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For those Hototogisu fans that are sometimes unlucky enough to miss out on limited editions, this Important Records release is a godsend. Some Blood will Stick takes tracks from both 2004’s Swoon Scream and 2005’s Awful Symmetry (both editions of 100) and it’s unlikely you’ll stumble across one of those for less than thirty pounds these days. The addition of an unreleased track makes this a compulsory purchase for any fans of Matthew Bower (Skullflower/Sunroof!) and Marcia Bassett (Double Leopards/Zaimph).
There are few bands that lean as heavily towards the pure sound of ritual as Hototogisu. Skilled in both the simplicity and heaviosity of drone, this album reeks of brimstone and the sweet smell of burning oxygen. Their ability to sound thematic without actually giving in to following these threads leaves their music open to interpretation, or better still open to engagement.
The black metallics of their feedback-styled orchestral layers insinuate a cracked cathedral dome sound. Swirling screams of ritual slaughter and the panning between the tinkling and the clanging of meathooks. His work as Hototogisu is utterly distinct from his other main projects, Skullflower and Sunroof!, the music having become an inverted hurricane, spinning out Indian drones like expanding brain stems.
Bower’s fag ash demonic throat shredding climbs over lift shaft hydraulic rushes, a single thunderclap pulse failing to keep time in the storm. At times its possible to distinguish the great swathes of guitar as melody, grand strums of six string over etched whitened and tensed tones. This six-track compilation is yet another definitive example of why Hototogisu is Bower and Bassett’s most revered project.
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For those Hototogisu fans that are sometimes unlucky enough to miss out on limited editions, this Important Records release is a godsend. Some Blood will Stick takes tracks from both 2004's Swoon Scream and 2005's Awful Symmetry (both editions of 100) and it's unlikely you'll stumble across one of those for less than thirty pounds these days. The addition of an unreleased track makes this a compulsory purchase for any fans of Matthew Bower (Skullflower/Sunroof!) and Marcia Bassett (Double Leopards/Zaimph).
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This is Jandek's first album since releasing the live document of his performance with Richard Youngs and Alexander Neilson in Glasgow, Scotland. I had feared that some of the mystery that made him so appealing was going to disappear with his emerging worldly presence, but Raining Down Diamonds is as baffling as his legacy and far darker than one might expect from a musician who recently invited his audience far deeper into his house than ever before.Corwood Industries
In 2003 Jandek debuted his use of the bass on The Gone Wait. It was described as a nice contrast to all the squalls and screams that he'd been pulling from his guitar at the time. Two years later, Jandek seems to be approaching the bass again, but in a confusing way as it seems like both a bass and an acoustic guitar on being used on Raining Down Diamonds.There's no mention of a second musician and, furthermore, the twoinstruments mimic each other rhythmically throughout the album, neverfaltering or falling out of sync with one another.
Jandek might havehis guitar tuned down to create a muddy, bass sound or he mightactually be playing a bass. Songs like "Your Visitor" make it verydifficult to distinguish exactly what's being played and, at somepoint, the two instruments seem to bleed together and dispel any ideathat Jandek might be employing more than one musician on this record.
The musical haziness is consonant with the lyrical topics. Jandekbegins with a statement so strong that it cannot be confused foranything but the subject of the entire album: "I don't know wherethings are / It's so dark I have to feel my way around." His voicedrones low, imitating the hum and ramble of the music, but it standsout among the throbs of sound, punctuating the music and providing theheft of the album more so than the instrumentation. The album containsa strange take on suicide or death ("It's Forever"), a dedication tothe food gods ("You Ancient"), and the strangest love song in all ofmusic. The album ends with a kind of triptych; three eight-plus minutesongs, one of them being a new version of "Take My Will" and the othertwo being the kind of Jandek that might freak some friends out if youplayed it for them at night, under a full moon, in the middle of thewoods.
"Your Visitor," however, sounds like Jandek trying to explainwhy he loves someone. He's drinking wine and recalling his life andsimultaneously paving a new one ahead where he is waiting for his love.His delivery is confusing because it's impossible to be sure of anypunctuation or structure; his voice simply buzzes along, full ofresonance and sadness. The last lines say everything about the Jandekmystery and, at the same time, cast the nature of this love into doubt:"You've got all kinds of every love / And your visitor lasts so long /So listen and find me if you can / I'll be all around your loneliness."
I was so sure he was talking to me the first time I heard the recordthat I had to restart it, I was afraid I'd missed something, like I hada better chance of finding him because he'd performed at a concert,revealed that he was the man on the covers, and even let us know thathe couldn't possibly have been a hermit his entire life. I was wrong:Jandek is still hiding. He's receding and expanding and, in allhonesty, there's no knowing who he is or why he writes hisdistinct music. Listening to Jandek, however, is fun precisely becausehe's been such a damned enigma throughout his 42 albums continues to beone without any apologies or signs of slowing down.
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Forgive me for not being excited that one of the Wolf Eyes guys has another record out. It'd be a surprise if one of them, or Wolf Eyes themselves, didn't have a record out once every month or two. While Bad Dreams is not one of those must-have records for mad collectors and noise lovers everywhere, it is a good piece of quiet noise that refuses to enter the "sounds like everyone else making annoying music" field.Dilloway presents four untitled tracks, each of them densely-layered works which focus on one or two central themes and runs with them. Undeniably analogue and mostly generic in their delivery, there's nothing special about any of the tracks. Sometimes rhythm of a very shadowed sort propels the songs along and, at other times, there's just a lot of machine noise screaming out of the speakers, sounding like the all too typical malfunction. Unsurprisingly it's loud and there's a good deal of fun sounds to be found, but after a while it's hard not to think that this is just more of the same.
What saves Bad Dreams from the fate of sounding repetitive is that the relatively short tracks that surround the massive 25 minute piece in the middle have enough variation in them to warrant some repeated listens. The hazardous waste, wind-swept desert feel of the album lives up to its title and makes for some fairly imaginative trips down ambivalent lane, but it fails to sound like anything that I haven't heard from someone else. Most appallingly, Bad Dreams is a record I can ignore at will.
The second, untitled track starts off nicely but then dissolves into a series of ambient noise sections that relies mostly on metallic buzz and rather dreary noise pulses that do nothing more than draw out its already epic length. There are some psychotic episodes placed throughout the disc and, on the whole, the album isn't terrible because the source material isn't bad, Dilloway simply fails to use the source materials in any way that makes me want to hear the album more than a few times.
I suppose I could put this on if I wanted some sounds to listen to in the background while performing day to day tasks. I might even be able to go to sleep to it, but I'm not compelled to give it too much of my attention.
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Guitar has long been a male dominated instrument. For as long as Les Paul strapped electronics to the supposed heartbeat of rock and roll, it has been considered an extension of the male psyche; a supercilious sex organ meant to lure women. Yet, as time unfolds and sexual and musical roles are consistently redefined, the guitar has become something of a throwaway. It's a one-trick pony that has been rendered impotent by a swatch of talented femme fetales who have transformed the male extension into a tool of progress. The sinewy manipulations of Sarah Lipstate (AKA Noveller) continue to re-imagine the guitar. Desert Fires, Lipstate's proper sophomore release, not only goes so far as to erase gender boundaries, it casts guitar in a light so few have been able to achieve throughout the instrument's storied history.
Beginning with the haunting, oddly still "Almost Alright," Lipstate carves out a new path for her Noveller ethos. Always mindful about excessive manipulations, those distorted moments of drone and melody are scaled back even further as Sarah's confidence blossoms in her playing skills. Each repeated strum is more fragile than the next as an e-bowed swoon sweeps across the arid landscape. The stripping down of guitar to its essence remains at the heart of Desert Fires. "Toothnest," dedicated to friend and visual collaborator Chris Habib, is no more complicated than the repetitious notes that bounce above the monochromatic growl stretching across the piece's until Lipstate's piercing guitar bends grab it like ravenous incisors, ripping the flesh from the bone. It's a pattern repeated by follow-up, "Three Windows Facing Three Doors," and yet the differences in delivery and sound continue to startle.
It may be a slow decent into minimalism but Desert Fires proves well worth the patience. Sarah Lipstate's continued evolution as an artist is most pronounced on this, her sophomore release. If there were hints to this brand of mantra cool, they have been well masked. It's not that Desert Fires is so far removed from her previous album, Red Rainbows, or her smaller releases, it's that the leap in quality and confidence is stark. Desert Fires brims with a confidence in delivery as well as style, proving that Lipstate is just as brilliant with her compositional skills as her male compatriots. More startling, this is just the beginning of a career where innovation and experimentation will continue to beguile the future Noveller aesthetic.
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"A Much Better Tomorrow" takes the 1996 "A Better Tomorrow" EP, remasters it and fleshes it out with previously unreleased tracks from the same era into an inexpensive full length cd. If you're a fan of the Dr. Octagon LPs with Kool Keith, then this is a must have as 6 of the 11 tracks are from the same sessions and feature Keith in his Sinister 6000 alter ego. Nakamura's varied approach to hip hop deftly weaves together samples and laid back, big ass, jazzy beats as backdrop for rhymes on all but two tracks. Keith ditches the silly medical mumbo jumbo here in favor of old skool silliness and braggadocio. Neph the Madman and Poet handle the MC duties on a track apiece and DJ Q-Bert adds scratches to another. This may be 4 years old - an eternity in the world of hip hop - but it doesn't sound dated. Dan is the man. An even cheaper EP with just the new tracks is also available from 75ark.com for those who already own the original EP. How cool is that?Read More
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The influence isstill there in the form of clever, wordy lyrics, eccentric and extravagantpop gestures, and a richly emotive delivery. But Harding's sense of humouris infinitely warmer and more inviting that Costello's sardonic hauteur everwas. And Harding lacks the layer of schmaltz that too often made Costello'swork unbearbly bathetic. ST. ACE has sexy ballads like "After the Fact,"soaring powerpop in the form of "You in Spite of Yourself," and serioussilliness in tracks like "Humble Bee" and "Old Girlfriends." The cheeryincest subtext of "Bad Dream Baby" would make both Edward Gorey and RoyOrbison shudder in their coffins. Harding's cheeky "Goth Girl" will make youwant to slip into some tattered velvet, smear your mouth with black lipstickand go out prayer-dancing just like you did all those years ago.Read More
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"Live at Radio 100" is a limited edition of 500 that comes in a neat silver and blue carton box with slip off top. It features a single 42 and a half minute track that documents a live performance for the Dutch pirate radio show "Earbitten". Masami Akita (aka Merzbow) mans a turntable and electronics and is joined by Bara on turntable and some bizarre vocals, Reiko on theremin and 'guest' Radboud Mens on turntable. This unique DJ team spin a non-genre specific assortment of records (the only one I can positively identify being Louis Armstrong), sometimes simultaneously, and carve it up with swathes of sound effects and electronic noise. The result is, yes, noisy and chaotic, but much of it is quite subdued with a trance like atmospheric quality reminiscent of Throbbing Gristle's "In the Shadow of the Sun" soundtrack. A sense of humor also prevails too through the eclectic choice of sound sources and the way in which they are obliterated. Overall "Live at Radio 100" is very entertaining and listenable, especially by Merzbow standards. I'm somewhat surprised at how 'musical' the piece sounds considering it's a live collaboration. I hope there's more stuff like this in the Merzbox, which I've yet to seriously delve in to. Now ... where's my aspirin?Read More
- LD Begtol
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And not boring in the good way, like Philip Glass' funwith monotony or Low's sublime minimilist architectonics or even StephinMerritt's clever zen-inflected loop songs (see his glorious THE HOUSE OFTOMMORROW ep) that prove repetition can be a dircet path to pop nirvana.Rather, Sea and Cake's new disc is all about the non-event: nothing happens,and nothing ever will happen. And as you sit there like a character in someexistential vaudeville skit, listening to its tastefully tedious keyboardsand drums and noodly guitars and breathy, indistinct vocals < for what seemslike an eternity < you'll suffer in paraysms of boredom. And wonder why thehell anyone who likes music actually likes this stuff. If this is thealternative to alternative rock, I think i'd rather listen to the airconditioner. Just say "NON!" to OUI. John McEntire fans will want to checkout the fine new Aluminum Group album, PELO, which shows his skills asperformer and producer to a fine advantage. The Navin boys have abandonedtheir fey, soft-rock ways for electroplated dance tracks, and McEntire is adefinite asset.Read More
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In some senseVicki Bennett's work could be seen as companion volumes to Neil Postman'sincisive mid-eighties critique "Amusing Ourselves to Death: Public Discourse inthe Age of Show Business". Her assemblages of found samples and oddballartifacts, punctuated by peculiarly catchy little synthpop interludes, arepopulated with all the random and irrelevant crap with which most of us arebombarded daily, skillfully crafted into preposterously pointless exchanges andeasy-listening jingles which slyly undermine the intention and substance oftheir original forms. Bennett has an uncanny ability to transform the trivial,ephemeral, boring and banal into deliciously naughty indictments of ourmedia-saturated culture. In this her work is not unique; artists likeNegativeland explore similar territory, and it could even be said that mockeryand pastiche, as hallmarks of the post-modern, have become something of a staplegesture. What is truly singular and surprising about her work, given itspenchant for deconstruction, is simply its overwhelming gentleness towards itssubjects. Never smugly clever or bitter, Bennett's real human warmth manifestsin the strangest places, moving what would otherwise be searing sarcasm towardsa genuinely fun and good-natured laugh at ourselves. Ultimately it is herkindness that gives her work both its distinctiveness and its effectiveness:while her commerical Muzak jingles at times lead you to believe you are beinglulled into a bludgeoning, her manipulations and surreal juxtapositions arenever cruel, offering instead an uplifting glimpse into the possibilities ofmeaningful communication within (or despite) a sea of chitchat, of real emotioninside the sentimental, and ultimately of an ennobling critical method which isengaged, insightful and diabolically effective without being condescending oroverly self-confident. "Thermos Explorer", her ninth solo album, is my favoritePLU to date. Each listening finds me singing along and grinning like an idiot.Why is listening to this so much fun? It's like having a sleepover with yourhilarious best friend, where everything they say makes you giggle-behind all themusic is the irresistably sweet Vicki Bennett, and you just can't help but likeher.Read More
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