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Last week, GVSB. This week, their side project New Wet Kojak. Johnny Temple and Scott McCloud of GVSB record with other local musicians in their hometown of Washington, DC, to create music very much in the GVSB vain, but with horns and a broader, sexier sound. Ever-present, though, is the appealing yet odd voice of McCloud, who here utters phrases that many might see as just plain incoherent. But it all works, and the resulting sound is hard to ignore.
Previous albums saw New Wet Kojak being more ethereal, less structured, with a heavy edge. They wanted to rock your booty while they blew your mind. Sometimes it was abrasive, sometimes so unstructured and frantic you didn't know which way was up. And the horns, while great-sounding, seemed like an after-thought in areas. "Do Things" has none of these problems. The release is mostly laid-back, groovy, and pop-music sound byte oriented. The horns are nicely integrated to provide for a fuller, more realized sound. Best of all, New Wet Kojak still want to rock that booty. Despite the band members' commitments to their other projects, New Wet Kojak does tour frequently, and they're amazing live. And with GVSB on temporary hiatus while they sorted out their label problems, New Wet Kojak hit the and recorded a new EP, "No. 4," earlier this year. But it's "Do Things," released in 2000 but virtually ignored, that showed us the new New Wet Kojak roadmap.
 
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Bourbonese QualkÍs unspectacular return is one of the best things thisyear had to offer music-wise. Miles Miles and Simon Crab continue theirunique traces where they left of with 'Unpop' nearly a decade ago.
Uncompromising with references to none besides their own work, theyblend electronic and accoustic instrumentation to manifest their veryown soundscapes which generate a nearly uncomparable atmosphere. RayBradburyÍs Mars Chronicles are about the nearest I can think off.Otherworldly harmonies are set against subtilerhythms, tapemanipulations and metallic sounds. Even a Sax and vocals find theirplace without spoiling the overall mood which is gentle and playful,free of any dogmaÍs and boundaries. A well balanced piece of work whichwill certainly stand the test of time.
If you canÇt afford or find it - half of the album is downloadable from www.bourbonesqualk.com.
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I became rather excited once I figured out, via some online research, that this is the soundtrack for a film by Iceland's Fridrik Thor Fridriksson. Some of Fridriksson's other films, such as Children of Nature and Angels of the Universe, featured impressive soundtracks that included Hilmar Örn Hilmarsson and Sigur Rós. Too bad they're not on this one.
Óskabörn þjóðarinnar (English title "Plan B") traces the lives of deviants in Reykjavik and 14 groups provide the backing music. The first thing that comes to my mind when listening is bands from the old Eastern Block countries who tried desperately to imitate Western bands. Here we have, presumably, all Icelandic groups doing much the same geared toward rock with some pop, synth pop, funk and - brace yourself - hip hop too.
Much of it is bland or just plain bad and downright cringe inducing in places, such as XXX Rottweilerhundar rapping "my style is phat, when I got my gat" (something tells me Iceland doesn't have anything remotely comparable to Compton). Dip's "Mind in a Vice" is a welcome jazz-y vision and Biogen are the lone purveyor of an electronic track, nearly 8 minutes, but not very interesting. It's the more hardcore tracks by Purrkur Pillnikk, Minus and Brain Police that manage best to erase the geographical genre lines and prove to be the highlights for me. Otherwise, yuck. Come on Iceland ... give us more innovative stuff like Björk, Sigur Rós and Múm!
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- Purrkur Pillnikk - Surprise
- Dip - Mind in a Vice
- Minus - Denver
 
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Iceland's Kitchen Motors label has been unifying and challengingdifferent artists with their commendable Motorlab series, this beingthe 3rd installment. They approached Adamson and Pan Sonic to compose avocal piece for Iceland's HljÑmeyki choir and that they did this pastApril in Reykjavik. For about 12 and 1/2 minutes, "The Hymn of the 7thIllusion" aimlessly treks through windy terrain, simple vocal 'ahhhs'and bass reverberations being somewhat of a guiding light. It's aminimal bore that never achieves any sort of tension or serves any sortof purpose. After a silent 24 second interlude, an even more dull 23minute glitchified remix by The Hafler Trio only adds insult to injury.A tremendous waste of potential all around that doesn't even begin totap the talents of those involved. Me, I semi-patiently continue towait for the new Adamson album, "Nothing Hill", due out early next year.
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