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I’ve always been a sucker for horror influenced metal, and when it’s done well it can be great creepy fun. Necrophagia have always been about fusion of extreme metal and Horror and here they’re at the top of the game.
Death Ambient is another one of these improvising new music groups that the artists on Tzadik have a habit of forming. This one consists of Kata Hideki on bass, Fred Frith on Guitar and Ikue Mori on her customary drum machines and electronics.
Thanks to compilations of Turkish beat and garage music called Turkish Delights and Hava Narghile I was put on the trail of the Turkish progrock of the seventies. Barış Manço reportedly has a legendary status in his homeland and has been making music since his 15th in 1958. In 1975 he released this gem, a futuristic progressive rock album where the odd meters aren’t odd, but firmly rooted in the tradition.
Raging Speedhorn, they look like a bunch of small-time thugs, local hooligans who should not be able of much more than unashamed brutality. If you think that way, well, guess what… You’re right.
When a name like this one is associated with a musical project rather than with some new chemical medication, you probably expect a rather robotic kind of electronic music, some very cold techno influenced ambiences.
Few acts of today love repetition as much as Pharaoh Overlord. It’s like the band had been brought together to form a new cult to the God “Moreiwantmoreofthesameriff” (Mesopotamian divinity).
Music for airports. Music for lovers. Music for the stations before and after sleep. Music for funerals. Music for children.
Luc Ferrari is one of the most influential figures in contemporary music today and one of the pioneers of Musique Concrete. His unique approach to this sometimes overly academic field of music is primarily artistic rather than research based. Much of his electronic work is centred around the concept of the audio photograph, using concrete and musical sounds to create a storytelling, cinematic approach that takes the listener on journeys to real and imaginary landscapes.
From the eternal source of new music that is the Tzadik label comes Mephista, an all girl improvising super group consisting of Sylvie Courvoisier on Piano, Susie Ibarra on percussion and Ikue Mori with her distinctive powerbook electronics. The results are a fascinating blend of bewildering electronics driven excursions and piano / percussion led improvisations.
Robert Ashley’s Automatic writing is one of the most influential pieces of electronic music. It’s structure, theory and execution are all of a mind blowing standard. Virtually unclassifiable when it was released in 1979, today it has lost none of it’s mystique.
From it’s beginnings as Thomas Weber one man’s thing, Kammerflimmer Kollektief has evolved a lot. First, he started to ask people to come and join him. They recorded Cicadae, a brilliant albeit too cold album. With Absencen, KK has become a band, a real one. They give warmth and greatness. They are alone in their own league. Good stuff.
The Tuna Helpers are three fair maidens from a far away kingdom who debut on the Mimicry with an album that I wasn’t sure what to think when I heard the samples. Hearing the full CD I must say that the samples once again fell short in representing what these ladies are about.
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.