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The title translates as 'The Edge of Noise' which is very appropriateas this New Zealand based electroacoustic composer takes the everydaysounds of swings, rainfall and breath through magnified journeys andthorough transformations. The inherent noise in all these sounds ishoned and clarified to its limit and then stretched and pulled into newelastic shapes, but there's always a compositional rigour and exactnessthat keeps this far from chaotic onslaught."Pythagoras's Curtain" starts with what sounds like chalk on ablackboard colliding with door knocks. Lots of creaking, low squeakingand rustling follow, panning from speaker to speaker. The sounds aredeployed with precision and meticulous attention to stereo picturedetail. Sudden drones burst out and rupture against nature. The titlerefers to the way in which Pythagoras would lecture from behind acurtain and draws a parallel to the way in which acousmatic musicrequires deep attentive listening divorced from other senses. Similarbrutal yet focused transformations occur in the other pieces. "Inner"takes sharp intakes of breath and overly dramatic exhalations on anasthmatic nightmare trip which opens up gaping windswept canyons fromthe human lung before collapsing it into wheezing asphyxia andabstracted whirling vortices. There's a very claustophobic feel to muchof this breathscape. "Virtual" takes recordings of wind through asimilar if predictably more violent ride, but the feeling here is ofopen vastness. The squeaking swing that "Time, Motion and Memory"hinges on instantly recalls Pierre Henry's 'Variations Pour Une Porteet Un Soupir' but takes on forms far beyond the capacity of old tapesplicing, as Young reimagines the swing as a giant pendulum cuttingback and forth through other environmental sounds. There's a thick fogof nostalgic childhood memory gathering for the most moving andhaunting track here. It's soon washed away by the rain falling from the"Liquid Sky," in crisp drenched drain swilling eddies. This is perhapsthe most varied and violent track by default as the different surfacesthat rain hits flood wide sonic spectra. Through academic studioalchemy enabled by Empreintes Digitales, John Young makes explicit thedrama and strangeness of everyday sounds, and draws deep shadows in thespaces between them. - Read More
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To start off on a blunt foot, this album was probably not worth the $30I paid for it. My expectations were high - Alio Die, whom I regard asan ambient guru, a new sublabel of Amplexus ("Weird" Amplexus ...clever, huh?), "special packaging" (which ended up being a foldoutcover with three inserts), etc. etc. So I was hyped up. I eagerlysnatched it up at an exorbitant limited-double-vinyl-import-price fromSoleilmoon, and though it's certainly a competent album, it's probablynot what I expected-slash-hoped for. This is a very repetitive album -all the songs are based upon more or less the same formula:infinitesimally quiet-but-slowly-loudening drones accompanied byoccasional light percussions or drifting melodies and samples. Thisisn't necessarily a bad thing... but I ached for something somewhatdifferent. Despite the repetition, it's all pulled off quite well - thealbum is very soothing and meditative and some of those drones resonatebeautifully. But the album leaves me wanting more... especially for$30. It ends in precisely the same way it began. If you're a realhardcore fan of this stuff, you might want to grab it, but if you needa little variation in your ambience, be wary. - Read More
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The increase in one-man bands in recent years is staggering, and notjust because the advent of technology makes it possible. It's alsostaggering because so many of them are so good. David Bazan tried Pedrothe Lion as a full band, but eventually opted to do it all himself. On"Control," Pedro the Lion's third full-length, Bazan is joined by CaseyFoubert, and the songs are more powerful and raw than anything the bandhas recorded yet. Bazan's lyrics continue to improve, and on "Control"he examines the affect of modern life on human relationships indifferent scenarios. It's been opined in various publications (and onthe Jade Tree Bulletin Board - Pedro the Lion's label) that these songsgreatly reflect Bazan's Christianity, and that such beliefs should notbe present in music of the indie punk genre. They couldn't be morewrong. True, the opening lyrics of the album describe a person whocannot divorce their mate, but that doesn't necessarily have to be theprofession of Christian beliefs. This album is all about the failure ofmodern culture, and how that failure affects our dealings with others.Corporate structure is taken to task on the back-to-back power hit of'Penetration' and 'Indian Summer' - "If you aren't moving units thenyou're not worth the expense' and 'If it isn't penetration, then itisn't worth the kiss' on the former, with talk of kids being taughtearly to love the taste of 'corporate cum' on the latter. The seeminglychemical breakdown of the family unit is examined on more than onetrack, but the most frightening is 'Rehearsal,' where the narratorchooses to make his lover pay for her motel meetings with anotherrather than break it off with her ("You are so unoriginal/You'll seethat I can be so unoriginal just like you"). It's a big step for Pedrothe Lion, one that will hopefully remove the stigma associated withthem and increase their audience. - Read More
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I may as well admit this before I go on: Miss America is one of my favorite records of all time. I remember I saw her perform as part of Nick Cave's Meltdown two years ago. I got so excited when she came onstage that I shouted "Mary - I miss you!!". She replied "Well, I don't miss you...I see you every day." That probably tells us a little of the expectation she has felt in the intervening 15 years since Miss America, and why she has chosen to put this out as a soundtrack rather then a 'proper' album.
But all the elements that made Miss America so incredible are all there; Rusty McCarthy's pristine, Derek Bailey-like guitar playing; odd time signatures that shift and pull like Miles Davis; and that voice—swooping upwards, catching in her throat, gibbering and crooning like Billie Holiday crossed with Patti Smith.
The most stunning tracks on the album are the most conventional; 'Never Came Back' swings like 'Shiny Beast'-period Beefheart with O'Hara doing her most conventional singing yet. The song then promptly disintegrates into a lose and limbre jazz shuffle, and O'Hara begins a slow crescendo of manic scatting. 'Scary Latin Love Song' is O'Hara in dementia mode; over a hyperventilating Ozomatli-type Latin groove, she gibbers in Hispanic, squawks, shrieks and then calms down. The album is pervaded with a 'Taxi Driver' sense of disquiet, and it's only once -- on the joyous 'Have You Gone', where the Leningrand Cowboys meets Patsy Cline -- that there's sense of resolution. Then it closes with the ludicrous 'Hello Yellow Goose', with O'Hara's voice distorted beyond recognition over what sounds like Shock Headed Peters.
Welcome back Mary. -
 
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Word to the wise: do notlisten to this, Spokane's fourth release, if you are already depressed.It will make it worse. Seriously. It's a fine record, with gorgeouslysimple guitar work, minimalist drumming, and sinewy strings featuringtwo members of the string section of Papa M. But it is not acheery record in any means. "Able Bodies" seems to want to convey thestrain of the average man - the worker who slaves all day long for notmuch pay, and goes home at the end of the day to a meager existence ina substandard housing project. It is a haunting work, capable ofraising chills in many areas as well as burying you in its beauty. Thevocal harmonies and staccato strings on 'Quiet Normal Life' lead youdown a deceptive path, making you think the whole track will be airy,cold. Shortly after their appearance, though, the track gets morespirited, more uplifting, and the drums and strings spring forward withan almost wanton pace. It's not a shocking twist, but it is a welcomeone. And there's a similar break in the languid pace on the fifthtrack, 'In Houses,' which moves along at an even pace. But besidesthat, it's a very mellow affair. Not that it's a surprise for Spokanereleases to be this maudlin. The only departure here is the spookynature of the majority of these songs. But the addition of the strongsection does give an added punch to these proceedings, allowing KarlRunge to concentrate on violin, while Ben Swanson relieves RickAlverson and Courtney Bowles, of vibraphone duties. Spokane's mostmoving work, while also their most chilling, "Able Bodies" is a welcomeaddition to their already rich catalog, considering it's also theirfourth release in two years. - Read More
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It'd be easy to dismiss up-and-cummer DJ /Rupture as a product of theTigerbeat6/Kid606/Ambush/DJScud/distortion/glitch/people-who-sample-Missy-Elliot hype scene. It'dbe easy to say that he begins his CD with 'Get Ur Freak On,' goesthrough a Kid606 and Venetian Snares track followed by Cannibal Oxfollowed by Rude Ass Tinker's (Mike Paradinas's) reconstruction of 'UCan't Touch This' and say: yeah, he's just another one of the gang. Orsay he's brilliant for subversively using popular hip hop in anunderground-electronica mix CD. But the truth is a lot more complicatedand interesting than that. The first glimpses of that truth can be hadby looking at the complete tracklist on this, /Rupture's debut mixdisc: a gamut of sounds which include the obligatorydouble-aforementioned Missy Elliot track, Nettle (Spanish breakcore on/Rupture's own label), musique concrete and contemporary classical,lots of ragga and rap (which I love in small doses, as it appears onthis mix), the also-obligatory once-aforementioned reconstruction of an80s/90s mainstream hit (Rude Ass Tinker), as well as large doses oftraditional Indian and African samples and musics. And the whole thingends with Muslimgauze-cum-Paul Simon-feat. Ladysmith-Black-Mambazo. Soas much as anyone would like to, it's difficult to pigeonhole DJ/Rupture. That's not to say this mix doesn't have its weak moments -part A doesn't flow as smoothly as part B and the several-seconddropout during Dead Prez's "Cop Shot" (which may or may not beintentional, it sounds rather like a mistake to my ears) is disruptiveand annoying. Alas, these are but minor quibbles which don't tarnish anotherwise excellent and diverse journey through DJ /Rupture's musicaloeuvre. (If you download/buy this mix and like it, be sure to watch outfor his next mix, 'Minesweeper Suite,' on *grin* - wait for it -Tigerbeat6...) - Read More
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Danish musician Jonas Munk is 1/4 of the group Limp, and this, hisdebut full-length release from Morr, would please anybody captivated byLimp's recently released debut EP, 'Orion'. Much like 'Orion', 'Ascend'features a number of lush soundscapes and swirling, spaced-out,sometimes slightly out-of-tune keyboard-driven melodies with theoccasional sprinkling of a sparse acoustic guitar riff. Unlike the Limpstuff, however, all the beats contained herein are electronicallygenerated, often hacked up, but never straying terribly far off-course.The cover art may suggest a more earthly focus but Munk is definitelylying on his back, looking up to the sky, tinkering diligently in hisbasement for hours after the nighttime hurrah, before the crack ofdawn, while the sound of crickets fucking fills the outside air. Headout onto the lawn for a breath of fresh air, lie on the grass and lookup, doze off and you're awoken by the repetitive pitters of theneighbor's sprinkler only moments before the sun rises. Get some sleep,you've got work in a few hours. Time to listen to the fruits of theovernight sessions on the subway ride in. Have a sip of morningcoffee,... very nice.
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Although the latest album from Alex Gimeno came to me highlyrecommended, its tacky, garishly-colored cover artwork almost preventedme from buying it. However, my appreciation of silliness prevailed, andfortunately, I was not disappointed. 'Kinda' Kinky' samples everythingfrom Bollywood to Bond films, and revels in all things funky, groovyand sexy, while throwing some of Gimeno's own break beats into the mix.Ursula 1000 certainly doesn't do anything that Towa Tei or Dimitri fromParis hasn't done in the past, but the passion for music that the manbehind it is evident. Although none of the tracks stand out stronglyfrom the rest on their own, 'Kinda' Kinky' is extremely listenable, andeffective as a whole. This album is just the kick in the pants that theretro cut-and-paste DJ school of music desperately needs. It's anincreasingly rare formula of being dance-inducing without lapsing intokitsch or mindlessness. What's more, it's just plain fun.
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Synesthesia serves as a companion to Chemical Playschool Volumes 11, 12 and 13, with eightindexed tracks, 57 minutes total, and 28 minutes worth of Premonitionssmack dab in the middle. Niels and Martijn are credited with horns,guitars and violin but there's certainly an absence of evidence toprove it. Like Ka-Spel and The Silverman's solo efforts, the dominatingsound is electronic via synths, samples and programmed drums and themajority of the album is instrumental sound pieces. 'Shining Path' and'The More It Stays the Same' are the two lyrical songs, delightful onesat that, but even they dissolve into audio experimentation. ThePremonitions are, as always, fantastic escapes. Numbers 26 and 28 rangefrom the faintest stirrings of mist and found sound to angry resonanceand rhythmic clickety-clack. The closer, 'Kalos Melas', features thecutest marching melody you'll likely hear this year. To my ears"Synesthesia" sounds very polished, much more so than the CP set,possibly negating the theory that these were the outtakes. It's justfurther proof, as though more were even needed, of two things: the Dotsare both song crafters and sonic sculptors and they're as creativelysound as ever.
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