (Rack & Ruin)


There was the year 2008, and two EP`s (The Owls And Eyes; The Yellow Springs) were released by Phil Jones aka Dog Bite from Atlanta, Georgia, USA. The first named issue was combined through lo-fi approach with looped samples of voice and strumming guitar chords holding up the subtle layering in that way. In principle, on The Yellow Spring, a 5-track issue, Jones proceeded the same act, yet excellently completed it, on the other way, having made difference as well by adding some new corners and flanks - tanpura drone sounds in the kick-off track Black Tie, and world music/tribal music-inflected Nameless Names. Aside the guitar strummings and fluctuant vocal layers as the main elements of EP`s sonic backbone it is fringed by suggestive electronics and effects. No doubt, though this EP was recorded and completed in the wake of Panda Bear`s Person Pitch being published approximately 18 months earlier, the release has its very own dynamic, touch and value. In a word, let`s make the distinction between those records, thereby giving a chance for you and this so far overlooked pearl of New Weird America/New Americana.

Listen to it here

[Artists] S.o.m.a


Sinewave
Myspace
Lastfm

Tuesday, December 21, 2010

TakeMeToTheMorgue! Oblivion EP (Torn Flesh)


I have wondered for myself for a while that the web-based music has had inverted outputs regarding its charts somehow. First off, at the top of download rates can be seen some curiosities and non-musical phenomenons (The Conet Project - Recordings of Shortwave Numbers; Wakka Chikka Wakka Chikka: Porn Music For The Masses). Besides it, some labels (Clinical Archives; Torn Flesh Records) concerned on the most lateral scenes off the pop music centre have reached off a thousands of download rates per day, which apparently does mirror for the crowds of experimental music-oriented lads and gals to be veiled behind the Internet music. By the way, this tendency is closely related to a hype relied upon the drag/witch house/crunk shoegaze/screwgaze movement, which uprising trajectory had initially been a matter of the blogosphere only.

Indeed, Torn Flesh Records is a label with increasingly growing discography, which spot is basically focused on bellicose dark/black/grind/noise, on the first place, and electronic overthrows applicated to it, on the other side. In fact, Jessie Martin aka Ylnez Payne aka TakeMeToTheMorgue! from Stuart, Virginia, vis à vis with the label does have a bit different reference set, delivering its touch on (modern/neo) classical music-inflected shots (15 tracks). By its fundamental aspect, of course, it is buried into dark and funeral - still slow-paced rhythms are sometimes stopped to be accessed to the ground, segued seamlessly into lethargic sleep to get have lots of plays with shadows and roaming between the visible and invisible in Nowhere Land, or on the other way, having fast run for noise-near peaks and raging low bass tectonics.

Listen to it here

8.5

[Artists] Th.e.n.d

Mixgalaxy Records
Acustronica

Myspace
Lastfm

Crookram Through Windows (Budabeats/Bankrupt)


Yesterday as a whole day was quite nervous, nothwithstanding (or because of) I had crammed up lots of guitar-based and machine-created releases into and overhead my head. On the other side, at the very ending of the day Crookram`s sophomore issue being recorded after 2008`s 19/76 (in the meantime, the joint EP Escape by Crookram and Sagesse was issued as well) offered vital change at a different point of view. 19 tracks of less than 53-minute duration by the Netherlands-based musician are crisscrossed via cinematic samples obviously derived from the Mediterranean culture room, more concretely, reminiscent the workouts by the likes of Caravelli, Mauriat, and Morricone, being finely accomplished by funky fusion-infused bass lines, hip-hop echoes, which, sometimes, will turn into Stereolab-alike electronic indie tunes via nailon-stringed bass gears, subtly overfloating orchestrated proceedings and vibraphone-embellished frames. Moreover, it is an idiosyncratic chilled out electronic pop where, for instance, ukulele`s (sample-approved) appearance can be happened in the same picture with sampledelic electronic hoverings and otherworldly charged chants. The album Through Windows, one of the favouritest of 2010, is released on the records Budabeats and Bankrupt, respectively.

Listen to it here

9.4

Monday, December 20, 2010

genus inkasso with interests and penalty (True Call)


By listening to genus inkasso`s 4-track issue, however, my first impression was turned into the next question forms - did I have any idea of it being either a kind of mocking shot to the face of any types of experimental music peers or was it just a relaxing act, offering some satisfaction for the creator? Why did I have the questions and hesitations to be surfaced for? Was it a sheer expression of sonic metaphysics by directing a scraggy finger toward the scale of relativeness, maybe even referring to the end of pop music? What does it mean "interests and penalty" in this context actually? Should I be aware of it at all? Might it be the most genuine sound act ever heard? Nothing special, it is just for some irritations to be evoked.

4 tracks of bumfuzzling, lopsided chromatic areas, consisting of unlimited metallic manipulations and noise-soaken stabs, having lots of dodges aside wrapped in by the embodiment of digital boogies, shitloads of angular, abrasive elements, madly dadaistic repetitions, experiments with gibbering paces, inbetween bleak chamber repercussions and dark ambient-like flash of lights find some moments for to come in. In a word, this is a conception where all elements are mightly loaded with unrestricted chaotic potent running alongside an linear array while conjuring the associations having even no little possibility for place and time because of permanent change chains drifting upon the order through different fractals and levels. In fact, it is so intense that the regularity/beauty can glimpse at times only.

Listen to it here

8.4

[Artists] Mon Insomnie

Beko DSL
Bandcamp
Lastfm

Jay Bennett Kicking at the Perfumed Air (Rock Proper)


Jay Walter Bennett (1963-2009) was first of all known as a keyboard player in the line-up of Wilco during the years 1994-2001. He was dropped out from the band after the artistic-relied disagreements with the frontman Jeff Tweedy, and Jim O`Rourke who was being invited for producing and mixing Wilco`s fourth (and legendary) album Yankee Hotel Foxtrot finally issued in 2002. Thereafter Bennett released 6 solo albums reflecting upon his personal failures (department from the band, divorce) and disturbed touch because of having been sustained on painkillers (lacking the money for hip replacement surgery).

Vis à vis with his previous album Whatever Happened I Apologize (2007/2008), the 11-track brand new heavy Kicking at the Perfumed Air (mastered and recorded(?) 2007-2009) is more fulfilled with suggestive splendour, making it up through crafty variegated tunes, first off, offering energic and dynamic proceedings, on the other side, downdrifting into a melancholic alliance of sparse fingerpicked guitar and husky voice manner, or on the third side being brought forth via mid-tempo songs, based, as usual, upon alt-country/alt-folk tunes spiced up with lush organ blowups. Moreover, having managed to get in for a touch upon Bennett`s approach at the silence-noise and traditional/modern scale it does not make much difference in comparison with Wilco`s last issues in principle, having its experimental oasises in the middle of the American roots music-drenched desert. As Kicking at the Perfumed Air is filled with excellent tracks from the outset to this closure, it can proudly be admitted about the presence of the beautiful swan song by this great singer-songwriter.

Listen to it here

9.6

[Artists] Alexander Martovsky


Foundamental Network
Sgustok Net
Lastfm

Sunday, December 19, 2010

[Old but important] Werewolves Dance Raincoat Dress (BNS Sessions)


I tried to analyze and find out for myself the main intention hidden behind the name of a US-based 5-piece ensemble, of course, in correlation with their multicoloured musical approach. It might be realized out that the title "Werewolf" is appropriate enough for reflecting upon the difference between the main core and lateral shreds of their musical conception, drifting between the mainstream and peripherical murky areas relied upon the nowadays and past experiences of (alternative) pop music. In a more concrete way, the 12-track album released at the end of 2009 does have a lot of references biased heavily toward the head-on psychedelic swayings of old school monsters (Vanilla Fudge; Manfred Mann, early Pink Floyd, ) and some later hypes (Kula Shaker), groovy drone-infused motorik rock a la Spacemen 3, Brian Jonestown Massacre and early Spiritualized, and Neu! as their precedessor, on the other way, their tie-up to the mainstream currents reminiscent at times of the likes of Franz Ferdinand, and Keane does build up a gleamy backbone based upon joyous guitar gears and distinct even manifesting/shouting vocal lines or hovering below the piano-based soulful soft-rock ideas. Last but not the least - I am really fascinated by the ending track House Of Anarchists which does satisfy my very need for Spiritualized and Bobby Gillespie`s apathetic fuck-off posture. All in all, Werewolves did play out via Dance Raincoat Dress a magnificient whole without any weak examples thereby being one of the most dynamic, completed rock releases you could find out from the the last years. As they have said at their home page that the only way to support revolution is to make your own.

Listen to it here

[Artists] Phaseone





Phaseone
Lefse Records
Myspace
Lastfm

Alex Winston The Basement Covers (Alex Winston)


Alex Winston is a young American singer-songwriter and multi-instrumentalist with classically trained background having got much attention during last years performing with diverse range of artists at the different stages (Chuck Berry, Miranda Lambert, The Wreckers, Love Arcade, Electric Six, We Are The Fury, the Satin Peaches, Uncle Kracker, and more). Now he has released an 5-piece cover album, making out a refreshing coat for the chosen songs of Mumford & Sons, Teddy Bears, The Rolling Stones, Jack Penate, and Francis and the Lights. No doubt, her high-pitched timbre and artistical shuffling are up here to reveal her talented skills drifting ideologically very close to the New Weird America movement`s female figureheads like Joanna Newsom, the sisters Casady (CocoRosie), Danielle Stech-Homsy (Rio en Medio), Meg Baird (Espers; The Baird Sisters). As an ordinary characteristic regarding the NWA the soundscape is half-electronic, half-acoustic, conjuring innocently beatific even naivistic milieus via minimal-approved chord paintings. Indeed, enjoy it, it is really worth much attention to be paid for.

Listen to it here

9.5

Saturday, December 18, 2010

[Artists] The Conet Project



Irdial
Archive.org
Lastfm

Cody England The Monotony Monopoly (Rack & Ruin)


First off, the description "Cody England from USA" met at the record site sounds very amusing way, isn`t? By this way, I can remember for that Dallas, the Estonian indie frontband by 90`s was also made fun of it the same way at times ("Dallas from Tallinn"). However, the Arkansas-based musician is described as "a part-time assistant librarian and a full time creative", which actually says much about his dedication to the creating process. He made his debut this year, having released two issues to date. The debut The Metal Band from Hamburger Land (an apparent reference to his previous employment) showcased his adoreness toward minimal songwriting approach with deeply lovelorn lyrics and taking on some bittersweet arrivings at memories. Yet, the conception of his opening album was a bit too fragile and loose, where the parts of it were set apart from each other, sounding sometimes as a set of the Christmas songs for the lo-fi crowd.

No doubt, the sophomore one is much better evolved into the impressive output, though, based upon the same instrumentation as the previous time. His music is played up with cheap yet magnificient effect-drenched Casio synths (I have at home an example of the first series, namely Casio Tonebank SA-1 bought for 300 EEK/ca 25 USD and being properly worked out during the last 10 years), and home organ GEM H-400 as well. His warm, dream-alike voice does make up lots of great resonances with mild organ drones and programmings on the slow-paced/middle-paced/fast-paced mode. Being sometimes serious, sometimes sad, and sometimes funny the only "weakness" is a fact the record is too short (5 tracks within circa 10 minutes). Searching for soul mates Cody England`s approach can be compared to the aesthetics of his home label Rack & Ruin the first place, though, which generalized sonority has lots of common roots with the bedroom music pioneering by The Russian Futurists and keyboard-drones-based-austereness-drowned-into-harmonies of Beach House as well. A strong workout, indeed.

Listen to it here

9.1

Interview with Thierry Massard


My interview is with Thierry Massard, an experimental sound creator/noisenik/netmusic activist/blogger from France, who shot his first albums at the outset of noise and industrial music history. Indeed, he do not appreciate anyhow he would be described as the musician, and I think I can actually understand him well as this realm of sonority is rather a matter of perception where usual understandings about music have no effect for. At the moment he has new stuff on preparation, such as the upcoming album: inconnu ("unknown" in French) for the suRRism phoenetics label which obviously will be released on the coming weeks; and had just released his very first "remix" for a tribute to the contemporary multimedia artist, Joël Hubaut for Dock(s) - an art revue.


When you started recording your first album?


Sübe Version was recorded during the summer 1979, in my parents garage (if you listen to it closely you can here some buses or trucks passing by in the street).

What kind of equipment did you exploit for the album to be recorded?

The equipment was more than rudimentary - a cheap electric guitar, a chamber of echo (an antiquity) some uncontrollable and strange pedals - some recordings of films sequences (mainly a film noir, but I do not remember the title … a b-movie) there was also an organ for children and a small radio (as amplifier for the guitar, voice, pedals).

Sübe Version
was recorded directly on a monophonic cassette tape recorder I had paid 30 euros … and to do a kind of mix of all the sound sources - I just placed the tape recorder on the ground, in the middle of the garage and drawn some circles around, then I just placed the different sources to some relative distances to the microphone. Quite rough, isn't it?

The release as a 50 examples limited edition in the cassette format was done in autumn 1979 - these cassettes were not sold but just offered and sent to some people such as Cosey Fanny Tutti of Throbbing Gristle. This was also often used by the multimedia performer artist Joël Hubaut, in his performances. This first experience had partly some residual follows, a few tracks done between 1979 and 1982, then I stopped producing for over 25 years. This release may probably remained "secret" if I had talk about to my friends Fred Debief and Max Marlow who decided to release it, in 2008, on their netlabel Metropublik (now defunct) - following this reissue he also produced a Hands on Thierry Massard remixes version for Kreislauf, including 25 remixes by some of the major musicians of the netscene and I must say that I was really touched and fully honoured, imagine this forgotten thing - much than reworked by all these fabulous people (I really admire the work of many of the musicians present on it).

What groups were your most important influences at the time?

I must say that I'm not a "musician", before doing these first steps, I had just some experiences in early local punk bands, but at the time I was mainly fascinated by the early industrial scene, Throbbing Gristle of course, Chrome, the first singles of The Human League, Robert Rental, The Normal, or The Residents, Pere Ubu, Kraftwerk, early Devo things, Faust, Neu! and more generally the Krautrock and all the early punk scene.

Might it be possible looking for some philosophy behind your music?

This is difficult to talk about a philosophy behind my sounds, this was (is) more a kind of general attitude regarding our social environment, I always described myself as a "combative pessimistic".

In my personal case I can not talk of an evolution or "changes" for all over the years, because I stayed silentful during all this time listening to music as a regular music fan - my absolute passion for music became more "active" through my experience with the netaudio scene on coordinating two blogs from 2006 until 2009 - this deep interest for writing about music (as you) gave me a taste of "doing things" which grew and became some recent releases.

Let`s deliver us some description about your sophomore album?

Staircase & Corridors is precisely that kind of release which really comes and goes through some time strata - some of the primal stuff treated there come, yes, from analogic recordings of 1982 (and you can here me talking with my mother) some of these original recordings were filtred through an antic Wem chamber of echo, but always recorded with a low cost recorder easily & often satured - the sources come also from radio waves, and for the recent stuff (digital) from EvP (electronic voice phenomenas like for what what", and what² (a kind of remix) I'm also often working on very microscopic samples from here and there that I use to cook or mix like.

I really love the mild and lush timbre of your latest issues (jeudi 16 septembre...;...vendredi 4 juin 2010). Am I being right supposing for you are using computers and potent interfaces nowadays?

I'm only using audacity on my oldish PC as this is precisely the only program I understand and my computer is blowing out of breath as an ox - I'm also considering that I'm not concerned by the standards of music production - I like that rough way of my sounds - cut ups sometimes - noisy on several ways - as you can see I'm a sort of homing device person, looking after things and others, and mostly, I can not imagine and accept to be considered as a musician.

Thank you, Thierry.

Friday, December 17, 2010

[Artists] Werewolves


Werewolves
Archive.org
BNS Sessions
Myspace

Raindeer Raindeer EP (Bandcamp)


Raindeer does consist of three lads - Charlie Hughes (vocals, synth), Devin Byrnes (synth), and Beau Cole (guitar, bass) - coming from Baltimore, Maryland, a town being once home for Animal Collective. Vis à vis with Collective, besides the trio`s aesthetical heritage originating from similar (post-)psychedelic breeds and DIY-based conceptions and lo-fi-infused common ground their start, however, is not a less impressive opening at all compared to the very launch by Avey Tare-Panda Bear circa 10 years ago, more concretely, being soaked in a rousing mix of electronics and indie pop and subtly nudging at their boundaries and zones. Yet, those 6 tracks of the debut issue are remarkably more extrovert and pop-oriented encompassed by broad yet intelligent postures and caustic keyboard (under)currents, the kind of reminiscent of those played up by the English innovative pop group Space in the last years of the Britpop-era (the track The Green Lights), and MGMT as well. Of course, there can be found out some similarities with the later-era Animal Collective, which drove some obduarate Collective`s fans to despair (Dark Place). On the other side, fortunately, Raindeer is able to avoid this kind of ostentatious artistical shelves cranking out of emotions being anchored at a subject`s genuine sensitiveness. No doubt, the trio is able to master crafty pop numbers, for instance, the ending This Is My Last Transmission which at the outset is intentionally restrained to come off into a catchy even hysterical explosion.
A solid debut, indeed.

Listen to it here

9.2

Thursday, December 16, 2010

[Artists] Cody England





Cody England/Bandcamp
Rack& Ruin Records
Myspace
Lastfm

Ghost Dance Elkan (Ghost Dance)

Ghost Dance (not to confuse it with the same-titled gothic rock band from England in the 80`s) is a two-piece ensemble from Lancaster, Pennsylvania. Chris Corrao (guitar) and Tyler Taglieri (drums) play up a decent joint of math rock and noise rock with an intense touch of experimental rock. Being influenced by the likes of Tera Melos, Hella, Lightning Bolt, the duo`s 6-track debut release is managed to showcase seriously sheer and rough ornamentics of repeated motives driving mainly on up-and-down drifting abrasive guitar riffs embellished by more light-radiant, progressive rock-like keys, and at times massively hammering rhythm combinations too. Sometimes Ghost Dance`s soundscape is quite laconic by building up the way on arid chord bows and even drone-shaped glimpses. Sometimes all of that seems to be thoroughly composed, the another time quite loosely related, yet. All in all, it reminds of a kind of gestalt rock manifesto playing out in a mode of improvised, jazz-like music applying a vague control upon it. Undoubtedly it is a vital issue, yet, which circumscription needs lots of listen times for the access to be allowed.

Listen to it here

8.8

[Artists] Botanic Project




Myspace
Lastfm

[Concert] Low Live at Eindhoven (Low)


The legendary, Duluth-based slowcore trio Low (Alan Sparhawk, Mimi Parker, Steve Garrington) known by its mesmerizingly creeping soundscape has issued a 4-track live release being shot at St. Catherina Cathedral in Eindhoven on January of 22, 2009, joined by lots of local guest musicians and instruments - a full, 5-piece choir, analog synth, Hammond organ, piano, and vibraphone. The gig included such tracks as Monkey, Silver Rider, July, Laser Beam. So the two tracks taken from the Things We Lost In Fire (2001, Kranky) and the another two from Great Destroyer (2005, Sub Pop), respectively. As they introduced yourselves in as a new approach in the North America-based indie scene approximately 2 decades ago their power is lost nowhere to date - the gig is suggestively slow and blissfully hypnotic, reminiscent of the milieu of silent time at the end of a year being closely related to the forthcoming Christmas time and lots of huge snowdrifts. So let`s enjoy it and waiting for the trio`s brand new heavy C`mon.

Listen to it here

[Artists] Archana



Archana
Archana/Bandcamp
Myspace

Wednesday, December 15, 2010

Steven Porter Vacu Sessions 3 (Vacu Sessions)


The first and last time when I reviewed an artist (Sturqen) under the label/blog/community Vacu Sessions, I mentioned then the label is "obviously from Finland". Actually it is the Portugal-based label, having been offering solid help for soundscapes classified between music and non-music (or a peripheric side of music) to be surfaced again and again.

Steven Porter is an artist`s pseudonym behind which are hidden Yuji Kondo, and Katsunori Sawa from Kyoto, Japan. Lots of things will be happened in those 27 minutes of one track recorded in Honen-in Temple. The issue is fulfilled with a lot of turns, breaks and variable gears shifting forward and back and having its irritating outputs through effervescent facets, however, thereby it is not wrong to be considered the whole a kind of radiophonic art, for instance. More detailly, besides the chopped-and-cut-up singing at the beginning the entries of opera singers and baroque-esque wraiths are intentionally represented here, bringing forth an emotion-loaded side. On the other side, the basic core is carried along on musique concrete-infused electro-acoustic overthrows which side-effects will be developing and channelized into broadening yet intense buzzscapes and desolate industrial ambiences. In a word, it is an interesting, open-minded construction through the forging of diverse genres and evoking of wide-scale perceptions.

Listen to it here

9.2

Tuesday, December 14, 2010

[Artists] Primitive Noyes





Primitive Noyes
Myspace

Lastfm

I Have A Box Bunnies (Fwonk)


This 6-track set of a debut album consists of a subtle net of indietronica/poptronica, caustic electronic pop, fusion, downtempo and post-rock as well, having its roots apparently set in the synthetic approach of obscure bands in the 70`s, of kosmische musik, more detailly, drifting between rock-esque sensitivity and ambient music, respectively. So it is placed between soothing and dynamic, between static and trippy, having mainly based upon extended guitar chords, unarticulated but epic vocal segments, cluster-laid rhythm sections (sometimes march-angled) and airy or shimmering synth wisps coiling up into the upper dimensions at times. In a kind of weird way, it can be considered either austere or lush at the same time. In a nutshell, if you are used to be a sympathizer of GY!BE, Air, Monokle, or God Is An Astronaut, this album is up here to be directed for you.

Listen t it here

9.2

[Artists] Replicast

Replicast
Myspace
Lastfm

Monday, December 13, 2010

Greyhound Out Of Mainline The Cat That Got The Dream (Bandcamp)


First-off, I felt deeply in love with this 10-track album, fulfilled with hypnotic blues and dirty psych-folk elements, which roots seem to be closely bounded up with the American Primitivism movement via angular, minimal-laid guitar chords and a genuine intimacy feeling, though, the project comes from Edinburgh, Scotland, UK. For sure, the issue is getting look high and low, more detailly, veering from the epic blowup of Rembetiko (The Strange Relationship) to murmuring dream-drowned illusions. The side-effects (or instruments) of those description objects are strongly reverb-drenched sonic membranes being often accompanied with concrete music sounds, spoken word snippets and dusty milieu evoking hiss-crackle appearances hovering overhead and everywhere. In any cases, it should not be misunderstood - it is not a kind of GOOM`s shortcoming but the kind of being occurred to come out as the advantage.

Listen to it here

9.3

[Artists] Mimi Majick

Irdial
Irdial

Lastfm

Sunday, December 12, 2010

Phaseone Thanks But No Thanks (Lefse)


The St Louis-native Phaseone is a producer having in an excellent way remixed Animal Collective, Radiohead, Banjo Or Freakout, Fool`s Gold among others. Previously I smacked my mood up listening to his second issue White Collar Crime, basically created of the abovementioned artists` tracks/remixes. Thanks But No Thanks is his debut album (of 13 tracks) demonstrating his idiosyncratic approach to music compiled mainly of hip-hop cadences, scintillating soul/r`n`b vocal examples, trip-hop/downtempo-alike cinematic approach, digital funk-drenched shreds, delicious microscopic electro-touched synth buzzes, sometimes embellished with murky or stomping bass sounds, having even a bit of a lo-fi/DIY-esque odour at times. The second half of the album, however, is accomplished out in a more astral-like and futuristic way. Moreover, in the wake of his indie-propensity and regarding the musical situation at the beginning of the 21th century this album has much more stylistic potential than it is possible to catch with the first listenings, yet. For instance, sometimes it is getting close upon a level strongly reminiscent of the touch of chillwave music. Indeed, Phaseone`s music does have an experimental soul/funk/hip-hop backbone, the kind of de/reconstructing strongly the core of urban music at the moment. More concretely, his approach can be compared with the likes of Flying Lotus, The Gaslamp Killer, Outasight, Teebs, Yuk and others. An astonishing accomplishment, indeed.

Listen to it here

9.7

[Artists] DØGRÅVAS

Chromechoes Production
Myspace
Lastfm

Saturday, December 11, 2010

[Compilation] Music Beyond No Borders Vol. 1 (Yes No Wave)


It could hardly be argued against a fact the compilations are the best stances reflecting upon the faces of labels, in principle. This is a way how to get informed about the general aesthetical intentions of a record quickly and efficiently. Yes No Wave is an Indonesia-based label, which apparently deserves its name, though, tossing even in a more wide approach regarding punk-funk/dance punk/post-punk/punk/proto-indie rather than the classical US-based movement of 70`s which is not surprising at all.

This compilation saying sincerely "yes" to borders is comprised of 10 tracks (and artists, respectively), starting out by Dubyouth offering bhangra-inflected dub, a crossover form the kind of the most of us having obviously made their first acquiantance after the surfacing of Asian Dub Foundation in the second half of 90`s. In fact, it is a bit more keen to reggaeton shuffles. The following Hengky Strawberry does seamlessly interlocking lo-fi aesthetics with baggy beats into a magnificient whole. Denda Omnivora & The White Liar are up here to shooting out their psychotic torrent via growl`n`electro rock, Coffin Cadillac sparks turmoiling blues hooks to be integrated them into a jacking hi-hat-fuelled punk shape. Zoo reveals perhaps the most dislocated conception firstly taking on splintering into dadaistic vocal approach and ethnic punk propelling further to be billowed together again. My favorite is BondiNedHansel`s F.M.A, a vanguard sort of world music-drenched electro-fusion, more concretely, being stuck in hypnotically repeated "whoomanizer, whoomanizer" and a static guitar abrasion.

In a nutshell, Music Beyond No Borders Vol. 1 is a completed and exciting excursion showcasing the necessity of borders (through which things become to exist in such a way they are predicted to be).

Listen to it here

Wry Deep Field/Nostalgia (Sinewave)


Previously I have overviewed three eloquent Brazilian shoegaze bands like Inverness, Loomer, and This Lonely Crowd on my blog, though, the next one Wry could be counted as a precedessor for all of them - both by their lineage, temporary precedence, and musical activity as well. Being started out at the ending of 90`s, the quartet have issued a handful of albums, shared the stage with Man Or Astroman?, Mudhoney, Superchunk, Ash, Asobi Seksu, and The Rakes among others, and recruited knob-twiddlers like Tim Wheeler (Ash), and Raphael Gordon (producer of The Strokes). Indeed, in recent years the quartet is used to be an international combo sharing their home between Sao Paolo and the United Kingdom.

Deep Field/Nostalgia does consist of two tracks, though, those track titles are referred a bit the other way. The opening Deep Field Nostalgia is fringed with a pair of elements, shuffling blissful fuzz noise and rigid organ-based drone sounds, respectively. However, the ending part of the number is a sole and distinct appearance of the last admitted element while you can detect for mere sensitivity of the natural environment around it. The second track In The Hell Of My Hell is a remix being layered up of sunbeam-titled synth effects and shimmering dodges of harmonic-filled layers and multiple combinations of breakbeat frequencies altogether conjuring a wraith-alike milieu.

Listen to it here

8.8

Park Bench Trauma Nix (Paragrafo)


My pleasure is to announce that the new label Parafago (obviously from the South America) has been available since the beginning of December, having reached for 3 albums to be released already. In any cases, its first notch by Park Bench Trauma (stupid yet witty name, isn`t?) is bounded up with stroking contradictions and peripheric sonic manifestos. 11 tracks could just be summed up as a mashup activity, for instance, reminiscent of the vast scale of sample/stylistic exploitation by Stock, Hausen & Walkmen. First off, although it consists of 11 tracks the time is quite limited for. Once again, as it is cued yet it is a very strange mess-up veering from electroacoustic/psychoacoustic/old school industrial/witch house-drenched nihilism and austere sound art to likely irony-filled sporadic pop numbers of classical music-based avant-garde, latin rhythms, spoken word, and electronic pop. No doubt, one of them The Neon Bible is a great pop standout, though I don`t know is it the original oeuvre or beatific outtake from elsewhere. Indeed, the anonymity of PBT is its distinct sign, thereby giving no possibility for different kind of side-effects to be surfaced sometime. In fact, there is just the case about music regarding its genuine position to be retained.

Listen to it here

8.4

Friday, December 10, 2010

[Artists] Silver Rocket




Silver Rocket
Af-Music
Myspace

Lasfm

Cagey House Major Monk (Black Square)


Avant-garde music veteran Dave Keifer aka Cagey House is back with an having-no-idea-which-album-it-could-be-in-queue release. Because of the high quality of his albums and the uncompromising intention for perfection, Cagey House`s follow-ups are very anticipated. Keifer started off producing music on the FruityLoops-based manipulations but later has found its fondness in sampling processing. In fact, he has issued 2 albums in the near future - Major Monk, and The Stupid Grin (under Sayonara).

In fact, the first three tracks - the seven ones in total - on Major Monk were completed in the beginning of 2009 already. The American musician had used lots of vocal samples to bring forth a suggestive narrative (he has even designed a dialogue relied upon a couple). The first-off Preliminary Major Champion Monk embarks on entering into an appalling radiophonic territory. On the other hand, regarding Keifer `s doings in last years the opening does not make an extraordinary feeling, though. (For instance, check it out for his masterpiece set Lark). As a king of the sampledelic(plunderphonics/cut and paste/sound collage music, he is still used to dive into the abyss of linear composing schemes where one sample is deliberately followed by another, having dosed an witty collation of chords to get deeply into a listener's inner world. On the other side, however, every key/key change on it regarding somehow emotions is charged up in different shape and amount thereby I can imagine it might even be a kind of frightening music for some listeners. By speaking in a more concrete way the soundscape is wrapped in by a poignant environment, dusty antiquity, much of it played out on Keifer`s big hype upon theremin (at least keen to its samples, indeed). The third and fourth track do deviate from the main concept of an unexpected but welcome direction so far. It comes out as if the like of Laetitia Sadier (McCarthy; Stereolab; Monade) is attended therein for to feature with Moog-relied backdrops thereby conveying a mild psychedelic-drenched dimensionality over to the soundscape. The next number Basement returns to the initial situation via "trampling and scraping things" (by Keifer`s own words). All you can be witnessing subsequently here is a mixed-up array of clicks and bleeps, otherwordly effusing sonic patterns of programmed toys, sole trombone blasts, and psychedelic shades as well. To get finished it off, you shall have to look at the excellent coverprint of Major Monk, purposefully amplifying the sonorous impression of it - and vice versa. In fact, it is just the pleasure to perceive it as a whole.

Listen to it here

9.5

[Artists] Slutever


Slutever
Slutever

Myspace

Lastfm

Fur Devastate The Details (Mine All Mine)


The US band Fur is back with its sophomore release, and the 6-track offspring does sound rousing and refreshing. Do you guess the quartet is coming from? Of course, from Detroit, from the motor city. And their music is quite comparable with the acceleration and chase of vehicles, and mesmerizing gazing of the go-by of route bollards and grey-green-esque mixed panoramas. Their majestic rock pose is digged deeply into an eloquent incarnation of shoegaze, grunge, post-punk, gothic and alternative rock shades. Overrolling guitar hooks and overdrives do pinball around epic and abrasive area, creating vital pop conceptions, being compiled of the shoegaze-influenced Smashing Pumpkins from the 90`s, the Interpol`s murky pop rock sheen, Joy Division-esque ennui screen, the Lycia-alike overhead hovering sombre shapes, and of course Break Me, My Love having a kind of pattern as if Kurt Cobain has made his feature for the Devastate The Details. However, my very fondness is moulded into title track, with the natural-born-breakbeat-paid-for rhythm section, penetrating riffs, and atmospheric synths, being wrapped in by a lot of key changes; and Houston played out via the meeting of a bittersweet verse-chorus and shape-changing guitar appearances. The rock music in its honesty.

Listen to it here

9.1
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