5/18/2012
Gene Rodemich Orch - Shanghai Shuffle (1924)
10.0
/Big band, Jazz, Mood music, Exotica pop/
Comment: Gene Rodemich (1890-1934) was a pianist and conductor from St Louis, Missouri, USA who had accomplished scores for numerous films (for Charlie Chaplin, and Frank Buck`s ones) and introduced many NBC programmes. Shanghai Shuffle is a composition to function as an example of the sequence of amusing big band-played chords embellished with more exotic seeds and shades. It is funny, pleasant, and masterfully composed. Indeed, let`s take a trip into history.
Interlard - Gland (2011)
9.3
/Noise rock, Harsh noise, Experimental rock, Crust punk, Avant-rock, Non-music, Screamo, Goregrind/
Comment: Interlard, the Birmingham, UK-based musical project is undoubtedly one of the most extreme collectives in Europe. Over years they have practiced grind-ish, soil-eating noise rock (gore metal) which is full of flourishing power and suggestive impetus/ultra heavy thudding or just being more inflected toward instances of unambiguous harsh noise. More concretely, the ensemble can be compared with the likes of Black Dice, Black Pus, and The Lightning Bolt. Gland includes 4 tracks (or, say, foreign bodies by their contrasts to the whole of pop music) which are deliberately slow-paced, suggestively repetitive ones which at times are accompanied by desperate shouts (Put to Sleep) or used to swivel around an example of grained harsh noise (Doubloons Aren`t Round).
Vèvè Seashore - Seven Years of Gulliver (2011)
9.2
/Post-psychedelic electronica, Avant-folk, Indie folk, Neofolk, Psychedelic folk, Folk indie, New Weird Europe, Experimental folk, Alt-folk, Krautrock, Dark folk, Anti-folk/
Comment: Seven Years of Gulliver is the debut album of the Finnish avant-combo Vèvè Seashore. This 15-track album involves a shitloads of elements and a wide array of experiments veering away from examples of quite bucolic (mostly neo) folk-ish guitar twangs and clear-cut singing to much more dizzy explorations which more concretely used to take on musique concrète-infiltrated frames and knee-deep psychedelic krautrock-esque visions to more epic yet otherworldly moments (Seven Inch Script IV (Warsaw Warpig)) and warped folk indie manifestos (I`m a Full Cloud (I`d like to rain)).
The Smallest Bones - Cross Mountain (2010)
9.4
/Post-rock, Experimental indie, Dream folk, Folktronica, Indie folk, Art-folk, Folk indie, Post-pop, Alternative/
Comment: this is a blissful experimental indie/post-rock release which used to talk to you without words and syllables /except the secong half of the last track). More profoundly, it is filled in with highly harmonious guitar progressions-arpeggios and ascending, a little haunting chords which in turn are embellished with slight dust of concrete/street sounds and silentful rolling of synthetic marimbas and flourishing electronica ultimately having a vast amount of power to enthrall the listener. Behind the project is Julia Kotowski who is being known as Entertainment For The Braindead in the first place. The fabulous result indeed.
Hazardous Guadalupe - H.G (2003/2009)
8.8
/Improvised music, Psychedelic folk, Free folk, Psych-folk, Avant-garde, Experimentalism/
Comment: it can be labeled as an instance of freaking folk and improvised jamming which consists of the squeaks of undecipherable instruments, psyched-out guitar twangs and trance-induced drumming thereby drifting somewhere in between 60`s psych-folk and kind of 00`s New Weird and on the othe rside between acoustic primitivism and more treated vistas. Indeed, this 11-piece outlet is a gritty aspiration to search for some genuine synergical borders. Anyway, If I think of the kindred souls of the group such bands as Vierivä Viiksiportieeri, and Uton come to mind.
Split - II / Colateral Soundtrack (2011)
9.3
/Ambient, Soundscapes, Minimal, Experimental electronica, Epic, Dystopbient, Conceptual/
Comment: a pair of lengthy ambient tracks which used to soothe and release the listener`s blocked-up mind. Sometimes it chirps like being closely related to some dystopic, horrible places, on the other side it sounds like being an intimate state of mind during the endless space trip. The compositions do include more abrasive aspects (hisses, microscopic noise, feedback-laden bits), however, thus successfully variegating the moods and soundscapes of the release. The second track is a more loop-based and fine-grained propulsion which in turn contains the epic dimension. This mesmerizing result is issued on the Mexican experimental label A.M.P-RECS.
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