Black Tambourine black tambourine cassette (Bandcamp)

There were quite messy times about the musical situation in the Foggy Albion during the 80`s when indie music had intensely searched for its very own identity. Of course, the solid premisses were up there having been moulded via the post-punk/proto-indie blowouts, and The Smiths made its succesful enterings into top charts. To be set up into the broader meaning of a then-time occurence chain, it was appropriate time when underground music identified itself through the cassette culture movement as well. In any cases, the tape-based C86 compilation was the most influental appearance showcasing a wide and vital array of twee pop and jangle pop ensembles at the time, some of which later evolved into alternative dance/baggy form (for instance, The Soup Dragons, and Primal Scream), and some musicians (Tim Gane) abandoned/cancelled his previous band (McCarthy), replacing it with obvious purpose toward innovative pop frontiers with a new type of formations (Stereolab) to be reached off.

The aforementioned situation by the US-side was strongly reverberated by the label Slumberland, which the most golden rabbits were/are The Lilies, Hood, and Black Tambourine. The last named one was consisted of the members of Whorl, and Velocity Girl, having crossovered twee, noise pop, and shoegaze (though a bit less visible angle) elements with each other. More concretely, Black Tambourine might be imagined as a bastard of Jesus & The Mary Chain, Lush and Talulah Gosh. A great bastard, yet, having stuck in catchy, joyous, and delightful warbles.

On this compilation, 4 solid tracks/re-mixes made by Don Zientara after the mastertape of original mixes were stolen from a car are proudly represented here. The differences between original mixes and new mixes are apparently subtle in principle - doubled vocals on Can't Explain and For Ex-Lovers Only, a long feedback ending to Throw Aggi Off The Bridge, different effects & treatments (reverb, reverb, reverb) all around. The vocals are somehow buried even deeper, and the guitars sound louder. Undoubtedly a hidden pop music chapter lighted up nowadays.

Listen to it here

9.0

Peripherique Tiefseetauchen (Musicartistry)

Musicartistry is a label/musical environment which release frequency graphics is unfortunately getting underneath with every year. Indeed, Peripherique`s brand new heavy is the first notch under the record in 2010. Peripherique comes from Cologne, having been in music for nearly ten years and recorded a lot of issues since 2004 under Musicartistry in principle. In the beginning, though, defined as hip-hop artist he has gradually drifted into trip-hop and dub music area.

Listening to the Tiefseetauchen (of 8 tracks), however, the main spot is focused upon dub, representing nowadays stylistic currents, thereby continuing the aesthetical array of the last albums. First of all, it is all about cinematic dubstep cadences, which is interlocked with tekno and trance blurbs at times. Except the finishing track Statik, being remixed by Zengineers, which is a case of dream-alike drum and bass, having strong reminiscence of the 90`s (Dillinja, LTJ Bukem).

Listen to it here

8.8

aboombong amnemonic (Bandcamp)

First off, it is quite hard task to figure out in which way should aboombong`s new album/third album in turn be classified up to. However, it is a creatively destructive blend of diverse styles in the middle of it the prefix "post" is set up. Yet, JC Thorne`s music, even when you are used to be familiar with different sorts of musical genres, but despite of some closeness it sounds like the science fiction in real time. JC Thorne is a resident from Seattle, who has played in a dozens of ensembles during last three decades, though, it is very little known something about him. In the same way, some analogy can be drawn with Swedish krautrock/space rock/experimental rock outstanders Joxfield ProjeX, which is obviously curated by the two 60-years-old men.

The opening Cheshiahud Loop sounds like a smog-buried and neurotically repeating Holy Fuck. From Cracked and bloodied Fingers deepens further to increase the smog consistency while shoegaze and space rock frames do catch fire and begin to melt and seemingly slide away. More concretely, over 10 minutes of pure ecstasy can be discovered from here. Cromsby Grovernor Worthington's Jujujaiponmolam is played out through a very wide range of musical instruments (including shitloads of ethnic music drums and bells), yet, the very result is based upon a ticking loop of a hypnotic guitar gear in space rock/krautrock regime. 18-minutes of elemental enchantment, which could easily be considered the 21st century Hallelujah (CAN`s Tago Mago), or Krautrock (Faust`s IV). The epic alchemy, the way how to come over to my opinion essentially. Jiang Qing, Zhang Chunqiao, Yao Wenyuan, & Wang Hongwen in Dahomey does acquire monstrous dimensions via demolishing drums and scratching guitars while retaining its majestic façade. The anxiety and anger on the track could almost cut with a knife. The album will be stopped off after Noon which is billowy/expanding/spasmic ambient drone metallic refuse, thereafter the whole can be summed up as a monster hovering above everywhere. This is a kind of eclipse of the sun, played up with an experienced know-how and outrageous energy swoop. In fact, one of the most astonishing releases of 2010, for sure. Enjoy and take care of it.

Listen to it here

10.0

[Artists] Echoes de Luxe

Echoes de Luxe
Myspace
Lastfm

[Old but important] Etrethn EP (Tavern Eightieth)

By concerning on for listening to music this very purpose is not only related to wholly hedonistic consideration to be enjoyed. Its side task is to discover small music communities and movements within the vast music business circuit, acknowledge them and integrate them into a broader system of the music community. Nowadays, because of the expansive popularity of different virtual social environments (Facebook, Twitter etc) it is not only the task and straining of the music critics anymore.

Maybe you can remember for I had overviewed such a Leeds-based vanguard dream folk musician as Michael Waters aka Model Warships recently, who is known by his uncountable collaborations and side projects and his constructive relationship with certain labels like Tavern Eightieth and BeatIsMurder as well.

One of such cooperations by Waters is Shi Toys with Edward Trethowan (also the British) whose doings are concerned on the likes of Anva, An Insection, and Etrethn (yet obviously misunderstood by myself how to spell it, though). Trethowan`s action with Etrethn can be viewed on the one issue only. However, merely named as EP (of 6 tracks within 29 minutes) it is really worth to pay much attention for it. As the basic processing peak, a fine and calculated interplay between noise, kinds of pulsations and psycho-acoustic ambiences, and throbbing industrial-alike rhythms can be detected here. By my opinion, as a speculative exercise the EP might be divided into two sections, correspondingly, consisting of first five tracks, and the last (and the most extended) one Shackracing.7, which is an omnipotent case of magnificient, epic ambient noise/cadencic space rock/ambient techno monstrum.

Listen to it here

Sturqen Radio Inoculation (Vacu Sessions)

Vacu Sessions is a sound art/sound design environment/community/label/blog, offering gently live sessions, mix sets, and uncommon DJ-gigs. Obviously it is located in Finland somewhere. Their slogan is as clear as the following one: heavy or light, new and old, predictable or totally unknown: the important here is the dynamic of the music. A continuous exploration of sound.

Here is a track from Sturqen, called Radio Inoculation, specially recorded for RadiaLx 2010, an International Radio Art Festival. With the longitude of 27.58 it seems to be an endless journey via sound exploration and observant knob-twiddling manipulation. Actually Radio Inoculation do tallow our visions and preconceptions about sound art as a kind of. Undoubtedly Sturqen`s conception is rigid, minimal and doggedly insensitive. Imperative even malicious signals, digital crackling of brown noise, throbbing monotonous drone lines and spacious layers are the agents up here presenting their very role to enact an intriguing conception between music and sound design, between a kind of music and non-. In fact, it does mean that there are even some little edges for warm feelings as well. What else can I add to for you - take your time and check it out for the more releases on Vacu Sessions. It is sometimes quite purposeful to listen to it for purifying of your mind.

Listen to it here

9.0

[Artists] Billie the Vision & the Dancers

Billie the Vision & the Dancers
Bandcamp
Myspace
Lastfm

Oathless Standing Where Our Paths Shall Meet (Hawk Moon)

For sure, the British have been having a proud tradition of ambient music veered from the conceptions of Brian Eno and David Toop to the later and recent works by the Caretaker, Cousin Silas, Phillip Wilkerson and Simon Housley. Simon Housley is a young musician from Stoke-on-Tent having been releasing music since 2007. His first tracks were played out as spacey neofolk/chamber folk-drenched pieces, which soon evolved into a more melancholic space music approach, completed strongly with the ingredients of modern classical/symphonic progressions and dark ambient/dystopbient, and infused layers of musique concrete as well. Besides an array of singles, however, Housley has self-released three albums being as an obligatory task for every serious ambient music lover to be listened here and now. Those issues are Seen Through Reflection, Lambent Amber Winds, and Zephyr.

No doubt, his new release of 8 tracks continues to move along those aforementioned ambient characteristics. In principle, it is slow, minimal yet extensive, and hypnotic based upon the phase changing-alike methodology. Though it is an austere sonic example it does evoke a lot of emotions, for instance, extraditing the sense of still life, as if foretelling us about the forthcoming cold and snowy winter. In fact, the season is arrived exactly in such kind of embodiment and the emotion is mightily up here to be became much more dinstinct. Vis à vis with Housley`s previous releases it does seem to be a bit more solemn yet remaining its status as a somehow joyous oeuvre, though.

Listen to it here

9.1

Vincent Lillis The Singularity (Rack & Ruin)

The last album of the Rack & Ruin being overviewed on this blog was Teacups` Song about Yarn, an off-kilter blend of magnificient chamber pop/baroque pop and abrasive chiptune beats. Thereafter my spot has drifted away from the doings of the label involuntarily and unfortunately. Now it is time to come back again, and hopefully having no possibilities for further apologizes anymore.

The irishman Vincent Lillis is an extraordinary young musician, having released his third album in two years already. His previous albums Purple Magpie, and Neb Nub offered a off-the-wall blend of artistic guitar music with a kind of alternative dance appeal. You could hear The Fall-esque skidding bass strokes, Ian Brown`s electronic touch, kinds of inbalanced and unfixed somber backdrops, even some world music elements which altogether was being perceived a bit arty-farty in some sense. In any cases, it did need quite much attention to hold up your concentration to be fixed upon this.

The Singularity seems to be his most mature release (read it: purposefully channelized one) to date. The opening Mind Your Mind is a loud cacophonous track with heavy drum breakbeats, gorgeous bass pulsatings, and a funny sunbeam-named looping synth effect, all in all it recalls Primal Scream`s the 90`s second half/00`s beginning (albums Vanishing Point; Xtrmntr). However, the following tracks continue to drive on similar way in principle, besides it recruiting tabla drums, dynamic bass lines, spacey vocal chants, programmed beats, also finding the support from the 70`s post-punk movement as well. The tightness of ambience under and around the conception is an interesting matter to follow, for instance, discovering some underpressure-overpressure fluctuations at times. Consequently the result underlying spiderwebbing mesh work seems to function per excellence. Indeed, an solid alternative dance/madchester/baggy set evoking pleasant memories of good old times. A nostalgic slap, in fact.

Listen to it here

9.3

Dark Souls Day X-Lives (Af-Music/Jamendo)

I have listened to the Thessalonikian (Greek) band Dark Souls Day`s debut album X-Lives for a while having really been enjoying it. On the first place, because of being stilistically categorized as gothic/dark rock its topics and characteristics are inevitably common to the abovementioned genres consisting of dark-sided lyrics, low-key guitar chords and extended riffs, exhilarating combinations of post-punk-esque rigid bass and full-packed drum cadences, and dark-shrouded synth figures. Besides it, Nikos`s lead vocal (reminiscent of Peter Steele) is thoroughly resignated but not only driving on monotonous gears and wheels though, offering enough key changes and dark-spirited variations. Secondly, when the roles will be inverted for the sake of Pepi`s singing times then the accents will be getting up otherwise, finding out closeness to hardcore-alike indie/alternative rock (The Breeders, The Pixies, Dinosaur Jr etc). No doubt, you can hear a watershed having drawn alongside the borders of post-punk and alternative rock, the 70`s ending/80`s beginning and the 80`s second half/90`s beginning. Yet, it has no disturbing effects. Outspoken in advance, the album is fulfilled with great numbers, though, the special favorite of mine is epic Electrify, one of the best songs of 2010 on an album being one of the finest examples in the gothic/post-punk area during last years.

Listen to it here

9.3