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Boehm (also known for her work as keyboardist for the band Couch) has a voice that is simple and honest, and does not compete, but compliments Acher's adept handling of a vast array of instruments. (It's worth noting Acher also plays piano, bass and various brass instruments in the Tied and Tickled Trio.) Ms John Soda are assisted on the release by an external drummer, flautist, and percussionist.
The most captivating of the album's tracks is without a doubt "Go Check," which is also among the most outstanding songs of the year (even if the lyrics are somewhat incomprehensible!). It's a psychedelic go-go pop masterpiece with tambourine and organ sounds that would make even Piero Umiliani [see trashy 1970s Italian film scores] proud. The retro indulgence on this track is an anomaly, however. "Solid Groud", which immediately follows, is a contagiously pretty ballad comprised of blips, piano and plucked violin sounds. Other songs such as "By Twos" are warm and dark with exotic touches of percussion while tunes like "Unsleeping" are jangly pop numbers.
The overall composition of the album is remarkable and, thanks to a group of agile and gifted musicians, results in an exceptionally listenable record. 'No P. or D.' ranks with the best of the Morr Music releases, and as the year draws to an end, I can now safely say this one will certainly make my top ten list.
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Acid Mothers Temple's "Electric Heavyland" is the kind of record that makes me want to adopt all kinds of unnecessary, Lester Bangs-style rock critic hyperbole. I want to compare Kawabata Mokoto to a shaman, summoning up spirits with his giant stone slabs of high magickal noise and grandiose riffs. I want to compare this album to some obscure circa-70's krautrock chestnut. I want to write in ALL CAPS AND END EVERY SENTENCE WITH THREE EXCLAMATION POINTS!!! Although I kind of detest this style of critique, I'm not sure how else to approach this excellent new disc by Acid Mothers Temple and the Melting Paraiso UFO. So, here goes:
Wham, bam, THANK YOU SATAN! Five minutes into the first ear-bleeding track we know just where we are. We have come to Metal Valhalla. A million retarded Vikings are pulling their lungs out through their mouths. A thousand nubile virgins dance too close to the bonfire, flames licking at their slick, lubricated flesh. This is a heady brew, a randy guitar and synthesizer fest that merges Blue Cheer with The Stooges and Amon Duul, and then feverishly jacks off and falls down in paroxysms of insane laughter. This is probably not what the druids played at Stonehenge, but they REALLY SHOULD HAVE!
Well, enough of that. This album won't save the world, but the three tracks contained herein certainly represent the best single document of the Acid Mothers Temple's more bombastic side. Kawabata has never sounded better, easily making the transition from solo guitar drones to wicked stoner metal riffs, to Slayer-inspired bouts of bludgeoning melodies. Never has it been more clear that this man is a master of his chosen instrument. Cotton Casino's falsetto shrieks and swirling, kaleidoscopic synthesizer squeals perfectly frame the noise. Propulsive, rumbling drums push the action forward into the abyss, keeping the listener on the edge of his seat. The riffs are so violent and direct as to be almost idiotic, but Kawabata still manages to convince you of the intelligence of his prowess. This is idiot savant metal, dude, and it never ceases to amaze and transcend.
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I'm willing to accept the fact that I have a favorable bias towards Queens-based rappers and producers, considering I grew up in Rego Park (right across the street from the infamous Lefrak City co-ops) and Forest Hills. However, I doubt that any true hip-hop heads would argue about the quality that has been coming out of this multicultural residential borough since the very beginning of the genre. Who better to represent QB than someone who's been in the game from Day One^?enter Large Professor.Matador
Having created beats for luminaries like Eric B. and Rakim, Slick Rick, and Gang Starr, as well as Queensbridge contemporaries Nas, Mobb Deep, and Cormega, the slept-on William Paul Mitchell deserves far more respect than he has received. Hopefully this will change when '1st Class,' his first album since Main Source's 1990 release 'Breakin Atoms,' drops. In an era where record labels assemble entire creative teams in order to complete rap albums, Large Professor delivers a true artist album here, rapping on and producing nearly every one of the tracks (save for the rugged "Akinyele" which spotlights the MC of the same name). Some of these songs have a decidedly old-school feel to them ("Kool", "Brand New"), while others could potentially fit on commercial rap radio playlists ("About That Time", "Ultimate"). The guest MCs here are among the lyrical elite, chosen more for their legendary ability than their commercial viability. On "In The Sun" the all-but-forgotten Q-Tip drops several conscious, black empowerment verses, slamming ignorant patriotism and reminding how the American Dream has bypassed blacks time and time again. "Stay Chisel" features long-time associate Nas (whose recent beef with Jay-Z has somewhat overshadowed his prior successes) flowing over a track that could have easily been an outtake from his 'Stillmatic' LP. So while Nelly and P. Diddy obsess over women like whiny pop primadonnas, Large Professor evokes the true essence of hip-hop on this future classic that demands repeat listening.
 
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If you don't know why the Cabs became quite so big, then you probably haven't heard "Nag Nag Nag". Mute have another dodgy "Best Of" compilation coming out soon (which I'd heartily recommend to people who don't already own the Cabs' early output) and this single is meant to promote that. In the traditional method of record companies flogging dead horses, Mute have commissioned three or four new mixes of the track to complement the original (which also appears on the CD and first 12"). Firstly, Tiga and Zyntherius have a 'radio version' (on the CD) and 'full version' (on the second 12"). Mute say that Tiga "punks up" the vocals—I say he sounds like Stephen Tin Tin Duffy, and keep waiting for him to launch into the chorus of "Kiss Me". Mute say that this remix "bears all the hall-marks of an intense 'labour of love'"—I say it sounds like a crap cover version. Akufen contributes a far better mix (CD and second 12"). He appears to have had five good ideas for a mix and does about a minute-ish of each, and I'm not going to spoil it for you, but you'll end up grinning from ear to ear after hearing it. Finally Richard H. Kirk himself offers a true 21st century hardcore remix (CD and first 12") which is very much in the spirit of the original but in a thoroughly modern style. (I wanted to start dancing on the bus when listening to it again this morning.) Despite the crap Tiga and Zyntherius remixes, this has been a worthwhile project and I thoroughly recommend this release to anyone who reads The Brain.
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Martin Rev's first solo albums from 1980 and 81, as collected on this new CD, document what he was doing at the beginning of his post-Suicide solo career. As usual I have a hard time empathizing with the punk zeitgeist because I was really too young at the time (twelve in 1977) to comprehend the prevailing culture. I must have picked up some of it because occasionally an artifact from the period will unlock waves of fear and abhorrence in me, Thames TV for example, or Julien Temple's "The Filth and the Fury," which plunged me into a foul mood for a whole week. I'm trying to listen to this CD in that context but I can't get there. American punk was different anyhow, so I guess I'm not to blame. But even in today's terms this is a good CD. Nearly all instrumental, these electronic music pieces show Rev's unique personal style, somehow breathy and spacious, presumably resulting in part from his coming to grips with the available equipment of the period. There are catchy distinctive melodic structures and the electro-beats are uniquely his own. It has considerable reserve, tasteful poise without posturing, varying degrees of sinister ambience and individualist expression, all combined with a substantial experimental component, both musical and technical. With the exception of "Marvel," an extended ametrical soundscape reminiscent of 70s Tangerine Dream and quite unlike anything else on the disc, I don't think there's much to be gained by relating this to contemporary UK and German electro new wave. There are however many elements that remind me of more recent music: of the examples I'll mention only how ?-Ziq's "Balsa Lightning" recollects Rev's "Baby Oh Baby." This aspect adds validity to Rev's credentials as one of the mid-wives of electro pop. Recommeded.
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In recent years, some independent HipHop artists such as Antipop Consortium and the Definitive Jux family have managed to stimulate the genre by fusing it with elements of electronica in their backing tracks, making for more cohesive compositions and introducing them to a newer audience. In keeping with that direction, the ideal collaboration between rappers Mos Def and the windy city's Diverse with Prefuse 73 only certifies that development on "Wylin' Out." This EP is comprised of its title track in full form as well as an instrumental version, along with two separate remixes from K-Kruz and RJD2. Prefuse 73's electro-souled, signature syncopated instrumental makes for the perfect backdrop for the MCs to trade their quick, sharp and insightful rhymes with masterful precision. The K-Kruz remix eschews the existing backing track in favor of sampled Fender Rhodes, scratches and more broken up beats. While musically not as heavy as the original track, the vocals becoming more intelligible in the mix adds a new weight to it. RJD2's bouncy remix provides a repeated motif built from gritty big band-esque shots and subtle scratches driven by sampled drumkit and percussion, giving it a real 60s soundtrack groove. Rounding out the EP is the original instrumental version which showcases Prefuse 73's HipHop sensibility and knack for arranging as we've come to know and love. "Wylin' Out" has got my vote for the coolest collaboration of the year.
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- Diane Lewis
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Following closely on Matador's 2001 twentieth anniversary edition of 1971's classic 'Underwater Moonlight,' 'Nextdoorland' is the first Soft Boys studio album in over 20 years. The whole 1980 lineup is here, and 'Nextdoorland' is peppered with the same giddy bouncing rhythms and insinuating Eastern scales that propelled the Boys' early collaborations. (Mastermind Robyn Hitchcock, of course, launched his strong solo career after the first life of the Soft Boys, whereas guitarist Kimberley Rew made a mark with the 80s hit "Walking on Sunshine" with Katrina and the Waves.) Even the cover image—of two candlelit mannequins with bleached mammalian skulls, propped up in bed—recalls the slightly misshapen, seaside dummies sported on 'Underwater Moonlight' (figures all constructed by Hitchcock's wife Lal). Like the latter day cover art, the contemporary Soft Boys shape their new sound with, essentially, the same materials, but there is certainly a shift in terrain. 'Nextdoorland' has less of the early Soft Boys' vitriol. It's definitely them, but more subdued, most notably missing the confusion, spit, and bile that lent their earlier lyrics the guitar lines' razor edge. Overall then, this pulsating album is similarly surrealistic (and on occasion incomprehensible) when it comes to the lyrics, but both lyrically and musically without as much substance as one would like. A few listeners might prefer the lighter touch?the parts are all distinct and crisp, the guitars absolutely sparkle, and the melodies here soar more often than they pitch back and forth. But, who woulda thunk, it's just not the same. Standout tracks here are "I Love Lucy," "Unprotected Love," and "Strings." ("My Mind is Connected?" edges on David Byrne of the 'David Byrne' period, and "Mr. Kennedy" and "Japanese Captain" are a little fogey for me.) Lasting lyrical impressions include: "Give me unprotected love / Like a baby in a football / Like a fish inside a glove" (sketchy!) and "Evil is the new enemy / Evil is the new bad [?] Take your partner by the middle / Like a burger in a griddle."
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Tim Hecker's second outing on the Substractif sublabel of Alien8 with a 25-minute EP of DSP and plunderphonics based on none other than my favourite rockers, Van Halen. Fennesz's treatments of The Beach Boys and the Stones are one thing, but putting the opening riff from "Ain't Talkin' 'Bout Love" (from which the EP's title is taken) through the lo-fi digital mangler, as Hecker does on "Introducing Carl Cocks", is a more unlikely idea. With Eddie's classic and beautiful riff teased slowly into a perfect granular blur, it's an outstanding track, though what it has to do with techno-lord Carl Cox is anyone's idea. The remainder of the tracks' samples are split between musical sources and bitter interviews, on-stage raps, and radio coverage of the band's disputes, with comprehensible titles such as "Sammy Loves Eddie Hates David" but the baffling "The Return Of Sam Snead", whose only connection with VH I know of is that he's in a load of Dead Pools with poor old Eddie.
While some people view this record as a destructive fuck-you to spandex rock, I'd prefer to see it as affectionate, but in honesty neither conclusion is easily drawn. The music is more "Fennesz Plays" than V/VM, but unlike the pure tribute of Drop Nineteens' "Ease It Halen" (or the mindless cock-ragga pop mish-mash of Apollo 440's "Ain't Talkin'" cover), VH's rock bloat isn't put to one side, thanks to the soundbites of breakup bitching and egotism, and the hideous sketch of David Lee Roth on the cover. What's certain is that while Steve Albini could click his fingers and make AC/DC cool, this record is simply good clean fun for micro-fans. It isn't going to make Mark Kozelek sing "Hot For Teacher."
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- Steve Smith
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Jonathan Coleclough has released several stunning albums of extended drones derived from acoustic sources, and 'Low Ground' is no exception. The sounds on this recording are surprisingly electronic; they're more digitally-veiled and alien than on Coleclough's other records. With five tracks, three of them collaborative and two solo, there's quite a bit of textural variety on this CD.
Coleclough and Potter are joined by Tim Hill on two tracks, including the first, "Beech Flutter," which combines a sharp, slowly breathing drone with little electronic whirs and beeps. They also use some processed whip-like and crashing sounds that, later on in the piece, are echoed and sound almost like the flapping of wings. The sustained tones that dominate this track are soothing despite their edgy brightness, as they are subtly filtered and timestretched, and are as magnificent and detailed as anything else Coleclough has released.
"Sinister Dexter" opens with some very nice, extended horn-like tones that grow dissonant before evolving into a melange of malevolent croaking sounds. These gradually increase in pitch and noisiness before being submerged in effects and then replaced by a really dark sounding mechanical rhythm, almost like a heavily filtered organ. This continues for the duration of the piece while some phased and panned synth-like sounds emerge. Though I don't really care for the unbroken mechanical rhythm Potter uses in this track, the other sounds are quite fascinating. "Shudder" is a shorter piece that combines a rumbling mechanical noise run through the tremolo and reverb effects with some squeaking sounds and volume swells. It ends with some beautiful hazy sounds and a distant rumbling. "Tunnel" contains a wealth of detail, mixing a repetitive synthesizer-like noise with layers of filtered drones and the sound of splashing water. The piece builds up towards the end, as Coleclough employs some squeaking noises and ominous icy tones. "Beech Shadow" starts with subtly modulated low frequency sine waves and some really strange digitally created sounds. The shimmering tones heard in the first track slowly emerge, and the piece takes its time developing into a lush, expansive collection of electronic hissing noises. It's an absolutely wonderful ending, soothing but slightly sinister. 'Low Ground' is definitely another great work in the Coleclough/Potter discography. The sounds used are fascinating, and there isn't a single boring moment on this disc.
 
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One unfortunate by-product of exciting new music is that it generates a rumbling amongst its most ardent fans for a continued envelope push. With all the clamoring for newness and heretofore unheard sounds and effects from IDM's most avid glitch aficionados, the scene as a whole tends to skip over the here-and-now, focusing instead on whatever is next. While there's a glut of Boards of Canada cloning happening on mp3.com, there are also some really great examples available elsewhere of people who are stopping to smell Autechre's roses a bit while the boys themselves are time stretching digital flatulence ad infinitum. Wauvenfold's 3fold is a compilation of their earlier ep's, and it's certainly not going to excite people who are chasing the newest carrot. But I've been looking for more music like this; music that grooves, (albeit in a very digital way,) and that has just enough stuttering beats, filter-passed melodies, and time-warped textures to stay interesting. While this record doesn't congeal the way a singular album by the group might, it does offer an experience of their progression from stark, clicking beats where the focus is on rhythm to later, more multi-textured works that play more with space and depth. Wauvenfold work within a framework that has been established by others, but they hold their own. Song titles like 'Pixel Stitched' and 'Obliq Itch' should give you a rough idea of what to expect here: tweaked beats, simple non-linear melodies, and a dash of chaotic interruption that is typical of music composed in a digital environment; but it's all handled rather well. 3fold isn't the newest sound, but it's more of a good sound, and more of good is always welcome at my house.
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The direction of the latest five-song EP from Scott Herren as Savath + Savalas is in keeping with 2000's 'Folk Songs for Trains, Trees and Honey' in that the groundwork of electronica, sampling and live performance bleeds perfectly into each other and still gives off somewhat of an organic feel. "Rolls and Waves of Ignorance" opens the disc with a nice wash of swelling minor chords and percussion under climbing upright bass lines and melodic tenor saxophone, which weave throughout. The mood is tranquil yet somber and somewhat meditative, and, as the title may suggest, with an almost freejazz-type statement to it. "Paths in Soft Focus" grooves along nicely with some quirky keyboard and guitar arpeggiation and long bass tones which are all anchored by the solid drumming of Johnny Herndon (Tortoise, Isotope 217, A Grape Dope). One of the more splendid pieces of music I've heard lately would be "Folk Song for Cello," thanks in part to its brilliant arrangement and orchestration. Building from a plucked cello progression, acoustic guitar harmonics, accordion chords and a hammer dulcimer (!), the tune settles in to a laid-back groove of synth bass, tight drums and playful keyboard and vibe flourishes. "Decatur Queen" goes from repetitive acoustic guitar, upright bass and quietly squelching percussion to a ripping snare line that drives the tune into a full-sounding romp of rhythmic keyboards and wah guitar, complete with layers of horns while closing off the disc, "Rolls and Waves of Acknowledgement" brings the EP full-circle. This track follows the same compositional style as the opener, only more sparsely arranged and with the instrumentation of fuzz guitar, bowed strings and a fuller bass sound. Ironically enough, "Acknowledgement" sounds quite dark in comparison to "Ignorance." Way too short at just over seventeen minutes, this highly recommended EP may have you checking out the various other projects Mr. Herren has on the go at the moment (Prefuse 73, Delarosa + Asora) until another full length disc makes its way out there.
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