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Forced Exposure New Releases for 1/26/2015

New music is due from Damo Suzuki & Mugstar, Gaiser, John Tejada, and Heather Leigh, while old music is due from The Explosives, Scientist, and Cluster.

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Disappears, "Irreal"

cover image2013's Era was a criminally underappreciated monster of an album that marked an significant, unexpected surge forward in forging a distinctive and wonderful aesthetic all Disappears' own.  I am not sure quite what I expected from this follow-up, but it certainly was not still another dramatic evolution.  That is exactly what I got though.  While I still give Era the edge from both a songwriting and simmering menace perspective, Irreal takes its predecessor's hypnotic, machine-like precision and echo-heavy minimalism and runs with it.  Admittedly, the band's brilliance is primarily stylistic this time around, but Disappears have nonetheless provided yet another thoroughly bad-ass avant-rock tour de force.

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The Body & Thou, "You, Whom I Have Always Hated"

cover imageWith a true collaboration happening between these two bands, I was not expecting any sort of subtlety or restraint, and my initial thoughts were proven to be true.  I was, however, planning to hear a lurching mass of distortion and excruciating vocals, and that is exactly what is here.  Neither artist clearly fits into the standard metal templates, and with them working together here, that is all the more apparent.

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Joe Panzner/Greg Stuart & Jason Brogan/Sam Sfirri, “Harness”

cover image Second in a trio of inaugural cassette releases from Yucatán, México's Lengua de Lava, Harness joins two live performances recorded on the same night at Oberlin College's Fairchild Chapel. The first documents the gutsy force of Joe Panzner and Greg Stuart's machine noise, the second catches Jason Brogan and Sam Sfirri in slow-death mode, twisting canine howls and malfunctioning equipment into avian distress signals and seismic events. Each duo treats their material differently, but the attention paid to physical properties and processes links them. It's a detail picked up and echoed in the superb artwork from Matthew Revert, who channels the corrosive elements of both pieces into a frayed and intricate scrawl.

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Bionulor, "Vexations"

cover imagePolish artist Sebastian Banaszczyk once again demonstrates another leap in compositional development with his Bionulor project.  This work, a 3" CD constructed from sounds extracted from Erik Satie's piece of the same name, features some noticeable elements from the original piece.  As a whole, however, it has a sound that is unquestionably the work of Banaszczyk.

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M. Geddes Gengras, "Collected Works Vol. 2: New Process Music"

cover imageThe first volume of Gengras's Collected Works was unexpectedly one of my absolute favorite albums of 2013, so I was looking forward to this follow-up with a great deal of anticipation.  As it turns out, my expectations were way off the mark, as New Process Music is nowhere near as great as its illustrious predecessor.  However, it is equally worth noting that it is not trying to be: this album is a different beast altogether.  While The Moog Years captured Gengras at his haunting, long-form compositional peak, New Process Music instead documents a series of brief experiments in harnessing the squiggling, burbling chaos of a small Eurorack modular synth.  The results are certainly interesting, but anyone seeking something beautiful or sublime should definitely look elsewhere.

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Weirdo Weekly #419

Tomorrow night here at the shop, Con Tex & J Adam will be rockin acoustic guitars and their large lives starting at 8p. Do drop by.

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Black To Comm

cover imageIt has been quite a long wait since the last proper Black To Comm album (2009's wonderful Alphabet 1968), so it was an absolute delight to have Marc Richter unexpectedly re-surface in December with an inspired return to form (and one of the year’s finest and most singular albums).  While this latest release understandably bears almost no resemblance to Marc’s decidedly outré soundtrack for EARTH (2012), it also does not seem to follow any obvious, linear progression from his previous work either. Black To Comm is its own self-contained, anomalous world of vibrant, hallucinatory sound art brilliance, resembling nothing less than the beautiful nexus where drone, space rock, psychedelia, and the flickering unreality of late-night semi-consciousness meet.

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Celer, "Sky Limits"

cover imageWill Thomas Long has been less prolific as of late with material as Celer, his minimal ambient project.  That longer space between releases has made each one all the more memorable, and that is no different with Sky Limits.  Even though it is conceptually about the ephemeral nature of life and experiences, stopping to listen to these quiet pieces makes for a great metaphor of life on a grander scale.

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The Inward Circles, "Nimrod is Lost in Orion and Osyris in the Doggestarre"

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Richard Skelton has a long history of shifting monikers, unusual concepts, and stylistic evolutions, but this latest project still came as a bit of a surprise to me, as it does not particularly sound like a Richard Skelton album at all.  Not at first, anyway.  Rather, it sounds a bit like a warmer variation on classic Lustmord or one of Steve Roach's space-themed albums–a far cry from Skelton's vibrant and organic signature blend of bow-scrapes and rich, shimmering harmonics.  After a few listens, however, it becomes evident that Skelton's aesthetic is still perfectly intact, but has been slowed down and stretched to something approximating geologic time (appropriate, given his well-documented non-musical interests).  While Nimrod is definitely not representative of what Richard historically does best, it is nevertheless a deep and absorbing listen, boasting at least one piece that is probably as great as anything in the space music canon.

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The Eye: Video of the Day

Explosions In the Sky

YouTube Video


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Review of the Day

Infinite Body, "Carve Out the Face of My God"
cover image The dichotomy at work through Kyle Parker's exquisite new album rivals the highest peaks of heaven and the lowest valleys of Hades. Mixing a bit of congestion within his soaring pieces, Parker—under the pseudonym Infinite Body—produces an album that borrows just as much from his noisier past as it does from Classical and Baroque masters long forgotten amidst the digital age.
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