This is the final installment of the Hushush 'Threesome Series' involving Ambre (members of Snog and Imminent Starvation among others), Mark Spybey (Dead Voices on Air) and Mick Harris (Scorn). "Dys" pairs Ambre and Harris with Harris in the driver's seat weaving together the samples from Ambre into 5 tracks over 48 minutes. The sound is similar to the textured, ambient headphone mindfuck of Harris' Lull project and the more sinister surrealist moments of Nurse With Wound.
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Do some noise makers seem to have everything but thekitchen sink? Manchester's noisiest CD-R labelwww.pigdogrecordings.com has spewed a disc over thegrubby tiles that has not only the sink but all theother utensils and fittings slamming and clatteringaway and mixed down to hard drives. Inspired by BananaYoshimitsu's book 'Kitchen', four noise-smiths eachdeliver lengthy constructions made from quite likelythe most ominous sounds to emanate from cookery everrecorded.Anaphalaxis chase a bee swarm stuck in the drainwhilst hot fat gets poured down the plughole. Then thepoor old bees get mashed in a liquidizer, and thingsget bubbly for a bit (warning: do not drink). Thisleads to a cleaner, more efficient kitchenette afterthe white noise whoosh repairman calls. Thehousewife's bleach isn't enough to shift Drozophyllfrom the drains, where they lurk rattling manholes andteapots and hammering on the metal piping, in whatmight be mistaken for homage to early Neubauten. Thismight be made on a computer, but the primitive rhythmssound as corrosive if comparatively clipped. Can theyreally be playing the spoons? Ominous stereo panningoccurs latterly.13th Hour make like Digital Hardcore beats stuck inwinter molasses, taking a slow morning to drip ontocold porridge. They do not like their porridge cold,hence the malicious atmosphere and the tortured shardsof breaking glass in slo mo that rumble over themassive doom beat.Something crawls across the kitchen tiles...With all the windows shattered and the wind howlingin, Phroq is left to flutter about in the breezetrying to make a nice cup of tea. But its no usebecause by the end of it the metal teapot's beenhammered to hell and all the cups are broken, so hejust leaves the taps running and floods the feedbackscream beast out of hiding and fries it on the stovewhich is thankfully still working even if it makes abit of a squeal.
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- 13th Hour - Malice Aforethought
- Drozophyll - Deep Within the Drains
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Phroq has his own release on the same label, featuringanother three long looping post-industrial noisecollages, which are slightly more carefully composedthan his chaotic onslaught that closes the 'Kitchen'compilation. The most amusing is the closingsoundtrack to an experimental Japanese sex film'Pudding, Pudding' with much echoing orgasmic cooingand sing song speech samples set to slow murky beatswith occasional tastefully judged appearances from ourold friend white noise. The one in the middle mixes uppainful sine tones with monochrome clicks and deepdrones and isn't funny at all, especially when itspeeds up and drops a big old lump of raging noise onthe carpet. The epic opening shot is so deadly seriousthat it calls itself 'Music for Photoperformance'. Myracist moron neighbour downstairs could howl 'Dat'snot music' til his cow comes home but music is onlymusic to a receptive mind, and to have a receptivemind you need to have a mind in the first place.Anyway initially the photo performance music has somesimple piano motiffs underpinning the scissor bagrustle and incessant throb, and field recordings cutin and out before the one fingered piano of doom holdssway yet again. The repetitious sound of a camerashutter recurs and some French shouting echoes beforeit all gets mashed into a monotone chug that stopsabruptly to let little birdies sing in the distance.Then everything builds to a camera rewind piano slamfinale. I suppose it's quite likely Phroq has heardNurse With Wound and Ryoji Ikeda at some point.
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This week I am spotlighting two bands that are currently in the studioworking on their new releases by looking back on their back catalogs. Ifinally rounded up dianogah's first proper album, "As Seen From Above,"recently, thus completing my dianogah CD collection (they have a few 7"singles I've yet to collect, but soon...). dianogah, named after thetrash compactor beast in Star Wars - but with an "h" added to avoidcopyright issues, I imagine - are a three-piece rock band comprised oftwo bass players Jason Harvey and Jay Ryan, and drummer Kip McCabe.This makes for an interestingly melodic sound for primarily low-endinstruments. Yes, kids, this is instrumental indie rock, but with a farmore impressive range then you might expect from such limitedinstrumentation. The name is certainly fitting, as the music pulls youin seductively, but has a punch to it that you'd never expect. My firstexposure to dianogah was their track on the fantastic "Reach The Rock"soundtrack, "Dreams Of Being King." Having also seen the film (worth itonly to see how the soundtrack is used, mind you), the song isperfectly placed, underscoring the sole "moment" in the whole piece. 
I immediately had to hear more from this band, so I purchased theirfirst CD release, actually a compilation of their first singles called"Old Material, New Format" on My Pal God. I slipped it into my CDplayer, and waited for that melodic glory to come out of my speakers.Sure, it was there -- for the first few seconds of the first track,"One Hundred Percent Tree." Then: vocals. Not very good ones, either.Drowned in the mix, and more spoken than sung, the vocals by Jay Ryanseemed awkward when paired with the music. Or they would, if the musicwas on the same level of "Dreams Of Being King." This was dianogah attheir early stages, and it showed. After repeated listens, though, nowthe songs have a certain charm to them. It's like enjoying Mogwai nowfor what they are and do, then listening to the awkward loud/softmissteps of "Ten Rapid." It's got its moments. Next in order of releaseis the proper album "As Seen From Above." This was certainly closer towhat I expected to hear. Driving, intertwining basslines, stable andfirm drumming, and little variations that build and strive to astunning climax. Yet another band that appreciates that the silence andbreaks in the song are just as important as the moments where allcylinders are firing. "What Is Your Landmass?" thumps right along,before settling into the cymbal-crashing tirade of a finale. Stillthere were vocals, but they seemed to have improved over the firstrelease (go figure). Jay becomes more confident with his voice,reaching a delivery half They Might Be Giants/half The Inbreds.
Then there is their second full-length, released after the "Reach TheRock" soundtrack, "Battle Champions." My god. The dream is fullyrealized on this release. dianogah occasionally record with othermusicians, releasing the results as "Team Dianogah" releases. Thistime, they add to their own sound, augmenting it with guitar and piano.From the second track, "At The Mercy Of The Mustang," I was hooked.Steve Albini just lets the boys rock out, and doesn't affect therelease at all, leaving us with the driving rhythms and gorgeousmelodies that make "Dreams Of Being King" pale as Willem Dafoe in"Shadow Of The Vampire." The album's centerpiece, "Indie Rock SpockEars," is playful and poignant, starting off slower than most dianogah,but building on right into an accomplished groove and great interplaybetween the bassists. Lovely. There are still vocals on a few songs,but they're no longer as jarring, and actually complement the musicwell. I would recommend "Battle Champions" to anyone who likes greatinstrumental indie rock. If you like that, move your way back. Alsolook for a new album next year. There's a lot to be discovered underthe surface...
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Amazing what can be found from just surfing around on occasion. Afriend who is a huge Beulah fan once asked me to look at their labelSugar Free's website, and see what other bands recorded for the label."Any label that would sign Beulah has to have other good bands," hesaid. He couldn't have been more right. We listened to a few samplesfrom Wheat's second album, "Hope & Adams," and we were hooked. Itdoesn't hurt to have the involvement of Dave Fridmann, mind you. TheFrid-mann has the ability to bring out the best in every band. A greatfan of his work with The Flaming Lips and Mercury Rev already, I knewthis would be a great release and ordered it immediately. What I gotblew me away. It's crafty pop with a primary message of loss, whetherof love or youth or what have you, with the standardbass/drums/guitar/vocal formula. Thanks to Fridmann, however, the bandplays nicely with electronics, bringing out a fuller sound with thebeeps and whistles. Well-placed piano lines on "Don't I Hold You" and"Body Talk (Part 1)" bring more strengths to the table. Wheat willnever have to worry about becoming tired: there's so much they can doto throw you a curveball. 
Being fond of this CD, I decided to give their first, "Medeiros," arun. Missing is the Fridmann influence, but the songs are still there,along with a healthy dose of nerves. Scott Levesque's vocals are moreechoey and subdued, bringing to mind the feeling that he's still notcomfortable with that role in the band. Songs like "Summer" and "GirlSinger" impress with their picturesque lyrics and directness (samplelyric from "Girl Singer": "I believe I'm touching you, 'specially whenI'm fuckin' you, but you're a little on the tenative side"). Somekeyboard appear now and then, but the album works best without them, asopposed to "Hope & Adams." Both good releases, and well worthtrying out. Look for their latest, "Per Second Per Second Per SecondEvery Second," also with the Fridmann influence, this fall.
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As part of the burgeoning Fatale movement which is ""a force againstthe male-driven music industry and its great heroes" Nic Endo hasreleased an electronic work of great scope here. I'm not really certainhow political / feminist messages are contained in the bleeps,squiggles and beats of this instrumental work but I'll leave that tothe armchair pundits to squabble over. A far cry from the Massona/Haters scree of her first EP 'White Heat' and more a continuation ofthe spacey, removed feeling of the eponymous EP as She Satellites hereEndo takes off from that platform and adds 80's electro-styledkeyboards, casio drums and a variety of samplings from pop culturestaples. The disc's highlights are many ? from the Bauhaus beginningoff 'Man Eater' which quickly changes into a poppy, Kraftwerkian numberto the lost in the ether feeling that 'The Program and the Brides'gives off, this discs pleasures are many. The structures run the gamut- your usual music concrete, free jazz improvisations and tribalrhythms all processed through Endo's sensibilities and lo-fi equipment.Also included is a video for 'White Heat' which is the first time I'veseen pure noise feedback being marketed as pop music ? hot chick inleather bra and fishnets and everything. Easily worth the price ofadmission.
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The 'Lab are back and boy do they love The Beatles (well, they'rereally ripping off George Harrison's "When We Was Fab" from the 1980s,which is much lower on the cool-meter). Actually, it's rather nice thatthey're song-based again as opposed to the overtly wanky qualities oftheir last few releases. The faux-country acoustic guitar noodling andpedal-steel solos kill all enjoyment of this song started in the firstminute. Track two, "Long Life Love" might as well be a stoned outversion of the first track: it's slower and almost twice as long andmelodically and structurally begins almost identically. There is aprettiness factor but it's not enough to make it a good song, plus Pramdo it ten times better these days. The third track, "Canned Candies"sounds like a nod to an unreleased Mamas and Papas Christmas outtakecombined with chiming vibes, flute and la-las from 'Dots and Loops'while the last track picks up the energy but doesn't provide anythingcatchy to leave me with. Sadly I feel the group's seriously gotthemselves in a rut, using the same producers for the umpteenth time ina row, coupled with the strong feeling they have inhaled so much potthey can't write a good song any more. On the other hand, I might be abit too critical on an EP of songs which didn't make it to the album.(Or perhaps too grouchy about spending $10 on four crappy songs.) Therewas a time and place where I thought this band could do no wrong: aminimal amount of instruments wasn't a hinderance to their abilities tomake something magical and catchy. Their current sound may have a lotof shiny ornaments, but at the roots are rather empty songs. The bandhas become what they were seemingly anti in their beginning days:they've traded in low-fi for high fidelity low-distortion recordings.They once were trying to say they weren't 'adult oriented' or 'M.O.R.'but they're now primed for elevators in shopping malls. I haven't heardhorns like this since Chicago's "If You Leave Me Now". This EP is outnow through Duophonic in the UK and preceeds the full-lengther due nextmonth. Start twirling your finger.
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The first four reissues of Legendary Pink Dots have surfaced onSoleilmoon's Caciocavallo imprint. For those who have the entire PIASback catalogue already, it's unnecessary to buy these again, as themusic is exactly the same, but for the few who never had the chance,your time has come as they're now readily available again. The discsare packaged with a little extra special care with notes, layout, andartwork while mid-priced for your convenience. Unlike other Soleilmoonreissues, these feature the original covers and also include an insidetray card with artwork from 12" singles whose tracks appear on thealbums.
'Asylum' (their first deliberate Tarot card reference) firstmaterialized in 1985 and was considered by the group to be a troubledtime. The group's lineup had been fairly steady since the early daysbut their home base had recently moved from the UK to Holland. Songswith titles "Prisoner", "The Last Straw" and "This Could Be the End"symbolify the sentiments of a writer feeling trapped and a group on theverge of calling it quits. Steven Stapleton of Nurse With Wound wasbrought in to perform various production and editing duties. Popularfavorites include the violin-heavy "Fifteen Flies in the Marmalade,"the epic multi-part madness of "So Gallantly Screaming" and the classicsignature LPD sound of "Golden Dawn."
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'The Golden Age' was originally released in 1989 and was the first longplayer to feature guitarrorist Bob Pistoor. While many LPD fans don'tconsider this one of their fave releases, it did give clubs the popularhits "The More it Changes" and "Blacklist" (included as a bonus trackfrom the 12" of the same name). The album features a couple of theirrecurring themes with the gorgeous "Hotel Noir" and swirlingneo-classical signature LPD style of "Lisa's Separation". The album wasproduced with Hans Myre and primarily featured a stripped-down lineupof the core three members at the time: Edward, Phil (the Silverman) andPatrick Wright on violins. Thus the sound was completed more byelectronics than conventional rock instruments. Rarely throughout the90s until now has the group performed any of these songs in concert.
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Therecordings for Crushed Velvet Apocalypse began in 1989 with the albumsurfacing in 1990. Between 'The Golden Age' and this disc, theLegendary Pink Box surfaced too, a 3xLP set with 2 LPs worth of newmaterial. The Dots were on fire! Bob Pistoor, now a full-time memberopens the album with the familiar guitar work of timeless LPD classic"I Love You in Your Tragic Beauty." On other tracks Pistoor gracefullyadds sitar and wonderful bass lines. Saxophonist, clarinet and fluteplayer Neils Van Hoorn is also now part of the full time lineup but theviolin virtuoso of Patrick Wright has departed from the group. Thisdidn't inhibit the Dots from turning out what many point to as theirfavorite full-lengther. 'Crushed Velvet Apocalypse' showed a maturedsense of writing ability, coordinated musicianship, and a stellarproduction which can conjure emotions of love, awe and horror withinseconds of each other. Songs like "Green Gang," "Hellsville," "Just aLifetime," "The Death of Jack the Ripper" and "Princess Coldheart" areoften played live to very warm receptions. The back of the CD featuresa newly surfaced image, a stunning tribute to Pistoor (by means of abeautiful live picture), who died the following year after a shortbattle with cancer.
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Recorded in 1990 and released in 1991, the lineup remained constantfrom the year before and the group's bonds had grown stronger throughvarious tours all over the world. Initially released as a single LP,double-CD (70+ minutes and a limited edition w/a bonus 3" CD single),this album went on to become their most successful release ever.Popular favorites include the tear-jerking surrealistic dark ballads"Third Secret" and "Belladonna", the pretty yet spooky "Charaderama" orsax and sequencer filled "A Space Between," which has given way to manyemail signature files with the popular EKS lyric, "we all have names."The apocalyptic nightmare of "The Grain Kings" has become a frequentlyused last song or encore number on recent tours and even "Disturbance"rears its head occasionally. The Maria Dimension was the first albumreleased on the newly forged partnership between PIAS and Caroline.Guilty only by association, the releases that were co-issued byWaxTrax! may have gained the LPDs some cred with the gothpost-industrialists but with the new deal on Caroline the space rockersand indie rockers now had better exposure to the crew. One of themagical things about the Dots is going to a concert and seeing allsorts of fans present. This period the Dots seemed to be flying high,1991 saw the US-release of the Pink Box and the recordings of 'FourDays' took place. The passing of Pistoor later in the year shook theband's foundations, the band soon recruited Martjin de Kleer and thelegendary Ryan Moore as they entered a new phase and called up oldfriends (Steven Stapleton and Patrick Wright) for the subsequent ShadowWeavers.
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How's that for a concise title? Culled from five shows in the U.S. andEurope between late 1999 and mid 2000, Mark Spybey and friends werecommitted to digital tape by Michael Rother (Kraftwerk, Neu!), amongstothers. The bulk of the ten tracks are drawn from the last two DVOAalbums "Piss Frond" and "Frankie Pett..". The basic structure of thesemostly instrumental songs is about the same, the sequences sometimesextended or edited, then embellished upon by Spybey and collaboratorsNiels Van Hoorn (The Legendary Pink Dots), Dave Wright (Not Breathing),Ryan Moore (LPD at the time, Twilight Circus Dub Sound System), DarrylNeudorf (Abintra), Darren Phillips (Hellen Keller), Mark Gunderson(Evolution Control Committee), Frank Verschuuren (also LPD at the time)and Aimee Lane. All those extra improvised horns, keys and beats perkup many a song and help give DVOA a sturdy and fun live band feel andsound. "Sulphur" is the only one that Spybey really steps up to the micwhile Van Hoorn adds flute to the cello part. "Lost in Deming, NM" isapparently new, essentially Spybey solo on bass and sound debris loopswith longing wails from Van Hoorn. "Muffel", originally found on therecent Spybey/Harris 'Threesome' series disc "Bad Roads, YoungDrivers", explodes again here with sax squawking and Moore's heavy livedrums. "Redkerre" is extensively drawn out for nearly 17 minutes aselectro blips and beats skitter about like firecrackers beneath densepadded loops. "Puppet Show" is the finale and something tells me itneeds to be seen rather than heard to be fully appreciated - it wasn'ta feature of the 2 shows I saw on that tour. Unfortunately, forwhatever reason, Spybey chose not to include his celebrated d 'n brenditions of the Download instant classics "Sidewinder" and "BaseMetal". Darn. Otherwise, it's a fine document of live DVOA circa theend of the 20th Century .
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Krzysztof Kieslowski's film "The Double Life of Veronique" has beendescribed as a romance about moments when we think we see ourselves ata distance; could there be more than one me? Well perhaps that's whatwas at the back of the mind of David Bennet of the heavily Sonic Youthinfluenced Stray Light when he chose the name, because this projectgives vent to his other persona, of e-bowed guitar dronescapes. Of thefive long, immersive yet spacious tracks, two are scored for bowedguitars and dedicated to minimalist painter Mark Rothko, whilst theother three are guitar improvisations that give a nod to Rafael Toraland Jim O'Rourke albums like 'Disengage'. The titles suggest that eachpiece could be a synaesthetic reflection on a particular colour. Eachtrack takes a constant drone as it's base and gradually unfurlsdrifting harmonics like watching the first rays of light creep over amisty morning horizon, until light engulfs the senses. It's a calm,reflective and beautifully blurred music that ought to appeal to fansof the less anchored members of the Kranky roster, particularly Starsof the Lid. In live excursions TDLV is augmented by a second droneguitar and violin, but for this disc it's all guitars. Hopefully thiswill be just the first step in a long and fascinating trip from deepestdarkest Manchester to head expanded eternal orbit around the planetJupiter. Available from: www.nameless-records.com
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The distinct writing, singing and playing styles of Karla Schickelefirst appeared in the trio Beekeeper, where Karla played alongside herbrother, Matt. The next step was in Ida where she joined the group,already in progress, and rounded the group out quite nicely with alower voice and a pianists touch. Finally, with the project known as K,Karla is in complete control and the results are breathtaking. "NewProblems" collects 12 tracks totalling just over 30 minutes, includingmost of the songs from the first CD-R that was being sold at lastyear's K concerts (the remaining one appeared on the split EP with Low)as well as a demo version of the now classic Ida tune "Poor Dumb Bird".Karla's a multi-skilled performer/player, with her fingers pluckingguitar and bass strings, tinkling the ivories and even wrapped aroundan oboe for the song "Figther Dove." On the disc, Karla is joined bysome of her closest friends including Tara Jane O'Neil of Retsin, Rodanand solo fame, Cynthia Nelson of Ruby Falls and Retsin, Michael fromIda and Ida Pearle, who's violin playing has graced Low, Ida, MagneticFields, Retsin, Naysayer and many others albums. Rose Thompson joinsKarla on the vocals for a couple tracks, and if you've seen the K showin the past few months, you'll know Rose is another top-notchmulti-instrumentalist, a force to reckon with and possibly the nextperson to surface from the scene with her own material. The songs rangefrom the gracefully subtle, melodic, minimal instrumentation of "Got aFeelin'" (a Mamas and Papas cover) and the album's openers, "*"/"NotHere", to the jam-rockin "Knoxville" (which sounds like it had to befaded, else it'd go on forever), the four-track charm of the "Poor DumBird" demo and "Telegram" to the bang-up production jobs on theinfectiously catchy "Reminder" and "Regular Girl" tunes. I wish theyhadn't faded so many songs out however, as I love to hear songs truly'end' without being cut short. Fans of any of the aforementioned bandsshould already have this, and if they don't they're truly missing anessential piece of the picture. Karla Schickele is truly one of myfavorite contemporary rock/pop writers.
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Phil Western has at least a decade of experience in electronic musicand is currently a member of Download and platEAU. "Dark Features" isthe debut release from Vancouver based The Record Company and it picksup right where Western's 1998 solo album "The Escapist" (co-produced byTim Hill, who has also played with platEAU) left off. This is premiumtextured techno: a thick mesh of synth and sample ambiance andprogrammed beats with additional organic elements like voice andguitars. Phil's vocals appear on half a dozen tracks - they're moreunnecessary than they are annoying, ditto for many of the numerous,seemingly random spoken samples. "Fight No More", "Dirty" and "DMT"ride strong bass and guitar grooves, the latter one being as active asthe psychedelic substance it is named after with Western singing theword 'dimethyltryptamine' over a bright and bouncy pop riff. Gorgeousambient moments endure in several tracks, most notably the tail ends of"Embryo" and "Duke". "Bring That Home, Buffalo" is downright peculiarby throwing banjo playing into the mix. But the most surprising andstunning track of all, the one which will surely confound many alistener, is "Be the Fool". Here Western sings and plays acousticguitar solo for an emotional and atmospheric song that approaches thesound of late '80s American Music Club. Great stuff. I hope Westernfurther explores these heretofore unrevealed singer songwriter and popproclivities. Act now and three more techno oriented tracks areavailable on a bonus orange marble 10" with the first 300 orders directfrom the label at colourspeaks.com .
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Not to be confused with the similarly moniquered oldprog group, Berkowitz, Lake & Dahmer are certainly abit noisier, and probably don't stop at stickingknives in keyboards. Lord Pendro and Mr Oleum ofFflint Central have been afflicted by channeledrumblings from these disembodied ectoplasmic entitiesfor some time, and the only way they know how toexorcise the Satanic power of the drones and loopsthat take hold of their recording sessions when thistrio of restless spirits holds sway is to bung out aCD-R packed full of seventy minutes of what reallywent on there at the haunted red house from anotherdimension. Of course Lord Pendro has been known tobecome restless when imbibing vast quantites ofspirits of a different kind, but that is anotherstory.The door to the frightening red and black world of BLDopens on a not particularly merry-go-round eight notechime whilst the nasty ones gurgle and gargle for abit. Next all hell breaks out with a bone shakingdrone monster on the loose in the form of 'Tones inRed', and bubbling rhythmic turmoil and rubblestrewing simple cement mixer loops keep revolving innightmarish ecstasy. In the haunted red house live thelikes of the bawling baby headed Foetor with hisabominable shuntings and the creepy big nosed NorbertH. Conduit who is damned for all time for trying toknock some sense into the Celestial Hives of Honshu...
Either that or these guys have been listening to waytoo much Non, Coil, Throbbing Gristle and Muslimgauzewhilst reading back issues of Fortean Times. Availablefrom: www.fflintcentral.co.uk
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While it's not my practice to review things nearly impossible to get, this CD deserves a mention. My first exposure to this Australian quintet was through their song on Fat-Cat's "No Watches.No Maps" collection of demo songs from bands they weren't going to pursue anything with at the time. What I heard can be described as somewhat derivative from an Aerial M/Tortoise/Fridge sound but their mastery of musicianship, songwriting and production skills are quite appealing. Inside the disc there was contact information listed, so I wrote to them and said I wanted to hear their album, with possible interest to send it to some friends at labels/distributors but I had no intention of writing about it.
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It's times like this I'm happy to be a turntable owner and cackle withglee at all the dumb sods who got rid of theirs. Yes, exciting thingscan still happen in the world of vinyl. Kid 606 and a tiny assortmentof fiends have all contributed to a series of four brand new seven-inchsingles on the Tigerbeat6 label. Of the eight sides represented here,606 appears on three, the rest filled by usual castmembers Cex andElectric Company along with some newcomers Com.A, Timeblind and JosephNothing. For each track, the said artist has taken large chunks of rapand hip hop tunes, (much like the now legendary "Attitude" release) andfucked them up beyond the point of commercial acceptance. The endresult is much to my liking and would be for anybody else who prefersthe comical dementia in which the tb6 crew and v/vm hacks excel in.There's a bonus however, and here's the magic of the vinyl medium: atthe end of each side, as the main track falls into silence the needlefalls into a locked groove — in order to hear the bonus bits, you needto get up and manually nudge the needle into one of two bonus lockedgrooves per side! These grooves ain't nothin like that noise stuff Nonwas doing over 20 years ago, as quite a large portion are carefully andmathematically precise beat loops. Charming, tasty andever-so-rewarding.
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- Com.A - Digital_Ass_Mix
- Cex - Got to Get It
- Joseph Nothing - Gegege No Ge
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As Glasgow's Tramway building evolved from train station into arts space, Zoviet France were present recording the ambient sounds for use in their commissioned themes for the Scottish Arts Council. Though you'd hardly believe it from the mostly non industrial nature of these very comfortable soundscapes. Five tracks range between five and twelve minutes apiece and the remaining four serve as in-between filler. In "Something Spooked the Horses" a constant warm drone and panning scratchiness are overlaid with yearning strands of pedal steel guitar. "Electron Gate" gently pulsates a bass loop as microscopic bits click and fuzz. "Pyroclastic Flow" is noisier with some possible power tool abrasion honed into layered drones. "Spiiltek" is dancing plastic chips and electronic blips which relinquish to the deep bass waves beneath. "Light Abrasion" closes with a higher pitched wall of sound and occasional cricket like chirping. All in all "Decriminalisation.." is an engaging work of auditory art. And it's as suited for busy high brow art rooms as it is lonely late night bed rooms.
 
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Did you get that last Múm release reviewed here a couple months ago? Ifnot, what's the hell's wrong with you? "Yesterday,..." was their debutfull-lengther, and without blinking or thinking twice, a new 45-minutedisc has surfaced. This time around, Morr Music in Germany brings usthe release, which consists of two band new Múm originals and sixremixes from various Morr musicians. The irresistable bliss begins withthe first moments as the group presents the opener: a delicate chiminglooped melody set against broken vocal maniplations and various otherrandom noises. While I hate to draw comparisons, the second track couldalmost be a tribute to an era which has long passed for Autechre, asthe pace picks up and the electronic glitchery becomes more prominent.From there, the remixes begin, at the hands of Styrofoam, ISAN, Phonem,Christian Kleine, Arovane and Bernhard Fleishmann. Tastefully andtactfully, the mixes on the whole expand on the original two songsenough to the point of distincion, but aren't so haphazardly assembledso the disc sounds like a various artists collection. The pace doesn'tstray and the prettiness only lends itself to the occasional creepy'Children of the Corn' child-like feel. Spooky yet attractive, like thelast disc: when it's playing in the car or in the house, friends willalways ask "oooh, what is this?" Sadly enough, that's often followed bya disappointing trip to a local shop which will come up empty-handed.It can be found, I've seen it advertised, it just takes a little moreeffort, and the rewards are worth the work.
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- On the Old Mountain Radio
- Please Sing My Spring Reverb (i.s.a.n. catena remix)
- Please Sing My Spring Reverb (B. Fleishmann remix)
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This compilation of ancient out takes, b-sides, live versions andremixes leaves one amazed as it's still stunning material, nearby 20years later. There's somehow no logical progression in the runningorder; neither chronological nor from the developing mood whilelistening. Play it on shuffle (or random) mode and you'll get the samewild mixture of all which Shriekback once where famous for;Unconventional use of all styles and instruments, sound explorations,brilliant lyrics chanted or spoken in a nearly hypnotizing manner, awhite funkiness with punk attitude and transforming the song-writinginto a track shaping (alongside The Slits, This Heat, 23 Skidoo, ThePop Group and others).Captured here is the non-polished side of the early line up : BarryAndrews (Vocals, Keyboards), Dave Allen (Bass), Carl Marsh (Guitar,Vocals) with Martyn Barker (Drums, Percussion).From their well-know material included is only the flip side version of"My Spine Is The Bassline" with complete different vocals layered uponthe basic track, from the 15 cuts here most have never been releasedbefore and only a few in different versions.
It's by no means an alternative "best of" - there already have beenseveral, busy repacked and redesigned during the 90's ( mostlyincomplete as the rights to their recorded output are spread between YRecords, Arista, Island and World Domination ) - more an addition whichcould also serve as an introduction, especially as Marsh and Andrewswhere asked to comment all the tracks which makes it even moreinsightful.
This is actually great stuff, get it while you can as double packincluding the nearly lost 'Naked Apes & Pond Life' album (even ifyou have to search shriekback.com for further details as no bookletcomes along with it). A very unspectacular one at first but it puts adifferent spell on you after a while, not to be compared with their1992 masterpiece "Sacred City" - an album I can't recommend too much.Dave Allen got lost again and Lu Edmonds came back for Guitar and Saz.Naked Apes & Pond Life originates arround 1995 but was not finallymixed nor published until 1999 (as no Record Company ever made too muchmoney with the approach of the Shrieks) when Martyn Barker took overand got involved in label work.
You can't say it's too long clicking in with a barely traditional LPlength of 42 something and a content of just 6 'proper' songs in midst8 mostly short instrumentals, but listening to the perfect 4:26 of"Everything's On Fire", shaped with elegance, sensuality and magic youknow that very well known acts would kill for songs like these and it'snot the total length that makes a release worthwile to obtain.
Don't expect anything. Discover.
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6918 Hits
It's the same story we've all heard countless times. Band has hitsingle on MTV Buzz Bin. Band's album does reasonably well in US,selling a couple hundred thousand copies. Label wants new record tocapitalize on success. Band goes into studio, records album farsuperior to first record, but artistically more challenging. Label saysthey don't hear a single. They want a song that sounds a lot like thebig hit single. Band balks, and asks to be let out of contract. Labelagrees, but holds on to rights to album, making it hard for band torelease it. It seems the label in this story always seems to beElektra, by the way, and it is in this case. The band this time is NadaSurf, and the album is the recently released "The Proximity Effect,"originally scheduled for release in 1998. The album was available onimport for a while, as, curiously, Elektra DIDrelease it in Australia. But now, the record gets it's domestic debut,with a few changes. It's missing their cover of "Why Are You So Mean ToMe?" that was on the import, but they add an original bonus track totake its place. It also features some multimedia content. But whatabout the songs? Nada Surf's big hit, the quirky and funny butotherwise totally forgettable high school anthem "Popular," gave noindication of where this band could go musically. "The ProximityEffect" is a tour-de-force record, showing off the strengths of theband members brilliantly. From the opening track, "Hyperspace," thelistener is introduced to the new Nada Surf. More high-energy thanslacker, more melodic than speakeasy, and better songwriting thanbefore, the band is musically light years beyond "high/low." andMatthew Caws' voice sounds great. They do it all here: high speedrockers, angry tell-offs with loud power chords, gorgeous slow powerpop, and mid-tempo rockers with a message. It's a fantastic album, andwell worth your hungry ears. Since the band released it on their ownlabel, it may be hard to find, but that just makes you appreciate itmore, doesn't it?
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3804 Hits
Coil fans may have been a bit taken aback when Thighpaulsandra's releases started to surface on Eskaton. The music was a mishmosh of genres from improv jazz to neo-clssical and glam rock, unpolarized over the course of an overwhelming 2½ hours. This compact extended-play single lifts the title track from its 30-something minute surroundings and extracts all overbearing drones into a comfortable well-focused 3½ minute ambiguous yet infectious pop tune which could easily be about An American Scenester in London, Miami DJ or Danny McKernan.
4348 Hits
