Irdial
Irdial
Lastfm
12/13/2010
12/12/2010
Phaseone Thanks But No Thanks (Lefse)
The St Louis-native Phaseone is a producer having in an excellent way remixed Animal Collective, Radiohead, Banjo Or Freakout, Fool`s Gold among others. Previously I smacked my mood up listening to his second issue White Collar Crime, basically created of the abovementioned artists` tracks/remixes. Thanks But No Thanks is his debut album (of 13 tracks) demonstrating his idiosyncratic approach to music compiled mainly of hip-hop cadences, scintillating soul/r`n`b vocal examples, trip-hop/downtempo-alike cinematic approach, digital funk-drenched shreds, delicious microscopic electro-touched synth buzzes, sometimes embellished with murky or stomping bass sounds, having even a bit of a lo-fi/DIY-esque odour at times. The second half of the album, however, is accomplished out in a more astral-like and futuristic way. Moreover, in the wake of his indie-propensity and regarding the musical situation at the beginning of the 21th century this album has much more stylistic potential than it is possible to catch with the first listenings, yet. For instance, sometimes it is getting close upon a level strongly reminiscent of the touch of chillwave music. Indeed, Phaseone`s music does have an experimental soul/funk/hip-hop backbone, the kind of de/reconstructing strongly the core of urban music at the moment. More concretely, his approach can be compared with the likes of Flying Lotus, The Gaslamp Killer, Outasight, Teebs, Yuk and others. An astonishing accomplishment, indeed.
Listen to it here
9.7
12/11/2010
[Compilation] Music Beyond No Borders Vol. 1 (Yes No Wave)
It could hardly be argued against a fact the compilations are the best stances reflecting upon the faces of labels, in principle. This is a way how to get informed about the general aesthetical intentions of a record quickly and efficiently. Yes No Wave is an Indonesia-based label, which apparently deserves its name, though, tossing even in a more wide approach regarding punk-funk/dance punk/post-punk/punk/proto-indie rather than the classical US-based movement of 70`s which is not surprising at all.
This compilation saying sincerely "yes" to borders is comprised of 10 tracks (and artists, respectively), starting out by Dubyouth offering bhangra-inflected dub, a crossover form the kind of the most of us having obviously made their first acquiantance after the surfacing of Asian Dub Foundation in the second half of 90`s. In fact, it is a bit more keen to reggaeton shuffles. The following Hengky Strawberry does seamlessly interlocking lo-fi aesthetics with baggy beats into a magnificient whole. Denda Omnivora & The White Liar are up here to shooting out their psychotic torrent via growl`n`electro rock, Coffin Cadillac sparks turmoiling blues hooks to be integrated them into a jacking hi-hat-fuelled punk shape. Zoo reveals perhaps the most dislocated conception firstly taking on splintering into dadaistic vocal approach and ethnic punk propelling further to be billowed together again. My favorite is BondiNedHansel`s F.M.A, a vanguard sort of world music-drenched electro-fusion, more concretely, being stuck in hypnotically repeated "whoomanizer, whoomanizer" and a static guitar abrasion.
In a nutshell, Music Beyond No Borders Vol. 1 is a completed and exciting excursion showcasing the necessity of borders (through which things become to exist in such a way they are predicted to be).
Listen to it here
Wry Deep Field/Nostalgia (Sinewave)
Previously I have overviewed three eloquent Brazilian shoegaze bands like Inverness, Loomer, and This Lonely Crowd on my blog, though, the next one Wry could be counted as a precedessor for all of them - both by their lineage, temporary precedence, and musical activity as well. Being started out at the ending of 90`s, the quartet have issued a handful of albums, shared the stage with Man Or Astroman?, Mudhoney, Superchunk, Ash, Asobi Seksu, and The Rakes among others, and recruited knob-twiddlers like Tim Wheeler (Ash), and Raphael Gordon (producer of The Strokes). Indeed, in recent years the quartet is used to be an international combo sharing their home between Sao Paolo and the United Kingdom.
Deep Field/Nostalgia does consist of two tracks, though, those track titles are referred a bit the other way. The opening Deep Field Nostalgia is fringed with a pair of elements, shuffling blissful fuzz noise and rigid organ-based drone sounds, respectively. However, the ending part of the number is a sole and distinct appearance of the last admitted element while you can detect for mere sensitivity of the natural environment around it. The second track In The Hell Of My Hell is a remix being layered up of sunbeam-titled synth effects and shimmering dodges of harmonic-filled layers and multiple combinations of breakbeat frequencies altogether conjuring a wraith-alike milieu.
Listen to it here
8.8
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
12/10/2010
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
Fur Devastate The Details (Mine All Mine)
The US band Fur is back with its sophomore release, and the 6-track offspring does sound rousing and refreshing. Do you guess the quartet is coming from? Of course, from Detroit, from the motor city. And their music is quite comparable with the acceleration and chase of vehicles, and mesmerizing gazing of the go-by of route bollards and grey-green-esque mixed panoramas. Their majestic rock pose is digged deeply into an eloquent incarnation of shoegaze, grunge, post-punk, gothic and alternative rock shades. Overrolling guitar hooks and overdrives do pinball around epic and abrasive area, creating vital pop conceptions, being compiled of the shoegaze-influenced Smashing Pumpkins from the 90`s, the Interpol`s murky pop rock sheen, Joy Division-esque ennui screen, the Lycia-alike overhead hovering sombre shapes, and of course Break Me, My Love having a kind of pattern as if Kurt Cobain has made his feature for the Devastate The Details. However, my very fondness is moulded into title track, with the natural-born-breakbeat-paid-for rhythm section, penetrating riffs, and atmospheric synths, being wrapped in by a lot of key changes; and Houston played out via the meeting of a bittersweet verse-chorus and shape-changing guitar appearances. The rock music in its honesty.
Listen to it here
9.1
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