Thanks to the more benevolent side of technological advances, recordings of a roaming and domestic provenance are no longer restricted to four-track strummers or those with the resources of rock royalty. Which, means there not many real limits upon those with advanced levels of imagination and ingenuity. As evidenced by the below divergent sonic dispersals.
review features
19 posts
Dipping just a toe into the DIY electronica streams these days still requires some weighty waders to avoid being soaked by the volume of material. Hence, another amalgamated approach is needed to fish for some of the most notable new wares.
The never-ending flexibility of folk-framed idioms is undoubtedly one of the music world’s undervalued gifts, with there being near-infinite creative power in the union of pastoralism and open-minded songcraft, as the following four full-length releases contest.
Visiting the international DIY electronica scene market these days never leaves pre-disposed listeners with a shortage of produce to choose from. However, with so many common core ingredients in abundance – such as vintage modular kit flavourings and conceptual protein – zooming in on those seemingly most able to refine their recipes, is a means to limit overstocking the synth pantry shelves. Enter then, four relatively divergent but loosely familial platters for a tasting session.
Boris have been ploughing a wide and varied furrow through the field of guitar-based music for more than quarter of a century. Dave Pettit has taken on the task of listening to all of their studio albums - here is part one of a series of reports as to what he found within them.
The internet is a weird and wonderful place. The music industry is also a weird and wonderful place. So when these two worlds collide, strange and beautiful things happen. For many years, bands would play their way through dingy little clubs and venues until they could get signed, recorded and sent on local, then international tours. This is still an ever-present phenomenon, but the world wide web has […]
Newhaven Fort, East Sussex 22 September 2018 Ahhh, that relentless rain! After a blazing summer it’s great to get back to some genuine English weather, isn’t it? And boy, it rained all day, meaning a lot of the improv parade ground goodness at Fort Process‘s 2018 edition got secreted away, upping the happen-upon expectation to rise that bit higher.
It’s May, so it means that it’s time for Kev Nickells to get the Eurovision ball a-rolling with the annual round-up of what’s grot and what’s not. Gay Christmas comes around so quickly and by the spirit of Judy Garland we are once again blessed with another bumper bonanza of Eurojoy this year.
It’s the time of year in Europe when days grow longer, spring blossoms multiply andthe Eurovision Song Contest heaves into view; which also entails Kev Nickells going through each and every entry with a vengeance.
Benedict Taylor: dashing young blade of the London (and beyond) free improv scene. He’s a busy man and a fine player and in possession of a veritable encyclopaedia of techniques. The scratchy ones, the frittery ones, the ones that sound a bit like a helicopter in the distance. But not showy, in case you’re worried that it’s going to sound like a viola lesson.
So. I did some reviews of the first batch of Every Contact Leaves A Trace releases, which were fine indeed. And here we are, just two short years on, in a world that looks slightly different. And yet, on plod sound-art micro-labels, furrowing obstinate fields. I say that in a fashion that might sound derisory, but if I know one thing about ECLAT label-head Seth Cooke, it’s that he’s […]
With the annual festival of all things Europop upon the screens of a continent and beyond, Kev Nickells runs through the entries. Eurovision – a cherished institution. Writing this has been a bit of a nightmare, to be honest, because Europe’s a lot bigger than you think it is. Spreads all the way over to Azerbaijan. And for all the tack/awesome stage-setting, it’s a timely reminder that Europe, […]
Four releases from a shiny new label devoted to something like sound-art, but not as asceptic and dry as that genre has a habit of implying. Hopefully, label head Seth Cooke is already known to Freq readers, but if not his is a formidable CV – sometime Freq writer, engine, petrol and tillerman for Bang The Bore, previously one of spazzy rock’s finest drummers (Hunting Lodge), an improviser […]
The Third Golden Age of Welsh Pop™ shows little sign of abating any time soon. Following his contributions to Cate le Bon‘s two extraordinary Cyrk releases and Euros Childs‘ sunshine classic Summer Special last year, Stephen Black now unleashes his own long awaited fourth album as Sweet Baboo. Originally from Trefriw in north Wales’ Conwy valley, SB has long been an integral part of the Cardiff musical community […]
Grönland released their epic four-disc tribute to legendary producer Conny Plank in February 2013. Leon Muraglia of the Kosmische Club looks back at the man, his music and some of the artists whose distinctive, revolutionary sounds he helped create. “Do you feel like a ride into the forest?”’ Conny Plank asked Brian Eno one warm autumn evening. After a short drive in Plank’s old Merc, they parked in […]
Norton For most bands, tackling that ‘difficult’ second album can be a daunting experience; the expectation, the pressure to top their debut, and the need to break new ground can all conspire to form a perilous trap for the unwary and the uninitiated. . Figures of Light, a ghost legion of the proto-punk army who fought almost single-handedly around New York and New Jersey during the early 1970s, […]
There are four main ways of making music that sounds different to anyone else: by devising your own conceptual framework; using rare or unique instruments and equipment; developing an unusual approach to your instrument; or by training until your technique is broader, faster or more specialised than that of other players. Depending on your level of insecurity you may reinforce these with deliberate obfuscation, whether that entails removing the labels from your vinyl, claiming that you don’t understand or aren’t interested in your own process or ability, hiding your equipment or simply not answering questions. It depends whether or not you’re afraid of the competition or you think you’re the kind of person who’s only going to have one decent idea in your lifetime...
Label: 4AD Format: DVD+3xCD There is an air of finality about the title and contents of 1981-1998. With the dissolution of their musical partnership into separate solo careers, Lisa Gerrard and Brendan Perry are no longer Dead Can Dance, but as the extensive essay on the group included in the luxurious slip-cased hardbacked book (jam-packed with landscape photos) which makes up the packaging of the set observes, the […]