Fun Stuff > BAND
Wink Wink 2011 - A bit of a change this year
KurtMcAllister:
--- Quote ---Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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Daughters - Daughters [Hydra Head; 2010]
--- Quote from: Pitchfork ---This isn't technically Daughters' final album, but after recording, half the band quit, and whatever the remaining members (vocalist Alexis Marshall and drummer Jonathan Syverson) come up with in the future probably won't sound much like this. In a February 2010 interview with Noisecreep.com, Marshall all but says so while discussing the new album: "[Former guitarist] Nick [Sadler] wrote a lot of the stuff on there, and he was really looking to make it accessible, and see how it fared... There are definitely parts of the record that were written to see how people will respond, which is kind of disappointing."
If Sadler's name sounds familiar, it's probably from the decidedly non-Daughters-like charms of his other group, Fang Island. While he's not officially credited as a songwriter-- the songs on Daughters are attributed to the entire group-- Sadler is listed as a co-producer, which might explain the album's relatively less abrasive sound. Relative to other Daughters records, at least: Those hoping for the abrupt spasms from the group's 11-minute debut, or the slightly less abstract math essayed on Hell Songs, are going to be sorely disappointed when they drop the needle on "The Virgin". Most of the song's elements-- the frantic double-timed drumming, the insect-like chatter of the guitars-- are familiar from older Daughters' tracks. Its verse-chorus structure, on the other hand, isn't. And neither is Marshall's vocal transformation into a smooth and confident David Yow impersonator. Even the song titles are streamlined. While these moves might seem like capitulations of some sort, the band doesn't pull any punches because of them.
In fact, this refinement actually serves to focus Daughters' energies. There's still room for flashes of the manic fretwork and double-bass drum damage of old in tracks like the thick and brutal "The Dead Singer", or "Our Queens", a song that's equal parts fractured mathcore and fist-pumping punk anthem. That said, pummeling hook-filled songs like the "The Hit" or "Sweet Georgia Brown" are the new norm. The moves made here are no different than the recent "pop" moves made by equally uncompromising bands like the Dillinger Escape Plan, Converge, and Torche-- each of those bands still sound like themselves, but they're also open to change and wholly willing to evolve into something else, fan backlash be damned. It's just a shame Daughters couldn't survive this transformation. As I said earlier, hardcore Daughters lovers will probably have plenty of bones to pick with this album. For everyone else, Daughters is a feast to be savored.
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trr005:
--- Quote from: TheClickOfALight on 24 Apr 2011, 10:18 ---John Williams - Jurassic Park Theme (Slow)
Some genius somewhere has turned the Jurassic Park theme into a 54 minute long ambient drone song; utter beauty.
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I take your Jurassic Park song and raise you another Jurassic Park song.
http://www.youtube.com/watch?v=lfyQhxSMonA
yop:
Zwischenwelt - Paranormale Aktivitat
--- Quote ---Zwischenwelt is the paranormal audio/visual concern of Susana Correira, Beta Evers and Penélope Martin alongside esteemed ex-Drexciya producer, Henirich Mueller (Dopplereffekt/Arpanet/ Der Zyklus). Their name translates as "world in between" and relates to the theme of parapsychology - the exploration of paranormal psychic phenomena using scientific methodology - which informs 'Paranormale Aktivitat'. Thankfully, and expectedly, their spectra hallucinations are more Konstantin Raudive than Yvette Fielding, but probably most similar in style and sound to Mueller's almost indivisible Black Replica and Zerkalo projects of the last few years, which were coincidentally coordinated with a strong female presence. Also like those projects, songs are sung by carefully enunciated female voices, delivered in deadpan but chillingly melodic tone, reflecting the glassy synthetic strings and sleek black silicon surfaces of their rhythmic engines. We might be wrong, but from the sounds of it Mueller is responsible for the majority of the music, but it's really the conceptual undertones and ritualistic, suggestively cinematic lyrics and narrative arc which make this the best Gerald Donald album since 'Calabi Yau Space', at least. Highly recommended.
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--- Code: ---http://www.mf.com/?oubmfwfm4434pm4
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Morphosis - What Have We Learned
--- Quote ---'What Have We Learned' is one of the most anticipated LPs from the deep Techno quadrant this year. Rabih Beani's debut album arrives five years after those first head-turning releases on his Venice-based Morphine Records as Morphosis (also, later as Ra.H), and although he's only released about 1 or 2 records per year since, he's become a standard bearer for the esoteric and rarified tradition of analogue cosmic techno. His music is suffused with a sophisticated mediterranean melancholy, likely coming from his Lebanese heritage and current Italian locale, and connecting with an experimental electronic and Afro-futuristic continuum reaching from Marinetti and the original Italian futurists to Danielle Baldelli, or across the cosmos to Sun Ra and Hieroglyphic Being. With impeccably classic yet up-to-date production values the album travels between the tentatively jazzy House abstraction of 'Silent Screamer' to the Horror soundtrack jack of 'Too Far' featuring unheimlich female vocals, and the instinctively moody wanderings of 'Androids among Us'. Further out, 'Gate Of Night' feels like a half-remembered cut from his amazing 'Time' 12" as Ra.H, all possessed Afro-rhythms and heavy-lidded, yawning space synths. In the closing stages the dramatic 'Dirty Matter' (previously remixed by NWAQ) carries us like some ancient tribalist ritual to the dazzling, KFW-like modular chaos of 'Ascension' and the spine-tingling, instinctive calculations of 'Europa' and its breathtaking conclusion. Ultimately, there's an sci-fi sense of narrative and an unavoidably evocative spirit to this album which should engage the very deepest House and Techno fiends. Massively recommended.
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--- Code: ---http://www.mf.com/?dufw60ub1yh3en0
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clockwatcher:
SCIENTIST LAUNCHES DUBSTEP INTO OUTER SPACE
Scientist disc
--- Code: ---http://www.m/f.com/?8n530ce7wgm2u62
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originals
--- Code: ---http://www.m/f.com/?38zpxyzhfa648fs
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--- Quote ---The long awaited and much debated Scientist mixes of exclusive dubstep material from the likes of Pinch, Kode 9, Mala and Shackleton finally lands for all Sound System crew. It's undoubtedly Tectonic's most ambitious project to date, some 12 months in the echo chamber spent duppying contemporary material until it heaves and breathes courtesy of masterful mixing board trickery. The man at the controls ranks among the finest Dub engineers ever to grace a desk, and although his prime period was nearly 30 years ago he's still got an innate sensitivity to the subtleties of fluctuating reverb/echo/delay combinations and the transient spaces they're capable of creating. With this in mind the original tracks are rendered as hallucinatory images of their former selves, spatial dimensions warped and surfaces refracted until they feel overgrown and listening to them is like peering into an alien forest, becoming both unpredictable and almost unstable. A project of this kind is pretty much unprecedented in Dubstep and deserves your attention forthwith.
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JD:
X-Ray Spex - Germ-Free Adolescents
--- Code: ---http://www.mediafire.com/?8sbil5dl3ejbj29
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Includes all the bonus tracks and the Peel sessions.
Poly Styrene and Jak Airport RIP
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