With "Ampday", the now canyon-sized fissures that were once tiny cracks in Kiln's parched-earth facade show more than mud and stone. Where in the past, Kiln releases provided the smallest bit of info possible, with only artwork and titles to satisfy eager minds - now, no longer must we wonder about our once-faceless Gaian scientists, and what arcane incantations were used in the creation of such wonderful sounds. Messr's Marrison, Rehberg, and Hayes, still playfully obtuse (what sound did the "levitating catslide" make?), seamlessly blend their twisting, ethereal instrumental pop with soundscapes that imitate the sounds of spreading rust or moss.
UK guitarist StevenWilson works in several different projects including Porcupine Tree,No-Man and I.E.M. and has collaborated with Muslimgauze (see "BassCommunion v Muslimgauze").
The Damage Manual is Chris Connelly, Jah Wobble, Geordie Walker and Martin Atkins.
Certainly one of the stranger duo's to come out of indie rock lately is Virginia's Telegraph Melts.
Following up on Sigur Rós, I went to their website, dug up some history and purchased their back catalogue.
OK, I admit it. Maybe Ihaven't been paying close enough attention to Reed's solo career, butI'm going to say this anyways ... this is the best thing he has done in25+ years.
If you don't want reviewers to reminisce about the good old days of your band, then don't put out inferior crapola.
If you're lucky enough to catch Dirty Three in concert, you'll want to walk away with this gem.
For those not on thenostalgia bandwagon, the Optigan (along with the Talentmaker andOrchestron) was a child's toy, a sort of 70's pre-cursor to the sampler.
This anti-drum n' bass, post-post-industrial product from Speedy J could be the loudest item on the noise scale this week.