“Bound for Magic Mountain” is a whopping start. A neonised cascade choked full of bouncy goo and bleeping keylines breezes through your head like a mechanised kiss. The guitar kingpins transmitting a massive joy in kegs of wah-wah and laser, everything tilting to the max, smothered in copious effect shadowing. This has the cool scent of somebody totally enjoying what he does, mingling the past with present. Dispensing a motorik concoction similar to Camera‘s energetic repetitions, bringing new life into the groundwork NEU! and Kraftwerk bedded down all those years ago. Yep, you could say I’m enjoying this! Those slow starts and climatic rushes, all that overdriven impetus and contrasting ambience, each track melting into the other.
The following “Heavy Electrics” sounds like
Continue reading Eat Lights; Become Lights – Heavy Electrics […]
Conrad Schnitzler’s late ’70s and early ’80s period is difficult to pigeonhole within his larger body of work. By this point he had moved on from the early expansive drone pieces that featured on his first three releases and begun to amalgamate rhythmic patterns along side more condensed song structures. His Peter Baumann-produced 1978 album Con touched upon pop signatures but also allowed typical Schnitzler areas of experimentation. This was not altogether successful and these blending of sonic motifs would come together in a substantial ‘art rock’ vein within Consequenz, but would also borrow elements of the earlier ‘Krautrock’ period.
A warbling VCS3 introduces “Fata Morgana” which leads into a steady motorik drum pattern that is played over with simplistic synth lines. It has a
Continue reading Conrad Schnitzler – Consequenz/Con 3 […]
The Swede Mats Gustafsson (The Thing, Fire!, and also appeared with Sonic Youth, Derek Bailey, Peter Brötzmann, etc.) and the Canadian resident Colin Stetson from the US (Arcade Fire, and has also appeared with Laurie Anderson, David Byrne etc.), met for the first time on stage at the Vancouver Jazz Festival in 2011. The performance was recorded, and the result is these four tracks on Stones. Both are young, inventive and uncompromising improvisers, having done remarkable work with their own bands.
When this album dumped in my mailbox, I was not sure what to expect. I am not an historian of jazz music, but the fact that Stones is an album of two saxophones duelling must make it a bit
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A band who have obvious influences aplenty, Föllakzoid embrace, upgrade and expand upon the sound of motorik percussion and rippling fx-laden guitars. No matter where they draw from; they let loose five long-form tracks on their second LP which may owe substantial debts to places and times a long way removed from twenty-first century Chile, but which are nonetheless presented in a highly engaging manner.
Listening to II to while speeding in a train across a foggy winter morning landscape is a perfect way to reflect on the music of what is proving to be a band of highly accomplished psychedelicists. This is music to soundtrack looking out of windows for wolves and more while finding only kine, scouring the mountains for
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1979. A young snot-nosed punk steps up to a microphone, shouts “GO!” and a national treasure is born. The punk is Justin Sullivan, New Model Army the national treasure, and the “GO!” the unleashing of the hounds which heralds “Christian Militia,” the opening track on their classic mini-album Vengeance.
2013, and Vengeance is back (has been since the end of 2012, in fact) and it’s now over four times longer. So it’s… kind of back with three Vengeances. Take that, Bruce Willis! And it’s amazing how fresh it sounds, and how the songs still work today. Those strained, impassioned vocals, those part-moshpit, part-parade ground drums (courtesy of the late Robb Heaton) calling to mind the dancefloor as much as the squat party, and those awesome, looping bass
Continue reading New Model Army – Vengeance: The Whole Story 1980-1984 […]
Being a late explorer of Pere Ubu, my first encounter with them was The Tenement Year album from 1988, and I was sure I had found a pop band, but with something out of the ordinary still. Going back into their discography – to more experimental releases such as The Modern Dance or Dub Housing, not to mention the boxed set Datapanik in Year Zero, which also contained the early singles – showed me a band quite far from a pop kind of attitude, but still it had rhythm and beats and catchy pop songs in between all the experimental weirdness in their rock music. So when David Thomas – the only constant through all these years, and probably the main creative force –
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I’ve been struck by this band’s mysterious flavours since hearing them on numerous compilation LPs from the early ’80s, and then much later, on the Tionchor CD back in ’98 which gathered them all up in one (very odd) listening experience. ‘Nouvelle Concrète’ that was, and continues to be, inspired.. inspiring, with this collected umbrella of Passagen as a pathogen no doubt infecting a whole new generation of listeners with its sexy unorthodoxy.
Bathed in a rich bronzed lustre, this lavishly packaged and detailed collection starts at P16 D4‘s 3rd album, Kühe In ½ Trauer, a thing of damaged beauty. A transition point of gothic malcontent and brooding reverberations that is still remarkably powerful, like a multiple gaze of Rasputin eyes staring madly into a dark disease of murmuring
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