2/16/2011
Teevee Necks - Voodoo Economics (2010)
/Lo-fi, Electronic, Cut and paste, Sound collage, Weird pop, DIY, Crossover, Psychedelic, Leftfield, Electro-punk, Art-punk, Game console music, Primitronica/
2/15/2011
Ricardo Webbens Analog Mountains (2010)
Test Tube10/8
/Ambient, Ambient noise, Sound-art, Microsound, Electro-acoustic, Experimental electronica/
2/14/2011
Electric Sea Spider – Mohican Beats (2010)
Mine All Mine
Bandcamp
10/8.5
Bandcamp
10/8.5
/Hip-hop, Soul-hop, Indie-hop, Jazz-hop, Crossover, Sound collage, Cut and paste, Leftfield/
Albert Glasser: Confessions of an Opium Eater (1962)
10/10
/Film score, Film noir, Space age music, Exotica pop, Spoken word, Crossover, Classical music, Weird, Experimentalism, Avant-garde/
/Film score, Film noir, Space age music, Exotica pop, Spoken word, Crossover, Classical music, Weird, Experimentalism, Avant-garde/
at/on + v4w.enko - Pack (2010)
/Glitch, Ambient glitch, Abstract electronica, Live Session, Avant-garde, Sound-art, Experimental electronica, Minimal electronica/
2/13/2011
The Kyoto Connection - No Headphones Required (2010)
10/8.5
/Pop, Disco, Electro pop, Electronic pop, Synth pop, Art pop, New Wave, New Age, Europop/
Kiselnye Berega - Chernotrop (2006)
10/8
/Post-punk, Alternative rock, Shoegaze, Shitgaze, Gothic rock/
Chad Golda Book of Songs [Volume One] (2010)
Rack & Ruin10/7
/Experimental folk, Psych-folk, Indie folk, Folk indie, Alt-folk, Singer-songwriter, New Weird America/
Thedirtycoast -Thedirtycoast (2010)
Thedirtycoast
Lastfm
10/8
Lastfm
10/8
/Psychedelia, Alternative pop, Experimental indie, soft rock, singer-songwriter/
2/12/2011
The Shalfonts - Mjuk Nation (2010)
10/8
/Alternative pop, Leftfield, Hip-hop, Crossover, Experimental indie, Lo-fi, Electronic/
The Houston Drone Concern - Variations for Bob Ostertag (2007)
AudioactivityThe Houston Drone Concern
10/9
/Drone, Minimalism, Experimental, Variations, Bob Ostertag, Ambient, Ambient drone, Ambient noise/
the_maaaigs Scrilent (2010)
10/9
/Post-rock, Crossover, EBM, Industrial, Post-metal, Avant-garde, Poptronica, Experimental rock, Electronic, Spoken word/
Nikoo Friends & Family (Beep! Beep! Back Up The Truck)
After their self-titled debut issue being involved in high-voltage noise pop with one very chart potential-related track (You`ve Got A Strange Effect On You) the 5-piece combo from Eindhoven, the Netherlands threw gasoline into the flames and their brand new exclamation is ready to haunt upon new victims. Indeed, the 7-track album yearns for more sonic abundance, approximating to the 80`s huge names like Pixies, The Jesus & Mary Chain, Dinosaur Jr, Catherine Wheel and My Bloody Valentine (however, the shades of Loveless can be detected for as well). Don`t be misunderstood - despite of famous names suggested here the record is a very feature one. Rough yet variable rhythms, at times doo wop-alike vocal shimmers and simple yet straightforwardly hitting call and responses, raunchy, towering exultation-realized guitar feedbacks, and nihilistic electronic-based endings. It sounds like a thunderstorm rolling over you, however, not hurting you (except your ears, of course). In any cases, if your preferations are keen for such contemporary groups like A Place To Bury Strangers, This Lonely Crowd, and Moon Runners, this music is thought for you. However, it is strongly recommended.
Listen to it here
10.0
2/11/2011
Aloo Klangbild (Astor Bell)
The first track (TreiToTrei) by the Leipzig-based artist and musical activist/disc jockey Aloo is built up on melodica-injected chords, dub-inflected shades and 4/4 beats, sounding like a electronic remix of Augustus Pablo`s oeuvre. And indeed, the Jamaican-influenced vibe will be presented in the coming tracks too. Though, on the other side, his further sonic outlook will be grown over into a more atmospheric and soothing shape, having apparent hints at ambient music on its own. For instance, at Ambient Vall can be detected for dystopian, digital-based experimental ambient. At Harmonium Pump can be heard beauteously progressing orchestrations, "occasional" sonic minutiae, all in all, suiting into downtempo moulds. The rest of 3 tracks have also drenched in masterful sensitivity. Something similar from the dub perspective is Duanel`s Noches de Repilo (2010, Camada) I am listening to now as well.
Listen to it here
9.1
Pamba Lost Tapes (Clinical Archives)
The brothers Lenhart from Serbia started off in 1999, having before it played in the line-ups of different groups (Random Group; Pessimist). The recent issue consisting of 10 anonymous tracks is a decent case about rigid, even filthy guitar-lead penetration and its whistling feedbacks and whimsically caustic sounds of analogue synths and occasional assistance of a rhythm machine fluttering in the area of spaced-out rock jams, dadaistic patterns and nihilistic noise blowouts (which sound will be progressed into the sort of alarm sirens at times). In fact, all of tracks are recorded in live. Imagine a kind of formula which bases upon the early Einstuerzende Neubauten meets Gong. Or CAN`s live sessions fronted by Damo Suzuki. Yet, those descriptions are only some of the many possibilities. However, the track Untitled 06 does carry the most genuine hallmark of their brand.
Listen to it from here
8.8
2/09/2011
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
AstroLogical Living Fossils (Jellyfish Recordings)
In true, firstly I discovered AstroLogical`s Living Fossils as 5-track EP under Bubblectro label. At the other, Jellyfish Recordings it has grown into a 11-track monster. AstroLogical is an emcee/producer from Vancouver, Canada conveying a kind of cinematic-inflected blend of hip-hop and nu-jazz and just laidback music. It is mightily sampledelic, filled in the concept with dynamic samples of exuberant brass sound, lone string chords, dusty sounds of old keyboards, and suggestive vocal samples, sometimes backed even by powerpop punches (Mother Nature) and dark-hued smog. No doubt, such kind of music has been very popular in recent days as I have earlier introduced the bands like Metawon, Bram Nelson, Kämmerer, The Dirty Samples, Cheese People, Pretty Lights, Mentz among others. And labels by the likes of Humanworkshop, Neferiu and Tokyo Dawn Records as well. My favorite notches on the recent issue are Mustard Evening, Headhunters Melody and Rush Of Colour. All in all, at the most times Living Fossils is a playful occurrence.
Listen to it here
8.8
2/08/2011
cerBlc :NoMean Yes (Bubblectro)
The German musician Christian Vogel suggested in the Wire magazine approximately 6 years ago that by his option he would close all the recent electronic musicians into a locked room with some recorders and tapes. Tommy Smurthwaite aka cerBlc has apparently no problems with the presumptions of perceiving of early electronic music and its complicated technic approach and historic specificity. Moreover, he has played in different rock groups, including being punk (indeed, genuine punks have always loved dance music).
Here are represented only two tracks (Hongu; Yusus) being inspired by 90`s electronic music, yet, having no strong appeal toward dance floor and more generally by the past of music. Hongu is a psychedelic, sample(delic)-based shuffle incorporating the elements of hip-hop scratches and cool jazz elements. Yusus is an example of brain-focused motorik alchemy, reminding of Autechre`s early workouts first of all. In a more concrete way, strongly stomping rhythms are blended with atmospheric IDM-esque under/uppercurrents, showcasing the close liaison between earth and heaven.
Listen to it here
8.7
2/07/2011
Nick Rivera Happy song is a happy song (La bèl)
In Cagliari born but now in London residing Michele Sarti aka Nick Rivera is being and has been participant in the line-up of many groups (Bron Y Aur; Franklin Delano; Sunny Day Sets Fire; Oh Atoms; Takoma). Yet, his recent project is definitely an act of intimate folk, or folk-based art which tends to search for diverse sonority fields, potent harmonic angles, making out impressive experiments with baroque pop, shuffling analogue electronics and cinematic undercurrents of epicness, all in all, finding out an equilibrium between the kind of astonishing inner harmony and outer form of beauty. Of course, Sarti is not alone, being assisted by many other musicians. For instance, at Renee Luise, the opening track, beautiful unisoned vocal lines are compiled by voices of him and Mary Dow. Indeed, an amazing track. Or in the other place the unisoned chords of fingerpicked strings (guitar, ukulele) and cello keys do play out a perfect chamber folk example (Horn Y Orgy). Or is it as if Air`s Moon Safari`s most epic moments were mastered in the vein of chamber pop attitude somehow? The title track enters into the indie folk area, more concretely, reminding of the Welsh whimsical folk wizards Gorky`s Zygotic Mynci`s playful shufflings on the ground of bucolic acoustic pop jams and acid-filled synthezised passages. Happy song is a happy song is one of the most excellent appearances (if not the best) in 2011 so far. Imagine you having a home in the countryside and you are sitting outside for looking at the sun`s going down. A truly great monumental set indeed.
Listen to it here
9.8
2/05/2011
Southern Shores Grande Comore / Mauna Loa (BadPanda)
Southern Shores is a duo from Halifax (the same city, the hockey star Sidney Crosby comes from), Canada while residing in Europe (Berlin, Germany) now. Their 2-track single at BadPanda Records is overtly opened for different stylistic interpretations and point of views, on the first place beavering away at subtle glo-fi (yet not being hypnagogic pop on its own) and poptronic moods being compared to Air France and Washed Out, on the other side it could be viewed through lush, synth-relied baroque pop and chamber pop and tropicalia pop workout expressions as well. In a more detailed way, it is full of warbling vocal-based hitches and high-voltage-loaded brass orchestrations wrapped up by seething synthezised paces. Partly because of having obvious references to different places around the world (Grande Comore is an island in the Indian Ocean off the coast of Africa; Mauna Loa is a Hawaiaan volcano) it can be considered as a soundtrack of voyage music as well. All in all, undoubtedly this kind of sonic mould does represent nowadays pop essence still waiting for the highest chart tops to be conquered once in the future.
Listen to it here
9.8
Interview with Oax (Joxfield ProjeX)
This interview is with Oax, a half of the Swedish avant-garde/experimental rock combo Joxfield ProjeX, who with Yan embarked on making with music in 60`s already, though, their first releases came into the light 40 years later. Moreover, still ashamedly underrated, they have combined the elements of krautrock, space rock, progressive music, psychedelia, ambient techno and much more into an impressive world view, by the way, being co-operated by such luminaries like Pat Mastoletto, Geoff Leigh, and Kenji Siratori as well.
Hi, Oax! I wanted to ask you some questions about Joxfield ProjeX. In fact, what are you doing at the moment? Are there any new musical projects in progress waiting for to be finished off?
In autumn 2009 we did finish of a lot of music we’ve done over the last years. This music was the five Clinical Archives (CA) releases that year. During the same time the main project since 2007 had been Numbers & Letters, the 3 disc set that was released autumn 2010, also at CA. We also took the opportunity to celebrate the five years of Joxfield ProjeX with Smorgasbord also at CA, of course), a collection of tracks „without home“ + some remixes and other oddities. In later autumn 2009 we also felt it was a long time since we had our traditional, annual weeklong recording session, just the two of us. As well as we wanted to enter into some new territories. So, we met for a week, recorded something between 3 – 4 hours of basic material. About half of it is very harsh, noisy and evil, some kind of space rock from hell (whatever THAT is?). Unpolished, raw and rough, mostly very long tracks. This music will be two volumes of „21st Century Psychedelic Music“ and I guess they will be released in one way or another during 2011. Three of these tracks is right now on the myspace player. During this recording week we also did some intentional vocals based music, for the first time since 2005, but what will happen to this I yet don’t know. Joxfield has never been a pop group and every time we sing we think „Pop!“. But it isn’t, I guess.
When did you started with Joxfield ProjeX? By the way, what kind of references does have the title of the group?
To make the history short: In 1965, as very young guys, we started making some kind of music together. Already from the beginning we were very creative and productive. In 1969 we started to record the music on our reel-to-reel tape recorders. Until 1975, when me took a break, we recorded something between 50 – 100 hours of music. Mostly we organised the music into „albums“, made copies to each other, still on reel-to-reel, but the music was never properly released in any way. Despite the bad sound quality I think at least some of the music had some attraction. A lot of it was terrible. Mostly it was just Yan and me playing, but sometimes there was other guys involved. As a duo we called ourself Andersson & Ek, as a trio we were The Age. About half of the tapes, or so, is in a couple of plastic bags in the cellar. About four hours of the music is saved on cassette tapes and is playable. The rest I don’t know. The reel-to-reel tapes haven’t been played for more than 20 years (when the tape recorders broke down) and as it was very cheap tapes I don’t know if there’s any music left on them. It’s an achival project to check if any of that old music has survived, and – if so – try to digitalize it on the computer. Maybe 1 – 2 % of it could be of interest to anyone else, but Yan and me to listen to. The Joxfield connection.
The name? In 2005, after our 30 years break, when we were about to re-start our activites, we weren’t interested at all to go back to old stuff. We wanted to do new music and also with an all new name. In 1968 I wrote a real crappy, instrumental song called Uncle Joxfield’s Started Number and in 2005, when looking for a new name Yan told me that when he during our long break sometimes made some music of his own he used to label it as Joxfield ProjeX. I was pleased and a bit honored by it and we both thought it would be a great and original name. And so it was.
Your music has always been spectacular, diverse and sometimes even difficult to catch into the clearest view with only a few listen times, reminiscent of metaphysical structures, rather than pop music approach. More concretely, what does mean music for you, in principle?
I don’t think that we ever have tried to make music that sound like this or that intentional. Of course, as always being interested in music and also been listening to a lot of other artist’s music over the years, it’s unavoidable not being inspired by others. Since 2005 there has been some very basic principles though: The music must be interesting for both of us. If not we reject it or re-do it. This also means we are very critical to what we do, a bit dis-respectful to each other, all for the best of the music. We do very quick get bored and re-make stuff. Yan once said the wise words: „If we don’t like the music we do, who else would? If we like to listen to it at least we do have two listeners“. When we play and record music we just do what we want for the moment, just follows our hearts. This means that during our recording sessions we could record a beat-less noise improvisation followed by an ambient tune or a strict composed song-based thing. Just what we want there and then. I think both of our minds are vivid and whimsically and that’s why the music is so diverse. I think we demand as much from our listeners than we demands from ourself. Maybe that’s why we do have so few listeners. Maybe, if we really worked on it, we could make a couple of high potential hit songs. But, we would also probably hate them and never want to listen to them. Then better to make some odd music we at least like ourself.
You mentioned once an interesting fact that you and Yan are living apart from each other approximately 500 km. Can you describe your way of working process?
Yeah, Yan lives in Stockholm on the east coast and I live in Gothenburg on the west coast. 500 kms. All, but our first, weeklong recording sessions has been situated in a very, very small village, Kolpebo, about 200 kms from Stockholm. It’s a very well kept summer house owned by a friend to Yan’s wife and we have borrowed it for our sessions. It’s by a lake and with no close neighbours. Just Yan and me, our gear, some booze and beer. About 10 kms from there there’s a very small city and that’s where we buy our daily food.
A week-long session does mean about 2 – 4 hours of basic music, depending of how finished we want it to be. For every time the music gets less and less finished. Then, afterwards, we treat, edit and add whatever we want to it at each and everyone’s home. Numbers & Letters was treated extremely much, the forthcoming two volumes of 21st Century Psychedelic Music almost none. It varies depending on what want with the music. We do send files to and for to each other a lot. The music changes constantly. I guess it’s like with some paintings, it’s not about when it’s finished, because it will never be, it’s more about a decission that NOW it’s finished and the songs are the final ones and if we do anything more with them it’s a re-mix or something. But, when a tune is decided to be finished it’s very seldom we come back to it. Some of the music we’ve made comes from non-basic recording weeks, it’s the result of ideas from one of us and the other one contributes to the music. In these situations one of us can dominate very much, but it’s never a solo project, it’s always with the Joxfield ProjeX’ mind.
I can only suppose that the end of 60`s were great time as lots of important and influential rock-oriented experimental groups (CAN, Silver Apples, Faust, King Crimson, Gong etc) surfaced then. Concerning on this list - how much inspiration have you dug out of them?
Even though we’re two different persons I think a lot of our music references/inspirations are about the same, especially in the 60’s and 70’s. I think there is a huge difference between what inspires you and what you – as a music maker – tries to sound like. I think one of our first, biggest and major influences are The Beatles, but, there’s not one single Joxfield tune that even try to sound like them. But, the openmindness of, let’s say, The White Album, you find all over us. The mix of high and low, simplicity and difficulties on the same album. Etc. It’s a brave album. Stones` late 60’s did of course mean a lot, not to mention the early 70’s Hawkwind, Iggy’s Fun House and Raw Power, the amazing electric 1968-1975 Miles Davis, King Crimson, Fripp, Eno and – more than many – Soft Machine as well as everything that connects Robert Wyatt. One of the most inspiring persons I guess is Daevid Allen (and, of course, Gong), who, as an artist, always has walked his own way, always has followed his heart, always been opened for new stuff, etc, etc. He specifically has shown that you can combine artistic integrity, lust, variety and quality without ever selling out. At 73 he’s still aiming for new peaks. Me and Yan met him in Amsterdam 2006, during the Gong Unconvent, had a chat for half an hour, exchanged music. A great moment. Bands like CAN at least I heard very little during the days. About five or ten years ago I really went into a lot of krautish music and especially when hearing them today I realise how much of our own music that have connections with their, unintentional. And when I read about their instant composing I also realised that’s what we’re also doing most of the time. One of our main inspiration the last years has been Acid Mothers Temple and even though they tour a lot – we not at all – I also by reading an interview with Kawabata Makoto on their web realised that their ways of making studio albums was really connected with ours. Basic tracks – then add, edit, treat.
Thanks a lot, Oax.
2/04/2011
Minisystem Live Above Ground (Basic_sounds)
This set of 4 notches reveals the sublime disposition of shuffling beats and warm fronts of melodic progressions around it, more exactly, setting the tone on the bubbling and tinny synth cadences/electro-inflected synth pop, IDM-esque wraiths, propulsive pop techno paces sometimes reminding of the workouts of Solvent. Similarly to Jason Amm, Jeff Lee aka Minisystem hails from Toronto, using an array of vintage keyboards and drum machines. Indeed, one of the biggest virtues of Live Above Ground is its lush analogue sound, which is used not to be common among the electronic music producers nowadays. Indeed, though I hint at Solvent above, Jeff Lee samples once Mira Calix (Goldenrod) and his sound can be placed between new and old, reminiscent of 70`s electro pop/synth music and its effects of outgrowing and departure from the full-electronic krautrock movement as well. Altogether, love it in the way as it loves you.
Listen to it here
9.1
2/03/2011
Voyageurs Alien Iverson (FMA/Bandcamp)
Fayetteville-based project Voyageurs released the third issue, continuing their uncompromising proceeding within psychedelic-loaded space rock and fluttering drone rock/stonergaze/psych-rock conception on it. No doubt, I have no certain idea why the title of this 5-track release does have an indication to the former NBA basketball star and problematic boy Allen Iverson who is playing in Turkey at the moment. Obviously it is related to a word game only. Or might there be an entrace for a kind of alien rock in some way as well? If to consider the set is used to hint at strongly moaning vocal manners while being full of burnt-out emotions and making out in-nervate motorik undercurrents through the interplay between spaced-out guitars, castanet shakings, murky cadence piles and hypnotic circle-moulded gears at times, indeed, it does have a strong appeal upon it. Especially impressive combination of those elements is the ending track Sleeping Outdoors. If you have been into the music by the likes of Spacemen 3, Spiritualized, The Brian Jonestown Massacre, anyway, this small bunch of songs could exactly be thought for you in the first place.
Listen to it here
9.0
[Old but important] Retrigger Jeanie & Caroline Album (Psicotropicodelia)
This album of 15 tracks sounds as a maelstrom of styles and sounds, veering from electro-rock, psychedelia, samplecore and fusion to creepy chiptune/8-bit shreds, joyous brass music and library music/space age pop samples. Indeed, it might be seemed as a kind of weird compilation compiled by diverse artists from here and there. Yet, Jeanie & Caroline Album is a brainchild by the one and only musician Raul Costa from Brazil who firstly released it under the title Jeanie & Caroline at Ego Twister in 2007. Now it is empowered by three more tracks including the huge LIVE at neverland (MixSetBonus). More concretely, on this publication Costa is intended to convey heavy guitar riffs, bubblegum-pumped big-beat paces, sublime doo wop, trashing surf pop, caustic synth glimpses and catchy brass fields, sometimes reminding of the Saint Petersbourg`s combo Messer Chups by its slightly mocking manner regarding the attitude against pop cliches or the French combo Juanitos by its stabbing blend of psychedelia, surf pop and brass attacks. On the other side, paying a tribute to the early electro pop experiments by The Silver Apples as well. Sometimes the tracks glide into the easiness of chillout pop, exploiting in half-transparent way some well-known pop motives (for example, Edward Grieg`s Peer Gynt). Indeed, the whole is a bulimic attack yet it is a sort of refreshing sonic binge first of all.
Listen to it here
2/02/2011
2/01/2011
Wings Of Icaro Andirubio (Jamendo)
Wings of Icaro is a project from Priego do Cordoba, Andalusia, Spain, more concretely, a project of José Rodríguez who is also known from another project Other Track. All the action began in the late of 90`s while Rodríguez was studying physics in an university, so it was his way to balance himself through expressing concepts, ideas or occurrences which were distorted inside him in the meantime. The spaniard`s first issue called Imbalance (2008, Jamendo) contained the section of tracks from the first half of the 00`s, being stilistically poised between soothing downtempo, chillout, and IDM-esque beats.
The follow-up Andirubio is much shorter, being represented with 5 tracks (within 23 minutes) only, yet, noting the change upon new frontiers and influence realms. However, the soundscape is more richer and sophisticated, which is partly set off by lots of collaboration acts by other musicians for sure. By supplied with vast amount of air, indeed, let`s enter and make acquaintance with subtle folktronic fingerpickings and arpeggios, soulful commitment of female vocal affections, trip-hop grooves and turns (often reminiscent of Portishead). At times the beats will be evolved into a more idiosyncratic approach, for example at Hazardous Waste, which is made out by the interplay between sublimely dark-hued flutes and massive rhythm shuffles turned out as an example of neofolk-ish shivering. Or the last track Wild Guess which at its noir-ish outlook seems to obviously be influenced by the Bond theme and the aforementioned Bristol-based trio again. And not only by them. In a nutshell, a really impressive accompaniment indeed.
Listen to it here
9.5
1/31/2011
The KVB Beko_73 (Beko DSL)
Behind The KVB is a man named as Klaus Von Barrel who comes from Southampton, England. He is previously known as a guitarist in the line-up of the gothic/post-punk band Suicide Party. His 3-track EP under Beko DSL is essentially rock and roll music even by nowadays variety and omnipotence. Imagine a kind of New Order which is line-upped with Ian Curtis and his murky seethings and introspective wraiths. Or like Bauhaus with a more synthetic approach. In a more concrete way, the concept is focused upon an impressive mix of throbbing synthezised rhythms, drilling acid-filled sonic coats, dark-hued synth clouds, impassive sense of vocal manner, rattle and brusque guitar massives, and whistling feedback which purposefully come forth to flutter again and again.The whole is here to be destroyed by itself and thereafter to be re-created for itself. A forceful destroyer and reminder simultaneously, indeed.
Listen to it here
9.7
1/29/2011
[Compilation] VV.AA. - Rock Against Mommies vol. I: Attack Of The Space Mommies (Kill Mommy)
Don`t be afraid of the Sicily-based label Kill Mommy Records` slogan which suggests that this is a label for homemade rock`n`roll for amateurs. In fact, this so-called amateur-ish music has its powerful output and subtle sense of feeling which often overweights lots of examples regarding so-called established (indie) music. Here are 25 tracks represented showcasing a retrospective cut about the label`s active period during the last 2 years including such artists like Vanny Zero, Nowhere Boy Simon, The Last Merendina, The Big Wireman, Thee Undead Big Blues Shit, With Bubble In The Jungle, Dead Bugs, Ryan Patrick, Cafè Bakunin, Stereo Moon, The Brazierlights In The Window, Johnny Hoodoo, Vaqueros Paganos, Quint Baker, Jim Guittard, Ana Threat, My Pal Dragon, Plakonik Projekt, Thedirtycoast, Therese De Genova, Jon E. Erkkila, Sbirros, Gone Fishing, Mumble Mumble Mumble, and Billcarson. In a more concrete way, here can be heard such kind of music which veers from crackly blues and rockabilly madness to sophisticated alt-folk/folk indie/weird folk experiments and catchy indietronic jams, from psychedelic garage shootings and schizoid strummings to new wave and austere, roots-influenced string music from straightforward grrl riot punk to rough, even exorcized bass gears of psych-rock. The geographical range is also ultramundane: from Italy to USA, from Canada to Scotland, from Argentina to France, from Brazil to New Zealand, from Austria to Denmark. One cover can also be found from here:Nancy & Frank Sinatra`s Something Stupid by Vaqueros Paganos.
Listen to it here
Moji Moji N (Resting Bell)
N is the second release by Lucas Page, a Buenos Aires-born musician, mainly inspired by magnificent looks upon the landscapes of his homeland. 5 instrumental tracks do include sensitively loaded (slide) guitar workouts, keyboard-illustrated shades and effects, vibraphone-alike cinematic chords, rigidly stomping drums and some distinctive musique concrete additions, all in all, reflecting the snowy peaks and abysmal lakes in Patagonia. Indeed, the different paces, accents and milieus can be detected here for to have the organic sense of epic responsibility via a kind of post-rock-ish manifesto. In a nutshell, if you like the works by God Is An Astronaut or the ripples by Mice Parade, no doubt, lots of satisfying minutiae can be found from here.
Listen to it here
8.9
1/27/2011
[Compilation] Between Two Waves – Vol. C (EardrumsPop)
Actually it did not happen much time ago when I reviewed one compilation (Between Two Waves - Vol. A) under EardrumsPop which consisted fundamentally of two-sided collaborations. In any cases, I am not able to put the temptation aside for not reviewing another one too because of my orthodox indie nature was came to the forefront with those 14 songs again. In a word, here is another great collection of songs shuffling inbetween jangle pop, dream pop, slightly folk-driven indie pop and also some more contemporary sounds are thrown over here (of course I referred to dream-alike electronic/chillwave undercurrents here). Although without whimsical tricks basically, in principle, the whole seems to be really virtuous in the vein of old indie tunes having lots of catchy angles and edges and refreshing air letting you feel yourself free. No doubt, you need to be relaxed and having some distance from effect-loaded pop experimentalism at least for some time. Here is one track that really imprisoned me during last days. Indeed, The Hurries (Sundae + Girl Alliance)`s Not That Easy sounds out as if hinting at a neutral zone between Pet Shop Boys and Mojave 3 somewhere.
Listen to it here
Artner 11:40 (Budabeats)
At 11.40 are presented 5 brainchilds within 22 minutes by Daniel Artner (also known as dyspeptic) who has made out a fine mix of psychedelic funk, cinematic jazz, blue-coloured trip-hop, fringed by string lines, hip-hop scratches and speech samples at times. Shuffling broken beats/downbeats, dusty organs, Miles Davis-esque trumpets, dynamic guitar lines, subtle brass samples, lone piano chords, and soothing flutes are the instruments here searching for different combinations with each other creating up climax-touched variations and afrobeat-alike easiness. Indeed, it is in a smart way layered oeuvre emboding different roles as entertainer and as brain dance notch. If you like the sounds from Bristol or the acts under Ninja Tune, Dusted Wax Kingdom and other similar labels, in this case, this issue is certainly for you. And not only for you.
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9.2
Children Of Ishizuke Tree Chameleon Straship (Clinical Archives)
In the first place I want to admit that the more I listen to this double LP (in total of 112 minutes) the more I fall in love with it. A duo from Minsk, Belarus, makes a subtle guitar-based dream pop music. If you are keen to draw parallels upon in a big manner, indeed, it sounds as if an equivalent version of post-rock version of Mercury Rev`s Desertoir Songs (1998) at times, altogether being described as ambient rock or atmospheric post-rock. Moreover, a sophomore album by Alexander Haletski and Marina Bartosh incorporates the elements of repetitronica, void-filled ambient/dystopbient/dark ambient, soothing drone wraiths, spoken word tunes and even some distant echoes of the ethnic music from East Asia. Alternatively, it might be a kind of lo-fi music in the midst of ambient shimmerings or a sort of underweighted My Bloody Valentine as well. This is an album through the essential touch!
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9.4
1/25/2011
New Animal New Animal (New Animal)
New Animal is a duo from Atlanta, consisting of Kris Hermstad and Derek Burdette. Recently the duo issued their self-titled album, compiled of 15 tracks. Actually their similarity with Animal Collective is not incidental on the name level only as having much broader touch through shimmering soundscapes and blissful milieu as well. Of course, they are more contemporary (i.e blissfully arranged) group incorporating a little chillwave and glo-fi elements as well. All of it can be seen via psychotic singing manners, repeated psychedelic loops, and impressive (even epic) overdrives, all in all, those mixed electronic pop currents and acoustic folk indie grounds do make out a subtle post-crossover (or post-Animal Collective) approach. Apparently it could be called as animated indie or spiritualized disco too. Really outstanding/transcending moments are embodied in such songs as All I Want Is Gone, Grow Back Out, They Don`t Know, Kill The Lights. In fact, something similar happened about one year ago as well when another duo named as Magic Man released their Real Life Color. Indeed, New Animal might be one of the best candidate for the top album of 2011 at today`s hour already.
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9.7
1/24/2011
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).
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9.2
1/23/2011
Metawon & The Dirty Samples Toothface Swaggerfoot (Neferiu)
Who has previously had some experiences with Neferiu Records, a label from Calgary, Canada, this must know what kind of warped hip-hop turnabouts and urban trash could be expected for. A sort of hip-hop music which does evaluate more its sonic backdrops rather than manifesting vocal parts. Moreover, Toothface Swaggerfoot is in principle more for you if you have never cared of the different kind of rap music, for example, especially of gangsta rap which is used to talk to you in speech of women, guns, cars and tough guys. If the gangstas` message is used to just letting you shrugging your shoulders and their sonic backgrounds are obviously turned out to be colourless on its own.
Metawon and The Dirty Samples, the previously themselves proved gearheads, do make up a split which consists of 28 basically short hip-hop blasts, having suffused shuffling cadences with really cinematic samples in the first place. Secondly, the musicians are deeply involved in the realm of funk, jazz/downbeat, brass-orchestrated stabbings and soulful suggestions. On the third side, here can be hearded more weird turns at times, for instance, the space age pop samples reminiscent of Mort Garson, a cult Canuck from the 70s. All in all, a superb accomplishment representing a refreshing hip-hop approach.
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9.7
1/21/2011
dustdevil & crow while speaking softly you can hear the insects sing (Bandcamp)
While speaking softly you can hear the insects sing is the sophomore album by dustdevil & crow, however, in the meantime having got a solid addition regarding the line-up subsequently consisting of Michael Duane (guitars, basses), Bendle (voice, inept guitar, junk percussion, jaw harp, organ, low tech digital mischief), Aboombong (drums, percussion, treatments drones), Delphine Sayre (voice), Rob Tarana (violin), and Nick Toombs (guitar, field recording) at the moment. Indeed, all of those artists and their roles are very worth to be emphasized out. Here are represented 11 tracks, making out an idiosyncratic mix of post-rock, avant-garde, chamber rock/folk, dark-hued folk, psychedelia, and more concretely, having obvious influences from the 60`s British psych-folk, drone folk, some decades later appeared concept-based vanguard guitar workouts, and fuzz-filled or other feedback-based experimentations. Regarding the recent case, indeed, it is quite hard to draw difference between the kind of post-folk and post-rock. Yet, it would not have made up any difference at all if the basic ground were rubbish. Moreover, the sextet has even their own "pop song" (Breathing In). In a nutshell, it is a wide-opening yet subtle killer giving no chance for a listener to be realized out with some listening times.
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9.5
YouSir Hostile Takeover (Jamendo)
YouSir is first of all known as a netmusic activist from The Foggy Albion who has run the blog Another Goddamn Music Blog some years ago and been very profilic in reviewing the albums at Jamendo.
His debut album Hostile Takeover kicks off proceeding with Kraftwerk-esque cadences to come over into some hip-hop overthrows (A Message From Our Sponsors (The Dogstar Corporation). No doubt, YouSir loves coming down into a kind of DIY-near fun, shuffling around rigid sonic matter, burbling synths, crisscrossed electronics and angular rhythm stuff. And it works quite well out. My favorite track is Office Party thanks to its blasting bass steps. The kinds of I would like to hear much more.
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7.7
1/20/2011
The Womb Purity Test (23 Seconds)
The Englishman Alan Driscoll embarked on in 1998, at the time when the 90`s Britpop movement started to getting to its closure. From the aforementioned year off to this day he has released approximately 10 albums, including one publication named as Britpop as well. Thereby regarding all those facts and the main characteristic of the recent issue, indeed, for all of those people who had grew up within the glamorous touch by Pulp, Suede, Auteurs and the others acts Purity Test should be meaningful enough. Moreover, by being demonstrated an Ultrasound`s vinyl record on the coverprint, how could it have a reference somehow otherwise?
Purity Test is a double album, or at least an album with shitloads of bonus songs (all in total 10+10). First of all, it is a case of whimsical lyrics with hints at escapism, womanizers, and even a kind of obsession. By the background it is full of great synth-based thrills and orchestral progressions, catchy soulful disco tunes, synthetic pop arrangements, diverse rhythm roundabouts and outstanding song performances with eccentric postures. Despite of all those diversities, however, all seems so evidently sounding under the Britpop regime yet. My favorite notches are some dark-hued, even a bit creeping introspections being not sporadically represented here. Rosanna Woolett, Junalyn Corre, Chloë Reeves and Simon Gray are up here to offer their important collaboration over to the release.
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9.5
1/18/2011
[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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