Austin, TX, is a city with a grand music tradition, but lately it's shaping up to be the new Glasgow, with more brilliant indie bands appearing out of there than most cities ever see. One of the mainstays who are enjoying a bit of a creative revival are Spoon. Formed by Britt Daniel and Jim Eno, they garnered a great deal of local attention before releasing their debut on Matador. Then they moved to Elektra, releasing only one album before they were dropped. Hitting the indie circuit again, Spoon found a home at Merge, where they've released the acclaimed Girls Can Tell and their latest work Kill the Moonlight. Where Girls showed off a meaner, leaner Spoon than in the past, Moonlight shows them losing a few more pounds just to have a bit more of a good time.

Quarterstick
Shipping News began a series in 2001, with CD EP releases in specialpackages. Each contained songs that were written and recorded by onemember start to finish in a short span of time. The packages werehand-crafted, with a sewn seam and a bird-shaped platic cutout. Allwere super limited. All of the songs have been gathered and includedwith some new songs for this fully-fledged full-realizedfully-distributed full-length release. Given the setup, it's hardlyunsurprising that the material is far more varied than any of theiralbums. In all honesty, listening to everything thrown together in acompletely new order sounds almost completely lacking in structure.Thankfully that's only the first few times. After getting past theinitial shock of contrast that the material has to all previousShipping News music, the songs begin to reveal themselves asindividuals, prominently standing out from the others. Each approach iscompletely different than the next, with the heart of each song in adifferent spot, jumbled up like a puzzle which keeps resetting itself,buried in a sexy distorted bass of "Paper Lanterns," hidden inshimmering endless delays on "We Start to Drift," screaming through theblaring rock on "You Can't Hide the Mark Inside," or exposed by thenaked sounding, abstract and charmingly dissonant, Jandek-ish acousticand electric guitars on "Variegated." It's never explicitly clear whichperson did which song, something not entirely unlike the Beatles'eponymous white album (which too was more or less a collection of abunch of solo songs, never officially noting who did what where). Fanswill no doubt be divided, and probably pissed off that they'll have toshell out the cash for three bonus songs, but for some of us whocouldn't get our greasy mitts on some of the EPs, it's great to haveall the songs together. 

samples:

• Paper Lanterns
• Variegated
• Wax Museum

Slumberland
It is truly hard to find anything terribly wrong with The Aislers Set.With each release, the band offers a gracious gift basket of shinypost-pop which unfailingly brings up the familiar names of Spector,Wilson, et al. Aislers Set prefer to drench their vocals in a healthyamount of reverb which often gives the songs a ghostly feel amidst thepoppiness. Their albums also enjoy jumping out with the first track, sodon't get caught off guard when this third album leaps out headstrongwith the first song, "Catherine Says," a heavenly track which featuresbells and handclaps accompanying Amy Linton's cherubic voice. As thesong climaxes, the chorus rises like church patrons from their pews,getting faster and louder and more celestial; as the chorus hastens,the song's denomination takes on a strange mixture of Roman Catholicismand Southern Baptist, as bells alternate with handclaps and thenultimately join forces. "Mission Bells" features its own blend ofCalifornian minor-key organ and guitar which, through some strangeassociations in my brain, recalled scenes from the film "Three Amigos,"particularly with the antagonist, El Guapo. Incidentally, this song wasreleased as a single on a pleasant 3-song 12" which preceded thisalbum's release. Perhaps my favorite section of this album starts atthe infectious chorus of the abruptly-ending "Action AttractionReaction" (it has this lovely ascending angelic sound) and goes throughthe beginning of the next song, "Through the Swells" (I swear everytime I hear the first guitar part that I am about listen to "BigmouthStrikes Again"). There are great songs on this album, but it stillseems to pale for some reason alongside other Aislers Set albums. Itfeatures the standard Aislers assemblage of rockers, ballads,horn-filled jumpers, and crooners, but sometimes the hooks are missing.The song also seem shorter (and though I have not double-checked myarithmetic, I can say with certainty that most of them are shorter), soperhaps the songs end prematurely, without ever properly filling out orblossoming or earning their hooks. Regardless, this is still a finealbum and it would do well to grace the phonograph or CD player of anyFriday night cocktail party which shows the potential for just a littledancing once the festivities get underway and the hors d'oeuvres areall eaten.

samples:

• Catherine Says
• Mission Bells
• Through the Swells

Aesthetics
Prior to this album, my only exposure to Pulseprogramming came via asplit EP with Signaldrift and a couple of compilation appearances, allof them striking me as being pleasant but average work that wasgenerally indistinguishable from the ever expanding glut of"indie-tronica" artists. When I heard their track "Blooms Eventually"on a Wire Magazine compilation a few months back, I immediately fell inlove with it, despite the twee lyrics and the use of slightly hokeyfilter effects on the vocals. That track opens Tulsa For One Second,and while it would be hard for any record to hold to a consistentquality after such a near-perfect intro, the eight tracks that followdo a pretty good job of it. The record flits back and forth frominstrumental to vocal tracks, and it's hard to deny that the lyricsaren't exactly deep or thought-provoking ("Off To Do Showery Snapshots"includes a quote from "Row, Row, Row Your Boat"!) - but that's not agreat concern as this is an album that is more about mood and musicthan stories and messages. Tracks such as "Don't Swell Up You GlassPocket" and "All Joy And Rural Honey" evoke a similar sweet and puremelancholy as Múm and various Morr Music artists, while the moreenergetic "Largely Long-Distance Loves" throws layers of gorgeousmelody over a minimal tech-house throb. The disc closing "Bless TheDrastic Space" wraps things up nicely with groovy glitch-beats, mellowpiano lines and some almost psychedelic background swirls, followedafter a couple of minutes of silence by a strange little music boxdeconstruction. On top of all that, the packaging is really nifty,featuring a cardboard sleeve that can be folded out and built into agrey and desolate looking house. The imagery is perhaps a littlestarker than the music deserves, but it's still a nice touch to thisenjoyable project. 

samples:

• Bless the Drastic Space
• Blooms Eventually
• Don't Swell Up Your Glass Pocket

M
I didn't quite know what to make the first time I heard Ryan Moore'sdub project, whether it just a side project, an experiment, or a joke.Six years and 10 releases later, the jury has returned with a verdict,and it is that the Circus is something solid, reliable, and fantasticenough to keep fresh and enjoyable with every listen. For the as of yetunconverted, this disc is a great recap, as it collects 12 tracks fromthe years. All of Moore's dub is instrumental, completely void oflaptop glitchery, and only ever employing the usage of old schooldelays for effects. Popular old favorites like "Lowell and Nine" and"Horsie" are representative of the catchier early bass, organ, drumpieces, while "Fams," employs a twangy guitar in a very SpaghettiWestern-like ghost town dub, and songs like "Trinity" only ever addsubtle instruments like melodica to the mix. Moore might not be doinganything that stretches the perceptions of the universe beyond allgalactic possibilities, but what he does, he does exceptionally well. 

samples:

• Trinity
• Acetate
• Sir Dub

Crippled Dick Hot Wax!
Lovingly culled from the rarest of flexi discs found hidden in European used vinyl shops, compilations like Beat at Cinecitta and Popshoppingbrought to the light of day scores from Italian films lost to historyand German commercial jingles from decades ago. Crippled Dick's latestcollection seems loosely bound together thematically: 21 pieces fromvarious TV and movie soundtracks from the '60s and '70s. However, these"peas" as the liner notes call them, call attention to Crippled DickHot Wax!'s mission of rescuing these tiny gems from disappearing intoobscurity.It's easy to imagine that a vast majority of these tunes came frompolice thrillers or suspense films, because they're jam packed withboth tension and an air of cool. They're often fast-paced and funky,with a streak of eeriness or mystery to them -- and lest we forget,they're also catchy as hell. The sound is dated, but that's part of theappeal. There's blaring horns, wah-wah bass, jazzy percussion andexotic flourishes like xylophones and violins tossed in for goodmeasure. Tracks like Paul Kuhn's "Gateway to a Crime" and Made inGermany's "Sprungbrett 1" are choc full of enduring vibrancy, whileothers like Günter Platzek's "Heavy Steel" embody 1970s smoothness.Sadly, the packaging lacks extensive information on each of the piecesand artists, which is unusual for CDHW! releases.
Although this CD will be a must-have for anyone with a taste for kitschor retro, it's also genuinely well-done music that anyone could have anappreciation for. Sure, it's fluffy as a roll of toilet paper, but whocares? This compilation is the perfect soundtrack for trying to outrunthe police in an Alfa Romeo, getting into a shootout with jewelthieves, or maybe just as background music to a groovy cocktail party.

samples:

• G. Grant / S. Park - Good Company
• Paul Kuhn - Gateway to Crime
• Made in Germany - Sprungbrett 1

North East Indie
CerberusShoal have a long history of interesting musical choices, and theirlatest split-EP series is no exception. Available in limited editioncopies with varied types of original artwork on different media, theseries features the Shoal working with artists they know personallyand/or greatly respect with no set format. There are no pre-arrangedrules, only that both collaborators agree to a loose theme of somesort, or a method to the madness. In the case of this initial offeringin the series, the Düne and the Shoal each recorded original songs withlittle vinettes in between. The songs are acoustic instrument-based,and are all about love or personal relationships in various forms. Itsounds almost like a combination doomed for failure, but the endproduct will surprise fans of both bands. Herman Düne's material issimple and quick with pleasing melodies and energy, with themes thatstart light and energetic and end dark and labored. "I Want a Woman"features a brilliant spoken-word interlude about a planned date, andlamented harmony vocals about the plight of the lonely man. "If SomeoneLoves You" is musically playful, but the theme is a little more urgentand depressed with its chorus: "If someone loves you, it sure is notme." They definitely prepare you for the tone of Cerberus Shoal on"That Woman is a Murderess," where sparse violin and percussion meetwith the haunting vocal of David-Ivar Herman Düne. A strange vinettefollows, and the Shoal saunter in with "Sweetie," far from the purelyloving song that its title might suggest. Middle Easterninstrumentation and rhythms meet with a grand choral vocal performance.It's spine-tingling, and when the lyrics do eventually reveal theirquiet horror, it's no real surprise, but it still raises hairs. Theirother proper song, "Bouzouki," has the same general vocal performance,with a greater concentration on harmony, and the pace of "Hava Nagila."You can see, especially at the end, how both bands incorporatedelements of the other, making sounds that stir and slide as well asthey jab and jump. Collaborations like this are rare, and I certainlyhope these groups find time to work together proper in a studio. I canhardly wait to hear what they'd conjure up then.

samples:

• Herman Düne - I Want a Woman
• Herman Düne - That Woman is a Murderess
• Cerberus Shoal - Sweetie
• Cerberus Shoal - Bouzouki

Ipecac
This is an old record in more ways than one. Released in 2001 inNorway, it was recently picked up and released by Ipecac this February.The album is a mix of old-timey soul, rhythm & blues and doo-woptimbres and samples pasted together very well with electronics and liveinstrumentation. Kaada is essentially Eric Kaada and four powerbooks,augmented with live drums and bass and a mixture of sampled and livevocals in the aforementioned doo-wop and soul vein. I really liked thefact that the songs aren't stereotypically "electronic"—no fast cuts ofnoise for no good reason except to be "glitchy", no weird electronicnoises for the sake of weird electronic noises. Throughout the album, Ifound myself humming along and enjoying the songs because they're funand poppy enough to do that. Between the thunderous rolling drums of"Black California" and the hypnotic second single, "No You Don't" withit's sway between sad and creepy. Speaking of "No You Don't", check outthe video, over at Kaada's websiteis worth checking out, as is the website itself, with background infoon the songs themselves and some very nice content., and the uniquejuxtaposition of sounds that feel old and sounds that can't be old, I found myself listening to this record over and over, because I just wanted the music to not stop. 

samples:

• 
  
coming soon

Kranky
Many US fans of SOTL had not heard this album when their 2-CD epic, The Tired Sounds of...was put out on Kranky, so the label released this 2000 full-length onthese shores in time for the band's East Coast tour last fall.Originally released on the Belgian Sub Rosa label, Avec Laudenum was a shift in the science that is SOTL, as they tried more structure on their long, ambient compositions. After hearing Tired Soundsand listening to this release, the gap between their earlier works andthe splendor of that set is filled in quite nicely. Brian McBride andAdam Wiltzie recorded Avec Laudenum by mail, but you couldn'ttell by what you hear. It's just as warm, dense, and compelling astheir earlier works, but there's more of a desire to make everythingmove like a symphony. The songs start off with minimal melodies onkeyboard or sampler, instruments are added, and the ingredients swelland soar, expanding to a large, full sound. For a band like Yo La Tengoto record music to accompany nature films seems somewhat odd; Stars ofthe Lid would not be out of place at all to record an album of musicfor aquariums. It's the kind of music you want to relax to, to put onbefore you go to sleep to work new dreams for you, or to learn aboutthe secrets of the deep or the universe. It prepares your mind foralmost anything. The first three tracks, "The Atomium" parts onethrough three, are a hint at the multi-part extended works to come,with a very simple note progression that shifts through three tonesalong its path. Encompassing half the album, it was the duo's mostambitious effort yet, and also their most moving. It ends abruptlybefore the nine-minute "Dust Breeding," a swell-and-buzz track wherethe space between the notes is just as important as the notesthemselves. The echo on the track is particularly effective, but as itfades away to let in more crystalline keyboard sounds you'd never missit. The album closes with the beautiful "I Will Surround You," proofpositive that you don't need much in terms of instruments and notes toevoke tears. For fans it is a must, and for others I would recommendthis release as an introduction to the band. It's just enough of ataste to prepare you for the outer reaches of their brand of orchestraldrone. 

samples:

• The Atomium, Part 1
• Dust Breeding
• I Will Surround You

After their disastrous EP, No. 4, I was really hoping New Wet Kojak would find a way to get back to the ultra-sexy grooves of the past and obliterate the stain that release had left on them. Early reports about this new album suggested I might be horribly disappointed. NWK had decided to record a concept album about consumer culture. I was worried, but I shouldn't have been. This is the real New Wet Kojak.

Fat Cat
This takes me back twelve years or so to the days when I'd rarelyentertain a platter on the turntable that didn't involve tunes with alot of distorted guitar and shouting. That can still be a very goodthing, and if I was some kid weened on the post-rock continuum,whatever the hell that may be, I'd probably have my socks rocked byGiddy Motors. However, I've got so many old AmRep and Touch and Goalbums and suchlike that do this kind of thing with a tad more venomthat I can't help but have a few reservations. If I saw the band play agig I'd almost definitely be more enthusiastic than I am sat at homewith CD spinning, but that's always been the nature of the rockbeast.There's always room for one more rock band who can actually rockwithout resorting to corny old gestures. There seems to be a risingwave of post-grunge riffers storming venues around the UK. Alongsidesuch scene stalwarts as Part Chimp and Macrocosmica and relativenewcomers such as Terashima, Giddy Motors may well be the mostinventive of this boisterous bunch. My main criticism is that thesinger sounds a bit forced and silly at times, particularly on "Sassy"where his ranting cockney wideboy head-inside-out delivery begins toirk, but this is compensated for by a tight rhythm section who justkeep moving and plying all bad manner of unpredictable feints andparries. Any band who gets compared to the Birthday Party has a lot tolive up to though, and if they can muster even half the intensity it'llbe well worth hearing from a stage. "Dog Hands" is more like the JesusLizard replacing David Yow with that weird crooner from US Maple. GiddyMotors show they're capable of subtlety and light and shade subtlety on"Venus Medallist," the albums' deceptively lulling penultimate trackthat pulls off a lovely moodshift with cello, space synth whoosh andprettily plucked acoustic guitar. Steve Albini has recorded this debutalbum from the south London-based trio so you can be assured that ithits hard and precise. Unlike the drastically overrated and slightlyirritating Mclusky, Giddy Motors throw up a few quirks, sparks andspasms that hint that the best is yet to come if they can just keeppushing. When I think about the light years Boredoms have travelledfrom the Anal By AnalEP, I hope that a band like Giddy Motors can go a similar distance asit could be an exciting voyage to experience. The next step in theirjagged journey comes courtesy of the album's opening assault "Magmanic"lifted as a single. This is accompanied by a twisted bad German coversong obscurity from the Swiss group Grauzone, who I'd never heard ofbefore, and a more intense take on the album's "Bottle Opener" retitled"Tight Sauce," which might be their finest few minutes. The singlegives a pretty good idea of what the band are all about, and therefrain "It started changing," could almost be a self referentialmanifesto of sorts, but the album is more filling. They should behitting venues around the UK right about now. 

Tomlab
Even if I didn't know the truth, I would seriously think that thisdebut album is the result of somebody who clearly listens to a LOT ofmusic and is a big fan of numerous styles of unique recordings. Fromthe opening "Intro," the stage is set by a collage of various differentstyles cut and pasted together. With a fierce drum solo, the albumlaunches into full gear with the catchy "He's So Dumb," paying homageto laid back funk with a sexy bass riff, ample percussion and cleverlyrics. After the interlude, "Everything's a Shade of Green," is thealbum's finger-snapping 1950's doo-wop tribute, but after this point,the styles become less clearly distinguishable. Songs like the vocal(but lyric-less) "Visit to Venus," and the endearing "Will There BeYodeling in Heaven" are possibly two of the most optimistic songs I'veheard in a long while, and with what sounds like toy xylophones,Hawaiian guitar, nose holding and a parade of sound effects samples,the music appropriately backs up the lyrical optimism. "The InventedPart of the World" is oddly remeniscent of very, very early LPDcassette-only recordings, "What Do You Take Me For" could easily be anundiscovered gem, as a future outtake of one of thoseadult-contemporary songs from the 1970s piped through the loudspeakersat drug stores, and songs like "Let's Get Rid of Richard," and "TheAnti-Beard Song (Go Go Goatee)" push the humor card a bit too far formy tastes, but I'm sure can easily become mega indie radio hits. "ILike What You Like," however, is so irresistably sweet, moms all overthe world should take a hint. Perhaps if mothers sang their children tosleep at night, there might be less bitterness in the world. There ishope. This album is evidence.

samples:

• He's So Dumb
• Visit to Venus
• I Like What You Like

Catsup Plate
Eric Idle was on the Daily Show last week and he said something thatstuck with me: "Everybody from Leicester is a bit weird." Of course hewas saying this in reference to his dear friend, the late GrahamChapman, but it can probably easily be applied to Volcano the Bear (andmost likely a number of people from Leicester), as their music is,well, a bit weird. In addition, Vocano the Bear's music is also (notunlike Mr. Chapman) both very charming and witty. Fellow bear, DanielPadden's first solo release actually doesn't come without the help ofother Volcano members and additional friends. As weird as theinstrumentation can get—with kazoos, ballophon, and otherunidentifiable sounds—the music on this disc is stunningly pleasant.Padden's solo debut is a very closely knit aural tapestry of dreamlikeproportions, with off-the-cuff sung vocal tracks, string pieces, andpiano tinklings. While it's still heavily-rooted in experimental andimprovisational music, these are all songs with well-craftedstructures, often with a loop (piano, clarinet, percussion) beginningthe song, and an exceptionally played instrument taking the lead.Whether it's the drone from an accordion-ish sounding instrument on"Scratch Apparatus," the pretty vocals on "Fledgling," or a twistedcalliope-like circus sounds of "Spiders on Ice," not one song on heresounds like a failed attempt at composition. With a growing number ofimprovisational musicians and groups popping up, occasionally gainingmore attention than deserved, it's an extra special treat to havesomebody around who can still write a coherent song and piece togethera well thought-out album. More solo and side projects from the Bearsare due later on this year and I'll be anxious to hear them all. 

samples:

• Sleep Between the Brows of All My Eyes
• Fledgling
• Grand as Pipes

Important
I first met Amanda Palmer eight years ago. After seeing her firstperform at piano in her parents house with a small crowd gatheredaround, I knew she could be a star. After seeing the Dolls perform justover a week ago, I was completely wrong. Amanda Palmer is beyondpotential star, she is the next rock and roll savior. It didn't comewithout the addition of a fantastic drummer she found in BrianViglione. After years of seeing Palmer play solo, the change iscompletely evident as the crowds are now staggering (a sold outcapacity of Middle East downstairs is 575 people and their show waspretty damned close), many of which are singing along and rolling inthe joy. A full-length record is now in its final stages beforerelease, but until then, this CD is a perfect way to catch up on thebest of the last couple years. It consists of 11 popular crowdfavorites, recorded in concert venues both large and small, rehearsalspaces, and radio station studios. Palmer doesn't simply play thepiano, she makes it her bitch, and Viglione's drum work is tactfullyrefined and carefully reserved, playing off Palmer's tight-stopping andsassy cues which change their mind like the most stereotypical womanwould demand you to allow. The songs are always entertaining, farbeyond expectation in every way, both in their off-kilter rhythmicmotives and peculiar subject matter, owing as much to theatricalcabaret-type tunes as to the Pink Dots. Sure, she sings about love, butI'm sure these songs are all purely fiction from the mind of a dreamerwho sleeps with a notepad by the bed. "Bank of Boston Beauty Queen" isan autobiographical reflection on growing up a goth teen, "ChristopherLydon" is the story of Palmer's obsession with a former local NPRcelebrity, and the deep, direct power of "Will," with strings added issensationally appetite-wetting for the full-length record (especiallywith the lyric, "I don't mind if you read while I'm coming!"). As thisdisc collects recordings from a number of sources, the sound is,expectedly inconsistent, but fear not, this will be a much sought afteritem in the years to come.

samples:

• Coin Operated Boy
• Christopher Lydon
• Will

Die Stadt
This disc is the perfect accompaniment to the cold greyness of latewinter. The music, low frequency drones fading slowly in and out, overa consistent, gentle rumbling, and the packaging, adorned with antiquemaps of the Arctic, suggest exploration of desolate, frozen expansesdescribed by the title (which translates to Unexplored Area). Thelayers of sounds move so unhurriedly that they are reassuringlypeaceful, despite their frigid bleakness and vaguely ominous tonality.What is striking about this recording is that Köner, in addition to hisexcellent usage of sonic color; and texture, displays a very musicalsensibility; the phrasing and pitches of the drifting bass tones hintat melody, albeit a glacial one. Throughout the two parts of thiscomposition, the rumbling is joined at times by what sounds like an icywind, and Köner also employs a heavily filtered noisy source, subtlyshifting to resemble radio crackle, distant aircraft, and a strongrain. Apparently, much of this originated as a recording of a projectorshowing a piece of dusty, blank 16mm film; this fits well with thearchaic isolationism at the core of Köner's work. Though the piece isquite languid and pretty static, the sounds are so deep that this isnot a negative criticism. The third track—a bonus that was added tothis CD reissue of the original picture LP release—is from a videosoundtrack contribution. The music is similar in style to the previousparts but is much simpler and sparser, although it contains someadditional instrumentation in the form of mellow synthesizer-likesounds and reverb-heavy squeaking. The voice of what must be theprotagonist in the film narrates letters to another character in whichshe discusses light, darkness, space, and distance. While it isrelatively unobtrusive and fits the existential mood, outside thecontext of the video, I find the dialogue a little distracting andprefer the first two tracks. The main part of this album far exceededmy expectations; and in spite of, or perhaps because of, its coldemptiness, it really creates an appealing atmosphere.

samples:

• Unerforschtes Gebiet A
• Unerforschtes Gebiet B
• Les Soeurs Lumière

With a name like Kling Klang you might expect a band to have some sympathies with a very famous seminal German band. This would be a fair assumption, and whilst Kling Klang prefer to look the part of kids from seventies Brit sit coms rather than showroom dummies, they are so deeply rooted in Kraftwerk and Neu! homage that it'd be painful if they weren't so damn good.

Secretly Canadian
Some albums are growers, taking time to work their magic on your mind,however every so often something hits you immediately, hitting all theright switches in you and demanding your rapt attention. With Magnolia Electric Co,Jason Molina's Songs: Ohia had me instantly spellbound. The album openswith "Farewell Transmission," a jaw dropping, eye widening,seven-minute song that is completely epic. The haunting, choral chantof "long dark blues" hints at what we should expect to come. It's thekind of song that's meant to close an album, not begin one, and sets aremarkably high bar for the following tracks. Thankfully, the materialthat follows is every bit as impressive, delving into those dark bluesbut also achieving moments of euphoric bliss. Recorded live to tapewith a ten piece band, the songs on Magnolia Electric Co. echothe folk rock of Neil Young's 'Harvest,' with Molina emerging as agifted, versatile songwriter. His lyrics express desire, longing, andhope with fantastic imagery made even more potent by the warm,soulfularrangements. Molina's vocals are bolstered by the sonorous backupvocals of Jennie Benford, which raise the chorus of "Just Be Simple" toan amazing high. Molina steps back from vocals a few times on thealbum, allowing Lawrence Peters to lend his deep, rugged voice to "TheOld Black Hen," making it sound straight out of Nashville's golden age.Magnolia Electric Co. reaches its emotional peak on 'John HenrySplit My Heart' which completely cuts loose, the band rocking at itshardest and tearing through as Molina reprises his chant of "long darkblues" tying the theme together at the highest moment of intensity. Theclosing coda of "Hold On, Magnolia" takes the album to a gentle andsatisfying conclusion that still makes you want to listen all the waythrough again immediately. A limited run of the album includes ninedemo tracks of the songs that went on to become Magnolia Electric Co.giving a fascinating look into Molina's process, as well as the addedbonus of tracks and verses that were left behind. Songs: Ohia havecrafted a masterpiece that is guaranteed to dazzle, its melodiesinscribing themselves in your mind and urging you to sing along. Don'tresist.

samples:

• Farewell Transmission
• The Old Black Hen
• John Henry Split My Heart

Load
The world's loudest genre-defiant drum and bass duo from Providence,Rhode Island have returned with possibly one of their most danceflooraccessible records ever. In perhaps a tribute, or a response to recentmovements to make rock music more dancable (or a clever ploy to woomore female dyed-black hair fans), Wonderful Rainbowis an assault of pure energy. The duo, however, will never be foundhigh up on a stage while a crowd dances below, as they prefer to playon floors exclusively, entirely surrounded in a sweaty, claustrophobic,smelly pit which feeds the super-charged sludge which is feverishlylovable. The album is broken into essentially two sides, and whilethere are about five songs each side, there's honestly no space bigenough to stop for a breath of fresh air. This album is a completerush. Songs like "On Fire" feature the hot-tempered drum and basssynergy of fast starts and stops while the album's closer, "Duel in theDeep" is very early 1990's post-industrial/big-beat remeniscent in itsapproach. Be warned, however, as by the time the pulsating beats of thefourth song, "2 Towers" take over, all senses of reality are completelydistorted. Drivers might want to not play this album when there's anyremote possibility of being pulled over for speeding. It's hard toconceive that these two down-to-earth guys are being clever, deceptive,or ironic, but there's some inexplicable magical sonic happenings whenthe thunderous repetitious pounding of the bass guitar and bass drumcollide at these intervals, almost like the negative images seen onlyfor a brief millisecond when eyes close. Maybe I just don't know enoughabout psycho acoustics to truly explain it, but it's something thattruly must be experienced first-hand to believe. 

samples:

• Assassins
• 2 Towers
• 30,000 Monkies

React
Having both inspired and surfed the murky wave of the electroclashmovement (as well as breaking acts like Zombie Nation, Fischerspooner,and Tiga & Zyntherius along the way) International Deejay Gigoloslabel head DJ Hell claims to be looking towards the future. That beingsaid, Electronicbody-Housemusiccertainly seems to be mired down in the same old retro mold that madeDJ Hell famous in the first place. Disc one of this two CD set offersselections that teeter between electropop and tech-house, opening withquality material from heroes Underground Resistance and Metro Area.From here, however, the boredom sets in. Though there are a few momentswhere you think things might very well pick up again (in particular,Playgroup's cover of the Depeche Mode classic "Behind The Wheel"), thebulk of this disc reeks of the monotone trash that has turned thisretro trend from a nice idea to a gaping void of talentless snobs andposturing fashionistas. For every enjoyable and catchy electroclashtrack, there are at least a hundred pretentious and awful ones. Here,DJ Hell has opted to pick from the latter batch. While the first CDultimately failed to move me, the second disc nearly sent me into ablind fury. Here is a playlist of popular EBM tracks from the 80'srepackaged alongside a bizarre selection of techno and somewhat darkelectroclash cuts. Now how is it that DJ Hell, who resides in a countrywhere industrial music charts on the DAC, could be so completelyignorant of the music from this past decade of the genre? Is it thathe's trying to be nostalgic of his younger years? Even the two NitzerEbb tracks here were remixed recently ("Control I'm Here" by The Hackerand "Join In The Chant" by Thomas Heckmann) and he chooses not to evengive those a try here. Being an industrial DJ myself, it is my strongfeeling that he has absolutely no excuse for throwing together thissloppy "greatest hits" type collection with mediocre mixing (Traktor,anyone?) and expect to receive any respect from those who have beenmoving with the genre and its many splinters over the years. In anycase, retro-loving scenesters and trend vampires will adore hearingsuch tracks as Jay Harker's dismal cover of the gothic classic "BelaLugosi's Dead" while probably skipping through the pioneering "LoveCuts" by the woefully underrated Chris And Cosey. Can't everyone justgo back to listening to crappy rock bands and Austrian interpretationsof soul? 

samples:

• Chris and Cosey - Love Cuts
• Jay Harker - Bela Lugosi's Dead
• Metro Area - Miura

Chair Kickers' Union
Sometimes you have to cut some of your own flesh away to make things better. Debridement,the word that serves as the title for Nathan Amundson's new album asRivulets, is defined as "the surgical removal of lacerated,devitalized, or contaminated tissue." Since Amundson is the onlypermanent member of Rivulets, he must be cutting away another piece ofhimself to give us this new record, shedding his skin as it were, asthere's no one else to sacrifice. With more sparse arrangements than onthe debut full-length, Amundson concocts some chilling work thatconstantly had me checking under the bed for monsters. I needn't havelooked any further than my speakers. Each song has its own spirits, itsown ghosts or creatures, that Amundson breathes to life with his shydelivery and somber tones. As before, the album is recorded and mixedby Alan Sparhawk, who also makes appearances on a few songs. Also inthe studio was Jessica Bailiff, whose voice breathes pure ice into thesongs she caresses. Like last year's Alcohol EPs, the album hasa bit of a theme going for it with the release of all things evil anddark, or just leaving it all behind. "An Evil" is just Amundson acapella, but that's all it really needs to penetrate your psyche;"Cutter" leaves nothing to the imagination with its vocal refrain of "Ibrought the blade to my skin;" "Bridges" could be about finding commonground, but it feels like finally building the device that aids in yourescape; and "Conversation With a Half-empty Bottle" has an obviousimplications all its own, as a person comes to terms with their onlyfriend, and the one that they won't let destroy them. There's little tono percussion to be found on the entire record, which is part of whatmakes it so compelling. The snare on "Shakes" is spooky not only forthe way it's played but for its mere appearance. By the time I heard"Get Out Alive," I was glad made it out, and I hoped the singer did,too. Amundson continues to open his own scars for all to see, and itgets better each time. I just hope it doesn't damage him too much todredge it all up.

samples:

• Cutter
• Conversation With a Half-empty Bottle
• Steamed Glass