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The M/F Thread 2009: The Quickening

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pulpfiction21:

--- Quote from: SWOON! at My Gravitas on 26 Nov 2009, 20:45 ---Oh man, that Grand Hallway album posted on the last page is so good.

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Agreed

gospel:
The Penny Black Remedy – No One’s Fault But Your Own

MySpace

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Pacific Ocean Fire – Hibernation Songs [2010]

MySpace

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--- Quote ---The band split in September 2009 after performing their farewell gig at Camden Dingwalls supporting Drugstore. Their final album, Hibernation songs, is still due to be released on Azra Records
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Trevor Tchir – Sky Locked Land

"Are We There Yet?" (YouTube)
MySpace

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If only it had the film version of "Statued" by Adem. Sigh.
Dead Man's Shoes Soundtrack


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--- Quote ---1. Smog - Vessel In Vain
2. Calexico - Untitled II
3. Calexico - Untitled III
4. Adem - Statued
5. Calexico - Ritual Road Map
6. Laurent Garnier - Forgotten Thoughts
7. The Earlies - Morning Wonder
8. Richard Hawley - Steel 2
9. Clayhill - Afterlight
10. Calexico - Crooked Road And The Briar
11. Lucky Dragons - Heartbreaker
12. Gravenhurst - The Diver
13. Cul De Sac - I Remember Nothing More
14. P.G. Six - The Fallen Leaves That Jewel The Ground
15. ABBC - Pluie Sans Nuages
16. Aphex Twin - Nanou 2
17. M. Ward - Dead Man
18. DM & Jemini - The Only One
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KvP:

--- Quote from: StaedlerMars on 26 Nov 2009, 18:18 ---Hey, KvP what radiostation do you work for?

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KCSU!



The Black Dog - Further Vexations (2009)

--- Quote from: Flyglobalmusic.com ---The Black Dog was formerly the trio of Ken Downie, Ed Handley and Andy Turner and over the past a couple of years, SOMA have released the first six Black Dog EPs as Book Of Dogma, Temple Of Transparent Balls and a couple of their best tracks on the Soma Coma Vol. 2 compilation.

The early works are musts for lovers of late eighties/early-nineties sci-fi-techno and since Ed and Andy left (to form Plaid), Ken was variously Black Dog with different line ups before teaming up Martin and Richard Dust (of Dust Science) to rave reviews for the album Radio Scarecrow release.

They say Further Vexations is their “attempt to capture and express our emotional frustrations, and the trials and tribulations of living in an un-democratic surveillance society…To say we are pissed off about it, would be an understatement”. Now you might expect that this would be an angry soundtrack off the back of that but it starts off quiet with ‘Biomantric L-If-E’ and ends with a gentle ambient Alice Coltrane inspired ‘Later Vexations’ and the multi-layered synths of ‘Kissing Someone Else’s D.O.G’.

The tracks ‘0093’ and ‘You’re Only SQL’ were released as 12” mixes on vinyl a couple of weeks ago and the original versions are highlights on the album; I vote ‘You’re Only SQL’ as title of the year so far? ‘We Are Haunted’ is also a club orientated track - perhaps The Black Dog dance their vexations away - and ‘Stempel’ and ‘CCTV Nation’ are positively techno dancefloor bangers!

‘Skin Clock’ and ‘Dada Mindstab’ are from the darker side, particularly ‘Dada Mindstab’ which is very Sheffield showing that there’s no fear of them losing touch with their electronic roots; ‘Tunnels Ov Set’ is the scary one from the steel foundry!

So it’s a bit like a mixtape for just over an hour with the 3-part ‘Northern Electronic Soul’ as it’s centre piece. At times it gets into full-on techno mode like their Detroit vs. Sheffield EP of last year (the Robert Hood remix of ‘Train By The Autobahn’ was one of last yeas’ best tracks, especially if you’re listening to it on a train)..

The extremely Limited Edition triple vinyl version will have all gone by the time you read this, (further vexations?) but the CD is required listening at home or club, from start to finish or selected favourite tracks; can I say dogs bollocks?
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The Black Dog - Silenced (2005)

--- Quote from: TheMilkFactory ---he Black Dog was originally the collaborative project of Ken Downie, Ed Handley and Andy Turner. The latter two already had released a handful underground releases as Plaid. The first notable appearance from the trio was on the original 1992 Artificial Intelligence compilation from Warp, followed a few months later by the seminal album Bytes. Presented as a compilation of artists, including Plaid, Xeper, Atypic. Balil or I.A.O, Bytes combined classic Detroit-infused techno sound with atmospheric electronic textures and complex rhythmic structures, at times clearly influenced by hip-hop. This debut album, which compiled a series of previous EPs, propelled The Black Dog right at the top of the burgeoning British electronica movement alongside other Warp stalwarts such as Autechre, B12 or LFO. A few months later, The Black Dog reappeared on GRP with their first album proper, Temple Of Transparent Balls, and confirmed the band’s position as one of the most visionary acts around. The last album released as a trio, Spanners, showed a more eclectic sound and approach as Downie, Handley and Turner expanded on their original electronic main frame.

With Turner and Handley gone to revive Plaid, Downie was left sole in charge of the Dog. The release of Music For Adverts (And Short Films), barely a few months after the split, signalled a tangible new direction for the project. Although the original techno and ambient elements still ran throughout this album, Downie appeared to leave the complexity of previous recordings behind and introduced a more immediate feel to his music. Followed sporadic EPs, including one with Israeli singer Ofra Haza, as well as countless remixes for artists as diverse as The Creatures, Marilyn Manson and Laurent Garnier.

Ken Downie, this time with Martin and Richard Dust as full time members, seemingly returns to the essence of the Black Dog sound and pretty much reinvent it in the process. If recent EPs Bite Thee Back and Trojan Horus appeared to explore a wide musical scope, from vintage techno to dark organic ambient, Silenced is a more focused affair. Developed over eighteen tracks in just under an hour, the running themes of this album are that of tortured soundscapes, dark back alleys electronica and intricate textures. Silenced snakes its way down the subconscious, infiltrates the mind and refuses to come out. Elements of old style acid and electro collide with more contemporary forms of electronica and occasional Middle Eastern influences to form an extremely dense and inspiring soundtrack. Often dark and threatening, the soundscapes presented here serve as stunning backdrops to gentle melodies, often developing over the course of a whole track.

The album opens with the two-parter Trojan Horus, which sets the mood for the rest of the record. While the first part is a rather straightforward slow-moving piece, part two introduces a more complex sonic structure, based on hip-hop beat and vocal samples. The album then appears to move within these boundaries, with Downie and the Dust brothers perfectly containing each track while developing it to full extend. Tracks such as Lam Vril, Alt/Return/Dash/Kill, Remote Viewing or Gummi Void are sumptuous compositions in the purest Black Dog tradition that also manage to sound extremely modern and fresh.

Silenced also revives the Black Dog tradition of having short, yet fully formed, interludes inserted in between longer tracks, especially referring to the Bolt series found on Spanners, with Bolt 23 Blue Screen Ov Death, Bolt 777 Ordinary Boy and Bolt 33 Glitch & Chin. Although lasting between thirty seven seconds and one minute and two seconds, these three tracks appear to articulate different sections of this album together, from the stern first section of this album to the more upbeat second part to the closing section, providing some additional textures to an already very consistent record.

With this first full-length outing for The Black Dog cuvée 2005, Ken Downie and Martin and Richard Dust have created an impressive collection of classic electronic moments. While not negating at any point previous work, they comfortably manage to bring the legendary sound of The Black Dog into the twenty-first century. The Dog is anything BUT silenced!
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David_Dovey:

--- Quote from: gospel on 24 Nov 2009, 14:32 ---The Devil and Abbe May – Hoodoo You Do

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I love Abbe May! She is where I am from and also she is very good at the blues.

KvP:

Silkie - City Limits Volume 1

It's been awhile since I've heard a dubstep album that's really seized my ear - The last one was probably the Mako EP from Ital Tek, and that should probably tell you something about how I like my dubstep. The closer it hews to the jungle ragga sounds of Jamaica, the more dub there is in the dubstep, the less I seem to like it (although The Bug's "London Zoo" from last year, rootsy as it was, packed some incredible punch) so imagine my delight when I heard this album, which is very much in the same vein as Ital Tek, or Benga's looser cuts - "futuristic" is the best word to describe it, although I actually think the music here is often more compelling and dynamic than Ital Tek's icy robot jams - there's a considerable undercurrent of drum and bass to the production, as if Come On My Selector-era Squarepusher dropped most of his idiosyncracies and tried his hand at dubstep. The bass sound is considerable but the rest of the mix comes through like a bell. Maybe the best dubstep album I've heard yet.


--- Quote from: Pitchfork (8.2) ---Dance music fans are likely familiar with the evolution of drum'n'bass from its breakbeat hardcore roots through the rhythmic upheaval of jungle and, eventually, into the washed-out, joyless navel-gazing it eventually fell into near the end of the 1990s before UK garage stole its spotlight. That was a lesson hard-learned, so it's understandable (and fortunate) that this decade's significant beat-driven innovations from the UK have gotten only less genteel with time. Compare an early dubstep classic like one of Horsepower Productions' plenty-heavy 2001 singles with some of the outlandish stuff Joker or Zomby have dropped this year, and you can hear what it means for a genre to jump from strength to strength, advancing without diluting. Moving up in this arena means you don't necessarily need to get more tasteful-- and if you do, you just offset it by getting brasher, too.

Evidence of this rarely comes clearer than it does on an album like Silkie's City Limits Volume 1. The London producer broke out big last year with a succession of singles, including the tellingly-titled "Jazz Dubstep", that blended fusiony sophistication with the archetypal shuddering bass wobbles and tightly-built drum patterns that accompanied the genre's mid-decade expansion. The 13 new tracks on City Limits (nine on the triple-12" edition) sound like a wider mission statement of that style, and that this album pulls it off without sounding like an exercise in mannered noodling is a cause for relief. The best moments on City Limits perfect a certain wide-ranging formula: ethereal, borderline-ambient synthesizer chords billow like fluffy airbrushed clouds over deep skank-motion rhythms, jittery breaks, or agitated melodies that keep them grounded in body-moving turf.

So while there's subtlety and refinement in the melodies-- like the fluorescent glow of the synths in "Turvy", or the ultra-smooth digital sax riff in "Beauty"-- the beats knock hard, trembling inside subwoofers and pushing back so heavily you're practically forced to hear every single note in a rhythmic context. At its rawest-- "Spark" and its waist-winding, rave-gone-skanking rhythm; the chattering, long-arm-swinging lope of "Sty"-- Silkie's productions sound a bit like Benga's wobbly, bristling aesthetic having Blade Runner visions. There are subtle nods towards breakbeat and jungle, too, like the choppy, pitched-up chirping vocal samples and Atari bomb-drops in "Quasar" that sound like they could've come from a 1994 Bay B Kane joint.

And even when it all gets pushed to extents as absurd as the eight-minute "Planet X"-- a deep churn of mousetrap percussion and tremulous, rubber-legged bass punctuated with '84-style funk flash on some Jam/Lewis business-- there's more than enough force in its beat to keep entropy at bay. Funny, then, that even with the knack for extended vamps exhibited on this album, the biggest highlight should also be the most succinct song on the record. The Mizz Beats collaboration "Purple Love", with its restless, stammering arpeggio bassline and thickly congealing waves of sweeping pads, is dubstep at its funkiest and most euphoric. It's almost doing City Limits Volume 1 a disservice to call it retrofuturism-- such a tendency has rarely sounded much less indebted to a caricatured past or a clichéd tomorrow. And it's good to know that even in the wake of a forward-thinking genre's continued commercial acceptance, it's still possible to keep pushing the limits-- wobbling without falling down.
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