Videos from netaudio Vol. 6

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Burrito Burritard (Iron Ladder)

Burrito is a Russian trio coming from Samara. Burritard is their second album, and a follow-up to Fridtjof Nansen (2008/2009). It was really schizophrenic album by its intensivity and diversity of genres, ranging from hip-hop madness and obvious dada manifestos to flowingly psychedelic guitar riffs reminiscent of the play of never-to-be-forgotten Michael Karoli.

What does actually mean this word "Burritard"? Obviously it is a spoonerism with two initial words "Burrito" and "Bastard"? No doubt, conceptually and musically Burrito is a serious bastard because of spitting in the face of mainstream culture and music. Despite of the fact that this madness viewable on Fridtjof Nansen has been diminished and channelized into minimalist approach, Burritard has a bit more concentrated inner gaze to hit hard on the wrist of the listeners. Behind the restrained sound textures you can hear even denunciative evilness. Listen to the opening track Ant Gaze and you could feel in your ears how all of those sinister sonic whirls draw you in. The title song is hemmed by hard crawling trip-hop beats and experimental electronic lines. The track will have developed into powerful skirling manifesto. It sounds like some tracks of Blur from the album 13 produced by William Orbit would be re-produced through a distorting mirror by some invisible members of The Residents. All the following stuff will be continued in cutting edge thread. Every track is a little outer space in itself, engendered mostly from the combinations of pulsating drone sounds, digital hisses, silent sounding guitar passages or angular guitar raspings. Its abruptiness and coolness in the sound lines characterizing countless unexpected changeovers in different directions on this album reminds me of miracular approach of Faust nearly 40 years ago. It is avant-prog in its best sense and sensitiveness.

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8.8

Sleeping Me Lamenter (Phantom Channel)

By paraphrasing a phrase from one of The Smiths songs "Oh California, so much to answers for", I want to say that Californians have had big role to answer to some important questions in the developing process of avant-garde music in the past. It is hard to overestimate the role of such band like The Residents, Sparks, Big City Orchestra, Negativland, Cromagnon, and Estradasphere, if to show up only some names among others.

Clayton McEvoy comes from California, being grew up in the vast expanse of concrete and desert. He is a modern guy, creating his soundscape from the glorious traditions of shoegaze, drone, minimal music, and ambient. His music is consisting of Slowdive`s Pygmalion-era experiments, La Monte Young`s and Angus MacLise`s cyclic and pulsating drones, and sharing a bit similarities with the guitar-driven ambient contemporaries such as Stars Of The Lid and Windy & Carl, or a bit earlier acts such as Labradford and Beautiful Machine.

I doesn`t matter how should we view upon Lamenter, a follow-up to his debut album Cradlesongs (released under Hidden Shoal), as avant-garde, or vanguardism in itself, just abandoning an obsession to draw out an abovementioned row regarding cutting edge music from California. Although the frontier between bad taste and good taste is often very fragile within the genres of ambient music just because of its huge (over)explotation and the conceptual finiteness of the genre the present album is on the right side yet. Some minor even often invisible details being on this album play very crucial part in the first place. For instance, those haunting even outwards feelings pursuing undercurrents passing through such tracks as Bleeding Riverbed, and Kinski for Halloween helping with to create genuinely powerful manifestations nowadays. Mostly Clayton McEvoy`s music is sliding and slipping uphill and downhill on foggy soundscapes herein.

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8.0

Humberto Luis Schenone Human Tracks II/Heq (Clinical Archives)

In retrospect, we can just avow Human Tracks II/Heq was actually the second album released by an Argentinian musician-pecussionist Humberto Luis Schenone under Clinical Archives in this year.

On the site of Clinical Archives it is said the following:

“Human Tracks” is the name for a collection of musical works which has the intention of reflecting the history of the human journey from an alternative point of view.
“Heq” is an unforgettable and wonderful novel written by a remarkably good Danish writer called Jørn Riel which was the inspiration for this album, to whom it is dedicated as a little tribute, for the hours of pleasure his literature has generously given to the world.

The opening track Ancestors begins with tribal shamanic voices to get developed into easy orchestrated and subtle passages. It sounds like the members of Penguin Cafe Orchestra are searching the way out of the forest while adjusting to the patterns of it just in a case. These drum lines are not program-based electronic urban jungles though. The following The New Land whirls around looped vocal experiments and the sounds very reminiscent of glass harmonica. In fact, all the following tracks are based on these weird sounding instruments, running through its various phrases in different orders of succession. You can`t be wrong it you call it an album of minimal music.

I could only imagine is it a kind of music inspired mostly of the plateaus of Patagonia, of its hollow soundscapes, of cold winds and deep lakes? My feeling about this closeness to Nature herein is dredged by bird calls set in in some songs. This sound is raised aloft, being sublime, calm and soothing. Sometimes sonic milieu is very threnodial as well (Shanuq). If you are searching for the examples of untemporary music by any reason of all of this you want to you could dig it up from here.

On this album are joined a lot of different aspects with each other into unfixed rows in general intent. In fact, specific rows will be generated in the head of every listener. Yes, if this is chill-out music it is seriously in an abstract way.

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8.4

Videos from netaudio Vol. 5

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starstarstar electric goose and the nylon moose (Rack & Ruin)

In 2007 three mates were living together in the apartment on the bank of a picturesque river meandering through one small university town in the Michigan state. Some hours after first meeting they had shared their own music and ideas with each other and the night had been spent with a huge jam session. Their aim was to express the touch of humanity and the presence of nature through their music, in a direct way opposing to despair and fatigue in people distinctive for life in the big cities. The ideas came to reality, and the band was born. At first they had named yourself as Ringo Star, later changed it as ***, and starstarstar as well.

The first side in the name of electric goose and the nylon moose (EGATNM) refers to a flirt with electric and electronic music, and the second side to the acoustic aspect presented on this album respectively. The trio consisting on Chuck Golda, Mike McConeghy, Dylan Rogers has turned their aesthetical direction a 180 degree- a bevy of alt-folk and alt-country tunes dominated on Soul Tide released in 2008 (actually being of Ringo Star at those times) has been decreased to be changed into a bit broader spectre of the music colours and genres. Beyond doubt EGATNM is a pretentious follow-up surprising us with developments in unexpected or even weird directions at times.

Golden Glow is an exploiting opening - dynamic and dreamy indie folk is flavoured with strong ingredients of soul music. Certainly it is the best choice to introduce all the album in a tease yet beautiful way. Reciprocity is a synthetic soul funk engendered from the velvety accords of electric pianos, autotuned vocals, and shimmering sonic whirls. Although Antientam, and the ending track To Good Memories! are the ballads, yet, these cuts are without of any void and disgraceful show-offs usually so characteristics to this music genre . By vocal technical side the tracks are superb as well. With warblings of the grasshoppers, and looping vocal sequences/experiments showed up on Island even if those could indeed be reminiscent of the songs of Animal Collective, though, this feeling is strongly amiable. Fellowship grows gradually through psychedelic electronic sounds into a folktronic symphony. This is a real masterpiece in itself.

Supposing that if a lot of variety and experimentation don`t disturb the harmony and its developments it actually could only strenghten the whole one throwing in it a invisible yet endearing backcloth. Every time to listen to this from start to the end it is a little miracle. Obviously it is the best free-folk/alt-folk/weird-folk album released since Paavoharju`s insuperable album Laulu Laakson Kukista. I have a feeling that I can foresee electric goose and the nylon moose will rule the charts of netaudio in the end of the running year.

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9.8

[Old but important] Nogaro Domestic Colours EP (Tripostal)

Nogaro is a one-man-project of a Belgian musician Sèbastien Wilkin who is particularly known by his previous project Tongue. He has also involved as the lead singer and composer in the doings of Silicon (alongside with David Hougardy).

Domestic Colours EP was released under Tripostal, Carte Postale Records netlabel subdivision. The music coming from that source is usually ranging from electro-acoustic compositions and ambient to post-rock and indietronica. The latest mentioned genre is well enough to characterize Wilkin`s sound in a general way. Doubtless he is a very talented musician who has a sensitive side of him to operate with appealing melodies.

The coverprint made by Jean-François Flamey consists only of different colour spectrums. It is a very felicitous locution for this album, to be visually described. It is simplistic, and schizophrenic as well. This is modern pop in the information era during which the borders have been burnt between underground and mainstream music to ashes. Winamp-player do display me some information - 7 tracks and 28.52. There do not have any long tracks to listen to. One track is followed by another in a jaunty row. Just be ready to get drowned by the beautiful music. The opening track My Head On Fire is a blend of electro-bleeps with a balmy vocal. It is a calm, moving arrangement running from the point A to B. Upon it melodic sequences will have been revealed as infectious at its best. The music has the logic of a gradual increase through lush song structures, a bit developments in sound dynamics, and changes of voice timbres. It is really restrained music - if there are any of sound experiments it is vaguely discernable yet.

Listening to this album it is a little bit nostalgic for me. It reminds me of the times when I was listening to the second and still excellent album Cafè De Flor (1996) by Estonian band Bizarre nearly every day 10 years ago. Indie music seemed so refreshing at those times... Domestic Colours provides me with the feeling of deja vu, and it is wonderful to be experienced it again and again.

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