It has been three years since the last Amp (proper) full-lengther, the phenomenal 'Stenorette' release on Kranky (produced by Robert Hampson of Main). Since then, there have been a couple releases as A.M.P. Studio (but don't ask me to describe the distinction between entities). While the world awaits another full-length masterpiece, the group has decided to collect recordings made on the road during their 1998/99 European tour, from in-studio performances at AJZ radio in Switzerland and the famed VPRO in the Netherlands.

The Amsterdam-based CD shop owner Elisabeth Esselink has deliveredanother bopping poppy soda-jerking sound-clashing long player as Solex.The new album is full of 15 peculiar yet captivating songs and is notyour regular haphazard clumsy mess. According to Matador's website,'Low Kick and Hard Bop' won out the title of this album, which also had'A Cross Between Cyndi Lauper and Early SPK' in the running. (You canguess which one would get my vote.) Esselink is asinger/multi-instrumentalist and clearly has a huge record collectionwhich probably dwarfs the one of Four Tet's Kieran Hebden. Bizarre,obscure samples combine with her playing and singing in a remarkablydemented world of tv game shows, Incredibly Strange Music collections,Hank Williams, Nancy Sinatra, Don Ho, and Herb Alpbert. Picture a crowdof awkward Dutch kids in blue jeans dancing messily around a 1950sburger shop. It's a world of big bright lights and loud colors, hairtossing and skirt twirling. Esselink proves she's not just anothersampladelic diva, but she is a pretty face too! I'm sure she takes herjovial art quite seriously and I can't wait to see her live again thisNovember where I ask her to be my wife. Check out www.solex.net for a really cool site and tour dates.

 

samples:

• Have You No Shame, Girl?
• Shoot Shoot!
• Good Comrades Go to Heaven

Living in Boston I have become quite jaded towards ska. As a teenager,I was into the Two-Tone scene but after moving to a scene flooded withobnoxious punks, skins, plaid clothing and Doc Martens, I found myselfextremely agitated and had to distance myself. Hearing a slice of oneof the originals years later is very refreshing and I've found myselfactually coming around to the style again. Terrorists were originals ina few respects - first off they predate the Specials, the Beat andSelecter by a couple years. Next up, while you can kind of/sortof/almost but not quite hear the reggae and punk influences on most ofthe more popular acts, it's clear as day with the Terrorists. Thequartet was based in NYC, played the punk circuit, were confined to arough sound due to their financial position and often played behindvocals from Lee "Scratch" Perry and Roland Alphonso of the Skatalites.This collection, out now on ROIR will probably be faced with adifficult time entering record stores due to the group's name, but weneed to try to rest the hypersensitivity, especially when it comes froma group who hasn't recorded anything in nearly twenty years.

 

samples:

• Guerilla Priest (with Lee "Scratch" Pery)
• Hail the Day
• Bitch Slapped

Two of the earliest Pole tracks from 1996 are reissued here along with4 pairs of reworkings by Stefan Betke (aka Pole) and contemporariesBurnt Friedman and Kit Clayton from his own ~scape label. Do "Raum 1"and "Raum 2" warrant ten versions? Somewhat surprisingly the answer isyes. "Raum" is German for "Space" and these guys are experts in thefield, each taking the source in different directions. The originalsare murky dub affairs with washes and crackles aplenty and steady, deepbass lines - much like everything that has followed to date on Poles"1", "2" and "3". While they're fine in their own right they do pale incomparison to the updated versions. Betke's variations (and two morenew tracks spawned from them) feature first time collaborator D. Meteo,guitarist for Submission. Everything is much more bright, clear andspacious as truncated guitar notes and riffs are abruptly weaved intothe new mixes, sometimes adding a sort of dub strum to the groove.Friedman takes the tracks into his own personal ambient jazz trajectoryby dressing them up with latin flavored percussion, sliding bass andmore ambiance. The Raum 1 Variation all but erases the original by thefinal few minutes of its graceful decay. And last but not least,Clayton's cut and paste treatment clutters up the static and rhythmsover time making for the busiest mixes of all. Nice variety. Perhaps"R" is a precursor of new ideas for the next Pole album proper? I hopeso ...

 

samples:

• Raum 1 (Variation)
• Raum 1 (Burtn Friedman)
• Raum 1 (Kit Clayton)

The sixth album in his Selbstportrait series, this is one of the best. Hans-Joachim Roedelius created this mini-masterpiece during the mid '70s, drawing on various recordings from his career at that time and building on them with added instrumentation and a wider selection of tones, structures and styles. The end result is a dazzling mix of old and new material (well it is all old at this stage considering the age of the album) which gives Roedelius’ talent the spotlight it deserves.

While both of these artists have significant discographies in their various projects (Marcia Bassett is a member of Double Leopards and Hototogisu, while Jenny Gräf is half of Metalux), here in the context of a duo they've chosen to examine more varied and ambient sounds as opposed to the more noise and drone tinged works their other bands are known for.

As a follow-up to his last full-length solo album Northern, Deupree has once again captured the changes in seasons in an audio format. Rather than the vast expanse of ice and snow, Shoals is the sound of summer’s transition into fall, of weather-worn trees decaying and other vegetation making early preparation for the coming change.

This isn't the first collaboration between these two that serves as excellent hot weather listening. While a lot of Andrew Chalk's recordings can seem dark and cold, this short release is serene in a very warm and comforting, almost blindingly bright way.

Originally released in 2005 as a small run CD-R, this album has been given a much needed reissue (albeit only as a limited edition cassette). Slightly remixed, this version also includes a bonus track and new artwork. Simultaneously putting me at ease and on edge, the music is in a constant flux of emotional and sonic content. This is one of Anthony Mangicapra's more fulfilling releases from his early works and it sounds as fresh now as any of his current output.

Julianna Barwick’s Florine has an enveloping dreamlike atmosphere built from multi-layered vocals and simple instrumental loops. Her choral abstractions are pretty and affecting but will need expanding or she risks being as musically trapped as a third unknown Cocteau Twin who died as an infant yet gibbers from a buried shoebox.

My longstanding hope that the child-eating Balinese demon queen will release an album has yet to come to fruition, but I am now able to content myself with the next best thing, as her name has been appropriated for a staggering improvised collaboration between Chris Corsano, Sir Richard Bishop, and Ben Chasney. By turns violent, soulful, and mantric, False Flag is an unpredictable, spontaneous, and sometimes uneven debut, but also a fascinating and attention-grabbing one.

In keeping with Sublime Frequencies' lengthy tradition of unearthing bizarre and amazing music that I didn’t even know existed, guerrilla ethnomusicologist Hisham Mayet’s latest offering delves into the raucous nightlife of Marrakech’s legendary open-air marketplace  Managing to talk his way through a longstanding ban on the close recording of performers, Mayet captures the raw power of three of Jemaa El Fna’s most compelling acts as they blast though blistering, electrified renditions of classic Moroccan pop using homemade rigs of car batteries and megaphone speakers.

Frequently lauded as a high water mark for metal, industrial, and any form of abrasive music in general, Streetcleaner has been included in numerous "Top X of Y" lists since it was first released some 21 years ago. Seeing as how the duo has agreed to perform a reunion show at this year's Hellfest in France this weekend, it is a convenient time for the label to reissue this disc, as well as for me to take a new, critical look at it. Remastered with an entire second disc of alternate/demo/live/rehearsal tracks and overseen by Broadrick himself, it's obviously more of a labor of love than a quick cash grab, and the quality of it makes that apparent.

In the mid 1990s Godflesh, along with label mates Napalm Death, Cathedral and Carcass, had a brief flirtation with the major labels in the US. Because of this, their CDs made it to the lame mall record store, leading to my initial exposure to the band. Admittedly, it was a mixed reaction: Selfless took a while to fully "grab" me, and Merciless had its pros and cons. After some time, both would eventually click, and may very well represent my favorite era in their career, compiled into a slim two disc set.

Preserved for posterity as four-track tape recordings, Konrad Becker’s Piano Concertos for 4 Pianos have finally crossed the digital divide. While the man behind the music has been anything but listless, these recordings have until now, laid fallow for upwards of 25 years, making this the first release of his acoustic music. Originally used for the performance series Program for the 100% Resocialization of the Devil in 1982-83 and the experimental opera Parzival in 1984, the pieces are redolent with low-end perfumes, thick metallic fogs, and percussive walls of splendor. The simultaneous play of four roaring pianos creates music rife with subterfuge and illusion.

This impressively ambitious double album documents (in necessarily excerpted form) a month-long installation that ran during NYC's Storefront for Art and Architecture's 30th anniversary celebration back in 2013. Its true roots go much deeper than that, however, as Six Microphones is the culmination of a project that Robert Gerard Pietrusko has been fitfully struggling to perfect for almost two decades. It is easy to see why it took so long to realize, as Six Microphones is the sort of complex, process-based experimental music that only an electrical engineer or a rabidly gear-obsessed noise artist could hope to fully comprehend. Thankfully, grasping the intricacies of Pietrusko's system is not a necessary prerequisite for appreciating the resultant sounds, as Six Microphones is a quietly hypnotic symphony of drifting feedback that deserves a place alongside Nurse With Wound’s Soliquy for Lilith and Toshimaru Nakamura's No-Input Mixing Board experiments as a significant and inspired work of self-generating sound art.

It has been roughly four years since the last Boduf Songs album (2015's Stench of Exist), but Mat Sweet is finally back with his seventh full-length. There are few artists who are as tirelessly focused on exploring a narrow stylistic niche as Sweet, so it was fairly easy to (correctly) predict what Abyss Versions would sound like: hushed vocals, slow-motion arpeggios, seething tension, and quiet intensity. However, the details are always a surprise and I was especially eager to hear this particular release, as its predecessor felt like an inspired creative breakthrough that added a bit more color and rhythmic dynamism to the Boduf Songs' vision. Perversely though, Abyss Versions does not build upon those particular innovations and instead makes a hard turn in the opposite direction: more understated, more intimate, more austere (though there are a pair stellar exceptions at the end of the album).  Despite that turn even deeper inward, Abyss Versions is yet another characteristically fine album, as Sweet unveils a solid batch of new songs that brood, creep, and smolder in all the right ways.

Matt Johnson's first full-length release of new (or new to the public) music in over a decade is a collection of 26 short themes for the film by Gerard Johnson. There's no "hit single" and the music is not reflective of any of his mainstream LP releases for any phase of his career. However, it's a fantastic treat for those who have collected his singles over the decades, as there is a lot of commonality with the more thematic B-sides that have graced his short-players throughout the ''80s and early '90s.

Conceived while Jack Rose was on tour with Dave Shuford's (of No-Neck Blues Band) D. Charles Speer project, Ragged and Right is easily the most rocking thing Rose ever recorded. The band spends much of their time toying with Shuford's country-rock sound, and though Jack's talent and unique signature are definitely present, he disappears into the music more often than he dominates it.

Even as far as falling back into their historical release pattern of an album paired with an EP of unique, yet contemporaneous material, the resurrection of Godflesh has done everything possible to honor their legacy. A World Lit Only By Fire does not exactly see the band picking up where the last album, 2001's Hymns left off. Instead it goes back further into their history, to the era most Godflesh fans wish they had never left.