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Wink Wink 2011 - A bit of a change this year

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KvP:
RUPS


Function - Variance 1-3

I posted this awhile back but the 12" was actually 45 on one side and 33 on the other, so I had to rerip.

--- Quote from: Boomkat ---No rest for the wicked as Sandwell follow the 'Feed Forward' LP with three prime numbers from Function. If we're not mistaken, a couple of these tracks have appeared in remix form on previous SD vinyls (and it even shares a catalogue number with the single-sided blue 12" from early '09), but this is the first time any of these original tracks have been pressed to wax. The A-side is a colossal Function special, propulsive 4/4 bass hits arranged within a dazzlingly cold and spacious 3D dub environment, while the flipside cuts alternately aim for warmer, wide-eyed Berlin techno atmospheres like the recent SD LP and a slab of sub-heavy, acidic, Plastikman-style techno. Ace.
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Niggas With Guitars - Ethnic Frenzy

Latest thing off Digitalis, limited to 200 copies for the world. Pleasant synth composition. "Blacksnake" is fairly BoC-y. Check it out. I've got a few casettes of theirs headed this way as well. Can't really find anything about who these people are beyond the fact that they're from Oakland. Wouldn't be surprised if they're some white kids, with that name.


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On Fell - Untitled 7"

Shiny glow-pop. The B is sort of Matthew Herbert / Notwist-y.

--- Quote from: Boomkat ---By the time Andrew Johnson and Craig Tattersall started recording as The Remote Viewer and The Famous Boyfriend back in the late 90's, they were both no longer active members of Hood, one of the most important bands of the day. In the years that followed both camps would cross paths fairly irregularly, the odd contribution here and there, but never anything more than just a fleeting meeting of old friends sharing ideas. "On Fell" is a new (most likely one-off) collaboration between Hood's Chris Adams and the Remote Viewer's Andrew Johnson, spread across three strictly limited 7" releases (the first of which is out this week), featuring contributions from a bunch of connected heads such as Craig Tattersall and Wedding Present guitarist Paul Dorrington. The music they make is quite different to anything you will have heard from either the Remote Viewer, Bracken, Moteer or Cotton Goods camps over the last few years, the emphasis being on pure, joyous, melancholy and unforgettable pop songs, and we just can't stop listening to them. It might be fuelled by the kind of nostalgia that's impossible to articulate, or maybe it's just because pretty much everyone involved in this project has had a hand in some of the music we've loved most over the last 15 years; but quite honestly we were almost in tears the first time we heard the first of the two untitled tracks here, and every time we listen to it we get that same bittersweet sense of joy. These are simple songs, produced and recorded with a rough-around-the-edges, almost naive aesthetic that is the polar opposite to so much of the music we listen to these days. It's true, there are electronic treatments on the vocals, there's a heavy low-end element and sonic trickery present, but it still feels like a momentary step back to another era, one we almost forgot. We can't tell you how much we love this 7" - if any of this means anything to you we urge you to grab one of the 300 copies available while you can, it's a keeper.
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13 & God - Men Of Station / Soft Atlas

The two best tracks from the supergroup's sterling debut, backed with an apparent remix of an unreleased 13&G track by WHY? and Alias, and the main course, a pair of incredible Hrvatski deconstructions. Man, have I really grown out of my WHY? fandom.

--- Quote from: Boomkat ---This is the killer introduction to the indi supergroup made up of Themselves and The Notwist : aka Jeffrey 'Jel' Logan, Micha Acher, Adam 'Dose One' Drucker, Martin 'Console' Gretschmann, Markus Acher and Dax Pierson with guests including Valerie Trebeljahr of Lali Puna and Steffi Böhm of Ms. John Soda who guest on the sooncome album. 'Men Of Station' features lonesome piano, acoustic guitar and strings behind Markus Acher's gorgeous politically fuelled lyrics - an incredible emotive track with excellent chorus duties shared with Dose. Why? & Alias remix the mysterious 'Into The Trees' where can I get the original version? Why's distinctive vocal is upfront against the dope beats of Alias and the glistening keyboard patterns. 'Soft Atlas' open's up Dose's mind to reveal his fears about the end of the world! Again beautiful piano chords, electronic loops and rustic percussion prevails. An amazing track that will be another highlight from the album. Last but very not least Keith Hrvatski abuses both 'Men Of Station' and 'Soft Atlas' utilising both his knack for improvtastic sounds and hyper mangled but deftly skilled drum programming - a seven minute blast! Essential purchase.
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Various Artists - Tropical Heat Vol. 2

Skweee clearinghouse MYOR music drops a compilation (do Skweee folk ever do anything other than comps?) EP. The first song is kind of a stupid joke, but the last track is Skweee done right - more dubstep than funk cheese.

--- Quote from: Boomkat ---Myor round up a second collection of laidback 8-Bit bounce and trippin' Skwee from Slow Hand Motëm, 1000names and co. The vibe is set with the screwed, Hyphy-like reduction of Slow Hand Motëm's 'Boom Respekt Boom' and a sparkling synth-boogie byte from Beem on 'Automan'. The excellent 1000names back up aces for Black Acre this year with the dub dreamy suspension of 'Cup Of Joy' and Pixelord puts dip in your hip with the splashing rainbow synths of 'Hypnofrog'. S.Y.Z's crafty bobbler 'Spirits and Demons' is perhaps a bit too rugged to be considered "Tropical", but Mother North's 'Butter Blues' keeps it comfortably heat-hazy and sluggish. F-r-e-s-h.
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KurtMcAllister:
Glenn Branca - Lesson No. 1 (1980)


--- Quote from: Tiny Mix Tapes ---In the 1980s, there began a massive restoration project to bring New York from its abject, whorish state to the super-capitalized, civilized state it is now in. Politics aside, it is clear that the New York that once was is long gone. It was that New York that was the New York of the Velvets, of Glenn Branca, of Sonic Youth, and of the best rap ever to come out of three Jewish kids. It was the heart of Travis Bickle's lament in Taxi Driver. New York's then miserable state was key for the music that would come out of it. It is perhaps why The Strokes, as hard as they try, cannot ever capture the essence of VU (what's cool about waiting for your man in the middle of Times Square drinking a Frappucino?), and why, perhaps, nothing will come close to capturing what Glenn Branca captured on his first few recordings.

The problem with any Glenn Branca recording, though, is that if -- and this is likely the case -- you've only heard Glenn's work after becoming obsessed with Sonic Youth, you're likely to comment on how much Glenn Branca sounds like Sonic Youth, instead of the other way around. "Lesson No. 1 for Electric Guitar" foreshadows the jangled, droning, oddly pop-like guitars of Daydream Nation, and the opening chord of "Dissonance” appears fit to kick off almost any SY song. The fact alone that a single two-song release would go so far in influencing so much of the experimentally-inclined artists to follow makes Lesson No. 1 an essential recording.

Like all of Branca's work, these aren't so much songs as they are symphonies, the classical music of the 22nd century. "Lesson no. 1 for Electric Guitar" sounds nothing like "Dissonance," yet they play off each other in a way that can only be described as harrowingly perfect. The former piece, as I have mentioned, is almost a pop song at times. Multiple guitars drone on without so much as a major change for the entire duration of the piece; a floor tom, whose accents are scattered on alternating stereo channels, occasional (and I use the term strictly) cymbal crashes, and a bass are the only instruments that bring forth any sort of momentum change. Yet it builds, and by the end of the piece it swells. It is but the exposition, however, of a story whose true monsters have yet to be introduced.

The complete disarray and brusqueness of "Dissonance" is only magnified by the relative-gentleness of what preceded it. If "Lesson no. 1 for Electric Guitars" showed you the gates of Glenn's mind, "Dissonance" takes you to the control room. Much like "Lesson no. 2" (off the equally astounding The Ascension), the sound is almost primal at times, like the deranged sounds running through the head of a man fleeing from his death by an unknown creature in the jungle. The first half could have easily been seen as an experiment in rock music, but to call "Dissonance" mere experimental-rock would be an understatement to say the least. More like a free-jazz piece gone wonderfully awry, it enters a realm of music that not even Sonic Youth has entered.

When asked about the milestone of jazz that was Miles Davis' Kind of Blue, drummer Jimmy Cobb said, "it must have been made in heaven." Such a response is certainly suiting, but as far as Lesson No. 1 is concerned, the hell that was New York could not have been done without.
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Glenn Branca - The Ascension (1981)


--- Quote from: All Music Guide ---If one chooses to categorize the music on this recording as "rock," this is surely one of the greatest rock albums ever made. But there's the rub. While sporting many of the trappings of the genre -- the instrumentation (electric guitars), the rhythms, the volume, and, most certainly, the attitude -- there is much about The Ascension that doesn't fit comfortably into the standard definition of the term. Not only does the structure of the compositions appear to owe more to certain classical traditions, including Romanticism, than the rock song form, but Branca's overarching concern is with the pure sound produced, particularly of the overtones created by massed, "out of tune," excited strings and the ecstatic quality that sound can engender in the listener. Though his prior performing experience was with post-punk, no-wave groups like the Static and Theoretical Girls, it could be argued that the true source of much of the music here lies in the sonic experimentation of deep-drone pioneers like La Monte Young and Phil Niblock.

Happily, the music is accessible enough that one can jump right in, regardless of one's direction of approach. Branca's band, unlike some of his later enormous ensembles, is relatively modest (four guitars, bass guitar, and drums), so the sound is comparatively clear and each member's contributions may be easily discerned. The chiming notes that begin "The Spectacular Commodity" are allowed to hover in the air, awash in overtones, before being subsumed into a rolling groove that picks up more and more intensity as guitar chords cascade one atop another, threatening to, but never succeeding in, toppling the whole affair. "Structure" plays with sonic torque, whipsawing between two differently stressed voicings of the same theme, pulling them back and forth like taffy.

But the title track is both the consummation of the record and the surest indication of Branca's direction in later years. It begins with a marvelously dense haze of ringing guitars, feedback, and percussion, with a foreboding bassline contributing to the strong sense of disorientation. Midway through, it abruptly shifts to harsh blocks of sound over a rapid rhythm, the blocks differing in texture but played in alternating sections, smacking into each other and further heightening the tension. These disparate sounds eventually coalesce into a pure, ringing tone that, over the last minute of the piece, explodes into a spectacular cacophony, a seism of bell tones, microtonal eruptions, and near orgasmic guitar bliss. An absolutely stunning, jaw-dropping performance.

Branca's music has served as a major inspiration to many alternative rock bands that surfaced in the '80s and '90s, notably Sonic Youth; both Lee Ranaldo (who plays on this recording) and Thurston Moore were regularly members of his early ensembles. The Ascension, in addition to being an utterly superb album on its own merits, uniquely invites listening from both adventurous rock fans and aficionados of experimental electronic music. For years, the vinyl release on 99 Records, with its stunning cover illustration by Robert Longo, was a highly sought-after collector's item. It was finally issued to compact disc in 1999 by New Tone.
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KvP:
I'm gonna roll the dice and say you read SA... I asked where to start with Branca and those were the two albums suggested. Lesson 1 is pretty awesome so far.

yop:
Thank you so much for the Variance rerip. Nice and dark, edgy techno with deep bass sounds. Love it!

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Overcast Sound - Beneath The Grain




--- Quote ---Beneath the Grain is the result of three months Canadian artists OVERCAST SOUND spent in Berlin last year. A deeply personal album, Beneath the Grain reflects the impact of the city's contextual significance, both historically and as the modern nexus of creativity.

Each track investigates a particular place or theme discovered during their residency, drawing from the textures and sounds unique to those experiences. The ethereal vocals in Devil's Mountain make reference to the crumbling Cold War listening station on the outskirts of the city, while Lackadaisical bubbles and meanders with the reflected sounds of inner city parks and neighbourhoods.

Beneath the Grain marks the group's debut full-length album, showcasing OVERCAST SOUND's distinct cinematic style and delivering a compelling sonic diary of a city.
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TheClickOfALight:
Raekwon - Only Built 4 Cuban Linx (1995)



Raekwon’s debut solo album, and the third of the many brilliant Wu-Tang solo offerings which began to emerge in the mid 1990s. But like many of the Wu-Tang solo albums, it isn’t truly a solo album, as it features Ghostface Killah prominently, and was entirely produced by Wu-Tang puppet master RZA, who, after reading his Wu-Tang Manual, has convinced me that he is some kind of utterly mad genius who has a twenty year plan to take over the world or something. However, Raekwon is still able to step out of the Wu-Tang limelight and craft an individual album that focuses on the mafia rather than kung-fu, and one which is simply astounding. You need this in your life.


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