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Pm+ ushers the listener into the shadowy and slow moving almost monochrome world of blunt and coarse electronics, doom laden jazz and instrumental music. It’s an unforgiving urbane soundscape were pleasant tunes try to float to the surface, but get pulled under by the grey and crude sound elements.
It’s Time is a ever shifting noise and drone scape of sound. The textures and depth of sound are impressive even with in one track, let along album wide. we go from very tensed curls and singers of noise craft, to more streached noise ambient drone stactures, even moving towards more divined melodic material on a few tracks.
This new ep from the always pushing the envelope Animal collective may on first few plays not sound that different from the last full length Feels and instrumental wise this maybe be true to a certain extent, but sound wise it’s not. They seem to streached and pulled out and almost looped their sound, like odd erratic paintings by children, been unravelled down long corridors.
Drone is a wide and varied church of sound, it’s variation wonderfully highlighted by this double disk compilation of ltd Vinyl only tracks from Drone Records. We go from metallic guitar and organic string drones, bell like banks of sound, slight percussive drones, to deep and vast synth and electronic derived sound drones. Each disk lasting 70 minutes a piece, so there’s much to get your self lost in.
Super roots 3 is the next in the series of reissues of The Boredoms experimental ep’s from 1994 to 1999 on the Very Friendly label. This like the others in the series was a experiment in different sound, that didn’t really fit in with things they were doing at the time.
Adrian Klumpes is the keyboardist in Australian avant-garde jazz group Triosk. Here on his debut solo CD his narrows his sound pallet to one instrument, the piano. But don’t be fooled this isn’t an album of classical jazz standards. Klumpes twists and manipulates the sound of the piano into a vast panorama of sound.
Despite being described as an EP, Yule clocks in at over forty seven minutes in length and is Tor Lundvalls second release of 2006 after the acclaimed Empty City.
Harraam, Circle of flame is a twisted/deranged noise & Atmospheric outpouring, using guitar sound, and layer upon layer of grim wall paper like souced recordings & sonic Debris. The album starts off in fine overload fashion, but takes a turn for the more sinister and macabre as the album progesses.
Blank Field brings together the works of various sound and noise artist including Merzbow, Daniel Menche, Oren Ambarchi etc. The tracks are taken from live recordings made during the Francisco Lŏpez curated Festive of the same name, which are then cleverly and almost seamless edited together by Lŏpez giving it a feel of one big environment or piece. Though each piece is clearly different from each other, they seem like chapters of a book, each telling it’s own related tale, so the title of Blank Field seems wondefully apt.
This is improviser and sound artist David Papapostolou first cd releaser, offering up 3 tracks of improvised music utilizing acoustic guitar, Cello and Soprano Sax. All of the tracks seems heavy with world weary hazy, like watching figures move off across a iced white landscape.
This ltd release is a collaboration between one half of My Cat is an Alien Robert Opalio and Ramona Ponzini of Painting Petals On Planet Ghost. It Finds the pair investigating more earth bound and richly mediative structures than My Cat Is an Alien.
Black metal has often had spiritual yearnings, an affliction with dark natural and grim black gods, that’s present in nearly every black metal project you can think of to lesser or larger extent. With Om Negură Bunget have brought these spiritual tendency to new epic levels, making an album that still at is heart is black metal ,but sprouts its black roots off into many other genres.
Mothboy adds all manner of atmospheric cinematics, experimental edges and varied vocals to his jacked up and dance heavy electroinca. Making what seems on first playing to be quite pop based ,a lot darker and experimental monster the deeper you get into it. And that’s the thing that makes this different and interesting is it concentrate on both your feet and your mind.
Précis mixes folk rock with electroincia and pop elements to varying effect- some tracks seem to click and run just fine, others seem to muddled and strained. Sadly the problem is Benoĭt Piouland often doesn’t know where to stop with adding of sounds, leavening a few tracks sounding frankly messy and overbearing.
Winters debut ep at times sounds like if Marc Boland had decided to go down the doom metal path, or at other times it's a indie, grunge come doom cross breed. Having it’s own very distinct sound, thats mainly mid pace to upbeat riffing. Really giving an interest and different turn on the Doom genre , since everyone and their mother seems to want to sound like Sunn0))) at the present.
Dave Phillips must really be a very sick man if he’s anything like his explorations into audio insanity, that are severed up here still twitching to unsuspecting listener. He mixes all manner of cut up sound, noise, unpleasant & sickly ambience, silence and almost silence. Then fires it all like a sound roller coaster ride into your mind.
Life’s Blood Death's embrace ushers us into blood splattered corridors, creepy rocking figures. This is dark ambience with death industrial tendency and grim classical string samples. It’s a world of slow moving mildew heavy synths , creaking and murky rhythmic tracks. Apocalyptic , biblical and anti Christian text are read in a very stern and sinister manner here and there over the top
Robert Fisk is possible one of the most out spoken & honest war journalists you likely to come across, His colourful prose and gory description of war paints the situations very clearly in ones mind. He has covered most of the recent war and disturbance world wide over the 20 years or so in one way or another. He writes for the UK paper The Independent, but his work has featured in many other papers, news programmes and political debates.
Lazer noise up your arse collects together various tracks from 2001 to 2004 by noise moulder Stimbox aka Tim Oliveira. Theirs a good selection of different length and textured tracks here from ten to twenty minute growing and seething extremes , to minute long short shape shocks of vomited psychedelic noise.
Fortune & Folly has such a wonderfully sunshine on your face, sand between you toes folk vibe to it, first light steam in on a summers day. It seems from another time, hazed by 60’s feel of free love and peace for everyone, simply put it makes you feel good about the world, but never seems contrived or forced.
Muzika Elektronika bangs and forces together jackhammer beat work, electro noise discharged, screwed up and corrupted melodic elements, and watery & rich ambient sound exploitation, that more often then not, becomes soured.
Miljard finds Circle once more tattling a different set of musical genres. But this time in a more ambient, modern classical frame work, as with there other work they pull it off floorless, fitting there identity into each chosen genre with such depth of sound understanding, and ear for composition. Giving us a double album of slowly moving, sometimes dense, sometimes fragile, musical moments to get lost in.
Superroots one original saw the light of day back 1994, like the rest of the superroot albums it’s an experimental, a tasting session for some sounds that may or may not reappear again later on, this has few traces of their sound at the time- it owes much more to a dada gone wrong circus jazz, come bent easy listening, or toy town chaos- sure there’s some metallic elements here, but the focus is on a much richer pallet.
Shipwreck radio has been one of the most varied and released material heavy concepts of Nurse With Wound's 20 year plus career. We've had 2 double cd releases and this last disk as general releases, then on top of that we've had two more limited recordings. Adding up to 8 hours or so of material, and to be frank there just was not enough interesting elements or decent tracks to take up that length. Sadly this album highlights this point clearly and comes off as one of NWW's most disappointing releases, with the feeling of really scraping the bottom of the barrel.