Broke Gringos – Junk EP (2004)

iD.EOLOGY/Bandcamp

Hip-hop Cinematic Rap Breaks Sampledelic Electronic Urban music Nu jazz

Einoh, see on igati lõbus saksakeelne räpp (paari inglisekeelse erandiga) kahe kümnendi eest CAN'i kodulinnast. Kuus lugu mahutatakse paarikümnesse minutisse. Mainitakse teiste seas Miles Davis't ja Jacko't, tehisintellekti ja 2.0 versiooni -- millest konkreetsemalt, ei jaganud matsu. Kuivõrd siinkribajale on ennekõike oluline olnud Morrissey ja Mark E. Smith'i verbaalne osa, siis hip-hop'i puhul on kohustuslikud eelkõige taustad ja räppimisviis -- juhul kui oleks vastupidi, siis oleks hinnang raudpolt madalam. Mõnusalt suitsune ja filmilik on see miljöö ja kulgemine -- vokaalid ilmnevad eri variatsioonides, olles kord summutatud, teinekord otse lajatavad. See on vana kool -- autotune'i ei ole (kuri)tarvitatud, ei ole tehnitsistlikult anaeroobne; kulg on sujuv ja humoorikas -- biitide ning sämplite keereldes tekib aeg-ajalt gravitatsiooni hajumise tunne. Mõnikord on rütm elegantselt laisk -- et mitte öelda hüpnootiliselt laisk. Kokkuvõtvalt -- ei ole siin midagi väga erilist, ent häbeneda ka ei ole. Eriti kui eeldada, et saksakeelse räpiga meenuvad kõige piinlikumad muusikalised hetked 90ndatest. Üle keskmise igatahes.

Nihil Limit -- First EP (2004)

17 Sons//Jamendo//Bandcamp

Alternative dance/Hi-NRG/Electronic music/Electro/Electro-house/Minimal synth

Mida muud võikski oma esimese üllitise pealkirjaks panna kui mitte "esimene". Numbriline markeering on päris hüva, kuna nimelise üllitise puhul paneb mõtlema, et mitmes see või too artisti diskograafias üleüldse on. Prantsuse leibel 17 Sons oli viljakas plaadifirma, mis üllitas huvitavat muusikat nullindate keskpaigast kümnendate alguseni. Käesolev 21-minutiline on just seesugune, mis plärtsub eri stiilide piiridel, olemata tegelikult tõupuhas vaatamata ülalmainitud stiilidele -- seesugused asjad kipuvad piisavalt mängulised ja huvitavad olema, et kõrv kreeni vajuks ja jalg tatsuma hakkaks. Ühelt poolt minimalistlik -- et mitte öelda helilistelt eeldustelt kasin -- ning teisalt meeliliigutavalt kombineeriv. Rütm taob suht monotoonsel sagedusel, ent paralleelkanalis elavad vilgast elu elektrojurakad. Jörisevad, undavad, huugavad -- justkui elegantselt krampides tõmmeldes. Ning pannes ka kuulaja võnkuma. Minimalistlikust sündimuusikast väljakasvanud äge tantsukas.

8.0 (7.5-8.5)

Line Noise -- Soul Clouds EP (2004)

Camomille Music

Balearic house/Easy listening/Electronic music/Organic electronica/Deep house/Chilltronica/ Ambient pop

Avastasin, et olen sellelt kolmelooliselt EP'lt valinud päevalugudeks välja kaks kolmandikku; ent arvustust veel kirjutanud ei ole. Väljaandjaks Kanada leibel Camomille Music, mille eestvedajaks oli samuti muusik (Vincent Fugère aka Muhr). Line Noise on ameeriklase Rudy Gonzalez'i ühemeheprojekt, kelle lõunamere päritolu annab helindis kahtlemata tooni. Paradoksaalsel kombel on ta omast ajast kümnendi võrra ees -- lähtudes tõdemusest, et see kõlab kui post-chillwave'ilik taies; sellal kui chillwave'i esilekerkimiseni kulus veel 4-5 aastat. Vahet ju väga ei ole, on see pärit Vahemere või Kariibi mere kallastelt. Ämbient, hauss, pärishelisid järelematkiv (või hoopiski moonutav) ripptooli elektroonika. Sügav ja pinnapealne, tulles esile lahutamatult ning käsikäes. Väärt meduusjas hõllandus Florida poolsaare tipust. Ei tea, kas saarlased-sõrvelased viljelevad ka neeme tipus Sõrve biiti.

8.5 (8.0-8.5)

Origami Repetika – dirty habit EP (2004)

 

20kbps

Archive.org

 

• Psychedelic 
• Lo-fi 
• DIY 
• Noise pop 
• Shitgaze 
• Electronic 
• Indie pop/rock

 

Kriipiv, dissonantsi uppuv, kordustest jõudu ammutav on see lühike EP, mille autoriks on Adam Sigmund. Ei, see ei ole tülgastav – selles on õhulisust ja harmooniaid, tasakaalustamaks karust poolt. Ka see karune pool on suhteline – kui lugeda selleks raskelt vibreerivat orelipõhist käiamist, millel justkui näikse olevat eesmärk võimalikult sügav vaib sisse võngutada. Ei ole see muusika vaid indimeestele-naistele, kuna ka haussmuusika nautisklejad leiaksid siit endale üht-teist (eelkõige "yo ho ho and a bottle of rum"). Tõsi ta on, et Adam Sigmund'i hilisemad teosed nihkusidki elektroonilisema popi poole. See on kahtlemata omaaegse Zeitgeist-muusika näide, kuna tollal (AD 2004) oli Ariel Pink kõige kuumem uustulnuk. 

 

8.0 (7.5-8.5)

The Space Lady aka Suzy Soundz – Street-level Superstar (Owed to Boston) (2004)

Comfort Stand

Free Music Archive

• Singer-songwriter 
• DIY 
• Lo-fi 
• Art pop 
• Latin pop 
• Psychedelic 
• Americana

Käesolev neljalooline üllitis on pühendatud fännidele ajal, kui Susan Dietrich alias The Space Lady oli hakanud jõudma laiemasse avalikku teadvusesse. Muusik, kes on külastanud ka Maarjamaad. See populaarsus oli tinglik niivõrd kuivõrd oli see võimalik ühe tänavamuusiku puhul. Võib ju küsida, et kellelt võttis Kosmoseleedi imagoloogiliselt rohkem šnitti: kas Moondog'ilt või Sun Ra'lt või kelleltki kolmandalt ekstsentrikult, aga tiivulise kiivriga daami muusika oma eheduses ja naiivsuses on tõepoolest midagi kosmose ja maise sfääri vahepealset. Kohati kõlab muusika kui šlaagripopp, aga mingi hetk näib see siiski nihkesse langevat. Meenutab vokaalses maheduses ja meloodilises õrnuses teist kaua unustatud legendit Linda Perhacs'i, mida toetavad elektroonilise klahvpilli orkestratsioonid ja programmeeritud ladina rütmid või lõõtsmooniku umpaumpalikud tõmbed, aga kitši kõige kiuste siit ei jõua ammutada. Või sõnastame selle nii, et vaevutekitatud kitšikihi hävitab tume voog Maad ja Kuud ümbritsevast radioaktiivsest kihist. Mürgine kiht, millele meelsasti apelleerivad  isikud, kes väidavad, et inimene olla külastanud meie kosmilist kaaslast üksnes lauludes, filmides, kujutavas kunstis ja unenägudes. Selle kummastava trajektoori ja (mõju)väljadega reliisi on välja andnud Comfort Stand.

Violet – Let The Sunshine In (2004)

Zeromoon

• Avant-garde
• Minimalism 
• Non-music 
• Micronoise 
• Acousmatic music 
• Drone 
• Sampledelic 
• Post-industrial 
• Experimentalism

Lase päikesepaiste sisse ja saa õnnelikuks. Või jää õnnetuks...kui päike kütab toa soojaks ja sul ei ole enam piisavalt värsket õhku organismi küllastamiseks ning silmadesse valgub söövitav higi ja silmavalged hakkavad punetama. Ei, Violet`i muusika on kaugel päikesepopi avarakõlalistest ja psühhedeelsetest sillerdustest. See on hoopis midagi muud, kus helisid fokusseeritakse ja uuritakse mikroskoobi all. Uurijaks ja täideviijaks on mees nimega Jeff Surak, kelle 21-minutiline üllitis on täis – kasutades kulunud käibetõdesid – higi, verd ja pisaraid. On tuimemat (samas mitte igavat) müttamist, aga ka lummavat minimalismi ja kiirgavaid müraepisoode; millest omakorda kiirguvad vaevutajutavalt välja meeliülendavad meloodiad (hilisemast ajab meenub väidetav Eesti artist Misha Mishajashvili, kes on kasutanud Nõukogude ajastust ja ajastule omaseid sämpleid; mis, tõsi, nii meeliülendavad ei olnud iseendas, aga seda enam lõid düstoopilise, inimvaenuliku fooni). Tõsi, lugu nimega “Wonsan” seisab eelpooltoodud kirjeldusele lähedal. Meisterliku teose on üllitanud plaadifirma Zeromoon.

Fricara Pacchu – Waydom (2004)

Bandcamp

Lal Lal Lal

• Minimalism
• Lo-fi
• Psychedelic
• Avant-pop
• Acid rock
• Improvised music
• Progressive
• Drone pop
• DIY
• Forest folk
• Free folk
• Freak folk
• New Weird Finland

Jätkame "luhtamineku" lainel. See tähendab hoolimatust ümbritseva moe ja ettekirjutuste vastu, mõnes mõttes ka pöördumist juurte juurde eeldusel, et juurestiku ja kaasaja vahe on tohutu erinevus ja kattumatus. Sageli on mõisted teisenenud ja kaotanud oma algse tähenduse. Iseasi, kas peab alati asi omama algset tähendust, aga orientiiri mõttes ei teeks paha seda teada. Kuna sõna "juur" vaste ladina keeles on "radix", oleks õigustet küsimus – kas radikaalsus muusikas tähendab juurte manu naasmist? Soome ühemeheprojekti Fricara Pacchu 10-loolist albumit on iseloomustet terminiga "metsafolk", siis juured ja (radikaalne) eraldumine tsivilisatsioonist on kahtlemata asjassepuutuv. Antud kontekstis tsivilisatsiooni iseloomustab pigem Billboard jt edetabelid ning muusikalise establishment'i väärtused ja rõhuasetused. Jah, kümme-viisteist aastat tagasi seisnuks "Waydom" lähemal popituumale kui praegu tänu Animal Collective'ile jt New Weird-liikumise suurnimedele tollal. Aastaid tagasi muutus see taas marginaalseks, ja ehk nii ongi hää (must-valge tähenduses). New Weird-liikumise, sh metsafolgi seos folkmuusikaga on tinglik, kuna liikumise transgressiivne iseloom mõjutuste kaudu tulenes väga erinevatest allikatest (folk, psühhedeelia, DIY ja lo-fi, elektroonika, minimalism ja droonmuusika, impromuusika, müramuusika, tantsu- ja popmuusika). Siin näituseks on esindatud poole sajandi tagune piiridest üleastuv happerokk/eksperimentaalne psühhedeelia a la Red Krayola ja teisalt minimalismi lummavasse lõksu sattumine seda nii motiivikorduste kui droonivate akordidega esiplaani ja süvakihte korrastades. Tulles subjekt-objekt suhtes esimese juurde ja eeldades, et subjektil on samane roll objektiga, siis missugune võiks olla see subjekt? Kuivõrd metsafolgi artistid on sageli väga erinevat nägu, peaks küsima – mis neid õigupoolest ühendab? Ma pakuks välja sõna "metsapoole". Muusikaliselt metsapoole. See teebki folgist metsafolgi. Üllitise on välja andnud Soome teenekas plaadifirma Lal Lal Lal.

Mais – Stand (2004)

Maetrixsolution

• Electronic music 
• Alternative dance 
• Kraut-electro 
• Kraut-techno 
• Electro pop 
• Alternative dance 
• Indietronica 
• IDM 
• Breakbeat 
• Breakcore 
• Deep house

Comment: this 7-track outing comes out of the discography of Maetrixsolution being an instance of supersonic electro the way of which being paved by motorik krautrockers and synth-led post-punkers and rhythms deconstructing alchemists. Beyond that the admission of the fact of existing hefty neokrautrockers, indie electronic artists and IDM musicians in the beginning of the 00s may have been influencers before a new hype of the New Weird scene did embark on (of whose more peripheral artists were also partially influenced by the aforementioned compartments). And additionally, the club scene with rattling broken beats, rusty jungle, deep house incantations and gritty sped-up cadences to provide a perfect, seamless smorgasbord of then tendencies approximately 15 years ago. At the time house and jungle were going out of mode but this album is a successful attempt to rehash the styles.

Randomajestiq – Deepmove EP (2004)

One

• Electro house
• Electronic music 
• Alternative dance 
• Deep house

Comment: behind Randomajestiq is a musician called Vladimir Hropov from Gomel, Belarus who has been active in creating music since the beginning of the 90s and later on exploring many electronic genres and also crisscrossing them into the mix. Deepmove EP is a fabulous drift between an active and a passive, between the rhythms and laid-back atmospheric swirls, between robots and a human being, between cerebral and a body dance. All what is just said it is a bit artificial construction because if you let it go freely you just perceive it as an organic, undivided one. By the way, the issue is a part of the discography of One.

Digitalverein – Changes LP (2004)

Thinner

• Electronic music 
• Dub house 
• Dub techno 
• Dubtronica 
• Ambient dub

Comment: Jörg Schuster (aka Lufth, and Sensual Physics) is an artist and a designer of graphics for computer software from Dortmund, Germany. He can be considered a main domestic artist within an acknowledged imprint called Thinner. In fact, Germany can be considered home for many outstanding dub and minimal techno labels and one of such cornerstones is certainly Thinner. One can just conclude from it the artist should be worthwhile. This 8-track outing is as emotive as it is hypnotic. The first adjective does not exclude the latter, and vice versa. The vibes just come in, starting to wobble around one`s head and soul and then keep mutating slowly, almost invisibly into something else. The format is mainly restricted with techno, dub, and atmospheric and nocturnal electronic developments yet at times one may perceive something punctual and iterative therefore creating a bridge between the aforementioned styles and krautrock. There is even up one track by employing exquisite vibraphone sounds and thereby resembling a bit of Tortoise. At times dub rhythms are replaced by more bold steps (proto-dubstep?) yet preserving its wobbly feel. Just listen to it, just feel the touch of it.

Various Artists - Extremely Mild And Pleasant Tasting - The Best Of Bob Chaos Recordings 1984-1986 (2004)

WM Recordings

Archive.org

Free Music Archive

• Lo-fi 
• Psych-rock 
• Avant-rock 
• Dada music 
• DIY 
• Free jazz
• Experimental rock 
• Freeformfreakout 
• Noise pop
• Acid rock

Comment: this bunch of 22 tracks provides a good overview about the intention and music of such a cutting-edge imprint as cassette-only Bob Chaos (based on Muncie, Indiana, USA) due to a music label from the Netherlands, WM Recordings. Actually it was released in 2004, at the time home recording activities and the New Weird movement started appear in a dizzy way. Actually by such artists as Latent Chaos, Modern Exteriors, The Suadetones, Atomic Butterfly, MCRB, Disposable Air Sickness Band, Sonic Clams, Band-O-Fun, and Soul Celtics the listener can find out many those characteristics which started appear two decades later. Knee-deep psychedelia, at times being deliberately buffoonish and provoking by subverting the so-called established pop narratives. For instance, there is up a slippery version of Goldfinger by The Suadestones, there is also a song being obviously aroused by the Broadway aesthetics as a main sign of Western Capitalism and decadence. At times there are up themes being obsessive in their absurdity and madness being imbued with faint odours coming from the glistening aesthetic of Joe Meek, kitchen sink, space age music, radiophonic art, exploitation genres, and free jazz. I have always adored such sort of bands who dared to provide absurdity as a refreshing colour to the embodiment of music. And the most important thing is that we all are the apes in spite of bearing clothes and by using smart talk. By the way, our closer relatives used to do it as well. In a word, it is fun to partake in that decorous, spiky madness. Would you cut off your dick for art?

Swain – The Single (2004)

Imaginary Albums

• Indietronica 
• Electronic music 
• Post-rock 
• Experimental pop 
• Alternative 
• Lo-fi 
• DIY 
• Art pop 
• Indie

Comment: this batch of 12 tracks came out under such imprint as Imaginary Albums in 2004 which had been releasing the records in the 00s being a dwelling place for DIY and lo-fi music. It embraced such artists as The Harvey Girls, Santa Inferno, Hubre, Procrustes, Tiny Creatures, C.J Pizarro among others. The Swain's issue which was the first nod in the discography of the label is multifaceted due to disparate dodges though the main base of it is delineated as electronic with intention to create an indie tinged stuff. From littery electronic shuffling to more laid-back and thoughtful glimpses with steady electronic layers and blissful glockenspiel induced chord leads which frequently remind of Tortoise, for example. Indeed, the listener can hear jazzy undercurrents regarding those rambling and clattering drums here and there (the best example is Synapsis). Indeed, the construction of some tracks is progressive and artsy with stepwise yet artistically overcoming effects ultimately. Fine stuff.

Scant Intone – Victory Building (2004)

Panospria

• Avant-garde 
• Micronoise 
• Leftfield 
• Post-industrial 
• Experimentalism 
• Abstract 
• Minimalism 
• Electronic music 
• Avant-electronica 
• Microtonal 
• Microsound 
• Drone

Comment: Constantine Katsiris aka Scant Intone's music is very specific in its highly austere yet sophisticated appearance. The Canadian musician's quest to find out more and more soul and life from the limited borders of a rusty and iron loaded universe deserves attention to be paid off. Katsiris' purposes to change the pace within the textural and rhythmic area are clearly discernible – one can hear iterative pulsating cycles coming from nothing and finishing off into nothing. Indeed, at times the artist sends off sounds and signals which almost cannot be heard and then they will crank up slowly in sounds and intensity. You can hear watery droning, crackling microsounds, and intensified electric current. The listener would think is it either a medium of reality or the abstract kind of music? Or mixed sort of stuff? This handful of tracks is a part of the discography of Panospria.

NNY – offear.ep (2004)

Enough

Archive.org

Free Music Archive

Jamendo

• Electronic music 
• Experimental electronica 
• Alternative 
• Drone 
• Minimal techno 
• Glitchtronica 
• Micronoise

Comment: this set of 5 compositions created by Portuguese artist Jerome Faria aka NNY is certainly the kind of electronic music but it is problematic to pigeonhole it in a certain way. Maybe it is just about a physical vibe, to get your change in mood through moving of the sounds from one channel to another. And vice versa. A traffic of gentle and noisy sounds to pass by each other. I couldn't find out any narrative of it. When you have stopped listening to it you could remember just a little bit about the whole. Maybe there were up some shrieks, some noises and glitches, some spans of silence, some kind of talking. You cannot remember nothing but the issue is intriguing and you have to listen to it again to figure it eventually out. It is uneasy to think it off. So your presence is essential for that outing. Without your experience it does not exist in fact. It is a mental terrain which is going to blossom at the presence of the listener. The release is a part of the discography of enoughrecords.

More Material ‎– Snow Owls For A Better China (2004)

NORTHAMERICANHARDCORE

• Hardcore 
• Screamo 
• Alternative rock 
• Electro-metal
• Technical metal 
• Alternative metal 
• Harsh noise 
• Trash metal

Comment: it may be a sort of indie rock but it is certainly in the terms of a record label called NORTHAMERICANHARDCORE. More profoundly, it is based on aggressive guitar riffs, anxiety fuelled vocal and screaming mixed lines, incisive electronics and slightly haphazard drumming around it. It is not fake, it is lively true. It starts off with a math rock tinged pattern to progress slowly into something harsher and suffocating. In fact, I cannot resist such sort of thrusting yet somewhat controllable dementia. Indeed, a listener can often perceive mechanical patterns behind this tumultous firework. The final minute is only dedicated to penetrating harsh noise. There are up 5 tracks to be clocked in at a 20 minute. The overwhelming issue is the 26th release in the discography of the imprint.  

C.J. Pizarro – Snow Crabs (2004)

Imaginary Albums

• Electronic pop 
• Comedy 
• Urban music 
• Hip-hop 
• Rap 
• Indie pop

Comment: it happened quite recently when I discovered such a label as Imaginary Albums which in fact had been in action in the first half of the 00s. The roster of the imprint involves such artists as Corpus Callosum, The History and Civilization of the Great Black Swamp, Laura Palmer, Hubre, Procrustes, Blasting Trout Overbite, Cookie Jar, Santa Inferno, The Harvey Girls, Swain, Tiny Creatures (the artist also being known from the roster of the Israeli imprint Birdsong. Thanks to it I discovered Imaginary Albums), and C.J Pizarro. The two first tracks (Dark Black Semen, Going To Die) apparently mock the violent gangsta rap philosophy and culture gravitating towards sex, guns, and dope. Of course, the rest of the tracks (or at least the most of them) have been managed to focus on these themes but they abandon the apparent stereotypical approach though carrying on a tongue-in-cheek advance and involving black humour (for instance, at Look! I'm an Angel!). Frequently comedy aspects are intermingled with experimental pop elements. For instance, at Alpacas R Us the artist exploits repulsively desperate vowel effects and chants and a battle of sonic effects being counterpointed by sublime a cappella  and soulful singing here and there, However, there are up some tracks which used to distance from rap/hip-hop music. For instance, the final track Heaven and Milk running in the vein of artsy indie pop by employing sliding sonic effects and twanging guitars and exuberant singing.

Fuellsand – The Days Are Just Packed (2004)

12rec.

Swift Music

• Indietronica 
• Improvised music 
• Indie pop 
• Alternative pop 
• Lo-fi 
• DIY 
• Musique concrète 
• Cowbell indie 
• Electronic music 
• Hip-hop 
• Krautrock

Comment: if your days are packed then your task is just to unzip them. It does mean that if you are finishing off your any day you can say that you have added (much) more good in comparison to the previous one. For instance, clean up your room, listen to music, make some comments about it and thereof promote other people's music, read the books and think of it, do not pollute the environment, take care of other people, make good job in overall. And of course, take care of yourself. By listening to Fuellsand it can be said the members of it did unzip some new perspectives in indie music. Lo-fi progressions with a guitar and improvisations on a rusty keyboard are accompanied by field recordings, sonic effects, off-kilter orchestrations, hip-hop chants and scratches. At My Algorithmic Arkestra one can hear something that makes difference even in the band's own terms by sounding as if a swarm of digitized bees. The following piece The Approaching Siren (Reprise) reveals their compelling inclination towards krautrock and Miles-esque jazz. The self-titled track pays tribute to Kraftwerk which is backed up by some hip-hop glimpses. The bond between the aforementioned group, and the style is symbolic while it is a well-known fact that early US hip-hop musicians of African descent would find one of their anchors from the music of the legendary Düsseldorf group. This nice playful issue is a part of the discography of 12 rec., and Swift Music

Theodor Zox – Pastels 1-4 (2004)

Thinner

• Techno 
• Minimal techno 
• Tech-house 
• Deep house 
• Electro-house

Comment: this is so good...this is so good how these minimal techno, tech-house and electronic propulsions are up to change incessantly places with one another. Ultimately the whole chimes like a seamless mix for late hours on a Friday. You can see a formula behind it but the formula is set out to be susceptible to changes and abandon the presumed hard core. One can perceive exquisite vibrations which constitute the glue to hold all that stuff gently together. The issue is a bit of the discography of Thinner, the legendary imprint from Germany.

Jeff Bennett – Doubting Faces EP (2004)

Epsilonlab

• Tech-house 
• Club dance 
• Alternative dance 
• Deep house

Comment: I am sure it was a happy period of time in the beginning of the 00s when such labels as Epsilonlab, Thinner, Kahvi Collective, Autoplate, and Monotonik started off to develop a new, net label-based platform for the club oriented scene. For example, there is up Jeff Bennett with three compositions full of trance-y magic being conjured up by monotonous yet enchanting techno influenced beats in the vein of house music. Frequently the techno influenced vibe will be jettisoned for more deeper and nocturnal vibrations. It is far more than just a collection of tracks - it is the feeling, it is the mood. It is the superimposed quality of variegated beats and sublime softened synthesised chords and synergy pouring out of it. For me, it reminds of those times approximately 20 years ago when club music, especially deep house, and drum and bass were those styles which would influence me profoundly. Top tier, for sure. The issue was the first release in the discography of Montrèal-based imprint Epsilonlab.

Eli Las – A Planet Full Of Motels (2004)

Birdsong

Birdsong

• Indie folk 
• Lo-fi 
• DIY 
• Singer-songwriter 
• Improvised music
• Folk indie 
• New Weird Israel 
• Psychedelic 
• Alternative rock

Comment: I guess Eli Las' planet could be a nice place with good weather, intense sunshine and nice and naked women to meet with and populate the planet. As in the Bible it is said your duty is to multiply and to exist in masses. Eli Las' duty was to increase the discography of the Israeli imprint Birdsong. It is an interesting issue mirroring on the movement of the New Weird and DIY in the 00s. As much as my cerebral focus could remember for it was a very enthusiastic time with great hopes and an immense amount of solid music from artists' bedrooms. Then such great artists of a new generation as Animal Collective, and Ariel Pink started to appear through the underground music to build up a new narrative in the indie/alternative pop scene. By the way, the latter of them is Jewish. Eli Las sings in (new) Hebrew and in English and manipulates with different styles (including grunge, coldwave and shoegaze elements) and exploits more and less electr(on)ic instruments to create something psychedelically tickling and inferiorly abrasive. In a word, it is an enjoyable legacy for the passed time.