          |
||||||
|
|
Bureau B
> Print this Continue reading FaUSt – Fresh Air […] File 13
> Print this Continue reading The Poison Arrows – No Known Note […] Bristol 26 May 2017
> Print this Continue reading Swans / Little Annie (live at Trinity Community Arts) […] Dais
> Print this Continue reading Drew McDowall – Unnatural Channel […] Paradigm Discs > Print this Continue reading Kymatik – Anthropological Constants […] Adaadat
> Print this Continue reading White – White […] Constellation
> Print this Continue reading Do Make Say Think – Stubborn Persistent Illusions […] BMG
> Print this Continue reading Nick Cave And The Bad Seeds – Lovely Creatures: The Best of Nick Cave And The Bad Seeds […] Thoofa
This second helping from Prescott has been well worth the wait. The musicianship is blinding, each track built up on little stabbing motifs playing footsie with Commodore computer tape loadings > Print this Continue reading Prescott – Thing Or Two […] Sub Rosa
> Print this Continue reading Radionics Radio: An Album Of Musical Thought Frequencies […] London 11 May 2017
> Print this Continue reading Marc Ribot live at Café OTO […] Optic Nerve > Print this Continue reading The Wolfhounds – Untied Kingdom… Or How To Come To Terms With Your Culture […] Bristol 12 May 2017
> Print this Continue reading Damo Suzuki / The Cube Orchestra/ Agathe Max (live at The Exchange) […] MIG Music
> Print this Continue reading Klaus Schulze – Androgyn […] London 4 May 2017
> Print this Continue reading Einstürzende Neubauten (live at The Forum) […] |
|||||
|
Copyright © 1998-2017 Freq and the contributors - All Rights Reserved. Written, audio, video and photographic material published on this site (except that linked to from other copyright-owners' sites or servers) is copyright to Freq and the individual contributors unless explicitly indicated. It is expressly prohibited to reproduce or copy any part of this site in part or in whole without the express permission of Freq and the authors of each individual piece. [Log in] Powered by WordPress & Atahualpa |
||||||
I think the first thing that should be mentioned about this record is the press release. Breaking all form and convention, it’s readable, witty, descriptive and — get this — actually tells you some information about the record.
I must confess The Poison Arrows are a new one on me, but a great discovery because they ply the kind of slinky bass-heavy American post-hardcore that the likes of Girls vs Boys (GVSB) and The Jesus Lizard put out years ago. 
The stage may have dwarfed her stature, but Little Annie‘s cabaret queen antics were larger than life, completely over-spilling the place. Cloaked in Eastern silk, her waist a blaze of African bracelets, Annie’s hoarse vocal was something to be treasured – both warm and vibrant, bursting with wit
“This is what it’s like.” A softly whispered, wraith-like voice appears during one of the tracks and it’s an exemplar: this is one (relatively) short descent into a steaming woodland of madness. There’s great chasms opening up all over the land and we’re listening to ourselves being swallowed.
These recordings make up part of the Kymatik archive and were recorded nearly 20 years ago, yet are timeless and unfold at our leisure.
White was the pairing of percussionist Shenggy Shen and guitarist and singer Zhang Shouwang, and this, their first album, was originally released in 2007. Now Adadaat have given White its first outing on vinyl, and it not only sounds but looks good ten years later, the striking cover image by Marcin Cybulski adding a Dada feel to the album.
This is Do Make Say Think‘s seventh album for Constellation since their inception twenty years ago and the first in eight years and it is a glorious, Technicolor addition to their already wonderful pantheon. For me, no other band sounds like DMST
When Nick Cave experienced the tragedy above all tragedies as a parent in 2015, it would be no surprise that all artistic output would be set on hold. This compilation was in the process of being finished, but was yielded maybe because the need of finishing Skeleton Tree that came out last year.
If this was a knitting pattern it would be full of lopsided colour, tangled dimensions and probably more armholes than really necessary.
It’s becoming a little unpopular, and there seems a tiresome insistence creeping in that music should stand for itself (I completely disagree), but I love electronic music that’s about something; I love a history and a context. The words surrounding a release are as important to me as the music within. Almost.
There’s a scene towards the end of John Carpenter’s turbo-charged 1982 creature feature The Thing when the titular metamorph – just before being blown to shit by Kurt Russell’s vengeful sticks of dynamite – writhes and transmutes in all its slimy, gory glory. 
There seems to have been a lot of bands returning to action over the last few years, but surely one of the most welcome must be The Wolfhounds.
French violinist Agathe Max warmed things up with a stunning set of looped riches, her bow floating with the gymnastic gait of a trapeze artist as she filled the canvas with different textures and tonal depths. 
Klaus Schulze is one of the pioneers of electronic music; his expansive cosmic music from the 1970s changed the face of modern popular music, and along with Tangerine Dream, it gave the world the Berlin School sound. 
Einstürzende Neubauten are a band very close to my heart — indeed, they reside in tattoo form on my left arm, so it’s literally a matter of inches. So I am delighted when, having given up on seeing what’s billed as a Greatest Hits set due to lack of funds, I find out at the last minute that I’ve been assigned to cover it for this esteemed organ (no giggling at the back).