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Morr Music expands! They invade the realms of hiphop and downtempo. And it’s not like it was a good idea.
Originally a duo from Argentina, Languis relocated in California more than ten years ago. The four walls is their fifth album.
Black metal is like metal on a miniature scale: it has its peak periods, alternating with periods during which the scene appears to be stagnant, and critics proclaim the imminent death of the genre. In the late 1990s, black metal was moving ever further away fromits stated principles, as bands either began to move towards the commercial banalityof mainstream acts like Cradle of Filth and Dimmu Borgir, or were desparatelytrying to incorporate elements that had before been absent from the genre (electronics, drum computers, etc.), with varying results.
Since James Rutledge released his first album two years ago, folksy hiphop / electronica has gotten more and more popular. It’s now time to realise that under his Pedro moniker, he was one of the pioneers.
I Bought Tripper after seeing Efterklang live, supporting Fog recently . The band made such a impression on me. I can’t remember the last time this has happen.And I’m happy to say the album stands up to the quality of what I saw live.
A Welcome reissue and Digital remastering of this classic Michael Nyman soundtrack for Peter Greenaway‘s arty film of decadency, love and revenge from 1989.
Ozeanische Gefuhle is the 2004 release by American surrealist artist and sound sculpture Matt Waldron operating under his musical moniker Irr.app.(ext.). Coming from the same angle as Nurse with wound, Organum, Hafler trio, Waldron has composed two long form pieces (one very long 40mins+) creating a deep, layered sound world evoking equally feelings of dread and intrigue.
Two years after Beautiful, undoubtedly one of the best albums of 2003, improv quartet Minamo are back with Shining, for yet again a CD of unequalled magnificence.
Anyone into « indietronica pop » know Barbara Morgenstern and To Rococo Rot. When a founding member of the former and the latter team up, it’s bound to interest a lot of people.
In the early 1970s, with the release of Lizard and Islands, for a little whileKing Crimson were in danger of becoming a jazz rock band. Guitarist and main man RobertFripp must have recognized this threat when he disbanded King Crimson only to reform itwith new members into what became the classic '73-'74 line-up: a monster ready to overthrowall known rules of the progressive rock universe, turning what was once a fairly harmlessflirtation between rock and classical music into a Stravinskian maelstrom of odd meterrhythms, pentatonic guitar scales, improvising instruments interlocking at oblique angles,and a heretofore unheard of level of abrasiveness and aggression. When the dust finally settled withthe release of "Red" in the fall of 1974, the Crimson King had shed its jazz rock skin completely and had, in the process, forever changed the face of progressive rock.
This album is rather intriguing. If I’m not mistaken, it’s the second release of the band – err, Ariel Pink is actually a solo artist-, now re-issued on Paw Tracks, label of Animal Collective.
Giuseppe Ielasi is not what i would call a household name, but he has some cred and reputation among experimental guitar music connoisseurs. Hopefully, this new solo album should spread his name to a larger audience.
A few months ago, when i reviewed Motion’s album, I complained that sometimes 12k favoured “sound-signature” to quality when choosing to release some works. The new Shuttle358 album is here to remind us what a great label 12k really is.
For a while it seemed that Fiuczynski’s Headless Torsos were going to continue without the Screaming of Dean Bowman. An instrumental release and some loose tidbits on the site with Freedom Bremner surfaced but now the second Screaming Headless Torsos studio-album has materialised with Dean on it.
Southern Sludge gone sugar coated?
So what happens when two legendary doomsters team up and record a brand new album ? Well it certainly ain’t pretty, but it ain’t real good either.
Over the last twenty-seven years Harold Budd has released a slow but steady stream of albums of beatific minimalist contemporary classical music. Sadly the master of the soft pedal piano is leaving the stool with this his swansong. Fortunately Avalon Sutra could not be a more fitting end to an understated and at times underrated career.
Annie Gosfield is one of the most unique and remarkable artists working under the umbrella of John Zorn’s Tzadik label. Her past releases have been a melting pot of contempory classical stylings with musique concrete and sample based industrial sound works.
A year after releasing Vol one of Music To Play In The Dark, Coil dispatched the second part onto an expectant audience. Vol One had reinvented Coil and there was a high level of anticipation and anxiety over what Vol two was to entail.
Fear falls burning is the new project of Dirk Serries, aka VidnaObmana. However, the music is not to be compared.
A couple of years ago, Alan Bishop set up the Sublime Frequencies label in order to rewrite the history of what has become, after a clever marketing decision in the late 1980s, known as "world music".
Very intriguing and very interesting project, some weird music from Antwerp. The man behind this is not entirely unknown.
The fact that Boom Bip doesn’t fall into the hip-hop genre anymore, the music Bryan Hollon started with, isn’t news for a lot of this act’s followers. That this new album strays even more away from his roots consequently doesn’t come as a surprise either. The Cincinnati-born Hollon takes it a bit further even, by playing all instruments by himself.
Plunderphonics as a genre is rather mixed bag. It all depends on wit and clever use of your source material.