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Austinite Michael "Thor" Harris is practically a modern day renaissance man: multi-instrumentalist, painter, art and bicycle repair instructor and environmentally conscious DIY home builder. He has appeared on many others albums and performed live locally and nation-wide, but he's probably best known outside Austin city limits as percussionist for Michael Gira's The Angels of Light.
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Tiger Saw are from Newburyport, Massachusetts, or, at least, that's where they began. After writing most of their debut alone in Los Angeles, Dylan Metrano brought those songs home to Newburyport, where he found like-minded souls to help him bring those creations to life. In listening to their records, it seems he found more along the lines of kindred spirits who were lying in wait for this sound to come along. It is not a wholly original sound (are there any of those anymore?), as Tiger Saw play primarily slowcore music in the vain of Low or 27. But it is a new twist, as most songs possess a jazz structure, but a rock-like instrumentation. And it is a lovely listen.
Last year we got the ultimate party album courtesy of the Avalanches.Well, summer's on the way, and that one was played to death last year.Still great, but time for something new. So, Soulwax, show us whatyou've got.
Belgian band Soulwax, previously known as the rockers behind lastyear's minor hit 'Much Against Everyone's Advice', have thrown thekitchen sink into this mix tape, and some of the parts have got jumbledup. So, where Skee-lo and the Breeders are listed together, they aretogether. He raps acapella over a Cannonball instrumental. Shouldn'twork, but does. Ditto Basement Jaxx shouting over Emerson, Lake andPalmer, or Salt N' Pepa calling on us to 'Push It, Push It real good'to the strains of Iggy and the Stooges. We also get Destiny's Childdoing the 'Independent Women' thing with 10cc's mellow 'DreadlockHoliday' in the background. You may be wondering what an albumfeaturing Kylie Minogue, Destiny's Child and Basement Jaxx is doinggetting a review in the Brain. Well, this particular album alsofeatures the Residents, the Velvet Underground, Adult and Peaches. Andit blends Dolly Parton into Royksopp, which can't be bad.
Don't know how they got copyright for all this, but they did, sometimesthrough licensing cover versions, or sampling samples (MichaelJackson's 'Billie Jean' slips through the net on this technicality,using a dance record which samples the original).
Basically, this album is enjoyed in two stages. First listen or two,you're comparing the new 'versions' with the originals, and sniggeringaway at how wonderfully post-modern the whole thing is. But soon you'rejust tapping your foot, and calling your friends around. It's just tooinfectious, too catchy, it puts too wide a smile on your face not tolove it.
Summer's here. Don't worry, your Low records will still be there in theFall. For now, to quote a (surely copyrighted) drink's company's slogan- Let the sun into your spirit.
Further info on the tracks used, and copyright/licensing difficulties is at www.2manydjs.org -
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Mark Nelson has shed some layers for the latest full-length release as Pan•American. No longer is he trading tapes with friends like the first or recruiting other players to guest like the second album. Much like the last Labradford album, this time it's all him. For those who have been following his career with the various singles and compilation track contribututions, the sound should come as no surprise. The influence from various other "micro-house" type people can be felt as there's more non-musical outside sounds like underlying electronic hiss, clicks and pops. What separates Nelson from the rest of the crowd is his undeniable talents as both a great musician and composer. Despite the overall quiet nature of the disc, his subtle synthetic organ melodies are lush and involved, inviting and even sexy. I'm almost embarassed to admit that 'The River' makes for a great record to underscore quite a romatic evening to. While many other uses can include schoolwork, housework, or quiet time, it is a fascinating album to completely tune the world out and zone out to. Yummmm.
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Somewhere, right now, indie rock kids are overjoyed beyond belief listening to this record. Why? Because Go Back Snowball is a project by two men that they readily worship for the music they release with their full-time bands. And people have often wondered in conversations at coffee shops and record stores what it would be like if they actually made a record together. The wonder is over, as Bob Pollard and Mac McCaughan, of Guided By Voices and Superchunk/Portastatic respectively, have joined forces for "Calling Zero." And it's almost as good as you'd expect it to be.
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Recorded after "5 Tracks', the "Right After" CD does not appear tocontain any guitar at all (at least, not according to the credits).Ielasi's partner on this album is Domenico Sciajno, formerly a bassistand currently one of the most musical and interesting of allimprovising laptop players. Sciajno's computer and Ielasi's electronics(a tableful of gadgets, I imagine) are integrated here into a seamlesssingle voice. I can only assume that the music is improvised due to thehistory of the publisher, Erstwhile Records, but if I had no suchbackground I might not guess as much. If "5 Tracks" only occasionallybelies its uneditted live and improvised nature, "Right After" does notat all. The high sine tones are out in force right from the start,which can be either exhilirating or annoying, depending on yourpatience for such things. The second half turns somber, with calm quietprevailing over the jarring cuts that open the disc. Much moreaggressive and strange than Ielasi's other recordings, "Right After" isalso one of the very best and most cohesive releases on the Erstwhilelabel. More info at www.anet.gr/absurd and www.erstwhile.com.
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A very different improvising group from Italy is the strangelypunctuated tu m'. There is virtually no information given on thepackage of tu m's debut CD, but it sure sounds like a laptop to me(that telltale digital high-pitched whine is unmistakable). The groupmoves carefully through six relatively beat-oriented improvisations.The pieces develop slowly and deliberately, with loops rising up andfading out, sine tones entering steadily and cutting out, muted beatstaking a place somewhere in the background and thump thump thumpingalong. Though the music is improvised, it sounds more similar to theabstract Mille Plateaux or Ritornell bands (Neina springs immediatelyto mind) than to what one might think of as "improv". The recordingquality is muddy at times, especially when tu m' brings out the heavybass, so many of the digital details are lost in an undifferentiatedmurk. This could have benefitted from a cleaner production, but theideas still come across. More info at www.cut.fm. -
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Thebetter known Vibracathedral Orchestra from the UK grace No. 010.Working with a variety of more traditional instruments, they sound abit like an outtake of the fictive 'Industrial Unplugged' Series."Oblong Two" is the far darker and heavier one of the two. It's mood isan ambiguous drift leading your ears towards amazement. The title trackleaves the impression of optimistic ignorance in midst the wasteland.This is not really my pair of shoes but I'm sure lovers of freestylepost-everything will enjoy it. These editions are numbered and featureexclusive tracks and should be available at normal 7" single prices.For more info on this extraordinary series check out www.tonschacht.com.
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- Follow Me to San Jose
- Midisport - All Notes Off
- Ondas - Stereo Kiss
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