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This is an highly welcome and long overdue reissue of this long out of print ahead of it’s time sneering early synth/ avant-grade/ bizarre Broadway musical masterpiece with music by Moog and electronics genius Mort Garson and text’s written by Jacques Wilson.
This new Slice of the ever expanding AMT cake find’s the band in a rather mellow, laid back and spacey mood, with the album more cursing and hovering than fire-up, rocking & brain melting
Hush Harbours mine a mixture of America 70’s country rock with psychedelic folk touches and slight grungy edger’s. With the lead singer Keith Wood voice sounding like Neil young after a bad night or a stoned and wavering Michael Nesmith
As if they knew it the day after I bought a new recordplayer this LP was delivered at my door. Excellent timing, but putting the needle into these doomfilled grooves almost seemed a bad idea, as it made me fear for my stylus.
Mit Ohne is a collection of shadowy vibe heavy electronic tone manipulations by Zurich based electronic and installation artists Ralph Steinbrüchel that were original conceived for a installation piece using 3rd animation of Yves Netzhammer.
Quest for blood are the perfect blending of extreme metal with authentic Asian music utilizing your standard guitar, drums and keyboards of a metal band with flute and traditional Asian instrumentation. And unlike a lot of bands that try to blend extreme and traditional forms Quest for blood balance both disciplines perfectly with each giving Equal sonic air to breath.
Shots at infinity 1 offers up 3 lengthy and highly enjoyable electric guitar works out that are rich with harmonic and atmospheric grace mixing in rock, blues, country and ambient texturing.
Blank for your own message is a very hypnotic, often droning eastern tinged spiritual mix of; electronics, subtle beats, sampled world music and ethic percussion, field recording textures and ambience.
Villainaire is my first exposure to the Dead Science, a Seattle threesome, who are often cited in relation to the experimental, and highly emotional Xiu Xiu. Don't let that fool you though; the Dead Science are not so easily pigeon-holed. Firstly, the music is mainly lush, densely layered rock music, with sweeping, orchestral overtones. Aside from the band's core unit there are no less than twelve additional musicians, who provide everything from harp, strings, brass, synth and backing vocals. The songs are, just as singer/guitarist Sam Mickens has said himself, "pop songs". As one might imagine, he allows for a wide margin of leeway in relation to the standard definition of the term "pop".
I've listened to Blue many times, in an effort to connect with it, because it seems like I should like it a lot. It's a very pleasant album. The music is impeccably put together. The instrumentation, including acoustic guitar, and string quartet, is more than competently applied. There's electronic glitch-work too, and although this type of production is getting to be rather old hat, it's done with care and precision. There are human voices, children and adult, interspersed here and there, which blend nicely with the largely acoustic music. There's a mellow pop, by way of nursery rhyme song in the middle of Blue as well, a pastoral respite within an album which itself is a respite from a fast paced world. Indeed the common factor in relation to the album is that it's as calm as a ripple-less lake in summertime. Which of course is not a bad thing in and of itself.
After the striped down, sluggish and crawling doomed jazz tones of Bohren & Der Club of Gore last album Geisterfaust, their new album Dolores see’s them going to the other end of spectrum with some of their most tuneful, short ‘n’ sharp and even brightest sounding tracks of their Career.
This is a reissue of a near on 30 minute ep that originally came with the now out of print 2006 stone box edition of The world that summer & unlike a lot extra’s/ bonus material collections this is rewarding, varied and works as a stand alone collection in it’s right.
With it’s mixture of grim and dark ambience, bleak drone expanses, doom /slowed blacked metal tone & funeral industrial rhythms Pyrrhula builds a highly effective soundtrack for a dead, barren and grim world of endless darkness.
Glancing over the list of artists interviewed on this dvd I thought to myself: who are these people? If this is a documentary on noise why limit yourself to the scene of Portland, Oregon (USA) to have Daniel Menche stand out as the most famous artist?
When cd's entered the scene many lp's were released on the new medium rather carelessly, if at all. Years after that launch, even on the brink of the demise of it (as some claim), many recordings are given a proper treatment of remastering and repackaging.
It comes in a rather minimal and black sleeve, the debut of New Orleans-based band Good Guys. The Social Engagement is far from dark or black, their energetic rock is almost the opposite, actually.
Ascension No.999 is a highly creative, shifting and psychedelic trip into noise matter from Hiroshi Hasegawa ( C.C.C.C, Astro, Mortal Vision, ect). Split over 2 long and devastating 20 plus minute tracks this really is nirvana for those who enjoy long form shifting Japanese noise.
Yer Su is a very densely layered and shifting album that attempts to bring together treads of Germanic and Bavarian folk, metal, industrial elements, cinematic/ classic tone and stew of other sonic flavours. And through it often succeeds in its blending of sounds-it sometimes gets a little too crowded for its own.
After been very impressed with Fixture for Toxins The Night Hoovers over Us Again from early this year (review here) I was eager to hear this new disk, but sadly it’s rather underwhelming, inconsistent and in places down right amateurish and lame.
Over the last few years German avant/noise chamber orchestra Zeitkratzer have released a huge amount of sonically varied material going from noisy tributes to Iannis Xenakis, to retakes on Lou Reed's Metal Machine music, to acoustic renditions of Terre Thaemlitz work. And Volksmusik is another exciting, different & creative step for this project
Beta Cloud a.k.a. Carl T. Pace isn't new to this website. He's circulated some fine, abstract music over the past couple of years. And this collaboration with Lull ranks right up there with his best work. Lull, a.k.a. Mick Harris is known primarily for his work as/with Scorn, Painkiller & Napalm Death. Harris is no stranger to working with other artists either, as he has been a part of countless co-releases and collaborations
Carl T. Pace's Beta Cloud project has up until now, released two full lengths on his own. Since his last album, the excellent Nephology, his Laughing Bride Media imprint issued a tension filled collaboration with Aidan Baker (Nadja), and two more collaborative efforts, one with Lull (review to follow) and this EP. Plug is a 3" CD-R billed as Beta Cloud vs. Kenji Siratori, and it was actually released last year. It's still very much worthy of mention.
Landmass finds Roach building a compelling and varied ambient travel log for internal landscapes & alien worlds. Dropping down along it’s nearly 70 minute ark in beat bound, hypnotic and deep ambient sound worlds.
Dog Holocaust is a boiling and sleazy noise soaked collaboration between Nolan T (Kakerlak) and Dan Johansson (Sewer Election). This cd brings together material from several out of print cassettes.