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With fifteen different songs from fifteen different musicians, thiscollection simultaneously demonstrates the creative variety found onthe On-U roster. Included are a few exclusive tracks, songs fromupcoming releases, and a smattering of recordings already available onvarious albums. Though a lot of what On-U releases has a reggae or dubfeel to it, Chainstore Massacrehouses some blues-inspired meanderings from Little Axe, a rathererratic sample fest from Adrian Sherwood, a dance-floor rendition ofAsian Dub Foundation's "Cyberabad," and a metal influenced electronicwork-out from Mark Stewart. There's plenty of depth to be found andthat's part of what makes this compilation so great: none of the songssound the same. Ri Ra drops a concrete slab of Irish rap backed by someslick keyboard melodies and a smooth layer of bass and on the nexttrack Junior Delgado unleashes a basic reggae track dedicated toexplaining the benefits of using marijuana. So while there is a goodamount of both upbeat and chilled out tunes, the most awesomelysurprising and beautiful music comes from a musician named Skip "LittleAxe" McDonald. He is the only one on the album that gets two tracks tohimself and he deserves it. "One Drop Blues" is full of layeredguitars, harmonica, a slow and sassy rhythm, and a guitar that paints apicture of a hot day in the park. "My Love I Bring" has Sinead O'Connoron lead vocals and a misty atmosphere provided by an eloquent meshingof electric and acoustic guitar. These two songs warrant buying thecompilation alone, but the compilation as a whole is cohesive anddiverse and is a great appetizer for material that will hopefully bereleased soon.
- 2 Bad Card - Noise Polluters
- Little Axe - One Drop Blues
- Shadon - Places I Won't Go
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The effects of Abba's music is undeniably cross-cultural and timeless. From the freaky tourists with smelly breath at the NY record shops to the merch-spotting Chris Carter publicity photos, it's hard to find somebody who's life has not been touched. Over the course of a few years, a staggering 24 tracks have been gathered by this tiny operation out of Chicago which bridge the gap between one of the first bands I was fond of in my young childhood to the noisy, more abrasive sounds I'm enjoying in my adulthood. I find this collection both refreshing but question its sub-title.
Through the noise, there are some strong examples of artists who either take the task seriously or take their music seriously: people who thought "how could I reinterpret this song to put my own take on it," and get to the core of the brains of one of pop music's most successful songwriting teams, Anderson and Ulvaus. Unfortunately, there are a few too many tracks which simply play the original song in the background and do easy, lazy, pointless nonsense on top. It opens with a mistake I think, as Conned Ham's "Does Your Mother Know?" more strongly resembles the Beatles "Your Mother Should Know," followed by a rather bedroom-recording sound of Sockeye's "Take a Chance On Me," who at least demonstrate they know the music and probably like it too. Then, faster than you can say wife-swapping-Volvo-drivers, Kazumoto Endo blows the roof off with that maddening riff of "Gimme, Gimme, Gimme," bending it to uncomfortable, almost borderline unbearable levels. Absorb's "Super Trooper" is a very endearing vocal interpretation that resounds with the feeling of innocence truly in love with the material while Guilty Connector's noisy "Rock Me" is pure sun up at 3am sex (just remove the original from the background at the end please). The contribution from I and Kawabata "sure I'll appear on your compilation" Makoto is somewhat of a let down as the vocal rendition of "Eagle" (possibly one of Abba's most brilliant moments) could have potentially been incredible, but only ends up with a sparse musical arrangement (only synth samples and delays) to back up a rather timid voice. (I can only begin to imagine a boombastic distortion-filled Acid Mothers cover of "Eagle," and it's gooooood.) Another unexpected moment is the Irr.App.(Ext.) contribution, "Knowing Me, Knowing You," where the ever creepy Matt Waldron steps out from his psychotic vaginal ochra shield to bare all with vocals and acoustic guitar in a warped dementia style only he can do (the guy is a fucking genius). While most of the rest are amusing enough, (and a few include too many skipping/samplings of Abba) it's worth noting that with every purchase, a coupon is included for a cassette of "outtakes," this compilation noticably fails in the tech department - mastering gear might not be necessary for noise, but at least the levels could have been balanced from track to track. Or, perhaps this is the effect this is trying to give - that of a mix tape of some of your best friends in their basements doing their most personal impersonations of something everybody truly loves but is afraid to admit in public.
- Irr.App.(Ext.) - Knowing Me, Knowing You
- Foamula - Chiquitita
- Kazumoto Endo - Gimme, Gimme, Gimme
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Bob Pollard may be a god to some, but lately there's been a strangedecline in the music he releases outside of Guided By Voices. Airport5's last was an errant mess, the Circus Devils' Harold Pig Memorialhad its moments but ultimately didn't satiate, and even the last GbVrecord was showing some cracks in the surface. Some were saying themost prolific man in rock was running out of steam finally, and thatthis marked the beginning of the end for Pollard and Co. This newrecord should easily choke all the naysayers. Earthquake Glue is the first great Guided By Voices album since Under the Bushes, Under the Starsand marks the real return of the band after their two album romp withTVT. Tighter, leaner, and more ready for action than anything on Universal Truths and Cycles,"My Kind of Soldier" kicks it off with bright guitars and classicPollard vocals. The production both sounds like it has taken a slighthit from the last record, which is just what most fans probably want,while it is improved in other areas; but this sound quality really doesserve these songs. "She Goes Off at Night" and "Useless Inventions"propel the album forward, and the keyboard and harmonica of "DirtyWater" show a new willingness to try something fresh. "I'll Replace YouWith Machines," though, is the real treat, the nugget that proves theboys are back. With its whip-cracking percussion and Doppler Effectmix, the urgency comes across in full force with the "I can't face you"chorus throwing in extra oomph. It's the Ghost of Christmas Past, andit's a pure joy to behold. Elsewhere, "The Best of Jill Hives" is barnone the best song GbV have ever written. The bass line grooves andundulates when Pollard joins, then the other band members come in oneby one. "I don't know how you find your nerve/I don't know how youchoose your words" sounds like the questions of a child to his/herfather after a harsh defeat. Pollard's voice warbles in its mild echo,and no one cares. It's classic GbV, it's got a great hook, and it endsbefore it becomes too commonplace. I admit it: I, too, had my doubtsabout the longevity of the band hearing the last album and EP. "They'vehad a great career, so maybe it would be a good time for them to hangit up, before it starts to get really bad." No more. There's miles leftin this sound yet.
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Germany's Can is certainly the most influential band to emerge from thefirst wave of krautrock. Their first six studio albums are unparalleledmasterpieces of experimental rock, effortlessly combining jazz andclassical influences with psychedelic guitar rock, ethnic percussionand unhinged vocal improvisations. The past few years have seen theentire back catalog re-mastered and re-released in deluxe CD and LPeditions on Can's own Spoon imprint. Every album, that is, except forthe much-maligned 1978 release Out of Reach,which Can seem eager to completely omit from their discography. Assuch, it has long remained one of their rarest and least talked aboutalbums. Fortunately for completists, Marginal Talent has now issued are-mastered CD of this most obscure of Can records. The received wisdomis that Can began to decline when Japanese vocalist Damo Suzukideparted to join a religious sect after 1976's Future Days.While this is somewhat accurate, hindsight has been kinder to thelater, more homogenized Can albums. We can now retrospectively admitthat Soon Over Babaluma and Flow Motion both containgreat moments, displaying the same ingenious instrumental fusion thatcharacterized Can's most fertile creative period. Record collector loredemands that Out of Reach be a similarly underrated, unsung gem. Unfortunately, this is just not the case. Out of Reach is one of Can's worst albums, and while it has its moments, it must be relegated to the same pile as Saw Delight and Inner Space- disappointing latter-day efforts that make convincing arguments thatCan should have retired earlier. The main reason for this drop inquality was most likely the departure of bassist Holger Czukay,founding member and innovator. To make up for Czukay's noticeableabsence, Rosko Gee and Reebob Kwaku-Baah of the execrable prog-rockband Traffic joined the line-up. Their influence is an unwelcome one,to put it mildly. Gee and Kwaku-Baah bring with them a penchant forpointless jazz-inflected solos that drone on endlessly, watering downthe usually explosive chemistry between Irmin Schmidt, Jaki Liebezeitand Michael Karoli. "Serpentine" introduces this incarnation of Can,with a mildly engaging marriage of ethnic instrumentals and elevatorjazz. The music is far from terrible, but compared to dynamicmasterpieces like Ege Bamyasi and Tago Mago, it'spositively snore-inducing. "Pauper's Daughter and I" is livelier, butis marred by the badly delivered nursery rhyme lyrics from Rosko Gee."November" is by far the best track on the album, the one song wherethe fuzz guitar really lets loose, and the rest of the band'simprovisations build a trippy, pitch-perfect backdrop for Karoli'samazing soloing. "Seven Days Awake" starts out on an interesting note,but soon declines into pointless repetition. "Give Me No 'Roses'"sounds like a bad Traffic outtake, as does the sub-par reggae of "LikeInobe God". The one-and-a-half minutes of "One More Day" is the album'stribal swansong. This is far from essential Can, even more troublingthan 1989's ill-advised reunion album Rite Time. If you are looking to collect every Can album, put Out of Reach right at the bottom of the list.
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Listening to Schniztler's solo recordings from the 70s is a mixed bagbut quite good fun in several ways. It's like a time capsule, for onething—a throw back to a particular genre of relentless sequencerpatterns, modal noodlings, phasers and filter sweeps. It has theessence of a personal musical identity that influenced the people whowent on to create that genre from it. But the sound on these solorecordings shows that what Schnitzler was able to do, given the timeand opportunity, went well beyond the daily fodder of that genre. Hecould dredge a harsh grittiness from the equipment as well as delicatefinesse that doesn't fit the nostalgic idea of that warm analog soundso fetishized in recent years. The abstract pieces without rhythms workbest. Schnitzler had quite an inventive talent for composing theseevolving layers of otherworldly sounds into science-fiction concertostoo menacing to be merely psychedelic. The curious tension between thefamiliar and the novel, even with an advantage of perspective nearing30 years, highlights the unusual breadth available on Schnitzler'spallet. Where things work less well is when that pallet is applied tocreating the kind of sequencer-driven rock music that others includingTangerine Dream did too much with in the same period. The mechanicalstructures are used as a basis for soloing that just shouldn't havebeen allowed to happen. Such banal melody in the solo lines was notexactly uncommon among the electronic bands of the time. For example,Edgar Froese could throw a crowd into a tizzy of excitement just bypicking up a guitar but, let's be honest, he was never very good atplaying it. It's the same problem here. Listening from the 21stcentaury, one wonders where the sci-fi connotations come from. Were thestyles appropriated for movies and other media to then becomeconventional symbols? Is it a trick of association with the zeitgeist?Or were musicians actually aiming at making space-age sound? Anyway,fans of Schnitzler's 70s solo oeuvre will welcome this addition to theset of color albums. At the very least I can say with certainty thatthe CD booklet represents a succinct response to the problem of what todo with such a ridiculously small page format.
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Over three years after the release of their full-length debut, The Noise Made by People,Broadcast have returned full force with a truly exceptional follow-up.While staying true to their moody, late '60s psychedelia-influencedcore sound, the band opens up further to make their retro-basedstylings something that is truly all their own. Haha Sound isboth more playful and more experimental than its successor, evidencedin the opening track, "Colour Me In." Trish Keenan's vocals are sweetand girlish, offsetting the ghostly machinations and audible squeaks inthe background. Her vocals, however, are more often haunting andmelodic such as on "Before We Begin," "Man Is Not a Bird," and "OminousCloud," while on "Pendulum," the first single from the record, Trish'svoice sounds slightly emotionally detached. On "Minim," they cascadelike a hypnotic waterfall, and she turns "Valerie" into a lullabye. Thelyrics are full of rich, abstract imagery—like "If green is chasing thehills over miles / If blue is pursuing the sky" on "Colour Me In;" and"Shake your earrings over my head / Lay down your dreams on my pillowbefore bed" from "Valerie"—that suits Broadcast's music well.
Percussion is without doubt a centerpiece of Haha Sound.The band's drummer Steve Perkins shines. Throughout he helps ground thefey electronics and balance out the airy vocals. The combination ofthese three has its greatest success on the song "Lunch Hour Pops,"which is possibly also one of the best tracks the band has everrecorded. Other outstanding titles on the record which demostrate agood blend of all the band's strengths include "Man Is Not a Bird,""Before We Begin," and "Winter Now." These are dotted with a handful ofshort instrumentals like "Black Umbrellas" and "DistORSION."
The overall ambience of Haha Soundis sweeping and spaceous. Although the instrumentation and pruductionis tight, the result is not one of preciousness or overbearance. Allthe songs feel like they have room to breathe, without being soextraneous as to need 70+ minutes for an album. Instead it clocks in ata compact 45 minutes. Although I am typically hesistant to attachsuperlatives when describing an album, I nevertheless must admit thatBroadcast has released what is hands down one of the finest albums ofthe year. It is undoubtably a remarkable achievement for the humblelittle band from Birmingham.
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These songs make me into another person. I'm a criminal, then a scaredlittle boy, and the next minute I'm the loner walking through thedesert with a storm at my back. Nina Nastasia forces me to assume theseroles with her voice in my ear and her guitars cutting down at me likevicious slaps. One minute I'm in quiet solitude, hiding in a thicketand the next I'm being whipped around by a squall bursting withlightning and unexhaustable power. Run to Ruinis just that: powerful and excited. Nastasia's voice is absolutelyentrancing and the instrumentation is a fluid swarm of acousticstrumming, near-classical arrangements, and cabaret-styled,instrumental passages. "We Never Talked" starts the album as theperfect preface. Nastasia's lyrics are somewhat vague and manage toevoke a sense of wonder and mystery in every song, but especially onthe opener. "In the car, you'd have brought it up / But I went on aboutthat job / All the love I have left you won't know / All the fear Ihave left you won't know." The way it's sung puts a knot in my stomachevery time... and then the storm begins. "I Say That I Will Go" is astory about keeping a promise. It has a deliciously twisted ending thatsuggests all sorts of mischievousness. Violins, cellos, banjo,dulcimer, piano, and some distinctive drumming from Jim White of DirtyThree drift, collide, and wail with Nastasia's excellent story-tellingand clear, graceful, and at times absolutely earth-shattering voice.Though the album runs at just over thirty minutes long, each song isfull of character and developed completely. There's more variety on Run to Ruinthan on most albums that last twice as long. "The Body" begins like animitation-baroque piece and "On Teasing" sounds like a tale told bygypsies around camp fire; it features an instrumental duel that soundsas if it comes from the spirit world. "You Her and Me" creates a hybridsound that holds country and folk music dear to the heart but is muchmore bare and delicate. Despite all the acoustic and familiarinstruments used, this is a unique album with a myriad of styles andalien melodies. Every time I play this record, it's like beingtransported to another world. Not one song is disposable and after thealbum stops, I have this incredible urge to play it again just so I candrift away.
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Austrian-born Rancho Relaxo All Stars collaborator Susanne Brokesch isan electronic-based sound artist whose work has resulted in variousoutputs such as group art shows, soundtrack work and several recordingsunder her own name as well as the pseudonyms of Sil and SilElectronics. Her latest release, So Easy, Hard To Practice,is mostly a collection of various soundscapes and minimalist-typecompositions where, at times, the rhythms are implied more thanoutright stated. What I found to be interesting about this disc isBrokesch's arrangement of synthetic sound patches, which at timesconvey a somewhat organic feel. The mild pulsing of "Confidence" laysbeneath a wash of obscure drones and sci-fi movie lasergun blast soundswith the occasional squelch until sparse, linear drum machine patternsmove in to take the track out. "Bel Air Mix 1" is a nice and subtleblend of reverbed synthesizer chords and heaving electro-cello over topof quiet, swinging drum machine tom-tom and snare hits which fade inand out throughout the mix. Rounding out the disc's forty minutes isthe somewhat out of place and longest track, aptly titled "Dancing."The mid-tempo programmed rhythms and syncopated bass end thump awayagainst a backdrop of flitting, somewhat harsh treated synths and othernear-industrial type sounds. The introduction of electro percussion andhandclaps add to the dance elements which are already very prominent.Although too fractured to be considered an ambient-type disc andgenerally lacking a steady pulse for head nodding, the interesting makeup of So Easy, Hard To Practice finds a fair middle ground that had me following the shifts without it being too obvious.
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The title of this album leads one to wonder if it is in a way, a slyindictment of certain purveyors of experimental, progressive, orpost-rock music that they themselves are one of. Are they trying to saythat perhaps these genres are somewhat more susceptible toself-indulgence at the expense of entertainment? In any case, themembers of the Swords Project are at least saying that we have a choicein the matter and in that spirit they seize control of their musicaldestiny presenting an album that is both complex and enjoyable. Theirmusic has a shimmering, buoyant quality that wraps around itself in adizzying assemblage of layers. "City Life" is a veritable möbius strip,beginning with the faint, choppy voice of vocalist seeping through apastiche of programmed train-chugging drumbeats, static, and electronicmanipulation. The beats soon crackle into live drums and a flickeringmelody begins to unfold, floating without an anchor in the musicsurrounding it, like catching faint sight of a porch light through athicket of trees. It sounds as if the core of the song is bursting fromwithin with only enough energy to fall back into itself and repeat thesame process once again, leaving behind a mesmerizing vapor trail as itsinks back to earth. "MD11" reveals a cleaner sound, moving swiftly andbuilding off of a single melodic idea throughout the song. It seemslike more of a rock song than the tracks that precede even as itbriefly delves into a stutter-glitch bridge. "Cocktails andShuttlecocks" continues in this vein, though it progresses in a moresubdued shoegazer style, utilizing a violin for dramatic effect amidstthe warm bass lines and gentle melody. "Audience of One" takes theatmosphere of that previous track and expands upon it instrumentally,and by using minimal whispered vocals the band allows the violin totake the forefront in what makes for a really impressive long piece.They balance space and dynamics extremely well, building tension andtaking the music through peaks and valleys that make the track a truestandout. "Immigracion" presents itself as a rather standard indie rocksong, perhaps more in the vein of Death Cab for Cutie than any of thereferences the band itself might name check. By this point in thealbum, it seems like the collage aspects presented in "City Life" havebeen altogether abandoned, and that is a shame, but what remains isstill an interesting collection of songs that have a knack for melodyplayed by a band in perfect harmony with one another. The SwordsProject closes with "New Shapes," a long, droning track thatincorporates some elements of their earlier flair, but never commits tothe sound fully. The song is slow to develop, but with patience thefinal minutes take off into a propulsive workout. Throughout the album,the percussion is a major highlight. It fits each compositionperfectly, knowing the right time to sit back and let the rest of theband squall along and when to push through the din to give the piece alittle extra oomph. Entertainment is Over if You Want Itseems to lean away from the more brazen attempts at experimentation ofit's contemporaries, instead bringing these elements into the music inbrief spurts or bursts. At its core is just good music, approached witha sense of what makes for a compelling and enjoyable listen.
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Greg Davis has spent the past few years finding the perfect crossbetween the real and the artificial, manufacturing music that is parttraditional instrumentation, part electronic samplings. Precursorsis presumably named for the fact that these songs precede his newalbum, and offer hints to the songs he's been working on. The frequenttourmate of Hrvatski has apparently unearthed something heretoforeuncharted within himself, as these songs represent a marked departurefrom his usual style, and also a less organized vision. Where beforeDavis would use acoustic guitars and electronic percussion to create arelaxed mood, "Lightning Proves to be Unnecessary" opens with an almostcacophonous display of noise. Organs are melded to electronic scratchesand other noises that build and grow to what seems like a forcedclimax. Then silence. Farm noises fill the air next, as a rooster crowsand birds can be heard in the distance. It's the battle, the anger, theblood and bone crushes, and then suddenly elysium. Acoustic guitar andorgans play out a funeral march or fitting tribute to a fallen comrade.Although the melody grows monotonous over the brief length of thetrack, there is a beauty to it all that warms the heart nonetheless. Onthe flipside is more percussion-less music from Davis, with clarinet,melodica, Rhodes piano, and guitar forming a simple yet swellingprogression. Eventually more instruments are added, creating a jarringstutter with instruments playing on the up and down beats.Full-sounding while delicate, the track never progesses much past that,but luckily it never threatens or promises to. It's all veryminimalist, and a new start for Davis, one that should hopefully seemore complicated structures come to fruition. This is just a taste, anda good one at that.
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The second single in the Safe as Milk/Melektronikk collaborativeMilkland series brings together two subjects that couldn't be moreopposite from each other, and that seems to be part of the point. Safeas Milk is a Norwegian label that releases acts more rock in nature,while its sister label Melektronikk specializes in acts that areexperimental electronic; so any collaboration between the two will havemixed effects on the psyche, as this one does in spades. Milkland 2features Vibracathedral Orchestra, whose music easily reminds me ofasylums. Not the patients, mind you, because I think this music woulddrive them even more over the edge if they heard it; but I clearly feelthe waiting rooms and observation stations where you can actually seethe afflicted in this music. I imagined an entire dance troupe ofloonies, or as I called them the Psychotic Conservatory, flailingaround in anger, sitting in the middle of the floor chanting nonsense,and crying while jumping up and down. "Rain Gutter Teasing Rusty CatSneezing" is an amalgam of instruments and sounds that is not easilydigested or understood, and although I found it at the same timeinteresting and unnerving, it made me want to listen to their atonaldrone more. Phonophani, on the other hand, a side project of Alogmember Espen Sommer Eide, is manic noise of a far different sort. Beepsand bloops are the main percussion of "Bees - They Will Sting You" fora few seconds, then layer upon layer of flourish and glitch are addedon top, compelling the rhythm and tone into some bizarre roboticchoreography. Eventually, it seems as though the machines are acting ontheir own accord, no longer caring or paying attention to what thehuman programming them is asking or wants. Wonderfully creative musicfrom both artists, even though it makes me ponder whether either has ascrew or two loose.
samples:
- Vibracathedral Orchestra - Rain Gutter Teasing Rusty Cat Sneezing
- Phonophani - Bees - They Will Sting You
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