Om's first studio album with Grails' Emil Amos on the drum throne contains some of the most confident, ambitious, unexpected, and brilliant work in the bands' history. Exasperatingly, however, there is not very much of it.

Christopher Riggs can't keep still, but it is to our benefit that the seemingly ADD-riddled guitarist produces output that makes even the most ambitious musicians and labels blush. Riggs returns with Gold Danny, another venture into perverted guitar noise from the current Michigan resident and former Oberlin Conservatory student.

A big deal has been made in the underground music press about China’s new music. Comparisons with other geographically unified music scenes like New York’s No Wave movement echo throughout the web but as Sub Rosa’s recent overview of Chinese music has shown, the idea of a single scene (or even a geographical localisation of protagonists) is a false notion. This duo from Beijing sound nothing like any of their contemporaries and they sound little like their admitted influences. White impressed me greatly last year when I saw them live in London and now that their debut album is finally available, they have floored me yet again.

While Conference Live does not come near to representing the true live sound of Om (mainly due to the amplification limitations of any home stereo), it is a huge step up from the miserable-sounding Live at Jerusalem LP that emerged last year on Southern Lord. That recording’s muddy sound quality turned Al Cisneros’ and Chris Hakius’ thunderous roar into a tinny yawn. This time, the music is clearly defined and has buckets of body to it. Sound is not the only change, Emil Amos from Grails is now beating the skins instead of Hakius. It is a big change but Amos fills Hakius’ drum stool most capably.

Taking a moment out from Jackie O Motherfucker, Nick Bindeman’s schizophrenic assault on psychedelic pop has resulted in a filthy and ecstatic collection of songs that makes his usual band sound meek and girly by comparison. Throughout this limited edition cassette, Bindeman tries to merge as many different streams of rock and pop music together into one glorious, drugged mess.

A new album from Lisa Germano is always a noteworthy event, as each of her periodic hiatuses has threatened to be a permanent one.  Magic Neighbor, Lisa's first new album in three years, shows that an evolution has been occurring during her recent silence: an unexpected amount of light is now filtering into her creaky, melancholy, and decayed little sonic snow globes.  This shift in direction, however, is still in a bit of an awkward stage.

The Tupac Shakur of dissonant Islamic dub, death hasn’t slowed down Bryn Jones, who has still been prolific for over a decade after he passed away.  The 11 tracks on this LP and 12" set are all from his most prolific period in 1997.  Unsurprisingly, this is Muslimgauze by the numbers that does nothing drastically different or innovative than the slew of other releases from the era, and thus is really only recommendable for hardcore zealots and the dabbler who hasn't picked up an album from Jones in awhile.

An appropriate coda for the URSK series on Utech, the slew of drone oriented releases from both established (Skullflower, Final) and the up and coming (Aluk Todolo, RST) ends with a new project featuring visual artist Steven Kasner (the SK of URSK) and collaborators including Yoshiko Ohara (Bloody Panda) clashes ethereal and oppressive dynamics to maximum effectiveness.

Kristin's principled self-emancipation from record labels seems to have had a noticeably invigorating effect on her work, as Speedbath features some of her strongest songs in recent memory. Notably, Hersh's newfound career optimism has not infected her songwriting one bit: these 12 songs brood and bristle with characteristic dark intensity (even more so than usual, actually).

In 2007, To Kill A Petty Bourgeoisie began their first album on Kranky with a shriek of piercing noise. The album that followed was layered with dirty rhythms and walls of sound that were as dense and deformed as they were pretty. On Marlone, Mark McGee and Jehna Wilhelm have opened up their sound and, as a result, crafted a spacious and sprawling album far more dynamic and layered than their debut.

Miss Autopsy shares a lot of common ground with early Mountain Goats, such as uncomfortably raw vocals and a tendency towards rather wordy narrative lyrics.  However, Steve Beyerink has something that John Darnielle does not: a singular propensity for squirm-inducingly soul-baring misanthropy and pessimism that precludes absolutely any possibility of widespread acceptance.  While certainly somewhat flawed, this album is not an easy one to forget.

While many artists use the sonic medium as a canvas to paint imaginary journeys conceptually through sound and instrumentation, this Australian duo takes the concept to a more literal point by utilizing recordings of actual events and elements referenced in the track titles in addition to traditional instrumentation. The result is a wonderfully dark, post-rock tinged trip that shows the 12k label is at the cusp of more than just laptop programming and art installation sounds.

With these two being recorded in 2008, it is not surprising that these two LPs from this solo project have a similar sound and vibe to them, though both do go in somewhat different directions, with Psychosis focusing on the droning slow space rock material, while Night Flights opens the sonic pallet up to include more than just guitar and bass, but primitive analog electronics as well.  They both definitely take minimalist droning guitar into a more astral plane than usual, however.

Given that this is a collaboration between a noise duo, a toy collector, and guy known for sometimes playing an electrified rake, it is not entirely surprising that this recording session is a bizarre Dadaist mess.  Nevertheless, I remain deeply confounded by it all and cannot begin to guess what exactly the participants were attempting to achieve or to what degree they may have succeeded.

In this, the third installment of the Songs trilogy, Matt Elliott continues to celebrate the values and world-views of working class peoples. If Drinking Songs was dedicated to the worlds favorite pastime, and Failing Songs was about the impossibility of hope when faced with the magnitude of the worlds ills, then Howling Songs is the cathartic venting of bottled up pain. Here Matt Elliott is found screaming into an unrelenting wind, and sounding better than ever before.

Friendly Pants finds Sakata, now 65 years young, as agile and observant as ever. Joined by the equally virtuosic duo of Darin Gray on double bass and Chris Corsano on drums—here known by the collective name of Chikamorachi—Sakata's heartfelt blasts of alto saxophone find a rhythm section more than competent to bring seduction to post-bop jazz.

Brain Foote, along with Honey Owens, Paul Dickow, and a few new faces, have produced one of the most varied and unique records I've heard all year. The progress won on their Infinity Padlock EP has been further refined into a near seamless blend of miscellaneous musical styles and sleek, spaced-out atmospheres. With As Good As Gone Nudge has entered a world all their own; nobody else sounds quite like they do.

1. Branimir Sakac, "Synthana"
2. Ralph Vaughan Williams, "Allegro/Sixth Symphony"
3. Lothar Voigtlander, "Drei Elektronische Studien"
4. Jerry Hunt, "Cantrgral Segment 18. 17"
5. Jacqueline Nova, "Creacion De La Tierra"
6. Douglas Lilburn, "The Return"
7. George Balch Wilson, "Exigencies"
8. Paul Pignon, "Hendrix/Hardware Performance"
9. Francois Delalande, "Decouvrir Les Sons"
10. Ingram Marshall, "Sibelius In His Radio Corner"
11. Francis Jeannin, "Chimie Du Son"
12. Henry Jacobs, "Chan"

Jack Dangers
San Francisco, CA

This is the first release from these long time friends and collaborators. Having been cohorts for 40 forty years, playing in groups together as far back as 1974, this album captures a day's recording back in 1992. My preconceptions of this collection of vintage home recordings being like the musique concrète stylings of early Dead Voice On Air were shattered within seconds of the album's opening track. I will confess to stopping the LP and taking out the disc to check it was the right album.

This second collaboration between these two veterans of the 1980s UK noise/cassette underground is enigmatically rooted in the works of Lewis Carroll and schizophrenic outsider artist August Natterer. The result is an engaging, yet temporally dislocated, foray into ambient industrial music that sometimes favorably recalls some of Cabaret Voltaire's more abstract and loop-based moments (as well as a host of darker, and more sociopathic, tape-based experimentalists).