- Administrator
- Albums and Singles
I'm getting quite sick of hearing this familiar thread in music: somonedecides to write a melody, throw some neat effects over it, add asplattering of acoustic instrumentation in and call it a great songthat borders on the experimental. The truth is, music like Enik's isbecoming more and more predictable all of the time. There's nothingcourageous or creative about changing the sonic template of rock musicby adding cabaret elements and electronic palettes of noise. When theshit hits the fan, the only thing that can save a record like this oneis good song-writing. Enik has an obviously enormous range ofinfluences that cover a spectrum from classical and jazz music to thestuttering and sick beat-heavy compositions of electronic music. Theproblem with this six-song EP is that it never leaves its influencesbehind and strikes new ground; it never does anything but try toemulate something far too familiar. This fact leaves Without a Barkfeeling flashy and without substance. "Chaos the Drug" is a goodexample of how bad metaphor, melodrama, and overproduction can kill asong. Forget that Enik is actively trying to combine a near-metal vocaltendency with dramatic washes of erratic percussion, typically brokenkeyboards, and something like a bass guitar stuck on two or three notesand way overplayed; the whole of this song sounds half-assed. It's asthough the vocals were meant to be deep and meaningful, but they comeaway feeling as badly performed as some of Alec Baldwin's earlyattempts at being an actor. There's passion in Enik's voice, but hisdelivery doesn't exactly match up with the music. "Tired Heads" suffersfrom a similar problem. There's a bare piano part being rolled alongeasily undernearth a toy drum machine sound while Enik croons away likehe's talking to a child that's asleep in its baby carriage anyways. Ifeel like I'm being lied to when I listen to this. Quite frankly Idon't believe in whatever whimsical notions Enik might have and that'senough to spoil these 24 minutes of music for me. Without a Barkis most predictable in its attitude and arrangement: Enik wants to bedifferent, so he employs a wide array of musical styles to hide thefact that he doesn't really have any ideas that haven't been used upbefore. Predictable in its diversity, painfully derivative, and lackingaltogether in some appeal that exists beyond its influences, Enik haswritten an album that will appeal to a lot of people stuck on badradio, bad television, and bad soundtracks, but there's nothing aboutit that makes it stand out from the sea of releases already doing thesame damn thing.
Read More
- Administrator
- Albums and Singles
If they are to be believed, Thad Calabrese and Justin Foley met at acamp for wayward young men that was meant to treat feelings ofhomosexuality and to eliminate them. Rather than use this as the basisfor so much melodrama and angst to crash their prom a la Saved!,the two went on to forge anthems of fury and naked aggression, set tothe punishing sounds of a full volume drum machine that seems to borrowall its sounds from old Slayer and Heathen records. The two have analmost easy connection, playing bass and guitar over the snare smacksand cymbal crashes in a kind of symbiotic synchronization. Then, Foleysings, or tries to sing, and his voice cracks trying to sustainit all, singing about unfulfilled prophecies, disease, and otherunrelated and thrown together nonsense. It surely is not meant to be asfunny as it is, and there is a genuine passion to the inflections overthe fairly standard guitar buzz and bass-through-weak-amp tomfoolery.Unfortunately, the band lacks direction, letting their epics sprawl outpast a nine-minute mark that they should never see, and more phrasesthat don't connect. The songs use the exact same drum, guitar, and basssounds, like they were never moved or experimented with during therecording of this EP, and share the exact same tempo. Foley, for allthe passion he exudes, merely comes off like Blaise Bailey Finneganwith less taste in plagarizing. There's spaces where there shouldn'tbe, and long passages of the same notes played for far too long, likethe duo are searching for an idea while they play. They find a few, butnone of them are really noteworthy or even all that good. Maybe it'sthe age of the recordings and they've advanced a lot, but I doubt it.They kind of know their limitations, or so the lyrics seem to suggest,as Foley howls "I knew this ride would never last" and other fatalistremarks. They're probably right if they continue on like this, asthere's very little in these songs to latch on to for more than a fewseconds.
samples:
Read More
- Administrator
- Albums and Singles
Paul Dickow is submerged in the hazy underworld of drugs, secrets, andfailing memory. His music is a borderline between narcotic dreams andreality; there is no certainty in the melodies and beats that flowsteadily through these seven songs, but rhythms do emerge and gasprecognizably without fail. Strategy's newest release is march towardscontradiction. There are dub rhythms bobbing back and forth throughoutthe watery synthesizers and echoed noises, but they never seem to headanywhere. All the while, without giving notice, they morph and changewith the highlighted melodies and uneasy motions of the music. Dickowhas played with Fontanelle, Nudge, and Emergency, as well as remixedmaterial for Stars As Eyes, and this material sounds at as uniquecompared to the rest of his work. Despite the title of the CD, there'snothing Max Roach or Bill Bruford about these songs; they're all asteady flow of not quite intelligible words, sounds, and heartbeats. Attimes, like on "Drumsolo's Delight," the drums play a more noticablerole than on the rest of the record, but they always seem like they'rebeing choked underneath a mass of effects and late nighthallucinations. Nothing moves quickly enough to escape my ears, butnone of the sounds rest on a firm ground; this gives Drumsolo's Delightan uneasy delivery. At times the slow motion eruptions and naturaldevelopments are appealing and at other times they are painfully slowand do nothing for me. Sleeping music this might be, something to beplayed in the background, but it rarely moves or evolves in a way thatmakes active listening a joy. There are exceptions to this rule,however, as other parts of the record are compelling in their aquaticsway. "The Jazzy Drumsolo" is an excellent merging or steady rhythms,repetitive melodies, and noise-driven tangents. As various sounds seepout of the background, the rhythms and melodies shift and becomesomething entirely different. When some element of the track wears itswelcome away, another piece of the picture slides into view andcontinues to carry the music away in a floating drift. I'm not usuallya fan of something this direct. All the sounds are quite obviouslylaptop or keyboard-oriented and there's little to no variation in thedirection of any of the songs (they all sound like perpetual chillmotors made for slowing the heart down), but Drumsolo's Delightkept me strangely interested. I never moved to change the songshalf-way through their duration and I never once stopped and thought tomyself, "I hope this ends soon." I could deal with a bit more diversityor at least some surprising changes because the nature of this recordlends itself towards the obvious and simple. The whole album soundslike the color blue and that color never really changes from track totrack. Everything marches steadily on into infinity, until Dickowdecides to shut everything down. This record has its good moments, butthere's nothing fantastic about it that makes me want to listen to itagain and again. -
Read More
This gap-filler disc from Murcof is Leaf's way to buy time and keep thename fresh before the release of the next proper Murcof album, but it'sno less inspired, all the same. Beginning with a 10 minute epic of filmscore orchestration and minimal techno thump, Utopiaestablishes early on that Murcof is dealing with a larger scope and amore developed tone than many of his contemporaries. Jan Jelenik'sclicky, jazz-spliced remix of "Maiz" is the perfect groovy counterpointto the album's creeping, moody opener. Sutekh gives "Memoria" a tweakedtechno workout with plenty of glitches and squiggles that pop out overthe monotone bassline and piano chord. "Utano" blends dark cello andbrass timbres with twinkling electronic percussion for a while, thendrops out the techno trappings for a more experimental approach to thecinematic loops and swells that other artists tend to leave in thebackground. It's refreshing for someone working with beats not to makethe beats the primary focus for a change, and Murcof is able to bendand arrange sounds with a composer's rather than dj's ear. Theremaining remixes are mostly placid and unremarkable; not an affront tothe source material but certainly not as clever as they'd like to be oras necessary. "Una," the second to last of the un-remixed tracks takessymphonic and operatic fragments and glues them to a stutteringdsp-laden beat that is just short of club-friendly, but not sooverblown as to draw unneccessary attention to itself. The "ColleenMix" of "Muim" could easily figure in a Chris Nolen film as its allbackwards pianos and heavy string passages that conjure up the grimynoir of "Memento" and the slick isolation of "Insomnia" equally. Theremixes are all solid, sometimes taking an ambient detour that'swelcome amidst the electrobeats, but Murcof's originals clearly standout as the best tracks here. If nothing else, Utopia performs its role by making a case for watching for the forthcoming album and possibly for picking up the back catalog.
- Administrator
- Albums and Singles
This gap-filler disc from Murcof is Leaf's way to buy time and keep thename fresh before the release of the next proper Murcof album, but it'sno less inspired, all the same. Beginning with a 10 minute epic of filmscore orchestration and minimal techno thump, Utopiaestablishes early on that Murcof is dealing with a larger scope and amore developed tone than many of his contemporaries. Jan Jelenik'sclicky, jazz-spliced remix of "Maiz" is the perfect groovy counterpointto the album's creeping, moody opener. Sutekh gives "Memoria" a tweakedtechno workout with plenty of glitches and squiggles that pop out overthe monotone bassline and piano chord. "Utano" blends dark cello andbrass timbres with twinkling electronic percussion for a while, thendrops out the techno trappings for a more experimental approach to thecinematic loops and swells that other artists tend to leave in thebackground. It's refreshing for someone working with beats not to makethe beats the primary focus for a change, and Murcof is able to bendand arrange sounds with a composer's rather than dj's ear. Theremaining remixes are mostly placid and unremarkable; not an affront tothe source material but certainly not as clever as they'd like to be oras necessary. "Una," the second to last of the un-remixed tracks takessymphonic and operatic fragments and glues them to a stutteringdsp-laden beat that is just short of club-friendly, but not sooverblown as to draw unneccessary attention to itself. The "ColleenMix" of "Muim" could easily figure in a Chris Nolen film as its allbackwards pianos and heavy string passages that conjure up the grimynoir of "Memento" and the slick isolation of "Insomnia" equally. Theremixes are all solid, sometimes taking an ambient detour that'swelcome amidst the electrobeats, but Murcof's originals clearly standout as the best tracks here. If nothing else, Utopia performs its role by making a case for watching for the forthcoming album and possibly for picking up the back catalog.
Read More
Having listened to and zoned out on this release at least half a dozentimes, it should be obvious what it is that is so compelling about[sic]'s compositions of dusty long drones, deep ambient spaces andbump-in-the-night tension, but it's not. On the one hand, this isdifficult listening: all uneasy sounds and dischordant timbres rubbingup against one another to create an ambiguous feeling of dread. On theother hand, for those familiar with the work of like-minded artistslike those featured on the quasi-legendary "Isolationism" compilation,[sic] fits perfectly into a already-defined niche of dark, broodingambient characterized more by its claustrophobia than by its usereflection of space as an expanse. I could tell you that Gorilla Masking Tapeis a beautiful, haunting record, or that it's alpha-wave inducing atthe right volume, or that it's a perfectly quiet record for people wholead unquiet lives, but none of that really captures the force thatthese tracks embody. Perhaps the record's most defining characteristicis that it is indeed so malleable that it can be both loud and quiet,both serene and disturbed, both beautiful and terrifying and that itdoes all of this effortlessly. I often wonder what more can be saidabout music like this that is both barely there and a force of natureall at once, depending on your volume knob. I always think that it willbe impossible for someone to release yet another essential darkambient disc in a world where artists who do this sort of thing tend tohave voluminous discographies of equally affecting work already. Ithink that, and then I hear a record like Gorilla Masking Tapeand it suddenly all sounds fresh and important and essential again andI'm left wanting more. It doesn't get much better than that.
- Administrator
- Albums and Singles
Having listened to and zoned out on this release at least half a dozentimes, it should be obvious what it is that is so compelling about[sic]'s compositions of dusty long drones, deep ambient spaces andbump-in-the-night tension, but it's not. On the one hand, this isdifficult listening: all uneasy sounds and dischordant timbres rubbingup against one another to create an ambiguous feeling of dread. On theother hand, for those familiar with the work of like-minded artistslike those featured on the quasi-legendary "Isolationism" compilation,[sic] fits perfectly into a already-defined niche of dark, broodingambient characterized more by its claustrophobia than by its usereflection of space as an expanse. I could tell you that Gorilla Masking Tapeis a beautiful, haunting record, or that it's alpha-wave inducing atthe right volume, or that it's a perfectly quiet record for people wholead unquiet lives, but none of that really captures the force thatthese tracks embody. Perhaps the record's most defining characteristicis that it is indeed so malleable that it can be both loud and quiet,both serene and disturbed, both beautiful and terrifying and that itdoes all of this effortlessly. I often wonder what more can be saidabout music like this that is both barely there and a force of natureall at once, depending on your volume knob. I always think that it willbe impossible for someone to release yet another essential darkambient disc in a world where artists who do this sort of thing tend tohave voluminous discographies of equally affecting work already. Ithink that, and then I hear a record like Gorilla Masking Tapeand it suddenly all sounds fresh and important and essential again andI'm left wanting more. It doesn't get much better than that.
Read More
- Michael Patrick Brady
- Albums and Singles
A is a definite article, a method of distinguishing an individual froma group, singling out the one particular subject that deserves all theattention. I don't know the true origins of that particular A, theabove definition would certainly make Carl Newman's self-amendeddesignation quite the aptonym. The Slow Wonderis an A, a defining article that raises Carl Newman from the crowdedhouse he built for the New Pornographers to his very own center stage.Newman is out this time with a collection of even newer rock and rollpornographers who are every bit as dig-deep tenacious and blissfullysonorous. The Slow Wonder is a further refinement of the ideas swirled across Mass Romantic and honed on The Electric Version.Newman has emerged from behind the curtain with a slab of popperfection, matching the heights of those previous records whileshowcasing a more personal stake in the music, as opposed to thecommunal conceptualism of the Pornographer records. "The Miracle Drug"is an assuring opener, almost alarmingly familiar with vocalist SarahWheeler backing up to fill in the Neko Case role (with such quality asto arouse curiosity as to what she might sound like out in front). Thesonic similarities only serve to demonstrate Newman's persisting talentin knowing what makes a great song and the ability to do so freshly, atwill. The melodious "On The Table" politely drips across the pianokeyboard with a dignified reserve before soaring into a kaleidoscopicrush of unbridled enthusiasm in the chorus. Amidst the crowd pleasersis "Come Crash," a gorgeous ballad that slowly probes the innerworkings of an obscure relationship. While never revealing too much indirect statements, the song instead pieces the story together throughthe shadows cast by the firework bursting bridge and shards ofconversation that slowly flicker and fade. It is a wonderfulcenterpiece to the album, and a more introspective side of Newman thanmost of us have been treated to. "The Town Halo" rockets the album skyhigh once again, thickly rooted in a repeating loop of strings, surgingforward in a thrust of accusatory questioning and boundary marking.Along with the closer, "35 In The Shade," the song surrounds Newmanwith a throng of background singers, lending their collective voices tothe music he has crafted. This aspect of the album seems perfectlynatural, as it is hard to resist joining in. Newman is a songwriter ofthe highest caliber, one who is capable of implanting a song deepwithin the psyche and coaxing it back out once again through the voicesof listeners. The Slow Wonder outputs nothing but unabashed joy through song and demands nothing less back.
Read More
- Administrator
- Albums and Singles
Though Steven Stapleton could not be bothered to play at the recent Toronto shows, he did come to the city to lurk about the concert hall, bringing along 500 copies of this 7" red vinyl single. As limited Nurse With Wound items go, this one is fairly inessential to all but the most rabid collectors.United Durtro/Jnana
Side A is taken up with "Penis Fruit Loop (Deambulation Mix)," a radically reworked version of the track from 1999's An Akward Pause. This track already appeared on The Wire Tapper 6 compilation that was included with the 200th of The Wire magazine, along with exclusive tracks by Current 93 and Coil. A while after the magazine debuted, Stapleton posted an MP3 of the track to the web for free download, complaining that the song had been mastered incorrectly on the Wire Tapper CD. The version on this single does not sound significantly different from either of those previously available tracks, an oompah band playing "Johnny B. Goode" while being sucked down a vacuum hose. What I do find strange is the speed at which the track has been mastered. To hear it correctly, you must play Side A at 33 RPM, even though Side B seems to be mastered at 45 RPM, and the packaging gives no indication of this disparity. "A Perfectly Natural Expectation" is exclusive to this release, as far as I know, a flashback of sorts to the queasy soundscapes of Automating Vol. 1. After a little girl intones the title, we are ushered through bizarre corridors of echoplexed sound, before being dropped off a couple minutes later right where we began. It's inessential to be sure, but also pretty nifty. As of this writing, this release and the other Toronto items were still available through a link at the Durtro website, so there's still a chance for those not lucky enough to have attended the shows.
Read More
- Administrator
- Albums and Singles
This limited edition, blue 7" vinyl single comprises two songs recordedlive at the October Gallery in London on October 5, 2003. Both of thesongs are done in the intimate "voice and piano" style familiar fromCurrent 93 releases such as Soft Black Stars and Hypnagogue,with Maja Elliott providing the musical accompaniment. Side A has DavidTibet tackling the singularly epic "Time of the Last Persecution," thetitle track from underappreciated singer-songwriter Bill Fay's materful1971 concept album. Fay's original version had all the dramaticorchestral swells of a sixties Scott Walker production, augmented bymind-blowing fuzz guitar and a truly monumental climax. For all theoverblown majesty of the original, however, the song holds up amazinglywell with the minimal arrangement by Tibet and Elliott. Tibet's voiceis a perfect instrument to portray the resigned dread of Bill Fay'sArmageddon scenario: "It is the time of the last persecution/And Caesarshall be raised/He will ask for his feet to be kissed by yoursister/And your children will fear at his name." It's as if Tibet andFay are spiritual songwriting partners, as both share the same affinityfor hallucinatory visions of Gnostic Revelation. Side B is a fine butunremarkable rendition of "Black Flowers, Please," a track off Swastikas for Noddyand a perennial live favorite. For the version of "Time of the LastPersecution" alone, however, this single is worth tracking down. -
Read More
- Administrator
- Albums and Singles
Another of Durtro's limited edition goodies available at the recentToronto shows, this is a CDEP of David Tibet singing two of hisfavorite tracks from Simon Finn's Pass the Distance album, with Finnhimself on guitar and Joolie Wood on flute. While Tibet obviously hasaffection for this material, and he is careful not to trod upon itsmemory, he is perhaps a little too respectful with these coverversions. Rather than try to match or exceed Finn's soul-shatteringvocal climax on "Jerusalem," Tibet instead covers the song in hisfamiliar "speak-sing" style, barely cracking his voice for thepenultimate chorus. Also, for some reason known only to him, Tibet hasdecided to cut "The Courtyard" in half, singing only the first part ofthe song. The pretty acoustic backing and flourishes of flute are niceenough, but I don't think they work nearly as well for this material asthe kitchen-sink production of Finn's classic album. The only advantageof hearing Tibet tackle this material is the fact that it renders thelyrics much clearer and easier to decipher, as they are not coveredover by layers of reverb and detuned guitar acrobatics. Still, this EPhas the stink of a vanity project all over it, and while it's fun tolisten to the first few times, I'm not sure it's of any particular useto Current 93 fans or Simon Finn fans.
Read More