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With Malleable Laminates Dave Smolen builds a sew-sawing soured and eerier musical/sound landscape. Coming off somewhere between improvised, electronicai and noise.
Contrastate were a ritualistic industrial band from Britain who formed around 1987. Handbags and DADA includes live material originally released between 1989 and 1993 by the TESCO organization, and an unreleased track, recorded in 2000, their final year as a group.
Rosy Parlane (male) is a New Zealand based musician who specialises in dense complex electro-acoustic music based around unrecognisable loops, field recordings, guitars and other instruments. Iris his previous release on Touch received considerable praise, including surprisingly from Red hot chilli peppers guitarist John Frusciante. His second release on Touch is another tour de force of contemporary drone and electro-acoustics.
Wold are a fiery mix of electro noise and black metal elements. Sledgehammer murky rhythmic pounding and electronic overloads go against overloaded demonic vocals distorted almost beyond recognition & grand and evil black guitar elements and dark harmonics try to make them selfs heard.
Immersion: two finds Steve Roach investigating a darker and stranger long form ambient sound world, than the first Immersion disk. Moulding and sculpting out some really very eerier and edgy nocturnal moodscapes, that have a mysterious harmonic charm, which seem to suck you in further and further to it’s slow moving dark world.
It’s easy to hear why 12K decided to reissue this 2000 disk from the first few moments, it’s the wonderful smooth and focused way it mixes gentle micro beats and a rich and rewarding ambient life blood. Dan Abrams (aka shuttle358) keeps ones attention though out in such a effortless and natural manner, making enjoyable and charming electroncia, making his machine weep pure melodic beauty.
Stars of the lid 8th album has been long anticipated, it’s been five years in the making to make sure every sound element is crafted to perfection. It finds the pair stretching and deepening their drone and ambient craft into more cinematic expanses, with a denser use of varied instrumental texture, and richer melodic flare.
For his new album Australian sound artist and ambient electronic sound painter Lawrence English has looked to more wintry and freezing tones for inspiration. Building six often barely there tracks of slowly moving ice bergs of melodic wonder and freezing tuneful soundworlds. It brings to mind perfectly the solitude and wonder of wintertime and endless white desert of vast ice & snow .
This is a welcome reissue of Tim Hecker's 2002 release, that’s thought by many to be one of his finest releasers and it’s easy to see why. Coming across some moments like being trapped in a TV dream, at others humming with richly warming Nostalgia. Hecker gives us a captivating, haunting and often beautiful collection of sonic worlds.
Seraphim Hallucino as it’s title suggest is more than a little puzzling coming off like a bizarre movie for the head mixing; dark ambience, weird soundtrack elements, industrial touches, avant jazz mumurs, noise, strange vocal traces and all manner of found and discovered sound.
DJ Scotch Egg makes a mix of gabba game boy, happy hardcore, whizzing past colourful electronics with little hits of odd and often puzzling humour. Scotch Hausen is twenty four minute rush of happy game boy sounds, stop/start bits, Bach re-imagined in Gameboy land and general happy overloading chaos.
Not unsurprisingly with this been the work of One half of Norwegian noise terrorist's Jazkammer and released on the Pacrec label, this has very little to do with silence great or otherwise. It's a deep and textured collection of noise craft, that along the way melds in-between the sound roar and rush some quite musical traces.
Silo 11 is built around slowly evolving and dissolving drones and ambience, with a distinctive bleak mysterious air about it. Like walking along a changeless grey landscape made up of derelict industrial units and decaying metal structures & expecting strange figures to suddenly appear.
Oakland California's Brandon Nickell is AEMAE, and Maw is his second album. Not having heard his first album, The Helical World, I had no idea what to expect. The press release describes this music as "electronic/noise synthesis" and "experimental", and it's fair to say that Maw includes those elements. There also appears to be a bit of Coil and Nurse With Wound influence going on here.
This collects together tracks from the often overlooked Israeli noise/ experimental scene. Going from long dialogue sample led tracks with noise manipulation, to ethnic chanting that slowly melts into noise hazy, to seething mulit- layered sound overloads.
Communal Rust offers up a quirky mellow and often hypnotic collection of guitar and electronics landscapes. Which much like the collage cover artwork seems to whisk the listener off to strange and distant lands.
Reverberate slowly is a perfect title for this collection of late night/early mourning minimal beatscapes and slight glitchy touched ambience. Giving the feeling though out of just about falling asleep mellowness. Nothing is every rushed just softly-softly tones for late night drives and early mourning come downs.
Strangle the Wretched Heavens is the third and final CDR in a recent series of archival discs, which document recordings made between 1994 and 1996. I'm not going to go into each track, but let me just say that of the three (the other two are Emerald Message and Glowing Raw), this is the best.
Südpol( South Pole) is a wonderful rich, melodic and tone dense exploration into eletronic moodscapes. This is Reuber Forth album and follows on some of the spacey electronic tendency shown by his label mates Rafael Toral’s Space, but in a lot more approachable and accessible form.
+Dog+ make a lo-fi grimy and murky take on noise, that seems to hum and burn of cities sound discharged, All the sound elements are muddy together, runing like cold grey vomit down the audio canvas. +Dog+ formed in 1991 Osaka Japan as a solo noise project of Steve Davis, this is projects 12 full length album along with many eps,etc.
Christening Black Death With The Devourment Of The Worm is a bit of a mouthful of a project name. So what does such a name have to offer?, well they submerge the listener in 40 minutes of maggot crawling dead for a few weeks, Subterranean drones. A ghastly flesh ripping mix of black ambience, noise of soured horrific grimness, with some slight nods towards metallic tendencies.
Glowing Raw is the first in a series of three archival disks that document an aborted album for Siltbreeze Records recorded between 1995-1998. The sounds here do fit in with the sounds of Market Square and Houston, the two albums that this would have been recorded between. Not to say that the music is exactly similar to either of those albums.
This double cdr reissue of an early gone out of print disk set, now presented in a very nice arty paint splattered cardboard sleeve and musically illustrating the different sides to The starving weirdos own take on improvised/ drone music. Making up over two hours of involving soundcraft that goes from sinister/disturbing wondering towards noise, to playful more jazz tinged weird calm scapes, and all sorts audio slipstreams to get lost in-between.
An old Broom knows all the dirty Corners managers to sound both crude, odd alluring, bizarre and some how haunting in places, Which is a difficult mix to pull off with such conviction as is show here. This is one of the many released albums under the name of Mlehst a one man noise and sound project of UK based All Brentnall, who formed the project in 1992.