AnalogNoiseMaster The Aural Enthusiast (Parafago)

AnalogNoiseMaster`s aesthetics and ideology seems overtly to hark back to those days when full-electronic scoped krautrockers kicked off proceedings on repetitive sonic patterns and developments of their inner spaces in the mid of 70`s, for instance, if to come over to the workouts by Conrad Schnitzler and Cluster. The 9-track set is relied mainly upon propulsive and abrasive sounds, sometimes lopsided by having subtle swayings from one channel to another or sheer proto-industrial/old school industrial music alchemical experiments or producing slightly dream-alike fabric layers above those hard cored lookouts. Beside krautrock it can be considered minimal music as well, more detailly, if to consider the austere supplements of analogue/modular synth-based whimsical chords and overthrows. At times it will be exploded into noise-infused rhythms and brown noise-backed examples (noise techno?!). For sure, the ANM`s recent brainchild is ebullient, playful, and fruitful, all in all, full of aural fun. Check it out the other issues under Parafago Records as well, however, this Italian label has developed into one of the most solid experimental music records nowadays already.

Listen to it here

9.5

[Artists] EDASI

Artishok
History of misery
Myspace
Lastfm

[Artists] Mohave Triangles

Mohave Triangles/Bandcamp
Digitalis Limited Editions
Myspace
Lastfm

[Artists] GuMMy†Be▲R!

Tundra Dubs/Bandcamp
Soundcloud
Lastfm

[Artists] No Pavarotti

KLaNGundKRaCH
Bandcamp
Lastfm

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

[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.

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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

[Artists] Wyrm

Wyrm/Bandcamp
Lastfm

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

[Artists] Candle Light

Candle Light/Bandcamp
Lastfm

TakeMeToTheMorgue! Oblivion EP (Torn Flesh)

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

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

Listen to it here

8.5

genus inkasso with interests and penalty (True Call)

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

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

Listen to it here

8.4

Steven Porter Vacu Sessions 3 (Vacu Sessions)

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

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

Listen to it here

9.2

Park Bench Trauma Nix (Paragrafo)

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

Listen to it here

8.4

Cagey House Major Monk (Black Square)

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

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

Listen to it here

9.5

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

[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

[Old but important] Replicast The Wallstreet Compound (Obliq/Cryptophonics)

Replicast, Colorado-based octet`s (one of the persons behind it is Eric Allen, also known as a member of The Apples In Stereo) sophomore album, being released in the end of the previous year, reveals the next steps after the debut album Replicast-X. The follow-up, consisting of 9 tracks is full of mixed music (recorded in live and made without overdubs), i.e krautrock-esque hazy jams (remembering CAN`s early period loosely-leaded session sonority), tingling guitar glides, meditative rhythm sections, extending guitar riffs, eager experimentations with drum kits, and all of it is hardwired to a caustic soup of psychedelic Oberheim synthesizers. In a nutshell, this is a huge improvisation set, except Radio Nippon sounding like a tribute to Sonic Youth, though. The whole is mostly instrumental, hovering between outer space and earth, spinning up a lot of every kind of dust on variable sonic elements. No doubt, it may at times be seem as a bit inbalanced or swaying plateau, however, not because of being somehow imperfect, instead of it rather searching for new sonic possibilities through dense interplay of certain instruments, thereafter changing them and finding out for new combinations with others.

Listen to it here