Kim Myhr and Lasse Marhaug have never worked together before, but they are both well established in the Norwegian experimental music scene: Marhaug as the uncrowned voice of noise, with hundreds of releases and projects under his belt, and Myhr is acclaimed in Norway as a composer and jazz guitarist of the explorative kind.
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Continue reading Kim Myhr and Lasse Marhaug – On The Silver Globe […]
This third release from Møster! shows them in good from, even better than before. On the previous album, Inner Earth, they tried to move closer to prog, but with this album a more confident style is apparent. Although it is a combination of avant-garde jazz, ’70s prog rock and psychedelia, a clear signature of the band flows distinctly throughout the album.
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Continue reading Møster! – When You Cut Into The Present […]
Rural Isolation Project
What’s often advertised as noise-rock tends to be just noisy rock. It’s usually very straight forward and just a noisy use of instruments. Lovely as this can be, I find it refreshing when Austin noise-punks Quttinirpaaq‘s third Rural Isolation Project LP is said to be “bleeding-noise industrial electronic rock”. This is the solo project of Matt Turner, who also joins forces with King Coffey from the Butthole Surfers in stoner-noise-rock band Rubble. Not a stranger to other Texas-driven noise happenings, Turner turns his head and gives us a harsh experience, and while we get comfortable in our chairs in front of the speakers, he pierces our minds with feedback and distortions from beyond, but keeping us seated with beats.
Continue reading Quttinirpaaq – Dead September […]
Jim O’Rourke has released albums of jazz, noise, electronica and rock music. He has collaborated with artists such as Thurston Moore, Derek Bailey, Mats Gustafsson, Merzbow, Nurse with Wound and Fennesz, just to name a few, and has produced albums by artists such as Sonic Youth, Wilco, Stereolab, Faust, Tony Conrad, The Red Krayola, Joanna Newsom and US Maple. He mixed Wilco’s Yankee Hotel Foxtrot album and produced their 2004 album, A Ghost Is Born, for which he won a Grammy Award for Best Alternative Album.
American composer, Phillip B. Klingler, better known as PBK, has been active in the experimental music underground since 1986, composing using extreme turntable manipulation, sampling, analogue and digital synthesis. PBK has performed live throughout the USA and in Europe, and has collaborated with musicians such as Asmus Tietchens,
Continue reading PBK and Jim O’Rourke – Unidentified Again […]
Ma.Org Pa.Git is the fifth solo release from the Norwegian sound artist and experimental musician Alexander Rishaug. Here he is exploring the space and the acoustics of a church organ and the hiss, overtones and feedback of an old tube amp and electric guitar. The album consist of two long pieces, recorded in the Norwegian seaman’s church in Rotterdam. Even though the material is heavily processed and recomposed, the overall feeling is genuinely spacious and acoustic.
The sounds are subtle, with very weak hisses or extremely slowly built up ambient drones. The volume is low, it is definitely not intrusive, it’s rather more like when you listen to someone talking very quietly, and you have to try to make an effort to listen to what was said. Not that I am certain Rishaug wants to express
Continue reading Alexander Rishaug – Ma.Org Pa.Git […]
This review is based on the CD and DVD releases; the set is also available on vinyl and blu-ray.
Before rising to fame, Devo experimented in basements and garages in Akron, Ohio during the years 1974–1977. This was a time whenthey were just doing whatever they wanted, and as they say themselves, they made “raw, unfiltered songs with no commercial intent”. Many of the songs that were created at that time, according to themselves, they never played again. Not until last year; then they decided to go on tour, to honour to the departed Bob “Bob2” Casale, following his idea to give new life to the creativity that brought them all together as a band. This album documents one night in Oakland at the Fox Theater on 28 June 2014.
In the first early years after they
Continue reading Devo – Hardcore DEVO Live! […]
This review is based on seven of the first 7″s released in the God Unknown Singles Club Volume 1, of a total of 10. What is most apparent is the variety musical output on these tracks. No specific genre is represented, rather it seems like a selection of artists from some underground, more than half of whom I had never even heard of. They vary very much, not only in style or attitude, but there is also a bit of variety in the quality of the recordings. As a compilation, the collection of artists and tracks works quite well together, but mainly I will say something about each single individually.
Gnod / Eternal Tapestry
Gnod / Eternal Tapestry split 7″
Continue reading Various Artists – God Unknown Singles Club Vol. 1 […]
When I heard that I was to review this album, I had to re-visit some of my old Devo records, blow the dust off and give them a new, fresh listen. Some call them punks, post-punks, new wave or even artrock, but they certainly have their own signature no matter what. The recordings from the late ’70s especially have some of the same quirkiness and dark moods of The Stranglers, although Devo in their early years seemed to be a more avant-pop band in the same fresh breath as Pere Ubu. For my own part, I prefer the second album, Duty Now for the Future, being the more rough and more guitar-dominant side of Devo over the début album Are We Not Men? We Are Devo! with its more slick, polished up production by Brian Eno.
Continue reading Devo – Miracle Witness Hour […]
Large Unit was born when Paal Nilssen-Love was asked by a festival promoter to put together the band of his dreams. Nilssen-Love found the musicians among long-time friends and collaborators or by looking for young musicians with the extreme qualities he needed to present his musical visions. This all-Norwegian band (apart from one Swede) has no lack of skills and all the abilities to improvise in all kinds of directions.
Celebrating his 25th release on his own label, Paal Nilssen-Love gives the fans a box of music maybe trying to sum up some of his inspirations to date by being many years in bands and collaborations with Peter Brötzmann, Frode Gjerstad, Ken Vandermark, The Ex and Lasse Marhaug, to name only
Continue reading Large Unit – Erta Ale […]
After the tragic death of their bassist Simon Wring in 2011, Gallon Drunk continued as a trio, releasing The Road Gets Darker From Here, a furious raw document of their stance at the time, almost a tribute to their own live appearances. After that, the band toured with Leo Kurunis on bass, and today the quartet has moved on even more, bringing also with them that raw, furious sound, combined with even better tracks, making these recordings some of their best work to date.
“The Soul Of The Hour” starts off carefully in a quiet piano mood and with a careful approach by Ian White on the toms (overall approval of his use of toms,
Continue reading Gallon Drunk – The Soul Of The Hour […]
On the many occasions I have seen Faust live over the last years, the original krautrockers have played many favourites and songs from the ’70s classics, although mixed with some improvisations. But other times they grasp the opportunity to collaborate with other artists, letting them colour the expression, or even get a feel for a different setting creating new fresh music.
This time it is the core members of Faust, Jean-Hervé Péron and Zappi Diermaier, who have teamed up with Omar Rodríguez-López from The Mars Volta. Ultimately it sounds like a good idea, as the latter is well known to be capable of thinking outside a traditional song structure-like box, even though he now is making pop music
Continue reading Faust and Omar Rodríguez-López – Live at Clouds Hill […]
For those who have waited for a recent live document of Gallon Drunk, I’ll say it’s halfway there. As a part of the Clouds Hill live 10” series, only five songs fits on this white vinyl record and the good thing is that the fans can stay hungry for more. As this is a continuum of last years The Road Gets Darker From Here, with tracks from the said album, it is also a link to the ’90s version of Gallon Drunk with two songs from the album From The Heart Of Town (1993).
As expected, this live recording is a blast of a document of the band’s powerful, energetic and rough performance. James Johnston sings like a true rock’n’roll hero, Terry
Continue reading Gallon Drunk – Live at Clouds Hill […]
Bosnian Rainbows is the recently-formed group of Omar Rodriguez-López from The Mars Volta, and supposedly a more pop-like approach to music than he did before. I haven’t encountered Bosnian Rainbows’ studio versions yet, so I was curious to what to expect of this live recording from a series of 10” vinyl documents by Clouds Hill studios in Hamburg.
What did I immediately hear? A record of powerful pop, energetic vocals and what sounds like a good live document. The band play very well together, and even though it is pop songs, it is easy to hear the kraut-prog influences. Not in a pompous way, as the songs are minimal and very much to the point. But still some of
Continue reading Bosnian Rainbows – Live at Clouds Hill […]
When listening to noise, collages, field recordings or other kinds of abstract music, new compilations have always been a welcome listen. Mainly as it is usually very diverse, and for me almost never tiresome. The Grief That Shrieked to Multiply is of course not a compilation as such, but a collection of remixes, done by a big number of well known and some unknown artists from the said scene. Sounds and recordings from the not-belonging-to-any-genre collective of To Live and Shave in LA (TLASILA) are run through the whatever various aesthetic or focal point the individual remixer has. As there are more than 60 various entries over 3 CDs (and one more CD available for download, if you like),
Continue reading To Live and Shave in LA – The Grief That Shrieked to Multiply […]
I love compilations; you never know what you’re gonna get. But not only that. I hear a lot of new experimental music, and some of it has as a sound or quality that will wear you out if you listen to full albums. Not necessarily on account of the music itself, which can be very interesting and varied, but some experimentalists tend to use the same approach to the soundscape or palette of sound throughout an album. If this is the case, and even more so if the music is very minimal, or in lack of layers or frequencies, I find myself getting tired after a while. Not so with compilations, as I hear so many varied-sounding tracks that it comes
Continue reading Various Artists – Your Victorian Breasts […]