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15 July 2001

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Albums and Singles

I hesitated to write this review last week since the US tour was overby the time the issue appeared, but it must be said that the groupsounded incredible this time around. Local gig whore, Hrvatskiintroduced the night with a usual schtick coupled with minormodifications. Keith Fullerton Whitman gets better nearly every time Isee him but tonight he decided to pick up the punchiness over the lasttime (which was obviously subdued while sharing the bill withLabradford and Pan American). Vert was next up and while his albumshave usually passed through the ears pleasantly, his live set made morestatements about his background as a pianist and performer. MOM's setbegan with a loud punch — a guitar, drum and bass jam with loads ofdistortion — the group wanted to basically get your attention and letyou know this is going to be a seriously fun show. What followed wasthe group continuing as a trio, most commonly configured by bass,keyboards and live drums. For nearly two hours, the group bombardedthrough a hand-selected assortment of their most fun, upbeat and bouncytracks — and it never got stale!
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08 July 2001

Administrator

Albums and Singles

Bright Yellow Moon is the latest in a series of eschatological meditations from Current 93, with the inimitably hallucinogenic assistance of fellow traveler Nurse With Wound. Tibet's musical trajectory has taken him in a sort of closing spiral from the universal apocalypse of "Nature Unveiled" & "The Seven Seals" towards ever more personal losses, and artistry which is correspondingly more powerful and emotionally complex.Having put his father to rest only a year earlier with the stunning album "Sleep Has His House," an unexpected personal brush with death provided the fodder for this latest, most claustrophobic installment. Where "Sleep" was all hush and harmonium, beautifully mournful and exquisitely aware of the unknowability of the next world, "Bright Yellow Moon" is a far more harrowing journey to the terrifyingly knowable last moments of this world. At turns dreamlike and painfully lucid, Tibet's astonishingly generous work here takes the form of an unblinking stare at the catastrophic dilemma of original sin. The religious concerns remain predictably prominent, but they are seen here through the microcosm of a single life's end, suggesting, as did "The Great in the Small", that any meaningful sense we might find of larger purposes or "the grand scheme of things" will come to us not through vast divine revelations, but from the stitching together of the modest minutiae of our lives, in the small, temporary space of our daily experience.
"Bright Yellow Moon" (and the accompanying disc "Purtle" for those fortunate enough to have received the limited edition) is a terribly beautiful work, brutal in its willingness to face the emptiness of our last moments, brutal in its uncompromising assertion that we are all thoroughly surrounded and invaded by evil, and brutal in its capacity to maintain the painful awareness of the possible meaninglessness of our lives. "Nichts I and II", compositions at least as chilling as those of Stapleton's recently reissued "Thunder Perfect Mind", strike me as perfect and perfectly forceful illustrations of this brutality. But throughout, as in all his work, a fervent hope is expressed, and small memories of love and beauty are enshrined as edifices against a sea of incomprehensible loss. In the fifth track, a vision of sailing with a beloved companion on a light-streamed ocean describes a love which transcends lifetimes, and "a life inextinguishable in you and your love." Lest you think our Tibet has gone the way of all schlock, the beautiful vocals gradually disintegrate in this song, as in "I have a special plan for this world,' into unintelligibly garbled paralysis. As always, words fail: Tibet laments that "we all speak unknown languages to each other", and I lament that I am unable to sufficiently convey the majestic scope and beauty of this fantastic album.

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08 July 2001

Administrator

Albums and Singles

Jirku's third full-lenth release is the second for Alien8's newSubsctractif label. Much like Tied and Tickled Trio [see below], Jirkuhas chosen this round to focus on less songs, developing them more.(Thank you! In the end, it's quality, not quantity that matters.)Immaterial is four 10+ minute songs, with a strong laptop glitcheryfoundation, completed with a healthy amount of field recordings and dubeffects. Track one, "Meson," is the score to a late night robbery scenein a dark, frightening future, while track two, "Gluon," could easilyunderline a night on the operating table drifting between consciousnessand unconsciousness. "Baryon," track three is an explicitlypornographic seduction from a space alien and track four, "Pion," Icleaned out the tub basin and hung a new shower curtain to. All fourtracks take their patient time to develop and skillfully ease into thenext, while the final ends with a calm rain storm which subliminallyand skillfully morphs into a seemingly endless stream of white noise.Jirku is young still, but he is showing a much more mature approach tocomposition and structure. 60 second samples hardly do this discjustice.

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08 July 2001

Administrator

Albums and Singles

This album is the auditory equivilent to a free vacation or perhaps thesoundtrack to the afterglow of an exceptionally good lay. The 3rdfull-length from Laptop wiz-boy Fennesz finds him taking time out ofhis busy schedule of collaborations and multimedia orchestrations tofinally bring us a follow-up to "Hotel Paral.lel". Consisting of amagical assortment of clicks, heavily processed guitar strummings, andPita-esque distorted strings, it is surprisingly upbeat compared tomost of the Mego camp. It's very detailed, as you would expect fromFennesz, but also contains many freeform/pseudorandom evolvingelements, digitally tweaked for maximum ecstasy. Simple melodiesreverberate and repeat while detached particles of sound swirl and buzzin a fog around them creating dense, yet listenable structures.
In creating, deconstructing and re-assembling his music, Fenneszshowcases different styles throughout the CD: from the guitar-filledtitle track with several movements, the crackling static-filled stringson the verge of resonance in "happy audio", to melodic Oval-esque"skipping CD" (tm) stylings of "before I leave". Unfortunately, somemight find these processing methods slightly gimmicky or an overuse ofDSP-noodling. However, if one can accept the minimal, competentlytweaked nature of the songs, it is easy to see that they are used toshowcase genuine emotion and makes Fennesz's "difficult third album"not seem so difficult after all - he makes it look easy.
Perhaps suffering from recently being prematurely hyped in the press asbeing "classic", "Endless Summer" is neverless a startlingly good albumboth on its own or placed next to releases of all his laptopcontemporaries; suffice to say that it's brilliant music for beginningyour day or ending it, regardless of season.

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08 July 2001

Administrator

Albums and Singles

The Latest from John Hughes III under the Slicker incarnate is anothermilestone for him, with zesty electronics accompanied by thick low-endgrooves, continuously evolving songs and sprinklings of organic Chicagopost-jazz instrumentality. There's never a dull second over the courseof 51 minutes, as the sources, programs, tempos and feel varies fromtrack to track. From punchy techno "jams" to low-cool dub grooves,Hughes is a master at the mix. Additional contributors on the discinclude pianist/saxophonist Christopher Case, vibe player Rick Embach,drummer Kevin Duneman and a mysterious guest samplist named Mat Mos.Hmmmm,... Somebody's got a lot of great friends! =) Hughes hasadmirably embraced some of the best aspects of the 'Scarlet Diva'triumph without alienating the sound for which Slicker is known. Thingswill get confusing when the follow-up gets released as kids will stillbe asking for "The Latest" in the shops. Great f'n album, Hughes, sillytitle!

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08 July 2001

Administrator

Albums and Singles

After last year's stunning self-titled debut, Fontanelle return in 2001with this EP of songs they've recorded over the last three years. Aninteresting line-up featuring three keyboards, two guitarists and twodrummers, Fontanelle create soundscapes that never annoy and alwayschallenge the listener. The mixture of live drums with electronicinstruments is not new sonic territory, but listen to the samples andyou'll see that Fontanelle does it like no other band. Sounds arewarped, wah-wahed out, meticulously planned and timed, and ingeniouslyexecuted. Or are they? On this release, we're told that this timeFontanelle is showing off their more improvisational side. The resultsare similar to the songs on the first release, as the music was createdat the same time as the debut, for all intents and purposes. However,the debut seems more spacey in nature next to these songs, with thekeyboards being reduced to background orchestral fodder on some tracks.On "F," they're more in the foreground on every song, making theireerie impression felt. The songs are also shorter than those on thedebut, which helps, as they do not grow as monotonous as some on thedebut got after two or three listens. "F" stands up well even afterfive or six, and it leaves you wanting more. If this is truly animprovisation-based release, it bodes well for the next Fontanellefull-length. The band seems to be finding that happy medium between thekeyboards and guitars on "F," and as a listener, you feel this releasesucceeding in ways "Fontanelle" didn't, particularly where the linesbetween the two blur. Stronger melodies emerge, too, making this andexcellent release well worth listening to, for where Fontanelle are,and where you know they're going.

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08 July 2001

Andrew Schrock

Albums and Singles

The long-awaited remix CD follow-up to 1998's seminal "Attention: Cats"LP on Reckankreuzungsklankewerkzeuge has more big names than one wouldthink possible or necessary to stuff on a single CD: Cex, Fennesz,Thurston Moore, Pita, Pimmon, Push Button Objects, Kid606, FarmersManual, and many other lesser-knowns, with even more promised to be onthe upcoming LP release (consisting of, it appears, different tracksfrom the CD).
As to be expected from a compilation of 35 artists with each trackclocking in at around the 2 minute mark, it has a widely variedtopograhy. The premise of a multitude of short, hard-hitting trackkeeps in tune with the original "Attention: Cats", which presented tothe listener a large number of brief, distorted, often humorousnoise/drum&bass songs attributed to a flurry of unknown aliases,all ultimately traceable to one Keith Whitman, aka Hrvatski and head ofReckankreuzungsklankewerkzeuge.
Although the sheer track variety keeps pigeonholing the style of therelease impossible, the remixes are roughly split between minimalglitch/laptop, "IDM", and loud, distorted drum & bass stylings,similar in feel to the "Kid606 and Friends Vol. 1" CD on Tigerbeat6 ofrecent memory. There are some flat-out duds, namely Thurston Moore'sdistracting 3 1/2 minute "remix" (longest track on the CD) which seemsto find the rockstar tuning a radio while fiddling with the outputjack. Such foolery aside, almost all the remixes have enough bite,composition, and originality to hold their own. Even taken as a whole,the CD is well-mixed and flows better than one might guess given thatthe number and diversity of songs. Wicked listening for the ADD-blessedteenager in you.

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08 July 2001

Robin Amos

Albums and Singles

It's four a.m. and I haven't slept and have no desire to. My moonshadow accompanies me as I wander through a snow-covered forest. My footsteps leave a muffled reminder that I am still alive. I am not lost but have no idea where I am. Time and Space have given up their eternal battle for dimensional supremacy and have abandoned me. I eventually find my way to cabin that appears to be vacant so I take a respite from my journey and enter. The interior is dark with only a bed and a table, however on the table is a CD by Tor Lundvall entitled The Mist - it has a fascinating cover featuring subtle images of a winter landscape. I put the CD on my walkman and lie down to rest - the music envelops me in a dark desolate mindscape that is hauntingly benign radiating a warm emotional state. I decide to while a way some time by writing about the songs in my journal - here are my observations.

The CD opens with an instrumental: "Ribbon", which sets the mood for the rest of what is to come by conveying a quiet uncertainty that flows into the second piece: "Ghost Girl". "Ghost Girl" is a song featuring recessed vocals that glide effortlessly over a strange melodic bed created rhythmic bell tones set against short-wave radio like heterodyning modulations. "Streets" is a which piece definitely reminds me of my early morning walks along empty city streets - streets that exude a feeling of anticipation; pregnant with the possibility of the unexpected. "29" is another loose song, built around a set of keyboard patterns with Lundvall's vocals mixed more up-front displaying his subtle vocal talents. The line: "My clock is set to a different time" really defines the mood of this CD. "Leave" enfolds the listener in an eternal autumn (the use of vocal timbres are particularly effective here). "Crooked" flows seamlessly from "Leave" featuring echo laden ring modulated textures that paint a prevailing feeling of isolation. "Deadmoon" is a beautiful piece built around a descending overtone pattern that reinforces Lundvall's evocative vocals. "The Hollow" features naturalistic ambient sounds such as insects mixed with the kind of ring modulated sounds that Lundvall seems to favor. This song balances well the prior set of instrumentals. "Pale Sun" is another keyboard piece that shines gently upon an open chordal soundscape reminiscent of the work of Harold Budd. "6:00 AM", ah the morning harkens, what shall the day bring? Happiness or disaster? "Outpost" is once again built around a descending pattern set against other worldly vocals begging the question: "Are we alone waiting?" "Grey Life" moves through a beautiful minimal cyclic piano phrase surrounded by an artificial toy piano pattern. Essentially a ballad wherein Lundvall asks: "Where is my soul?" I get a sense of questioning loss seeking redemption from an unanswerable void. "The Mist", what beckons us from the heart of the mist? Salvation through surrender or permanent failure? "Her Train" feels like when all she leaves you with is a bittersweet memory. "Remember" memories fade as life is eclipsed by time. "The Years" is a forlorn song that brings closure to the previous suite of instrumentals (Mist, Her Train & Remember) by giving voice to that which has not be spoken. The last two pieces: "Dark Spring" and "A Green Darner" return to the understated naturalistic style that has punctuated the whole work through out and ending the CD with a feeling of quiet resolve.

I fell asleep lulled by Lundvall's music and had some wonderful nightmares. I would recommend this The Mist to anyone interested in well considered Isolationist Music such as has been pioneered by Eno, Lustmord, Budd etc. The CD grows with each listening revealing it's somber reptiles that lay in wait amongst its sonic crags.

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08 July 2001

Administrator

Albums and Singles

You may recall the English male/female duo Ruby from a minor radio hitabout five years ago with "Tiny Meat." The duo consists of LesleyRankine, former singer for Silverfish, and Mark Walk of Pigface, andRuby is the name of each of their grandmother. The duo's latest fulllength is out now through Thirsty Ear with guest production on spotsfrom Christian Vogel, William Rieflin and Mira Calix. The disc isaccompanied by a separate release, 'Altered & Proud', withtweakings from Dot Allison, Kid 606, Schneider TM, Console, Max Tundraand others. While Ruby was a viable venture for Sony Music five yearsback, no major label thinks they can risk it with something that won'teven break commercial alternative radio any more. Their sound is hardlystale however, and would be warmly welcomed by similar aggressiveattitude-heavy beat-oriented female-sung outfits like Lamb, Curve,Laika, classic Scala or even Moloko. The sounds are great, theproduction's wonderful with a healthy dose of guitars, organic andelectronic percussion, trumpets and various synthetic lead equipment,but the writing could use a little more originality and lessrepetition. The remixes on the other hand would please people notnecessarily looking for a pop record, but some great sounds put throughthe wringer and dragged back again, kicking and screaming.

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Beefheart
Grace
Lilypad (Take me to the Hospital I am not a Fucking Frog mix by Kid 606)

08 July 2001

Administrator

Albums and Singles

There is music for the masses, music for the soul, music for the heart,and those hungry of it, and even music for the malls -- or is that justMuzac? HiM is music for musicians, and "New Features" is an impressivedisplay of the talent this group encompasses. The group is tight,driving, sinewy, grooved-out and this time they venture further intotheir exploration of dub, now with an even greater Latin flavor. HiMmake music that demands movement. If you aren't dancing to this record,you're missing the point. This, their fifth release, really showcaseshow incredible the communication is in this band, and exactly how muchpotential lies in wait, ready to be unleashed in a live setting. Live,I'm sure, these songs sound even better with the improvisational bentthey receive, but on record they're just as precious. I especiallyliked how, from even the first track, each musician gets their time inthe sun. No one instrument is a stand-out. And where effects likedelays, beeps, and artificial beats could detract from the quality ofthe playing, HiM use them brilliantly here, using the less is moreprincipal to showcase the playing rather than muddying it. My only realcomplaint would be that several songs seem reminiscent of Beastie Boysinstrumentals in style and feel. But on a CD that features severaltracks over the ten minute mark, including the eighteen-minute opus "InTransition," one doesn't even find the need to complain about songlength. Right when you feel like the music should shift in a newdirection, it does, right on cue. It's all about different flavors on"New Features," and in the hands of less skilled musicians, it could gohorribly wrong. In the hands of HiM, it sounds like these "NewFeatures" have been there all along: you just haven't been listening.

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08 July 2001

Administrator

Albums and Singles

For those who take their improvisational noiscore seriously, a 2xCD setfrom minimalistic screechmonger Keiji Haino is now available. Each CDis a one-track 45+ minute piece for one source and voice. Fans of earlyNurse With Wound would find the listenings both challenging andenjoyable as very little detail is paid to composition, but a delicateattention is paid to sonority of the sources. Ideal for a cande-litseance, disc one, "Hurdy Gurdy" is as dark as the CD jacket, and issimply creepy played out drones on a hurdy gurdy with the creepieroccasional vocals. Disc two, "Electronic Percussion" is built around awave drum scratches and squealing electronics, also accompanied by theoccasional distorted vocal regurgitations. Disc two would perfectlyscore the next time you're stuck in a cold, dark, smelly sewer, coveredin sludge, desperately trying to get out. I never understood where thelight's supposed to come from during those scenes in the movies.Anyhow, purists would love the concept but I personally think 45minutes on each disc is a bit lengthy. Thankfully they're not stretchedto 80 minutes on each disc.

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