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Forced Exposure New Releases for the Week of 03/19/2018

New music is due from Dijf Sanders, Black Meteoric Star, and a collaboration between Colin Potter, Alessio Natalizia, and Guido Zen, while old music is due from Hiroshi Sato, Jackie-O Motherfucker, and Beverly Glenn-Copeland.


Cindy Lee, "Act of Tenderness"

cover imageA month ago, I had absolutely no idea who Patrick Flegel was, but the buzz surrounding Superior Viaduct's Cindy Lee reissue series piqued my interest and Flegel quickly became one of my new favorite people.  In a past life, Flegel was the frontman of Canadian indie-rock band Women, who famously imploded in a Halloween-costumed, guitar-smashing onstage meltdown in 2010.  Soon afterwards, Flegel began dressing in drag and his "diva alter-ego" Cindy Lee was born.  Sometimes a full band, sometimes a solo act, Cindy Lee has a strikingly guileless, idiosyncratic, and oft-disturbing aesthetic that almost feels like outsider art.  On Act of Tenderness, Flegel's vision focuses primarily on intimately and eerily channeling '60s girl-group pop through a hissing and hallucinatory fog of melancholy.  Some songs certainly work better than others, but when Cindy hits the mark, it feels like a memory-haunted chanteuse has stepped directly out of David Lynch's imagination and become actual flesh and blood.


Rafael Anton Irisarri, "Midnight Colours"

cover imageI was a bit surprised to belatedly discover that Irisarri’s latest release was conceived as an imaginary soundtrack to the Doomsday Clock, as Midnight Colours is often an atypically warm and beautiful release, shedding much of the pervasive melancholy that runs throughout his previous work.  Perhaps, however, it would be more accurate to say that Irisarri has merely become a bit better at effectively wielding that melancholy, as the shadows that shroud the lush heaven of Midnight Colours tend to add depth and gravitas without crossing the line into brooding reverie.  That may sound like a subtle evolution, yet it is quite an important one from my standpoint, as Irisarri's eternal somberness was always a bit of an obstacle for me.  I am not normally one to praise accessibility, but I am delighted by it in this instance, as his grainy, hissing, and gorgeously enveloping drones have rarely been more listenable than they are here.


Podcast Episode 382: March 11, 2018

a view from Martin's window Brainwashed Radio: The Podcast Edition is brand new this week with tunes from Dylan Cameron, Cavern of Anti-Matter, Asmus Tietchens & Terry Burrows, CV & JAB (Christina Vantzou and John Also Bennett), Blaine L. Reininger, Taylor Deupree, Ekin Fil, Soft Kill, Drowse, Schlammpeitziger, and Richard Skelton.

Thanks to Martin who sent us the picture of the view from his window when he listens to the podcast episodes.

iTunes Google Play


Brainwashed Premiere: Dylan Cameron "Graceless Gods"

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This week Brainwashed is pleased to premiere Dylan Cameron’s “Graceless Gods”, part of the massive digital compilation the Holodeck label is releasing this week to commemorate their 50th release. "Graceless Gods" is a fitting teaser for the release, capturing everything he (as well as the label) excels at: heavy danceable beats, prickly, pulsating analog synths, and immaculate attention to sonic detail and production.

Holodeck Vision One features 30 artists from the label's past and present, as well as close associates such as Troller, Drab Majesty, and Michael Stein, and is available digitally on March 9. Dylan Cameron will also performing at both of the upcoming Holodeck SXSW showcases on March 15 at Hotel Vegas and March 17 at Central Presbyterian.

Preorder Holodeck Vision One at Holodeck's Bandcamp


The Skull Defekts

cover imageThe Skull Defekts have long been one of the most baffling, wonderful, and unpredictable bands in underground music, equally likely to dazzle, disappoint, or just thoroughly confuse me with each fresh release.  While far from infallible, they were also a restlessly experimental, viscerally heavy, and frequently fascinating creative force.  Consequently, I am very sad to see them go, as The Skull Defekts is the band's farewell album (though a bit of the band's brutal alchemy continues to live on in The Orchestra of Constant Distress).  As far as swan songs go, however, I am pleased to say that The Skull Defekts' final chapter is an especially strong one, inventively balancing noisy experimentation, art-damaged rock, and visceral brute force.


Dedekind Cut, "Tahoe"

cover imageI cannot think of many other projects that have been quite as instantly revered as Fred Welton Warmsley III's Dedekind Cut, nor can I think of any other artists who could comfortably fit in at both Hospital Productions and Kranky.  Tahoe, Warmsley's first album for the latter, admittedly focuses primarily on Dedekind Cut's more meditative, drone-based side, but there are still some moments ("Spiral," for example) that would not seem out of place on a Raime or Haxan Cloak album.  That shifting and elusive aesthetic sometimes leads to some unusual sequencing choices and disorienting mood shifts, but any potential grumblings I may have about Dedekind Cut's fitfully focused vision are silenced by how gorgeous these pieces can be when Warmsley hits the mark (which he does with truly impressive frequency).  This is one of the best albums that Kranky has released in a long time.


Contrastate/various, "Your Reality is Broken"

cover imageEver since their inception in the late 1980s, this UK project has simultaneously dabbled both in the worlds of musique concret and harsh electronics; two styles that are undeniably similar but have very few in the way of crossover artists, all with a distinct sense of irreverence.  Active again after a lengthy hiatus in the early part of the 21st century, Your Reality is Broken is another piece of work that successfully blurs unnecessary lines; in this case if it is a tribute album to them, a remix collection, or a compilation of collaborations.  In truth, it is all of these things at once, and it is excellent.


Eyvind Kang, "Plainlight"

cover imageBack in 2001, Eyvind Kang recorded an absolutely wonderful album on Sun City Girls' Abduction imprint (Live Low To The Earth In The Iron Age), which I naturally missed because everything related to Sun City Girls was maddeningly difficult to find in those days.  Also, I was not at all familiar with Kang back then, though he has long since become a reliably ubiquitous presence in the experimental music scene.  Sadly, Live Low is still woefully out-of-print, but Kang has finally recorded its follow-up anyway.  Plainlight is quite a bit different from the drone- and shoegaze-influenced post-rock of its predecessor though, as the only real consistent thread between the two is a vague aesthetic of rustic psychedelia.  Instead, the two albums feel like very different stages of the same long journey, which is a large part of why Plainlight took so long to appear: Kang did not want to repeat himself and patiently waited until the next stage of this project's natural evolution finally revealed itself.  If Live Low To The Earth can be said to resemble a slow, subtly hallucinatory journey across a vast, open plain, the more structured and ritualistic Plainlight is a glimpse inside an ancient and remote temple nestled in the mountains.



cover imageThe four untitled pieces that make up this (similarly untitled) cassette were recorded one November in 2016 as John Olson (Spykes) was in the upstate New York area and looking to collaborate.  Thus enters electronics virtuoso Mike Griffin (Parashi, also a member of psych rock collective Burnt Hills), and the two got together in Griffin's suburban basement studio.  With Olson in full on psy jazz mode and Griffin manning the pedals, the final product is a combination of two disparate, yet perfectly complementary performers.


The Eye: Video of the Day

Charles Atlas

YouTube Video

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Review of the Day

slag boom van loon, "so soon"
The original tracks were by µ-Ziq's Mike Paradinas and Speedy J's Joachim Papp, the disc here is remixes from Coil, Boards of Canada, Matmos, Four Tet, µ-Ziq, Tiper, Horse Opera, and Pole. The good thing is that if you love these bands, you won't be let down. All the remixes pretty much sound like the group doing the remix. Fout Tet's got a beefy and beaty contribution, Boards of Canada's bookends are serene and liquid, and the highlight is most certainly the Coil mix which nearly approaches 10 minutes, with scraping sounds, a chilling marimba and orchestral loop, and thunderous low rumblings. What's the point of releasing "remix" albums under your own name? It should just be considered a various-artists compilation but there's legal ramifications surrounding how you credit those whose fingers have been in the mix. It's great, it's dark, it's light. You are a fan of many of these bands so you might as well get it.



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