The Darla Bliss Out series, designed to allow ambient pop stars to spread their message and love to the world on a monthly basis, continues with this, it's 19th entry, from Japancakes of Athens, GA. Japancakes have released two full-lengths and an EP on Kindercore, and have drawn comparisons to bands like Macha and Air with their instrumental-with-electronics music. It's cohesive, full-sounding, grooved-out, and, yes, ambient, but also very innocent.
5298 Hits
Let me be honest here. I grew up in Queens, so I like my rap to sound a certain way. While I can appreciate the insanity of groups like Outkast and southern production geniuses like Timbaland and the Neptunes, I'd rather be listening to Cam'Ron, Nas, Jay-Z, Cormega, or the Wu-Tang Clan.
5634 Hits
Quatermass & Insound
Calla's next studio album 'Televized' is due September 24th via ArenaRock Recordings. In the meantime here's a couple catch-all discs.'Custom' is a remix album with two live tracks tacked on the end.I-Sound, Tarwater, Metrotech, Datach'i, Couch, Pan American, Dan Matzand Calla themselves all take a turn. Most of them with the sameapproach: add more stuff. Extraneous beats, electronics and effects areused to putty in and over cracks that didn't need filling. More is doneto selfishly apply a sonic signature than to preserve the certainsomething of the originals. On the other hand, Couch don't do much ofanything to "Fear of Fireflies" while Pan American reduces anunidentified track into an appendum to his latest album. Part of DanMatz's two-fer serves up a slowed down cover of Steve Miller's "DearMary", giving the simple love ode a creepy stalker vibe. "Trinidad / IShall Be Released" (the latter by Bob Dylan) and "Only Drowning Men"are the live ones and they prove that Calla do occasionally swell theirslow and sultry sound up into a powerful din. But altogether, "Custom"reinforces my general attitude that most remix albums just aren'tnecessary. I'd rather the originals. Or this next disc.
Calla's next studio album 'Televized' is due September 24th via ArenaRock Recordings. In the meantime here's a couple catch-all discs.'Custom' is a remix album with two live tracks tacked on the end.I-Sound, Tarwater, Metrotech, Datach'i, Couch, Pan American, Dan Matzand Calla themselves all take a turn. Most of them with the sameapproach: add more stuff. Extraneous beats, electronics and effects areused to putty in and over cracks that didn't need filling. More is doneto selfishly apply a sonic signature than to preserve the certainsomething of the originals. On the other hand, Couch don't do much ofanything to "Fear of Fireflies" while Pan American reduces anunidentified track into an appendum to his latest album. Part of DanMatz's two-fer serves up a slowed down cover of Steve Miller's "DearMary", giving the simple love ode a creepy stalker vibe. "Trinidad / IShall Be Released" (the latter by Bob Dylan) and "Only Drowning Men"are the live ones and they prove that Calla do occasionally swell theirslow and sultry sound up into a powerful din. But altogether, "Custom"reinforces my general attitude that most remix albums just aren'tnecessary. I'd rather the originals. Or this next disc.
Now this is a great idea. Every month Insound release a limitededition CD by an artist/band while they're on tour, 500 availablethrough the site and 500 at their shows. For a mere $6.18 you get a lotfor your money: four home recordings, a dozen live songs and half adozen amusing audio postcards from around the world, nearly 72 minutesin all. If the homemade stuff is a precursor of the new album, it'sgoing to be fantastic. "Astral" especially ... how many times have Ilistened to that song this past week alone? So simple yet sobeautifully understated. Like everything they do, really. A woman in"Sassari, Italy" apologetically mistakes the Calla trio for SonicYouth. Not quite. Of the live songs, there's five apiece from the s/tdebut album and the follow-up 'Scavengers' plus two classic covers. Irecently saw Calla play for a rather indifferent Nick Cave crowd in anAustin open-air amphitheatre. It sounds like these tracks were recordedin small clubs (or a radio station) where the intimate atmosphere ismuch more suitable for Calla's quieter moments. All of their drama iscaptured nicely here. The last two are tender tributes to GeorgeHarrison with "Long, Long, Long" and Neil Young with "Harvest Moon".For the latter, the chatty Tel Aviv audience sweetly joins in on thechorus and is impressively silenced by the end, then erupts inappreciation. Of the two discs, this is the one to get.
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4575 Hits
No Label
Let's pretend that the copyright infringement/artists' rights debateabout these bootlegs doesn't exist here; we all have our opinions onthat issue, so let's get past it and talk about whether or not thesemixes are any good. The general theme of this mash-up mix is thepairing of an a capella hip-hop/r&b track with music from aseemingly incongruous rock song (or another distant genre). The mostfamous of these 17 tracks is probably Freelance Hellraiser's "A Strokeof Genius," the pairing of the Strokes' "Hard to Explain" with the acapella version of "Genie in a Bottle." Popular opinion is that the miximproves both original songs, and I tend to agree. Freelance Hellraiseris the most consistent DJ on the disc; his songs are the most seamlessand flow more naturally than most, particularly theNirvana-meets-Destiny's Child "Smells Like Booty. Pairing Eminem's D 12with Depeche Mode is pretty clever too. The cleverness of all thesesongs becomes the double-edged sword with this CD - do we like thesesongs for the skill and creativity that went into mixing them, or fortheir eye-rolling cleverness? If it's the latter, then at least you canregard this disc as a guilty pleasure. There are some decided duds -pairing "Satisfaction" with Fatboy Slim does absolutely nothing for me,and layering Public Enemy with Herb Alpert is too cutesy and doesn'talways sync up. But for every stinker there's a nice surprise, like DJFrench Bloke's bonding the Dead Kennedys' "California Uber Alles" withDestiny Child's "Jumpin Jumpin," which comes across more eerie thenclever, giving it more of an edge. Girls On Top have two tracks on thedisc that distinguish themselves from the rest by making moreinteresting musical choices, namely Gary Numan ("Are Friends Electric?"with Adina Howard's "Freak," I think) and Human League ("Being Boiled"with TLC's "No Scrubs"). An interesting note - mixing Celine Dion withSigur Ros sounds horrifically flawless. I don't think I'd realize itwas a mix if I didn't know any better, I'd just assume it was a badadult-contemporary hit.
Let's pretend that the copyright infringement/artists' rights debateabout these bootlegs doesn't exist here; we all have our opinions onthat issue, so let's get past it and talk about whether or not thesemixes are any good. The general theme of this mash-up mix is thepairing of an a capella hip-hop/r&b track with music from aseemingly incongruous rock song (or another distant genre). The mostfamous of these 17 tracks is probably Freelance Hellraiser's "A Strokeof Genius," the pairing of the Strokes' "Hard to Explain" with the acapella version of "Genie in a Bottle." Popular opinion is that the miximproves both original songs, and I tend to agree. Freelance Hellraiseris the most consistent DJ on the disc; his songs are the most seamlessand flow more naturally than most, particularly theNirvana-meets-Destiny's Child "Smells Like Booty. Pairing Eminem's D 12with Depeche Mode is pretty clever too. The cleverness of all thesesongs becomes the double-edged sword with this CD - do we like thesesongs for the skill and creativity that went into mixing them, or fortheir eye-rolling cleverness? If it's the latter, then at least you canregard this disc as a guilty pleasure. There are some decided duds -pairing "Satisfaction" with Fatboy Slim does absolutely nothing for me,and layering Public Enemy with Herb Alpert is too cutesy and doesn'talways sync up. But for every stinker there's a nice surprise, like DJFrench Bloke's bonding the Dead Kennedys' "California Uber Alles" withDestiny Child's "Jumpin Jumpin," which comes across more eerie thenclever, giving it more of an edge. Girls On Top have two tracks on thedisc that distinguish themselves from the rest by making moreinteresting musical choices, namely Gary Numan ("Are Friends Electric?"with Adina Howard's "Freak," I think) and Human League ("Being Boiled"with TLC's "No Scrubs"). An interesting note - mixing Celine Dion withSigur Ros sounds horrifically flawless. I don't think I'd realize itwas a mix if I didn't know any better, I'd just assume it was a badadult-contemporary hit.
samples:
- Freelance Hellraiser - Smells Like Booty
- DJ French Bloke - Destiny Kennedies
- Girls On Top - Being Scrubbed
8445 Hits
Sub Pop
Is it just me, or is indie rock losing all of its edge these days? Itseems in recent months that the indie rock being released lately issuffering from the same illness that affects most genres over time:lack of inspiration. New albums from indie rock bands sound like otherbands from five years ago, but with a different singer, or with alittle more energy on the drums or guitar. They're running out of freshideas, and we all feel it. This new release on Sub Pop, the solo debutof Jason Loewenstein, former drummer of Sebadoh, has it all. The albumis original material, Loewenstein writes jangly, affecting rock, playsalmost all of the instruments, and has a capable voice. It'sunfortunate that it's so goddamned mediocre. It sounds like it was allrecorded with the exact same setup in the exact same room over a weekfive months ago. The guitars sound almost identical on every track, thevocals are at the same level with just a little reverb, and all thesongs rollick right along. But none of it stays with you past the firstfew listens. Nothing here is entirely memorable. Even the "fun tracks"- one is called 'Crazy Santana', and, yes, listening to it producesthat exact response - is stale and not even all that amusing. Iremember five or six years ago when bands like Devilhead were makingmusic that was altogether quirky and odd and had strange subjectmatter, and it was funny and just a little brilliant. You knew everyoneinvolved had taken loadsof drugs, but dammit it was good music. This is like Devilheadmellowing out, making most songs coherent (read: not singing about gayaffairs or covering 'Chocolate Bus' ever again), and just basicallybecoming lame. 'I'm a Shit' doesn't even touch the glory other bandshave perfected when it comes to self deprecation. And the token '80shair metal moment on 'Metal' is carbon copy perfect from bands likeHelloween and Heathen (why did most of those bands start with H or W?),but it goes nowhere, so it isn't even good filler. It's unfortunate,because Loewenstein is incredibly capable and has a lot of potential.And the Sebadoh influence is felt here, but I want him to get out fromunder its shadow. Maybe next time he can bring something fresh to thegenre and surprise us all.
Is it just me, or is indie rock losing all of its edge these days? Itseems in recent months that the indie rock being released lately issuffering from the same illness that affects most genres over time:lack of inspiration. New albums from indie rock bands sound like otherbands from five years ago, but with a different singer, or with alittle more energy on the drums or guitar. They're running out of freshideas, and we all feel it. This new release on Sub Pop, the solo debutof Jason Loewenstein, former drummer of Sebadoh, has it all. The albumis original material, Loewenstein writes jangly, affecting rock, playsalmost all of the instruments, and has a capable voice. It'sunfortunate that it's so goddamned mediocre. It sounds like it was allrecorded with the exact same setup in the exact same room over a weekfive months ago. The guitars sound almost identical on every track, thevocals are at the same level with just a little reverb, and all thesongs rollick right along. But none of it stays with you past the firstfew listens. Nothing here is entirely memorable. Even the "fun tracks"- one is called 'Crazy Santana', and, yes, listening to it producesthat exact response - is stale and not even all that amusing. Iremember five or six years ago when bands like Devilhead were makingmusic that was altogether quirky and odd and had strange subjectmatter, and it was funny and just a little brilliant. You knew everyoneinvolved had taken loadsof drugs, but dammit it was good music. This is like Devilheadmellowing out, making most songs coherent (read: not singing about gayaffairs or covering 'Chocolate Bus' ever again), and just basicallybecoming lame. 'I'm a Shit' doesn't even touch the glory other bandshave perfected when it comes to self deprecation. And the token '80shair metal moment on 'Metal' is carbon copy perfect from bands likeHelloween and Heathen (why did most of those bands start with H or W?),but it goes nowhere, so it isn't even good filler. It's unfortunate,because Loewenstein is incredibly capable and has a lot of potential.And the Sebadoh influence is felt here, but I want him to get out fromunder its shadow. Maybe next time he can bring something fresh to thegenre and surprise us all.
samples:
8389 Hits
intr_version
Giant green cyborg squelching through swampland suddenly soars skyward.Distant echoes of sad cornfields fluttering in late summer breeze. Theaftermath of destruction "World Remains" revolve in forlorn beauty."Ruin Her Slowly" pumps a chuggging fat mutant bassbeat for wistfulpiano chops to chime into the haunted night. Then again maybe its amusic box merry go round drowning slowly in molasses. If you haven'tyet got Bored of Canada and get a kick out of the Fennesz guitar /laptop interface, then the duo called Désormais are definitely makingthe kind of noise you should hear. Yes, I'm harping on the Fenneszcomparisons again, but those abstracted My Bloody Valentine noiseloopsvia laptop glitchscrapes are hard to place without reference to himthese days. This has the same heart tug melodic pull that 'EndlessSummer' had, but with a maybe more desolate and mournful feel, perhapsan endless autumn for leaves to flutter down from now on? Based inMontreal, Mitchell Akiyama began making this album with Cincinnatiresident Joshua Treble in the fall of 2001 and it seems that part ofthe year had at least a partial influence over the luscious sculptingsof their sound file exchanges. Most tracks spin revolving loops andslowly let more distorted melodic waves and dense static sheets unfurl,although occasionally a quick shift in pace occurs. Some of the titlesseem to imply a connection with restless internal states - "ViolentFeelings Often Pass" starts out calm but a tense heartbeat pulses andpumps the track to its ultimate escape. There's also a few nods tofailure, as if contemplative regret is the mood they were trying tocapture. "Just in Case We Lose" seems like a head on collision betweenthe classic abstraction of Stockhausen's 'Kontakte' and theaforementioned Fennesz, but it's over pretty fast. The following"Suspense de Vent" has a windblown oriental feel. "As Though" has adistant vinyl crackle atmosphere through which ghostly hymnal voicescall, as if Philip Jeck was in the house but the tape machines were onthe roof and a light rain was falling. It drops out drainwards, butthen crunches back in a faster echotechno canyon. 'Climate Variations'is a fine disc for all weathers as the title implies. Cranked up loudit rocks in a sublimely mind altering futurist fashion. Low levellistening allows total immersion in endless imaginative loops, a lovelyway to drift away. Each listen reveals more detail in the cracklingether variations, and each time the disc spins it just gets better. Myradar will certainly now be tracking Akiyama, who runs intr_version andhas released an album on Alien 8 sublabel Substractif, and Treble, whoruns aii and has previously released an album on Pitchcadet. Theintr_version website had a bubble movie that goes well with the music,but was bereft of information last time I looked.
Giant green cyborg squelching through swampland suddenly soars skyward.Distant echoes of sad cornfields fluttering in late summer breeze. Theaftermath of destruction "World Remains" revolve in forlorn beauty."Ruin Her Slowly" pumps a chuggging fat mutant bassbeat for wistfulpiano chops to chime into the haunted night. Then again maybe its amusic box merry go round drowning slowly in molasses. If you haven'tyet got Bored of Canada and get a kick out of the Fennesz guitar /laptop interface, then the duo called Désormais are definitely makingthe kind of noise you should hear. Yes, I'm harping on the Fenneszcomparisons again, but those abstracted My Bloody Valentine noiseloopsvia laptop glitchscrapes are hard to place without reference to himthese days. This has the same heart tug melodic pull that 'EndlessSummer' had, but with a maybe more desolate and mournful feel, perhapsan endless autumn for leaves to flutter down from now on? Based inMontreal, Mitchell Akiyama began making this album with Cincinnatiresident Joshua Treble in the fall of 2001 and it seems that part ofthe year had at least a partial influence over the luscious sculptingsof their sound file exchanges. Most tracks spin revolving loops andslowly let more distorted melodic waves and dense static sheets unfurl,although occasionally a quick shift in pace occurs. Some of the titlesseem to imply a connection with restless internal states - "ViolentFeelings Often Pass" starts out calm but a tense heartbeat pulses andpumps the track to its ultimate escape. There's also a few nods tofailure, as if contemplative regret is the mood they were trying tocapture. "Just in Case We Lose" seems like a head on collision betweenthe classic abstraction of Stockhausen's 'Kontakte' and theaforementioned Fennesz, but it's over pretty fast. The following"Suspense de Vent" has a windblown oriental feel. "As Though" has adistant vinyl crackle atmosphere through which ghostly hymnal voicescall, as if Philip Jeck was in the house but the tape machines were onthe roof and a light rain was falling. It drops out drainwards, butthen crunches back in a faster echotechno canyon. 'Climate Variations'is a fine disc for all weathers as the title implies. Cranked up loudit rocks in a sublimely mind altering futurist fashion. Low levellistening allows total immersion in endless imaginative loops, a lovelyway to drift away. Each listen reveals more detail in the cracklingether variations, and each time the disc spins it just gets better. Myradar will certainly now be tracking Akiyama, who runs intr_version andhas released an album on Alien 8 sublabel Substractif, and Treble, whoruns aii and has previously released an album on Pitchcadet. Theintr_version website had a bubble movie that goes well with the music,but was bereft of information last time I looked.
samples:
4336 Hits
Genesungswerk
This EP is one of my favorite releases of 2002 so far. "Shanghai" is amonster shanty with a hypnotic desert groove. Heavy bass-lines arepaired with dead-pan vocals in a timeless electronic frame. The lyricsare about sailors without pity, capturing the innocent, lonely and lostwhile the harbor theme is omnipresent the whole duration of thisrelease. The title track is featured twice - over 9 minutes long on theA Side and in a shorter version which differs only slightly. The track"Valse Brute" is actually an instrumental waltz, pushing the seaman'satmosphere with an massive accordion melody even further while"Pasteuse Elegiaque" is more a chill-out ambient piece for the veryearly morning hours after a night out when all else are asleep.Kallabris have musical craftsmanship, artistic vision and a sense offinding the balance between humor, entertainment and melancholy thatmakes them rather unique.As the first release I heard by them I think they're definitively oneof the most outstanding acts of current German music and not to miss.
This EP is one of my favorite releases of 2002 so far. "Shanghai" is amonster shanty with a hypnotic desert groove. Heavy bass-lines arepaired with dead-pan vocals in a timeless electronic frame. The lyricsare about sailors without pity, capturing the innocent, lonely and lostwhile the harbor theme is omnipresent the whole duration of thisrelease. The title track is featured twice - over 9 minutes long on theA Side and in a shorter version which differs only slightly. The track"Valse Brute" is actually an instrumental waltz, pushing the seaman'satmosphere with an massive accordion melody even further while"Pasteuse Elegiaque" is more a chill-out ambient piece for the veryearly morning hours after a night out when all else are asleep.Kallabris have musical craftsmanship, artistic vision and a sense offinding the balance between humor, entertainment and melancholy thatmakes them rather unique.As the first release I heard by them I think they're definitively oneof the most outstanding acts of current German music and not to miss.
samples:
4462 Hits
Melodic
The Melodic label started in 1998 after hearing a demo tape from JamesRutledge, and releasing his Pedro EP in June of 1999. Over the pastthree years, they have released a dozen vinyl EPs and singles, and afew full-lengths on vinyl and CD. This is their first compilationrelease, and it's a collection of songs from artists with releases onthe label, and artists that they have received tracks from these pastthree years. Designed to be a cohesive listening experience - verysimilar sounding and feeling tracks from all artists - you're supposedto just put this on at a party or in your house and experience it. Andmost of it is pretty even and worth listening to. All tracks haveelements of electronics, and move along at a medium pace. And eventhough they're very similar, there is a diversity here underneath itall when you consider that these bands are from different backgrounds.Pedro is the only artist featured twice, and since he was the label'sfirst signing, it makes sense. But he is not the most enchanting artistthis CD features. Minotaur Shock, whose track 'Lady Came From BalticWharf' is gorgeous and moving, is a consistently worthwhile listen, andthere is great anticipation for the Lucky Pierre full-length later thisyear. But I was most impressed by the Empire State track, who are onWarm in the US. Having never heard them before, I liked the grooves andbeats from three guys in Athens, GA. The sampled strings and xylophonesmake it sound like one of those Dolby test discs at one point, withnoise coming from places that almost scare the shit out of you. Then,at the end, it just breaks into a fast-paced sound collage. Good stuffhere from Melodic, worth listening to if you're not familiar with anyof the artists, as it's a low-priced introduction to them all.
The Melodic label started in 1998 after hearing a demo tape from JamesRutledge, and releasing his Pedro EP in June of 1999. Over the pastthree years, they have released a dozen vinyl EPs and singles, and afew full-lengths on vinyl and CD. This is their first compilationrelease, and it's a collection of songs from artists with releases onthe label, and artists that they have received tracks from these pastthree years. Designed to be a cohesive listening experience - verysimilar sounding and feeling tracks from all artists - you're supposedto just put this on at a party or in your house and experience it. Andmost of it is pretty even and worth listening to. All tracks haveelements of electronics, and move along at a medium pace. And eventhough they're very similar, there is a diversity here underneath itall when you consider that these bands are from different backgrounds.Pedro is the only artist featured twice, and since he was the label'sfirst signing, it makes sense. But he is not the most enchanting artistthis CD features. Minotaur Shock, whose track 'Lady Came From BalticWharf' is gorgeous and moving, is a consistently worthwhile listen, andthere is great anticipation for the Lucky Pierre full-length later thisyear. But I was most impressed by the Empire State track, who are onWarm in the US. Having never heard them before, I liked the grooves andbeats from three guys in Athens, GA. The sampled strings and xylophonesmake it sound like one of those Dolby test discs at one point, withnoise coming from places that almost scare the shit out of you. Then,at the end, it just breaks into a fast-paced sound collage. Good stuffhere from Melodic, worth listening to if you're not familiar with anyof the artists, as it's a low-priced introduction to them all.
samples:
- Pedro - Seven Eight
- Empire State - The Elements of a Wish
- Minotaur Shock - Lady Came From Baltic Wharf
4463 Hits
spinArt
Reviewing something like this is almost completely pointless, as thefans will have jumped at the opportunity to buy this while the peopleon the fence probably couldn't care less. I, personally was a bigPixies fan during their heyday and am completely thankful to them forhelping end the reign of hair bands with makeup. This CD is the muchpassed around untitled 'purple tape' which includes nine songs fromtheir demo cassette not appearing on the eight-song album 'Come onPilgrim,' first released by 4AD back in 1987. The recordings match upperfectly together and the songs present a fine archive, released herein stunning demo tape glory without the wear of a cassette passedaround for over a decade. Much of the tunes are in an embryonic stage,just as raw as 'Come on Pilgrim' and more ballsy than anything FrankBlack Francis has ever recorded since their split. This may be thedownfall, however, as all of these songs (with the exception of oneexclusive: "Rock My Soul") were recorded and improved upon and releasedmuch later. In addition, the 18 minutes of music contained hereinalmost doesn't justify the $12 sticker price, so I say give it a whilebefore it pops up in the used bins. It's not going anywhere fast.
Reviewing something like this is almost completely pointless, as thefans will have jumped at the opportunity to buy this while the peopleon the fence probably couldn't care less. I, personally was a bigPixies fan during their heyday and am completely thankful to them forhelping end the reign of hair bands with makeup. This CD is the muchpassed around untitled 'purple tape' which includes nine songs fromtheir demo cassette not appearing on the eight-song album 'Come onPilgrim,' first released by 4AD back in 1987. The recordings match upperfectly together and the songs present a fine archive, released herein stunning demo tape glory without the wear of a cassette passedaround for over a decade. Much of the tunes are in an embryonic stage,just as raw as 'Come on Pilgrim' and more ballsy than anything FrankBlack Francis has ever recorded since their split. This may be thedownfall, however, as all of these songs (with the exception of oneexclusive: "Rock My Soul") were recorded and improved upon and releasedmuch later. In addition, the 18 minutes of music contained hereinalmost doesn't justify the $12 sticker price, so I say give it a whilebefore it pops up in the used bins. It's not going anywhere fast.
samples:
5131 Hits
'Technoir', the first Hymen Records compilation was one of the best experimental compilations ever. Showcasing then-nobodies along with exclusive cuts from the popular Ant-Zen post-industrial roster, critics everywhere began to pay attention to the growing Hymen sub-label. 'Masonic' has a hard act to follow, but Hymen's evolution into "IDM for Rivetheads" and its ability to distance itself from the parent label paid off. With even the best of compilations, there are going to be at least some misses among the hits, so rather than humiliate those who do not shine as brightly (or are as dim as eclipses), I'll only focus on some of the very best of the bunch. If I had to choose the best track of the entire CD, then Beefcake would take the proverbial cake... errrr yeah.
5729 Hits
The vast worldwide sea of laptop and desktop musicians has simply become far too predictable with atonal noise-bursts and rhythmic clicking. While the revisit of Klang Krieg's 'American Breakbeat' album has some wonderful highlights, it's almost way too excessive at a staggering 34 tracks. Presented here are remixes and reinterpretations of the original release—29 contributions from North American electronic artists—by electronic artists from (almost*) elsewhere in the world. [*Note to Klang Krieg: Mexico is still part of North America.]
4652 Hits
Touch and Go
"Hey you! Come on ever here! You've just been chosen!" Dance punkwaving away from retro futurist flourescent arcades of dayglo nothingbrought into the radioactive bubblegum world by the TV eye trio Enon -bright corners of 'High Society' seem rerouted from obvious drug pun.Initially "Old Dominion" rocket-rushes from speakers in chunky rockin'populous frenzy, twisting and spitting tuneful as if atomic men hadshaved the cartoon kitten, and brought on irreal visions of facelessladies walking poodles. These are the finest rockpops tune vibrationsto wobble my eardrums since that Wire EP you should all have heard bynow. You know John Schmersal used to be guitarist in that greatBrainiac band from Dayton, Ohio that stopped just as they peaked whensinger Tim Taylor's car crashed and killed him? John's been busy sincethen, relocating to do the Enon thing in New York, with a clutch ofseven inches and between two and five albums depending on which way youcut it. To find out which way you'd cut the cake, visit the band'shyper TV hellnation website (www.enon.tv),where you will also find more sounds including monthly net-only tracks.Since the excellent quirky 'Believo!' album there have been at leastthree big shifts in Enonsound. There's a catchier pop approach togadget strewn mix'n'scratch songfighting and a fuller, heavierproduction, courtesy of Girls Against Boys' Eli Janney. Newbass-singer-synthist Toko Yasuda, formerly of The Lapse and BlondeRedhead, brings some high vocal counterpoints and leads to offsetJohn's increasingly all over the range bunnyhop singing. She takes thelead on four of the fifteen songs, and the first of these, "In ThisCity," is a surprising sugarpop confection with breakbeat backing andan almost 'J-Pop' feel. Lots of silly effects are chucked on the John'svocals, and often the sillier the better, as on the mostBrainiac-Electroshock friendly tune "Native Numb," but Enon can just aseasily play it straight and get away quick after writing a killer tune.Just take for instance the insanely catchy hi-energy summerfun tones of"Salty" (Toko's finest lead) followed languidly by the almost RayDavies bitter mellowness of the title track, with it's sax and strings.Take the sweet drowsy lullaby "Count Sheep" and put it in your pipe andsmoke it before "Carbonation" business kills the radiopop active-kids.Meanwhile "Window Display" seems tailor made for radio stations toblitz the airwaves, even if it seems to be a song about marrying anandroid and breaking her remote control. Toko seems to play the part ofthe remote malfunctioning displaydroid on "Disposable Parts" where shesings of the futurejoy of replacing organs and limbs, whilst Johnmorphs into a impenetrable deep voiced daftbot. Underneath the almostchildish robot infatuation there are perhaps more serious themes ofalienation and disconnection lurking. Another song that'll have oldBrainiac fans grinning is the manic "Pleasure and Privelige," with it'surgent urges to wave fingers in the air. The most affecting song is theperky "Natural Disasters," especially the bittersweet reversesynthmiddle eight, and it's hard to hear the chorus without being remindedof Tim's tragic crash, as John sings a song of moving on, keepingplayful whilst some people want to draaag him back - it's probably thekind of anti-elegy Tim would've smiled at. Like the forthcoming Wiresmash "Nice Streets," this is an addictive pop fix that easily trouncesall those retrotrendy Electroclashers and rollrock-poseurs to amultifractured pulp. These songs hum with experigressive provivalistlife force and summertime hues. If this band aren't getting offered bigdollar studio deals, it's just more proof that biglabel A&R dudeshave ears full of pudding, as usual.
"Hey you! Come on ever here! You've just been chosen!" Dance punkwaving away from retro futurist flourescent arcades of dayglo nothingbrought into the radioactive bubblegum world by the TV eye trio Enon -bright corners of 'High Society' seem rerouted from obvious drug pun.Initially "Old Dominion" rocket-rushes from speakers in chunky rockin'populous frenzy, twisting and spitting tuneful as if atomic men hadshaved the cartoon kitten, and brought on irreal visions of facelessladies walking poodles. These are the finest rockpops tune vibrationsto wobble my eardrums since that Wire EP you should all have heard bynow. You know John Schmersal used to be guitarist in that greatBrainiac band from Dayton, Ohio that stopped just as they peaked whensinger Tim Taylor's car crashed and killed him? John's been busy sincethen, relocating to do the Enon thing in New York, with a clutch ofseven inches and between two and five albums depending on which way youcut it. To find out which way you'd cut the cake, visit the band'shyper TV hellnation website (www.enon.tv),where you will also find more sounds including monthly net-only tracks.Since the excellent quirky 'Believo!' album there have been at leastthree big shifts in Enonsound. There's a catchier pop approach togadget strewn mix'n'scratch songfighting and a fuller, heavierproduction, courtesy of Girls Against Boys' Eli Janney. Newbass-singer-synthist Toko Yasuda, formerly of The Lapse and BlondeRedhead, brings some high vocal counterpoints and leads to offsetJohn's increasingly all over the range bunnyhop singing. She takes thelead on four of the fifteen songs, and the first of these, "In ThisCity," is a surprising sugarpop confection with breakbeat backing andan almost 'J-Pop' feel. Lots of silly effects are chucked on the John'svocals, and often the sillier the better, as on the mostBrainiac-Electroshock friendly tune "Native Numb," but Enon can just aseasily play it straight and get away quick after writing a killer tune.Just take for instance the insanely catchy hi-energy summerfun tones of"Salty" (Toko's finest lead) followed languidly by the almost RayDavies bitter mellowness of the title track, with it's sax and strings.Take the sweet drowsy lullaby "Count Sheep" and put it in your pipe andsmoke it before "Carbonation" business kills the radiopop active-kids.Meanwhile "Window Display" seems tailor made for radio stations toblitz the airwaves, even if it seems to be a song about marrying anandroid and breaking her remote control. Toko seems to play the part ofthe remote malfunctioning displaydroid on "Disposable Parts" where shesings of the futurejoy of replacing organs and limbs, whilst Johnmorphs into a impenetrable deep voiced daftbot. Underneath the almostchildish robot infatuation there are perhaps more serious themes ofalienation and disconnection lurking. Another song that'll have oldBrainiac fans grinning is the manic "Pleasure and Privelige," with it'surgent urges to wave fingers in the air. The most affecting song is theperky "Natural Disasters," especially the bittersweet reversesynthmiddle eight, and it's hard to hear the chorus without being remindedof Tim's tragic crash, as John sings a song of moving on, keepingplayful whilst some people want to draaag him back - it's probably thekind of anti-elegy Tim would've smiled at. Like the forthcoming Wiresmash "Nice Streets," this is an addictive pop fix that easily trouncesall those retrotrendy Electroclashers and rollrock-poseurs to amultifractured pulp. These songs hum with experigressive provivalistlife force and summertime hues. If this band aren't getting offered bigdollar studio deals, it's just more proof that biglabel A&R dudeshave ears full of pudding, as usual.
samples:
4113 Hits
Morr Music
"Our Noise"? Anything but. From the opening notes of this release, Iwas sold. This is the debut full length from Hermann and Kleine,recorded in their bedrooms in Berlin. This is really un-German soundingelectronic music, created with laptops and samples, and named"plinkerpop" as a genre, I'm told. True, it does have its moments ofpop splendor, but I don't remember enjoying an electronic record thismuch since Four Tet's "Pause". It's not as boring as Kleine's work onhis own tends to be these days, that's for sure. The beats are meaty inareas, simple in others, and the keyboards and samples laid on top ofthem are unobtrusive, often engrossing, and totally fresh. Each trackstands on its own, and has a life of its own, even though they may havesimilar structures or sound effects. The album opener, 'Drop', is aperfect indicator of what the record is going to be about. A simplebeat starts the track, then the bassline joins, and then distortedguitar. Before you know it, you're completely lost in a trance, movingalong to the music like you don't know what's hit you. And it neverstops or disappoints. The full beat eventually drops in on 'Drop',paving the way for the harder beats you'll hear on later tracks, butfirmly engrained in the groove of the moment. 'Her Tune' starts outsimilarly deceptive, with simple keyboards, until the big beat joinsin. It's all very impressive and easy to listen to for a variety ofactivities. Elsewhere, shuffling beats and big loud rock guitars areused to get the point across, or, as on 'Shuttle', a voice is heard onoccasion, although extremely processed and edited. When it was allover, I started it up to listen to it a second time. A great firstfull-length release from this unlikely duo.
"Our Noise"? Anything but. From the opening notes of this release, Iwas sold. This is the debut full length from Hermann and Kleine,recorded in their bedrooms in Berlin. This is really un-German soundingelectronic music, created with laptops and samples, and named"plinkerpop" as a genre, I'm told. True, it does have its moments ofpop splendor, but I don't remember enjoying an electronic record thismuch since Four Tet's "Pause". It's not as boring as Kleine's work onhis own tends to be these days, that's for sure. The beats are meaty inareas, simple in others, and the keyboards and samples laid on top ofthem are unobtrusive, often engrossing, and totally fresh. Each trackstands on its own, and has a life of its own, even though they may havesimilar structures or sound effects. The album opener, 'Drop', is aperfect indicator of what the record is going to be about. A simplebeat starts the track, then the bassline joins, and then distortedguitar. Before you know it, you're completely lost in a trance, movingalong to the music like you don't know what's hit you. And it neverstops or disappoints. The full beat eventually drops in on 'Drop',paving the way for the harder beats you'll hear on later tracks, butfirmly engrained in the groove of the moment. 'Her Tune' starts outsimilarly deceptive, with simple keyboards, until the big beat joinsin. It's all very impressive and easy to listen to for a variety ofactivities. Elsewhere, shuffling beats and big loud rock guitars areused to get the point across, or, as on 'Shuttle', a voice is heard onoccasion, although extremely processed and edited. When it was allover, I started it up to listen to it a second time. A great firstfull-length release from this unlikely duo.
samples:
4000 Hits
This four-track EP, the third release from Scott Herren on the Warp label under his Prefuse 73 alias, makes for a broad yet fleeting assortment of instrumental HipHop inspired music. The absence of vocalists and/or MCs has the listener focused on the behind the scenes make-up of some great compositions. Not to say that the right vocalists and/or MCs wouldn't enhance things, as evident on 2001's "Vocal Studies + Uprock Narratives."
3761 Hits
Staubgold
To Rococo Rot's Stefan Schneider is Mapstation, the solo project inwhich the bassist focuses more on the layering of electro sounds andtextures. At times minimalist in approach, this third disc continues inthe direction of an interesting compositional style. The introductionof what at first appears as simple sounding ideas are subtly built uponusing various rhythms, synth patches and digital found sounds untilthey have formed a beautiful soundscape. Each of the disc's eleventracks has a unique development and outcome. "Two Landscapes" openswith deep and lilting synth tones which act as a percussive elementwhile various patches drift in and out stating a general melody andmotif. "More People Than Two" is comprised of a lullaby-soundingrepetitive keyboard with a bassline that weaves nicely into the mix ofethereal chords and distant pulses. Reggae singer Ras Donovan guests onthe tracks "New Direction" (released as a 12") and "Wake Up," whichcould be seen as minimalist dub, maintaining the rhythmic keyboard ofthe style. This is definitely one for the headphones.
To Rococo Rot's Stefan Schneider is Mapstation, the solo project inwhich the bassist focuses more on the layering of electro sounds andtextures. At times minimalist in approach, this third disc continues inthe direction of an interesting compositional style. The introductionof what at first appears as simple sounding ideas are subtly built uponusing various rhythms, synth patches and digital found sounds untilthey have formed a beautiful soundscape. Each of the disc's eleventracks has a unique development and outcome. "Two Landscapes" openswith deep and lilting synth tones which act as a percussive elementwhile various patches drift in and out stating a general melody andmotif. "More People Than Two" is comprised of a lullaby-soundingrepetitive keyboard with a bassline that weaves nicely into the mix ofethereal chords and distant pulses. Reggae singer Ras Donovan guests onthe tracks "New Direction" (released as a 12") and "Wake Up," whichcould be seen as minimalist dub, maintaining the rhythmic keyboard ofthe style. This is definitely one for the headphones.
samples:
3703 Hits
Ersatz Audio
Theelectro of Ersatz Audio's 'Misery Loves Company' comp is pretty damnthin. I don't really understand why, because all these artists (Adult.,G.D.Luxxe, Solvent, Gold Chains, etc) should be interested in qualityof sound, since they are, essentially, electronic musicians. But thebeats on this CD are SCRAWNY, and I don't know if it's the minimalaspect of these tracks (most songs are just a drum machine and one ortwo synth lines, with vox), or if Ersatz needs to start getting theirCDs mastered somewhere else (the Adult. full-length has a similar lackof punch). Or perhaps my ear is getting a little too picky. In anycase, sound quality aside, this compilation is fairly enjoyable butsomewhat forgettable. There's nothing groundbreaking going on here, but'Misery Loves Company' has done a pretty good job of compiling artistsfrom America and Europe whose approach to their drum machines andsequencers are roughly on the same wavelength: simpleretro-dance-electro, with a big nod to the Detroit sound (and a smallnod to Miami) and a slightly ironic presense. The obvious names standout with some of the best tracks (DMX Krew's "Touch Me" and Lowfish'sIDM-electro instrumental "Dead House"), but there are some intriguingnew names here, including Detroit's Tamion 12 Inch, whose "Thin BoysMurdered" straddles the line between being really irritating andstrangely charming. Other bigger names fail to deliver quality tracks,most notably Solvent & Skanfrom's collaboration "Expect Delays" andGold Chains "Could Care Less," which is the purported inspiration forthis disc. At its worst, this comp is a kind of redundant after awhile, as every song sounds pretty much the same. But most of thismusic doesn't take itself too seriously, thankfully, and overall it'spretty non-intrusive. I'd probably put it on at a party. Or maybe playit really loud while taking a nap.
Theelectro of Ersatz Audio's 'Misery Loves Company' comp is pretty damnthin. I don't really understand why, because all these artists (Adult.,G.D.Luxxe, Solvent, Gold Chains, etc) should be interested in qualityof sound, since they are, essentially, electronic musicians. But thebeats on this CD are SCRAWNY, and I don't know if it's the minimalaspect of these tracks (most songs are just a drum machine and one ortwo synth lines, with vox), or if Ersatz needs to start getting theirCDs mastered somewhere else (the Adult. full-length has a similar lackof punch). Or perhaps my ear is getting a little too picky. In anycase, sound quality aside, this compilation is fairly enjoyable butsomewhat forgettable. There's nothing groundbreaking going on here, but'Misery Loves Company' has done a pretty good job of compiling artistsfrom America and Europe whose approach to their drum machines andsequencers are roughly on the same wavelength: simpleretro-dance-electro, with a big nod to the Detroit sound (and a smallnod to Miami) and a slightly ironic presense. The obvious names standout with some of the best tracks (DMX Krew's "Touch Me" and Lowfish'sIDM-electro instrumental "Dead House"), but there are some intriguingnew names here, including Detroit's Tamion 12 Inch, whose "Thin BoysMurdered" straddles the line between being really irritating andstrangely charming. Other bigger names fail to deliver quality tracks,most notably Solvent & Skanfrom's collaboration "Expect Delays" andGold Chains "Could Care Less," which is the purported inspiration forthis disc. At its worst, this comp is a kind of redundant after awhile, as every song sounds pretty much the same. But most of thismusic doesn't take itself too seriously, thankfully, and overall it'spretty non-intrusive. I'd probably put it on at a party. Or maybe playit really loud while taking a nap.
samples:
3781 Hits
Clairecords
I really do sincerely hate name-dropping in music reviews, however,it's impossible to get around this one, like a dead animal on thesidewalk you simply can't ignore and have to step over. To theircredit, this Estonian group has come closer than anyone in making analbum sound just like 1990's 'Loveless' by My Bloody Valentine fortheir second full-lengther, and it's hardly surprising that the labelto release this mentions Slowdive in over half of their band's webpages on their site. It's so strikingly similar from the pretty fuzz,through the male and female soft vocals, down to the usage of a burieddrum machine on the final cuts. Give them a break, however, as eachmember was only 9 years old in 1990, therefore the chances of them everseeing a band live who has had such an apparently profound influence onthem are quite slim. The band sounds amazingly direct and sincere,however, and the tunes are indeed catchy and full of proverbialdistorted guitar, in a mesmerising fuzz like the glaze covering youreyes on a hot, cloudy, yet rainless day. Much like a number of releaseson Claire, songs can easily be picked apart and stand strong on theirown amidst an ocean of variety but a collection of ten of these in arow with so much in common can be only be, at worst, slightlycumbersome to wade through.
I really do sincerely hate name-dropping in music reviews, however,it's impossible to get around this one, like a dead animal on thesidewalk you simply can't ignore and have to step over. To theircredit, this Estonian group has come closer than anyone in making analbum sound just like 1990's 'Loveless' by My Bloody Valentine fortheir second full-lengther, and it's hardly surprising that the labelto release this mentions Slowdive in over half of their band's webpages on their site. It's so strikingly similar from the pretty fuzz,through the male and female soft vocals, down to the usage of a burieddrum machine on the final cuts. Give them a break, however, as eachmember was only 9 years old in 1990, therefore the chances of them everseeing a band live who has had such an apparently profound influence onthem are quite slim. The band sounds amazingly direct and sincere,however, and the tunes are indeed catchy and full of proverbialdistorted guitar, in a mesmerising fuzz like the glaze covering youreyes on a hot, cloudy, yet rainless day. Much like a number of releaseson Claire, songs can easily be picked apart and stand strong on theirown amidst an ocean of variety but a collection of ten of these in arow with so much in common can be only be, at worst, slightlycumbersome to wade through.
samples:
3885 Hits
Staubgold
The "Plays" project came out over the course of 2001 on Bottrop-Boy(two 7" singles) and Staubgold (three mini-LPs). Each release in theseries consisted of two tracks. This CD is a handy way to get them allat once, and perhaps to understand the project more coherently. Whilethere's little information in the insert for those of us who can't readGerman, it's not hard to guess, given Ehlers's past form—particularlyhis membership of the defunct high-concept Mille Plateaux actAutopoieses—that there'll be some thinking behind it.
The Staubgold site helpfully offers this quotation from Ehlers: "The'Plays' series deals with 'reference' ... Everyone is sampling;sampling is the figure of historic devices in digital music. My idea isnot to sample, but to refer to historic places and figures." And so herefers not only to musicians (Albert Ayler, Cornelius Cardew, andRobert Johnson) but to actor and director John Cassavetes, and theenigmatic Hubert Fichte, who is variously documented on the web as aqueer theorist, an anthropologist, and a beat poet.
These referential intentions work well for the most part, reversing theusual process of listening to music based on sampled material: insteadof noticing or just assuming I'm hearing "quotations" from other music,I've tried to decode it using my knowledge—however pitiful at times—ofits subject.
Thankfully, though it may enrich it, knowledge of the five subjects'biographies is not essential to appreciating the music. "PlaysCornelius Cardew", one of the 7"s, and "Plays John Cassavetes", one ofthe mini-LPs, are basically drone and loop-based, using organs andviolins—sometimes as walls of sound, others more sparsely. Ehlers takesa much more interesting approach on the "Plays Albert Ayler" and "PlaysHubert Fichte" mini-LPs, confidently subjecting raw recordings to hisdigital knife. These are the must-listen highlights of the CD. "PlaysHubert Fichte" puts lazily picked guitar from Joseph Suchy in thebackground of a night chorus of buzzing and chirping modifications,like improvisation overheard on a hot evening. The meticulouslyarranged "Plays Albert Ayler" uses similar processing techniques but,being based on Anka Hirsch's cello and other orchestralinstrumentation, is more austere and graceful. You may have heard thissort of thing before, but here it's done with a taste and judgmentthat's far from common.
The CD closes with the "Plays Robert Johnson" 7", one side processedguitar fumbling, and the other a micro-house funk-out that's funny butdefinitely out of character with the rest of the series. Nonetheless,it adds to the diversity of this occasionally inspired collection,which confirms Ehlers as one of the best musicians working at thetheory-heavy end of the post-digital scene.
The "Plays" project came out over the course of 2001 on Bottrop-Boy(two 7" singles) and Staubgold (three mini-LPs). Each release in theseries consisted of two tracks. This CD is a handy way to get them allat once, and perhaps to understand the project more coherently. Whilethere's little information in the insert for those of us who can't readGerman, it's not hard to guess, given Ehlers's past form—particularlyhis membership of the defunct high-concept Mille Plateaux actAutopoieses—that there'll be some thinking behind it.The Staubgold site helpfully offers this quotation from Ehlers: "The'Plays' series deals with 'reference' ... Everyone is sampling;sampling is the figure of historic devices in digital music. My idea isnot to sample, but to refer to historic places and figures." And so herefers not only to musicians (Albert Ayler, Cornelius Cardew, andRobert Johnson) but to actor and director John Cassavetes, and theenigmatic Hubert Fichte, who is variously documented on the web as aqueer theorist, an anthropologist, and a beat poet.
These referential intentions work well for the most part, reversing theusual process of listening to music based on sampled material: insteadof noticing or just assuming I'm hearing "quotations" from other music,I've tried to decode it using my knowledge—however pitiful at times—ofits subject.
Thankfully, though it may enrich it, knowledge of the five subjects'biographies is not essential to appreciating the music. "PlaysCornelius Cardew", one of the 7"s, and "Plays John Cassavetes", one ofthe mini-LPs, are basically drone and loop-based, using organs andviolins—sometimes as walls of sound, others more sparsely. Ehlers takesa much more interesting approach on the "Plays Albert Ayler" and "PlaysHubert Fichte" mini-LPs, confidently subjecting raw recordings to hisdigital knife. These are the must-listen highlights of the CD. "PlaysHubert Fichte" puts lazily picked guitar from Joseph Suchy in thebackground of a night chorus of buzzing and chirping modifications,like improvisation overheard on a hot evening. The meticulouslyarranged "Plays Albert Ayler" uses similar processing techniques but,being based on Anka Hirsch's cello and other orchestralinstrumentation, is more austere and graceful. You may have heard thissort of thing before, but here it's done with a taste and judgmentthat's far from common.
The CD closes with the "Plays Robert Johnson" 7", one side processedguitar fumbling, and the other a micro-house funk-out that's funny butdefinitely out of character with the rest of the series. Nonetheless,it adds to the diversity of this occasionally inspired collection,which confirms Ehlers as one of the best musicians working at thetheory-heavy end of the post-digital scene.
samples:
4437 Hits
Subconscious Communications
After 1997's unimaginatively entitled third album, Download planned onreleasing two EPs ('Moth' and 'Resilient' if memory serves) that nevercame to be. More than likely some if not all of the material for thosehas resurfaced here, along with 'Effector' outtakes, on the thirdinstallment of the "From the Vault" series. From the get go I'mimpressed as these are finished tracks on par with or better than thosethat made the official releases, unlike the lifeless doodlings of thefirst Vault disc "Inception". "Sticky Glandstin" has all theessentials: a jittery bass heavy beat, bizarre samples and sounds andan amniotic atmosphere smeared across the stereo field. The next track"Dakota" is the first jaw dropper when it shifts gears and glides intoan elegant synthetic wash. Rhythmically "The Itch of Trepanning"swaggers and "Manmade" assaults while "Nor" caresses (it too dissolvinginto a howl enhanced ambient bliss midway through). "Walking, Talking"also beats you pleasantly senseless with an intricate mesh of metallicpercussion and electronic squelches over a groovy bass lead. "D.O.G."and "P.U.P." reference Key's longtime feline companions to which this45 minute collection is dedicated. With that in mind both take on asomewhat somber but thankful air, the rhythms tamed down some to focusmore on melodic feel. If you're remotely a fan of post-'The Eyes ofStanley Pain' Download, 'III Steps Forward' is very worth your while.
After 1997's unimaginatively entitled third album, Download planned onreleasing two EPs ('Moth' and 'Resilient' if memory serves) that nevercame to be. More than likely some if not all of the material for thosehas resurfaced here, along with 'Effector' outtakes, on the thirdinstallment of the "From the Vault" series. From the get go I'mimpressed as these are finished tracks on par with or better than thosethat made the official releases, unlike the lifeless doodlings of thefirst Vault disc "Inception". "Sticky Glandstin" has all theessentials: a jittery bass heavy beat, bizarre samples and sounds andan amniotic atmosphere smeared across the stereo field. The next track"Dakota" is the first jaw dropper when it shifts gears and glides intoan elegant synthetic wash. Rhythmically "The Itch of Trepanning"swaggers and "Manmade" assaults while "Nor" caresses (it too dissolvinginto a howl enhanced ambient bliss midway through). "Walking, Talking"also beats you pleasantly senseless with an intricate mesh of metallicpercussion and electronic squelches over a groovy bass lead. "D.O.G."and "P.U.P." reference Key's longtime feline companions to which this45 minute collection is dedicated. With that in mind both take on asomewhat somber but thankful air, the rhythms tamed down some to focusmore on melodic feel. If you're remotely a fan of post-'The Eyes ofStanley Pain' Download, 'III Steps Forward' is very worth your while.
samples:
4142 Hits
Pretentious (The Label)
Prior to one hundred and forty-some (and counting) releases asMuslimgauze, Bryn Jones was known as E.g Oblique Graph. This limitededition set of 201 collects all of the tracks from the very rarecassette and vinyl releases: 1982's 'Extended Play', 'Piano Room' and'Triptych' and 1983's 'Inhalt'. What's on these two black CD-Rs bearslittle to no resemblance to trademark Muslimgauze. It's rather sparseand primal electronic music with a DIY attitude typical of the late'70s and early '80s. Jones plunked about and droned on synths, mixed invarious tape recordings and some pseudo-beats and lets it all churnwithin effects. The more dark or abstract the more interesting: marredchoirs and speech, reversed and otherwise manipulated tapes, electricdischarges, sonar-like pings, seemingly random juxtapositions, etc."Human Rights" is probably the first track (in title, at least) toaddress a socio-political concern while the final (and my favorite)track of disc one, the 20 plus minute "Piano Room", seems to be thefirst to utilize a drum machine amongst its varied movements. Israel's1982 invasion of Lebanon brought about a paradigm shift in Jones'inspiration, as evidenced by the titles of the two tracks that made upthe "Inhalt" cassette: "Islamic Koran In Camera Dome" and "Rapid WhiteFlag In Snapshot Blur". The blood is beginning to boil in the former asan upfront rhythm dominates most of the nearly nine minutes. Soon afterthis began Muslimgauze. 'Completely Oblique' isn't all that excitingreally, more of a historical footnote for Muslimgauze collectors.Though I do have a soft spot for this sort of amateur music making,having done it myself for a few years, I don't even listen to my owntapes anymore. The liner notes make it pretty clear that Jones wasn'ttoo interested in revisiting this or other past work either. So whileI'm grateful for the chance to finally hear it, I also have to wonderif re-issuing it was the right thing to do.
Prior to one hundred and forty-some (and counting) releases asMuslimgauze, Bryn Jones was known as E.g Oblique Graph. This limitededition set of 201 collects all of the tracks from the very rarecassette and vinyl releases: 1982's 'Extended Play', 'Piano Room' and'Triptych' and 1983's 'Inhalt'. What's on these two black CD-Rs bearslittle to no resemblance to trademark Muslimgauze. It's rather sparseand primal electronic music with a DIY attitude typical of the late'70s and early '80s. Jones plunked about and droned on synths, mixed invarious tape recordings and some pseudo-beats and lets it all churnwithin effects. The more dark or abstract the more interesting: marredchoirs and speech, reversed and otherwise manipulated tapes, electricdischarges, sonar-like pings, seemingly random juxtapositions, etc."Human Rights" is probably the first track (in title, at least) toaddress a socio-political concern while the final (and my favorite)track of disc one, the 20 plus minute "Piano Room", seems to be thefirst to utilize a drum machine amongst its varied movements. Israel's1982 invasion of Lebanon brought about a paradigm shift in Jones'inspiration, as evidenced by the titles of the two tracks that made upthe "Inhalt" cassette: "Islamic Koran In Camera Dome" and "Rapid WhiteFlag In Snapshot Blur". The blood is beginning to boil in the former asan upfront rhythm dominates most of the nearly nine minutes. Soon afterthis began Muslimgauze. 'Completely Oblique' isn't all that excitingreally, more of a historical footnote for Muslimgauze collectors.Though I do have a soft spot for this sort of amateur music making,having done it myself for a few years, I don't even listen to my owntapes anymore. The liner notes make it pretty clear that Jones wasn'ttoo interested in revisiting this or other past work either. So whileI'm grateful for the chance to finally hear it, I also have to wonderif re-issuing it was the right thing to do.
samples:
4708 Hits
