A Series Of Dark Caves - Streetlights (2009)

Rack & Ruin

Lastfm

• Lo-fi
• DIY
• Indie folk
• Singer-songwriter
• Psychedelic
• Folk indie
• Organcore
• Drone pop
• Indietronica
• Electronic pop
• Alternative rock
• Indie pop
• Noise pop

Outstanding tracks:

Beginnings

Couches/Beds

Painting By Numbers

Attributes

Billy Say - The Canard Illusion (2008)

Rack And Ruin

Lastfm

• Experimentalism
• Experimental electronica
• Avant-garde
• Primitronica
• Acousmatics
• Electro-acoustic
• Ambient noise
• Microtonal
• Lo-fi
• DIY

Outstanding tracks:
Submarine Races
Overturntables
Instruct into the Light
 

Chimney Fish - Tribal Lace (2009)

Rack & Ruin

8.8

/Ethereal pop, Minimalism, Post pop, Avant-pop, Dream pop/

Comment: Chimney Fish is the one-woman-project of Annie Culver  whose album Tribal Lace used to rotate around fragile "singing" which in fact is subjected to vowel effects surrounded with thick hiss carcasses, however, chiming like a tribute issue to the sirens, who in imagery used to be mystical creatures with seductive singing. Suggestive and otherworldly. By thinking of kindred souls there can be drawn parallels upon the likes of Elisabeth Fraser, Iron Like Nylon, Niobe, Meredith Monk, H Stewart.   

*** - Soul Tide (2008)

Rack & Ruin

9.3

/Alt-folk, Indie folk, New Weird America, Experimental folk, Folk indie, Psychedelic folk/ 

Comment: *** was a combo from Michigan, USA who had composed subtle alt-folk music in the end of the 00s. This issue was their sole effort under this name including 11 tracks full of chiming, soulful harmonies, fanciful vocal endeavours and intriguing, electronically shaped instrument-based voyages. Thereby the album searches for the balanced, organic shift between the old tradition of Americana and more contemporary moulds regading the New Weird America movement. At first the trio (Chad Golda, Dylan Rogers, Mike McConeghy) was being known as Ringo Star, though, ultimately they changed their name to starstarstar, however, issuing an album called Electric Goose and The Nylon Moose, one of the hidden gems of the 00s. In addition to it, I recommend to listen to Chad Golda`s solo efforts. These ones are really worth to give them a try.       

Keep away from heat... - des notes de clementines (2008)

Rack & Ruin

9.0

/Post-rock, Crossover, Electronic pop, Electro-indie, Alternative, Experimental pop/

Comment: Predrag Nedic is a Belgrade, Serbia-based recording artist better known as pndc and member of the former electro-ambient duo Erogenius. Here are represented 3 tracks walking on the borders of post-rock-ish scaffolds and pulsating electronic indie-esque sultriness, thus showcasing its remarkable pop potential and appealing power. By any means, it is a very interesting issue. However, let`s continue discovering the gems under now defunct Rack & Ruin records.

Rob Bridgett - Arkhives (2008)

Rack & Ruin

9.3

/IDM, Experimental electronica, Dubstep, Ambient, Jungle, Experimental, Breakbeat, Epic, Ambient dub/

Comment: behind this project is Rob Bridgett, a Canadian based composer and sound director. Here are represented 13 diverse tracks veering from lofty ambient dub and epic dark-hued steps to intellectual dance music to rattling, thudding breakbeats to bewitching jungle maze. On the other side, Black Lodge sounds like drone/weird folk-alike appearance. Such sort of music does have as similar relation to the rhythms of club dance as post-rock-ish energy used to have a spot upon the adult oriented rock music. This issue belongs to such sort of releases yet waiting its time to be glorified decorously in the future.

kirameki - exercises in style (2009)

Rack & Ruin

8.6

/Sampledelica, Sound collage, Experimentalism, Samplecore, Weird pop, Avant-garde/

Comment: Rack And Ruin was a shrewd label enriching the DIY-based musical scene from 2008 to 2010. By headed up by Dean Birkett, the label issued the kinds of idiosyncratic sound veering from anti-folk and the New Weird America to lo-fi indie and sampledelica, from primitive electronica and sound-art conceptions to dizzy conceptions of psych-rock and of-kilter psychedelia and much more else. Dylan Ettinger, starstarstar, Hungry Owl, Dublin Duck Dispensary, Testicular Manslaughter and many others were parts of the R & R`s roster. However, this album is a confronting act between the domestic Japanese artist _ and The British artist *. As the album title suggests, this case is compiled of sampling parts just following to each other. The most important characteristic is that between a loads of aspects can be perceived for refreshing synergy played astutely out, obviously thanks to different kind of elements snatched from metal music, chamber music, film scores, urban futurism. Heavily pounding rhythmic vistas are variegated with more subtle downbeat paces, industrial and electro-based motorik electronics, ordinary classical music snippets, suggestively vibrating harmonies and all of that mostly wrapped up in the sort of stealthy ambience.

The Stars Ovation - here in the stillness, despite everything (2010)

Rack & Ruin

7.7

/Modern classical, Classical, Ambient, Piano music, Dark pop, Neoclassical/

Comment: Lonely piano chords-dictated music with some dark-hued backdrops and synth orchestrations which evokes melancholic moods in a good manner at times. No doubt, if you are a hard-nosed fan of (modern) classical music, however, you should listen to this one. Interesting chord patterns are conjured up from there and fringed by lots of space.

Local Living Guy - Michael Foot (2010)

Rack & Ruin

8.2

/Post-punk, Punk rock, Alternative rock/

M Coffier - M Coffier (2010)

Rack & Ruin

8.5

/Alt-folk, Art-folk, Experimental rock, Post-rock, Cowbell indie/

Chad Golda Book of Songs [Volume One] (2010)

Rack & Ruin

10/7

/Experimental folk, Psych-folk, Indie folk, Folk indie, Alt-folk, Singer-songwriter, New Weird America/

Vlantis Urotanki (Rack & Ruin)

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

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

Listen to it here

9.0

[Old but important] Dog Bite The Yellow Springs EP (Rack & Ruin)

There was the year 2008, and two EP`s (The Owls And Eyes; The Yellow Springs) were released by Phil Jones aka Dog Bite from Atlanta, Georgia, USA. The first named issue was combined through lo-fi approach with looped samples of voice and strumming guitar chords holding up the subtle layering in that way. In principle, on The Yellow Spring, a 5-track issue, Jones proceeded the same act, yet excellently completed it, on the other way, having made difference as well by adding some new corners and flanks - tanpura drone sounds in the kick-off track Black Tie, and world music/tribal music-inflected Nameless Names. Aside the guitar strummings and fluctuant vocal layers as the main elements of EP`s sonic backbone it is fringed by suggestive electronics and effects. No doubt, though this EP was recorded and completed in the wake of Panda Bear`s Person Pitch being published approximately 18 months earlier, the release has its very own dynamic, touch and value. In a word, let`s make the distinction between those records, thereby giving a chance for you and this so far overlooked pearl of New Weird America/New Americana.

Listen to it here

Cody England The Monotony Monopoly (Rack & Ruin)

First off, the description "Cody England from USA" met at the record site sounds very amusing way, isn`t? By this way, I can remember for that Dallas, the Estonian indie frontband by 90`s was also made fun of it the same way at times ("Dallas from Tallinn"). However, the Arkansas-based musician is described as "a part-time assistant librarian and a full time creative", which actually says much about his dedication to the creating process. He made his debut this year, having released two issues to date. The debut The Metal Band from Hamburger Land (an apparent reference to his previous employment) showcased his adoreness toward minimal songwriting approach with deeply lovelorn lyrics and taking on some bittersweet arrivings at memories. Yet, the conception of his opening album was a bit too fragile and loose, where the parts of it were set apart from each other, sounding sometimes as a set of the Christmas songs for the lo-fi crowd.

No doubt, the sophomore one is much better evolved into the impressive output, though, based upon the same instrumentation as the previous time. His music is played up with cheap yet magnificient effect-drenched Casio synths (I have at home an example of the first series, namely Casio Tonebank SA-1 bought for 300 EEK/ca 25 USD and being properly worked out during the last 10 years), and home organ GEM H-400 as well. His warm, dream-alike voice does make up lots of great resonances with mild organ drones and programmings on the slow-paced/middle-paced/fast-paced mode. Being sometimes serious, sometimes sad, and sometimes funny the only "weakness" is a fact the record is too short (5 tracks within circa 10 minutes). Searching for soul mates Cody England`s approach can be compared to the aesthetics of his home label Rack & Ruin the first place, though, which generalized sonority has lots of common roots with the bedroom music pioneering by The Russian Futurists and keyboard-drones-based-austereness-drowned-into-harmonies of Beach House as well. A strong workout, indeed.

Listen to it here

9.1

[Artists] Cody England

Cody England/Bandcamp
Rack& Ruin Records
Myspace
Lastfm

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

Teacups - Songs about Yarn (Rack & Ruin)

Rack & Ruin Records on kahtlemata üks neist plaadifirmadest, mis suudab kuulajat üpris tihti rabada. Teacup`i 16-looline reliis kätkeb eneses huvitavaid suundumusi - ühelt poolt on see sugulane hingeülendavale kammerpopile a la Beirut, Sufjan Stevens ja Bark Cat Bark, teisalt ka selle kaaneümbrise stiil ei juhata melomaani valele teele - siin on 8-bit/chiptune`i naivistlikku ja primitiivkõlalist kulgemist. Tõepoolest, kõige muu kõrval on ka kasutatud Nintendo mängukonsoole SNES ja N64. Üks kiht orkestreeritud viiulikätkeid on jäetud põhjale luupima, teistes kihtides on modifitseeritud oktaave, hoolitsetud sedaviisi motiivide ja temaatilise arengu paisutamise eest. Kuigi träkid on reeglina lühikesed, moodustavad need koherentse terviku. Samuti on muusika instrumentaalne, v.a ühe erandiga. Knitting for your Resume (SNES) on kaunis indie-number, mis võiks vabalt aasta poplugude edetabelis figureerida. Ka oleks patt jätta märkimata albumi keskne ning pikim rada Songs About Yarn in B-flat, mis kandub edasi filmimuusikaliku kerguse ja muretusega. Kuigi projekti vedav Richie mainib korra ka KKHS Symphonic Band`i, näib see siiski fiktiivne üksus olevat - mille kaudu oma sümfoonilisi-orkestraalseid ambitsioone "õigustada". Hoolimata erinevatest ning pealtnäha sobimatutest tahkudest resoneerub üllitis õmblusjälgedeta tervikuks. Väga väärt kuulamine igatahes - nii kvaliteedilt kui eripäralt.

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9.4

[Kogumik] Various Artists - Season of the Sun (Rack & Ruin)

Inglismanni Dean Birkett`i kureeritud Rack & Ruin on leibel, mis annab peavarju pöörasele lo-fi muusikale, mille nime esimene pool on kahe aasta vältel tunnusmärgitsenud alternatiivpoppi-indie`t ning teine pool eksperimentaalset, kohati suisa irriteerivat elektroonikat. Tõsi, nimetet kogumik - mis on pühendatud käesolevale suvele - ei järgi niivõrd teravalt seda eristust võrdluses mõne varasema eelkäijaga. Mõnes mõttes on see ka paratamatu, kuivõrd elektroonika on ajapikku segunenud traadimuusikaga ning ka vastupidi. (Nimetagem seda poptroonikaks). Ennekõike väljendub nimetet tendents artistide puhul nagu Western Homes, T Bear ning Hipster Youth. Vincent Lillis jätkab tavapärast peitusemängu varjude ning folgiga, Woodland Heights teeb silma hoogsa kidrapopiga, kompilatsiooni koostaja Chad Golda pakub omalt poolt elektrist särisevat elektroonikat. Kogumik pakub loomulikult ka üllatusi - Frost Faire`i - mis on siin esindatud surf pop-liuglemisega - ninamees Brad Fielder, kes eelmisel aastal sai maha meisterliku alternatiivfolgi albumiga, pakub brass rock`i ja hip-hop`i hübriidi; auger shell pakub sulnist unenäopopi ja kingapõrnitsemise segu - kuulajana tahaksin isegi volüümi juurde keerata; kogumiku pikima - 14-minutilise - träki eest hoolitseb Dave Menzo, kes segab üheks psühhedeeliat, lo-fi`d ning abrasiivset elektroonikat-efekte, hoolitsedes seekord märksõna "Ruin" eest. 11-looline kogumik on tõepoolest väärtasi, iseasi muidugi, kas see just päikeselõõsas kuulamiseks mõeldud oli; kuid mõnusalt jahedasse ning vihmaootel augustiõhtusse sobib küll suurepäraselt.

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Chad Golda - [FASTER THAN BECOMING THE PAST - TASTING YOUR OWN TEMPERATURE (Rack & Ruin)

Tuleb märkida, et Chad Golda sooloalbumid on allutatud rohkem eksperimentidele kui ansamblid, mille koosseisu on ta kuulunud (Ringo Star; starstarstar). Kuid määrad teatavasti ei determineeri muusika kvaliteeti, selle headust või keskpära (ning ootan pikisilmi starstarstar`i teist üllitist, järge nende suurepärasele debüüdile "Electric Goose and the Nylon Moose"). Ameeriklase personaalsed otsingud on üha süvenenud, leides pidepunkte psühhfolgist ja (obskuursest) elektroonikast, moodustades helide kombinatsioone, mida siinkirjutaja suvatseb nimetada modaalfolgiks - muusikaks, mis opereerib folgi võimalikkustega, mis kokkuvõttes läheb kaugemale New Weird America-liikumise keskmest.

"FASTER THAN BECOMING THE PAST TASTING YOUR OWN TEMPERATURE" on Golda kolmas sooloalbum ning esimene duubelalbum. Album väärib osadesse jagamist, kuivõrd stilistiline erinevus tekitab selge veelahkme. Esimene pool koosneb akustilistest numbritest, mille kohta tuleb märkida, et Golda ei ole eales kõlanud nii akustiliselt, unistuslikult ning lihtsalt. "Lihtsus" on loomulikult tinglik määratlus, kuivõrd ka konkreetsed pisimuutused helikeeles omavad tektoonilist mõju. Muljetavaldavalt sugereerivad numbrid, mis kinnistavad ameeriklase staatust meisterliku singer-songwriter`ina, lähenedes arvatavasti enim Nick Drake`i loomingule.

Teine osa koosneb elektroonilise muusika (selle puhul tahaks tõesti vältida mõistet "elektroonika") ja kammermuusika seosest. Ka pealkirjad vihjavad üheselt sellele - põhirõhk on tšellodel (ning selle süitidel). Kontseptualism, mille minimalistlik, altkulmu põrnitsev elektrooniline mikrotonaalsus paneb ajukeemia pulbitsema. Tšellode tumemeelsus omandab uusi vorme, kulmineerudes (müra)orkestreeringutena. Ei imestaks, kui jänki järgmine üllitis sõuab juba modernklassika sõiduvees, kuivõrd neid elemente on ka käesoleval kuulda.

Esimese osa eest 10, teise poole eest 10. Meistriteos.

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10.0

[Vana ning oluline] Witchporn Witchporn (Rack & Ruin)

Mäletan, et The Jesus & Mary Chain`i albumil "Munki" (1998) olid lood I Love Rock`n`Roll ning I Hate Rock`n`Roll. Witchporn`i 14-loolist üllitist nautides tuleb samuti vihkamine ja armastus traadimuusika vastu samaaegselt esile. Siin on destruktiivset mürarokki, trash´i ja brutal´it, kus verbaalne pasandamine läheneb kohati goregrind`i meeltesegasusele, kus trummeldamise intensiivsus on piire ületamas ning robustselt kammiv massiivne bass on helistruktuure armutult kõigutamas. Tõele au andes üks õige rokimees peabki rokki vihkama, mitte pasundama sellest, kui väga ta seda armastab ning muud (tantsumuusikat?) vihkab. Kes on (mässav) rokkar/ja kes on poppar - kas näiteks Bobby Gillespie või Jacob Cream? Esimene variant kehtib ka floridalase Taylor Ross`i kohta, varem tuntud sooloprojektidest America Del Sur ning Picayunes ning hiljem kolmandikuna kohalikust kombost Chappaquiddick (kellel nädalpäevad tagasi ilmus debüütalbum). See on mässav noorsugu, olles seejuures konstruktiivne, jättes maha jäljed, et nendesse oleks hiljem taas võimalik astuda. Neo-underground, mis defineerib endid muuseas kassettikultuuri taaselustamisega (nagu 80ndatel). Oleks see established rock, st haibi l(r)ambivalguses sirguv, oleks ajakirjandus Ross`i ees pikali. Sugulastest meenuvad Sonic Youth, Times New Viking, Wavves, The Moon Runners ning mõnes kohas ka The Fall. Samuti tõestab jacksonvillelane, et rock`n´roll`i juured peituvad mustade kultuuris - blues`i varjud on üllitise lahutamatu osa. Ka on siin psühhedeeliat - siinkirjutaja lemmikträkk ongi sitaks heade primisüntide kiikumiste ning muretu kidrakäiguga Northern Town. A real killer.

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