The last few solo albums by Edward Ka-Spel have clearly shown that theLegendary Pink Dots' cofounder and frontman isn't afraid to steer hismusic in new and ever more idiosyncratic directions, but O Darkness! O Darkness!takes things several steps further out.
Kemialliset Ystavat is the most consistently rewarding artist currentlygrouped under the "Finnish Underground" free-folk banner. KemiallisetYstavat ("Chemical Friends") is primarily the work of Jan Anderzen, whoshares with his fellow compatriots (Es, Avarus and Islaja, amongothers) a taste for loose, deconstructed acid folk, turning deceptivelysimple acoustic arrangements into fractured, kaleidescopic miniaturesymphonies that are richly evocative of the psychic geography ofFinland's subarctic forests.
The Friday Group play meta-country and western music, mapping out thosedusty, hard-bitten spaces in the American West that only persist in theabstract world of forms. Theirs is an existential sound awash withharsh, unrelenting sunlight and parched desert aridness.
This is the second La STPO release to surface on Portland's Beta-LactamRing Records, the new home for this strangest of French prog-rockensembles. La STPO, whose name translates literally as "Shy Society atthe Bird Parade," were discovered by legendary French experimentalistsDDAA (Defecit Des Annees Anterieurs—"The Deficit of Former Years"), whoreleased the band's first EP on their own Illusion Productions back in1986.
With Black Sheep Boy,Okkervil River offer their first consistently brilliant albumresounding with themes and cascading with conceits. Neutral Milk Hotelseem to be an oft-repeated and more often misapplied referencepresently, but the structure of Okkervil's latest album unmistakablymimics In the Aeroplane Over the Sea.
Considering the lyrics on the No Religion7", I was surprised by some of the music and the packaging on thelatest full-length from Ireland's most whimsical gypsy. The musicsounds and feels entirely religious through the first four tracks and,to a great degree, recalls the gothic architecture and monolithic scopeof the more astounding and awe-inspiring cathedrals of the world.
Noise, even more so than metal, shares a strange relation withviolence, death, sex, drugs, and any combination thereof. In fact itseems as though bands like Merzbow, Masonna, Whitehouse, et al.represent the extreme edge of violence and sexuality in their artwork,titles, influences, and lyrical output. I sometimes question just howmuch this fact determines the popularity of such acts seeing how manyof their releases just don't impress me.
Esmerine are an outfit for the end of the world: their songs arepowerful meditations on loss, pain, and dread. At their core are BeckieFoon (A Silver Mt. Zion) and Bruce Cawdron (Godspeed You Black Emperor!and Set Fire to Flames). Their second album, Aurora,is the black smoke that arises from the rubble. Here, bleak orchestralmovements slowly build to breathtaking conclusions, such as on theopener "Quelques Mots Pleins D'Ombre," where pulsating cellos gatherforce and speed, culminating in a few brief moments of controlled furyon top of a barrage of drums, bass, and piano.
Oneida's gaze is fixed firmly on the 1970s, but rather then being allawash in overblown solos and misguided mythology, theirs is anall-encompassing view, surveying both the well known and the obscure."Lavender," with its insistent kick-drum and anthemic guitar heroics,is Oneida's call to arms with Kid Millions spouting off nonsense aboutlavender on winter days and braiding pubic hairs.
I Thought I Was Over That not only comes off the heels of a successful LP and tour, but the tracks included are of a varied enough nature to please devoted fans who missed a single here or there and curious newbies alike.