S Object/Folk Wisdom
Inspired by Chris Marker’s fragmentary post-apocalyptic time travel film La Jetée and purporting to involve a mysterious black box dating from the Anthropocene era, AirEffect seems at once an imaginary soundtrack and the illusory object of its own investigations.
Stanislao Lesnoj‘s haunting saxophone circles SmZ‘s shuffling drums and other percussion while Christian Fennesz‘s guitar and electronics scrape and shimmer. All the time a plethora of broken, cut and pasted voices and environmental sounds ebb and flicker across the soundscape, their processed jitters and occasionally eerie whispers creeping and crawling into the listener’s perceptions in a dreamlike nagging at the unfamiliar.
The dynamics that the trio deploy are often highly effective and immersively engaging. Like tuning into overlapped, glitching
Continue reading OZmotic and Fennesz – AirEffect […]
Calostro Recordings (LP) / Little Crack’d Rabbit (CD)
Following up on the success of Aidan Baker and Eric Quach (thisquietarmy)’s 2014’s début live album of the same name, the now-expanded Hypnodrone Ensemble is now a band in its own right and presents here a set of four new studio recordings laid down in Berlin. Judging from the album and track titles, the group seem intent on seeing just how much further they can warp the fabric of the universe through the power of psychedelic music.
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Continue reading Hypnodrone Ensemble – The Shape of Space […]
Jarosław Leśkiewicz‘s (AKA Naked On My Own) first CD as Opollo delivers ten tracks of wool-gathering shoegaze ambience which pulse, glide and drone at the listener, prompting the attainment of theta wave-heavy states of consciousness, or perhaps more simply nudging them towards a kind of wakeful sleep state.
As with the best of this kind of thing (Leśkiewicz is obviously a fan of both Brian Eno and Justin Broadrick in his smothering modes as Lull, Final et al, as well as Main), Stone Tapes – a title that could equally be a nod towards both the theory that ghosts are spirits encoded into places and to the British TV play of that name from the 1970s whose radiophonic soundtrack has long been the stuff of lo-fi electronic legend and inspiration – seizes control of the audio spectrum,
Continue reading Opollo – Stone Tapes […]
Bursting with the same sort of demented energy which characterise much European music of the Seventies and Eighties, Anthony Cedric Vuagniaux‘s bizarre space opera Le Clan Des Guimauves (The Marshmallow Clan) tells the story of “the adventures of a gang of Alien Gypsies lost on our planet. Their physical feature is to have a big nose and seven fingers on their left foot.” Part pot-head pixies, part Magma-esque interstellar weirdos, the clan set forth on their musical peregrinations with the bubbling enthusiasm, highs, lows and far-out cosmic synth and electric piano vibes redolent of an era when all restriction seemed null and void.
This celebratory retro feeling is heightened upon learning that (of course) Vuagniaux records
Continue reading Anthony Cedric Vuagniaux – Le Clan Des Guimauves […]
There’s something gratifying about the way that The Orb‘s music has both progressed (in all senses of the word) and stayed within its own vaguely-defined parameters over the last quarter century. Pick any one of the tracks on History of the Future Part 2 or set it to shuffle play, and a certain number of slightly off-kilter vocal samples, blips, bloops and chunky shuffling beats from the second chapter of their trip are likely to emerge from the speakers, the only imponderable being just how much bass pressure they’re going to bring to the party along the way.
From inner/outer space to the corners of a farmer’s field which be be forever raveland, The Orb are still ideally placed at the interface between ambient floating and festival-friendly dub techno as they’ve
Continue reading The Orb – History Of The Future Part 2 […]
The Helen Scarsdale Agency
Ever needed to block out the world beyond the ears with the application of sound, to soak and bleach away the intrusive noises of other human beings, their transport, the built environment, the elements themselves? Try Scarlet then, up loud and/or on headphones, and let Jim Haynes reorganise the sound world in rawer form.
Tired of melody, bored to tears by tunes and in need of something a little more intense than just simply entertaining? Get Scarlet for the saloon bar, and keep those pesky customers at bay, or at least those unhardy enough for the scatter of abstraction and the sputtering bursts of electrical noise which will instantly guarantee a nagging feeling of concern for the safety of the speakers, or possibly the proper functioning
Continue reading Jim Haynes – Scarlet […]
Not so much glitching as rippling on a bed of deftly, deliberately placed samples organised by Timo Reuber and Staubgold label head Markus Detmer, Transit is also blessed with the production skills of Joseph Suchy, ensuring that everything unfolds with a suitably spacious, widescreen feel.
A constant sense of motion, of change and unfolding, of new vistas opening up as the album progresses, matches its title perfectly as the music moves across the stereo spectrum with occasionally delicate surefootedness. Transit demonstrates that computer music can sparkle with a human warmth, even if it has been built up in stages by a duo who describe themselves as technicians or “sound station attendants” who inject sequences of organised sound, rather than composers. This very Kraftwerkian
Continue reading Klangwart – Transit […]
Two tracks; fifteen minutes of fearsome post-hardcore grunt, groan, riff and thrash from Eleanora splashes out of the speakers as if the very devil was grinding out the best tunes behind them, goading the band into producing yet more screamed crescendos.
Tight as the screws which surely must be holding down the drummer’s kit in case it should get beaten off the stage, “Mammon” shifts gears and swerves with the erratic control of a rally driver careering headlong into an ice-storm while their co-pilot yells out a constant stream of incoherent rage at the all-encompassing elements rather than anything resembling useful directions.
“Amenable” starts off in just that fashion, a pleasant churn of guitar soon joined by a frying-pan bass sprawl until the doomy whole coalesces into a dirgesome trudge
Continue reading Eleanora – EP […]
Using only bass, guitar and slew of effects, Dorian Williamson and Jim Field‘s second release as Northumbria starts as it intends to finish, declaring at the outset that it is time to soar and glide. It seems to be just about fuzz o’clock as far as the guitar is concerned, and while the bass is set to Northumbrian winter time, its low-end rumbles are equally content to give direction to the pedals which set its deep heart a-coruscating.
Textural more than tuneful for the most part, Bring Down The Sky sets out to cover its allotted ground with a comprehensive blanket of sound, sweeping across the frequency spectrum with an implacable determination to fill space and overcome time. While the bright chimes and searing, controlled feedback from
Continue reading Northumbria – Bring Down The Sky […]
The Collapse Of Everything
Kontakte‘s latest album proves itself to be well worth the two years of concerted effort the duo have put into pushing the envelope of their music. It feels somehow broader, more expansive, even for a band who already knew full well how to bring out the brightly psychedelic edges and sharpen their perceptions on the manoeuvrings of their guitar, bass and electronics.
The sense of stillness, of time held in abeyance, that Kontakte are so fond of utilising acts as a melodic counterpoint to the moment which every step through the pluck and soft strum of a clean guitar and the hovering keyboard drone presages – that drop, the kicking in of drum machine and enough fuzz and distortion to quite
Continue reading Kontakte – These Machines […]
With “2024” blasting straight down to business like Pan Sonic at their grittiest and crunchiest, Centaure finds Franck Vigroux a very long way away from his guitar extrapolations and explorations (such as the recently-released Ciment). Instead, he’s got electronic beats to flay and some serious noise to bring on three tracks and a remix which will effectively sandpaper any soundsystem they grace and most likely render any nearby dancefloors well and truly scourged, quite probably in a biblical sense.
“Vesuve” could easily give Atari Teenage Riot some aggro, though as it’s (brutally) instrumental, the nihilistic attitude can be content to be implied and delivered through the force of the chunky rhythms rather than needing to be screamed in situationist slogans,
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Recorded live in Berlin in May 2014, with no less than three drummers joining Aidan Baker and Eric Quach (AKA thisquietarmy) as they sweep their guitar drones into places further out than many guitarists are prepared to go, Hypnodrone Ensemble comes across as a band name as much as it is a performance or an album title. With Felipe Salazar (also in Caudal with Baker, and of Muerte en Pereira), Jérémie Mortier from Alice in the Cities and Lady Shot from a Tree, and Dave Dunnett of Man Meets Bear giving their collective drumskins a good pounding, it’s no surprise at all that what starts as a rush of cymbals and FX swarms soon lifts off with its multi-ventricled heart set on reaching for the constellations
Continue reading Aidan Baker / thisquietarmy – Hypnodrone Ensemble […]
“Are you chicken, bone or soup?” asks Jo Zimmermann at the start of the title track of his latest electronic oddity using the Schlammpeitziger identity. “Are you a castle, tone or group?” he wonders, offering “Are you sentence, word or dot… button, box or cock?” and sundry other suggestions before pleading in an almost comically louche tone, “What’s fruit?”
An idiosyncratic sense of humour has always been part of Schlammpeitziger’s music, which bubbles and bounces to the sound of liquid outer space disco grooves, hi-hats tittering, bleeps sniggering and cycling while the beat works out like an exercise freak hepped up on too many artificial goofballs until the point of no return to normality being possible. In this sense, the tone and charismatic wibble of the
Continue reading Schlammpeitziger – What’s Fruit? […]
White Label Music
Like the former colonel of the First Earth Battalion, Jim Channon, whom Jon Ronson encountered in the story he recounted in The Men Who Stare At Goats, Radio 9 are apparently encouraging their charges – their listeners – to embark on a mission to achieve the impossible, and walk through the walls; though maybe via the more simple expedient of metaphysically opening up the doors of perception rather than shifting their molecules into different arrangements.
This seems to be the case on “A Futuristic Journey by Car,” where Leon Muraglia sings of “endless streams of light” (the title of Radio 9’s recent album) and “moving without sound” in wasted wastrel style over rhythms lifted straight from the
Continue reading Radio 9 – Learn to Walk Through Walls EP […]
Blending shimmery blurs of electronics with West African-derived polyrhythmic loops and swerves, this taster from the forthcoming album from drum-loving noiseniks Gum Takes Tooth shimmies and shakes with a deftly-assured sway, ripples of synth and coasting vocal drones layered sparsely over and around the hypnotically-intertwining beats. If this is anything to judge by, then Mirrors Fold should be quite the LP to both satisfy the body and befuddle the brain.
It’s also no great surprise to find that singular exponent of harsh industrial grind turned rhythm enthusiast Cut Hands remixing the track on the the flipside of the 7″ vinyl either. Here, William Bennett applies his own particular brand of faux-Afro-futurism to the track, drawing out booming bass and
Continue reading Gum Takes Tooth – Buried Fires […]