- Scott Mckeating
- Albums and Singles
The gregarious melancholy and eye moistening turn of phrase are still present, even if his voice is now a little ocean weathered and saddened since the spark-eyed melancholy of 2005's Sings Songs and Plays Guitar. Where other artists mine their lives for songs only to maul them into genericisms, Richard Dawson achingly strings this song with clearly personal details of his life. Despite this, his writing doesn't feel the least bit didactic or dogmatic, it feels more human than most. The forced verbosity of some lines just gives the song an even bigger personality. "Ornithology" is a stream of incidents laced together by birds, beginning with a tale of finding a dying seagull and touching on his grandfather's POW-installed dislike of rice. Lyrics this explicitly personal often fall foul of their own quirks, but Dawson's simplicity, idiosyncratic cadence and homespun beauty make this a touching, cracked thing of delight.
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- Matthew Spencer
- Albums and Singles
This is collaboration between Bower and Basque noise artist Mattin. Its emphasis on harsh noise is similar to Sunroof!'s newest album, Spitting Gold Zebras, only more tedious. The title is homage of sorts to the Virgin Prunes, whose first release is this CD's namesake. I find it misleading because aside from the title there is little musical commonality between the two groups and none of the eclecticism and humor that the Prunes were known for. The lone track is built by a solid yet unvaried riffing buried under brittle, rumbling electronics. These components don't play off each other but continually battle for dominance, never disengaging form spot they are rutted down in. The big chords and riffs are not allowed to decay or ring out in the manner that they demand to, and any sort of modulation or timbral variation in the electronics is masked from hearing.Mattin has stated that the new goal of noise is achieving freedom, but this release sounds for like repression than anything.
He and Bower fall into the familiar conceptual trap of many harsh noise artists; that a piece must at all time maintain a maximum level of abrasiveness in order to intense or compelling. In that approach though, there is no relief that attends freedom, only sounds tensed into shapelessness.
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- Matthew Spencer
- Albums and Singles
Matt Bower chooses to use his Sunroof! moniker to release music which is more of a fire breathing trail than an exercise in cosmic liberation.
Instead of Bower's usual fluorescent drone work and mechanistic sound pieces usually recorded under Sunroof!, sheets of high frequency noise and metallic scree dominate this album. These play with an intensity that is unremitting and eventually exhausting. Each component is constantly pushed up the front of the mix and stays there like an obnoxious cousin breathing down your neck. This directness adds a density to the sound, but the impact is blunted by the static arrangement of most the tracks. Bower has a tendency to let his sounds play for minutes without adding or subtracting anything. This approach has worked previously in Sunroof!, but the elements here are too volatile to be left alone.
The grating static and metallic blasts certainly demand attention, but each track rewards 30 seconds of it as much as six minutes. It is only until track three that this kind of searing pressure is removed. Both C. Spencer Yeh of Burning Star Core and Mick Flower of Vibracathedral Orchestra are guest players here. It's hard to discern exactly what they are doing, but there is clearly more going on. Metallic loops and scrapes flutter out of clouds of reverb like screams of some sentient junkyard. It is menacing like the rest of the album, but also controlled and approachable. The lo-fi production bunts the harsher frequencies, opening up wider listening perspective, like watching a volcano erupt on a distant island. After that, the rest of the album is a bit of a come down, and music devolves back into undifferentiated harshness.
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- Administrator
- Albums and Singles
SUNBURNED HAND OF THE MAN'S FIRE ESCAPE, PRODUCED BY FOUR TET, OUT THIS OCTOBER ON SMALLTOWN SUPERSOUND
Sunburned Hand Of The Man's new album, Fire Escape, will be released by Smalltown Supersound on October 2, 2007. Produced by Kieran Hebden (Four Tet), Fire Escape consists of an all star line up, all of whom are members of the movement which is Sunburned Hand Of The Man. Led these days by John Moloney, Sunburned Hand Of The Man is not a band in the traditional sense, Sunburned is a collection of like minded artists and musicians gathered together for the purposes of group exploration and an undying search for the 'ecstatic truth'.
Kieran Hebden's relationship with Sunburned Hand of the Man began after Hebden read an article in The Wire that touted Sunburned Hand Of The Man as leaders of the "New Weird America". The story sent Hebden on a search of Sunburned records and he's been a fan of them ever since. Sunburned supported Four Tet for a two-week tour in the spring of 2004. A couple of years later in March 2006, Hebden asked the band if they would like him to record them in a London studio (the Exchange) with the idea that he would take the recordings and construct his vision of a Sunburned record. Fire Escape is that vision.
Both Sunburned Hand of the Man and Smalltown Supersound are fans of Boredoms and they asked the band's leader, Yamatsuka Eye, to create the artwork for Fire Escape. The artwork Eye created perfectly captures the band, the album and the sound.
Sunburned Hand Of The Man on Fire Escape are:
Kieran Hebden (Fourtet) - piano, drum machine, production, mix
Robert Thomas - bass, samples
John Moloney - drums, beats, vocals
Ron Schneiderman - guitar, percussion, winds
Marc Orleans - guitar, casio, winds, percussion
Michael Flower (Vibracathedral Orchestra) - trumpet, guitar, winds, percussion
Bridget Hayden (Vibracathedral Orchestra) - guitar, viola, winds, piano
Keith Wood - guitar, percussion, winds
Gozzy - wheels, map
Tracklist:
1. words to live by
2. nice butterfly mask
3. what color is the sky in the world you live in?
4. the parakeet beat
5. captain knowhere
6. fire escape
7. the wind has ears
8. triple, double, everything
9. raw backwards
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- Matthew Amundsen
- Albums and Singles
The album starts particularly strongly with a string of great tracks, "Defoncontec," "Rebel," and "Activision." Although a single song can end up going in a variety of directions, the results are rarely fractured, which is an indication of the duo's skill in making these changes feel effortless, if not inevitable.
Although I like much of this album quite a bit, it does start to drag a bit especially toward the end, with the notable exceptions of "Space Terror Dub" and its remix. Part of the problem is that there's a certain sameness prevalent throughout these tracks. Apart from a couple of exceptions like "Clacowtnic" and “Ondalux," the timbral quality of the beats are mostly similar and could have used more texture or a bit of melody to complement the rhythm. By the time the album ends, it seems that a lot of the beats are mere skeletons of songs rather than complete songs in themselves. Yet while I am more likely to go back and listen to a few select tracks rather than the whole album, I found much more to like here than not.
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- Matthew Amundsen
- Albums and Singles
To be honest, I didn't care for a lot of the vocals on this album. Lackadaisical and sometimes purposefully off-key, many of these would have benefited from another take or two. The lyrics are quirky but too often fall on the sillier side of absurdity, and because of this it can be hard not to dismiss them entirely. Even so, there are a couple of the more conventional songs that I like, such as "Bottle of Rum," "Rehab," and the haunting "Arabella Sabotage."
While the acoustic guitar playing on the album is more or less standard fare, a lot of the other music is quite enjoyable when the group indulges their experimental tendencies, like when they drone, groan, and moan with horns, chains, and electronics on the instrumental "He Brings the Hatchet in the Evening." I like them best when they engage with their environment directly, as is the case on "Boxcar Gamelan" when they and 'various drunk strangers' bang out layers of snaking rhythms. Even the minor contributions from "Guy on Street" explaining that everyone has certain guaranteed rights or discussing the jungle rot from Vietnam on his feet give a good sense of place through the people that inhabit it. Yet this album isn't quite the tour of subterranean Atlanta that I had hoped for, and I can't help but feel that it misses an opportunity to share the city's weirdly unique culture with a wider audience.
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- Administrator
- Albums and Singles
New Zealand has long been home to a remarkably diverse population of experimental musicians, and this excellent compilation collects tracks from some notable examples. While many of these names are doubtlessly familiar, this recording represents a significant break with New Zealand's past musical giants and instead looks boldly to the future.
Although this compilation consists of only ten tracks and even repeats a couple of artists, for what it lacks in numbers, it easily compensates in quality. Considering that it contains such a disparate selection of musicians, it maintains an admirable consistency. As different as they are, the selection and sequencing of tracks play to each other's strengths so well that it's not implausible that the songs all could have sprung from the same group. Patiently eclectic, the collection doesn’t try to forcibly shift the focus in any way but instead lets it unfold organically with each track.
Campbell Kneale's Birchville Cat Motel kicks things off with what is arguably the compilation's noisiest and most forceful track, "Skies Crimson Tears." The charged guitars, pulsing rhythm, and electric drones are more or less what I have come to expect, and this one doesn't disappoint. "Unknown Rembetika," Greg Malcolm's first of a pair of tracks, incorporates Eastern scales and multiple guitars with mystical results. While mostly instrumental, there are a couple of songs with vocals, the first being "Bold/Old" by Pumice. Another is GFrenzy's "Mouth of Bloody Vengeance," which uses distorted elements to great effect and is over much too soon. Antony Milton, who released a fantastically heavy double-disc album as Myrtu! last year, contributes a subterranean vibe with his riveting song, "Drawn Out Fighting." In contrast, Leighton Craig's "Hymn for Agnes Martin" is pleasantly soothing. Peter Wright closes the disc with "Another Gate," deftly combining his 12-string guitar with field recordings to end things on a contemplative yet inspired note. There is quite a bit of cross-pollination going on here, like when Stefan Neville of Pumice and Leighton Craig work together as Blowfly Saint, Pumice's recording of the GFrenzy-penned "Stars," or even the fact that Milton has previously released music by most of these artists on his label Pseudo Arcana. Still, there is no immediate commonality among them, and that this small group of musicians can come up with such distinctly different music is impressive.
Rarely do compilations hold up so well as this one does, and part of the reason may be because the inclusions here reflect a highly selective curatorial process at work, one that doesn't try to overwhelm or impress with sheer quantity. Since this is only a small sampling of the variety of unconventional music to be found in New Zealand, here's hoping that subsequent volumes aren't too far behind.
samples:
- Birchville Cat Motel - Skies Crimson Tears
- Greg Malcolm - Unknown Rembetika
- Leighton Craig - Hymn for Agnes Martin
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- Administrator
- Albums and Singles
Laurent Baudoux of Belgium's Scratch Pet Land goes solo with this boisterous new project. Taking the kitchen sink approach to cheap electronics, Baudoux throws gameboys and primitive keyboards alongside guitars to create songs that are frequently catchy and fun.
The album is mostly free of self-consciousness and is dominated by a childlike sense of play. Video games are a common point of reference on many of these tracks, but for the most part they're used as a compositional element with enough conviction to keep their sources from being overwhelming or distracting. Additionally, the appearance of Quentin Hanon's distorted guitar on several tracks lends the songs an edgy excitement when necessary.
Among the album's highlights are the guest spots from Japan's MC Illreme, whose energetic contributions are a thrill to follow despite the fact that I don't understand Japanese. The best of these is easily "Rasclica." MC Illreme's rapping over Baudoux's insistent heavy beats makes the song the album's most captivating. While the shifting focus keeps things unpredictable, the album hits an occasional lull. "Waisvisz Beat" contains some squeaks and adds a beat later but nevertheless seems a little directionless, while "OK" sounds too much like an unadulterated video game soundtrack to hold my interest. Things pick up with the return of MC Illreme, whose infectious enthusiasm rescues the album from its brief bout of the doldrums and restores it to its former glory.
Baudoux gets the most out of his instruments, and his innocent attitude toward playing them infuses the songs with enough vitality to keep the album entertaining apart from a digression or two. There is very little attitude or pretension at work here, and that goes a long way toward making this album the enjoyable, spirited romp that it is.
samples:
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- Administrator
- Albums and Singles
Norwegian noisehead Lasse Marhaug clearly has an affinity for the cassette tape and the underground culture that went with it. So I have no doubt he compiled Tapes 1990-1999 with some sense of trepidation, going from that lo-fi handmade scene to the world of professionally manufactured digital recordings. At the same time, however, it is a testament to his art and talent that those hand dubbed tapes are now being presented as a beautifully packaged four disc boxed set, complete with a 24 page booklet of essays and reproductions of tape artwork.PicadiskIn the early days of the noise "scene," cassette tape was the great equalizer. Unlike pressing vinyl or CDs, anyone with a cheap recorder and a few bucks could release an album, usually complete with low resolution photocopied artwork. Nostalgia aside, few people could really claim to miss the hissy low fidelity sound, the unreliability of most tape decks (nothing worse than getting a brand new tape "eaten"), and even on the artist end, surely the speed of modern CDR burners is a godsend when compared to the length of time it took to do real-time dubs.
While the fidelity of noise recordings may seem oxymoronic to some, the tracks across these discs sound very clean and clear. Sequenced in chronological order, the first disc captures his early work as Herb(ert) Mullen (and a few tracks as Egoproblem). This early material shows a novice at work, sometimes sustained fuzz roar ("Untitled") to spastic tape splicing of belching, random speed metal and dialog bits ("Delirium Acutum"). Other experimentation is notable too, such as the junk percussion of "Skinpeel" and the minimal static meditation of "Out."
By the second disc Marhaug was using his own name, and had found his voice in the noise world, delivering brutal, subwoofer scraping noise exemplified on "Monster," which, at 28 minutes, takes up nearly half of the disc. This is not easy listening, but it is noise done right, full of channel-panning brutality and a subtle hint of texture that rewards repeat listening. Disc three shows him stretching his legs again and trying new things, retreating from sheer brutality to more experimentation, such as the mutilated jazz loops of "Untitled #2" and the silly tones of "Wish You A Merry Christmas."
The last disc (and most recent work) also shows this penchant for experimentation. The destroyed cheesy beat box loops of "Side B" are neither consistent with the in your face percussion of Wolf Eyes, nor are they at all reminiscent of anything vaguely labeled "electronic." The bizarre rhythmic loops of "Untitled" are similarly difficult to classify. There is no identifiable percussion sound but a rhythm is discernable nonetheless. The full on eardrum shattering noise is present as well: the full 20 minutes of "Miss Plastic Murgatroid's Red Metal Wet Dream" is well equipped to contribute to hearing loss for those who choose to go down that path.
The idea of five hours of pure noise might seem extremely daunting to all but the most hardened of harsh noise heads, but in truth, Marhaug's diverse approach to sonic destruction makes it more than just a pleasurable listen. Tapes is great opportunity to hear a prolific artist hone his craft, and is a great set as well. It's plenty harsh and painful as well for the biggest noise fans, complete with the power to alienate neighbors and friends.
samples:
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- Administrator
- Albums and Singles
Steven Stapleton hates this record and for the greater part of the last quarter century has wanted to forget it existed. Thanks in part to Matt Waldron, Kevin Spencer, and the folks at Raash, his diabolical plot to condemn this album to the waste pits of history has failed. Insect and Individual Silenced has been given a spectacular re-issue complete with new artwork, a new mastering job, and some very limited, very peculiar extras.
Raash
Everyone that has wanted to has probably heard Insect and Individual Silenced. Bootlegs have been widespread since it was originally released/destroyed and there are plenty of digital copies of varying quality floating around communities all over the Internet, but I can safely say this is the best sounding copy I have ever heard. Kevin Spencer at Robot Records created a digital master of the album from his copy of the vinyl and each of the three tracks sound phenomenal. The opening boom of "Alvin's Funeral (The Milk Was Delivered in Black Bottles)" is bright and resonant as are all the various explosions and crashes of sound that populate the piece. There is virtually zero hiss across the album and the range of sounds populating the record are clear and distinct. Each of the three tracks are very distinct and feature some unconventional approaches to sound-craft, but they play together nicely and emphasize just how effective Stapleton was at producing incommensurable but enjoyable slabs of sound. That begs a question: why did Stapleton hate this so much in the first place?
I won't waste the time speculating, but it should be noted that this stands toe to toe with just about every other early Nurse with Wound record out there. Stapleton's non-logical sequencing and adoration for the unexpected come across loud and clear on every track, especially "Absent Old Queen Underfoot." The playfulness of "Alvin's Funeral" might seem like a classic Nurse with Wound utility, it has all the ingredients fans have come to love. "Absent Old Queen Underfoot," however, sounds bizarre even in this trio's hands. The hurricane flurry of snares and Jim Thrilwell's caustic noise fiascos all come together in a brew of masturbatory jazz, flatulence and inside jokes.
Such an approach to record making would probably damn most groups to hell with their complete disregard for the listener scoffed at, but there's little sign of pretense on the track. It may go on a little long, but in the end it's perhaps the biggest surprise on the record and sounds the least like Nurse with Wound. The album is somewhat transitory, a constantly dismantled sculpture that rests on no base and never forms any wholly distinct features and because of this it can feel somehow torn between total chaos and arranged nonsense. Homotopy to Marie did come next and, on the whole, sounded more coherent, even at its most discombobulated moments. Listening to Nurse with Wound working out some conceptual kinks is massively entertaining and the opportunity to have an official copy with all the notes and new features makes the rerelease worth it.
Matt Waldron has completely reworked the original artwork for this release, though the original is featured on the inside of the beautiful six-panel digipack that houses the disc. The walking corpses have mutated into a trio of cut open insects, various flora and phalluses growing from their withered bodies. The color is phenomenal and the entire package feels substantial; everything has been handled with consideration and care. A four panel insert is included with a note from Stapleton and a photograph of the United Dairies insert is included beneath the CD tray for near total completeness. All that could arguably be missing is the information included with the cassette release. If, however, you manage to obtain the special edition release, a real treat waits inside. As of the time of this writing, Raash records still has some copies of an edition that comes with the revamped artwork and the album as well as a series of high-quality postcards and a "framed insect." Included in this box is a frame playing host to various insects, identified, numbered, and signed. It might be the coolest "insert" included in a boxed set ever: it looks fantastic, adds a somewhat quirky feel to the whole package, and pretty much sends the entire release beyond the stratosphere in terms of quality, design, thoughtfulness, and impact. Both the standard and special editions are worthy entries in the Nurse with Wound catalogue and stand out as being of the finest rereleases ever made.
samples:
- Alvin's Funeral (The Milk Was Delivered in Black Bottles)
- Absent Old Queen Underfoot
- Mutilés de Guerre
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- John Kealy
- Albums and Singles
Green Mine are loud but much like their packaging, the noise is upbeat and not an exercise in endurance. Warm, fuzzy tones flow out of the speakers, interspersed with synth eruptions.
Each of the five short pieces on Ultra Rainbow are pleasant and uncluttered. This EP is a relaxing way to spend 20 minutes and fits nicely into a tea break or a short bus ride. It is unlikely to provide much value in terms of concentrated listening but as a meditative breather it is satisfactory.
Aside from the extra clout of having more volume, Ultra Rainbow reminds me of FM3's Buddha Machine in the way that the music is unobtrusive but subconsciously engaging. I do not notice myself listening to it but the room feels like an emptier, colder place when it ends.
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