This two disc set is comprised of installations and live performances and, despite some interesting departures from Köner's recent output, is encumbered by its scope and formlessness.
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4534 Hits
Clairecords
This Michigan group can also be added to the list of unexpected treatsduring the Terrastock 5 festival. Their new full-length album is also aburst of instrumental rock energy, introduced through a wall ofoverdriven guitar noise in a short introductory track "Detroit." Fromthe start, the instruments are tactfully given their own breathing roomfrom each other so the ebbs and flows of repeated phrases don't easilyfade into a dreary oblivion. The band picks up speed with the morelavish "Tall Winds," incorporating more movement within the melodies,and by the third and fourth track, the group has shifted gears into alive performance mode, blurring the lines between songs' endings andbeginnings. Songs like "Purple," and "Ghost Ship" open with a melodyprovided by bass guitar, with creative and consise drumming, but eachare predictably overcome by the gritty sounds of loud guitars, theformer ending in an anthemic wash that turns into an almost directionedimprovisation. While I'm fond of the appropriate production decisionson this album and can hear a group which uses a bit of restrain when itcomes to stepping on each others toes, I feel like there's somethingmissing which was clearly "there" at their live shows. Perhaps this ishow I will constantly feel about recorded drone rock albums, but it'sthat intangible further development which could hypothetically be acatalyst to something incredible.
This Michigan group can also be added to the list of unexpected treatsduring the Terrastock 5 festival. Their new full-length album is also aburst of instrumental rock energy, introduced through a wall ofoverdriven guitar noise in a short introductory track "Detroit." Fromthe start, the instruments are tactfully given their own breathing roomfrom each other so the ebbs and flows of repeated phrases don't easilyfade into a dreary oblivion. The band picks up speed with the morelavish "Tall Winds," incorporating more movement within the melodies,and by the third and fourth track, the group has shifted gears into alive performance mode, blurring the lines between songs' endings andbeginnings. Songs like "Purple," and "Ghost Ship" open with a melodyprovided by bass guitar, with creative and consise drumming, but eachare predictably overcome by the gritty sounds of loud guitars, theformer ending in an anthemic wash that turns into an almost directionedimprovisation. While I'm fond of the appropriate production decisionson this album and can hear a group which uses a bit of restrain when itcomes to stepping on each others toes, I feel like there's somethingmissing which was clearly "there" at their live shows. Perhaps this ishow I will constantly feel about recorded drone rock albums, but it'sthat intangible further development which could hypothetically be acatalyst to something incredible.
3712 Hits
Strange Attractors
I have no problems with countlessly referring to the awesome Terrastockfestival last year. With Terrastock, as opposed to pretty much anyover-hyped multi-band fest, it's an opportunity to see some uncommonbands mixed in with the more popular fanfare. Sure, everybody lovestalking about ATP, CMJ and SXSW, but nearly all of those bands tourextensively and play sizable shows all their own. Bands like Kinski,Motorpsycho and this San Franciscan quartet were some of the unexpectedtasty treats the crowds were wowed to in September in Boston, alongsidethe omnipresent Sonic Youth (do they -ever- turn down a fest?), Damonand Naomi, and Acid Mothers Temple. While SubArachnoid Space are hardlya new band, the sound that night was somewhat of a new sound for thegroup. While they dished out the instrumental distortion-heavy guitarwork, the rhythm section was doing something quite exciting andrefreshing. The drummer and bassist had a dub thing going on betweenthem which worked in a peculiar yet delicious way. Talking to the groupand some fans afterwards, I was disappointed to find out that theirolder recordings, some of which were available that night, were notrepresentative of the show. It's now almost April and their currentalbum is finally available. Unfortunately, that dub-like vibe remainsonly a fading memory as it was clearly not captured. "The Harsh Factsof Life" is a strong opening to the album and showcases a tightly-knitgroup with a bass and drums clearly in sync with each other while theguitars drone on. While SubArachnoid Space's sound is clearly takingthe bombastic, quiet/loud approach popularized by numerous angryinstrumental rock bands over the last few years, the group's melodictendencies are more towards long, drawn out parts more remeniscent ofmusic from a couple decades back. Much like an improvisationalensemble, the band begins with a strong idea and lets themselves getcarried away. This is a tactic which works well in a live setting, butappropriately capturing rehearsed improvisation for a studio albumisn't the easiest task. Unfortunately, the down side is that to me thismusic becomes almost too predictable at times, with songs that startoff strong but end up in a rather sparse and directionless wash whilethe band often repeats themselves, meandering through hollow, lengthydrones. With that in mind, I'm anxious to see the band live again,because in that environment it works much better. On top of that I needsome sort of indication that my memory isn't lying to me at this point.
I have no problems with countlessly referring to the awesome Terrastockfestival last year. With Terrastock, as opposed to pretty much anyover-hyped multi-band fest, it's an opportunity to see some uncommonbands mixed in with the more popular fanfare. Sure, everybody lovestalking about ATP, CMJ and SXSW, but nearly all of those bands tourextensively and play sizable shows all their own. Bands like Kinski,Motorpsycho and this San Franciscan quartet were some of the unexpectedtasty treats the crowds were wowed to in September in Boston, alongsidethe omnipresent Sonic Youth (do they -ever- turn down a fest?), Damonand Naomi, and Acid Mothers Temple. While SubArachnoid Space are hardlya new band, the sound that night was somewhat of a new sound for thegroup. While they dished out the instrumental distortion-heavy guitarwork, the rhythm section was doing something quite exciting andrefreshing. The drummer and bassist had a dub thing going on betweenthem which worked in a peculiar yet delicious way. Talking to the groupand some fans afterwards, I was disappointed to find out that theirolder recordings, some of which were available that night, were notrepresentative of the show. It's now almost April and their currentalbum is finally available. Unfortunately, that dub-like vibe remainsonly a fading memory as it was clearly not captured. "The Harsh Factsof Life" is a strong opening to the album and showcases a tightly-knitgroup with a bass and drums clearly in sync with each other while theguitars drone on. While SubArachnoid Space's sound is clearly takingthe bombastic, quiet/loud approach popularized by numerous angryinstrumental rock bands over the last few years, the group's melodictendencies are more towards long, drawn out parts more remeniscent ofmusic from a couple decades back. Much like an improvisationalensemble, the band begins with a strong idea and lets themselves getcarried away. This is a tactic which works well in a live setting, butappropriately capturing rehearsed improvisation for a studio albumisn't the easiest task. Unfortunately, the down side is that to me thismusic becomes almost too predictable at times, with songs that startoff strong but end up in a rather sparse and directionless wash whilethe band often repeats themselves, meandering through hollow, lengthydrones. With that in mind, I'm anxious to see the band live again,because in that environment it works much better. On top of that I needsome sort of indication that my memory isn't lying to me at this point.
3614 Hits
"They bestride the Earth." John Peel said that once on his old BBC World Service show to introduce a Fall song and as a vague reference to how he would often stretch his own programming rules in their case. I feel the same way about Mika Vainio. Unfair preferential treatment is in order and a new release must be celebrated. Vainio's recorded works have been in the areas of techno (as √ò, Philus), installations (Onko), out electro-rock (Pan Sonic and Endless), and finally soundscapes, which is where In The Land belongs together with Kajo and Ydin. In this context and that of nineties and naughties electronica, In The Land is hardly radical but it is exceptional.
3427 Hits
Matador
Invariably, the image of an artist has to have a measured effect ontheir music, be it a positive or negative one. Some bands are all imageand can't muster a good song to meet it, while others have full soundsand amazing songs but absolutely no image. Pavement certainly fit inthe latter category, a band that had so little self image they couldn'teven properly announce their own demise. With Pavement gone, StephenMalkmus emerged from the ashes to make music that is all image, littlesubstance, and completely mediocre. What with the pin-up shots formen's magazines and interviews about his sex life, it seems Mr. Malkmushas had little time to formulate anything besides a passable effort onhis second solo LP, which also marks the first time he's shared thebill with his backing band the Jicks. He still has a knack for quirky,understated lyrics, and no one can take that away from him, but themusic on Pig Libis in stylistic shambles. Some fans have tried to explain it away withterms like "indie prog" and lengthy descriptions of the darker imagery,but they can't describe around the fact that it's dull. True, Malkmusgets closer to the Pavement sound on this record only in that it'ssloppier than his last release. The band does sound more in tune witheach other, like these songs are creations of the whole crew, but theytrip along like a wounded animal rather than stroll or strut. From theplayful nature of "Water and a Seat," with its call and answer andcacophonous backing vocals to the too long jam of "1% of One," Malkmusdoes sound more comfortable in his voice and the melodies are prettycatchy. That makes it all the more disappointing when there's no payoff. The songs that have promise are too short, and the ones that havenowhere to go get there and stay there far too long. I started gettinginto the album a little on "(Do Not Feed The) Oyster," but was turnedaway by the drum roll break into jam territory. All over the album areannoying sounds and noises, usually the overly campy keyboards fromMike Clark and Malkmus himself. Anchoring it all together is anoverwhelming feeling that this record exists only as a marketing tool,released just so Malkmus can say he "stretched his legs" on a releaseand "tried something different." Malkmus' image is the only thing thatholds this record together and the reason why rabid fans have alreadybought every copy on the shelves in the local record shop. For mostfans, the man can do no wrong. For me, he certainly tried to do wrongall over this record, and sometimes he succeeded beyond all doubt orreason.
Invariably, the image of an artist has to have a measured effect ontheir music, be it a positive or negative one. Some bands are all imageand can't muster a good song to meet it, while others have full soundsand amazing songs but absolutely no image. Pavement certainly fit inthe latter category, a band that had so little self image they couldn'teven properly announce their own demise. With Pavement gone, StephenMalkmus emerged from the ashes to make music that is all image, littlesubstance, and completely mediocre. What with the pin-up shots formen's magazines and interviews about his sex life, it seems Mr. Malkmushas had little time to formulate anything besides a passable effort onhis second solo LP, which also marks the first time he's shared thebill with his backing band the Jicks. He still has a knack for quirky,understated lyrics, and no one can take that away from him, but themusic on Pig Libis in stylistic shambles. Some fans have tried to explain it away withterms like "indie prog" and lengthy descriptions of the darker imagery,but they can't describe around the fact that it's dull. True, Malkmusgets closer to the Pavement sound on this record only in that it'ssloppier than his last release. The band does sound more in tune witheach other, like these songs are creations of the whole crew, but theytrip along like a wounded animal rather than stroll or strut. From theplayful nature of "Water and a Seat," with its call and answer andcacophonous backing vocals to the too long jam of "1% of One," Malkmusdoes sound more comfortable in his voice and the melodies are prettycatchy. That makes it all the more disappointing when there's no payoff. The songs that have promise are too short, and the ones that havenowhere to go get there and stay there far too long. I started gettinginto the album a little on "(Do Not Feed The) Oyster," but was turnedaway by the drum roll break into jam territory. All over the album areannoying sounds and noises, usually the overly campy keyboards fromMike Clark and Malkmus himself. Anchoring it all together is anoverwhelming feeling that this record exists only as a marketing tool,released just so Malkmus can say he "stretched his legs" on a releaseand "tried something different." Malkmus' image is the only thing thatholds this record together and the reason why rabid fans have alreadybought every copy on the shelves in the local record shop. For mostfans, the man can do no wrong. For me, he certainly tried to do wrongall over this record, and sometimes he succeeded beyond all doubt orreason.
3597 Hits
United Dairies
For those who either missed or were unable to get the Horse HospitalCD release last year, the Nurse With Wound contribution, "Salt," hasnow basically been expanded. In its original 60+ minute form, the musicpretty much played as a loop for the entire duration. The sound wavedback and forth between two chords, providing a cold and creepy feelingof ship being lost at sea. The purpose for the original work wasoriginally to provide aural ambience to the art exhibit at the HorseHospital gallery. With this version, efforts have been made to makethis more of a foreground-listening experience, but there's honestlynot much else added. Along with the fluctuating orchestral-like chords,other loops are added bit by bit, including sounds that resemble apassing car, a boat horn, piano, creaking boards, and a creaky door. Ataround the 18-minute mark, all extraneous sounds taken out, leaving thesound of water. Eventually the water fades out, leaving only thedroning two chords. Effects fade off shortly thereafter and the droneeventually dies. NWW fans expecting something dense and maximalisticlike An Awkward Pause will probably not enjoy this album as much as fans of the droning NWW heard on albums like Soliloquoy for Lilith or A Missing Sense.
For those who either missed or were unable to get the Horse HospitalCD release last year, the Nurse With Wound contribution, "Salt," hasnow basically been expanded. In its original 60+ minute form, the musicpretty much played as a loop for the entire duration. The sound wavedback and forth between two chords, providing a cold and creepy feelingof ship being lost at sea. The purpose for the original work wasoriginally to provide aural ambience to the art exhibit at the HorseHospital gallery. With this version, efforts have been made to makethis more of a foreground-listening experience, but there's honestlynot much else added. Along with the fluctuating orchestral-like chords,other loops are added bit by bit, including sounds that resemble apassing car, a boat horn, piano, creaking boards, and a creaky door. Ataround the 18-minute mark, all extraneous sounds taken out, leaving thesound of water. Eventually the water fades out, leaving only thedroning two chords. Effects fade off shortly thereafter and the droneeventually dies. NWW fans expecting something dense and maximalisticlike An Awkward Pause will probably not enjoy this album as much as fans of the droning NWW heard on albums like Soliloquoy for Lilith or A Missing Sense.
3483 Hits
Rough Trade
This four-piece art-rock outfit is from the misty, seaside town ofBrighton, England. Yet, proximity to the salty brine of the Atlantichas had more of an impact on their wardrobe than their music. Dressedon stage in military regalia cross-bred with Boy Scout fashion, BritishSea Power look more like retired ship captains than a band. Combinethis with their penchant for naturalistic stage sets—consisting ofstrategically placed trees, limbs and large, stuffed birds—and youmight begin to think this band is all image and no substance.Musically, "Childhood Memories" disguises itself as laid back tune, butemerges as a stunning rocker. It opens with a deceivingly subtle, yetterribly catchy hook that occasionally builds up into something larger,only to come down gently to where it began. The tension that thisbuilds finally explodes at the end, as the guitars swarm together tobuild a wall of sound behind lead singer Yan's repeated chant of "Andwe go, and we go, and we go!" The B-side, labeled as "Favours in theBeetroot Fields," is actually the (supposedly) CD exclusive track"Strange Communication." It's a gentle, breezy track dominated by Yan'slonging vocals and lyrics such as "Well I don't even remember thefall/and I don't even remember at all/and you'll probably never see meagain/Such a strange communication," display how, after a couple ofhit-and-miss early singles, this band has finally come into their own.With a full-length on its way, it's perfect timing.
This four-piece art-rock outfit is from the misty, seaside town ofBrighton, England. Yet, proximity to the salty brine of the Atlantichas had more of an impact on their wardrobe than their music. Dressedon stage in military regalia cross-bred with Boy Scout fashion, BritishSea Power look more like retired ship captains than a band. Combinethis with their penchant for naturalistic stage sets—consisting ofstrategically placed trees, limbs and large, stuffed birds—and youmight begin to think this band is all image and no substance.Musically, "Childhood Memories" disguises itself as laid back tune, butemerges as a stunning rocker. It opens with a deceivingly subtle, yetterribly catchy hook that occasionally builds up into something larger,only to come down gently to where it began. The tension that thisbuilds finally explodes at the end, as the guitars swarm together tobuild a wall of sound behind lead singer Yan's repeated chant of "Andwe go, and we go, and we go!" The B-side, labeled as "Favours in theBeetroot Fields," is actually the (supposedly) CD exclusive track"Strange Communication." It's a gentle, breezy track dominated by Yan'slonging vocals and lyrics such as "Well I don't even remember thefall/and I don't even remember at all/and you'll probably never see meagain/Such a strange communication," display how, after a couple ofhit-and-miss early singles, this band has finally come into their own.With a full-length on its way, it's perfect timing.
3096 Hits
Listening to Asa-Chang & Junray for the first time, I was immeditely and pleasantly reminded of the first time I heard Stereolab. This is not to say that the music is at all similar to Stereolab; but rather, their intuitive mix of disparate styles sounded wholly new and wonderful, as if a whole new genre was being created that held infinite possibilities. For a jaded listener, this is always a wonderful experience to have.
Asa-Chang & Junray embody the things that most adventurous music listeners are always looking for: something new, inspirational and eminently listenable. Their full-length album Song Chang, released last year, opens with "Hana," a musical statement of purpose if ever I've heard one. Beginning with a ravishing swell of orchestral strings, two electronically-treated voices are heard. Asa-Chang and Yoshimi P-We (from The Boredoms) recite Japanese phonetics "Ha...na...ha...na...da..." Suddenly, a deeply percussive tabla drum begins, with its round, thick beats beats fractured by clever laptop editing. The voices begin to be chopped and re-assembled, as they stutter and trip over the irregular beat. Shrill, supersonic sounds phase from left to right as the song plays like a brilliant collaboration between The Boredoms, Bill Laswell and Enoch Light. The experimental elements are balanced by the perfection and depth of the ethnic rhythms and the high-fidelity exotica-style production. It's playful ear candy, but with a cold, clean edge.
Asa Chang & Junray's music would be quite catchy if it were not so kaleidoscopically fractured and re-formed, like a brilliant work of Cubist art. In a similar respect to Cubism, it's never quite clear if all of the parts really fit perfectly together. However, the slightly "off" juxtapositions create a drama that illuminates portions of the music that would not normally be heard. The rest of the album continues with the formula set out by "Hana," with a set of sparer pieces each illuminating a different sound source. "Goo-Gung-Gung" is an insane two-minute bit that sounds like a traditional Japanese version of Musilmgauze's violent Middle East breaks. "Jippun" begins with traditional Japanese shakahuchi flute playing, which is quickly digitized and splattered all over the stereo channels, while an adrenalin-pumped tabla rhythm begins. It accelerates and eventually mutates into a something reminiscent of The Boredom's more recent tribal drum-circle sound. The album ends with "Kutsu," a simple short trumpet improvisation played over a randomly shaken taiko beat. Song Chang is a terrific first album by one the best new talents in Japanese experimental music.
3666 Hits
Tigerbeat6
Tigerbeat6's website describes Deathas a remix album "by people who love Numbers, for people who loveNumbers," and it's an apt statement. Though you don't have to befamiliar with Numbers Life to enjoy these remixes, itdefinitely helps. Most of the remixes find Numbers' raw energychanneled onto the dancefloor, and why shouldn't they? After all, thehistory of the remix is rooted in the 12" single. Most remixers havefun with their interpretations of the songs, and it makes sense thatthey would—Numbers is a fun band. Gold Chains opens Death witha much-expected cheeky, clubby, self-referencing take on "Prison Life,"complete with a skit and a '77-style punk outro; Dymaxion'ssample-heavy "What is the Product?" is well-constructed and, though itbarely avoids being overly-quirky with its Speak'n'Spell samples, fitswell within the Numbers aesthetic. Kid 606's obligatory remix (of "WeLike Having These Things") is undeniably (and uncharachteristically?)catchy with a melodic pulsing bassline, and the Numan-esque synth soloat the end is really quite pretty. GD Luxxe's "Get Away Mix" of "PrisonLife" comes closest to the perfect remix in the traditional sense ofthe term. He keeps the basic feel of the song intact, reproducing theoriginal bassline and sampling Numbers' vocals, while adding verses ofhis own. The end result is a remix that stays true to the sourcematerial, while at the same time becoming a definitive GD Luxxe track.Caro and Kit Clayton also add their own lyrics to their interpretationsof "Intercom," and "Information," respectively, but it's GD Luxxe'strack that works best in this respect. The most notable divergence fromthe four-on-the-floor is Stars As Eyes, who buck the trend byconverting "I'm Shy" (retitled "I Have a Headache This Big") into adark post-rock anthem, propelled by a one-note guitar line a la theSupremes' "Keep Me Hanging On." Credit should also be given to Stars AsEyes for being one of the only remixers to utilize Indra Duris' drumsounds, instead of replacing them with a quantized drum machine beat.As with any remix album, there are some less-than-stellar tracks, butthey're in the minorit. (If I'm forced to name names: Dwayne Sodahberk,DAT Politics, and Uprock.) Most likely the reason that Deathworks better than most remix albums is because Numbers' source materialis open-ended enough to allow a myriad of remixing possibilities, mostof which are just damned catchy.
Tigerbeat6's website describes Deathas a remix album "by people who love Numbers, for people who loveNumbers," and it's an apt statement. Though you don't have to befamiliar with Numbers Life to enjoy these remixes, itdefinitely helps. Most of the remixes find Numbers' raw energychanneled onto the dancefloor, and why shouldn't they? After all, thehistory of the remix is rooted in the 12" single. Most remixers havefun with their interpretations of the songs, and it makes sense thatthey would—Numbers is a fun band. Gold Chains opens Death witha much-expected cheeky, clubby, self-referencing take on "Prison Life,"complete with a skit and a '77-style punk outro; Dymaxion'ssample-heavy "What is the Product?" is well-constructed and, though itbarely avoids being overly-quirky with its Speak'n'Spell samples, fitswell within the Numbers aesthetic. Kid 606's obligatory remix (of "WeLike Having These Things") is undeniably (and uncharachteristically?)catchy with a melodic pulsing bassline, and the Numan-esque synth soloat the end is really quite pretty. GD Luxxe's "Get Away Mix" of "PrisonLife" comes closest to the perfect remix in the traditional sense ofthe term. He keeps the basic feel of the song intact, reproducing theoriginal bassline and sampling Numbers' vocals, while adding verses ofhis own. The end result is a remix that stays true to the sourcematerial, while at the same time becoming a definitive GD Luxxe track.Caro and Kit Clayton also add their own lyrics to their interpretationsof "Intercom," and "Information," respectively, but it's GD Luxxe'strack that works best in this respect. The most notable divergence fromthe four-on-the-floor is Stars As Eyes, who buck the trend byconverting "I'm Shy" (retitled "I Have a Headache This Big") into adark post-rock anthem, propelled by a one-note guitar line a la theSupremes' "Keep Me Hanging On." Credit should also be given to Stars AsEyes for being one of the only remixers to utilize Indra Duris' drumsounds, instead of replacing them with a quantized drum machine beat.As with any remix album, there are some less-than-stellar tracks, butthey're in the minorit. (If I'm forced to name names: Dwayne Sodahberk,DAT Politics, and Uprock.) Most likely the reason that Deathworks better than most remix albums is because Numbers' source materialis open-ended enough to allow a myriad of remixing possibilities, mostof which are just damned catchy.- GD Luxxe - Prison Life (Get Away mix)
- Stars As Eyes - I Have a Headache This Big
- Dymaxion - What is the Product?
3556 Hits
New World Records
Palestine's music is not very well known today, partly because thereare few recordings available, but also because he moved on to othermedia as the massive commercialism of minimalist music developed in thelate seventies and eighties. His seemingly narrow escape from the titleof "minimalist composer" was fortuitous since what that has come toimply in musical terms today does no justice to his work. His music isdistinct from what became mainstream minimalism by its focus on soundrather than process and its deep emotional expressionism as opposed toaesthetics, grandeur and polish. Thus Morton Feldman is a much closerneighbor than is Steve Reich. "Schlingen-Blängen" is a drone organpiece which demonstrates Palestine's genius for pulling unbelievablesounds, colors and effects out of a familiar instrument. It isbasically one chord sustained for seventy minutes with infrequentadditions and removals of tones and changes of registration. Thisapproach to making music, of using stasis to force the listener intoconcentration on the sound itself, is very difficult to do well and Ihave never heard it so successfully performed as on this disk. First,there is the choice of the initial chord and its registration andalready it is clear that the musician has exquisite taste andexpressive powers, not unlike Messiaen in those aspects. Then beginsthe impressionism. The old Dutch organ in the church of the smallFriesland village of Farmsum Delftzijl starts magically to sing its ownmelodies and rhythms without the player needing to move any controls.The illusion of rapid activity is the result of interferences among thecomponents of the chord within the organ and the church. Such effectsare not unfamiliar but their depth and extent here are staggering.Above the dazzling impressionism is the expressionism, these rapidcycles of intensity, melody and colors, as though they were playingsome non-existent process-music score, are as painfully beautiful asthe original chord. Palestine's comment, "I'm the living hybrid in myown work of the physical gesturality of Jackson Pollock and thespiritual color chemistry of Mark Rothko," hits the nail on the head.The quality of the recording conveys enough of the massive physicalityof the experience to be satisfying while still conveying the sadnessthat one couldn't have been there. The acoustic space of the old churchis precisely rendered. Anyone that enjoys drone music and static soundpainting in any genre should own this CD—Charlemagne Palestine's musicis the archetype.
Palestine's music is not very well known today, partly because thereare few recordings available, but also because he moved on to othermedia as the massive commercialism of minimalist music developed in thelate seventies and eighties. His seemingly narrow escape from the titleof "minimalist composer" was fortuitous since what that has come toimply in musical terms today does no justice to his work. His music isdistinct from what became mainstream minimalism by its focus on soundrather than process and its deep emotional expressionism as opposed toaesthetics, grandeur and polish. Thus Morton Feldman is a much closerneighbor than is Steve Reich. "Schlingen-Blängen" is a drone organpiece which demonstrates Palestine's genius for pulling unbelievablesounds, colors and effects out of a familiar instrument. It isbasically one chord sustained for seventy minutes with infrequentadditions and removals of tones and changes of registration. Thisapproach to making music, of using stasis to force the listener intoconcentration on the sound itself, is very difficult to do well and Ihave never heard it so successfully performed as on this disk. First,there is the choice of the initial chord and its registration andalready it is clear that the musician has exquisite taste andexpressive powers, not unlike Messiaen in those aspects. Then beginsthe impressionism. The old Dutch organ in the church of the smallFriesland village of Farmsum Delftzijl starts magically to sing its ownmelodies and rhythms without the player needing to move any controls.The illusion of rapid activity is the result of interferences among thecomponents of the chord within the organ and the church. Such effectsare not unfamiliar but their depth and extent here are staggering.Above the dazzling impressionism is the expressionism, these rapidcycles of intensity, melody and colors, as though they were playingsome non-existent process-music score, are as painfully beautiful asthe original chord. Palestine's comment, "I'm the living hybrid in myown work of the physical gesturality of Jackson Pollock and thespiritual color chemistry of Mark Rothko," hits the nail on the head.The quality of the recording conveys enough of the massive physicalityof the experience to be satisfying while still conveying the sadnessthat one couldn't have been there. The acoustic space of the old churchis precisely rendered. Anyone that enjoys drone music and static soundpainting in any genre should own this CD—Charlemagne Palestine's musicis the archetype.
3509 Hits
Smells Like Records
If Matmos albums can be considered electronic records for the mind,Drew Daniel's first full-length record as Soft Pink Truth isundoubtedly an electronic record for the ass. Do You Party?should probably contain a warning that 'chunky subhuman basslines atloud levels (from the opening track, "Everybody's Soft" and permeatingthroughout the entire disc) may cause uncontrollable rhythmic pelvicmovement.' Here, Daniel has gotten in touch with his sexy inner discodiva, still dancing down at Club Uranus. Do You Party? like acoming-out party, where everything that has been building up for yearsfinally manifests and explodes for the whole world to see, hear, feeland enjoy. Along with catchy melodies and punchy beats, the album is aparty mix littered with samples upon samples, tactfully andrhythmically integrated words and sounds accent beats which make for alisten both entertaining as it is dancable. The overload of samples islike a box full of a collection of keychains or souvenir spoons thatfinally needs to be emptied from the quirky "girl oh girl" samples from"Tender Studies" to grunting and groaning samples elsewhere. BlecchyBlevin Blectum has joined in for a vocal contribution to thehead-spinning Vanity 6 cover tune "Make Up," thumping enough to givemost electroclashers an example to follow. Daniel's partner in crime,Martin has donated a few synth lines here and there, but sounds ofsurgery or other musically-forged field recordings are nowhere to befound. This album isn't built for headphonic solitude or an employer'scomputer speakers, but can be fully appreciated on a bass-flatteringsound system, in the clubs, at home, or in a vehicle pimped-out withcustom rims and tinted windows. What you -can- enjoy on your computer,however, is the bonus of the included video for "Promofunk." Now ifonly I could get my hands on those 12" singles.
If Matmos albums can be considered electronic records for the mind,Drew Daniel's first full-length record as Soft Pink Truth isundoubtedly an electronic record for the ass. Do You Party?should probably contain a warning that 'chunky subhuman basslines atloud levels (from the opening track, "Everybody's Soft" and permeatingthroughout the entire disc) may cause uncontrollable rhythmic pelvicmovement.' Here, Daniel has gotten in touch with his sexy inner discodiva, still dancing down at Club Uranus. Do You Party? like acoming-out party, where everything that has been building up for yearsfinally manifests and explodes for the whole world to see, hear, feeland enjoy. Along with catchy melodies and punchy beats, the album is aparty mix littered with samples upon samples, tactfully andrhythmically integrated words and sounds accent beats which make for alisten both entertaining as it is dancable. The overload of samples islike a box full of a collection of keychains or souvenir spoons thatfinally needs to be emptied from the quirky "girl oh girl" samples from"Tender Studies" to grunting and groaning samples elsewhere. BlecchyBlevin Blectum has joined in for a vocal contribution to thehead-spinning Vanity 6 cover tune "Make Up," thumping enough to givemost electroclashers an example to follow. Daniel's partner in crime,Martin has donated a few synth lines here and there, but sounds ofsurgery or other musically-forged field recordings are nowhere to befound. This album isn't built for headphonic solitude or an employer'scomputer speakers, but can be fully appreciated on a bass-flatteringsound system, in the clubs, at home, or in a vehicle pimped-out withcustom rims and tinted windows. What you -can- enjoy on your computer,however, is the bonus of the included video for "Promofunk." Now ifonly I could get my hands on those 12" singles.
4172 Hits
Fatal Recordings
Back in 1998, "Transmissions From Scumsburg," my weekly industrial andexperimental radio show on the Boston University student-run station,gave me a late-night forum to blast the blossoming genre often calleddigital hardcore. Alec Empire's DHR, the label who gave the genre itsnamesake, introduced me to such angsty, noisy acts as Bomb 20, Shizuo,EC8OR and, of course, Atari Teenage Riot. The music was pure andviolent, and its riot sounds inspired me in ways that industrial musicno longer did. Then, at the zenith of the label's popularity, it madenumerous bad decisions, giving too much attention to god-awfulside-projects (Nintendo Teenage Robots and She-Satellites) anduninspiring new acts (Fever and Lolita Storm). The label had lost allof the vital energy that kept it relevant, and it wasn't long beforepeople stopped caring about any music it put out. During this fall fromgrace, Atari Teenage Riot's original frontwoman Hanin Elias started upthe Fatal imprint on the label, showcasing music exclusively made bywomen. While the idea may have resembled the somewhat admirable goalsof the Seattle riot-grrrl scene, the implementation was universallydull, signified by the unoriginal white noise of Nic Endo's debut EPand Elias's own drab full-length. Sadly, on Elias's new album No Games No Fun(inaugurating the first Fatal release outside of the DHR community), itappears that those glory days are just as far away as they ever were.Even more lackluster than her last album, Elias' bad songwritingplagues the album as a whole, via murky rock tracks ("Blue") dated hiphop ("You Suck"), lo-fi electronic cuts ("Rockets Against Stones") andbland acoustic numbers ("Catpeople"). Quite frankly, Elias' voice justdoesn't work with ANY of these styles. Not even notable contributorssuch as Merzbow, J. Mascis, Khan, and even Mr. Empire himself can savethis uneven, sub-mediocre release. Still, one thing about this releaseis consistent: its title. I can assure you that this was "no fun" tolisten to.
Back in 1998, "Transmissions From Scumsburg," my weekly industrial andexperimental radio show on the Boston University student-run station,gave me a late-night forum to blast the blossoming genre often calleddigital hardcore. Alec Empire's DHR, the label who gave the genre itsnamesake, introduced me to such angsty, noisy acts as Bomb 20, Shizuo,EC8OR and, of course, Atari Teenage Riot. The music was pure andviolent, and its riot sounds inspired me in ways that industrial musicno longer did. Then, at the zenith of the label's popularity, it madenumerous bad decisions, giving too much attention to god-awfulside-projects (Nintendo Teenage Robots and She-Satellites) anduninspiring new acts (Fever and Lolita Storm). The label had lost allof the vital energy that kept it relevant, and it wasn't long beforepeople stopped caring about any music it put out. During this fall fromgrace, Atari Teenage Riot's original frontwoman Hanin Elias started upthe Fatal imprint on the label, showcasing music exclusively made bywomen. While the idea may have resembled the somewhat admirable goalsof the Seattle riot-grrrl scene, the implementation was universallydull, signified by the unoriginal white noise of Nic Endo's debut EPand Elias's own drab full-length. Sadly, on Elias's new album No Games No Fun(inaugurating the first Fatal release outside of the DHR community), itappears that those glory days are just as far away as they ever were.Even more lackluster than her last album, Elias' bad songwritingplagues the album as a whole, via murky rock tracks ("Blue") dated hiphop ("You Suck"), lo-fi electronic cuts ("Rockets Against Stones") andbland acoustic numbers ("Catpeople"). Quite frankly, Elias' voice justdoesn't work with ANY of these styles. Not even notable contributorssuch as Merzbow, J. Mascis, Khan, and even Mr. Empire himself can savethis uneven, sub-mediocre release. Still, one thing about this releaseis consistent: its title. I can assure you that this was "no fun" tolisten to.
4511 Hits
System
Electronic music has had many casualties over the years, but noneprobably as depressing as the death of drum n' bass. Unlike many genreswho have fallen victim to the same ultimate fate, drum n' bass (whichfor the sake of this review will encompass all subgenres that wouldfall under the larger grouping) found itself divided inside itself aswell as commercially exploited in a ruthless manner. In the end,corporate trend vultures and shady admen reduced the music to 30 secondloops, while those who originally loved the music splintered off into"new" genres such as garage and breakcore. Still, there are artists outthere plugging away and writing music truly evocative of the genre.However, the question lingers: does this effort even matter anymore? IfBad Company is any indication, then the answer is, sadly, no. In orderfor a genre to thrive, the music must remain interesting. Over thecourse of two CDs (one album and one continuous mix), Bad Company's Shot Down On Safarirepresents the stagnancy that helped bring down drum n' bass. From theoverused ragga vocals (particularly on "Mo' Fire") to the same oldtired breakbeats and synth effects, it becomes abundantly clear why somany people jumped ship for more progressive sounds. Admittedly, mytastes in drum n' bass have always leaned in the darkstep / techstepdirection, but this album just doesn't offer anything up worthmentioning. If for some bizarre reason after reading this review youstill feel like you want "Shot Down On Safari," rest assured that themix CD offers quite a few older tracks that reflect the brighter daysof drum n' bass.
Electronic music has had many casualties over the years, but noneprobably as depressing as the death of drum n' bass. Unlike many genreswho have fallen victim to the same ultimate fate, drum n' bass (whichfor the sake of this review will encompass all subgenres that wouldfall under the larger grouping) found itself divided inside itself aswell as commercially exploited in a ruthless manner. In the end,corporate trend vultures and shady admen reduced the music to 30 secondloops, while those who originally loved the music splintered off into"new" genres such as garage and breakcore. Still, there are artists outthere plugging away and writing music truly evocative of the genre.However, the question lingers: does this effort even matter anymore? IfBad Company is any indication, then the answer is, sadly, no. In orderfor a genre to thrive, the music must remain interesting. Over thecourse of two CDs (one album and one continuous mix), Bad Company's Shot Down On Safarirepresents the stagnancy that helped bring down drum n' bass. From theoverused ragga vocals (particularly on "Mo' Fire") to the same oldtired breakbeats and synth effects, it becomes abundantly clear why somany people jumped ship for more progressive sounds. Admittedly, mytastes in drum n' bass have always leaned in the darkstep / techstepdirection, but this album just doesn't offer anything up worthmentioning. If for some bizarre reason after reading this review youstill feel like you want "Shot Down On Safari," rest assured that themix CD offers quite a few older tracks that reflect the brighter daysof drum n' bass.
4032 Hits
One of the better 1990s music trends was when the remix truly evolved into an art form. Artists like Meat Beat Manifesto, The Orb, and Autechre were some of the first who not only transformed a song into something almost completely new, but left their mark with a distinguishable sound that made the new version identifiably their own.
3767 Hits
Pehr
Timonium's songs have always been contemplative. Narcotic melodiescombine to create themes which repeat over and over, as if to bash youon the head. It's as if, at one moment, you had no earthly idea thesesounds existed in unison, but then you hear them and you becomedependent on them, uncertain whether you can go on living without them.To have these themes repeated over and over in a song, then, becomes ablessing rather than a curse, blissful rather than tedious. So perhaps"caressing" would be more suitable than "bashing," but keep in mindthat there are these incredibly loud moments in Timonium's songs wherethe caressing does in fact become bashing, though it is a thrashing onegladly accepts. 'Until He Finds Us' compacts these tensile melodiesinto shorter statements, but the songs remain long and contemplative byvirtue of more complex song structure. The exception which threatens toprove me wrong is the compact (3 minutes) first song, "Populations,"which touts a kinetic sound that never really explodes, but whichmanages to get the listener all worked up (accomplished largely by thedrum rhythms). I like to think of this song as a preamble to the wholealbum, and I think it works well like this. In previous albums, theband would use a combination of finely-wrought statements together withsweeping changes in dynamics (think Bedhead). Timonium has now addedtempo changes and time signature changes to their arsenal. "SolemnCorridors," for instance, embarks as a slow and somber song which ispunctuated by short guitar chords on the up beat, but halfway throughit switches time signatures and starts to rock significantly harder,all the while maintaining a melody which links these two disparatesections of the song like Siamese twins (except that these twins lookentirely normal and natural conjoined at the melody, and you wouldnever think of staring in bewilderment or averting your gaze inrevulsion). Timonium is growing up, and their music is likewisebecoming more complex. The whispery male and female vocals remainrefreshingly understated in most of the songs, letting the musicenvelope them rather than dominating the song. They do happen to peakout confidently in the louder parts, but it's only momentarily andalways proper. The messianic overtones of the album title and lyricshave the effect of turning this album into a type of post-rock hymnal,with lots of talk of blood, wounds, and rebirth. Somehow, even rocksand marble are imbued with some religious significance. Then again,there is just as much talk of birds, griffins, and trees. I am unsurewhat to make of it all, but I do challenge you to put the line "Ipissed in your mouth" in a song and have it sound as placid andsoothing as Timonium are able to. If there is a moment of ascension, itcomes early on in the album, in the song "Across the Footlights" (whichhas another attention-grabbing shift in time signature). You'll knowthe moment when it hits you just by the sheer glory of the sound, butwhether you're ready for it is an entirely different discussion.
Timonium's songs have always been contemplative. Narcotic melodiescombine to create themes which repeat over and over, as if to bash youon the head. It's as if, at one moment, you had no earthly idea thesesounds existed in unison, but then you hear them and you becomedependent on them, uncertain whether you can go on living without them.To have these themes repeated over and over in a song, then, becomes ablessing rather than a curse, blissful rather than tedious. So perhaps"caressing" would be more suitable than "bashing," but keep in mindthat there are these incredibly loud moments in Timonium's songs wherethe caressing does in fact become bashing, though it is a thrashing onegladly accepts. 'Until He Finds Us' compacts these tensile melodiesinto shorter statements, but the songs remain long and contemplative byvirtue of more complex song structure. The exception which threatens toprove me wrong is the compact (3 minutes) first song, "Populations,"which touts a kinetic sound that never really explodes, but whichmanages to get the listener all worked up (accomplished largely by thedrum rhythms). I like to think of this song as a preamble to the wholealbum, and I think it works well like this. In previous albums, theband would use a combination of finely-wrought statements together withsweeping changes in dynamics (think Bedhead). Timonium has now addedtempo changes and time signature changes to their arsenal. "SolemnCorridors," for instance, embarks as a slow and somber song which ispunctuated by short guitar chords on the up beat, but halfway throughit switches time signatures and starts to rock significantly harder,all the while maintaining a melody which links these two disparatesections of the song like Siamese twins (except that these twins lookentirely normal and natural conjoined at the melody, and you wouldnever think of staring in bewilderment or averting your gaze inrevulsion). Timonium is growing up, and their music is likewisebecoming more complex. The whispery male and female vocals remainrefreshingly understated in most of the songs, letting the musicenvelope them rather than dominating the song. They do happen to peakout confidently in the louder parts, but it's only momentarily andalways proper. The messianic overtones of the album title and lyricshave the effect of turning this album into a type of post-rock hymnal,with lots of talk of blood, wounds, and rebirth. Somehow, even rocksand marble are imbued with some religious significance. Then again,there is just as much talk of birds, griffins, and trees. I am unsurewhat to make of it all, but I do challenge you to put the line "Ipissed in your mouth" in a song and have it sound as placid andsoothing as Timonium are able to. If there is a moment of ascension, itcomes early on in the album, in the song "Across the Footlights" (whichhas another attention-grabbing shift in time signature). You'll knowthe moment when it hits you just by the sheer glory of the sound, butwhether you're ready for it is an entirely different discussion.
3947 Hits
Beta-Lactam Rings Records
The original cassette-only release of this (recorded in 1981/82,released 1983) is possibly my favorite of the Dots' cassette releases.Unlike the Chemical Playschool compilations, Basiliskwas threadded and sequenced like a conventional album with a clearlydistinguishable first and second side. After witnessing the rather sadtreatment a lot of the old cassettes got for CD reissue, I wasskeptical about this. Thankfully I have been wrong this time. For acassette which even comes with a note from Edward Ka-Spel himselfapologizing for not being able to locate the original master, the soundquality is incredible, far superior to Stained Glass Soma Fountains, Under Triple Moons,and even some of the Ka-Spel solo material mastered off vinyl. Mybiggest gripe is actually in the easier tasks of coordinating a releaselike this. I absolutely hate the way the original cassette is indexedby only three track marks for the CD, despite the first containingnumerous songs, (even with clear silences), but that can be dealt with.Much of the music contained was revisited and resurfaced on otherreleases long ago. The looped chorus of angel-like voices singing "singwhile you may" which opens the album popped up first on the LegendaryPink Box along with "Clean Up," while the instrumental piece, "LoveIs..." later became "Love Puppets" for the Curse LP. The melody from "Basilisk One" and "Basilisk Two" was revived as "Flesh Parade," "Wall Purges Night" was re-recorded for Curse,while "Methods" became an Edward Ka-Spel solo tune. What's left is alot of really cool, but eerie noise noodling which takes up most ofside two as "Basilisk Two" and a couple really short songs buried deepin track one as "Basilisk Part One" on this CD. In addition to theoriginal 60-ish minutes are some strange songs from the vaults: "IdealHome," recorded in 1981 featuring Keith Thompson as lead vocalist andan early unreleased version of "The Glory, The Glory," also allegedlyfrom 1981. But they didn't stop there. It's hardly a CDreissue/remaster job without some song tossed in completely out ofcontext. With this release, it's a version of "The Ocean Cried BlueMurder," but this one, as the title (and sounds) suggests was probablyrecorded "on a ferry in a storm on a walkman." All cynicism aside, it'sa great audio document to finally own, despite the appalling fontchoices, but then again, good LPD cover artwork is a rarity (especiallywith reissues). With any luck, Bernard and Raymond Steeg will be ableto "enhance" Atomic Roses and Premonition for thatupcoming release along with other cassette-only things. I leavechanting "Traumstadt 4," "Traumstadt 4," "Traumstadt 4," "Traumstadt4!"
The original cassette-only release of this (recorded in 1981/82,released 1983) is possibly my favorite of the Dots' cassette releases.Unlike the Chemical Playschool compilations, Basiliskwas threadded and sequenced like a conventional album with a clearlydistinguishable first and second side. After witnessing the rather sadtreatment a lot of the old cassettes got for CD reissue, I wasskeptical about this. Thankfully I have been wrong this time. For acassette which even comes with a note from Edward Ka-Spel himselfapologizing for not being able to locate the original master, the soundquality is incredible, far superior to Stained Glass Soma Fountains, Under Triple Moons,and even some of the Ka-Spel solo material mastered off vinyl. Mybiggest gripe is actually in the easier tasks of coordinating a releaselike this. I absolutely hate the way the original cassette is indexedby only three track marks for the CD, despite the first containingnumerous songs, (even with clear silences), but that can be dealt with.Much of the music contained was revisited and resurfaced on otherreleases long ago. The looped chorus of angel-like voices singing "singwhile you may" which opens the album popped up first on the LegendaryPink Box along with "Clean Up," while the instrumental piece, "LoveIs..." later became "Love Puppets" for the Curse LP. The melody from "Basilisk One" and "Basilisk Two" was revived as "Flesh Parade," "Wall Purges Night" was re-recorded for Curse,while "Methods" became an Edward Ka-Spel solo tune. What's left is alot of really cool, but eerie noise noodling which takes up most ofside two as "Basilisk Two" and a couple really short songs buried deepin track one as "Basilisk Part One" on this CD. In addition to theoriginal 60-ish minutes are some strange songs from the vaults: "IdealHome," recorded in 1981 featuring Keith Thompson as lead vocalist andan early unreleased version of "The Glory, The Glory," also allegedlyfrom 1981. But they didn't stop there. It's hardly a CDreissue/remaster job without some song tossed in completely out ofcontext. With this release, it's a version of "The Ocean Cried BlueMurder," but this one, as the title (and sounds) suggests was probablyrecorded "on a ferry in a storm on a walkman." All cynicism aside, it'sa great audio document to finally own, despite the appalling fontchoices, but then again, good LPD cover artwork is a rarity (especiallywith reissues). With any luck, Bernard and Raymond Steeg will be ableto "enhance" Atomic Roses and Premonition for thatupcoming release along with other cassette-only things. I leavechanting "Traumstadt 4," "Traumstadt 4," "Traumstadt 4," "Traumstadt4!"
3913 Hits
Plinkety Plonk
The Dutch duo Beequeen has been digging into their archives lately,discouraging the collector-scum by making their rare releases andconcert recordings available to the public in greater quanity. I'vebeen a fan of both members' work for many years. Freek Kinkelaar'sLegendary Pink Dots-ish solo recordings as Brunnen yeilded three finealbums in the 1990s, and Frans de Waard's many recordings as KapotteMuziek, Quest, Shifts, and Captain Black are things I have beenenthusiastically seeking out since I was in high school (a long timeago, folks). The Beequeen sound is generally a lush, subtly melodicdrone with subdued electronic crackle, a nice inbetween point betweende Waard's abstractions and Kinkelaar's low-key pop sense. This latestdisc compiles music intended for release in 1998, four tracks that wereto be released as an LP and two that were to be an unlikelycollaborative 10" with Japanese noise "band" MSBR.
The first four tracks are delicate, with a gentle nudge toward dub thatnever overwhelms the static drift. The sound dives almost to silence,but percolates upwards with a bassline here or a slight rise there, alltasteful, understated, and appealing. It reminds me of Eno's ambientmusic, which colors the tone of a room but does not assert itself somuch. The collaborative tracks with MSBR, in which the artists workedby reshaping each other's sonic material, are not as ephemeral as thetracks that come before them, but are complementary nonetheless.Beequeen's reworking of MSBR's noise begins with some teeth-grindingtension, which is quickly forced down to a low, barely perceptiblerumble. MSBR's mix of Beequeen sounds like a digital cut-up that twistswith a distinct feeling as if it is about to explode out of control,yet never does.
The Dutch duo Beequeen has been digging into their archives lately,discouraging the collector-scum by making their rare releases andconcert recordings available to the public in greater quanity. I'vebeen a fan of both members' work for many years. Freek Kinkelaar'sLegendary Pink Dots-ish solo recordings as Brunnen yeilded three finealbums in the 1990s, and Frans de Waard's many recordings as KapotteMuziek, Quest, Shifts, and Captain Black are things I have beenenthusiastically seeking out since I was in high school (a long timeago, folks). The Beequeen sound is generally a lush, subtly melodicdrone with subdued electronic crackle, a nice inbetween point betweende Waard's abstractions and Kinkelaar's low-key pop sense. This latestdisc compiles music intended for release in 1998, four tracks that wereto be released as an LP and two that were to be an unlikelycollaborative 10" with Japanese noise "band" MSBR. The first four tracks are delicate, with a gentle nudge toward dub thatnever overwhelms the static drift. The sound dives almost to silence,but percolates upwards with a bassline here or a slight rise there, alltasteful, understated, and appealing. It reminds me of Eno's ambientmusic, which colors the tone of a room but does not assert itself somuch. The collaborative tracks with MSBR, in which the artists workedby reshaping each other's sonic material, are not as ephemeral as thetracks that come before them, but are complementary nonetheless.Beequeen's reworking of MSBR's noise begins with some teeth-grindingtension, which is quickly forced down to a low, barely perceptiblerumble. MSBR's mix of Beequeen sounds like a digital cut-up that twistswith a distinct feeling as if it is about to explode out of control,yet never does.
3496 Hits
North East Indie
The second edition of madness that is the Cerberus Shoal split-CDseries finds the Shoal trading songs with Alvarius B, with the intentof both artists recording each other's songs as well as their own.Alvarius B may be a name unknown to many, having recorded two LPs andlittle else, but it's the alias chosen by Sun City Girls guitarist AlanBishop. His music is acoustic folk, mostly, and his songs are justshort of justification for FBI monitoring. A title like "Blood Baby" isa pretty big clue towards the mood of the piece, and "Viking Christmas"may seem innocuous while it's everything but. The music is simple,merely there to underlie B's voice, which makes the compositions allthe more chilling. The chopping of babies and other flesh seems to bethe common theme for B's songs, and he delivers it all with a calm andmatter-of-factness that disturbs as well as it impresses. Occasionally,he gets into character, adding a realism and bite that sends shivers.Ghostly voices join in, cackling and haunting, and B seems almostresolute as his share of the nightmare concludes. The Shoal then takeAlvarius B's songs and make them more bombastic and grandiose, as wellas a bit more murderous. Horns, shakers, piano, and percussion providethe groundwork for the blood choir that makes "Blood Baby." There'shushed whispers, empassioned and insane vocals, and sounds that appearout of nowhere only to disappear again. This song is not to be listenedto in the dark. "Viking Christmas" is bludgeoned into the "Auld LangSyne" of a beer hall serial killer cult, complete with the clinking ofglasses here and there. Saving the best for last, though, "The RealDing" was their sole original contribution, and their arrangement isthe prettier over B's, with a multitude of voices accompanying atypewriter as the song begins. Bizarre lyrics and unusual instrumentsmake for a rocky ride, but in the end the song is anchored by oddpercussion, banjo, and a seductive rhythm. This CD is the best yet ofthe Shoal's little project, and at this rate, the whole series will bethe year's musical sleeper, gaining strength with each volume.
The second edition of madness that is the Cerberus Shoal split-CDseries finds the Shoal trading songs with Alvarius B, with the intentof both artists recording each other's songs as well as their own.Alvarius B may be a name unknown to many, having recorded two LPs andlittle else, but it's the alias chosen by Sun City Girls guitarist AlanBishop. His music is acoustic folk, mostly, and his songs are justshort of justification for FBI monitoring. A title like "Blood Baby" isa pretty big clue towards the mood of the piece, and "Viking Christmas"may seem innocuous while it's everything but. The music is simple,merely there to underlie B's voice, which makes the compositions allthe more chilling. The chopping of babies and other flesh seems to bethe common theme for B's songs, and he delivers it all with a calm andmatter-of-factness that disturbs as well as it impresses. Occasionally,he gets into character, adding a realism and bite that sends shivers.Ghostly voices join in, cackling and haunting, and B seems almostresolute as his share of the nightmare concludes. The Shoal then takeAlvarius B's songs and make them more bombastic and grandiose, as wellas a bit more murderous. Horns, shakers, piano, and percussion providethe groundwork for the blood choir that makes "Blood Baby." There'shushed whispers, empassioned and insane vocals, and sounds that appearout of nowhere only to disappear again. This song is not to be listenedto in the dark. "Viking Christmas" is bludgeoned into the "Auld LangSyne" of a beer hall serial killer cult, complete with the clinking ofglasses here and there. Saving the best for last, though, "The RealDing" was their sole original contribution, and their arrangement isthe prettier over B's, with a multitude of voices accompanying atypewriter as the song begins. Bizarre lyrics and unusual instrumentsmake for a rocky ride, but in the end the song is anchored by oddpercussion, banjo, and a seductive rhythm. This CD is the best yet ofthe Shoal's little project, and at this rate, the whole series will bethe year's musical sleeper, gaining strength with each volume.- Alvarius B - Blood Baby
- Alvarius B - Viking Christmas
- Cerberus Shoal - Viking Christmas
- Cerberus Shoal - The Real Ding
7198 Hits
4AD
Curling up with a Kristin Hersh solo album is much like curling upalone in bed with a good book late at night. There's always somethingto discover with the other route Hersh takes with her songs, headingdown the path without bombastic drums and fuzzy guitars. This timearound, Hersh has also taken a step back, completely opposing one of mytop picks of 2001, her Sunny Border Bluealbum. In 2001, Hersh was almost completely alone and filled the trackswith drums, bass and electronics, whereas here, she's assisted by HowieGelb on Piano and Andrew Bird on violin, and the songs are all acousticand drum-free. While I'm very fond of this record, I question thearrival date for a couple reasons. First of all, I always need to spenda lot of intimate time with Hersh and her songs to get as close to themas possible. Being punched twice on the same day with this and theMuses album can be something difficult to recover from. Next, The Grottois possibly one of Hersh's most reflective albums, with anindescribable feeling of coldness that only somebody growing up in NewEngland truly knows. It comes as no surprise that this album wasrecorded over the past year, which was the snowiest winter we here inthe north east USA have seen in years. It's odd to start listening tothis album in March, just as the snow's about to melt and give way to awarm, green spring. The piano and violin add something magical to heracoustic fingerpicking, providing a perfect soundtrack to the firstlight of the sun on a cloudless morning, reflecting off a snow-coveredlawn, while her words, significantly subdued from any Muses recording,are both tender and sharp. I can honestly lose hours in headphone landwith Hersh's solo albums, and while The Grotto is no exception, I might have to pull this one out again in November for the best effect.
Curling up with a Kristin Hersh solo album is much like curling upalone in bed with a good book late at night. There's always somethingto discover with the other route Hersh takes with her songs, headingdown the path without bombastic drums and fuzzy guitars. This timearound, Hersh has also taken a step back, completely opposing one of mytop picks of 2001, her Sunny Border Bluealbum. In 2001, Hersh was almost completely alone and filled the trackswith drums, bass and electronics, whereas here, she's assisted by HowieGelb on Piano and Andrew Bird on violin, and the songs are all acousticand drum-free. While I'm very fond of this record, I question thearrival date for a couple reasons. First of all, I always need to spenda lot of intimate time with Hersh and her songs to get as close to themas possible. Being punched twice on the same day with this and theMuses album can be something difficult to recover from. Next, The Grottois possibly one of Hersh's most reflective albums, with anindescribable feeling of coldness that only somebody growing up in NewEngland truly knows. It comes as no surprise that this album wasrecorded over the past year, which was the snowiest winter we here inthe north east USA have seen in years. It's odd to start listening tothis album in March, just as the snow's about to melt and give way to awarm, green spring. The piano and violin add something magical to heracoustic fingerpicking, providing a perfect soundtrack to the firstlight of the sun on a cloudless morning, reflecting off a snow-coveredlawn, while her words, significantly subdued from any Muses recording,are both tender and sharp. I can honestly lose hours in headphone landwith Hersh's solo albums, and while The Grotto is no exception, I might have to pull this one out again in November for the best effect.
3398 Hits
4AD
From David Narcizo's first ratta-tatta snare snaps of on the opener,"Mercury," I knew that this was not the Throwing Muses which picked upwhere they left off with Tanya's departure, nor was it the ThrowingMuses of the later 1990s. This was the thunderous sound remeniscent ofthe Muses that I first fell in love with on their other eponymousalbum. It's unsurprising, as this time around there's no major labelexpecting a blockbuster hit single, nor are there high production costssunk into the mix. The music was recorded in gangbuster marathonrecording sessions over a three weekends, and the raw, blisteringenergy is a very, very welcomed sound. Kristin Hersh's vocals punctureholes in an already densely packed mix of raunchy, distorted guitars,pounding basslines and driving drums from what is still a very smallkit by most standards. Be prepared for many unconventional chordstructures and melodic movements and songs which switch gears numeroustimes with swift tempo changes. Combine that with Hersh's lyrics whichneed years of therapy by a team of experts to completely unravel. Eventhen, it's nearly impossibly to tell if she's telling the truth or not,going from caustic to apologetic often within the same song (likewishing the subject of "Civil Disobedience" would choke on an aspirinand then confessing how much she's still in love). The slower songs,like "Pandora's Box," and "Speed and Sleep" are never ballads: theyjust provide a very slight bit of breathing room before the chorusesand blaring guitars stomp in. Just as I'm thinking that much of thisalbum sounds as if the band is deftly dodging high-speed traffic,recording on the pavement of a multi-lane highway, freeway referencesare made on "Status Quo!" There's still the occasionaly frisky, playfulmelodies, like both the jovial guitar riff and lyrics on "Portia,"where Hersh talks about frat boys sleeping together and how "all theworld loves a lover." "Halfblast" is probably the closest the band willget to a hit single on this record, with backup volcals from TanyaDonnelly and a singalong chorus which is nothing but an optimistic gem,counting the blessings of the beauty of people, nature and the skies.Even the album's closer, "Flying," takes an unconventional album-endingapproach, as it's aggressive, upbeat and driving as much of the rest ofthe record, without the cadence of a closing track. This approacheffectively is appetite-wetting for whatever's next from the group, andgives whoever's lucky enough to catch the Muses live something tofeverishly anticipate.
From David Narcizo's first ratta-tatta snare snaps of on the opener,"Mercury," I knew that this was not the Throwing Muses which picked upwhere they left off with Tanya's departure, nor was it the ThrowingMuses of the later 1990s. This was the thunderous sound remeniscent ofthe Muses that I first fell in love with on their other eponymousalbum. It's unsurprising, as this time around there's no major labelexpecting a blockbuster hit single, nor are there high production costssunk into the mix. The music was recorded in gangbuster marathonrecording sessions over a three weekends, and the raw, blisteringenergy is a very, very welcomed sound. Kristin Hersh's vocals punctureholes in an already densely packed mix of raunchy, distorted guitars,pounding basslines and driving drums from what is still a very smallkit by most standards. Be prepared for many unconventional chordstructures and melodic movements and songs which switch gears numeroustimes with swift tempo changes. Combine that with Hersh's lyrics whichneed years of therapy by a team of experts to completely unravel. Eventhen, it's nearly impossibly to tell if she's telling the truth or not,going from caustic to apologetic often within the same song (likewishing the subject of "Civil Disobedience" would choke on an aspirinand then confessing how much she's still in love). The slower songs,like "Pandora's Box," and "Speed and Sleep" are never ballads: theyjust provide a very slight bit of breathing room before the chorusesand blaring guitars stomp in. Just as I'm thinking that much of thisalbum sounds as if the band is deftly dodging high-speed traffic,recording on the pavement of a multi-lane highway, freeway referencesare made on "Status Quo!" There's still the occasionaly frisky, playfulmelodies, like both the jovial guitar riff and lyrics on "Portia,"where Hersh talks about frat boys sleeping together and how "all theworld loves a lover." "Halfblast" is probably the closest the band willget to a hit single on this record, with backup volcals from TanyaDonnelly and a singalong chorus which is nothing but an optimistic gem,counting the blessings of the beauty of people, nature and the skies.Even the album's closer, "Flying," takes an unconventional album-endingapproach, as it's aggressive, upbeat and driving as much of the rest ofthe record, without the cadence of a closing track. This approacheffectively is appetite-wetting for whatever's next from the group, andgives whoever's lucky enough to catch the Muses live something tofeverishly anticipate.samples:
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