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And from the "What the fuck is this?" file comes this CD from JohnRifle. John Rifle is an enigma. He's obsessed with rabbits, as thealbum artwork shows, and pop culture, as the music shows. He's nothappy with the way things are going in this world of ours, and he'staking action. Mostly minimal piano and drum-created music with soundsamples on top, "Fracas Nurture" is a pretty strange and frighteninglisten, completely devoid of warnings or clearances. Most samples aretaken from television source material like ABC News and VH1 Behind theMusic, and the CD is assembled like one long radio broadcast frominside the mind of a lunatic. It's socially conscious, it's got itssights set on many different targets, including the music industry,fame, drug use and the media, and it's completely and totally out ofits gourd. Never has sound collage music sounded this urgent, thisdriven, or this insane. It's like Negativland making the soundtrack fora reality TV/horror movie. Bob Weston recorded this music, and he hasdone an admirable job given how this material could drive anyoneinvolved over the edge. Tom Waits once created a track like this withsamples of Dan Rather, and this is like the dream that track touchedupon fully realized. Occasionally the music takes on a real structure,like on 'Intercom', but not often. Mostly, it's spoken wordperformances, with a little music for good measure. It's a message, notexactly for the faint of heart, that has some music with it. It's agood project (can't really call it an album because it defies even thatmoniker), but needs to be absorbed in doses. This is too much for onesitting. Try it out, though, because it needs to be heard to bebelieved or understood.
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Late twenty-something Kåre Pedersen was born in Brazil but raised inNorway where he became an integral part of the local scenes in variousbands, probably most notably with Kåre & The Cavemen (akaEuroboys). A year after their split in 2000, Pedersen began work on'Sideman', his solo debut. I've learned to expect the unexpected whenit comes to music from Scandinavia. Yet I'm still a bit shocked by thecatchy pop and rock hooks of Kåre's tunes (kinda like when I firstopened the insert to discover him holding a gun to his head). Somereference points are easy: Spiritualized / Spacemen 3, psychedelic eraFloyd and Beatles, The Cure, My Bloody Valentine, etc. Anders Borne'ssomewhat whiny vocals are a quickly acquired taste but Kåre's (andnumerous Norwegian guests) multi-instrumentation is immediatelypleasing to the ear. Solid drums and fat bass guitar propel the melodicgrooves as they gather layers of guitar and atmospheric swirl. Subtleproduction highlights like piano, slide guitar, horns, bird song andrunning water exquisitely enhance the moods, often building up into awonder wall of sound. The album feels musically happy and upbeat, evenin the blues of "Channel Five". Wearing his heart on his sleeve, Bortneunabashedly confronts the confusion of love on "Sunshine Blues" and"Love Report". You gotta love the organ stabs, guitar soloing and BeachBoys-styled backing vocals of the infectiously giddy "Frank Furius"."Dark of Heartness" ends it all much like it began with "CaptainTrips", a longer track with several minutes of ambient decay/growth.Just another nugget from the Nordic frontiers.
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Over the last few years and few releases on Alien8, Substractif andForce-Inc., young Jirku has been pushing his music into deeperexplorations into post-glitch electro-dub. On this, his fourthfull-lengther, the sounds are simply phenomenal. Lazy beats,constructed from strong bass kick sounds and sharp high-end ticksperfectly compliment languid bass lines and simple keyboard loops. Thesame formula is repeated for different tracks of varying styles—somemore upbeat, like the beefy "Isothermal," or the somewhat harsh,downbeat "Isobaric." Unfortunately, as is the case with all of hisother albums, it goes on way too long. Around the half-way mark (36minutes into the album), the fascination experienced from the openingtracks begins to fade and I long for coffee-shop conversation orheavily drug-induced chill-out room experiences. This could indeed beconsidered "head music" instead of body music, as with listening,there's strong voices in my head telling me to do various things like"Go for a bike ride, Jon;" "Work on your screenplays, Jon;" "Get abetter sound system;" or the always popular, "Update some web pages,damnit!"
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Imperial Teen started as the side project of Roddy Bottum, the keyboardplayer extraordinaire of Faith No More. It seemed, almost, that Bottumwas desperately trying to explore some pop rock roots with the band,because although Faith No More had their own hits with 'We Care a Lot'and later with 'Epic', they were definitely nota pop band by any means. So, Imperial Teen began, releasing two albumsthat were seemingly well received by journalists and audiences alike.Now, however, the game plan has changed a bit. Faith No More are nomore, and Bottum has nothing else to concentrate on, so the stops havebeen yanked out and the fun can begin. Hear me: "On" is Imperial Teenat their best, accentuating the pop sensibility while placing their ownkitschy stank on it, and all the while seeming to present it all withtongue planted firmly in cheek. Yes, this is a band that knows not totake itself too seriously, but still plays out the favorites for thereal fans. Things start strong on the CD, but really get underway by'Million $ Man', showing the true colors of the discotheque moment wellwhile including the flavor of the past. The presence and prescience ofproducer Anna Waronker (formerly of That Dog) is definitely felt, asthe pop has a gloss that carries her signature. Not that the band isoutdone or overshadowed by it: they have their own agenda. These songsare crisp, concise, and they make you tap your feet and sing out loudlike the whole world was your shower. It's the perfect rock record foryou to take to your summer cookout, and no one will criticize you foryour personal choice of hot dog. If you don't believe me, check out thepoppy sound samples for a little of that boy-girl harmony simplicity.More than likely not their best work, but certainly a step in the rightdirection.
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- Bill Ryubin
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It'll mostly be fans of Jarboe's contribution to the last few Swansalbums who'll want to get a hold of this. Although it is a collaborativework, the music being created by John Bergin and Brett Smith (ofc17h19no3, Trust Obey and Caul), it's Jarboe who makes her presence felt.The intention was to create a dark, minimal backdrop, over which Jarboewould be let loose to do her worst. This idea is where the album falls for me. After a few tracks it'sobvious the she's doing most of the work, letting the music becomedistant, which, given how her vocals violently divide people, is adangerous idea. I wish sometimes that she could take a back seat, butmost of the music is uninspired and straightfoward...maybe theirkeyboards are mysteriously broken in such a way as to only allow minorchords to be played, who knows? She is a strong and individual vocalist, and is on top form (lyricallyclose to the later Swans stuff "..you suffocate me honey..you'll destroyme, so now I lost you..") , but the unrelenting gloom seems synthetic andquite forced in places. There are some great moments, especially when they seem to be aware ofthis and try different approaches, like the drifting, washy effects onthe opener " The Conversion-Silent", the multi-layered vocals on sometracks, and the once or twice a real musical instrument pops up, but theyjust highlight how a warmer, less clinical approach would have added themuch needed layer of depth. A tour de force for Jarboe fans, though Ijust can't help thinking what could have been achieved had the music beenapproached with the same vitality and inventiveness.
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- Bill Ryubin
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Part of Staaplaat's rigorous CDR re-issue seres, Dan Burke's sonic mayhemnow can be yours at a reasonable price. As CDRs go, it's well producedand not really distinguishable from a regular CD. The title is apt, as the music is all over the place- in a good way.It's a bombardment from start to finish, never really letting up, andconstantly throwing new ideas and snatches of sound at you. He must havea warehouse somewhere filled with endless hours of tapes, and bits, andreels of forgotten films. Whereas any jackass with a sampler can throw endless cut-ups togetherinto and unearthly messy stew, it takes a fair amount of insight andcohesion to get it to work right, knowing when to introduce what, or howabstract sounds relate to each other. Dan Burke's the only musician I'veheard who uses volume as a musical instrument. It seems as important asthe choice of sounds, because he really knows how to build and keep uptension, something which is maintained and holds the thing together. Themost unnerving things are the long field-recordings, or static bits, cos'you can tell he's just waiting to puncture it with somethingear-shattering. Some of it does come-across like a horror-film, with thedirector an old hand at knowing when to pull back and when to throw inthe surprises.
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- Jesse Nieminen
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Good music of any kind is a product of taste and restraint. It doesn'tmatter if you're working with a single contact mic or a fullorchestra—if you lack taste and restraint, you won't end up with decentresults. Unfortunately, this collaboration really lacks. I've enjoyedStorey's work in Zoviet France and Rapoon, so this was a let-down. Amyriad of samples and loops are employed, so it's a bit perplexing tofind an overwhelming sameness throughout. I think this arises from thefact that most of the loops seem identical in length, and resultingchunky rhythm confines it from ever going anywhere. Embarrassingcheesiness emerges in the poor attempts to inject a sense of placethrough the use of native music samples—sort of like dark ambient'sanswer to world music. Also troublesome is the appearance of datedsynth lines and choir voices. Poor sound quality plagues the wholething, and really flattens the sound. But I'm not sure that fullersound would make this any better. I would have enjoyed this much morehad it been stripped to a more subtle, minimal approach. There are someinteresting sounds here, but they are overwhelmed by the uninterestingones. At least some restraint was shown in limiting this release to 500copies.
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If Cex is the laptop incarnate of Kool Keith, then Gold Chains must bethe equivalent of Sisqo. The first I heard from San Franciscan TopherLafata (the brains behind the chains) was "Burn Babylon" from theTigerbeat6 Inc. compilation last year. It featured sung vocals from amiss Nina Oppenheim and actually had no rap on it. However, theundeniable sass pulsing from that fat, pumpin' jam made me long formore. If that's your only exposure, do not expect a similar club smashon the first two EP releases from Gold Chains, do expect that rawkusattitude and some phenomenal programming. On the self-titled EP, Topheris accompanied by the production assitance from Joshua Kit Clayton,scratching from DJ Bre-Ad (who's credits include work with Mick Harris)and the occasional backing female vocalist. The result is far moredense than any Kit Clayton records and the rhymes are witty,entertaining and after a number of listens become drilled in the head,busting out when singing along. From the thunderous opener, "I ComeFrom San Francisco," to the closing nod to Stereolab, "Rock the Parti",there isn't a weak moment. With each listen, there's actually somethingnew to discover: "Did he say ebonic karate?" Jessica asked me during"The Wonderful Girls of Hypno" before the bombastic chorus sounds in,"San Francisco USA / to Berlin in Germany / Tokyo to Paris France /Hypno babes rule my pants". The self-titled EP came out last Octoberand is a bit of a task to locate but it's well worth it.
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Less than a year later, a second EP has surfaced from Tigerbeat6.Coming from such a strong, stunning debut, this release seems somewhatanti-climactic. The rhythms and tunes here are produced entirely byTofer this time around and, while the songs are still punchy andenergetic, are somewhat flattened by the lack of content. There's farless rap, and more repetitious vocals this time around. The sex anddrug obsessions are way more explicit than the other EP, with trackslike "Mountains of Coke" and "I Treat Your Cootchie Like a Maze" ("Lickthat cootchie, lick that cootchie, lick that cootchie,..." —okay, weget the point). The titles seem more promising but maybe I wasexpecting a little more meat. 'Straight from Your Radio' isn't terribleby any means, and can still provide an entertaining 25 minutes, but isnowhere near as over-the-top as the eponymous debut. Slap all 11 tracks(and "Burn Babylon") onto one CD and you've still got a pretty strongfull-length albm!
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Benjamin Diamond, the strangely overlooked vocalist behind the smashStardust hit "Music Sounds Better With You," has quietly been releasingsome excellent French house singles on his Diamond Traxx imprint.Having enjoyed his solo releases, I was pleased to discover this 12" ofelectro-disco from The Eternals, a group who previously recorded forDaft Punk robot Guy-Manuel's Crydamoure label. "Walk For Me" is a deep,groovy track of warm squelchy bass pads and retro drum hits. Aneffected vocal sample echoes the title of the song repeatedly,sometimes seeming to be a command, other times more of a request orplea. It becomes all too easy to get entranced and lost here. "TheAndromeda Gate" the B side picks the tempo up considerably withcomputer voices spouting statements and status reports over oddarpeggios, haunted synth lines, and a funktastic house beat. During thebreak, the machine seems to take control, but it cannot hold back thebeat for much longer. It's a bit kitschy, but there's definitely anaudience for it. Electroclash fans should keep in mind that beforeAmericans embraced the sound popularized by Fischerspooner and MissKittin (and renamed it for their own purposes), French groups like LesRythmes Digitales and Superfunk were already writing electro-tingedunderground club classics that bubbled over to the mainstream.Therefore, The Eternals aren't trying to jump on our bandwagon. Infact, they're astro pioneers in their own right.
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Die Stadt has finally made this limited 12" picture disc available tothe world, originally released at the Mirror performances in April ofthis year. There are certain characteristics to be expected on MirrorLP releases: approximately 20 minutes of a drone graces each side whichcome in quietly, swell and then die softly. There is some sense ofbalance in all Mirror recordings, however, which has kept people likeme addicted and coming back for more. Fans might be alarmed to hear theamount of non-droning abrasive sounds contained herein. Joining thecore duo of Heemann and Chalk this time around is longtime friend andcollaborator Jim O'Rourke, a man who is either loved or hated it seems,with nobody simply on the fence. Subsequently, while the context issomewhat familiar, the sound is much different. Open microphones insidea room open the first side as the drones begin to be set into motion,silently. Perhaps it was a hot day in das haus von Heemann, as I couldswear I'm hearing an oscillating fan move back and forth while somebodyrustles through utensils in a kitchen drawer. The drones are low, slowand bell sounds are kept in the distance. Over time, faster,higher-pitched drones are layered in, vibrating almost like horn soundsor a quickly-bowed stringed instrument. The drones drift off andsuccumb to the microphone recordings. The bell sounds ring in thesecond side and once again join the proverbial drones, along with thetrain engine-mimicing sound of what could easily be breathing throughwind instrument mouthpieces. By the end of the second side, the droneshave taken over as the field recordings give in. Surprisingly enough,this release is limited to a whopping 400 copies! (Unlike previous livespecials occasionally found on eBay in the hundreds of dollars,...)
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Three of the most well-known and talented musicians in modernelectronic music reunite to follow up their 1999 release 'The MagicSound of...'. Their newest collaborative effort once again allows thetrio to exhibit their respective distinct styles in a way that is bothamazingly well balanced and beautifully matched. The playfulness andhumor found in both Rehberg and O'Rourke's work is evident, and whencombined with Fennesz' skillful subtlety, create an uncanny convulsivebeauty. The four pieces on 'The Return of...' total just over 40minutes. The first two, "Floating My Boat" and "A Viennese Tragedy"exemplify the all-over decoupage nature of the album. A collage oftwitters and low tones are enmeshed in orchestral touches, which lend aquirky and charmingly outmoded element to the digital noises. "FloatingMy Boat" is a marriage of the slow and the frantic, while theaptly-titled "A Viennese Tragedy" has something melancholic in itsinsectival chirping, metallic and aerial blares, and sublime patches.Also prevalent on this track is a heavy use of organic sounds, and theassembly of all these elements gives the sensation of an adroitlycontrolled chaos, which continues into the third piece, "Riding Again".Along with the final track, "We Will Diffuse You", the album evolvesinto an understated ocean of drones, interspersed by occassionaltwitchy bursts. The album's impishly abrupt ending is also strangelysuitable. 'The Return of Fenn O'Berg', with the charactistic warmth andaccessibility of its collaborators is a welcome one amongst the all-toofrequent distant and overly academic leanings of some artists in therealm of the laptop. Thankfully, some of the most gifted in themicrosound genre have decided to venture outside the ivory tower.
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