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Forced Exposure New Releases for 1/15/2018

New music is due from Marco Resmann, Barrowlands, and M.E.S.H., while old music is due from Joe Meek, Severed Heads, and Biosphere.

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Podcast Episode 379: January 13, 2018 (guest artist Jack Dangers)

Jack DangersImpossible Star, the 11th full-length album from Meat Beat Manifesto is officially out on January 19th. We are excited to feature a podcast featuring guest Jack Dangers and music from MBM, Jack solo, and The Forger. It's an extra long episode (just over an hour and a half) and includes many old favorites, new tunes, as well as backstory and discussion of the music.


iTunes Google Play

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2017 Readers Poll - The Results

Once again it's time to thank everyone for their participation in the Brainwashed Annual Readers Poll. As always, the Readers Poll doesn't particularly represent what the staff and writers feel are the best and worst of the year, but we happily once again provide commentary. All the best for 2018!

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Z'EV (Stefan Weiser), 1951-2017

http://www.brainwashed.com/10/2006/pictures/cristman/IMG_3855a.jpg

Unconfirmed reports have come in that our friend, Stefan Weisser, who the music world knows as Z'EV, passed away in Chicago on December 16th at 11:33pm. Z'EV has been an important pioneer in music for over 4 decades as a percussionist, sound artist, and poet. His music transcended genre names and he was equally comfortable playing alongside industrial, experimental, primitive, metal, rock, and numerous other classified artists. His health battles were made public over the last few years following being hospitalized with injuries suffered after a train derailment. Cause of his passing has not been confirmed at this time. He will be missed.

Please enjoy the following videos:

photo by Greg Cristman

 

Merzbow, "Pornoise 1 KG"

cover imagePornoise 1 KG is somewhat of a landmark release in Masami Akita’s sprawling, ever expanding and complex discography.  Recorded in 1984 and issued multiple times as a five-cassette set not long after, it represents one of the first long form collections of Merzbow to have been released.  Reissued here on six CDs (including the separately released Pornoise Extra as disc six), it makes for an excellent snapshot of what Akita first started out doing, and hints at what would come later in his long career.

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Dub Syndicate, "The Pounding System"

cover imageNewly reissued, this 1982 debut from Adrian Sherwood’s eclectic dub project is an ambitious and occasionally perplexing affair.  The album’s subtitle, "Ambiance in Dub," goes a long way towards explaining the unusual and embryonic aesthetic, as does the fact that it was recorded by a revolving cast of guest musicians during a fortuitous window at a well-equipped studio: these are very simple and stripped-down bass-driven songs that leave plenty of room for each individual element to breathe.  That is ideal for Sherwood’s experiments with reverb and mic placement, which seem to be The Pounding System's raison d’être: this is very much a playground for Sherwood’s production and recording wizardry.  I suppose that could be said of all dub, but it feels like Sherwood is animating skeletons rather than deconstructing complete, fully formed songs.  To my ears, Dub Syndicate's later, more layered work holds up much better than the semi-traditional dub reggae found here, but The Pounding System is a pleasant (if uneven) teaser for the more substantial work on the horizon.

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Matt Weston, "Searchlight Swings"

cover imageMatt Weston’s last release, the Organum-esque scrape and drone fest "Kidnapping Denials/Put on a Good Face" did an exemplary job at capturing him in his natural habitat as a percussionist, albeit a rather unconventional one.  While that was based upon live recordings, his newest 7" is a bit more multi-instrumentalist and studio-centric in its approach.  Made up of two rather brief pieces, it is a tantalizingly short yet fully engaging single.

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Robert Haigh, "Creatures of The Deep"

https://f4.bcbits.com/img/a3539007225_16.jpgRobert Haigh’s latest piano-based album is his first for US-based label Unseen Worlds. It has a finely crafted pace with such richness and delicate variety that even the most languid and pristine tracks avoid the doldrums of melancholy.

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Terry Riley, "Persian Surgery Dervishes"

cover imageFew people have played as crucial a role in shaping the experimental music landscape as Terry Riley, yet his impact and historical significance have not necessarily translated into a discography of timeless classics ("Poppy Nogood" excepted).  This particular reissue, originally released on Shandar back in 1972, still sounds remarkably fresh and contemporary though.  Part of that is pure luck, as we are currently in the midst of an aesthetically similar analog synthesizer renaissance, yet these two improvised performances would probably seem immortal and transcendently consciousness-altering in almost any cultural context.  Though the two pieces take somewhat different paths and evoke different moods, the overall experience is like being present at an organ mass that slowly transforms into a mass hallucination where all the notes bleed and swirl together in a lysergic haze of otherworldly harmony.

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Gregg Kowalsky, "L'Orange, L'Orange"

cover imageDate Palms’ Gregg Kowalsky has been atypically quiet over the last several years, as his last solo full-length was 2009's inspired and fitfully mesmerizing Tape Chants.  I am a huge fan of tape loops, so it would have absolutely delighted me if Kowalsky had spent most of the last decade secretly deepening and perfecting that side of his art.  It is certainly possible that he has been, but L'Orange, L'Orange is not Tape Chants II.  Instead, Kowalsky consciously set out to make an album that "felt like a human made it."  He certainly succeeded at that, as L'Orange, L'Orange is a warm, drone-based twist on Date Palms' sun-dappled psychedelia.  Aesthetically, it also shares some common ground with a lot of the Cluster-loving analog synth fare so much in vogue these days, yet the best moments achieve a lushly enveloping, meditative bliss that is uniquely Kowalsky-ian.

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The Eye: Video of the Day

Mutek 2003

YouTube Video


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Review of the Day

the black eyed snakes, "rise up!"
Chairkickers
The Black Eyed snakes got our attention a few years back with their debut: a quaint but forceful tribute to the Delta Blues from a polite quartet fronted by Chicken Bone George, whose years of repression, living under a different guise and keeping the volume down has made him yearn to break free. The second full-length release is even more commanding as it's louder, noisier, and far more aggressive. Rise Up! wastes no time and no space as it opens with the one note intro, then blast, of the album's title track. Without a second to spare, the group barrels through another after another in the onslaught of wall-shaking guitars, loud drums and percussion, and a screaming voice, distorted almost completely beyond recognition. In the years this outfit has been playing and recording, their sound has become notably tighter and rougher at the same time, and with a variety of songs ranging from under the one minute mark to over eight minutes, it's far from predictable. Rise Up is dirty, sexy, and edgy enough to hold the attention for the 40 minute duration. Accompanying the 11 original tunes (and one Swans cover) are two videos. "Rise Up!" is a different version than what's available at the band's web site, with tons of aggressive stock footage of wars, bombs, and fights, while "Good Woman Blues" is a hilarious conceptual video of the group getting violently wrestled in the ring by a powerful woman.

samples:


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