- Creaig Dunton
- Albums and Singles
This is an
odd collaboration in multiple ways. Andrew Quitter (Suburbia Melting, Regosphere) and Jonathan Canady (Deathpile, Dead World) is not the noise excursion I would have expected based on the artists involved. Instead, it is more of a deconstructed sludgy rock/metal album, with production as influenced by noise as it is cinematic sound design.
- Anthony D'Amico
- Albums and Singles
I am always eager to hear anything new from the reliably weird and inventive Klara Lewis, but the unpredictability of her collaborative releases is especially pronounced. Notably, Salt Water is the first of those collaborations in which I was not previously familiar with her creative foil. It also seems like quite a leftfield pairing on paper, given that Yuki Tsujii is best known as the guitarist for a hard-to-categorize Japanese rock band based in London (Bo Ningen). Fortunately, everything made sense once I learned that Tsujii is now based in Stockholm (Lewis is Swedish) and that he had previously collaborated with both Faust and Keiji Haino (his primal, convulsive playing here would be right at home on an album by the latter). Also of note: Lewis is described as a "loop finder" in the album's description, which feels like an extremely apt description of her role on Salt Water. Unsurprisingly, the loops that she found are extremely cool, resulting in an album that often sounds like scrabbling guitar noise assaulting an eclectic array of '60s exotica, classical, and film score samples.
- Anthony D'Amico
- Albums and Singles
This is the vinyl debut from American Primitive-inspired French guitarist Raoul Eden, but it previously surfaced as a self-released CD back in 2023 (a previous “incarnation,” if you will). That makes the chronology of Eden’s evolution a little blurry, as his other album (Anima, released on Scissor Tail) was recorded that same year. In any case, Incarnation is an absolute tour de force, as Eden tries his damndest to fill the void left by Jack Rose’s passing and gamely spices up his “primitive psychedelic blues” vision by incorporating Indian, Arabic, Turkish, Moroccan, and Taureg influences. Obviously, the solo steel string guitarist tradition of looking to the East for cool ideas goes back to at least Robbie Basho, but Eden executes that assimilation quite beautifully (and unusually seamlessly). In fact, Eden executes just about everything beautifully and that is the bit that elevates Incarnation into something quite striking and singular, as he brings an ecstatic intensity to almost every single one of these six pieces, resulting in a strain of fingerstyle guitar that often gloriously feels like a runaway train leaving a rain of sparks in its wake.
- Anthony D'Amico
- Albums and Singles
This latest full-length from Australian composer Madeleine Cocolas is billed as a companion piece to 2022’s acclaimed Spectral, as the two albums have something of a conceptual yin/yang relationship: Spectral was devoted to “evoking memories and emotions,” while Bodies “is about being present in your body.” The title also has a dual meaning this time around, as Cocolas sought to explore “similarities between bodies of water and human bodies” and “blur the boundaries between them.” As is the case with most conceptual inspirations behind instrumental albums, it is hard to say how much of that actually comes through in the music, but it makes for interesting contextual background and it seems to have triggered a significant creative evolution, as Madeleine makes beautiful use of manipulated field recordings. That element alone is enough to set her apart from other ambient/drone artists in the Room40 milieu, but I was also struck by her talents for sound design and virtuosic ability to interweave countless moving parts in dynamically compelling ways. At its best, Bodies feels like a minor deep listening/headphone masterpiece.
- Anthony D'Amico
- Albums and Singles
After teasingly releasing a pair of soundtracks under his given name, Adam Wiltzie's latest solo album marks a return (of sorts) to the ambient/drone terrain of his beloved former duo with the late Brian McBride (Stars of the Lid). Unsurprisingly, the titular barbiturate/anesthetic deserves some credit for inspiring this shift in direction, as Wiltzie sometimes yearns for a "sacred escape" from the "daily emotional meat grinder of life," but the album also drew inspiration from his recent move to the Flemish countryside and a recurring dream ("if someone listened to the music I created, then they would die"). Based on my own listening experience, I can tentatively say that the album is probably not lethal (outside of dreams, at least) and also that it will presumably delight those Wiltzie fans who have been patiently longing for such a "return to form." That said, Wiltzie's vision is characteristically a bit of an understated one, so the pleasures of Eleven Fugues for Sodium Pentothal tend to be subtle, ephemeral, and sneakily slow-burning ones.
- Anthony D'Amico
- Albums and Singles
My familiarity with James Vella is primarily through his role running the excellent Phantom Limb label, but that is just one facet of a varied career, as he is also a fiction writer and a member of the Canterbury-based post-rock ensemble Yndi Halda. He records as a solo artist too and has been sporadically releasing albums as A Lily for almost two decades now. Notably, Vella is also of Maltese descent, which inspired this wonderful stylistic detour: Saru l-Qamar is assembled from tapes of home recordings archived by the Maltese heritage organization Magna Żmien. Naturally, that made my ears perk up immediately, as I often enjoy the crackling and hissing escapism of dispatches from long-dead people in far-flung places, but the “oneiric bliss” of Vella’s achingly beautiful and hallucinatory collages proved to be an unexpected and welcome enhancement. This is one of my favorite albums of the year thus far.
- Anthony D'Amico
- Albums and Singles
My familiarity with James Vella is primarily through his role running the excellent Phantom Limb label, but that is just one facet of a varied career, as he is also a fiction writer and a member of the Canterbury-based post-rock ensemble Yndi Halda. He records as a solo artist too and has been sporadically releasing albums as A Lily for almost two decades now. Notably, Vella is also of Maltese descent, which inspired this wonderful stylistic detour: Saru l-Qamar is assembled from tapes of home recordings archived by the Maltese heritage organization Magna Żmien. Naturally, that made my ears perk up immediately, as I often enjoy the crackling and hissing escapism of dispatches from long-dead people in far-flung places, but the “oneiric bliss” of Vella’s achingly beautiful and hallucinatory collages proved to be an unexpected and welcome enhancement. This is one of my favorite albums of the year thus far.
- Anthony D'Amico
- Albums and Singles
I had a roommate back in the '90s who was deeply into the ambient side of techno, which was something that I intensely loathed at the time. Unbeknownst to me, however, that was my first exposure to the seemingly ubiquitous and eternal Taylor Deupree (via his Human Mesh Dance and Prototype 909 projects). I have since grown to genuinely love his work, of course, but I am sufficiently guilty of taking him for granted that I slept on his landmark 2002 album Stil. The same is not true of Joseph Branciforte (who runs the greyfade label), as he was so taken with the album that he embarked upon a multi-year project to "bring Deupree's explorations of extreme repetition and stillness into the world of notated chamber music." That initially seemed like quite a quixotic endeavor to me, but the resultant album is an absolute revelation, as breaking Deupree's elegantly skipping and sublime ambient magic up into individual acoustic components reveals an incredible degree of harmonic and dynamic sophistication that would have been otherwise lost on me. To paraphrase a scene from Mad Men, hearing Sti.ll after listening to Stil. feels like the moment in The Wizard of Oz when everything unexpectedly bursts into vivid color.
- Anthony D'Amico
- Albums and Singles
The enigmatic, inscrutable, and defunct Austrian duo of Jürgen Weber and Lili Novy/Frl. Tost has long been a subject of fascination for me, as I have had a bunch of their albums for years and enjoyed them, yet knew virtually nothing about them at all. In fact, I still would find it incredibly challenging to even answer a simple question like "what does Nový Svět sound like?" as their elusive discography continually blurs the lines between industrial, folk, cabaret, improv, collage, and whatever other esoteric influences they decided to assimilate for a given album. Amusingly, they also had a quixotic tendency to record albums in languages other than their native German, as evidenced by this newly released album from the vaults, which was originally intended to complete a "Spanish trilogy" back in 2007. In characteristically contrarian and mystifying fashion, it was shelved for being "too Spanish" and a synth album (Todas Las Últimas Cosas) was released instead. If this were any other band, I would drive myself crazy wondering why they would allow such an mesmerizing and wonderfully weird album to languish unheard, but baffling choices were basically the norm for Nový Svět. In any case, this album rules and I am thrilled to finally get to hear it.
- Creaig Dunton
- Albums and Singles
First issued in 2013 as a limited-to-50 CDr, the, um, second album by the duo of Christoph Heemann and Will Long (Celer) was initially released in conjunction with a tour and has been only digitally available since. For its tenth anniversary, Black Rose Recordings have reissued this second (of three) recordings from the project on a wider available physical edition, ensuring that its lush, yet sparse collection of electronics are available once again for those longing for a tangible copy.
- Creaig Dunton
- Albums and Singles
A pairing of two Swedish artists, the veteran Dan Johansson (Sewer Election) and the relative newcomer Gustav Danielsbacka (Incipientium), Sorceress makes for an unsettling collaboration at various points throughout its four compositions. With their heavy use of manipulated tapes, they add an uncomfortably organic sense to the sputtering electronics and junk noise that sound anything but human throughout. It may be unsettling, but it is also delightfully enchanting throughout.
