USAISAMONSTER – 5 (2017)

Mass Dist

• Avant-rock 
• Experimental rock 
• Psych-rock 
• Freeformfreakout 
• Electronic 
• Experimentalism 
• Avant-garde 
• Leftfield

Comment: approximately 10-11 years ago the indie scene was partly headed by such radical experimental combos as Black Dice, Terrestrial Tones and The Lightning Bolt who had made noisy, angular rhythms drenched music. Actually USAISAMONSTER chimes in a quite similar way imbued with squalling guitars, psychedelic electronics and slamming drum mazes and angst and artificial angst and dadaism mixed shouts and shrieks. For making sound is it their way to kill pain? However, additionally there are up some off-kilter spans within a considerable part of the whole for showcasing the combo as a part of the music library compartment and reminding of early electronic music explorations within the academic circles. It is the disparate, more abstract case. In turn, those more restrained moments do resemble a little Animal Collective's early post-psychedelic compositions. At that time USAISAMONSTER abandons more or less rock-alike structures by entering into a completely disparate area. For sure, they recognize conventions as much as a mere matter to get subverted and get destroyed just a bit. It is like a perpetrator used to play with his/her victim. Even if it may seem the negative approach it makes sense. Actually it is not an overtly negative statement. Even more, I guess by creating such a sort of din it is a natural part of their vital bloodstream. This overwhelming 17-notch release (clocking in at a 34 minute only) is a bit in the discography of Mass Dist.

メトロノリ– works 14​-​18 ペール (2018)

Bandcamp

• Indietronica 
• Electronic 
• Lo-fi 
• Art pop 
• Toytronica 
• J-pop 
• Synth-pop 
• Alternative

Comment: this batch of 11 pieces is a playful yet mostly discontinuous blend of infantile chords, microscopic glitches and shaped noise castles, miniature electronic whiffs and portals opening on to the street view conjuring spooky creatures being very important in the Japanese mythology and perception but at the same time embracing the glimpses from a more erudite world by hinting keenly at J-pop, synth-pop/fusion, Shibuya-kei. As you can see the title is overflowed with the Japanese hieroglyphs but in English the proper name counterpart of the artist is Metoronori.

[Teaser of the day] Mount Eerie - Wooly Mammoth`s Mighty Absence

Archive.org

• Folk indie 
• Live session
• Indie folk
• Singer-songwriter

Artist: Mount Eerie

Release: Live at Landmark on 2007-07-28 

Label: Archive.org

Year: 2007

[Teaser of the day] Bing Satellites - Sad To Leave, Happy To Get There

• Modern classical
• Post-classical
• Art music
• Ambient
• Crossover
• Mood music

Artist: Bing Satellites

Release: Treasure

Label: Self-released/Bandcamp

Year: 2017

[Teaser of the day] Tsabeat - Raving Lunatic Mind

Postunder

• Psytrance
• Electronic music
• Rave music
• Alternative dance
• Club dance

Artist: Tsabeat

Release: Attractive Synthesis

Label: Postunder/Ektoplazm

Year: 2008

[Teaser of the day] Jared C. Balogh - Searching For Fractures

45RPM-Records

• Improvised music
• Jazz rock
• Contemprary classical
• Fusion
• Art rock
• Crossover
• Yacht rock

Artist: Jared C. Balogh

Release: Drifting Soul 

Label: 45RPM-Records

Year: 2012

[Teaser of the day] Lezet - Horizontal (Variation)

Bivouac

• Modern classical
• Piano music
• Avant-garde
• Minimalism
• Contemporary classical
• Art music
• Experimentalism

Artist: Lezet

Release: Not Of The Loins

Label: Bivouac

Year: 2009

[Teaser of the day] Joe Cat & The Guidestones - Safety Net

Southern Shelter

• Alternative rock
• Blues rock
• Live 
• Southern rock
• Americana

Artist: Joe Cat & The Guidestones

Release: Joe Cat & The Guidestones @ Caledonia Lounge 2018-08-28

Label: Southern Shelter

Year: 2018

Timothy Gilbert – Come And See (1987/2016)

The Living Archive of Underground Music

Archive.org

• Experimental rock 
• Avant-rock 
• Psych-rock 
• Improvised music 
• Singer-songwriter 
• Acid folk 
• Psych-folk

Comment: at the first glance, this issue embraces a couple of lengthy compositions, one of them is 27-minute and the other side is 31-minute long. A windy and rainy Sunday for nice listening, isn't. In fact, the two blocks are divided into many tracks. The US-born artist's 58 minutes is a vivid excursion based on a galvanised, needle studded electric guitar full of lasting riffs and heavy twangs to be resulted in psychedelic maelstroms and lysergic incantations. By its timbre, reverberant echoes and spiritual touch it chimes like an underground artist or combo out of the beginning of the 70s by loaning something from Zappa, Captain Beefheart, and acid folk artists. Indeed, it is an obvious virtue to reach such sort of sound. And of course, the artist's gritty timbre and expressive singing manner is worth on their own by conjuring up a bit spooky ambience. The aforementioned main course is interwoven with spoken word snippets, "accidental" sounds and something singular else. There is one ditty about an uncanny snowman. It is an unusual and solid songwriter outing. Thanks to Don Campau and his headed The Living Archive of Underground Music it was recently made available for a wider audience (initially in 1987). In a word, come and see.

Zanstones 80 – T T T T T T T T (2000)

ZH27

• Improvised noise 
• Avant-garde 
• Experimentalism 
• Leftfield 
• Electronic 
• Psycho-acoustic 
• Drone 
• Acousmatic music

Comment: you are not wrong – indeed, you see 8 Ts in front of your sight. It is obviously the most laconic and uninformative title ever I have encountered since one album and artist's name of just consisting of one very long hyphen only (he or she was probably Japanese by having released a couple of issues on Rack And Ruin Records). Unlike as laconic as the title of it used to be this 31-minute album is speckled with different dots and spans, disparate intentions and blackish and grayish mixed shades. More profoundly, the main line is based on noisy improvisations and around it used to gravitate string-tinged plucks, gathered small noise smithereens, acrimonious autotune-alike vocal threads, bold drones and rough and acute electronic dodges towards. One can hear the pulsations at different frequencies like some kind of electricity permeating the main course. Most sonic blocks are deliberately discolourized and eroded to get stand into a classical noise music feel. Regarding this classic sense you can partake in the intermittent case of continuation and disruption. The mind-provoking and freeing outing is an authorised work in the discography of ZH27 (these are the initials of Zan Hoffman who has issued a noise and experimental music legacy under his own imprint since 1984). This is a bullshit collector of your thoughts. What does it mean? It does mean nothing.