- Administrator
- Albums and Singles
![](http://brainwashed.com/brain/images/futurismdadareviewed.jpg)
- Marcel Duchamp - La Mariée mise a nu par ses Celibataires, même
- Kurt Schwitter - Die Sonata In Urlauten
- Jean Cocteau - Le Voleur Defants
Read More
- Administrator
- Albums and Singles
![](http://brainwashed.com/brain/images/sunn_o-white_2.jpg)
Read More
- Administrator
- Albums and Singles
![](http://brainwashed.com/brain/images/jaga_jazzist-magazine.jpg)
Read More
- Administrator
- Albums and Singles
![](/brain/images/thighpaulsandra-rape_scene.jpg)
I shouldn't be surprised at yet more perversion coming out of Tim Lewis' vividly transgressive imagination, and yet this image made me shudder. Rape Scene is about the pleasures of an impromptu homosexual menage a trois — Thighpaulsandra, Martin Schellard and Siôn Orgon — who together create three lengthy in-studio improvisations which comprise the album. Three seems to be the numerical key to the album — three musicians, three tracks, and a photograph of three "hear no evil, see no evil, speak no evil" toilets on the cover artwork. On Rape Scene, "he who rides astride the tundra in reindeer-skin thigh-length boots" treats the listener to 45 minutes of synthesizer abuse, psychedelic indulgence and analog chaos. This is deconstructed progressive rock in its most undisciplined form. At times its the sound of a circlejerk; Thighps has found a button on his synthesizer that feels good when he presses it, so he just keeps on pressing it again and again as Martin Schellard jams senselessly to a Steve Howe tune in his head and Siôn Orgon struggles to glue everything together with shambolic percussion. By their nature these three tracks are less focused than on Thighpaulsandra's previous albums and EPs, but when they gel, as in the middle section of "The Busy Jew," the effect is positively riveting. Like getting a peak inside the Inner Space studio where Can produced masterful albums from weeks of improvisation, Thighpaulsandra's merry band of perverts make beautiful noise out of the dynamic of group vs. individual thought. The songs teeter precariously between areas of dissonance, each member pursuing their own phantoms, and moments of perfect synergism, leading to a series of brilliant group climaxes. "His Lavish Showroom" starts off like a whimsical oriental symphony played on the bridge of the Enterprise, eventually exploding into a chaotic mess of buzzsaw guitar licks, jagged electronic arpeggiations and tubular bells. On the aforementioned "The Busy Jew," Schellard busies himself with high-lonesome slide-guitar, while Thighpaulsandra creates a dense mattress of thick, gooey electronics, and Siôn Orgon pushes the momentum forward with propulsive rhythms. It pays off at about the five-minute mark, transforming into a gloriously funky Kraut groove with the Welshman barking out stream-of-consciousness lyrical couplets about weeping vaginas and garden trestles. I seriously doubt I'll hear anything as joyously unrestrained and original as Rape Scene going under the heading of "improv" for the rest of the year.
Read More
- Administrator
- Albums and Singles
![](http://brainwashed.com/brain/images/various_artists-the_hidden_city.jpg)
- Alva Noto - Party Plasibenpius (For Rune Lindblad)
- Peter Hansen - Winter Air
- Johannes Heldén - Bäckegatan 36
Read More
- Administrator
- Albums and Singles
![](http://brainwashed.com/brain/images/kompakt100.jpg)
- Ulf Lohmann - Because Before (remix by The Orb)
- Schaeben and Voss - The World is Crazy
- Reinhard Voigt - Zu Dicht Dran (DJ Koze remix)
Read More
- Administrator
- Albums and Singles
![](/brain/images/comets_on_fire-blue_cathedral.jpg)
Those albums had a somewhat immature approach characterized by overamped, echo-plexed riffs that combined into a fuzzy, undifferentiated storm of guitar noise, with kraut-inspired rhythms and MC5-ish vocal utterances. Their amorphous noise was often compelling, but perhaps shared too much in common with contemporaries like Acid Mothers Temple, pushing the reverbed-into-oblivion psych-rock sound to the absolute limits of taste. With Blue Cathedral, the band emerges as a tight, dynamic rock unit that fearlessly rivals the best of Hawkwind, MC5 and the rest of their musical forbears. Tracks like "The Bee and the Cracking Egg" rock so hard and so relentlessly that any other band is going to have to work awfully hard to convince me that Blue Cathedral isn't the rock album of the year. Lead guitarist and vocalist Ethan Miller pulls white-hot squalls out of his instrument, by turns rhythmic and melodic, or fuzzed-out, jagged and dissonant. His strangulated, throat-stripped vocals sound uncannily like a combination of Gary Burger of the Monks and Robert Calvert. Ben Flashman's bass and Utrillo Kushner's drums form a rhythm section of undeniable power and ferocity, reigning in the chaotic sprawl of guitar distortion. Noel Harmonson strikes a perfect balance between bombast and majesty, working the echoplex and playing keyboards, contributing that all-important galactic dimension to the band's rock proceedings. Guest second guitarist Ben Chasny (Six Organs of Admittance), who also appeared on Field Recordings, contributes a level of acoustic complexity to Miller's debris-spewing riffage. All of this talent would be useless if the songs were weak, but Comets on Fire have worked out a brilliant set of monolithic tracks and brief interludes that never want for focus or intensity, and end long before they've worn out their welcome. "The Bee and the Cracking Egg" doesn't waste a moment in unveiling the combo in full interstellar overdrive, relentlessly pummeling forward on their own demented momentum. "Pussy Foot the Duke" is the album's most beautiful track, with Harmonson deftly underscoring the propulsive rhythms with piano and farfisa organ, Miller and Chasny juxtaposing acoustic and electric guitar to stunningly melodic effect. On "Whisky River" and "Antlers of the Midnight Sun" (love that song title), just to cinch the Hawkwind comparison, guest Tim Daly contributes some unhinged saxophone skronk to the planet-crushing rock. Ending with the dark, drug-damaged psychedelic dirge of "Blue Tomb," Blue Cathedral is an album of undeniable strength and focus.
Read More
- Administrator
- Albums and Singles
![](http://brainwashed.com/brain/images/kawabata_makoto-o_si_abw_a_sighire.jpg)
- ses aintro 'e mene finzas si ses in s'atter'ala e su mundu (04:00-05:00)
- ses aintro 'e mene finzas si ses in s'atter'ala e su mundu (21:00-22:00)
- o si amos a sighire a essere duas umbras
Read More
- Administrator
- Albums and Singles
![](http://brainwashed.com/brain/images/olympichopefulsfuses.jpg)
Read More
- Administrator
- Albums and Singles
Only one thing, with slight variations, really happens for the hour after this CD starts playing: a bass guitar riff... a massive, filthy, loping beast of a groove that's immensely heavy without being in any way 'metal', or even terribly aggressive. The riff is not complicated, but it is loud (as evidenced by the album's unrelenting near-bootleg-quality tape saturation distortion). The riff has no funk, no drive, it isn't headed anywhere; the guitar barely glides along with it, and the drums do not embellish it.Last Visible Dog
Sloppy repetition is the game here, and no frills, lyrics or showmanship get in its stubborn way. But lest you think that this is some slowcore sleepytime, let me be clear: Pharaoh Overlord, a trio from the (apparantly) fertile psych-rock scene of Finland, play rock n' roll as it's been written by Fushitsusha, the Stooges, Les Rallizes Denudes, and Black Sabbath. Thuggish, brutal, straight to the point, but also as minimal as one can get while still acting like a rock band. The songs are stripped down so bare that they are almost identical, changing in speed and length but remaining in roughly the same key and retaining the same non-structure. It's a miracle that this music works as well as it does, as it could easily have slipped off into dull-as-dirt potsmoke self-gratification (see Acid Mothers Temple). Instead, somehow, amazingly, Battle of the Axehammer is invigorating and alive. This was obviously a live concert that must have been excruciatingly loud in the room while it was happening. Alas, it doesn't seem that more than six people were in this particular room, as after the black hole of every tune ends (again, there are no verses, bridges, or breakdowns, or any apparent internal logic... the songs mysteriously decide by themselves that enough time has passed) and air is let back in, a pitiful number of hands are audibly brought together, and a few people shout their approval. Unless there were more people attending than can be heard on the CD, and everyone else was rendered too stupified to move. 
Read More
- Administrator
- Albums and Singles
![](http://brainwashed.com/brain/images/constantines.jpg)
Read More