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Temple of the sun sees the once Germanic black metal band embracing a powerful mix of Bulgarian folk music, beat-craft and retro synthscapes in a much more convincing and rewarding manner than their first full length for Ahnstern.
Drommer is the black ambient project of a mysterious figure who refers to himself as Smaerd. Oceans is a CD-R which I'm guessing came directly from the artist, because I could find no reference to it anywhere on the Internet. There is another official Drommer release out now which is a CD box set wrapped in funeral cloth and sealed in wax.
This is a rather wonderful and bizarre soundtrack for rather bizarrely titled & by all accounts very odd giallo film from 1972. We go from discordant Spanish guitar music, to looped classical tones and modern classical elements, to creepy and clunking piano work and all manner of avant strangeness with strewn here and there more oddly beautiful moments too.
This debut from uk collective 7 Hertz rewardingly mixes together elements Chamber, Folk, Jazz into a very pleasing audio concoction- that goes from emotional, cinematic, to fun, and making you want to dance and stomp your feet
If like me you had a misspent youth (seemly several in my case) in dodgy night clubs and parties, you’ll more than warm to the 12 shots of dense retro sounding rave and techno on display here.
Far Black Farlong's 3rd self titled album takes the listener on a heady sometimes haunted, but always magical journey over morphing landscapes and changing seasonal climates with an original mix of classical,ambient, folk drone and lighter post-rock elements
Edward Ruchalski is an American composer, based out of Syracuse, New York, who creates innovative, experimental music in various forms. Perhaps his best known works are his compositions for motorized percussion and string instruments. Over the years, he has quietly gained respect as an artist, yet he remains almost criminally unacknowledged.
Definitely not a bandname that's easy to remember, which may be different for Swedish speakers, but I have to doublecheck for typing errors and wouldn't even dare to pronounce it. The next thing is, do I dare to listen to it?
The days of a big budget being a prerequisite for recording an album are long gone. Homerecording may be cheaper, good instruments are still expensive and there's enough gear fiends drooling over the newest models or its opposite: the most vintage and authentic. Richard Leo Johnson and Gregg Bendian show on this album that good musicianship is not in the gear.
Coming in not long after the interesting if a little mixed box set of early material here Japanese noise/psychedelic terrorist C.C.C.C offer up their first new material in ten years and take you on a fiery head melting, many layered noise trip that you wont forget in a hurry.
Sliding in just at the tale end of 07 Wildildlife debut is an exuberate, heady & creative take on the rock & noise guitar genres. Going from discordant metal/meets art punk riffing, to memorable bouncing rock craft with chanted vocals, to more introspective and bleak tones, to spacey summer days unfolding jams- This has a hell of a lot to offer.
I’ve had a soft spot for Ensepulchred Mix of keyboard heavy almost guitar stripped Black Metal, Horror film synth grimness & electro noise since their excellent debut album in 06- So it’s a really treat to have another hit from them so soon.
Dead Beat Project is the an enjoyable if not particularly original beats, synth and atmosphere solo outing from Oliver Goyet keyboard player of UK doom band Esoteric.
Cavalier is the second album from USA folk singer Tom Brosseau & it’s an album that's lyrically rich and wordy deeply sunk in Americana, hopeless and wonder. Musically his memorable and warm song craft is played out by strong sounding acoustic strums embellished here and there with organ & piano work, slide guitar & subdued drum tracks. I guess it's best described as up-beat folk, blues and grown-up tunefulness.
Growing are a trio, known mostly for their heavy, doom laden, guitar drones. In concert they push volumes to the extreme, and extend the drones, creating an almost physical presence.
John Maus second album of weird & wonderful 80’s synth music, meets new-wave, meets soundtrack elements finds him edging more towards the approachable pop elements of his sound & sadly disposing of some of the more enjoyable bizarre edgers & dropping many of the strange and sinister lyrics that filled his debut album.
The rather wonderful & cool Gigante Sound label brings us another charming, whacky and memorable shot of junk shop record sampling, meets eclectronica meets what every they fancy with Music with a message.
Stratospheric passenger blasts the listener off on a fuzzed-out, epic, psychedelic & sometimes grim trip into strange star systems with it’s mix of prog rock, indie guitar noise, black metal & post-rock.
A guy from Denver by the name Todd Novosad is behind the project Novasak. He's been making noise with analog and digital means since 1997 as well as video. He uses all kinds of stuff, DIY electronics, mics and pedals, metal objects, power tools and vacuum cleaners.
Earlier albums by Time Of Orchids albums had more or less famous names attached to them, like Julee Cruise, Marilyn Crispell and Kate Pierson (B-52s). The previous album came out on John Zorn's Tzadik imprint. None of these names say much about what's in store for Namesake Caution.
Seventh Ruined Hex’s blurred and dreamy front cover photograph of an middle eastern carnival is very fitting for the five pieces of noise/ drone guitar on offer inside. There a captivating mix of the painful,exotic, tripped-out & disorientating. With a great feeling of spiritual wonder with-in chaos.
John White is a singer- songwriter original from New Zeland but seemly poping up all over the world these days, this collection of tracks offer up tuneful, sometimes quirky, somes sad song craft that dips down in a mix of folk, stripped indie & ramshackle pop with brief forays into more experimental waters.
The end of a System of things is an audio & musical tapestry celebrating of the end of days,armageddon, full stop and no more. Built from curious, camp and at times eerier dialogue films samples, film scores and apocalyptic elements from pop songs, that are all manipulated into encrossing and bizarre audio collage.
This collaboration between Robert Rich & Markus Reuter finds the pair stepping away from the ambient creations Rich is more know for into a collection of edgy, cinematic, haunting melodic, sometimes beat-bound and often relative short sound creations to make a fine collection of consistent, emotional charged pieces you’ll want to disappear off into again and again.