- Administrator
- Albums and Singles
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.
Thalassa
"Tinsunshine" is acoustic-driven and electrified at the same time, like a drum circle in a thunderstorm, with intermittent breaks of ear-tickling static and strummed guitar harmonics that mimic what must be the sound of angels crying; out of the itchy sound of pencil scratching paper on "Learning To Draw" grows an urgent ambulance siren/dopplered guitar, which gives way to calm meanderings of the trio, conjuring images of Ry Cooder's soundtrack to "Paris, Texas" redone by The Cocteau Twins. The attempts to integrate the group interactions with their penchant for earthy atmospheric wanderings are more apparent on "Ampday" than on previous releases, and it's done a deft touch. With each album, Kiln consistently shatter the Platonic Ideal of beauty and grace in music, only to rebuild it to a height out of reach of anyone but themselves.
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- Mark Weddle
- Albums and Singles
- Mark Weddle
- Albums and Singles
Bass Communion is his solo, experimentalambient outlet and this is the self titled debut album originallyreleased in April of 1998, now readily available via World SerpentDistribution. Over an hour of music is divided among four tracks (and abrief intro) that range from 10 to 25 minutes apiece. Describing thismusic simply as 'ambient' would be lazy and inaccurate. Wilson'stextures are generated or sampled from 'real' instruments then heavilyprocessed, stretched, looped, etc. to create a unique sound set."Drugged" is comprised of pad like atmospheres and long sinewy hornnotes (with the occasional subtle lick) which lead to a fewreverberated Floydian electric guitar strums and a mildly distortedfuzz out finale. It's simply gorgeous. The rest of the album couldcontinue in this vein and I'd be perfectly happy. But, Wilson opts forvariety which turns out to be for the best. "Sleep Etc" is centeredaround a long drone note loop that is saturated in bell tones andliquid gurgles. Very menacing, in a Coil "How to Destroy Angels"manner. "Orphan Coal" opens up with light percussion (so much for'ambient'!) then adds processed sound squiggles, drifting textures,female murmurs, unintelligible ghostly background chattering and,later, a deep bass guitar line. The final track, also entitled"Drugged" curiously enough, is a 25 minute slab of deep and moodyclassic ambiance. This one is for the Eno fan in all of us. The trackutilizes a 7 second Robert Fripp guitar sample loop from 1993 (which isin no way recognizable as guitar) for a gradual ebb and flow of padlike textures with slow motion bass throbs and distorted fuzz here andthere. Gorgeous, again. Altogether this is a very well balanced,beautiful album. I can easily imagine this music as a soundtrack forplanetariums, large aquariums, museums and chill out rooms. And I meanthat as a compliment. Each of the five tracks has a corresponding 2sided jewel case insert so you can choose whichever you like as thecover, which is an interesting idea I don't remember encounteringbefore. Up next for me is the 1999 2 disc follow-up "Bass Communion II"...samples:
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- Mark Weddle
- Albums and Singles
Eachmember has at least 20 years of music making experience in such bandsas: Public Image Ltd., Killing Joke, Invaders of the Heart, theRevolting Cocks, Ministry, Pigface and Murder Inc., among others, andhave worked with one another in the past on several occasions. "1" isthe debut 32 minute, 7 track EP via Atkins' Invisible Records. Thirtyseconds into the first track it's clear that this band intends to rock.And rock they do, in a very dense manner ... almost as if they'reproving a point. "Sunset Gun" is Led Zeppelin for the new millennium asWalker's massive riff and Atkins' heavy handed rhythm explode whileConnelly unleashes his poetic primal scream for the first time inseveral years. The track ends with someone in the studio saying "ok,cool!" I agree. "Damage Addict" is propelled for it's duration byWobble's big bass groove with Connelly's distorted vocal, jabs ofguitar/noise and samples of giggling children. "Scissor Quickstep" isvery aggro with an uptempo beat, sporadic riff and Connelly up frontyelling like a punk banshee. "Blame and Demand" is also deep grooveoriented, in a Killing Joke sort of way, with Walker's trademark wallof sound guitar and Connelly's gorgeous extended notes. "Leave theGround" finds Connelly in double tracked crooner/spoken mode as astatic drenched bass line and an incendiary guitar solo blaze atop thebeat. Each track is embellished by Atkins' samples, loops andproduction as well as some additional scratching by Chicago DJ Jesse DeLa Pena and synth work by Lee Fraser (Bagman, Sheep on Drugs). Thefinal two tracks are good dub remixes of "Damage Addict" and "Blame andDemand" by Bagman and Chris Cookson, respectively. Yeah, this is amonster. And that's not all. The CD-ROM portion has a sharp interfacefor biographies, lyrics, photos, band members at work video clips andthe in the studio shot "Sunset Gun" video. Very cool. The as yetuntitled album and world tour arrive and kick off in June. Don't misseither one ...samples:
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- Jason Olariu
- Albums and Singles
Comprised of guitarist Bob Massey and cellist Amy Domingues,TM's compositions defy classification. Traces of avant garde classical,improv jazz, and chamber music are balanced on one end of a scale,while heavy chunks of rock are countered on the other. "Indigo AzurCyan" begins with Domingues' setting up a mid-tempo bed, using shortbows of her cello to imply a classical bass line, until the guitardrops in a turns it upside down and dirge-like; with help on drums fromDevin Ocampo, the unflinchingly gorgeous "Every Day A Sunrise, A SummerEvery Year" is a mini epic, deftly switching from simple plucked,bowed, and tumbling beauty (Massey coaxes wonderful harmonic feedbackand stretched-out lines from his guitar) to full-stride rock in aheartbeat. Alas, comparisons to Rachel's are inevitable, but certainlyno insult. However, Telegraph Melts does not act holier-than-thou, justbecause one of them happens to be a cellist. Massey does not feel thenedd to play up to Domingues, and rightfully so. On "Cantus ForTheodore N.", which sounds more eggheaded than it is, Domingues provesshe can "rock" by sawing at her cello like lumberjack, holding her ownagainst her partner's over-driven guitar. Telegraph holding her ownagainst her partner's over-driven guitar. Telegraph Melts explorationof unplundered territory is captivating, and thankfully don't fall preyto the traps lain before them, unlike so many before.Read More
- Mark Weddle
- Albums and Singles
samples:
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- Jason Olariu
- Albums and Singles
Its sounds were derived from optical discs, onto which wererecorded actual sounds, musical or otherwise, which were then playedwith the simple depression of a key. Rob Crow (vocals) and Pea Hix(anything else), luminaries in the San Diego music scene, bring theirsecond Optiganally Yours album, and the first to be "100%Optigan-free", using in it's stead it's two toy peers. Utilisingprimarily said keyboards and vocal harmonies torn straight from theBrian Wilson handbook, OY create a sound that, while steeped heavily incamp, is catchy and enjoyable. "Oar" is a meloncholy tale of a ship'sdemise, with wonderful accompaniment by the Pacific Ocean on "oceanstylings." The machined samba of "Donut" is offset by it's spasticchorus and dissonant fuzz piano solo; "Figaro" sounds like a crate ofold jazz records fused together into a crackly slink, with a vocalcadence that sounds like it was lifted straight from a soft rock radiohit. With visions of Plone (that's sure to put Jon off!) and Tarwaterdancing in your head, the oddball "The Outer Space" spins in it'svocoder glory, with a stunted drum loop (it was rumored Ringo Starr cutsome source material for an Optigan disc) cycling below it. OY shouldbe commended for their devotion to nostalgia, experimentation, and purepop "stylings" - instead, buy the album, and I'm sure they'll be happyenough.samples:
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- Alan Ezust and Julie Geanakakis
- Albums and Singles
They sound a lot like some of the"Heavenly Voices" bands from Germany, featuring two lead singers, onewhose voice quality is reminiscent of Sade, the other who reminds me abit of Katharina Franck in her ethereal-cabaret style. Unfortunately,the liner notes give no hints of who is singing on which track. Theirvoices come together with velvety tremolos and canonic harmonies. Moodyclassical arrangements with eerie synths produce beautiful gothicsoundscapes. Matt Howden, from Sol Invictus and PigSix4, appears withhis violin prominently on most of the tracks, and as always, he adds adimension to the music which is priceless. That, plus Wakeford's guestvocals on Second Watchwords remind me that I really must dust off myold Sol Invictus albums and listen to them again!samples:
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- Chris Hill
- Albums and Singles
Mumma does what is most difficult for theelectronic musician, he keeps the sounds interesting but doesn't ignorethe emotional content. When the bombs land in The Dresden Interleaf 13 February 1945,the horrific buzzsaw cacophony recalls the brutality of war. It's notthe cold, modern click and pop groove that makes your body move, but itelicits a different reaction: visceral, not danceable.Mumma pioneered what he called "cybersonic" technique, wheretraditional acoustic instruments interact with electronics throughMumma's home-built circuitry. There are some examples of this techniqueon the CD, including Pontpoint, where the archaic bandoneon and bowed psaltery converse with hyper-modern electronic bleeps and bloops.
Until this CD came around, if you wanted to hear anything by GordonMumma, you had to search out his few vinyl releases. This CD collectssix of Mumma's electronic compositions from the late 18's through theearly 80's. Conspicuously absent from this collection is Megaton for Wm. Burroughs, which is reportedly forthcoming on another CD release. That and more experimental artists from the label, Lovely Music.
samples:
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- Administrator
- Albums and Singles
This album celebrates EN's 20th year of operation with a marked improvement in production values. The focused and streamlined sound finds equal space for pulsing, naked bass guitar, trimmed-down sound effects, low-end percussion, and strings. Not least of all, the punchy production brings EN's often-personal lyrics and intense delivery to the forefront--to double-edged effect.
The pregnant pause on the title track makes for very, very uneasy listening, but the chanting at the end is downright pathetic. On the whole, though, "Silence is Sexy" is as its title suggests--a very quiet release with sporadic outbursts of violent noise. "Zampono" is one of my favorite selections, sounding as though EN just shanghaied the Blue Man Group into banging on hollow plastic pipes. I can almost see the BMG bouncing about. One of my beefs, however, is that there's a bit too much repetition on many of these songs. Again, it's a technique that has its pluses and minuses. Fragments such as "I wish this would be your color . . ." haunt your head long after the CD leaves the player, but the approach just as often recalls last year's obnoxious "all I really really really really really really really really want to see is a total eclipse of the sun" refrain. Another personal peeve is the German vs. English issue. After experiencing his attempts at the latter, I most certainly prefer to hear Blixa singing in German. Maybe something was lost in the translation. And, (un?)fortunately, his version of "Pretty Fly for a White Guy" didn't make it onto the album.
The UK edition of Silence is out right now, presented in a deluxe package with a second CD featuring 18 minutes of bonus material. Unsurprisingly enough, this amounts to a very repetitious song that stubbornly refuses to end. But it's truly noisier than the rest of the record, and I can recommend grabbing this edition (while you still can) if repetitious noise is your bag. A US ediition will be released sometime in May (I believe) but without the bonus disc. Should EN tour for this release, don't miss it. Live EN dwarfs any of the group's recent albums.
samples:
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- Carter Adams
- Albums and Singles
My first impression ofthis album was one of amazement. I can remember hearing the firstself-titled album by this Canadian band and thinking that these guyswere poised to take over the indie rock world. One this, their secondalbum, I found a band much more in syncopation. The evolution of theirmusic shows a more mature band interested in textures and ideas,allowing the music to undulate and expand. Gone are the funky rhythms,but in their absence come amazing expanded musical themes and jazz-liketempos. Definitely an album worth picking up, and I recommend 'playingtwice before listening' on this one.samples:
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