Hometaping -- The Summer Wreath EP (2006)

Earth Monkey Productions

Indietronica/IDM/Folktronica /Plinkerpop/Art pop/Toytronica

Hometaping'u 4-looline pärineb aastast, kui Itaalia tuli viimati jalgpallis maailmameistriks; muusikas võimutses uusveiderfolk ning lo-fi artistid hakkasid kasutama hästivarustatud stuudiote võimalusi. Muidugi oli olemas meinstriimmuusika, ent nagu alati -- seal oli kõike ja mitte midagi. Ehk peaasjalikult alates David Bowie'st -- see on olnud varastamise ja lahjendamise kultuur. Käesolev taies illustreerib üht transgressiivset tahku indimuusikas, mille suurkujud otsapidi olid Stereolab, Mouse On Mars, Cornelius, Lali Puna, The High Llamas ja Broadcast; teisalt seesuguse muusika otsesem epitsenter oli koondunud Ruhri piirkonda ning Morr Music-nimelise plaadifirma ümber. Elektrooniline indimuusika, mis võtab elemente nii intelligentsest tantsumuusikast, prügistest ja roostes rütmidest, algoritmistatud folkmuusikast ning naiivpuutega elektroonilisest tunnetusest. Kena ajaperiood oli. Kahtlemata nõnda see oli.

8.0 (7.5-8.5)

Turner of Wheels – Not Quite a Self-Portrait (2006)

 

No Type/Panospria

 

• Musique concréte 
• Ambient 
• Avant-electronica
• Organic electronica
  
• Acousmatic music 
• Abstract 
• Glitchtronica 
• Electronic music 
• Experimental electronica 
• Micronoise

 

Shane Turner on artist, kes üllitas suht vähe ning kelle loomingu põhiosa jääb kibemagusasse minevikku, st nullindate keskpaika. See oli lootusrikas ajastu, nii tehnoloogilise hüppe, kodussalvestamise tehnika kättesaadavuse ja muusikamaailma demokratiseerimise püüuga. Ka loodeti loomingulisele plahvatusele – see tuli (kui mõelda chillwave'ile ja witch house'ile). Shane Turner'i muusikas on veenvus ja jõud, ehk sellest tulenevalt koguni veenmisjõud. Igatahes siinkirjutaja tinistasid ära need rohkem või vähem boreaalsed helid 5-loolisel üllitisel, millele nullindate algul vahtralehemaalane Tim Hecker andis väga erilise tähenduse. See on krõbiseva jaheduse tungimine soojate tundmuste keskele, tundmuste murendamine, mille taamal loovad panoraami virmalised. Helklevad oleva ja olematu vahel. Olles ja mitte olles. Sel hetkel kui nad ilmnevad meile, ei pruugi neid (enam) olemas olla. Tuntakse seesugust fenomeni nagu paradoksaalne lahtiriietumine, kui külmasurma viimases staadiumis inimene hakkab end lahti riietama, kuna ta tunneb palavust. Äkki sellesse muusikasse ongi surmatung sisse kätketud, kuna tõeline ilu kui ideaalne seisund ei saa olla maapealne ilming viimasele omase muutuvuse ja hävimisega. Olla teisel pool hävimist tähendab (mitte) eksisteerida hävimise järgselt. Vähemalt mitte endisel kujul. See muusika on ühelt poolt kauge ja külm, ent ometi sisendab hinge piisaval hulgal soojust. See on miraaž, mille kui peegelduse taga võib (kuigi ei pruugi) olla fenomen. Ja keda see õigupoolest huvitakski. Oluline on näivus, see peegeldus sääl koopaseinal. Meistri kohalolu tunnetame intuitiivselt. 

 

9.0 (8.5-10)

D'incise – Anatheme EP (2006)

Far From Showbiz

• Glitchtronica 
• Experimental electronica 
• Micronoise 
• Spoken word 
• Post-classical 
• Microtechno 
• Electroacoustic 
• Avant-electronica 

Šveitsist pärit praeguseks hetkeks teeneka elektrooniku loomingu algusperioodi jääv album Poola plaadifirma Far From Showbiz all peegeldab kõike seda, millele ülalmainitud žanrimääratlused osutavad. Teisalt on need sildid meelevaldsed, osutamata täpsemalt artisti intensioonile luua kas uusi helisid või lihtsalt kokku pakkida juba olnut. Vahet tegelikult ei ole – ka see on meelevaldne eristus. Eriti tänapäeval, erinevalt sajandi tagusest olukorrast, kus elektrooniliste instrumentide loojad ja muusikud (tihti ühes isikus) juurdlesid selle üle, et kas luua midagi täiesti uut või kohaneda ümbritsevate tingimuste parema rakendamisega, oskusliku(ma) ära kasutamisega. Laurent Peter sumpab laias elektroonilise muusika spektris, otsides tasakaalupunkte krõbinate-prõginate, voogude ja rütmiliste pulseerimiste keskel. Peter'i muusika on monokroomne, eritades endast kõledaid valge- ja halliseguseid toone, millega ilmselt ei ole mõtet tulnukaid kosmosest tervitada. Võivad seda mõista vaenuliku žesti või inimliku nõrkuse ja haavatavuse märgina. Aeg-ajalt sugenevad klaveriakordid ja (prantsusekeelne) inimkõne, et kuulajale taas tuttavlikuga juured alla kasvatada. See õnnestub, nagu ka õnnestub luua kaasahaaravat stiihilist mikromüra – nõnda see tasakaalupunkt kasvatatakse. Kohati tekib mulje tehnomuusikast, ent klubides sellist ei mängita. Ja ei peagi – see on tantsimiseks liiga vaevarikas ja seitsmemõtteline. Ajaloolises plaanis on asi selgem – John Cage, Karlheinz Stockhausen, Pierre Schaeffer, Bernard Parmegiani, Autechre. 

8.5 (8.0-9.0)

Flatwave – AntiClimax (2006)

Umbrella Noize Collective

Mediafire

• Minimalism 
• Abstract 
• Non-music 
• Post-industrial 
• Avant-garde 
• Noise 
• Acousmatic music 
• Experimentalism
• Improvised noise 
• Psycho-acoustic 
• Power electronics 

Internetiplaadifirmade ehk netileibelitega juhtub aeg-ajalt, et pikalt ja vaevaga kokku kogutud teosed kaovad lihtsalt ühel päeval. Täna on ja homsest enam ei ole. Error404. Sama juhtus ka Umbrella Noize Collective-nimelise plaadifirmaga, mille all oli väljutatud palju vaimukat industriaal- ja müramuusikat. Tuli justkui konveierilt (sellest tuleneb termin "industriaalmuusika"). Näiteks Alan Couch'i album "AntiClimax". Naiivne võiks arvata, et pealkiri osutab rahunemisele; ent sisu avaldab survet kuulaja meeltele ja vaimule. Ja seda suurtel kiirustel ja mitmekaupa. Kuigi üllitis algab suurepäraselt sugereeriva minimalistliku kompositsiooniga, areneb see õige pea koperdavaks ja kaootiliseks mürakaemuseks. Kaemus, mis täidab kuulaja stiihiaga. Seda stiihiat on raske kaardistada, ja parem ongi. On see konkreetne või abstraktne – või läbisegi – see ei oma tähtsust. Ja just seetõttu omabki tähtsust ja tähendust. Kohati see kõlab kui metall-läikeliseks peitsitud Niagara joa kohin. Massiivne ja mõlke maha jättev. Kurdistav. Üks(ainuke) kanal, millest püüab kolme peaga lohe läbi tungida. Ja lõpuks ilmub kaosest võidukalt struktuur ja kord. Igati meeldiv, kui inimesed endas pesitsevaid neuroose suudavad kunstiteos(t)eks vormida – ilma vägivalla ja teistele kannatuste tekitamiseta.

8.5 (8.0-9.0)

INTERPRETACE – Noční lovec (2006/2018)

CS Industrial 1982-2010

 

• Experimentalism 
• Electro-acoustic 
• Acousmatic music 
• Industrial 
• Ambient 
• Avant-garde 
• Illbient 
• Psycho-acoustic

Kui rääkida infomahuka(ma)test stiilidest, siis industriaalmuusikast ei saa üle ega ümber. Miks peakski heast asjast üleüldse üle saama – võiks ju norida keeleteaduslikult. Ainuüksi artistid žanri piirides moodustavad omaette universumi (nt Zoviet France, Big City Orchestra). Üldisemalt konkreetsemale liikudes – konkreetsete albumite puhul võib nii kirjeldusliku kui narratiivse lähenemise puhul lõhki kirjutada. "Lõhki" on hea määrsõna, andmaks edasi industriaalmuusika kavatsust, peegeldust ja üldisemat mõtet. Inimene (looma)liigina on ängide ja meeleheite küüsis; selle küüsis, mis ligi neli sajandit tagasi manufaktuuride tekke ja sellest johtuva tööjaotuse ja võõrandumisega tekkis ja aegamööda süvenes. Lisaks kommunikatiivsele ja kirjelduslikule funktsioonile võib industriaalmuusikal olla ka teraapiline efekt – kujutan ette, kuidas indiviid on õhtu lõpuks kokku lapitud, haavapisteid, sinikaid-verevalumeid, arme ning täkkeid täis. Teiseks aspektiks on eksistentsiaalne äng ning teadmatusest ja poolikutest tõdedest tulenev pingeseisund. Näiteks radioaktiivsus kui füüsiline fenomen, mis looduses on kogu aeg eksisteerinud. Mitte ainult siis, kui on toimunud tuumaplahvatus – nagu paljud inimesed arvavad. Ioniseeriva kiirguse looduslik foon ümbritseb meid kogu aeg; on olemas teatud piirnormid, mille piirides radioaktiivset fooni ei peeta ohtlikuks. Teisalt on see ka ligikaudne-hinnanguline, kuna puuduvad rangelt otsesed tõendid konkreetse radioaktiivse näitaja ja mõnede haiguste (peamiselt onkohaigused) vahel. Mitmendast millisiivertist ja/või kui pika kiirguseksposotsiooni vältel algab aktualiseeriv piir? Kuidas hinnata ühe või mitme teguri olemasolu ja vastastikust mõju? Selge see, et tuleb võimalusel heaga eemale hoida. 

CS Industrial 1982-2010 on Tšehhi leibel, kes on teinud tänuväärset tööd taastamaks Tšehhi ja Slovaki industriaalmuusika kadunud pärandit. Tõsi, praeguseks hetkeks võib viimase numbri plaadifirma nimes kunati kaasajastada. Käesolev Boheemia nelik on olnud aktiivne neli kümnendit, kasutades peamiselt kitarre, lindiluupe ja raadiovastuvõtjat. Selle albumi nimi kõlab tõlkes kui öine jahimees, ning selle all peetakse silmas – üllatus, üllatus! – ioniseerivat kiirgust. See teema on neile südamelähedane – 1986. aastal üllitasid nad pärast Tšernobõli reaktori plahvatust vastavateemalise albumi (ka see on saadav käesoleva leibeli alt). Kiirgus kui salajane ja nähtamatu, kiirgus kui sõber ja vaenlane. Muusikaliselt on mõjus see kolmelooline – pelutavad industriaalsed kajad ja kahinad, mis liiguvad ruumiliselt ette- ja tahapoole; mida omakorda täiendavad peaasjalikult katedraalioreli sugereerivad akordid ja üksikult et mitte öelda juhuslikult soleerivad klaveriakordid. Aga ka muusikalis-terminoloogiliselt on palju määramatust – kas 2006. aastal salvestatud album on industriaalmuusika või juba postindustriaali valdkonda kuuluv? Kuidas ja mille põhjal seda määratleda? Kas viimatimainitud termin ei ole mitte sisult tühi ja seetõttu jamps? Kas mitte juba esimesed industriaalmuusika tegijad ei näidanud ära moe kui aja ja ruumi parameetritest sõltuva nähtuse vastast põlgust? See on eeldustele vaatamata paradoksaalselt rahustav ja esteetiliselt kosutav kuulamine, ning kindlasti naaseme selle viljaka kollektiivi teiste albumite manu varsti tagasi.

Jankenpopp – Candy Marx (2006)

Jankenpopp

• Electro pop 
• Breakcore 
• Experimental electro 
• Drill and bass 
• Electronic music 
• Breakbeat 
• Abstract electro 
• Chiptune 
• Bitpop 
• Crossover

Comment: it is one of the first issues by a French musician/activist and hacker, Jankenpopp being released in 2006, however, the artist's sound is thoroughly timeless because all the three temporal dimensions invented by us – the past, the present and the future – used to reflect on each other and through one another. Firstly, it is playful and puckish based on unstable yet mapped rhythmic structures full of galvanized electro, primitive video game-alike and rough breakbeat-induced paces. A best moment on it happens relatively in the beginning when these angular and loose cadences are backed up by a lofty deep house synth layer. Later on, cut-up vowel samples are added to the mix to make up a more personal experience. All those predispositions the artist does have taken from the club scene are transmitted through a tongue-in-cheek attitude (of course, there is an exquisite veiled criticism/and irony behind it). One compartment within the set of 9 notches consists of more buried endeavours as if searching for a silent corner to take a rest for a while. Just for a while for to keep going over the ragged mountains and seas of a tumultuous sonic universe. Given that is a short-running issue and on the other side it embraces a lot of information and reflections it can be admitted as an accelerated musical course. Very nice.

Karras – Fernen (2006)

EKO

• Electronic music 
• Experimental electronica  
• Organic electronica
• Post-rock 
• Glitchtronica 
• Ambient 
• Art music

Comment: Manrico Montero aka Karras aka Linga has issued a bunch of issues under such imprints as Mandorla, Rain, and EKO. Although the 7-notch outing came out from the latter French one and it had happened already 13 years ago while it is still actual due to its atmospheric beauty and fragile yet enchanting rhythmic structures and an adept synthesised touch between an organic feel and artsy succulent progressions. If you analyse it even more thoroughly you can see very austere sounds like glitches and hisses and distant echoes and fading reverberations coming out from the very bottom to be added to the whole mix. Furthermore, the Mexican artist is also not indifferent due to the dichotomy of noise and silence by providing immersive, sustainable pauses. If you wish it could be called a minor brother of Slowdive's Pygmalion (1995) or an alter ego of Tim Hecker's Haunt Me Haunt Me Do It Again (2001). Of course, it contains more electronics and less guitars than Pygmalion but its production and ideological level is analogous. Another branch of the thought is to recognise Pygmalion as one of the most seminal albums out of the 90s (which later on obviously influenced the music of such transgressive post-rock/ambient artists as Labradford, Transient Waves). The aforementioned excellent albums constitute a different approach to post-rock as it usually used to be – their crescendos are build upon on subdued, even obtuse progressions by shedding stepwise more light and adding scintillating elements with the intention to call forth epic impressions and stretch the dimensions of the soundscape in different directions. The apparent emotive apotheosis and majestic highlight of the issue is Dawn Chords (I) where a magniloquent ambient layer with the pointed motif is pushed through a backdrop of slightly fluttering crackling and swirling static. In temporal terms – approximately ten years ago such a kind of album were not tagged as post-rock or somehow related to it yet but now it seems to have clear-cut connotations with an experimental rock scene (one can draw parallels upon a historical event which also can be considered adequately from the distance). Such a sort of description and intention and thrive could be attributed to the music of Fernando Corona aka Murcof, allegedly the most well-known Mexican artist. In a word, an impressionistic top tier as if it were aurally painted somewhere in a remote Pacific island in the past.

VA – Soundtrack For Your Wedding (2006)

Aerotone

• Electronic music 
• Indietronica 
• Post-rock 
• Alternative 
• Ambient pop 
• Art pop 
• Post-rock 
• Plinkerpop 
• Chamber pop

Comment: these 60 minutes are something special from the past when indie music was tightly mingled with electronic music. Aerotone was a German imprint which had complemented the tradition being launched by such imprints as Monika Enterprise, Morr Music, and City Slang. There are up 14 songs by such artists as The Royal Horse Gala, 7oi, Leader, Mint, Gras, Renniac, Turnus, Cignol, Cloinc, Blisaed, Muhr, Planet Boelex, Ecoplan, and Aligning Minds. In a word, back then in 2006 such sort of music was a borderline indie example but today it is not anymore. Such sort of music can be considered a mainstream indie case. However, old cases like this one are more pleasant for me than new ones because most new ones could be evaluated in the future while having a decent time span behind. One should get a chance to separate out between a hype and a lasting virtue. By the recent miscellany it can be admitted this borderline case is truly transgressive (it is the tautological assumption, though!) by providing many intriguing yet full-fledged dodges within the whole. All in all, admit a solid present for this special day.

Nole Plastique – Sourire En Souriant (2006)

Nexsound

• Alternative 
• Indietronica 
• Post-rock 
• Organic electronica 
• Electronic music 
• Art pop 
• Glitchtronica 
• Lo-fi

Comment: this swarm of 12 tracks comes out of Kazan, Tatarstan, Russia and is released on a Ukraine-based record, Nexsound. Roman Kutnov's expressive blend of indie, glitched-out and cut-up electronic music and epic post-rock flickers may make your day already in the morning. Paradoxically it chimes in an organic, even rustic way as if depicting someone to trudge somewhere in the forest and being accompanied by extraterrestrial humanoids atop. A swarm of radio signals is worked off by a decent carpet of different sorts of plants, moss and lichen. Deus ex machina. Forests, seas and mountains are our one and the only cathedrals and all the artificial is inferior in comparison to it. These ambiances provide us the superior feel of having been interconnected with the whole. That`s it. That beauty in a very natural state.

Xedh ‎– El Extasis Y La Agonia De La Hormiga Electrica (2006)

Far From Showbiz

• Post-industrial 
• Experimentalism 
• Power electronics 
• Dark ambient 
• Illbient 
• Avant-garde 
• Electronic music 
• Noise 
• Glitchtronica

Comment: exactly 10 years ago on 24th of January 2009 I started with Recent Music Heroes by commenting on the Swedish artist leafes` In The Mountains Belly (Redstarcommunity). It has been a wonderful time and sort of music which has been produced by Miguel A. García aka Xedh has been one of the main fares over there. Both by its concept and music threads it is something very suitable to my personal preferences. It is a sublime shadow play between silence and noise, between caressing and powerful propulsion, however, having always had an ominous posture and enchanting tension within the sound due to building up slowly by using dodges into illbient and glitched-out music. It embodies me the nature of our life on Earth that all used to change, all used to disappear, all used to die, and then, all used to born again. During the aforementioned span of 10 years the innumerable bunch of people has passed away, a lot of arts has been created, a lot of shit has been produced, a lot of imprints has been disappeared and born again. This mind-blowing 3-track issue is a part of the discography of Polish imprint Far From Showbiz.

The Walcker Crew – Emergency Exits (2006)

Free Sample Zone

• Sampledelic 
• Alternative dance 
• Electronic pop 
• Funk 
• Breaks 
• Plunderphonics 
• Dada music

Comment: yeah, this album is strongly recommended to play by emergency cases like airplane crash, hijacking etc. Hopefully the download rate at Archive.org does not correlate with actual incidents though. On the other side, it is fun to imagine while being hijacked by someone you would tell him/her please let me listen to this set. Of course, it could probably water down the perpetrators or...make them even more angry. Similarly to Chenard Walcker's solo efforts it is a dynamic, dance-induced mix of funk, psychedelia, dada music, world fusion. Having no idea is it either an extended team or just another individual embodiment by Chenard Walcker, but it is of a secondary importance though. However, I could identify Chenard Walcker with the protagonist in HP Lovecraft's classy tale The Music of Erich Zann because the French samplecore juggernaut communicates other artists' oeuvre and souls into a thick, hellish groove. Furthermore, it is even more relevant with regard to the intention of this album. All in all, his music used to fascinate and it is the most important thing indeed.

Samarah – Robots Smile Too (2006)

Nishi

No Type/Panospria

• Indietronica 
• Electro-indie 
• Alternative 
• Electronic music 
• DIY 
• Lo-fi 
• Dream pop 
• Minimal electro 
• Electro pop

Comment: what is that? Is it a reaction to electroclash music having been so prevalent in the beginning of the 00s? On the other side, it could be admitted to be a subdued and strongly decelerated version of Ladytron. Samarah provides a remarkably more lo-fi, primitive and minimal counterpoint to it. It is just the truth in a half measure. The listener can hear progressions toward the aesthetic of dream pop. Or are the progressions instead of it something reflecting upon the more immersive and ghastly trajectories by Throbbing Gristle? The truth is obviously somewhere out there. The issue is a part of the discography of Nishi, No Type, and Panospria, a quite weird and important angle from Canada within the netlabel/webaudio world. Indeed, robots smile too but the question is whether the smile is human-friendly or not?

Reomini – Whitetrash Weekend (2006)

Midinette

• Breakcore 
• Digital hardcore 
• Electronic music 
• Alternative 
• Jungle 
• Primitive music

Comment: this batch of 6 short-running compositions is an intensified blend of rough, lo-fi tinged rhythmic patterns and tight electronic oscillations and overloaded effects and neurotic syncopations within the pace. Yet it does not seem to be a lo-fi release eventually because the lo-fi approach is not here by natural causes but rather as an instrumental mean to bring deliberately forth something unconventional to the brink. At times those cadences are truly primitive kind of (at Geniokabchihoca, for example). You can imagine it as a universe which consists of incoming sounds from parallel universes at the same time, at times one of them is alternately being switched off and on. The joyful issue is a part of the discography of Midinette Records.

C-sium – Daze Loft EP (2006)

Midinette
Midinette

• Electronic pop 
• Breakbeat 
• Alternative dance 
• Electro pop 
• Acid electro 
• Breaks

Comment: I guess this handful of tracks could live up to one's expectations. Given that one likes music based on electro and lysergic based electronic formulas. It starts off with two catchy electro-based propulsions as if it were stemmed from drone music being disturbed by the discontinuity and shortness of the signal beneath it. Indeed, it starts off to last for a second and then fade away. And then embarks on the process again. In fact, the two ending compositions follow the same route though Lazy M is based on the gentle breakbeat rhythm. The only exception is a track called Kyzza chiming a bit in Arthur Russell-alike way. New Age-y flute whiffs are intertwined with naturalistic drum shuffles and vague electronic touches atop. This solid issue is a part of the discography of Midinette Records.

Andy Kirk – I Used To Dance, Now I Romance (2006)

Earth Monkey Productions

• IDM 
• Electronic music 
• Alternative 
• Toytronica 
• Glitchtronica 
• Experimental electronica 
• Downtempo 
• Epic

Comment: undoubtedly it is a fabulous 8-notch ghost from the past from the mid-00s when electronic underground music was still set up in the way to stand against the mainstream pop. There were up axial record labels like Mille Plateaux and Morr Music of which purpose was to disseminate IDM and glitched-out music and they succeeded in that. This album can be considered the magnum opus by Andy Kirk, because one could not find out other issues by the artist. The result is mind-blowing, catchy and just beautiful and thereof it used to evoke those cute memories which had existed 10-15 years ago while I was listening to artists who used to dwell between electronica, indie and glitchy beats. Furthermore, it reminds of advertising flashes at night while blinking and casting the light and neon shadows around and upon you. At times Andy Kirk's music sounds a bit infantile though it is obviously an affirmative moment by showing up the artist's ability to laugh at himself and drift more loosely in disparate ways. The issue contains a bunch of tracks which would throne the pop charts in an ideal world. Indeed, I like the kind of idealism which is presented in the artist's music. In fact, it is quite weird to experience such sort of a feeling as if you are foretold the future while you are listening to an issue from the past. The more you listen to it the more it opens up new angles and dimensions, at times one can feel it quite unfathomable. In a word, it is a mandatory listening for anyone who considers himself/herself to be a music fan. The issue is a part of the discography of Earth Monkey Productions.

Vernon LeNoir – Balkan Spezialitaeten (2006)

WM Recordings

• Sampledelic 
• Electronic music 
• World music 
• Alternative 
• Conceptual
• Plunderphonics 
• Sound collage 
• Avant-garde

Comment: these 20 minutes are as diversified and manifold as the chart of the Balkan peninsula used to be in front of our eyes at the globe. Indeed, in English the word "balkanization" refers to something hostile and excessively divided. In the context of this issue the meaning of the word would be exploited positively. It is based on samples being either adjusted with each other or superimposed upon. Musically it contains mainly the vivid rhythms of Gypsy music though one can hear Slavic languages and hints at them either. Indeed, the outing is not arbitrarily lopsided. There are also represented spoken word snippets in English and...ABBA additionally. Those light-hearted upper layers and predominant motifs are backed up by thudding basses beneath. In a nutshell, the artist gets right to create a carnival-alike milieu throughout the course. By kindred souls it reminds me of a little bit Russian projects Messer Chups, and Messer Für Frau Müller by its exuberant madness. By artistic side the inspiration for LeNoir were the poetry of Igor Dithyrambescu and the surreal interpretations of Tizian paintings by Anushka Hamedalidbegovic. The issue is a part of the discography of WM Recordings.

MPHM – Stunted Time (2006)

Abyssa

• Industrial music 
• Avant-garde 
• Post-industrial
• Alternative 
• Experimentalism 
• Electro-acoustic 
• Psycho-acoustic 
• Dark ambient 
• Illbient

Comment: in other words, “stunted” does mean inferior inferior in size and quality. However, it is quite puzzling to imagine temporal moments to be somehow inferior in size. In fact, I guess it does not mean nothing at all. On the other hand, temporal spans could be inferior in quality it is thoroughly viable. I guess one of the artist`s purposes was to have possibility to step back on the occasion. On the other side, maybe the artist`s goal was inclined to have a spot on sounds of lower quality and therefore the title could reflect inferior impulses upon your precise listening times. In fact, it is a span of quality time as it used to be with many industrial issues before it. Just everyone is aware of the fact the embodiment of industrial music embraces topics being provoking, irritating, and even disgusting to a “normal”, average human being. Its cultural heritage is a collection of murky and desolate shards being mixed up into something ennobling even if it might be horrendous, cheerless, morbid and perverted. By listening to this set of compositions it is rounded out by ill-omened orchestrations and sombre droning, morbid drumming being either based on lone gongs or programmed smouldering rhythms, outright desperate vocals and cut-up sonification, challenging electro-acoustic meddling and zombie-alike shit in general. At times one could perceive an interface to be set up between blackened ambient, Teutonic Klingklang approach and sultry rhythmic alchemy. Do not afraid of it while being the subject to such approaches and sounds because it is especially intriguing to listen to it after a day’s hard work. Furthermore, if you are looking at such composition as Slumber Machinery your soul is going to bleed presumably because of being touched so poignantly and painfully. Of course, the situation is getting worse if it evokes adverse flashbacks from your memory. Undoubtedly it does have potential to do it. In a word, the result is outstanding both by scratching one`s strings in deep of his/her soul because of being outstanding by the formal and substantial side. The outing is a bit in the discography of excellent French imprint Abyssa (its active years had passed during the 00s).

External World - External World (2006)

Cozy Home

• Improvised music
• New Weird Britain
• Free folk
• Dada music
• Freeformfreakout
• Anti-folk
• Experimentalism
• Primitive music
• Weird folk
• Avant-garde
• Psychedelic

Comment: it is not the first and apparently will not be the last entry of a combo related to such labels as Cozy Home Records, Daydream Generation, and Quixodelic Records. All the three can be considered as staples within the realm of home recorded ingenious music which frequently tend to stay beyond definitive stylistic terms. External World is the duo of Judy Shimmin and Rob Levy whose 15-notch issue is released from conventional pop music threads of utmost extent. I guess someone might think it is negative album on account of just wanting purposefully to counteract to the mainstream music. Such sort of statement would be probably wrong because the result is somehow cohesive and convincing despite of providing a shitloads of wired progressions and wild turns and frantic dodges. More concretely, it involves tickled dialogues in words, mind-boggling interactions between guitar playing, trance-y ethnic drumming and amusing synchronised vocal deliveries pouring out of both channels simultaneously. And all of these elements seem to be surfaced at ease. The starting point is not important here as it is not the ending spot either – between the listener could discern much free energy and delight of cooperation coming out of those relatively short-running pieces. The more you listen to it the more you could behold folk-based structure behind it. Firstly one might discern chaos fuelled fractals which then stepwise begin to disappear to hold place for more “logical” indications. In fact, the aforementioned improvised pieces and lovely freakouts do variegate with emotively and aesthetically restrained guitar twangs (Early Hours) or one could enjoy calm moments where the birds are singing, cicadas are chirping, some leaves fall spirally down accompanied by faint drumming. It sounds like a nice afternoon on Sunday somewhere in the backyard. By lyrical side, it is similarly imaginative and freely tripping as the sonic concept (for instance, We Must Go). In a word, listen to it to get permitted to enter into a difference making portal.

Leksha – Mark EP (2006)

Nishi

• Glitch-hop
• Experimental techno
• Glitch-techno
• Glitch-electro
• Abstract
• Avant-electro

Comment: Leksha`s 4-track issue is a nervous yet sublime issue on its own. First of all, it is a convulsive trudge through heavy glitched-out rhythms and minimally designed noise laden frequencies thereby making up an idiosyncratic experience eventually. At times buzzing synth induced drones used to get magnified and amplified in a spastic yet charming way (nmttm). The backbones of the pieces are not steady at all as if a substance represented over there having no restful, relaxing aspect on its own. By the way, by listening to the issue I recommend to watch the cover print of the issue which is a movable GIF file of creating psychedelic, dizzy feeling. . In a nutshell, the more I listen to it the more I think it is a classic one. Fascinating shit indeed.

Math - Nature EP (2006)

Poni Republic

Bandcamp

/Indietronica, Lo-fi, DIY, Electronic pop, Singer-songwriter, Folktronica, Alternative/

Comment: Math is the project of Kevin Steinhauser whose 7-track issue is an amusing travel through a spectre of diverse sounds, naïve aesthetic and a huge amount of fantasy. It is filled with the laugh both in a direct and indirect sense. The issue had been produced in the mid of the 00s when such sort of music was quite ubiquitous to be issued for the listeners. More profoundly, electronic propulsions and digital hisses and concrete music noises are mixed up with the twangs of folkloric instruments (mandolin) and glockenspiel chords, however, all of that it subjected to the DIY/lo-fi aesthetic. You can be sure many bands worldwide were then greatly influenced by the positive energy of Animal Collective. It is nice music from the Providence, Rhode Island, USA being issued under the then-Hugo Chavez ruled Venezuela based label Poni Republic. The point is that a cultural bridge is much easier to create for than doing it though political/diplomatic channels.