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The "Anti NY" compilation gathers seven songs by bands from the early80s scene that centered around the New York City's Mudd Club (perhapsbest known these days for its invocation in the negative by TalkingHeads, i.e."This ain't no..."). The sound stems from the collision ofpunk, disco and electronic noise that coincided with No Wave (bandslike the Contortions or DNA) and the beginnings of rap. While the songsare certainly fantastic, I can only offer a qualified recommendationfor this comp due to the needless inclusion of five "remixes" at theend that do little more than take up space. The groups' names might not be instantly familiar to you, but severalof the players should be. The percussive noise trio Gray is actuallypainter Jean-Michel Basquiat and early hip-hop promoter Michael Holman.The electro-funk blast of the Del/Byzanteens was led by future director(and member of John Lurie's Lounge Lizards) Jim Jarmusch. Industrialnoises and proto-hip-hop collide on a track by graffitti artistRammellzee and Death Comet Crew, aka filmmaker and future creator ofclub hit "The Dominatrix Sleeps Tonight" Stuart Argabright. A song bythe writer Vivien Goldman includes contributions from improvisingpianist Steve Beresford and PiL guitarist Keith Levene. Of particularnote is the sexy-as-hell "If I Gave You A Party" by the approriatelynamed Sexual Harassment, which calls to mind the Manchester industrialstreet-party sound of A Certain Ratio. Every track on the CD's firsthalf is remarkable, a fantastic portrait of the dancier facet of NoWave NY. At the time that these bands existed, reactionaries decriedthe invasion of an "art school" element into DIY punk rock, but historymore than bears these folks out as fearless and creative musicians. NewYork must have been an exiting place then!
However (here it comes): the disc includes only one song by each of theseven bands, and then (note the last few words of the albumconspicuously lengthy title) five remixes by contemporary producers.The remixes seem to imply a connection between the early 80s scene thatthe CD documents and current house music and techno. Whether or notthis is a valid point being made by the compilers (it may well be), theeffect as a complete album is jarring, unnecessary, and notparticularly illuminating. First of all, the mixes (by Funkstorung,Paul Mogg, and others) are dull compared to the originals. Second, thegeneological line that I assume is being drawn would have been far moreeffective by an essay or two. Instead, I'm left wishing that anadditional tune by each group was present, rather than the superfuous(and by now clich³) remixes. It seems as if "Anti NY" wants to be twothings at once, both a document and a tribute. By presenting not enoughdocument and a half-assed tribute, it fall short of both. www.gomma.de
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Sorry, it's not a full-length album of all-new material, it's theirsecond collection of remixes bearing Funkstörung's name. This timearound, the range of inputs is varied beyond expectations and usualsuspects. The charmingly timid yet curiously infectious Jay JayJohanson imediately springs to mind, as most electronica purists rolltheir eyes or make motions with their fingers in their throats. Lookout, however because word on the street is that the Funkstörung duo ofMichael Fakesch and Chris de Luca are producing the Swedish crooner'snext album. The track on here, "I Want Some Fun" is as cheesy as thetitle suggests, but the production is undeniably top-notch. Beans fromthe Antipop Consortium joins the German duo for an exclusive track,"Salt" (which samples a classic laid back Jay Jay Johanson organ riff)while A Guy Called Gerald's track with Louise Rhodes gets astylistically d'n'b finishing touch which would make any Lamb fantremble. Other remixes include those from the post-post-kraut popstersThe Notwist (hey, when's that new fucking album coming?) and apreviously-released remix of Tocotronic. My personal friend and soulmate, Speedy J gets doused with annoying repetition on "Something ForYour Mind," however no-age decomposer Jean Michelle Jarre pleasantlygets more beef than he's ever used to hearing. The packaging's cool yetslightly irritating as it will certainly rip at some point. On top ofthat, it has graphics printed on the inside of the glued cardboard, butit sure as hell gives any Funkstörung fan the opportunity to avoidspending their money on things they probably normally wouldn't get.Indulge.
samples:
- I Want Some Fun (with Jay Jay Johanson)
- Salt (with Beans)
- Humanity (A Guy Called Gerald feat. Louise Rhodes)
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This unusual specimen of audio exotica is a collection of 21 ultra-rarelibrary and production tracks from some huge and bizarre culturalrepository in Southern England, chosen and sequenced by Barry 7 of AddN to (X). This compilation is drawn from the same musical repository asLuke Vibert's recent collection of "Nuggets", but the artistsrepresented here seem to have been chosen with an ear towards morelow-key, eerie synthscapes. Barry 7 provides us with a pleasurable andadventurous journey through science fiction soundtracks, Moog-heavy poptunes, Ennio Morricone-style exotica and pure experimental sonicplayfulness. The artists here run the gamut from pretty obscure toREALLY obscure. Standout tracks include Cecil Leuter's Stereolab-esqueheadphone odyssey "Electro Sounds No. 8" and the melancholy space-agegroove of Sven Libaek's "Solar Flares." Nurse With Wound fans willappreciate the insane whimsy of The Johanna Group's "Hors Phase" andAnthony King's demented pop stylings on "Maladjusted Moogie." Thisstuff is like crack to me. More, please!
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This is not an album by the 60's "it" girl but is the debut full-lengthrelease from crafty Londoner Stephen Coates. His brand of audiopastiche includes a combination of polished beats, Coates' own whisperyvocals a'la Momus, and an array of melodies sampled from 1920s and 30srecordings that will unfailingly give you the urge to get up from yourchair and do the Charleston. Tracks like, "Am I In Love?," and theirrisistably catchy, "L'amour et la Morte," are both funny andcharmingly eerie — something on par with being pitched into the absurdvaudevillian silliness of an episode of The Muppet Show. AlthoughCoates seems perfectly at ease with this silliness, the twoinstrumental tracks, "At the House of the Clerkenwell Kid," and, "CloseYour Eyes When You Read This," which show the more serious side ofTuesday, are some of the standout pieces, seeming to draw heavily onfilm noir score. The overall cinematic quality of Coates' work is hardnot appreciate, even on a first listen. For the most part, however, hissense of humor and wit prevail, especially evident in the song title"Terminally Ambivalent Over You," but never lapses into an undesirablechildishness.
samples:
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The Molten Salt Breeder Reactor has been noisily unleashing untamedharshness on the world for around a decade or so. It first reached myears via the excellent Ash International compilation "Chiky(u)u" in1997, and has collaborated on ludicrously limited split discs with anendless parade of noisesmiths, including Daniel Menche, Cock ESP, K2and Steve Roden and Brandon Labelle. Koji Tano is a Tokyo noisician whois perhaps predictably rather prolific and has made museuminstallations exploring the interface between art and trash heaps. Herehe blasts eardrums, courtesy of the 20 City label, with two long studiocuts of 'spherical electronics', and a recording of an assault on aprobably quite suspecting Chicago audience, which is a slightly morefrantic but less well defined affair. The first chaotic sphericalrumination opens with a looping skree shard which soon fractures intofeedback squeals and some low messy quakes. A stuttering synthlykeyboard seems to be rapidly losing it's tuning as occasional shadowsof lost keys flicker between the bright gulfs of distortion. MSBR seemsto be able to tweak endless vortices of well defined entropy from hisgadgets, and the noise shifts constantly and eddies endlessly,headlessly and leglessly. Patterns emerge but are quickly blown apart;MSBR kisses the noise as it flies. I find it all quite relaxing at lowvolume and at higher volume it's an ideal obliterative to obtrusivecommercial radio crap.
samples:
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The idea of a play-it-in-your-home soundtrack to the massiverobot-destruction performances of Mark Pauline's Survival ResearchLaboratories is ultimately a ridiculous and excessive one. But that maybe the idea. As the uncredited writer of the liner notes explains, "Thewhole point behind the SRL soundtrack is not so much to accompany thesounds of the machines, but to fill in any lulls in the noise level asthe machines start breaking down and falling apart." The performancesare frequently deal with the idea of excess and violent extremes, withgiant mechanical robotic things sent shuddering toward each other andtoward various objects (houses, ugly metal structures of all sorts)with missile launchers, blades, various weapons, any damn thing. Theperformances, typically held in empty parking lots or any large areassome distance from people's homes, are chaotic and seemingly dangerous.The sound is part of the intended perception of a loss of control,though one must trust that the robots' operators know what they'redoing or else they wouldn't knowingly endanger the lives of theiraudience. Or perhaps they would. Who really can say. The soundtracks on this CD, then, are not about dynamics or subtlety,but brute din. They are done by G.X. Jupitter-Larsen, whose work as theHaters celebrates entropy by creating noise out the sounds of things(like tires, calculaters, paper) falling apart. The music here isn't somuch different from his Haters albums, though a slightly differentconceptual element entwines them into the SRL performances. Forexample, a performance at a race track used the sounds of car crashesand motor-racing to "fill in any lulls" in the machine demolitionderby. In order to highlight the humor of the SRL productions (what isa display of absurdly grandiose self-directed violence but essentiallyfunny?), Larsen used the sounds of children's cartoons. And on and on.These concepts are secondary to the unchanging grey wash of high-volumenoise, punctuated by clanging metal, presumably coming from the machineperformances themselves. Yes, it's ridiculous. But it couldn't havebeen anything else! www.subrosa.net
samples:
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Anyone remember Girls Against Boys? Their funk-soul-sex-rock music onTouch & Go was tearin' up the college music charts in the mid 90s,and the major labels came running. After signing with Geffen, GirlsAgainst Boys -- GVSB -- released their major label debut "Freakonica."To mild acclaim and almost whole ambivalence. No one cared who theywere or what music they were making, it seemed, because the record didnot sell well. And when Geffen all but dissolved in the infamousUnigram merger, GVSB were done. No fear, however. Where some bandsdecided to call it quits or sell out to another major, GVSB stillrecord together and make some amazing music (look for a new album onJade Tree in early summer 2002), despite the band members' projects(New Wet Kojak, for one). This soundtrack to the critically acclaimedmovie "Series 7," a mockumentary-like spoof on reality television wherecontestants are given guns and made to kill to win, is a perfectexample of why this band is in it for the long haul. What a perfectsetting for GVSB. And they make the most of it. The music is asaggressive, sexy, and fresh as it ever was, perfectly conveying, Iwould think, the urgency of said television program. I will admit, nothaving seen the film, I cannot say how this music works for it. But onits own it stands up just fine. The song that reportedly plays over thecredits ("One Dose of Truth") is GVSB gone New Wave, and it isprecious. It's also the only part of the score that has lyrics, sobasically this is a chance for the band to make an instrumentalimpression. There are also a few other songs by other bands on thealbum, included for posterity due to their inclusion in the film, likethe Joy Division classic "Love Will Tear Us Apart." But this is GVSB'ssoundtrack, and a great hint at things to come.
samples:
- Julie Stephanek & Eli Janney - Sweetness Of Mine
- Let's Get It On
- One Dose of Truth
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A couple weeks ago, I had a lot of time on my hands on the highway toAustin for a Pigface show. I figured it would be a good time to take inthe entirety of this various artists collection handpicked by Pigfaceand Invisible Records head honcho Martin Atkins for Underground Inc.,an affiliation of 15 or so indy labels including Invisible. "Notes.."showcases 52 tracks over 3 discs by 28 artists, none of whom I'dpreviouslyheard of. I kept a simple 'thumbs up' vs. 'thumbs down' tallyas I listened and 20 tracks got the thumbs up. Not bad considering thesingle disc price tag. It's a diverse lot that represents both gendersand many facets of pop, punk, rock, industrial rock, dance, rap, etc.(but you won't find a single glitch) and, of course, the unavoidableSkinny Puppy/Orgy/Leatherstrip imitators. My bias lies more towards theoriginal and weird stuff rather than the cookie cutter refuse. Some ofthe highlights: Louie Fontaine's Foetus like swagger, Tub Ring's cutand paste carnival punk on acid, Kill Pop's explosive Big Black meetsMinor Threat sound and Livesexact's "You Must Get Down" amusing samplesand raps. And the cream of the crop: Mistlethrush's utterly delightfulmelodic rock gems "Heavy Set John" and "Jody Stone" ... they will behuge given proper exposure). Volume 2 was recently released with 2 morediscs packed with another set of artists. I have it on order.
samples:
- Kill Pop - Bow
- Livesexact - Up to Get Down
- Louie Fontaine - Evil Force in My Pants
- Mistle Thrush - Judy Stone
- Tub Ring - Living with Rene's Head
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The slipcase for this disc offers little info beyond 3 artist names,track titles and label url in a somewhat difficult to read font. Alittle online research reveals that the artists - Doe, Eso Steel andBirchville Cat Motel - are from New Zealand and the label, 20 City, isbased in Japan. They specialize in the "production and release ofmanipulated sound: experimental, soundscape, ambient, noise,improvisation, textural, drone" and these 3 offer differing butcomplementary examples over 72 minutes. Doe's "Maylar" (maybe theymeant "Mylar"?) and "Polymer" quickly achieve a quiet and compelling,nirvana like state of layered hum. Eso Steel's "A Scratch" ups thenoise ante a tad with more sound tidbits and "Ircania" goes one furtherwith stretches of mild noise and furnace hum. And finally, BirchvilleCat Motel's 3 tracks bet the whole pot with nearly unlistenable,feedback drenched guitar and clutter. "Crystal Freighters" inparticular would warm Caspar Brùtzmann's cockles. Doe receive the blueribbon here and 20 City have been added to the always growing mentallist of labels to keep track of.
samples:
- Doe - Maylar
- Birchville Cat Motel - Crystal Firefighter
- Eso Steel - A Scratch
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Mac McCaughan writes pops songs. He writes them well, whether they befor Superchunk or for Portastatic. So, when he was invited to performas part of an 'original collaboration' with Ken Vandermark as part ofthe Noise Pop festival in Chicago, he was a bit worried. And I can seewhy. Writing pop songs doesn't usually lend itself well toimprovisation. While McCaughan writes music that is structured,melodic, and full of hooks, Ken Vandermark plays (not even writing it)music that is unstructured, improvised, and spontaneous. Fortunately,McCaughan realized that improvisation would be a bit of a stretch andhe and Vandermark decided that it would perhaps be best if they were todo a set which included a few Porstatic songs, a Caetano Veloso song, a're-working' of a Vandermark tuen, and an original composition writtenby McCaughan and then elaborated upon by Vandermark. To add sometexture to the tunes, Vandermark 5 percussionist Tim Mulvenna wasinvited to play with them. While the execution of each song isexcellent and the mastery of each musician's instrument is obvious, thesongs seem to lack the electricity that usually results fromcollaborations. Although each player is playing beautifully, theyaren't playing off of each other and a lack of interaction can beheard. It's almost as if Vandermark was playing along at home to arecording. You can definitely see why this is being called aPortastatic release. Not that it's a bad thing, but it's unfortunate tofind that a collaboration that had such great potential fails todeliver.
samples:
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Bad Sector is becoming awfully prolific. Of his recent material, oneitem I've enjoyed greatly is the "Bad Box" - which isn't actually new -but rather a reissue of an older album, "Polonoid," and an extra CD-Rwith two great songs on it. (Sadly, the box is now sold out, butPolonoid is available by itself, so if you've never heard of Bad Sectorbefore, snag the un-boxed version.)Let's get off on the right foot: this album fucking rules. Bad Sectorhave existed since 1993 but only recently has he gotten the press hedeserves. Part of what makes him so good is the fact that his music ispretty much unlike any other: it's noisy, it's ambient, it's amazinglyemotional, and it's amazingly creepy. All at once. It's like Farmer'sManual meets Anenzephalia meets Autechre's "VLetrmx21."
"Polonoid" is a prime example of his work. Originally released as avery limited CD-R on Germany's Vuz Records, it is now more widelyavailable (yay!), and features all his trademarks: shifting walls offeedback, droning, melancholy synthesizers, and bizarre cut-up voicerecordings. Sometimes, as on "Open Universe," the music resembles powerelectronics in sheer intensity or volume, and yet it retains melody anda certain digital aspect that other music of this nature lacks thatreally sets it apart.
In summary: Bad Sector is amazing. To quote the artist himself, hismusic is "deeply emotional dark ambient noise," and he is really damngood at what he does. Don't miss out.
samples:
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