Monday, January 31, 2011

[Artists] The Velcro Lewis Group

Velcro Lewis Group - 8.21.10 from Coach House Sounds on Vimeo.


The Velcro Lewis Group
Free Music Archive
Lastfm

The KVB Beko_73 (Beko DSL)


Behind The KVB is a man named as Klaus Von Barrel who comes from Southampton, England. He is previously known as a guitarist in the line-up of the gothic/post-punk band Suicide Party. His 3-track EP under Beko DSL is essentially rock and roll music even by nowadays variety and omnipotence. Imagine a kind of New Order which is line-upped with Ian Curtis and his murky seethings and introspective wraiths. Or like Bauhaus with a more synthetic approach. In a more concrete way, the concept is focused upon an impressive mix of throbbing synthezised rhythms, drilling acid-filled sonic coats, dark-hued synth clouds, impassive sense of vocal manner, rattle and brusque guitar massives, and whistling feedback which purposefully come forth to flutter again and again.The whole is here to be destroyed by itself and thereafter to be re-created for itself. A forceful destroyer and reminder simultaneously, indeed.

Listen to it here

9.7

Saturday, January 29, 2011

[Compilation] VV.AA. - Rock Against Mommies vol. I: Attack Of The Space Mommies (Kill Mommy)


Don`t be afraid of the Sicily-based label Kill Mommy Records` slogan which suggests that this is a label for homemade rock`n`roll for amateurs. In fact, this so-called amateur-ish music has its powerful output and subtle sense of feeling which often overweights lots of examples regarding so-called established (indie) music. Here are 25 tracks represented showcasing a retrospective cut about the label`s active period during the last 2 years including such artists like Vanny Zero, Nowhere Boy Simon, The Last Merendina, The Big Wireman, Thee Undead Big Blues Shit, With Bubble In The Jungle, Dead Bugs, Ryan Patrick, Cafè Bakunin, Stereo Moon, The Brazierlights In The Window, Johnny Hoodoo, Vaqueros Paganos, Quint Baker, Jim Guittard, Ana Threat, My Pal Dragon, Plakonik Projekt, Thedirtycoast, Therese De Genova, Jon E. Erkkila, Sbirros, Gone Fishing, Mumble Mumble Mumble, and Billcarson. In a more concrete way, here can be heard such kind of music which veers from crackly blues and rockabilly madness to sophisticated alt-folk/folk indie/weird folk experiments and catchy indietronic jams, from psychedelic garage shootings and schizoid strummings to new wave and austere, roots-influenced string music from straightforward grrl riot punk to rough, even exorcized bass gears of psych-rock. The geographical range is also ultramundane: from Italy to USA, from Canada to Scotland, from Argentina to France, from Brazil to New Zealand, from Austria to Denmark. One cover can also be found from here:Nancy & Frank Sinatra`s Something Stupid by Vaqueros Paganos.

Listen to it here

[Artists] No Pavarotti




KLaNGundKRaCH
Bandcamp
Lastfm

Moji Moji N (Resting Bell)


N is the second release by Lucas Page, a Buenos Aires-born musician, mainly inspired by magnificent looks upon the landscapes of his homeland. 5 instrumental tracks do include sensitively loaded (slide) guitar workouts, keyboard-illustrated shades and effects, vibraphone-alike cinematic chords, rigidly stomping drums and some distinctive musique concrete additions, all in all, reflecting the snowy peaks and abysmal lakes in Patagonia. Indeed, the different paces, accents and milieus can be detected here for to have the organic sense of epic responsibility via a kind of post-rock-ish manifesto. In a nutshell, if you like the works by God Is An Astronaut or the ripples by Mice Parade, no doubt, lots of satisfying minutiae can be found from here.

Listen to it here

8.9

Thursday, January 27, 2011

[Compilation] Between Two Waves – Vol. C (EardrumsPop)


Actually it did not happen much time ago when I reviewed one compilation (Between Two Waves - Vol. A) under EardrumsPop which consisted fundamentally of two-sided collaborations. In any cases, I am not able to put the temptation aside for not reviewing another one too because of my orthodox indie nature was came to the forefront with those 14 songs again. In a word, here is another great collection of songs shuffling inbetween jangle pop, dream pop, slightly folk-driven indie pop and also some more contemporary sounds are thrown over here (of course I referred to dream-alike electronic/chillwave undercurrents here). Although without whimsical tricks basically, in principle, the whole seems to be really virtuous in the vein of old indie tunes having lots of catchy angles and edges and refreshing air letting you feel yourself free. No doubt, you need to be relaxed and having some distance from effect-loaded pop experimentalism at least for some time. Here is one track that really imprisoned me during last days. Indeed, The Hurries (Sundae + Girl Alliance)`s Not That Easy sounds out as if hinting at a neutral zone between Pet Shop Boys and Mojave 3 somewhere.

Listen to it here

Artner 11:40 (Budabeats)


At 11.40 are presented 5 brainchilds within 22 minutes by Daniel Artner (also known as dyspeptic) who has made out a fine mix of psychedelic funk, cinematic jazz, blue-coloured trip-hop, fringed by string lines, hip-hop scratches and speech samples at times. Shuffling broken beats/downbeats, dusty organs, Miles Davis-esque trumpets, dynamic guitar lines, subtle brass samples, lone piano chords, and soothing flutes are the instruments here searching for different combinations with each other creating up climax-touched variations and afrobeat-alike easiness. Indeed, it is in a smart way layered oeuvre emboding different roles as entertainer and as brain dance notch. If you like the sounds from Bristol or the acts under Ninja Tune, Dusted Wax Kingdom and other similar labels, in this case, this issue is certainly for you. And not only for you.

Listen to it here

9.2

Children Of Ishizuke Tree Chameleon Straship (Clinical Archives)


In the first place I want to admit that the more I listen to this double LP (in total of 112 minutes) the more I fall in love with it. A duo from Minsk, Belarus, makes a subtle guitar-based dream pop music. If you are keen to draw parallels upon in a big manner, indeed, it sounds as if an equivalent version of post-rock version of Mercury Rev`s Desertoir Songs (1998) at times, altogether being described as ambient rock or atmospheric post-rock. Moreover, a sophomore album by Alexander Haletski and Marina Bartosh incorporates the elements of repetitronica, void-filled ambient/dystopbient/dark ambient, soothing drone wraiths, spoken word tunes and even some distant echoes of the ethnic music from East Asia. Alternatively, it might be a kind of lo-fi music in the midst of ambient shimmerings or a sort of underweighted My Bloody Valentine as well. This is an album through the essential touch!

Listen to it here

9.4

Tuesday, January 25, 2011

New Animal New Animal (New Animal)


New Animal is a duo from Atlanta, consisting of Kris Hermstad and Derek Burdette. Recently the duo issued their self-titled album, compiled of 15 tracks. Actually their similarity with Animal Collective is not incidental on the name level only as having much broader touch through shimmering soundscapes and blissful milieu as well. Of course, they are more contemporary (i.e blissfully arranged) group incorporating a little chillwave and glo-fi elements as well. All of it can be seen via psychotic singing manners, repeated psychedelic loops, and impressive (even epic) overdrives, all in all, those mixed electronic pop currents and acoustic folk indie grounds do make out a subtle post-crossover (or post-Animal Collective) approach. Apparently it could be called as animated indie or spiritualized disco too. Really outstanding/transcending moments are embodied in such songs as All I Want Is Gone, Grow Back Out, They Don`t Know, Kill The Lights. In fact, something similar happened about one year ago as well when another duo named as Magic Man released their Real Life Color. Indeed, New Animal might be one of the best candidate for the top album of 2011 at today`s hour already.

Listen to it here

9.7

Monday, January 24, 2011

Dmitriy Rodionov Experience - Invisible Parts of Absurd Images (Noecho)


Since 1999 the Russian guitarist Dmitriy Rodionov has recorded lots of albums, having revealed his sympathies on diverse record techniques and sound collages. His recent, 3-track album (initially recorded in 1999) kicks off proceeding with mystical poem snippets and dense electrified drone (in fact, the issue will be finished off in the same vein). In between it is fulfilled with the effects of reverse guitars, another kind of spoken word, dark ambient shreds, unclassified sonic dust, and cock-eyed guitar jams. A solid cutting edge work, reminding of some Muhmood`s (guitar and spoken word) work and the two collaboration results made out by Alexei Rafiev & Alexei Borisov (mysterious spoken word/poetry).

Listen to it here

9.2

Sunday, January 23, 2011

[Artists] Poodlepay Arkestra

BFW Recordings
Myspace
Lastfm

Metawon & The Dirty Samples Toothface Swaggerfoot (Neferiu)


Who has previously had some experiences with Neferiu Records, a label from Calgary, Canada, this must know what kind of warped hip-hop turnabouts and urban trash could be expected for. A sort of hip-hop music which does evaluate more its sonic backdrops rather than manifesting vocal parts. Moreover, Toothface Swaggerfoot is in principle more for you if you have never cared of the different kind of rap music, for example, especially of gangsta rap which is used to talk to you in speech of women, guns, cars and tough guys. If the gangstas` message is used to just letting you shrugging your shoulders and their sonic backgrounds are obviously turned out to be colourless on its own.

Metawon and The Dirty Samples, the previously themselves proved gearheads, do make up a split which consists of 28 basically short hip-hop blasts, having suffused shuffling cadences with really cinematic samples in the first place. Secondly, the musicians are deeply involved in the realm of funk, jazz/downbeat, brass-orchestrated stabbings and soulful suggestions. On the third side, here can be hearded more weird turns at times, for instance, the space age pop samples reminiscent of Mort Garson, a cult Canuck from the 70s. All in all, a superb accomplishment representing a refreshing hip-hop approach.

Listen to it here

9.7

Friday, January 21, 2011

dustdevil & crow while speaking softly you can hear the insects sing (Bandcamp)


While speaking softly you can hear the insects sing is the sophomore album by dustdevil & crow, however, in the meantime having got a solid addition regarding the line-up subsequently consisting of Michael Duane (guitars, basses), Bendle (voice, inept guitar, junk percussion, jaw harp, organ, low tech digital mischief), Aboombong (drums, percussion, treatments drones), Delphine Sayre (voice), Rob Tarana (violin), and Nick Toombs (guitar, field recording) at the moment. Indeed, all of those artists and their roles are very worth to be emphasized out. Here are represented 11 tracks, making out an idiosyncratic mix of post-rock, avant-garde, chamber rock/folk, dark-hued folk, psychedelia, and more concretely, having obvious influences from the 60`s British psych-folk, drone folk, some decades later appeared concept-based vanguard guitar workouts, and fuzz-filled or other feedback-based experimentations. Regarding the recent case, indeed, it is quite hard to draw difference between the kind of post-folk and post-rock. Yet, it would not have made up any difference at all if the basic ground were rubbish. Moreover, the sextet has even their own "pop song" (Breathing In). In a nutshell, it is a wide-opening yet subtle killer giving no chance for a listener to be realized out with some listening times.

Listen to it here

9.5

[Artists] Yosup

Yosup/Bandcamp
Soundcloud
Myspace
Lastfm

[Artists] Vermilion Club



Vermilion Club/Bandcamp
Myspace
Lastfm

YouSir Hostile Takeover (Jamendo)


YouSir is first of all known as a netmusic activist from The Foggy Albion who has run the blog Another Goddamn Music Blog some years ago and been very profilic in reviewing the albums at Jamendo.

His debut album Hostile Takeover kicks off proceeding with Kraftwerk-esque cadences to come over into some hip-hop overthrows (A Message From Our Sponsors (The Dogstar Corporation). No doubt, YouSir loves coming down into a kind of DIY-near fun, shuffling around rigid sonic matter, burbling synths, crisscrossed electronics and angular rhythm stuff. And it works quite well out. My favorite track is Office Party thanks to its blasting bass steps. The kinds of I would like to hear much more.

Listen to it here

7.7

Thursday, January 20, 2011

The Womb Purity Test (23 Seconds)


The Englishman Alan Driscoll embarked on in 1998, at the time when the 90`s Britpop movement started to getting to its closure. From the aforementioned year off to this day he has released approximately 10 albums, including one publication named as Britpop as well. Thereby regarding all those facts and the main characteristic of the recent issue, indeed, for all of those people who had grew up within the glamorous touch by Pulp, Suede, Auteurs and the others acts Purity Test should be meaningful enough. Moreover, by being demonstrated an Ultrasound`s vinyl record on the coverprint, how could it have a reference somehow otherwise?

Purity Test is a double album, or at least an album with shitloads of bonus songs (all in total 10+10). First of all, it is a case of whimsical lyrics with hints at escapism, womanizers, and even a kind of obsession. By the background it is full of great synth-based thrills and orchestral progressions, catchy soulful disco tunes, synthetic pop arrangements, diverse rhythm roundabouts and outstanding song performances with eccentric postures. Despite of all those diversities, however, all seems so evidently sounding under the Britpop regime yet. My favorite notches are some dark-hued, even a bit creeping introspections being not sporadically represented here. Rosanna Woolett, Junalyn Corre, Chloë Reeves and Simon Gray are up here to offer their important collaboration over to the release.

Listen to it here

9.5

Tuesday, January 18, 2011

[Artists] Four Visions

CLLCT
Four Visions/Bandcamp
Myspace
Lastfm

[Old but important] Birds Build Nests Underground Cold Dreams (KlaNGundKraCH)


Birds Build Nests Underground is a profilic duo consisting of Michal Brunclík and Petr Ferenc who had used turntables, vinyl records and loops for a pair of tracks to be improvised and recorded at home in winter 2008. Cold Dreams is relied upon lopsided soundscapes and propelling centrepoints for aspiring toward a new sonority via weird and dystopic effects. By having exploited lots of vinyl records in the recent case the issue (subsequently over 40 minutes) does hint at ancient symphonic samples, psychedelically repetitive sonic units, electro-acoustic-alike crackling hisses. In fact, this is an album where old touch meets new one and analogue formation meets digital approach. Indeed, Cold Dreams is a case of turntablism which is impressed via unexpected prevarications and dodges. No doubt, if you have listened to some music by Philip Jeck, Martin Tetreault or Christian Marclay or the kind of someone else, however, you should be experienced with the sort of "perverted language". An interesting accomplishment and different view about the (pop) music.

Listen to it here

c0ld l▲k3 - °∆° (Parafago)


The appearance of the Italian label Parafago was highly welcomed in the ending of the previous year having revealed an interesting mix of peripheral and whimsical electronics which at some of its points is related to witch house/haunted house/drag appearances. For instance, the second release in the label`s discography is issued by c0ld l▲k3, which is probably the best known artist in the roster. So far c0ld l▲k3 has got some attention with his/her previous accomplishments in the circle of blogs closely related to witch house/drag hype. Indeed, I have no idea about who she/he is but I have experienced his/her excellent touch of sound.

By obsessed with murky, industrial-infused sonority the recent case is related to a 16-minute track which is fulfilled with propulsive shards, layer changes, (over)shadowed borders, delay effects and stomping beats. Being properly channelized, balanced and dosed for the impression will overwhelm a listener in the first place for sure. And it makes the difference on its own.

Listen to it here

9.3

Monday, January 17, 2011

Shattered Darlings and Liquid Kisses Shattered Darlings and Liquid Kisses (Is This Music?)


Shattered Darlings and Liquid Kisses is a combo from Long Island, NY, USA, which is headed by songwriters Matt Richards and Tony Delgado (line-upped by James Johnson, Lillian Richards, and Debbie Hass, and their partly unknown keyboard player). Their debut issue is represented through 20 tracks within 53 minutes full of loaded guitar drives, subtly offered psychedelic synth shreds and solidly elaborated dream-alike vocal arrangements all in all building up dynamic sonic architectonics. If you have been a fan of My Bloody Valentine and the Irish quartet`s ascending guitar layers then their basic approach might be felt into your expectations and visions, though, SDLK does add their suggestive point of view. Moreover, by its loud, psychedelia-soaked and sometimes soothing approach does SDLK`s soundscape hint at the glorious and influential tradition of psych-rockers, dream poppers and power rockers as well. Honestly, it is a very pure rock`n`roll blowup obviously working superb in different situations and at any time out. To complement this experience for I highly recommend listen to SDLK`s EPs as well (In Tangiers; Chick Pop Vocals under Nana`s Records).

Listen to it here

9.6

[Artists] Blackbird Blackbird


Blackbird Blackbird
Blackbird Blackbird/Bandcamp
Plancha
Myspace
Lastfm

Vlantis Urotanki (Rack & Ruin)


Joe Jacobs aka Vlantis is an extraordinary musician, who is intended to play up an idiosyncratic pop concept based on electro-clash, 8-bit pop/chiptune, electronic indie, even the kind of vibraphone sustained post-rock a la Mice Parade and The Dylan Group. Let`s listen to a handful of albums by Jacobs to get some evidence about his diverse sonic dodges and preferations.

The 5-track EP issued under the Rack & Ruin is full of Japanese girl pop-esque harshness and hardcore-alike dense madness in which straightforward guitars are mixed with striking synths and stomping rhythm machines sometimes reminiscent of Elastica and Le Tigre. Impetuous and catchy call-and-responses, sometimes primitive, the other times over to be flourished into lush explosions. An impressive attack indeed.

Listen to it here

9.0

[Artists] Wolvepop

Wolvepop/Bandcamp
Myspace
Lastfm

Saturday, January 15, 2011

Coolrunnings Babes Forever EP (Dracula Horse/Bandcamp)


The Knoxvillian trio Coolrunnings by Brandon Biondo, Forrest Ferguson and Elliott White have published two EPs (Buffalo; Babes Forever) during the August of 2010. However, I like the latter one more - the discussion is not going only around the coverprint. Here can be drawn out some essential characteristics which will be occurred via magic runs on (post-)psychedelic ecstasy and (pseudo) religious hysterics. It can be imagined as if a formula consisting of 40 percent on Animal Collective and Arcade Fire and 20 per cent on The Dandy Warhols respectively. Indeed, although both releases include wide-range musical imageries as broadly as the same, seems Babes Forever to be a more fluid and organic one. Moreover, the borders between the illusions, dreams and reality are blurred through encapsulated lyrics having added much impression to the whole contribution. The issue is full of essentially sublime moments, for instance the track like Better Things When I Got High With You shining out in a bombastic manner. Or Trippin` Balls At Der Wienerschnitzel which embarks on arrogantly rough synths similar to The Ganglians thereafter developing into the sublime rise of symphonic accompaniment on ecstatic drive. In fact, between those mentioned drifts can be found out for much more minutiae and detailed expressions. Or the self-titled song`s hypnotic drumming introduction and the followed sudden change of direction, and subsequently its re-formation again. The ending notch Slumberland is going on about the quintessential evidence once again to be commended through the orchestral brass arrangements being finally resulted in highly potent loftiness. In other words, a kind of vanguard pop which on the other side betrays the trio`s healthy desire toward the charts. Indeed, the six tracks form a whole which is plentiful of pop potential. In any cases, I will keep my fingers crossed.

Listen to it here

9.5

[Compilation] Various Artists - 23 Evergreens Vol.2 (23 Seconds)


The Gothenburg-based label 23 Seconds has been a crisscrosser of different indie styles or at least strongly indie-infused electronic pop genres for some years. Here represented 23 tracks released inbetween 2008-2010 do offer a proper overview about the backbone of the label. No doubt, the selection compiled by H Johan Lundin and Jesper Larsson is decent enough reflecting upon some exceptions as well - hip-hop (Dynamo 414; Conspiracy of Mind) and trance-induced bubblegum rave (Clone DJ) and post-metal (The Big Sleep In Search Of Hades). The other artists include Henrik Josè, Azoora, Jenifer Avila, Shampoo Tears, Azeda Booth, Adam & Alma, Ixtlan, Danish Daycare, Cosmic Spring, The Womb, Azoora, Can`t Stop The Daggers, and Emerald Park.

Listen to it here

Friday, January 14, 2011

[Artists] Tolmunud Mesipuu



Tolmunud Mesipuu
Myspace
Lastfm

Evan Connolly The Pagans Fight Back (Evan Connolly)


Jam sessions and 17 tracks? Does it foretell us about something bourgeoisiely suspicious actually? Fortunately it does not reach the longitude of 2 hours or more, The Pagans Fight Back does not keep moving into the annoying sessions of predictable sonic patterns and boring cadences. Short improvisation sessions played up on electrified guitars and dynamic bass, vertically downward stomping drums and shimmering hi-hats bring forth a joyous synergy, reminiscent of CAN`s interplays between Michael Karoli and Holger Czukay or the doings by Burrito and Replicast as well. In fact, Evan Connolly (previously known as J2M2 and consisting of James, Mike, Matt, and Jason) might be the best model of jam sessions via joking speech interludes or instant experimental upturns (weird electronic music and sound effects) juxtaposed on music. The kind of stripped-down approach which makes up an interesting workout. Indeed, the quartet was inspired by the group Novels, when they recorded their Novels EP without previously writing any music or lyrics. So they decided to do the same thing in their friend's room, having recorded for 49 minutes and 15 seconds, and edited it down to 17 tracks within 32 minutes. Altogether, by wrapping up the album they have had lots of good time so will you get it as well.

Listen to it here

9.3

Wednesday, January 12, 2011

MMOSS i (Bandcamp)


This Bostonian quartet sounds as if the late period Beatles meets the 60`s (British) psychedelia and folk-ish outsprings, and even Inspiral Carpets-alike baggy-infused grooves and Spacemen 3/early Spiritualized-esque roughly fluttering long chords at times. The 18 trippy paths on dusty keyboards (Hammond and Farfisa organs), spaced-out flutes and horns, doo wop-ish backdrops, a bit mutated yet suggestive vocal lines and whimsical rhythms and some irregular instruments like shruti box, dulcimer and cellos or just the unusual approach of the drums in the embodiment of shamanic vibe bounce sets are stretched out to be formed up into astonishing universes. Sometimes it will be "forgotten" to keep moving on drone-ish mode. Full of great harmonies and catchy turns, having found out its magnificent balance between the kind of hippy prog and experimental touch, between the tendencies of going toward the past and nowadays.

Listen to it here

9.7

Friday, January 7, 2011

Bosques de mi Mente Otoño (Clinical Archives/CRLM Office)


The Spanish artist Bosques de mi Mente (translated as Forests of my mind) is being one of those one-man projects having got huge response under Clinical Archives, CRLM Office, and Jamendo. Since 2007, as a "home artist" therein, he has released 5 albums to date. His music is spotted mainly upon the piano-based modern classic backbone, fringed at times by strong found sound and post-rock influences.

Otoño is a record with the longitude of more than 100 minutes of 27 tracks relied entirely upon live improvisations, recorded during 6 days of the fall of 2010. Aside the silence as impossible conversation (as it was sung by Malcolm Mooney of CAN by-and-by) there are intimate yet affective, mainly minor piano chords, spoken word snippets and wide-range samples (from baby babbles and adult people clashes to elderly individuals` memories), musique concrete-drenched flickers and some violins by Sergio Trujillo, all in all filling in your listening times with the restraint sense and playing up the sparse environment over you, thereby offering a sole realm for thinking of your thoughts and planning your future deeds. Of course, some more radical turns and dodges are up here to be driven into huge impact (Berceuse Macabre) All is rolling on in a silent and minimal way, indeed. It might not be Bosques` best notch but a very solid one nevertheless.

Listen to it here

8.8

[Old but important] Delta Waves Under Clouds Over Ground (Earth Monkey Productions)


In the 90`s Burnt Hair Records was cited as one of the most eminent labels in the Michigan-area and the main locomotive kind of to have pushed forward an experimental blend of spaced-out/ambient and drone rock sound along the Detroit underground scene. Indeed, they made out some influences for the future days of experimental rock. For instance, the clients of Larry Hoffman`s label were Windy & Carl, Auburn Lull, and Mahogany among others. The imprint finished off its existence with Delta Waves` release the DELTA WAVES dream in real time (2002). By embarked on in the mid of 90`s Delta Waves is being a band dictated by Greg Naumann, having seen lots changes of line-ups around him. Notwithstanding having been recruited later by other labels (Supple; Clairecords etc) as well Delta Waves seems to be genuinely related to Burnt Hair Records by its ideological perspective and fluctuations, though.

Under Clouds Over Ground, one of my all-time favorite dream pop/shoegaze issues, consists of 4 tracks released under the Earth Monkey Productions in 2005. The then-time line-up by Naumann, Anton Abramov, Ryan Anderson, and Jason Taylor did play up a lot of mesmerizing moments-monumentums, reminiscent by their darkwave-shoegaze crosslined approach of the likes of Lycia (at times Naumann`s murmuring vocal manner has got managed to approximate pretty close to Mike Van Portfleet`s fluids, the second time to circle around Neil Halstead`s emotive timbre). In any cases, this is not an example of such a band at all having somehow imitated the celebrities of the genre, instead diving into vague yet vastly exciting minutiae of sonic alchemy, being touched by minimalism, ambient, hypnotic, hiss-drenched drone, darkwave, shoegaze. All in all, it is used to be a dream-filled transcendence. Let`s repeat it once again just concerning on those otherworldly orchestrations and your heart will be lost for sure.

Listen to it here

Thursday, January 6, 2011

Pinkle House Plants (Aaahh)


Let`s still continue with some handsome sounds from Chicago (the previous time was dedicated to the (post-)psychedelic experimentalism-drenched ensemble Crouching_World) this time it is focused upon the singer-songwriter Bryn Martin aka Pinkle`s follow-up to the Invertible (2009, self-released/Jamendo) and shitloads of albums previously released on Jamendo. Beside it he is used to upload and show up his works in progress and a bunch of completed songs on his home page.

By studying himself in Lausanne, Switzerland, Europe the 13-track album House Plants is released under the German-based label Aaahh Records, obviously not incidentally though, as Martin`s music is getting really close to the mid-European indietronic/folktronic tradition. The restraint acoustic guitar/ukulele loops are mingled together with his soulful, half-filtered vocals and mostly sublime electronica (using legendary electric/electronic keyboards like the Mini Moog synth and the Farfisa organ among the vast array of acoustic instruments), sometimes letting come forth some abrupt sonority as well, by this way, reminding of Beck (Alibi). In general, it can be resumed up to be more album-oriented music.

In conclusion, by supposing him as a kind of simple (not simplistic at all, though) and gentle musician as a person on his own, in any cases, his music is really worth to get a try to letting you to be thrown away from disturbingly surrounding accidental noise over to the middle of grass and flowers.

Listen to it here

8.9

[Artists] Wyrm

Wyrm/Bandcamp
Lastfm

[Old but important] e.p hall the edge the middle (CLLCT)


e.p hall has been one of the queens on the Bloomington-based CLLCT alongside with iron like nylon (Meghan Lamb) and Shelby Sifers. By avoiding to be a target by possible feminist attacks, however, I don`t feel myself internally hindered for to get name her as one the excellencers on the New Weird America scene as well. Moreover, she has been active since the first half of 00`s (the first demo was recorded in 2003), relatively long before the starting point of CLLCT. Listening to her home recorded 6-track album (2006) again after a while, after being on a year-long interval away from it I shall have to admit her conception works previously very good out. She is a musician who loves driving on acoustic guitars, mingling its mellow chords together with emotive, sometimes dream-alike voice and some synth currents and gurgling electronics. Indeed, at times e.p hall is used to be changed herself into an acutely flaming fur by putting acoustic guitars down or throwing them to the background and letting machine-inflected and electricity-filled sounds overlap and conquer the record`s backbone. For instance, That Letters and Numbers make is an epic maelstrom having lots of turnings up and down, getting quite close to the noise/shoegaze ensembles at times. A classic touch indeed.

Listen to it here

Crouching_World Wasted Time (Bandcamp)


A Chicagoean quartet consisting of Jober, SNuffy, Paragus, Sabez, Kevin K, is ready to give out a follow-up (of 3 tracks) to their great debut issue Passed Out, which offered a refreshing touch to a kind of open-ended experimental music compiled of the burden of drone, noise, psychedelic, electro/psychoacoustic lines, effect-loaded voice and electronics (reminding of the early, academical music-based sonic experiments), altogether having brought forth a resonating, DIY-soaked blast. Surely the kind of overtly psychedelic, lo-fi-esque approach has always been pointed out in a fine way. This is an example by the post-psychedelic electronica-relied tradition, indeed. By beavering away on KORG Electribe MX, KORG microKORG, Manipulated Thumb Drum, MacBook, Guitar, mad pedals, microphone + vox, however, the sophomore release continues partly with the similar desires, on the other side, in the title named track its sound seems to be more clear, even blissful, channelized into a gazing, even trance rock-ish spot. Yet, such sorts of tendencies will be abandoned at Killing Time Pt. 2 which is played out with a more improvisatory outlook, fringed by abrasive, even nihilistic synth pulsatings and rough blasts. This album is obligatory for everyone who is involved in cutting edge-touched, improvisational music.

Listen to it here

9.2

Tuesday, January 4, 2011

Power und Beauty The Gnome EP (Peppermill)


Behind the Spokane-based, Washington, US-quartet Power und Beauty are four women (Anna Collins-Wakeman, Sarah Moyer, Karli Fairbanks, and Caroline Fowler) playing up an interesting, New Weird America-esque folk conception on 4 tracks by using more or less conventional musical instruments (a battery sustained second hand keyboard, tambourine, vegetable steamer(!), glockenspiel, accordion, guitars, tambourine, shakers), yet basically being actualized via at times magnificently glee vocal harmonies, conjuring sublime overtones as well, for instance at Author Of The Spring, the strongest notch on the issue, accompanied only by some sparse guitar fingerpickings. The opening track Beggars and Felons, on the other side, is a whimsical, accordion-backboned groove outlook, and the following one, Lavender, is a light run of fast-paced progression on the accordion, having made out the impression with the help of barely heardable yet affectively touching shaker shuffle on the backdrop. Peaches is a (more) synth-chorded, half-droned folk occurence. A fine workout indeed.

Listen to it here

8.7

[Artists] Fatal Injection

BPM Front
Space-Time Continuum/Altered Existence
Lastfm

Helado Negro Pasajero (Asthmatic Kitty)


Helado Negro is Roberto Carlos Lange, a musician from Florida being part of the famous Asthmatic Kitty roster. Those 8 tracks, only 2 of them are the kind of original songs, represented here are up to a mesmerizing mix of contemporary indie music influences and Lange`s Latin (Ecuadorian) roots. In addition to the Latin-based rhythms and catchy melodies he sings in Spanish at times being assisted by Isaac Lekach (voice, guitar), Julianna Barwick (voice), Jason Ajemian (banjo), Jacob Champagne Wick (Trumpet), Jamie Reeder (violin), Shannon Fields (clarinet, accordion). By filled in to be astonishingly suggestive, sometimes even down to heartbreaking, longing-infected baroque pop tunes which initially were intended to be a gift for Lange`s parents. In fact, all the set of minutiae do make the full range sense, particularly because of austere yet sublime electronic undercurrents. Besides covering the songs of Los Iracundos, Eduardo Mateo, Roberto Carlos, and Leo Dan, he gives a new and modern touch for Pink Floyd`s Goodbye Cruel World. All in all, this set is a great example of how sexy could the Latin music be played out actually. My heart is gone indeed.

Listen to it here

10.0

Monday, January 3, 2011

[Artists] Candle Light

Candle Light/Bandcamp
Lastfm

Tunguska Electronic Music Society Ellipsis II: Tundra.Ambient.Dreams. vol.2 (Jamendo)



The Moscow-based Tunguska Electronic Music Society (TMS) can be admitted as an umbrella organization which embraces lots of musicians, producers, dj's and composers, who work in a profilic way from the beginning of 2007 in "Tunguska Music" style. Moreover, TMS is also a net of network music distribution labels and a net of little bars and cafes. Its branches are known under such names as Tunguska Chillout Grooves, Tunguska Music Society, Tunguska Project, Tundra Ambient Dreams, Tayga Feeling, Transsyberian Express, Nikola Tesla Tribute, etc.

Before the listening to the Ellipsis II: Tundra.Ambient.Dreams. vol.2 I made acquaintance with the previous ones by the likes of Ellipsis II: Tunguska.Across.Sphere. vol.2, and Ellipsis II: Tunguska.Shaman.Vimana. vol.2, which were more dominated by chillout-esque electronic music being interchanged via smooth jazz themes and mindtouching, atmospheric-fried electronic approach, respectively.

However, the collective fills in the Tundra-titled album with a different point of view being kicked off proceeding in an epic mix of ambient, drone, ethnic drums, wherein Kosmische Musik-alike acid-hued synth swirls are permanently zipping over vast landscapes, which progression later involves the elements of space rock/space synth, unleashing the flow of metallic shards and fluttering, atmospheric sonic arrows over to the space around to be expanded and conquered. In principle, it does recruit a quite austere sonic statement, it is even minimally designed out, on the other side, it does not afford minimalism-close attacks for itself, offering enough propulsions and warbles on its own. Sometimes the whole does acquire peculiar dimensions via weird, even dystopic sonority as if those frogs and insects living in the futuristic, robot-dominated world, would have been mutanted via genetic changes, respectively resulting in croaking and chirping out mechanical sounds hardly discerned. Moreover, any signs about the presence of human being are long dismissed. Still at the closure some resurgent, chant-esque vocals will be appeared to get evolved into a few patterns, yet, getting no dominant reference within the soundscape. For the nature-based concrete soothings as forthcoming concrete sounds in the last tracks, however, are much more importance reserved.

In the conclusion, I really wish to express affectionate hope that the epicness is a universal chracteristic and hence allowing for the 13 tracks within 75 minutes to actualize great touches and milieus for any kind of listeners.

Listen to it here

9.4

Sunday, January 2, 2011

[Artists] Alison Eales

Alison Eales
EardrumsPop
Lastfm

[Compilation] Between Two Waves – Vol. A (EardrumsPop)


As I said once, the Norwegian-based EardrumsPop has been one of the finest single and compilation records around the world to date. (Unfortunately the first compilations are being down for a while because of purposed to save space for future issues. I hope those will be uploaded somewhere else, at Archive.org or Bandcamp, for instance). The music under this label does proof out as a voice of nowadays and classical sensed indie conscience. More profoundly, it does veer from jangle, twee pop, dream pop, baroque pop and sunshine pop currents to poptronica and electronic pop, and shibuya-kei notches (lots of artists represented herein come from Japan). Yet, in principle, the indie pop under EardrumsPop is rather a retrospective appearance, for sure, having avoided to be a hype-centric one (which is also very important!), instead aspiring for great classical melodies and astonishing harmonies to shuffle seamlessly the (theoretical) gap between nowadays and the previous decades.

On Between Two Waves - Vol. A (released in April of 2010) are represented 14 tracks by the following artists like Boa Constrictor vs The Honeydrips, Baffin Island (The Very Most + The Hermit Crabs), Suspicious for the Winter (Casa Murilo + Like Spinning), Jacob Borshard and Cake on Cake, Starlight Recorder (Dylan Mondegreen + Alex Rinde (The Margarets)), Leaving Rio (Cineplexx + Onward, Chariots), Peacock Dreams (Shelby Sifers + Spirituals), Saturnalia (The Lost Cavalry + We Walk On Ice), Kubot (Martin Gustafsson (Boy Omega) + Martin Bergström (New Beginnings/Sin Närmiljö)), Early to Bed (Wisdom Tooth + Me And The Horse I Rode In On), En handvändning (Solander + Jerker Kaj), Johnny Favourite and the Exs (Johnny Favourite + little xs for eyes), Dizzie Bird (The Marble Man + Angela Aux), and Broken Motion (Paragraphs + Me And My Arrow). As it can be witnessed for, regarding the collection title and concerning on the artists`specific juxtaposition to each other, each song in principle consists of a blend of (at least) two artists or musicians (can it somehow be related to the abandoning of the kind of snooty eccentricity, though?). The miscellany is full of great songs, though, some of them are outstanding - Baffin Island (The Very Most + The Hermit Crabs)`s You Make Two Weeks Two Days which is a fine ukulele-based troubadour pop reminiscent of some workouts by Jens Lekman and Sondre Lerche; Jacob Borshard and Cake on Cake`s Summer Will Have Its Way is a Belle & Sebastian-esque warble; Leaving Rio (Cineplexx + Onward, Chariots)`s Vanish does involve delicious doo wop harmonies, sung the first half in English, and the ending side in Spanish, respectively.

Listen to it here

Saturday, January 1, 2011

Happy New Year

In fact, the 2010 year was a year which really delighted me by an endless array of really good music. Indeed, the most of the reviewed releases were high-rated or even very high-rated by me, yet, all the points given were profoundly calculated out (every exemplar was listened to at least 2 times, usually 5-6 times, for). To get have to set my steps further, it is even more embarrasing if to think about how much albums weren`t allowed to get upon my ears. This is reason why I understood finally it does not make any sense to chart my list of the albums of 2010. And on the other side, it will probably take circa 3-4 years onward to complete a comparably proper list of the best of 2010. For the next 2-3 weeks I am going to continue with the overviews for the albums of 2010. In any cases, first of all, thanks to all the musicians. You made superb job. God bless You. Happy New Year.

[Artists] High Park

High Park
Soundcloud
Lastfm

Hong Kong In The 60s Places (Bandcamp)


Hong Kong In The 60s is a London-based trio, lined up by Mei Yau Kan (vocal, guitar, keys), Christopher Greenberg (vocal, guitar, keys), and Tim Scullion (vocals, guitars, keys). Their 8-track sophomore Places EP - the follow-up to the Willow Pattern Songs EP (2009, Proper Songs) is full of mesmerizing, chillout/easy listening-soaked shards, dominantly loaded with the space age pop and exotica pop sensibility. Indeed, they are deeply get involved in mighty psychedelic grooves to draw upon kinds of moods and shades popularized by Jean-Jacques Perrey, Gershon Kingsley, Mort Garson, and the Barrons approximately 4 decades ago. As you have figured out yet, indeed, a set of simplistic and robust yet catchy, a bit dreadful, altogether full-blown, synth-based melodies-harmonies and burbling cadences can be expected for. Almostly, though. One of the two exceptions is A Bad Night Out which is into the exploiting of vintage-looking, downbeat-drenched Latin rhythms (of course, mingling it with electronic effects). The second feature is Disintegration The Advisory Circle Reshape, as the title admits, it is not their own creative output, playing out a notch of contemporary indie electronica/indietronica/poptronica/glo-fi. By the way, the release name of this Sean O`Hagan-afforded group is obviously used to be a hint at their vast scale of their nowadays and previous residing places/countries (The UK, Hong Kong, Brazil, Japan, Spain, Africa). In a nutshell, without some exceptions, as it is noticed above, it is an excellent quasi-retrospective/retrogard-ish outlook.

Listen to it here

9.8

[Artists] Expendable Friend




Bandcamp
Upyourlegsforever
Myspace
Lastfm

Atlas Sound Bedroom Databank Vol. 2 (Atlas Sound)


This release is my personal favorite exemplar of the 4-part Bedroom Databank series. 16 tracks do show up a crafty balance between strumming, guitar-relied pop and computer-processed electronic experiments, or thirdly, a mix of both which, more detailly, reminds on its fluctuant approach of Deerhunter`s Weird Era Cont. (2007, Kranky). No doubt, Bradford Cox is a hero between so-called established, commercial music and free webaudio world. Moreover, his special juxtaposition to those realms does not even make so much sense as much of his workouts under the moniker Atlas Sound and Deerhunter-related deeds which can be considered as one of the most essential hallmarks on contemporary indie music. Obviously his later profilic approach occurred in letting out music from his old tapes might closely be related to his health condition. By having managed to push down more musical fingerprints over into the present, past, and forthcoming future, by this point of view, his action may have a metaphysical and religious background. As I noticed above the album is a fluctuant integration of both electronics and natural strings realized off into a warble, merry-go-round-alike whole, being at times folk-ish, the second time blues-infected, on the other hand, the last track Here Come The Trains is an embarassing cosmic blues-y, krautrock-heeled notch.

Listen to it here

9.2
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