Saturday, February 27, 2010
Behind Stereo Moon is Emm Smith, a self-taught musician from Ontario, Canada. A singer-songwriter from God`s grace. The album Like The Morning Sun Does was already recorded at the end of the 90`s, except the opening track I Would For You Dream. The first time Like The Morning Sun Does was published 5 years ago, while at the moment it is issued under the Sicily-based label Kill Mommy which main focus has set up on a mix of blues, lo-fi garage, rockabilly, and alt-folk.
All of those 24 tracks aligned here are recorded with help of loaned 4 and 8-tape trackers. As so usual to the singer-songwriters the lines of acoustic guitar and vocals are the main instruments upon which the excitement is established in suggestive and diverse song manner. Although guitar sound is paramount, it does not sound in the anemic way just not being a decorating and forgery one - a drowning into tape hisses does add some kind of confidence and charm; moreso, there are also presented some electronic-experimental angles and weird out-of-context samples. A rough yet warm soundscape. As you even know the North Americans have been insurmountable in their credibility within this area. Smith does use natural room reverbs, though, there are 2 tracks (Everybody Love Someone; Read Between The Lines) for which Emm Smith locked himself into the bathroom to put guitar strings against the edge of a sink, and letting float out the sounds of pure gold. By the way, he even regretted more songs would have recorded in there.
By checking out Emm Smith `s blog you can see the successive keywords of his concept in the title: love, be loved and trip out. Anyway, the lyrical side will fix upon it. This lyrics seem to be about longing, escapism, love and lovelorn varying with weed topics. Moreover, this subject was going for something that would heighten his blissful experience. Because of this he tried to fill up those tracks with as many ideas he could. The lyrics are undoubtedly on the ball - beautiful, inside-watching, sometimes mysterious and downtrodden (Grow Up is going up to illustrate the collision between the memories of past and recent situation).
However, my purpose is instead of any kind of intoxicants to promote music, especially good one, only. Like The Morning Sun Does is undoubtedly a DIY/home recording masterpiece. There are a lot of excellent examples - some of them will especially scratch your soul and bear upon your consciousness, replacing some truths and clichès, on the other hand, I am not intended to shout them out - everyone ought to find out for him/herself the gems of the talented hippie musician. In fact, it is true, Emm Smith has more stunning moments to yield in comparison with (early) Devendra Banhart, for instance.
Download it from here
Thursday, February 25, 2010
Europe faces against immigration problems nowadays. Refugees from the Third World, mainly from Africa, are searching for new living places by different reasons. For the Europeans have not been left anything but to choose between the two sides - to be for it or against it. Having been in to express empathy or showing up their dislike. On the other hand, we must take into account the fact it has mainly been the side effect of the White World expansive foreign policy and the weight of colonial history alongside with all kind of related rewards - the ruination of economic situation, the mutilation of natural environment, severe local wars during the Cold War in purpose of encompassing a larger part or reshaping the spheres of interest. The basic needs of the native people have been suppressed by the secondary needs/wishes of the Western peoples. Indeed, the recent situation can be seen as if a karma wheel is inevitably getting upon us - the cause-effect relationship is still being relevant.
Peter Jordan & Co. have made their firm decision in favor of empathy. Open See EP is inspired by Jim Goldberg`s photo exhibition of the same name, which main purpose was to reflect the experiences and sentiments of asylum seekers. Clinker uses even the phrases of the refugees in their lyrics. In comparison with their previous oeuvres Londoners have increased part of the wind instruments and backing vocals, though, while diminishing the role of synthesizers and electronics. The 4-track issue is wrapped with heartsore undertones of indie soul/soft rock and epic chamber pop numbers while nothing lose about their angular songwriting. Clinker has always shined with such albums containing of grandeur numbers - One Hell to Another and Will This Never End (Ood Song) will for sure complete this list.
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Wednesday, February 24, 2010
Tuesday, February 23, 2010
One of the passants regarding an important, mainly USA-based environment Collective Family (CLLCT), James Eric decided last year to abandon the role of a singer-songwriter diminishing the chorus-based concept instead of introducing himself to more innovative-oriented music. In the first place, as a sign, he compiled the best of album We Got This Far - Best Of Eric James and chose out a quake-referencing name. The new self-named album of G.O.A.T was sharply set up against his previous, mainly smoothly driving indie pop. Such a behavior does not seem peculiar in similar situations because of huge attempts by the artist to make up a clear distinction between the two projects, between the past and the future. The 31-year-old Chicago musician did play with diverse genres. Dominated by the moulds within electronic pop and downtempo, which were a little variated by post-rock and ambient sequences. Some infiltrations of sound collage techniques shined through, though, as well. His soundscape was tumultuous, sometimes swinging mood music, a pleasant kind of muzak. Some sporadic DIY-overthrows only built up DIY-near natural attractiveness.
In the beginning of this year Eric released with Patrick Ripoll the joint release I Split On Your Grave (CLLCT) and issued the set of his B-side songs named Found Sounds: B-Sides 2009. Both of albums revealed the American in the wake of his excellence. The first was demonstrated by melancholic grip on barely perceivable post-rock tunes and the second was acoustic indie pop moving more close to the middle of more pop structures and his previous designation too (by the way, the guitars got back their previous dominant positions).
However, Life Of The Mind is back in the wake of his first album tracks. However, the recent one has a more circumscribed shape, all of those distinct structures have obviously less concern on creation of an electronically bleary milieu which gathering around the listener. Though, it abounds even in more diverse directions. Piano accords and glockenspiel will lead up into the following 10 tracks, and 42 minutes as well. Mannerism is hemmed by an epic rock concept. Next Dreams Are Real Good (you can rest now) is a mixture of spoken word, sound effects, stomping bass sounds, ambient, post-rock, and electronic pop/downtempo at that too. A kind of clumsiness and enchanting mist move hand in hand, underbearing the overall impression. Help is a modern classic number through its grandeur poses. I Can`t Sleep So I Dream Of You will continue in similar vein of the previous tracks which is accompanied by dreamy trumpet flows (in the embodiment of Tim Bales`s live recordings) in accordance with Miles Davis`s spirit though not for any long interval - it will be ended by a fine electronic introspective. By the way, the track contains of a noise sample by Isis. Not Young, But Restless is one of the highlights - the sounds which coming from remote distances, while creating powerful and convincing synthetic sound walls - which are conducted by a dateless motive - will make up your day. It is followed by an solitary acoustic track (Now I Sleep Tonight). Interplay between a guitar and a piano. The one and a subsequent one as being silent interludes do make little impact in the background of this concept which will set up the consciousness of the listeners getting wait for sheer experiences more and more. The Next Day Looks Brighter Than The Last is a beautiful melodic instrumental rock. The Night Is Awake will also be on similar path, although having a greater emphasis set up on a modern classic arrangement. In the ending track (NB! The tracks within the zip-folder at Mediafire do have different order of succession) The Reverse the synths, a bouncing drum rhythm and a spoken word line will be lifted up to the forefront conceptually nearing very close to the aesthetics of Holy Fuck, Fuck Buttons, Errors, The Octopus Project, and other similar artists as well. Undeniably one of the albums of the year.
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Monday, February 22, 2010
Brian John Mitchell and Russell Halász introduced their musical activity in 1992 while covering Bauhaus and The Cure songs on acoustic guitars, after which soon followed their first hiatus. Brian John Mitchell started with his new project Remora which more exactly did mean concentrating on guitar drone experiments, which obviously influenced Vlor`s subsequent aspirations in experimental vein.
Lavished EP was released in 1997 and luxate EP a year later (today the EP`s are offered as a joint album). Because they had no money at first to afford yourselves delay and reverb generating devices they were strained to use natural ambiences. For instance, a racquetball court. In short, it was solid shoegaze music with a fringe of loud reverberation reminding of some My Bloody Valentine`s most atmospheric and epic moments ( (When You Wake) You're Still in a Dream; No More Sorry; Moon Song) and experimental moments (Touched) as well; on the other hand it drives and impresses on a darker sequence and some sparsenss in rhythm or even lack of it aside as well, approaching in that way to the soundscape of another legend Lycia (by the way, Lycia`s Mike VanPortfleet is part of Vlor nowadays).
While having been the last joint record session sacred places in the city is a symbolic release first of all. Thereafter the closest friends have each other felt out (the situation which is comparable to Spaceman 3, isn`t?). Vis-à-vis with their previous publications the reverb effects have been more reduced for it. Guitar arpeggios have distinctly been roughed out.
Although the release is minimal by instrumentals and soundscape on there it is full of mood music as yet. There is no difference after all, in which way this 33-minute long set should be characterized anyway - shoegaze, post-rock, darkwave. On the other hand - while it is still far away from any of pop centres by its minimalist approach, it can be considered as one as being quite close to academic guitar approach, this album could have had a broader audience. Great music, great muscians.
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Sunday, February 21, 2010
At the moment in Arizona residing Trevor Osborne is being musically an active man for a while. He has been part of numerous musical groups and projects as the likes of Homemade Abortion Kit, Famous Halos, Cyanide Theodicy, Tre [Too] Silent, Yung Slug, Megalodon,? Hred, Kids Talk Trash, The Attention Deficits, Myst of Despair, Silent Heroes.
Carving You With An Electric Chainsaw Carving = Going Green is the sophomore album of the 23-year-old American under the name Sakura Pups following to The New (est) Black issued on DEXANDTHECITY 2 years ago. Indeed, these two ones are official albums - in fact, the list of Sakura Pups unpublished albums is at least twice longer.
In fact, Osborne is an angry guy at that as well. The mills of Sakura Pups are grinding at full capacity - he mixes cybercore and grindcore, a metal and electronic scrap each other. Fast paced electronic beats at times acquire even the parameters of rave music. A metallic vocal is full of anger, sweat and madness sometimes expansing and acquiring sludge stench (Beaten By A Moth!, which in its own start reminds of one of Suede `s (?!) tracks from the album A New Morning). Indeed, there are some sophisticated overthrows. I do mean of those unusual elements being incorporated into this extreme concept - some piano clinks, a few spoken words here and there about getting some piquancy upon the main stream of a concept. However, notwithstanding this the tracks of having an average of circa 2 minutes, the album is diversed by frequent changiness in vocal manners and rhythms.
I am not able to think otherwise that for the followers of electronic extreme metal would have these 21 minutes as a cup of pleasant surprise for.
Download it from here
Saturday, February 20, 2010
From the Galician region, Spain, coming a 7-member ensemble demonstrates its flavour in compliance with the label Aregueifa which in turn reflects the tendencies of their native county. If you have already made acquaintance with Xurxo Romani, Xera PROJECTO [TREPIA], or Fanny & Alexander you can`t be wrong in your speculations about possible directions in songcrafting of Guezos. You do not actually need to do it - Guezos have been active more than 10 years and issued some albums as well. Their ethnic pop - as well as another native-minded bands from the Galician/Asturian region can`t be without demonstrating their Celtic roots - is mixed with psychedelic organ sequences and hard guitar riffs. However, the album contains of very unexpected yet pleasure elements at the first sight. The opening track Guezada 69 does crossover ethnic rock with acid dance rock tunes. It sounds as if the fairies have arrived to a madchester-music party and since the subsequent fete will little by little be taken over by those supernatural creatures. Acción-Reacción drives through impressive loud-sounding psychedelic shoutings in the choruses. Vals do Regueiro is a blend of downbeat, hard rock tunes and the sounds of local bagpipe gaita. Actually all of this stuff on the album are pushed elegantly up to the top and sustained therein by catchy organ grooves and gaita strokes. Todo Perfecto is the only one which does not symphatize for me. Even though it starts with a delicious Yann Tiersen-alike accordion motive the track will be evolving into quite lame latin estrada pop. The harmonies-melodies arisen from there even reminds of the criminal/platnoi songs from the former U.S.S.R. My favorite track is obscure Benvida a Terradentro - through its very brief longitude and introspective nature, yet, it is rather meant as an interlude or introduction to the ending track Terradentro (2009).
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Thursday, February 18, 2010
Although in Cape Town (The South African Republic) residing Jacques de Villiers is yet a musician of unknown size amongst the (ambient) musicians the specifity of his roomy soundscape is comparable to a view as if it would take a look to the ocean at the Cape of Good Hope.
His debut album sleepsongs consists of 5 tracks which deliver the listeners experimental ambient music in its best own - ordinary ambient structures are mixed with drone, shoegaze and noise, though, these side effects are rather (vaguely) perceiveable. For instance, the beginning of Moon Ballad/Improvisation for Trevor/Shine a Light on Every Room (part 2) is a bit painful to listen to it through the headphones. After it is followed by melodic sequences and lone piano clinks to be ready for the epic parametres to be set up in its beauty. The ending The Dying Song/Mon Ami does trash around in its inner agones - a loose, even down-and-dirty bass tumult meets the vague sounds resounding far from unknown distances creating an impressive output which is far away from the dullness of usual ambient. Subsequently, sleepsongs is without mediocre symptoms - without any anemic paleness. Indeed, it is truly epic music being comparable to the picture as if seeing a ship sinking silently in a far distance. These tracks are like beautiful dreams, which actually do not have happy endings.
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Well, it is time to continue with zeitgeist music. With sounds which are really hot and are being distributed and promoted first of all on the blogosphere all around the world at the moment. It seems to me that mainstream media unfortunately are unwilling to act along with, touching them only with fingertip (Neon Indians). It is much important for them to review some Neil Young`s and REM`s live sessions or `hidden` tracks being played thereabout 25-30 years ago than give more credit to unknown musical groups. The melomans of the recent generation don`t really care about it. It would be even sufficient if they had enough time to listen to classical pop albums (Neil Young`s and R.E.M`s ones as well).
Chillwave, hypnagogic pop, glo-fi, futurecore pop. Indeed, good music does have many names. And there have been around many bands as well - The Bilinda Butchers, Wonder Wheel, Sore Eros, MILLIONYOUNG, Dizzy Jaguars!, Death And Vanilla etc. Memoryhouse is coming from Ontario, Canada, and consist of Evan Abeele and Denise Nouvion who took the name after the famous work (2001) of German modern classic/electronic musician Max Richter. Their doings with music do have a very pragmatic explanation - to escape the paralysis of winter. Some living practices may sometimes acquire peculiar and beautiful raciness as it demonstrates 4-track The Years EP. The associations emerging from the first of a pair listens are very similar in their pleasure to those which cropped out while listening in the first time Cocteau Twins and Slowdive. Indeed, these names are not coincidental. Memoryhouse does charm through the ethereal sentiment of the Scottish trio and switches on the links related to Halstead & Co`s guitar ambient bewitchery. It can even account for why such music gives rise to nostalgia. On the other side - you should not think about it as the like of retro - basically this music is targeted toward the future. Their main basis contains of the element with whom you are already being familiar but the soundscape is rebuilt in a new way. Not very differently, though. How could it even be possible, isn`t? There is no chance to transcend the past, for the synthesis anyway. In fact, this movement started with similar aesthetics played up by Atlas Sound and Azeda Booth a couple of years ago and added by its own side marginal elements on DIY at that.
However, the guitars are commissioned by synthesizers (and not vice versa). The Years EP sounds as if Asobi Seksu or the Moscow Olympics would lack string instruments pushing synthetic elements to forefront. However, a cheap synth only sometimes illustrates the pace of a rhythm being mostly carried out by intense harmonies and melodies, which in turn are confined by angelic vocal sequences. I saw somewhere an message their next EP will come out soon in the spring. In the light of the recent EP a new one it is really welcomed. Is it yet possible to rise upward and upward?
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Tuesday, February 16, 2010
The São Paulo/London-based duo Hangin Freud started with their musical operations in the year 2005. In the same year was released the same named debut album which appealed at first sight with a blend of music noir, dark sounding shoegaze/darkwave, powerful indie, and slowcore as well. Scratchy guitars, gothic vocal mannerism, via obscure corridors of delay effects thronging sound, closely intimate spaceness. The music which was designed for people who are obsessed with thick curtains and red light beams. The next issue Continental didn`t add nothing to the concept of their debut one. On the contrary - the emotional aspect expressed through voice and instrument settings was pushed down sounding in a quite dry and passionless way.
However, first of all, Hangin Freud is a sapient duo who is able to learn from their own experiences. While still following a narrow conception of their sound (by its conceptual narrowness it is similar to Stereolab or Broadcast), they have designed their moulded parts and less audible details into much more formidable ones. On Sunken does Freud Hangin sound as their music was described somewhere on the Internet - claustrophobia, pigeons, suffocation, dry lips, nail bits, white walls. In comparison with Hangin Power herein are no such tracks based on intended sheer loudness anymore. Recent sound is full of crawling and dark blue-colored phantoms, which even flow sometimes. Paula Borges`s voice is a blend of burnt-out and resigned feelings and at times even more commissioned senses. Because of the restraint of the soundscape the part of vocal lines is more dominant on it. However, less than a half-hour ongoing Sunken is full of great numbers - Swamp was probably written in such a way seeing only the minimal song-writing composition as the ideal for it in the mind, thereafter to become itself as a template of minimalist dark pop sketch. A barely audible noisy hum in the background gives evidence of duo`s ability and sage to dally on human consciousness through sound manipulation, the title song (of short duration) introduces a journey full of enchanting fantasies. We Are Not hits with old piano sound generating strange dimensionality, which may seem plausible coming from the 1920`s-1930`s. Its hidden compulsive effects enforce the listeners repeat it over and over again. The ending song In The City is a mixture of atmospheric shoegaze and darkwave and would be a suitable yonder track for speculative film narrating the stories about ghost cities. Indeed, there is left enough room for imaginations - I am quite sure by reading simultaneously Edgar Allan Poe`s short stories (Berenice; Ligeia) aside it would give the listeners some metaphysical dimensions at that.
Sunken is a grandeur album which actually is getting better with each listen. No doubt, it is one of the musical peaks from the year 2010. The album is mandatory for every serious dark music supporter, hype-disdainful indie fan or uncompromising meloman.
Download it from here
Monday, February 15, 2010
Behind the pseudonym as Josef Nadek hides himself/herself an eccentric musician from Innsbruck, Tirol, Austria. As it is quite usual to almost all of those orthodox artists involving in the genre of avant-garde/industrial/illbient/dark ambient/noise, their specific task is to strip down the human spirit in its rotten nature and being full of hatred of humanity. More specifically - Josef Nadek is designed as a mould-infested spiritual cesspit, dedicated to compulsively explore and document various degrees of human degeneration, eradicate necrotic tissue and reflect each putrid core. Note that Josef Nadek is an utterly artificial character. Nevertheless no vile piece of filth about those in charge behind the scenes is of any significance. Josef Nadek spins his own yarn.
It is also noticeable greyish and black & white background imageries have been dominated in his visual side being actually so habitual to the old school industrial music. There is one peculiarity which was amazing in the most - by investigating the download ratings of his/her three albums under the labels such the likes of VJG, Bleak, and The Vegetable Kingdom (TVK), I noticed his/her marks have reached the results getting closer to 40.000 (in the curse of less than a year) , surpassing the next ones about 100 times! These parametres would we a kind of proudness for any of such a kind non music artist. No doubt, there is a huge fan base behind Josef Nadek`s back.
To infect and persist Vol.1 is compiled of various singles and tracks derived from different compilations, published over the previous year. This is Josef Nadek `s second album in this year - even in recent days, if to be precise. I have to assume Girone Della Merda issued under Format Noise was too pale, to get a full-fledged impression from it. On the other hand, under TVK anything is all but mediocrity. In the first place, the cover illustrated here is all but a joke - a woman imagined on it represents the decay of a human being - in its illness, slackness, and vulnerableness as well. It is actually the sequent level on its continuing degringolade pathway. By practising destroying yourselves and first at all another people the age of those TV-disciples and hedonistic jerks is destined to fail in itself.
The album begins in a very strange and unexpected key – the 60`s space age pop is mixed with country music being strictly in the vein of avant-garde music, more exactly reminiscent of some activities of legendary Bruce Haack (aka Jackpine Savage). It is followed by Coercion which gives the listener a hit by the side of noise drone. The Sayers of the law is based on a minimal string arrangement which will be digitalized thereafter. If you think, the rest of 6 tracks will continue combining with the elements of the previous tracks, you are failed to encompass it. In addition to the opening track my favorite ones are Hymn – a kind of vowel waving within weird haziness, which is fringed with abrasive digitality, and Monolyth & Cobalt, which exceeds low-end electro sentiments with cosmic music layers. Repentance of Midnight does succeed ambient structures into bombinating desolation.
`To infect and persist`, says Josef Nadek. Lets go on, hoi polloi!
Download it from here
Thursday, February 11, 2010
I suppose Joseph Cox is still better known as Fragile Battleships, by his previous project, through the course of 4 albums, in which he generated interesting ambient music. The 20-year-old British musician offered intense soundscapes with solid variability and impressive credibility - atmospheric soundscapes, restless glitch rhythms, the elements of musique concrete and modern classic, subtle orchestrations, low frequent bass booming, freeform sonic effects.
Although quite different, the direction on Weird Ribs wasn`t actually a very surprising turnaround drifting into a new realm - his spirit of open-hearted inventiveness promised to abound almost in everything. An new middle place is set around krautrock - around music without or within the sound of a few guitars, concentrating on creating electronic music with space odour, so-called kosmische musik. However, you know all of those names - Cluster, Conrad Schnitzler, Manuel Göttsching, Harmonia, The Droids, Cosmic Jokers and many others.
Stereo effects initiate Tubes – from one channel to another moving electronic loops are joined by synthesizer drones pumping thereafter up high chords - maybe it sounds even more Cluster than Cluster itself was able to do it. Goodnight Sweetheart is full of clashing digital sounds which at first glance, though, are quite remote from positive acceptance. Maybe even Cox itself is a bit frightened about it, turning on the previous gear. Leave is one of the highlights on the album - a kraut/synth-based sublime symphony which gets growing and meets the expectations of listeners` perception in the degree of 101 per cent. It might seem to be sound in a way as if Harmonia is circulating with Penguin Cafe Orchestra in the CD-player in the same time. The ending of this is an unexpected offering of Gang Gang Dance-alike vanguard tribal rhythms while a counterpoint in the embodiment of digital noise moves up to an intensive background whistling having some similarities with Cox`s previous project sounds, though, having more outbursting and destroying output. One of the best songs of 2010 to date. Pitter Patter is shaken through tectonic quakes while moving through cosmic spheres. All this enchantment of sounds is being captured from vintage analogue synths and epic tanpura-based long-lasting chords and will be set up a new metaphysics - the castles of old peers will be made up again.
On Tubes modern sense meets retro spirituality, epic meets sound manipulation, old school electronics meets recent technology, dance sentiments are infiltrated into psychedelic chaos. Moreover, as Joseph Cox has also mentioned the likes of Fuck Buttons, and Growning as influences amongst others, this conception will nicely be wrapped up. However, by my opinion his closest musical soul mate is still Dominik Jansen aka Cidulator from Cologne.
Download it from here
Wednesday, February 10, 2010
Andreas Rohden aka gillicuddy is of East Frisian-descent, now in Bochum residing a singer-songwriter. He has issued as the sum of 4 albums, all during one year and a half, on respected labels such as Resting Bell, Merzbau, and Clinical Archives to date. Rohden`s music can be characterized as influenced by North American roots-driven pop music and minimalist song composition. Through his restraint approach he is getting close to delta blues and the string music derived from the years of the 1920-30`s. By continuing to go onwards in time it all reminds me of John Fahey, Leo Kottke, Phil Reavis, Lou Barlow, and of contemporaries the likes of Ben Chasny, early Devendra Banhart, (Carlo), Barbagallo, James Blackshaw.
Rohden`s deliberately a bit rough even primitive songs do reflect the truthfulness of the eras of the past decades (especially the album music for moles). In fact, the similarities with John Fahey do have common point in the shortness of the tracks not often reaching a couple of minutes. On the other hand, Rohden `s music has always been a bit too cagey to label it simply as roots music in itself (for example, it is as the same as to consider Wilco or The Silver Jews could it to be). His cutting edge-ness does arise from the fountainhead of the recent time (by the way, he has himself compared his music as if with “living together with the ducks and squirrels”). It is not possible to forget he is yet living in the midst of one of the main European industry complexes. His music would seem as an escaping far away from today and an urban jungle around.
His sonic inventiveness is vividly and broadly demonstrated on his latest release the yaouhl! mashup. In accordance with the spirit of Clinical Archives it does sound in a modern way (no matter how anachronistically this sentence would even sound!), being far away from the sleekness of buttoned-up chart music. However, all those songs establish an excellent bunch. The gambit i know starts with beautiful sonorous overdrives and will be continued by almost 8-minute long adventurous (post-) grunge sound. Indeed, de mannetjesolifant gaat op reis naar de oostzee sounds like grunge music in a way it could ideally to be. The track is compiled of sequences and details which are obviously not very ordinary at all. For instance, one of those sound layers is drifted by tape (speed) manipulation effects, though, the full story will be ended by background hisses coming from the (Baltic) sea. Sh-da is a marvellous blending of avant-garde/indie/post-rock, which main attention are focused on tumultuous structure consisting of the symbiosis of usual instruments and digital audio. Instrumental # 2 does approach a concept of the previous albums, but, yes, ... just moving nearer. Sme. li. co. is likely to move up into underground folk of the 60`s. What does it mean “Sme.li.co”? Therein are explaining sentences:
/ too many people on the subway train to tell people smell like cock / Why do the people under the subway train smell like cock /. In this way? Definitely.
the yaouhl! mashup demonstrates an ingenious and skillful balance between sound experimentation and solid song-crafting. There is actually one thing I am concerning about. Why are all of those song titles and the project title itself as well initiated without capital initial letter? By my opinion one of the best albums of 2010.
Download it from here
Monday, February 8, 2010
Indeed, the elephants never forget and can probably remember better as many people do. It is also believable that so much shit gathered together inside our brains which would be better forget or think off isn`t actually the matter of the elephants. On the other side, it is quite surprising to suggest that so few artists are paid `tribute` to the largest terrestial animal by integrating their name into groups` ones. Moreover, the elephant have been symbolized strength and durability.
Indeed, nowadays are being more popular all kind of `bears`, and `cats` - though, I ought to admit, over the times - as well. For real, over the previous decade In the USA existed the Elephant 6 movement have subsequently added the proper and symbolic intention to the `elephant` name in music. No doubt, bands such as Neutral Milk Hotel and Of Montreal have strongly influenced the (USA) altenative music scene.
An Elephant Never Forget is also coming from the same continent – from Montrèal, Canada. Dave Landry and Jim Angelillo, who are only known by this act, came in for to leave thereafter. Though, they were also represented by one song on the compilation of Upitup Records, which released their debut album thereafter. This publication could be shown as a peculiar case because of their in that music entered inside the borders of Upitup's cutting edge electronic music desert. However, the duo demonstrated tumultuous spirit and energy of the music from their home city combined with aesthetics similar to Upitup`s artists using huge cluster of influences for. Given that the jacks within the local indie and post-rocks scene are closely related to each other and take into an account a clue that (Le) Fly Pan Am changed quite dramatically the direction on their last album vis a vis their previous outputs it gives us a theoretical basis to suppose that An Elephant Never Forget has maybe even strongly influenced (Le) Fly Pan Am`s album N` Ecoutez Pas (2004, Constellation) - one of the greatest albums from the last decade.
All those diverse elements are nicely represented on the album - musique concrete elements (street sounds, water murmur), ecstatic outbursts (tracks Expl; Analogie – does it reminiscent of Arcade Fire`s ecstatic hystery thereabout 3-4 years later, isn`t?) It will be given a break by hypnotic rock conception (Nippon), electro-acoustic fulminations, slowly expanding minimalistic ambient rock (Essence). Spoken word. Digital noise does find his home within the borders of high-pitched guitar hums. Also laptop folk - as the later brand of Montrèal scene - excellent shimmerings yield great monumentums here (I recommend listen to another duo Simon Trottier-Nicolas Bernier too). The album will be finished off by their label mate Isocore `s masterful psych-electronic remix Poor Corporation.
An Elephant Never Forget is full of sounds which are worth to give a listen, worth to be discovered now and sometime later again. One of the benchmarks of experimental rock music.
Download it from here
Sunday, February 7, 2010
Mind, Body & Soul: 200% is the debut album of a quintet coming from Monterrey, Mexico. The album is compiled of 10 tracks, which are filled with recent urban sounds. The broad accents are put on digi funk, electro and r`n`b arrangements. In a lesser measure there are also presented soul and hip-hop sentiments. However, solid song settings, varying melodies, lush electronic orchestrations, modern tuned synth sequences, the effects pushed through sonic filter devices. The tightrope of vocal activity is actually the matter of women who are singing in Spanish and in English (it can happen in the same song as well). I checked out their musical influences - Michael Jackson, Keri Hilson, Alicia Keys, Chris Brown. Actually the only element which disturbs me a bit on the issue derives from the latter three named musicians - I was a bit bored of vocal settings permanently running on autotune effect mode. Though, I ought to admit, into the middle section all those robot-alike vocals are being quite ok but thereafter I was getting a bit tired. Yes, a bit indeed. Despite of that little peccadillo Mind, Body & Soul: 200% goes on and will reach the glorious ending. My favorite tracks are NO Es FaCiL ft AD - crackling sounds and subtle moods reminiscent a bit of Kraftwerk`s classic harmonic signatures, and Necesito de ti does touch me with its roomy and emotionally affecting soul music sentiments. Good album, what else could I report.
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Saturday, February 6, 2010
Henrik José is the producer from Malmö, whose musical curse, cognition, and development is obviously reminiscent of another (and more known) Scandinavian musician Esa Juhani Ruoho aka Lackluster from Finland. Between 1997-2004, the Swedish musician had been known under alias as Bliss. He started as the part of demoscene/bitpop/chiptune/8-bit, specifically contrasting by making psychedelic tracker sound. His later developments had stood on the shifts toward downtempo and electronic pop direction. His musical lexicon includes such headwords like nu-jazz, jazz funk, funk soul, deep house, disco (house), roomy orchestrated music. Regarding the intensity of sound and diversity of genres he is thereby close to samplecore/plunderphonics-movement. All those acid keyboards and autotuned vocals were very up to scratch. For instance, take a listen of the track Making Bomb (1998) which is...mhhh... the bomb, indeed. His music has been issued under Kahvi, Monotonik, and Fairlight Music (once again, having an overlap with Lackluster). His musical subtlety is probably related to his main influences, including the likes of The Smiths, Sigur Ros, Murcof, Pink Floyd, Cocteau Twins, Boards Of Canada, Radiohead, Björk, Aphex Twin. It`s partly seems like an old school indie thug rustling around behind electronic devices.
The recent album is a follow-up to Henrik Jose 2007 in which guitar music was infiltrated into sometimes tricksy electronics, whilst it liked to take a view into inner space, being even a bit narcissistic in its own. The Little Things EP rejects the introspectiveness and seems musically to be much more upbeat and explicit. Also all those guitars are abandoned now. This album is full of electronic tunes. However, Jòse`s 15 years-period of permanently involving in music business does afford a kind of confidence. In the first place, this album is a solid example of his professional musical experience. My favorite tracks are Pinpointing The Problem, and the title song as well, with its tache-throwing harmonies similar to Azeda Booth-esque futurecore pop. However, the ending track We Own This Thing sounds like a tame M83, though.
In the next time I`d like to listen to an album with a bit more longitude.
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Friday, February 5, 2010
The State of California is nowadays full of diverse yet cutting edge music. How much good bands I have discovered in a couple of weeks – Dizzy Jaguars!, Wonder Wheel, Testicular Manslaughter, Tan Dollar etc. All those guys and gals who is wearing beach shorts and flabby shirts may be looked out way too usual but their sound is the qualitative brand in itself. In nearly 300 years ago, a French philosopher (Montesqieu) tried to determine human characteristics by bounding them to special geographical conditions. For example, people who are living in the mountains are used to love more freedom and people who are related to the living on the plateaus are biased to despotism. All we can say about California is there is no relation between interaction of thought laziness and summer blaze. I know very well all assignments in this way don`t make sense about it at all. Certainly, (physical) environments do affect the people in a certain way, but ortodoxically categorical assignments are the case of racism actually. This gives some persons the opportunity to manipulate with half-truths to reflect yourselves better and the other groups worse than they are in reality.
However, the emergence of a sequent new wave in the southwestern part of The USA is not a case to be surprised about because California is always having been an important place in the history of innovative popular music. One great act is followed by another - The Residents, Big City Orchestra, Negativland, Cromagnon, Mike Patton, Christian Marclay, Estradasphere, Tuxedomoon, Xiu Xiu, Ariel Pink, Testicular Manslaughter if to name most well-known amongst others.
Behind Crowcat is a guy named Mike McDowell - formerly having some partakings within avant-garde scene around Orange County-area (Dollar Tan, Fadestale, The Month Long Song), and his project Sun Sound Energy. Anyone who is familiar with the latter band, can a bit conjecture what could expect from his new brainchild.
Freestreet - released on McDowell`s own label Psychedelicate Records - consists of 5 tracks within 27 minutes. Obviously it is the optimal size, because this sound is broadly stretched out of pop. All what is on the EP herein can be labelled as total-pitched experimentalism - the fringes of electoacoustic and psychoacoustic environments, mutated vocal sequences/experiments, hi-speed/low-speed passages. Above it at times you can hear soaring vague spoken word samples and Freestreet can be represented without a solid fuzz noise as well. Near conventional instruments (bass, guitar, voice, drums) are also mentioned kalimba and chair(?). Is it an electric chair actually? Is it possible that the prefix "electric" is omitted to mention indeed? Throughout the way a continuous sizzle does make important sense. By its genuine sound it recalls me about limited edition tape albums of the obscure industrial acts by the 80`s. Even nowadays in the omnistylistic era Crowcat sound in a peculiar way. More exactly, his old school industrial moving about is getting closer to some enlightening works of Big City Orchestra thereabout 25-30 years ago. However, at those moments when the string instruments getting emerge, usually bass guitar (electric guitar is being directed into effect-based madness usually), a weird crossover of psych-blues and drone will be born (Clapping Fire). Of course, it all takes place in the guide of free improvisational indulgence.
Freestreet is aesthetically an outstanding publication for sure. Although intense by its form, it does wrap itself in some kind of safety, not being suppressing by its nature. In the first place I ought to admit the EP is not designed for anybody. The listeners who do have a consistent experience regarding old school industrial music/avant-garde/noise/drone are probably witted to understand it. Otherwise it may be seen too much a case of curiosity.
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