12/16/2010
[Concert] Low Live at Eindhoven (Low)
The legendary, Duluth-based slowcore trio Low (Alan Sparhawk, Mimi Parker, Steve Garrington) known by its mesmerizingly creeping soundscape has issued a 4-track live release being shot at St. Catherina Cathedral in Eindhoven on January of 22, 2009, joined by lots of local guest musicians and instruments - a full, 5-piece choir, analog synth, Hammond organ, piano, and vibraphone. The gig included such tracks as Monkey, Silver Rider, July, Laser Beam. So the two tracks taken from the Things We Lost In Fire (2001, Kranky) and the another two from Great Destroyer (2005, Sub Pop), respectively. As they introduced yourselves in as a new approach in the North America-based indie scene approximately 2 decades ago their power is lost nowhere to date - the gig is suggestively slow and blissfully hypnotic, reminiscent of the milieu of silent time at the end of a year being closely related to the forthcoming Christmas time and lots of huge snowdrifts. So let`s enjoy it and waiting for the trio`s brand new heavy C`mon.
Listen to it here
12/15/2010
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
12/14/2010
I Have A Box Bunnies (Fwonk)
This 6-track set of a debut album consists of a subtle net of indietronica/poptronica, caustic electronic pop, fusion, downtempo and post-rock as well, having its roots apparently set in the synthetic approach of obscure bands in the 70`s, of kosmische musik, more detailly, drifting between rock-esque sensitivity and ambient music, respectively. So it is placed between soothing and dynamic, between static and trippy, having mainly based upon extended guitar chords, unarticulated but epic vocal segments, cluster-laid rhythm sections (sometimes march-angled) and airy or shimmering synth wisps coiling up into the upper dimensions at times. In a kind of weird way, it can be considered either austere or lush at the same time. In a nutshell, if you are used to be a sympathizer of GY!BE, Air, Monokle, or God Is An Astronaut, this album is up here to be directed for you.
Listen t it here
9.2
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