According to Asmus Tietchens' web site, "Kontakt Der Jünglinge 1" was recorded in the '"Lagerhaus" in Bremen, Germany in 1999. I've witnessed a number of live improvisations with sound and noise in which some unexpected event outside the performance space occurred, such as an ambulance passing by with a loud siren. The performers would typically accept the additional source material and work it into their piece.
![](/brain/images/tietchenskoenerkontakt0.jpg)
samples:
I don't know about you, but my first thought when listening to the new Trans Am opus "TA" was not "Hey, this song really could use the remix treatment!" Sadly, that is what has transpired on this, a brief EP of reconstructions of three tracks from that album. The personnel involved are interestingly enough: John Herndon, here as A Grape Dope; Dan the Automator, he of Gorillaz, Deltron 3030 and Lovage fame; underground hip-hop flavorists Prefuse 73 and Dabrye; and Trans Am's own recording engineer Jonathan Kreinik contributing a remix of his own. Really, though, there is no improvement for these songs.
![](/brain/images/blechdompresets.jpg)
samples:
![](/brain/images/kelleylescalleetforlorn.jpg)
samples:
Just when you think you can predict Low, they toss a curve ball in your direction which ends up coming back and hitting you smack on the noggin' and knocks you out. Without a doubt, Low has recorded their creepiest, most diverse, most intense, and least hit-song-friendly record to date. Once again, I am completely floored.
![](/common/images/covers/pf5.jpg)
samples:
Originally released on vinyl last year, Anomalous has recently issued an expanded CD version of this magnificent piano-derived piece. The first track, "Period," opens with some plaintive piano notes over the expected low-frequency drone. What is surprising in this piece is the piano—it's up-front rather than altered and hidden like the sounds used in his other pieces. The sound is full and lush, and as each sparse, melodically abstract phrase is played on the piano. Some of the notes are significantly extended, slowly decaying and interacting with the music as some stunning textures emerge.
![](/brain/images/landingfadeinfadeout.jpg)
samples:
Tyondai Braxton has an intimate relationship with his guitar pedals. Every sound Braxton makes on this CD - primarily using guitar and voice - is processed through various combinations of a bevy of effects. The nine tracks on this disc are surprisingly diverse, and I imagine there's a good deal of improvisation going on.
![](/brain/images/thisheatdeceit.jpg)
Tarwater's third full-length release finds them very much in the same headspace, exploring the same musical themes and capturing some truly beautiful melodies. This time, the concentration seems to be on composing and creating music that would work for films, theatre, and other performing arts.
The arrangements on this release are shorter, building and ending sometimes before you even know what hit you. The mixture of electronic and traditional instrumentation is even more complete, as the two feed off of each other and work together to achieve the desired effect. There is more of a pop song structure on 'Dwellers,' as well, as each song seems to have a clear beginning, middle, and end. Also present seems to be a more concerted effort on the part of Ronald Lippok to have his vocals follow the melody slightly, even in their dry delivery. It's an incredibly personal record, with several songs having an emphasis on memories of the past ("Metal Flakes," "1985" particularly). 'Dwellers' also features some rather impressive guests, including Stefan Schneider of To Rococo Rot (of which Lippok is also a member) and Norwegian performance artist Tone Avenstroup. By the time you hear the graceful, frenetic double-shot power of "Be Late" and "Tesla" in the middle of the record, you'll be so enveloped by the melodies and beats, they may never leave your head. I found myself often desiring more out of the vocals, particularly with the short track lengths, but that instrumental tendency has always been one of the many charms of Tarwater, so why change now? Plus, the sparse guest vocals here and there add enough flavor. A completely enthralling listen.
 
samples:
 
 
![](/brain/images/tromyenpoxmnemonic.jpg)
samples:
![](/brain/images/squarepusherdoyouknow.jpg)
samples:
![](/brain/images/mudhoneytranslucent.jpg)
samples:
![](/brain/images/gusgusattention.jpg)
samples:
![](/brain/images/fischerspooneremerge.jpg)
samples:
![](/common/images/covers/idea2004.jpg)
samples:
While many underground hip hop heads find themselves content with backpacks stuffed with demos of verbose MCs over abstract beats and the latest Def Jux and Rawkus releases, some of the best underground rappers are overlooked for taking their cues from the grimy tales of street hustling and the kings of contemporary radio. Cormega probably couldn't care less what some white kid in an El-P visor thinks of him, because he's been through more bullshit that any of those backpackers can imagine.
![](/brain/images/msjohnsodadropscene.jpg)