Fun Stuff > BAND
Wink Wink 2011 - A bit of a change this year
valley_parade:
Haven't posted anything of substance in here in a while (aside from that Ergs! megapost), but here's another 12" from the band who had my #2 release of 2010:
Nails - Obscene Humanity
RIYL: Trap Them, Black Breath, fucking hardcore
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David_Dovey:
FUCK YES
and here I was thinking the mediafire thread had gone soft
KvP:
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I received about 13 pieces of physical music through the mail in the few days. These are their stories.
Deaf Center - Owl Splinters (w/ Svarte Greiner bonus disc)
The last album of Norway's Deaf Center dropped in 2005, and in the meantime its two members have become pretty big wheels in the modern classical / ambient world - Erik Skodvin has released boatloads of work under his own name and the drone alias Svarte Greiner (my avatar is from one of his LP covers), and Otto Totland has been less prolific but just as good with his Nest project (which released my #1 album of 2010, Retold). This year they return with Owl Splinters, a brilliant synthesis of Totland's cinematic majesty and Skodvin's ear for tension and dissonance. These guys are the best at what they do, and this is without a doubt the best ambient music you'll hear this year, maybe some of the best you'll ever hear. "The Day I Would Never Have" in particular is just absolutely stunning.
--- Quote from: Cokemachine Glow ---Six years is no time at all in ambient music. If your work, ambient musician, doesn’t feel timeless for at least half a decade, or long enough to help fuel a minor assault sentence, you may as well give up on atmospheric leanings and instead invest in a drum machine/actual instruments.
It’s been six years since Erik Skodvin and Otto Totland first butted heads, proving to the world that two exiled Norwegians can do more than teach foreigners about the delights of Hoegaarden Wit beer. For fans of Deaf Center that was six years too long, though they’ve had plenty to cling to in the meantime: the ambient duo’s debut Pale Ravine (2005) was so timeless, so weather-beaten, and so strangely prophetic of modern classical with its sprinklings of piano that you could almost forgive its creators’ six-year silence. Skodvin had (and still does) his Svarte Greiner side project where he pours drone music into the underworld, and Totland sneaked out a mini-album, but as far as the Deaf Center setup was concerned, they may well have been serving actual prison time.
Then, late last year, there were rumors. Totland and Skodvin were back in the studio making music, and it was music so hypnotic, storm-blasted, and flecked with ivory that it could beat Beethoven’s mother in a fist fight. Sure enough, following on from one leaked track on Soundcloud, they now deliver Owl Splinters, the best possible follow-up the fans could have dreamed of, particularly if the fans’ most sensuous dreams involve Johnny Greenwood producing a film score. One that could out-weird Daniel Day-Lewis.
So, how do you surpass a debut record that’s had six years of slow-burning impact? You take the same formula, slow it down imperceptibly, and then apply white noise until you’re facing an Australian cyclone. Having cleared that hurdle, you then countermand the howling with the world’s gentlest piano scales. Because for all Skodvin’s brewing fury and drone attacks, Totland can make you feel safe in only one tinkle, as demonstrated on the aptly-titled “Time Spent,” where he humanizes static. Yes, having made it through the sandstorm of opening track “Divided,” Deaf Center 2.0 attempt a little lost lullaby, one which stares down biblical strings with the music box from a psychological thriller movie. This is no starchy classical being trooped out here, just a strange, frozen ballet. The barely audible crinkling effects will have you checking your window for rain, and as Totland wheels out yet another grand piano and plays it two rooms down from the mic, Skodvin wheezes in return, building winter gales into into a hulking organ grind. By the time you’re halfway through the album and into the monolithic “The Day I Would Never Have,” the Owl Splinters atmosphere matches the one on Jupiter: contorted, inescapable, 82% ammonia.
But, for a Type Records release with at least one doom-drone originator at the controls, OS‘s greatest feat is in its restraint. The urge to collapse into all-out roaring is there for the whole forty-three minutes, but Skodvin and Totman have made a sort of pact: you stay feathery on the piano, I won’t go to Hades in the mix. “Close Forever Watching” is a fine example of the slow, beautiful scraping that these Nords can dish up in a blink, and if you don’t feel stirred by the ghosts of “Teardrop” on “New Beginning (Tidal Darkness)” then, frankly, you’re unstirrable. It’s this continuous tilting between oblivion and relief that makes Owl Splinters so intriguing; these strange little shifts, like the moment on “Animal Sacrifice” where Skodvin picks up a cello. You couldn’t produce noises like that with an orchestra, not unless the conductor is willing to admit a wind machine into his string section. And that will never happen because four tenths of all concert attendees tip too generously and wear wigs.
If the Coen brothers need something reliably deep to help flesh out their next spiritual Western, they should push Josh Brolin’s CV to one side and put Owl Splinters on their desk. This record won’t let the weaker elements perish, or remember that it was once in The Goonies and then punch Diane Lane in the face. This record’s good for six years.
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(Svarte Greiner Bonus Disc)
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Geoff Mullen - A Dust Futures
Avant-synth OG / Keith Fullerton Whitman's right-hand man Geoff Mullen drops a tape of mad genius synthwork. Noisy, psychedelic, often surprisingly beautiful. "ADF 03" is great.
--- Quote from: Boomkat ---Capping a vintage year for Mr Mullen after his 'Bongo Closet' LP for Type everyone round these parts, Digitalis present the mystic space music jumble of 'A Dust Futures'. Using his favoured Yamaha CS-50 and creating a delirious friction from assortments of tape loops, Mullen makes strange and wonderful arrangements full of sparse, cold space and spiralling plumes of abstract melody which just happens to sound ever so similar to the breakdown from Carl Craig's 'The Climax' on the B-side (no shit!). This is the sorta stuff we can zone out to all day and comes with the warmest recommendations for fans of OPN, Arp, Dylan Ettinger, or Stellar Om Source.
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KvP:
Instra:Mental / Von D & Riskotheque - Voyeur / Like A Bird
Instra:Mental takes point on an appropriately sleazy portion of technoid Robocop music, while Von D & Riskotheque give us highly melodic club music, somewhere between Autonomic and L2S. Both really awesome songs. Look out for Von D - he's got an album out this year. Whatever, Resident Advisor.
--- Quote from: Resident Advisor ---"Voyeur" has been around for so long already—the Autonomic crew have been hammering it since what feels like the beginning of time—it's hard to know what to say. Basically, it's a banger. A total banger. But it bangs without ever really banging. There is no big drop. There are no crushing kick drums. The bass never farts and the vocals never rouse (quite the contrary). Melodically, it's low-key, off-key and warped, and what little variation there is is kept to a bare minimum. It's really all—all—in the groove, which falls somewhere between the sleazoid tech-funk of Ivan Smagghe circa fabric 23 and Boddika's more recent electro-bass revivalisms. For chin-stroking techno aesthetes, this might not sound like much, but for wasted ravers the world over, it's dynamite. Anyone who heard it spanking out of Bloc's hefty Jak:Bloc rig back in March will agree. Even the carpet was gurning.
It's no wonder Skream signed the tune (Skream = bangers, right?), but sadly this means it arrives via his less than consistent Disfugured Dubz imprint, home to some of the stodgiest bass "music" yet pressed to wax, e.g. the B-side. Quite apart from the fact that "Voyeur" literally screams (no, not intended) one-sided pressing, there's very little justification for releasing bloopers like "Like a Bird" in the first place. Unless, that is, melodically uninspired, rhythmically cumbersome, structurally predictable pseudo-deep half-step is worthy of being put out. In which case, I stand corrected. But I'll take the A-side any day. It's one of the tunes—read: choons—of the year.
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Roel Funcken - Daze Flextone
One half of Funckarma provides to us an EP of heavyweight IDM dubstep functions. Heavy, sleek and technical. "The Fortress Collapses" is absolutely clown-shoes mental.
--- Quote from: Boomkat ---Funckarma's Roel Funcken steps out on a techy 'beats mission for Eat Concrete. After a decade producing the instantly recognisable Funckarma sound, it's interesting to hear Roel going alone over these four tracks. There's an effervescent spaciousness to 'Daze Flextone' which carries through the whole EP, fixing spiralling synthline ascensions to skittering, skeletal post-electro rhythms with little sign of the slow and heavy dubstep influence which recently weighed their sound. That said, there's a defined halfstep swing to 'The Fortress Collapses' but it's indebted to the colder, more dynamic sound of Vex'd or Reso than anything else, while 'Martyrz' jacks on a glitched sound akin to VHS Head and 'Koortshond' splices Falty DL-style future garage with his clinical arrangements. For fans of Aardvarck's Bloom series, Falty DL, or Gescom!
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Mountains - Choral (LP Vinyl Edition)
Gorgeous, affecting acoustic folk / drone music with light electronic elements scattered throughout. Builds and breathes beautifully. James Blackshaw-esque at times. Worth a shot even if you don't like drone.
--- Quote from: Boomkat ---*New edition in a limited black sleeve, includes a download code redeemable from the label* Following on from last year's triumphant vinyl-only release Mountains, Mountains, Mountains on Catsup Plate, this latest opus from Koen Holtkamp and Brendon Anderegg finds the pair decamped to Thrill Jockey. Mountains have certainly risen to the challenge of releasing via a bigger label, and Choral could reasonably be considered the duo's most refined full-length to date, serving up six tracks of highly evolved drone-folk, all exquisitely produced and filled with dynamic variation. The thirteen-minute title track marries acoustic drones, spectrally sifted electronics and a host of voices embedded in the background noise. It's a dense and effulgent piece of electroacoustic music - tantamount to a long drawn out fanfare - lighting the path ahead for more subtle pieces like 'Map Table', which combines clear and carefully picked acoustic guitars with deep, textured field recording treatments and a healthy supply of blurry synthesis, Boards Of Canada style. Another glaring highlight comes in the form of 'Melodica', which sets out with a jangle of chimes and digital echo before swelling up with a fragrant, effortless warmth that's like a blast of summer air. Mountains have set themselves apart from a good many of their peers and contemporaries, offering an alternate take on abstract electroacoustic music; while Fennesz, for instance, has moved into more earnest, classically-oriented territory with Black Sea, Holtkamp and Anderegg deliver a kind of 21st century folk music - one that's immersed in the aesthetics of modern technology yet retains a very natural, very approachable sound. Absolutely gorgeous music and a massive recommendation.
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Isan - Greencracked / Catgot
Shaggy, ramshackle proto-techno melodicism from Isan. The B sounds a lot like a digital music box. Sort of twee, and sweet, as electronic music goes.
--- Quote from: Boomkat ---Antony Ryan and Robin Saville have been producing their very distinct variant of pure analogue electronic music since their incredible 'Damil 85' debut for the Wurlitzer Jukebox imprint landed almost 15 years ago. The economy employed in their production setup and sound palette has seen them veer in and out of fashion all along that timeline, but in reality very little has changed in the delicate sound world they've inhabited throughout. it just so happens that at this exact moment in time their sound feeds straight into a ravenous appetite for all things Kosmiche and early electronic - the likes of which we haven't seen for as long as we can remember. So while the likes of Emeralds, Roll The Dice, Oneohtrix Point Never and The Advisory Circle hone in on and capture different aspects of this sound, Isan continue doing what they've always done so well; transmitting timeless electronic lullabies at once redolent of 1970's scientific futurism and Great British archetypes, sitting out on the bowling green, supping on a cup of tea, a BBC test card transmission flickering quietly in the background. This limited edition 7" taster for imminent 'Glow In The Dark Safari Set' album is just a thing of absolute beauty and simplicity, with "Greencracked" making use of a percolated Casio rhythm and what sounds like a detuned synth cascading throughout with all the gentle intensity you would expect from a mid-70's Harmonia production. "Catgot" starts life in a more choppy and unsettled fashion before taking a deep breath and stepping into the childlike toy laboratory you've imagined while listening to Raymond Scott's 'Soothing Sounds For Baby', all the while tugging at your heartstrings and pulling you back into a state of mental regression - the buzz and intensity of the modern world all but gone for its blissful 3 minute duration. It just is what it is - utterly sublime.
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Tim Hecker - Apondalifa
Once more, Tim Hecker takes what sounds like a monolithic, amplified drone and sculpts something like a song out of it, with guitars and strings and small noises. The 7" split the song into two parts, for some reason, but this is the unified piece. Majestic, in that inimitable Hecker way.
--- Quote from: Boomkat ---*A limited 7" vinyl edition of 'Apondalifa', splitting the nine-minute piece across the two sides. Included is a digital download coupon (redeemable directly from the label) entitling you to a free MP3 version of the piece as a single track.* Of all the big names in contemporary electronic music, few can make swells of noise sound so tuneful and emotionally engaging as Tim Hecker. The Canadian composer has long-since established his signature sound of gusty processed guitars, melodious static and soaring drones, and this new single-length release for Room40 finds him taking his craft to a new level of refinement. 'Apondalifa' begins with surging strands of guitar, clipped and layered over waves of stratospheric hiss, slowly taking a melodic shape as the piece develops; looped chord fragments become more apparent after a couple of minutes, and for certain stretches you'll hear a good deal more of Hecker's guitar playing than he normally permits. Drawing towards the four minute mark, bright synth tones cut through the melee, leading to a midway crescendo - from here onwards the clouds of electronic fizz dissolve away to expose mantra-like guitar figures, repeating and re-layering before themselves gently ebbing into nothing. A top-quality, most welcome return from this exceptional electronic musician - it's only a shame there's not more of it.
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KvP:
Mathemagics / Young Prisms - Split
The Mathemagics tracks are a pleasant slice of post-Panda Bear indie pop, with loud dubby drums, ambling bass and half-whispered vocal harmonies. Young Prisms back it up with some lo-fi shoegaze melodies. Pretty nice stuff.
--- Quote from: Boomkat ---*Limited to just 350 copies for the world on special card sleeve and artwork by Jeremy Perrodeau. Includes a download code redeemable directly from the label* Emerging from the North American hypnagogic dreamscape, Mathemagic and Young Prisms are paired on a beautiful 7" from Atelier Ciseaux records (following wax from Lucky Dragons, Best Coast and U.S. Girls). On the A-side we get Mathemagic's 'Breaststroke', a sublime marriage of strangely squashed bass guitar with deliciously smacky vocals and half-heard drag beats in a lovely meeting of Shoegaze and Witch house disciplines. Without the buried beats and featuring a more natural indie bass, Young Prisms occupy a more classic shoegaze space strongly indebted to MBV, but also with a drowned optimism akin to Ducktails. Highly Recommended!
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West Norwood Cassette Library - Blonde on Blonde (Pearson Sound Mix)
UK Garage dude comes out with a surprisingly faithful Chicago throwback, and the remarkably consistent Pearson Sound (aka Ramadamanman aka Maurice Donovan) remixes it in that unerringly precise way he always does. It's perhaps even more jacking than the original. Choice House.
--- Quote from: Boomkat ---Aerobic House workout from WNCL b/w a minimised and more refined Pearson Sound mix. After stints of dubstep and breaks-y dub-tech, WNCL unfurls 'Blonde On Blonde's classy yet rugged formation of bumpty Chicago House with crafty edits. On the flip Pearson Sound aka Ramadanman reduces the groove to a bare minimum of blocky kicks and sparing percussion, developing a kind of Tech-House pattern leading to sumptuous breakdown and back out again. Tidy.
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Taylor Deupree - Shoals (Edition)
Going a bit further into the avant-garde with this one. 12K boss Taylor Deupree releases what sounds like field recordings of an enclosed washroom. Probably goes well with good weed.
--- Quote from: Boomkat ---*Limited to an edition of 300 individually numbered copies for the world* This 7" serves as a highly limited and lovingly produced companion piece to Taylor Deupree's recent Shoals album. The clear vinyl comes packaged inside a heavy chipboard sleeve, letterpressed with dark green ink, and the crisp brown paper inner-sleeve brandishes an embossed 12k logo. Furthermore, each of the 300 copies is hand-numbered. Even before we get to the music it's a lovely item, and an object of desire for any Deupree or 12k fan. About that music: the A-side features a specially edited version of Shoals album track 'A Fading Found', which has been cut down to a size more befitting of a 7" single release (a lean 4:16, down from the expansive twelve minutes of the original) while the B-side is an exclusive track, 'Sere' conceived in the same spirit as the superb Shoals tracklist. Taylor Deupree is well and truly back to his best with this material, and while it initially seems a little peculiar that such abstract, extended compositions should be reformatted as short and snappy vignettes, it undoubtedly works. 'Sere' is worth the admission price alone, finding Deupree cultivating the most discreet and subtle of melodic profiles from a processed sonic environment constituted from room sounds, sonorous percussion and countless strange whirrs, creaks and reflections. Not to be missed.
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Blue Water White Death - Blue Water White Death
It's the dudes from Shearwater and Xiu Xiu and they sort of kind of made a drone album! Hope you like affected vox!
--- Quote from: Tinymixtapes ---Blue Water White Death is the collaborative partnership of Jamie Stewart (Xiu Xiu) and Jonathan Meiburg (Shearwater). Conceived and recorded in just the seven days from Christmas to New Year’s Eve, 2009, their eponymous debut is exactly the sort of document one might expect to emerge from a whirlwind creative collision between its two inimitable makers. Tender and deeply vile in equal measure, Blue Water White Death is less an exercise in traditional songcraft than it is a meticulously rendered space. Most of the songs here don’t develop by typical linear courses, instead lingering amidst the trappings of the album’s unusual sonic architecture — running their leathery hands along the walls of its vast, damp corridors and floating in its cold, deep pools.
The title of the album comes from a 1971 documentary that follows a group of divers who set out to capture great white sharks on film. That film was the initial point of departure for Meiburg and Stewart, and Blue Water White Death certainly evokes a uniquely brutal aquatic vision. The duo trade vocals evenly across the album’s eight tracks, and their respective musical interests and strengths prove to be extremely complementary. Stewart’s songs tend to get down amidst the waters, his crooked incantations swallowed up by waves of leaden drones (“Rendering the Juggalos”) or wading in the foam and slime of the shallows (“Death for Christmas”). Meiburg, on the other hand, tends toward the nautical. His gorgeous falsetto is dappled with sunlight and his dry, nimble fingerpicking skips like a schooner over ambient soundscapes whose shimmering surfaces imply leagues of dark, heaving depths below.
Blue Water White Death’s four gatefold panels feature illustrations of four different deep sea fish set against a clinical field of white. They’re grotesque creatures with near-alien deformities, their brutalized anatomies born of long legacies spent in the cold and darkness of deep oceans. They’re also strikingly beautiful and the perfect avatars for the album’s tenuous mixture of majesty and hideousness, innocence and shame.
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Conquering Animal Sound - Kammerspiel
Glitchy, rustic, ramshackle, serene electro-folk pop. As far as the vox is concerned, the Bjork comparisons are pretty apt. Comfort music.
--- Quote from: Boomkat ---With Bjork off astral travelling in the outer realms of out-sound, there's been a gap left in the musical landscape. Where do we go now for perfectly crafted female-fronted electronic pop? Sure there's a few options, but few with the glacial, near-ambient bliss of the Icelandic snow-queen, that is until Kammerspiel came along. Despite having a name that would suggest otherwise the band hail from Glasgow (via Edinburgh) and their music seems primed to fit into a warm spot right next to 'Homogenic' and 'Vespertine' on your shelf. Sure the production might these days owe just as much to omnipresent overlords The xx, but there is an overwhelming sense of opera and scope, something the nonchalant chill-wave set would struggle with at best. 'Conquering Animal Sound' is a pop record, but one with just enough smarts to get even the most po-faced experimental music obsessive to take notice, you'll certainly be missing out if you don't.
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