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Newly released on vinyl for the first time (now with actual cover art!), this aptly titled 2003 album shares a surprising amount of common ground with last year's Nocturnes.  The key difference is that Melancholia is broken up into 14 discrete quasi-impressionist piano vignettes.  While history has shown that Basinski is primarily at his best with more longform work, this is still a likable and somewhat fascinating effort that occasionally offers up a few rather unique sci-fi-meets-Claude-Debussy moments.
Like many of William's releases, Melancholia has its roots in tapes that he made in the '80s, though its neo-classical feel is quite a bit different from most of the other Basinski albums that I have heard.  That classical bent is most pronounced in the extremely similar Parts I and IX, which combine a brief snatch of sadly descending piano with mournful bowed strings…and something that sounds like a heavily reverbed and warped recording of a birdsong.  Aside from being almost interchangeable in every way, the two pieces are noteworthy for highlighting Melancholia's most bizarre feature: it is quite possible that this entire album was spawned from less than a minute of recorded music.  Many motifs repeat themselves, each piece is built upon just one repeating theme, and few of William's loops ever last longer than 5 or 10 seconds.
For me, that is what makes Melancholia a compelling release: it is not nearly as absorbing or hypnotic as his later work, but William inventively makes a lot of something out of virtually nothing, even if it does all feel like a series of sketches.  Admittedly, the best pieces are probably the aforementioned two Debussy-meets-howling-space-monkey works, as they sound like nothing else that I have heard.  However, a number of other pieces offer significant rewards if listened to closely enough, particularly Part VIII, which obliterates anything recognizably piano-like to leave only a shimmering, crackling, and undulating haze.  Several other pieces perform similar feats with a fair amount of success, such as Part II, which enhances its languorous melody with a ghostly afterimage.
Despite all those appealing traits, Melancholia is definitely not one of William's stronger efforts, primarily because it seems like Basinski is recycling so many of his ideas without going anywhere particularly fresh with them: a number of pieces seem virtually identical to one another.  Also, as mentioned earlier, William's particular strain of genius tends to only be apparent when he allows himself plenty of time to stretch out.  The far more recent "Nocturnes" is the most illuminating comparison in this case, as Basinski takes a similarly brief and basic piano theme and stretches it into 40-minutes of subtly shifting, mesmerizing beauty.  On Melancholia, William was clearly still trying to figure out the possibilities of that approach, keeping his experiments quite short.  While it is still an enjoyable album and an interesting window into Basinski's evolution, Melancholia is probably only worth investigating for those who have already plunged into his major albums and crave still more.
 
 
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This album documents the convergence of all kinds of wonderful things at once: Students of Decay, Andrew Chalk's artwork, Rashad Becker's mastering talents, and two of my favorite West Coast experimentalists.  Appropriately, the resultant music is both excellent and distinctive, resembling an eclectically assembled chamber music ensemble trying their hand at understated, improvised drone music and realizing that they should have been doing that all along.
I opens with its boldest and most ambitious piece, the 9-minute "Parting Lights (Suite)," which combines Croy's rapid and repeating koto arpeggio with McCann's groaning cello and something that sounds like a Japanese flute emulating a small flock of chirping birds.  Gradually, that chaos gives way to a densely undulating web of Sean's melancholy bowed strings before transforming yet again into a lovely koto solo, before finally coming back around to a variation of the opening theme.  I am not entirely sure what to make of "Parting Lights," as it is impressive that these two Californians have managed to create something that sounds like ancient Eastern ritual music, but it feels a little too busy and condensed for me to completely fall in love with it.  The more languorous and fluid pieces that follow are much more to my liking, even if they are a bit less unique.
To my ears, it is the shimmering, dreamlike, and gently groaning drone of the similarly lengthy second piece ("Alexandria") that steals the album.  While there is not anything particularly overt that separates it from work by a number of similar-minded drone artists, there are a number of subtle touches that elevate it into something quite special.  In particular, the production is quite striking, as it sounds like Croy and McCann are collaborating with other musicians located on the other side of a vast cathedral.  Also, the variety of textures is quite wonderful too, as the duo maintain a perfect balance of seemingly untreated violin and cello, more harshly metallic koto, and warmly blurred strings.
The four comparatively brief other pieces that remain are all quite good as well, however, and admirably avoid repeating any ideas from the lengthier openers.  "Momiji," for example, is built solely upon a strong descending koto theme enhanced with some beautifully bittersweet violin accompaniment by McCann.  The following "The Inlet Arc" unexpectedly sounds like a glacially slow variation of "Momiji" being played in a cavernous, warmly reverberating room, but feels completely different.  "Column of Mirror," on the other hand, reprises the fairly straightforward drone of "Alexandria," but transforms it with some very absorbing and vibrantly quavering metallic buzz.  I then concludes on an unexpectedly beatific and celestial note, as Croy's koto in "Hollow Pursuits" evokes nothing less than a cherub idly plucking a harp on a cloud as McCann's strings swell around him.  While that is perhaps not my genre of choice most days, it is nevertheless an impressive feat and a very effective illusion.
Admittedly, a few songs do not work as well as others, but I went into I with fairly high expectations and they were mostly exceeded: this is quite an inventive, nuanced, and likable effort.  Aside from just being a successful pairing of two excellent and similarly minded musicians, I is a very skillfully edited and produced album as well, presenting the duo's ideas in the most effective way possible.  I suspect that that is probably McCann's handiwork, as I was first exposed to him as a producer rather than as a musician, but Croy may still have secret talents that I am unaware of (and, of course, one can never discount the impact of Rashad Becker).  In any case, I sounds great and it is great, as I would be hard-pressed to find another piece in either artists’ discography that tops something like "Alexandria."
 
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Thomas Ankersmit is a musician and installation artist based in Berlin. Since 2006 his main instrument, both live and in the studio, has been the Serge analogue modular synthesizer.
Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound have been an important part of his work since the early 2000's.
In the winter of 2011-2012, Ankersmit was invited by the CalArts electronic music studios, Los Angeles, where the Serge was originally developed in the early 1970s, to record new music with their heavily customized and recently restored "Black Serge" system.
In addition to conventional analog synthesis techniques (FM, AM, ring modulation, filtering, enveloping and panning under voltage control), Ankersmit used various kinds of waveshaping, distortion and feedback (both internally as well as via a microphone and speaker setup in the studio); oscillator-generated frequencies at the upper and lower limits of auditory perception; a patch matrix to control quick transitions; a homemade circuit-bending type interface to create momentary interruptions to the signal flow, and the scraping of a contact microphone. Aside from recording, editing, and a few instances of reverb, no digital technology was used.
The music is finely tuned and highly detailed, yet also visceral and raw. Marked by sharp perceptual contrasts, the piece shifts between dense formations of electric noise, to fields of micro-events moving with an intuitive logic, and feedback-drones of overwhelming intensity. The sounds have a real-world physicality, bringing to mind swarms of locusts, distant storms and creaking machinery rather than "synthesizer music."
The piece was premiered in North America at REDCAT in downtown Los Angeles and in Europe at Berghain, Berlin, for the MaerzMusik Festival.
The music is originally quadraphonic and mixed to stereo for this release. Figueroa Terrace is Ankersmit's first full-length solo studio release.
Thomas Ankersmit: Serge analogue modular synthesizers, contact mic. Recorded at CalArts, Valencia and in Los Angeles, December 2011-February 2012.
More information is available here.
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This new Punk 45 album is a collection of tracks of twisted, raw and energized proto-punk music from the early 1970s, ahead-of-its-time music which led the way for the birth of punk in the second-half of the 1970s.
This new album is compiled and has extensive sleeve-notes by Jon Savage.
Punk 45: Sick on You! One Way Spit! After the Love & Before the Revolution: Proto-Punk 1969-77 is the third volume in this series, following on from the two earlier albums as well as the massive 400-page Punk 45s cover art book published last year.
While the first in the series, Punk 45: Kill The Hippies! Kill Yourself!, focused on the rise of underground punk in America, and the second album, Punk 45: There is No Such Thing as Society did the same for punk and post-punk in Britain, this album draws upon some of the stripped-down hard garage and post-glam sounds of mainly obscure bands that existed in the early 1970s - that were to prove the template for the forthcoming punk movement.
This is a unique and fascinating collection of proto-punk tracks from across the USA - Cleveland's Electric Eels, San Francisco's Crime, Los Angeles' Zolar X, Baltimore's George Brigman and more – as well as from the UK – with Joe Strummer's pre-Clash 101ers, the speed- induced r'n'b of the Count Bishops, and others also included.
As usual the album comes complete with text, biographies on each of the bands, exclusive photos and original record artwork.
The album is released on CD with outsize large booklet and thick slipcase and limited-edition super-loud, super-heavy double gatefold-sleeve vinyl edition complete with full sleeve-notes and free download code. These Punk 45 releases are also the first that Soul Jazz Records are making available as worldwide digital releases.
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Jeff Burch's first solo full-length album is comprised of two expansive instrumental compositions anchored by beautiful old acoustic guitars and a modular synthesizer.
He hoists his sounds up through the remnants of the 60's downtown drone spirit, through the fetid fruits of post-war central Europe and the scattered output of present-day suburban outsiders. The arrangements shift gracefully from floods of lush string texture to driving guitar and drum motif, from ebbs of brass and deep electric sine wave to thick hazes of clanging din and steely whine.
Cover photographs by iconic New York artist Roni Horn.
Composed, recorded and mixed between 2010 and 2012.
Recorded with Casey Rice/Designer (Tortoise, Dirty Three) at Classicx, Melbourne and Jamie Kennedy (of Surf City) at Henry Street Studios, New York City.
Featuring guest percussion by Stephen James (Songs, Rand and Holland), electric guitar by Tres Warren (Psychic Ills, Compound Eye, Messages), tenor saxophone by Marcus Whale.
Mastered by Patrick Klem (Sonic Youth, Six Organs of Admittance, The Dead C) at Klemflastic Sound, Phoenix.
Originally from the crystalline shores of northern New Zealand, Jeff now resides in New York City's torrid Lower East Side. Head of imprint The Spring Press, he has also founded numerous groups in both New Zealand and Australia.
Out May 13th.
More information will eventually be found here. Listen here now.
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It has been 7 years since Metaprogramming From Within the Eye of the Storm, the last solo full-length release by Valerio Tricoli. In the years between, he has established himself as a formidable presence on the international experimental live circuit and released acclaimed collaborations with Antoine Chessex, Coi Tormenti (Dilemma Records, 2010) and Thomas Ankersmit, Forma II (PAN, 2011) along with the fifth full-length release by his band with fellow Italian cohorts 3/4HadBeenEliminated, Oblivion (Die Schachtel, 2010). Throughout these shows, collaborations, and ongoing explorations, Valerio has developed upon his signature style of beautifully unsettling Musique Concrète. The result of his tireless explorations, Miseri Lares is his magnum opus, a multilayered and heavily nuanced work which epitomises the uncanny in the realm of sound.
Miseri Lares explores a variety of interlocking themes and sonic tapestries that combine in a quietly disturbing and deeply existential work. As a contemporary take on Musique Concrète, Tricoli utilizes his full explorations of the Revox tape recorder alongside digital processing whilst retaining all of the mystery and surprise elements found in the classic approach of pioneers such as Bernard Parmegiani, Eugeniusz Rudnik and Michel Chion.
Themes of the internal, represented by both the psychological and the physical, play throughout the record. A mind lays waste to it's own self-abasement the immediate surrounds (casa or 'home') feeds on the collapse of the individual. As a symbol of spirits preying on the grief within, haunting wisps of sound swirl around a throbbing bass in "Hic Labor Ille Domus et Inextricabilis Error," whereas "La Casa Deviata" emphasizes the paranoid structure as looming creaks make way for abandoned pipes and a cloud of escaping water. Here, the tension at play is injected with a treated dictaphone recording: "Tell me what happened","I can't remember…THE SMELL!!! There was a tape recorder, where is the tape?"
Spoken text (Italian and English) appears throughout the record, mostly as texture or as a dehumanized floorboard: a play on the album's themes of the psychological, emotional and irrational horror within. Texts by Italian poets Dante and Guido Ceronetti appear alongside excerpts from The Ecclesiastes, H.P. Lovecraft, E. M. Cioran, and writings by Tricoli himself. These add an extra weight to the recording, making it reminiscent of Robert Ashley or even the comedic tragedy of recent Scott Walker (baritone aside).
Valerio Tricoli's release for PAN adds another piece to the puzzle of narrative-based concrete music, yet deviating from all conventional forms and playing out like a literary form of unsettling sound sculpture.
The 2xLP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl. It is packaged in a pro-press jacket which itself is housed in a silkscreened pvc sleeve with with photography by Traianos Pakioufakis and artwork by Bill Kouligas.
More information is available here.
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Federico Durand has been quietly making a name for himself in the world of sparse, minimalist sounds that lay somewhere in a nebulous space between synthetic and organic. His use of field recordings and acoustic guitars place his work in a very naturalistic setting, while processed and occasionally distorted layers of sound are anything but. He works heavily within this dynamic on both this new solo record and his collaborative project with like-minded composer Tomoyoshi Date in two different, yet complementary releases.
One thing that El Estanque Esmeralda (The Emerald Pond) emphasizes is a tasteful use of distortion to give compositions a slightly dissonant, but also timeworn quality to them. The sense of nostalgia that pervades this album is no accident, with Durand's goal to re-create childhood memories with his grandparents.Light and gentle would be the most apt description of "La Linterna M√°gica," with hidden melodies and gentle river field recordings, but there is just an ever so slight bit of lo-fi grime to give it character."Nymphaea" also heavily features Durand's melodic tendencies, but deep below a world of analog hiss and what sounds like decaying magnetic tape.
The slight filtering appears again on "Un Claro del Bosque Iluminado por la Luz de Luna" but even more sparingly applied, instead first emphasizing the haunting melody that opens the piece and the heavy, glassy shimmering passages that close it."Iris, la Niña Invisble" utilizes both equally, with cautious piano notes and field recordings of croaking frogs with dense tones that slowly creep towards the harshness of feedback.The ending goes for what sounds like guitar and heavily filtered loops, resulting in a very different feel overall, both compared to the rest of the song and the album as a whole.
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Given the similar sounds Date works with in his other projects (Optiope, Illuha), it is unsurprising then that their Melodía collaboration does not drastically differ from Durand’s own solo work.Recorded while the duo was on a European tour and assisted by Stephan Mathieu, it was previously released as a limited LP.On pieces like "The Spirit of Rain Arrives Early to the Forest", Date’s influence seems to be mostly showcased with his relatively unprocessed acoustic guitar, with the ambient textures and field recordings possibly coming from either artist.Piano makes for the centerpiece of "An Old Photo of Our Family," floating nicely atop a bed of textural static and electronic melodies that result in two drastically different sounds paired together.
The lengthy composition "The Rise of Early Morning" uses that duration to shift and develop greatly, first sounding like field recordings from a beach before soon being overtaken by sweeping tones and melodic passages.It then shifts to be a mass of dramatic electronics and tones, engulfing what organic elements that can be heard before ending in a mass of textural stutters and music box like tones."Riverside of the Poet's House" has similarly cinematic moments, first pairing clanging bells and extremely elongated tones.Found sounds are looped into some ersatz rhythm, and eventually the entire piece becomes quite dense, with these obscure bits mixed in with guitar and field recordings.
Both alone and with Date, Durand does an excellent job working with hushed sounds and dissonant atmospheres.El Estanque Esmeralda is the one that stays the most grounded of the two, which is why I tended to prefer the Saudades album a bit more.In both sound and mood it has a constantly shifting dynamic to it, and while it never becomes either too dissonant or too sparse, it is the wavering between these two extremes that leads me to favor it just a bit more.
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The two artists who are paired together on this split release differ in their sense of style and instrumentation, but what also unites them is a distinctly unique take on jazz improvisation. Millevoi may stick with a single instrument, the guitar, while (Onibaba)’s more diverse production and instrumentation has a different feel comparably. However, it is this improvisational nature of the recordings that makes it excel for both artists, with the right balance of order and noise.
Millevoi (of Many Arms, Deveykus, and others) has played guitar in numerous different styles and configurations, but on his half, titled Numbers on the Side, he delves right into the rawer, harsher sounds the instrument can produce.Squalls of feedback, distortion, and infrequent riffs might sound (by that description) like a number of other projects, but his underlying compositional sense is what defines his half, resulting in a noisy piece of carefully ordered chaos.
The lengthy "Howling After the Endless Tandem Suns" leads off with a nicely raw bit of sustained guitar amp buzz, and any bit of subtlety is tossed out the window when the huge overdriven riffs kick in and extend outward under layers of distortion and fuzz.Millevoi is not afraid to throw on the guitar effects, but he uses them tastefully, never fully obscuring the instrument’s standard sound.Towards the end, however, he cranks everything up to be full on noise, alternating between shrill and guttural passages.
On "Rockets Redglare," what at least sounds to be an improvisation based on the "Star Spangled Banner," he doles out the scratchy, high pitched clanging notes to give it a harsh and aggressive.The jazz influence is rather clear here, however, with what at first sounds like being messy improv actually having a tight, underlying structure that remains obscured.A more conventional note progression eventually bubbles to the surface of "Where is the Crime?", but it is first a bunch of echoing scrapes and grating noise that is anything but musical.
(Onibaba) is a trio, and their improvisation style is a bit less obvious in the instrumentation compared to Millevoi, but the two lengthy pieces they contribute has the same combination of order and deconstruction."Sinking" immediately begins all dark and creepy, via echoing looped percussion and droning feedback.Bits of noise slip in and pull away just as quickly, and the clattering occasionally sneaks away, but continues to lurk in the background.
The other piece, "Dust," keeps the evil but scales back the dissonance a bit.There is a greater sense of space to be had, though it is frequently broken up by heavily reverberated thuds.Humming, wet digital drones and crackling static keep the ambience from getting too light, hiding the maliciousness that lurks just beneath the surface.
Superficially the jazz/improvisational feel of this split might seem subtle, but in actuality that sense of freedom with an underlying structure is all over this disc.Millevoi’s half would sound like something Ornette Coleman could have done if the guitar was swapped for a horn, and (Onibaba) work nicely as a trio, working off of each other to present a wide array of sounds without losing its loose sense of structure.Both artists contribute challenging compositions on here, but rewards are great, if admittedly dark and bleak in their nature.
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Bleep:10 is a celebration of ten years of music on Bleep. A decade of enjoying and working with some of the best artists and labels, and hopefully conveying our love of the vibrant music community we are a part of. For this fourteen track compilation we have sought out new and unreleased gems from some of our favorite artists, all of whom continue to shape the direction of the Bleep store. Together they represent different labels, scenes and genres that are important to us.
We open the compilation with an enveloping, never before released track from Wolfgang Voigt's revered Gas project. Lone provides his first new track since last year's massive "Air Glow Fires," whilst there is further explosive dance floor material from Untold, μ-Ziq, Modeselektor and Byetone. Shackleton turns in a relentless track of rough and thrilling techno, while Autechre's contribution "SYptixed" is a dark and precise piece of heavy electronic experimentation. Oneohtrix Point Never and Nosaj Thing provide moments of ambient respite, while Dabrye's playful beat track "Click Clack" is the first solo production to be released by the artist since 2009. Nathan Fake closes the release in fine style with glistening epic "Vanish North."
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After two full-length albums released by Matador Records, Cold Cave (aka Wesley Eisold) released a series of limited edition singles via his own Heartworm Press and Deathwish Inc. Full Cold Moon is not a new Cold Cave album, but a compilation of these singles in chronological order on one digipak CD.
Release date: May 13th. More information is available here.
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This latest Daniel Higgs-era full-length is in some ways a logical progression from 2011's memorable Peer Amid, offering up another healthy dose of muscular avant rock and bizarre shamanic stream-of consciousness vocals.  However, significant notable changes have taken place, most notably that group now seem more musically indebted to taut Gang of Four-style post-punk than they do to their messier, noisier influences.  That emphasis on precision, punchiness, and economy proves to be a fascinating backdrop for the band's metaphysical mantras and fables, as that bedrock of normalcy and control makes Dances' weirder elements seem even weirder than usual.
Dances opens with one of its strongest songs, "Pattern of Thoughts," which does a beautiful job of making the group's aesthetic intentions very clear right from the start.  Several (if not all) of the song's themes recur again and again throughout the album, most prominently Henryk Rylander's gift for propulsive, tom-heavy grooves and the guitarists' knack for simple, repeating riffs and jarring, discordant chord stabs.  For better or worse, "Pattern" also makes it clear that the Defekts are lyrically a band like no one else, as they immediately let me know that that are leading an ancient dance that was carved into a cave sealed with human bones.  They also note they the dance in question may be a sex magick ritual or used for controlling animals (or for just having a good time).
My feelings about hearing such lines casually delivered with complete sincerity and conviction are quite complicated, which makes The Skull Defekts a very tough band to fully embrace or wrap my head around, as their surreal, metaphysical and/or science-fiction-inspired narratives are so prominent and strange that is very hard to pay attention to much else.  That is very much a double-edged sword, as I think the Defekts' quixotic devotion to this path makes them quite a memorable and singular band while simultaneously ensuring that no one will notice how great their music can be.  Also, some songs are so outlandish that they almost defy belief, particularly "The Fable," which chronicles a number of curious trips that the narrator took after being drugged at a banquet (spoiler alert: he took a trip to Pluto and back and adapted an anthropoid disguise).  The closing "Cyborganization" is also a tough one to swallow, as the lyrics consist entirely of the titular made-up word endlessly repeated as a kind of mantra (and one with some extra syllables somehow added to boot).
I truly cannot get over how wrong-footing it is to hear stream-of-consciousness rambling about psychic warfare and traveling to the cosmos combined with such bad-ass, snarling, and no-frills post-punk.  It almost sounds like a particularly drug-addled prog rock band accidentally stumbled into a Birthday Party rehearsal and started obliviously recording the spoken-word passages of their convoluted rock opera over the din.  Admittedly that sounds fascinating, unique, and appealing in theory and it sometimes is in reality too, but I am also sometimes left wondering "why on earth are these guys doing this?"
Consequently, Dances is an album that I find thoroughly perplexing and inspired in equal measures.  I do not know that I would necessarily say that it actually works though, as there is literally no band on earth that would not fade into the background when they are seemingly joined by a grizzled prophet from the future eager to discuss his improbable travels through time, space, and his own mind.  Consequently, I honestly do not know quite what to make of The Skull Defekts at this point in their career: either they are making a series of increasingly terrible decisions or they are heroically avoiding the expected at all costs.  I am not sure being interesting or unpredictable is quite as cool as being unambiguously good, but I certainly appreciate that The Defekts remain as enigmatic, lively, and adventurous as ever.
 
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