Skinny Puppy/Download founding member cEvin Key (Kevin Crompton)returns with his 2nd solo outing for Metropolis Records. It seemed tome that much of the first one, 1998's "Music for Cats", was unfinishedleftovers from other projects. This album may very well be the same butit also feels fully realized as a project unto its own. Key plays justabout everything - electronics, drums, guitar, bass, etc. - andcollaborates with many: Justin Bennett (guitar, Professional MurderMusic), K. Tokoi (saxophone), Omar Torres and Kent Clelland of NativeInstruments, Bill Van Rooy (bass), Phil Western (synths,Download/Plateau), Ken Marshall (electronics, Download), all of TheLegendary Pink Dots and recently reunited Puppy compatriot Ogre, amongothers. The shadowy influence of Jamaica is cast over parts of thealbum, from the artwork to the electro dub strains, most notably in theganja haze groove of "Horopter", to the radio banter in "Klora".Saxophone riffs add an unexpectedly welcome flair to "Tatayama". "15thShade" and "A Certain Stuuckey" are likely a precursor of things tocome from the Tear Garden (Key + LPD). Both feature Edward Ka-Spel'scalm and collected, detailed spoken story telling, the former over anaddictive bass line and guitar meandering and the latter over afragmented soup of bass, synth and beats. "Frozen Sky" gives one SPflashbacks - pretty synth sequences, "Process"-era heavy duty guitarchords, vocoded vocals - and, again, is probably a precursor of futurework. The remaining tracks are mostly jittery electronic jams of therecent Download/Plateau mindset. The more Key works with a variety ofothers, the more varied and interesting the results ...
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Does Glasgow have all of the best bands in the world? In recent years,that Scottish city has given us Mogwai, Belle and Sebastian, ArabStrap, the delgados, and of course, the classic Del Amitri. Sorry, Ihad to. Most of the best bands come out of Glasgow, though, and here'sanother to add to your list. Aereogramme is a brilliant fuzz rock bandwho, gladly, sound nothing like any of theie Glaswegian counterparts.This is truly a unique sound, driven by a unique songwriter, Craig B,formerly of Ganger, another great Glaswegian band. Electronic hums,buzzes, hard drum hits, squelching guitars and angry sentiments giveway to rather lush passages with Hum-like glory and a very capablevoice on top, something I'm sure Craig didn't get a chance to showcasein Ganger. And there's a great sonic variety, too. Piano joins the mix,acoustic guitar, swelling keyboards and strings. And grounding it allis a profound sense of melodies that can rouse your soul from sleep orslap it senseless. This US release, on Matador, also features threetracks from their White Paw EP, released in the UK, but not here.Because the music is so good, you are willing to forgive some of theoff-kilter or awkward moments, like the death metal shrieking on"Zionist Timing." It's great fun, but wholly unnecessary. And we loveit anyway. That's the power of Aereogramme: they'll lead you to thewater, make you drink, tell you it's piss, you'll spit it out, andeveryone will laugh. It's a good time, and it's great music. Check itout.
Picking up from where we last heard from him, Jack Dangers has continued his analogue audio explorations through his latest release, a 10" released in cooperation with the Science and Education division of Tino Corp. For four tracks on the 10", Dangers avoids the usage of samplers, resorting to analogue tape manipulations, resulting in a very 50s horror film soundtrack/early Stockhausen-esque musique concrète type of sound.
A Silver Mount Zion are the band formed by Efrim, one of the threeguitarists in Godspeed You Black Emperor! although here he often playspiano. Bassist Thierry and classically trained violinist Sophie alsomoonlight from Godspeed, but A Silver Mount Zion has extended its namepresumably to denote the arrival in their midst of a further trio ofstring players on second violin, cello and guitar. Their friends Jonahand Eric also play trumpet/trombone and drums to further fill out thesound. The extra instuments bring a depth and climactic momentum thatsurpasses that record and the songs seem more fully realised than thesparse piano led songs from the first album. Whilst the sound mighthave moved closer dynamically to Godspeed, the most obvious differenceis that on some songs Efrim sings in a wavering voice similar toJonathan Donahue of Mercury Rev or Wayne Coyne of Flaming Lips, butsaddened by far weightier lyrical concerns. A key track is 'Take TheseHands and Throw Them in the River', which rises in intensity as stringsswell in dark desperation until Efrim's voice almost cracks as he singsthe heartfelt tearful refrain. Melancholy and hope are the two wordsthat instantly spring to mind in describing this music. Most tracksstart quietly and slowly build up a beautiful layered emotionallyhotwired intensity. The standout track for me was the penultimateinstrumental 'C'mon Come On (Loose an Endless Longing)' which buildsslowly with drum and guitar led visions of the first rays breakingthrough after the storm clouds, then falls back, and then the stringsseem to reach for the sky and just won't stop there and the big bandunleashes its full Tra-La-La glory, godspeed to silver planets,climbing up above the hand chopping megalomaniacs and soaring above themisery and the starvation and the war and the superweeds and thedepleted uranium and the rotting corpses and babies too starved toscream and... 
I've got good news and bad news: the good news is that now you canfinally afford to buy a Mirror album! This German 2xLP set costs about$15 less than any of the single LP "limited" releases on the US labelsRobot or Anomalous. The bad news however is it'll be quite easy to gethooked on Mirror after buying this. Record #1 features an all newstudio album from the trio (Andrew Chalk, Christoph Heemann and AndreasMartin). The recording is like an aural painting of a journey in asmall boat as day turns to night. What appears to be recorded sounds ofoars gently hitting the water can be heard faintly as the ominousmusical sounds suggest the impending nightfall. While other ambientrecording artists recently have been recording the wind or theelements, Mirror have impressionistically created something original,both captivating and inviting. Through guitars and electronicprocessing, the trio's journey has a clear beginning, journey andreaches its destination as the rain begins to fall. The second recordfeatures a live performance from Austin recorded last year whichrevolves around the same concept. Like the studio recording, thejourney both starts and ends in a similar way but the nature of thebulk is a different improvisation with the same tools. If you're quickand lucky enough, the first copies ordered from Die Stadt come in bluevinyl with a bonus 7", unfortunately you won't get that in the stores.
One thing I think I've learned over the past couple years is to always trust something which shares members of the Notwist, Tied & Tickled Trio, and Console collectives. Couple that with the fact that Morr Music has become an industry leader for superb electronic pop challengers.
An album great enough to play seven times in a row is quite a rarething and a compilation at least seven times rarer. But that's whathappened when I got this second sampler from Colin Newman and MalkaSpigel's Swim label into tbe machine. There are nineteen tracks and nota dud amongst them. Even the previously released tracks from Silo andSymptoms are edited versions, and there is some degree of rarity - theImmersion remix of Flying Saucer Attack is about five years old andappears here for the first time and is quite similar in feel toImmersion's Bowery Electric remix. Colin's sped up remix of Silo's'Prime Movers' appeared on the flipside of a 7" that you might havemissed and another short 'Low Impact' style Immersion track previouslyappeared only on a CD-R compilation 'genuine particle'. However most ofSwim Team 2 comprises brand new tracks. A couple of cuts show off theprogress Colin has made towards his follow up to 'Bastard', and thedriving infectious instrumental 'Tsunami' in particular suggests thathe might eclipse that fine album. However work on new Wire recordingsis taking priority at Swim studios, so it might be a while until thenext Colin Newman album. Maybe his son Ben will get his debut outfirst? Recording under the name Bumpy he also gets a couple of trackswhich display his upbeat inheritance of the Newman rhythm. 'Blokey' and'Bumpy on the Beach' are just as bouncy even catchier than his trackfrom 'Swim Team 1', but display a phenomenal progression. Bumpy'smother Malka Spigel makes a welcome return to singing in her nativeHebrew with one of the most joyous pop songs she's sung, although I saythat without understanding a word of it. She also collaborates on amore understated and haunting track with new artist Dictaphone underthe name of Host, which is the aegis under which collaborations betweenSwim artists will appear in future. Dictaphone's Oliver Doerell livesin Berlin, a city awash in atmospheric beat mongery and his 'esc.Meetings' doesn't disappoint. It's a squiggly little number that clicksaway melodically and prepares the way for the dark vortex of Symptomsin the middle of the disc. Poetess Leonie Heyes-Cercio of Beat Kittenis another new Swim artist who watches a man melting on the pavement ina way that recalls former Swimsters Pablo's Eye but is perhaps a littlelighter in mood than their cinematic 'All She Wants Grows Blue' album.Manchester based tunesmith Dave Scattergood aka Toucaen is another newSwim signing, and like the other newcomers his infectious and emotiveoffering leaves me eager to hear more. Toucaen and Lobe seem to sharequite a similar aesthetic, and a new Lobe track bodes well for the nextalbum, as does the exclusive 'Root' from Denmark's premier machine rocktrio Silo. The CD doesn't hit the shops until early November but youcan get it online now at www.posteverything.com, and for the price of a12" single you'd be silly to let it pass you by, unless of course youhate emotive insistent inventive melodic music that displays severalinteresting modes of forward propulsion.
Lingering around San Francisco with Jack Dangers can be found videoproduction guru Ben Stokes and multi-instrumentalist/instructorextrordinaire Mike Powell. Together, the trio form Tino Corp., butseparately Stokes' and Powell's musical projects are respectively DHSand Bo Square. DHS follows up his last 12" (the House of God 10thanniversary) with the spacey psychically suggestive 'Mind Control' ep.Side 1 features three variations: unseparated upbeat dance tracks whichare more of a nod to mid-90s techno crossed with vintage spoken wordrecord samples on hypnosis. The thumping beat is rather thin for mytastes but would probably be intense on a super powered DJ system. Side2 is noted as both 45 and 33 rpm and features only two tracks, alsounseparated - "Telephone Sounds" which hijacks many analogue beeps,clicks and voices from the receiver and "Subliminible" where Stokesenlists a small arsenal of sampled analogue drum beats over anartificial robotic bassline. 
The first Bo Square release came out last year but shouldn't gounmentioned any longer. 'Outer Space Suite' is available on 12" and iscomprised of two faster-than-average techno future classics. Fans ofthe jazzier Meat Beat sound would appreciate the feel brought into themix, as guests Jack Dangers (on vcs3) and Marshall Allen (on sax).Powell, whose guitar and theremin skills coupled with a whole jazzaffinity flavors the first side on a delicious 9+ minute long threepart beat suite. The speed makes it almost considerable to be drum andbass but the track really stands apart from the crowd. "Numbers" on theb-side is comfortably slower and in an almost Kraftwerkian tribute iscolored with various numbers spoken in foreign languages. Both tracksare on the full-length debut from Bo Square, 'Sizing Things Up' butthere's just something magical about having the tunes on vinyl. Lookfor a review of the full-length soon.
The debut solo release from Christian Kleine features eight amazinglypleasant electronic tunes. Kleine's work has been featured on Aerovanerecordings and in various performances around Europe last year as halfof Hermann & Kleine. The songs here are smooth with the grace ofsomething like a Boards of Canada release yet the excitement of anAerovane album. Kleine tries his hand at a variety of electronicflavors - the echo chamber of the album opener, "Guitar Interrupt",punchy repetitive beats of the title track and "Today's Mark," and arumbling beat-less 'ambient' tuine "Kritzel." While it's nice to hearsomebody making the attempt at pleasantness, this disc isn't reallysomething worth your undivided attention. 'Beyond Repair' could easilywin brownie points from Scrabble guests as it lies in your disc changerin between other relatively uninvolved classics, but at best this albumonly gets a minor amount head nods at the most exciting bits.
A disc with the potential to infuriate idiots before they've even heardit is a rare thing, and Lord Almighty, Father of Toads, here are two ofthe damn things! Having already made a recording of noises sourced fromthat famous old book full of bloodbaths and boils, the bible, prolificJapanese sound artist Aube has allowed the Elsie and Jack label toassemble a cast of thousands to hack and chop digital crosses on whichto hang the pages of the book.
"The Cuckoo" is the full length debut from Jansky Noise, a solo projectof one of the V/Vm lads. The ziplocked LP is a gorgeous green/blacksplattered vinyl and is "part 3 of an ongoing series of colour codeddistressed audio" releases, the previous ones being Noise/Girl's"Discopathology" and V/Vm's "Masters of the Absurd". Side 1 begins witha few tracks worth of heavily processed loops that approach aMerzbow-ian level of noise assault. The remainder of the side calmsthings down considerably, but only after a passage of disruptive humansnoring paired with bird squawks. This eventually tapers down to an oddbut soothing sort of ambient experience that includes a soundreminiscent of a distant cruise ship horn and a bit of effected musicbox. Side 2 alternates between mercurial and mellow tracks. PatsyCline's classic rendition of the Willie Nelson penned "Crazy" is giventhe classic V/Vm treatment, pitch shifted and slowed down to a creepycrawl. "Roaming in the gloaming with SCOTTISH pie by my side" (yougotta love those whacky titles!) is an impressive example of pastoralmeets industrial ambiance just after sunset. "Rapid Racing" revs up andshifts through high pitched frequencies, coming to an abrupt stop forthe finale: a relatively untouched Andrews Sisters' "Money is the Rootof All Evil". "The Cuckoo" is another thoroughly fun and diverse 32minutes of lunacy from the V/Vm camp. You'll laugh, you'll cry, you'llcringe, you'll smile. Be sure to check out the revamped V/Vm site atBrainwashed later this month for info on the neverending torrent of newreleases on the horizon.
Two new songs grace this CD single available now from Low on theirChair Kickers label. In addition, the disc comes with a very impressivemusic video for "Dinosaur Act" directed and edited by NY-basedindependent film enthusiast, sometime musician and fulltime fan MarcGartman. Ironically enough, "Last Night I Dreamt,..." is possibly the-last- great Smiths song, yet the overall font and style theme of thissingle mimics the -first- Smiths release. "Last Night" is by far myfavorite on their final album, strangely enough allegedly recorded-after- their split (without Johnny Marr and Morrissey even recordingtheir studio sessions on the same days). The trio have been performingthis live in the US to receptive audiences but reports tell the bandwas heckled in the Smiths' hometown of Manchester recently. While it'snoted that the recordings took place at the home studio in Duluth, theemotionally heavy reverb makes it sound like it was recorded in anempty concert hall. The second track, "Because You Stood Still" is aclimactic Low original which probably won't become one of my favoriteLow tunes, yet it has the most natural mix of strings I have heard in aLow song since "Condescend" from 1997. Maybe one day Low will finallygive in and release a nice compilation so I don't have all these greatsongs on individual singles,..
Every single track from Foetus' latest album "Flow" is given a "Blow"job for this companion remix album. Eleven hip remixers take their turnbut Thirlwell isn't quite willing to entirely let go of the controls ashe maintains the executive producer's chair. For me, remix albums areusually a hit and miss proposition and this one's pretty par for thecourse. I often can't help but think, 'yeah, this is alright, but Ilike the original much better'. First the ones I like. Franz Treichler(Young Gods) completely turns "The Need Machine" inside out fromraucous rocker with aggro vocals to frosty soundscape techno withwhispered vocals (which must have been re-recorded). Phylr (JF Coleman,ex-Cop Shoot Cop) does a nice job of transforming "Mandelay" into oneof his own moody, predominantly instrumental pseudo-industrial tracks.Sean Beaven (Kidney Thieves, longtime NIN mixer/engineer/producer)gives "Grace of God" some drum 'n bass fills, clever new samples andeventually a slower guitar fortified chorus. Ursula 1000 serves up"Someone Who Cares" with a whole new white trash race track influencedbacking reminiscent of My Life With the Thrill Kill Kult circa"Sexplosion". And Thirlwell himself can't help but join in on the funby obliterating and extending "The Need Machine". And now the ones Idon't much like. Charlie Clouser (Team Nine Inch Nails) gives parts of"Quick Fix" an extra rock jolt but he also relies on far too manyNINnie-isms like vocoded and hacked up vocals. Pan Sonic and Kid 606essentially make new, annoying tracks of their own from pieces of"Kreibabe" and "Shun" respectively while Panacea buries "Heuldoch 7B"in distorted beats and synths. Yuck. And DJ Food tries to make"Suspect" creepier by pitch shifting down much of the vocals but themusic is such a mess it makes it intolerable. I'll say it again: hitand miss. I'd rather listen to "Flow", one of my favorite new albums ofthe year. Foetus.org states that a "Blow" related event is planned fornext January in Los Angeles.
The third collection to come out of Iceland's Kitchen Motors might aswell be parts three and four to the Motorlab (reviewed a couple monthsback). This 2xCD collection shares many of the Icelandic performers ason the other collections, recorded earlier however (1999) from avariety of improvisational performances in the Motorlab. The majordifference is that the first two compilations were rather rigid in thecollaborative respect — each performance was between at least twounlikely paired identities. On Nart Nibbles, collaborations occur, butthere are also performances by the individual groups. Seven tracks fromseven different entities make up the first disc, beginning with a fourorgan and one drummer ensemble, Apparat Organ Quintet, whoseperformance sets the stage for this rather clean, well assembledcollection. A contribution from Big Band Brutal is neither big norbrutal, but quite clearly establishes the fact that instrumentalimprovisation doesn't always have to be harsh or directionless. Discone ends with a fabulous 10+ minute rhythmic collaboration between Múmand Músíkvatur with organs, a toy drum kit, synths and dryer sounds.Disc two however features only two tracks. The first is an all-star13-guitarist ensemble which stretches nearly half an hour. "HelvitisSymphony I" is much less dissonant (and more enjoyable) than most avantgarde guitarist ensembles (like those led by Glen Branca) and featuresguitarists like Motorlab organizer Kristin Bjork, Jonsi from Sigur Rós,Hilmar Jensson and Hei¦a. Over the course of the piece, each guitaristintroduces their part, contributing a distinct sound and feel, fromdrones to melodies, carefully layering over what's already beenestablished, yet developing and mutating the feel and direction. Thecollection concludes with a beautiful electronic versus organiccollaboration between Biogen, Plastik and Hilmar Jensson, matchingpulses, low frequencies, and caterwauling guitars into a hypnotic audiosoup. Gosh I wish I were there.
Carsten Nicolai (aka Noto/Alva Noto) has been collaborating via e-mailwith several different but like-minded artists lately: with à for"Wohltemperiert", with Ryoji Ikeda for Cyclo, with Scanner for"Uniform" and here with Thomas Knak (aka Opiate) for the latest in the'static' bag series. Knak records solo under his own name as well asOpiate and Gloria Hirsch, is a member of Future 3 and worked with Bjùrkon her latest, "Vespertine". These tracks, referred to simply as optofiles 1 through 4, total a little over 33 minutes and fit right in withthe static aesthetic. Nicolai's digital glitches rhythmically singaccompaniment to Knak's simple, lazy melodies. Add bass swells, simmerand stir occasionally. It's a comfy balance between fireside warmth andgoose pimple chill. 1 and 3 are just the right length, the latteradding a tasty beat, while 2 is way too long and 4 is way too short,the latter being the most minimal of all. Nice ...
"Transform" is Nicolai solo as Alva Noto and it is his second disc assuch for Mille Plateaux, follow-up to last year's "Prototypes". Bothare all about minimalism deeply rooted in microscopic mathematicalcoding and structure. It's kinda funny now because I really enjoy(ed)the first disc and was looking forward to more in a similar vein at thetime, but now that I have it I'm not as satisfied as I should be.Unfortunately for me (and perhaps Nicolai) is that in the time that haspassed between the two albums his collaborations with others haveinjected new and different blood into the mix with varying and excitingresults. With "Transform" were back to just Nicolai's evolutionarycomposition techniques and standard set of audio building blocks - thefull range of waves, pulses and drones, glitches, metallic pops andclicks, etc. The quality of his solo work is just as good but myperception of it has changed some ... it seems exceedingly academic andsterile in comparison now. That said, there are still a number ofmildly funky (well, about as funky as a German with a laptop canpossibly be) grooves to be found among the 10 tracks or 'modules' asthey're referred to here. But here's hoping that more collaborativework is in store.
Peter Rehberg may be familiar as Pita and Ramon Bauer as General Magic,both of whom are usually at home on the Mego label. However, they'vebeen documenting noisy rhythms emanating from errors over the course ofa trilogy of CD's on Touch. Never ones to stick closely to a rulebook(except perhaps 'How to Rewire Your Fridge') the third CD is actuallyculled from Australian live performances by the Austrian duo. Once pastthe irritating over the top intro from a swearing local 'celebrity'it's over the top laptop noise all the way. Really this has as much incommon with Rehberg's Pita material as it does the earlier 'ballt' and'Fasst' installments. Maybe that's because the glitch is seen by thecogniscenti to have become a bit of a cliche in the five years since'Fasst' emerged twitching and humming into the twilight. The CD isindexed into 13 tracks over the course of four titles, so on randomplay cuts three of the noisescapes into 2 to 7 chunks which actuallywork off each other very well in any order. I suspect that Rehberg andBauer would actively encourage even greater listener interaction. Trydownloading the samples below and hacking, chopping and mulching themto your own requirements. I had a lot of fun doing just that withsamples from the last General Magic CD. Which is not to suggest that'passt' isn't a fine listen in itself. Its crackles and pops andmeasured descents into howling digital whirlwinds are fine exercises inreigning in and controlling chaos. From heartbeat pulses to emergencywhite noise whiteouts, Rehberg and Bauer keep things moving at a fingerclicking pace. Halfway through the longest closing excursion intomounting dissonance, 'Revolver', the influence of Bruce Gilbert'slatter day solo work is readily apparent, and recommendations don'tcome much higher than that. Like 'In Esse' or the Speedranch^JanskyNoise 'Live at the Scala' disc, these are noise works with so manylayers and masked shifts that repeated listening is essential to makeheads into tails. Piccadilly Records were impressed enough to remarkthat the album has a nice cover and These Records have described'passt' as the first comedy laptop record. So where does that leaveV/Vm and their horrible covers? 
When I think back to the early 1990s, three albums stick out in my mindas being timeless classics: The Las, The Stone Roses, and 'Loveless'from My Bloody Valentine. Unfortunately, these bands had recordingsbefore these records (and in one case after), which fail (miserably) toreach the stunning climax of their staple album, leaving their mark onthe world as an imperfect existence. To its credit, the recent MyBloody Valentine collection of older EPs is much better than both fromthe Las and Stone Roses 'Garage Flowers'. If you're looking for thenext best thing to a follow-up from 'Loveless', however, you will be infor a disappointment. While the airy open voice male and female vocalsand heavily distorted guitars are recognizable, it's a cross betweenjangly pop and the occasional dark distorted track, often giving aretrospective nod to more obscure 1960s rock stuff. My Bloody Valentinewere certainly not in their own element quite yet. There is a certainalmost indescribable charm to it however, despite the poor production,embarassing lyrics and crummy artwork. Perhaps they were trying toohard not to sound like The Smiths but couldn't escape the traps of thecontemporary music as these EPs most likely doubled as a demos backthen. It's worth the cheap price but if you see the disc going for ajacked-up import cost, there's no need to bother.
Though recorded in 1999, the latest Hed Nod Session is just now finallyupon us from Montreal's Hushush. This one is on candy red transparentvinyl and, unfortunately, it is the last one on vinyl due to financialissues (future sessions will be split CDs with other artists). Youshould know what to expect from Harris by now, especially for thisseries of limited edition (300) 33 rpm LPs: killer beats spinning slowand hitting low. Slower and lower than most of Harris' work as Scorn.Each of the 3 tracks per side, about a half hour total, consists of ahip hop stylized beat, a dark atmosphere, deep bass bumps and swells.And once Harris lays down the minimal groove, he sticks with it, soyou'd better be a fan of repetition. "Shorting" takes the cake on SideA with it's crisp snare rush loop propulsion. "Sweet As" starts offside B tediously, its beat being relatively limp and thedownwardcascading sound loop growing tiresome after a few minutes. But"Where" and "Then 3 More" recover very nicely, carrying on where side Aleft off. Every time I spin one of these records I realize minuteslater that I'm subconsciously swaying back and forth and/or nodding myhead. Proof positive that Harris is doing something right.
