Formed back in 1993, in Finland. This release is from 1998-1999. Re-mastered tape recordings, unreleased studio stuff, and some live tracks at the end. Dark, power electronics, industrial noise. Pressure, intense, screamed unintelligible lyrics mixed with moody spoken words. Burning walls of sound, with growling underbellies. ‘Crushing, heavily repeating loops with near random metal junk noise and feedback on the top, with furious effected vocals and spoken word samples.’ Blasting and harsh sounds.
One sided flexi-disc! Actuary have the first track and build up an intensity of ambient turned angry. It slowly burns up, then climaxes with a gentle fade. Juhyo bring deep sonic noise guts, that rotate and poke. Churning like seismic ocean waves, then give you a final blast at the end. Both short, noisy excursions. Actuary from Los Angeles, Juhyo from Minneapolis.
11th album from this Finnish psych folk band that started back in 2001, with about 10 to 20 rotating members. Hypnotic, rhythmic instrumental jams. Guitars, a little funky at times in the background. Rolling soft drums. Crystal electronics. Gorgeous blending of modern and futurist sounds. Psycha-futura? Easily accessible, great to open the front door and bask in some sunshine with.
NOT DNA covers…well sort of. Instead, Clarinette On DNA is an homage to New York No Wave icons DNA in the form of a track for track piano improv/compositions set designed to mirror the No More Records CD edition of DNA On DNA to it’s precise length. I admit, I played this at the same time as the DNA album, and it’s pretty hilarious, in an awesome way. Funny to hear plain, and simple piano imitating spastic guitars and drums. Interesting interpretations, that you would never guess.
The Retrospekt CD (second disc) contains parts of releases and unreleased from the past 10 years, dates are on the insert. Piano and “instruments” are listed, mostly electronic sounding, and of course, no actual clarinet. Computer-like hums and subtle digital trickles. Ambient drones and floating resonance. Others have echoing pianos, in a hypnotic state. Daze-dreaming with your meditative mind. Clarinette is Dan Valor, local guy.
Cacophonous, desert dwelling, patchouli smelling sounds of Teeth Mountain. A salivating singing saw, a distorted crying cello, carnivorous computers and four drummers playing floor toms and a communal cymbal. This evokes some hippie chant circles, with straw hat masks and loose psychedelics for sure (artwork is on spot). Hypnotizing sounds drone out of the strings and saws, as the egg shakers and drums play to their own tune. Stonerdelia. Instrumental tribal trances. Beware, you might cause a rain storm of awesome in master.
Born in France, but living in Taiwan at the moment. Dauby dabbles with electroacoustic compositions, soundscape collages, and musique concrete. This release is focused on the twitching sounds of the night. Crickets, bugs, frogs, everything that you’d imagine living in a bayou. The purring and chirping of amphibians is bubbled along with improvisations on the modular synthesizer. Field recordings taken from around Taiwan. Mostly relaxing, except for the occasional barking creature and low synth jumble. Side A does build up to some intensity near the end. Dauby regularly connects with naturalists and often provides the sounds needed for their exhibitions and documentaries.
Experiemental tropicalia. Mike Cooper is 70 years old, and actually has done a lot in the blues/folk world. A regular on John Peel from 69-75 apparently. This release doesn’t bring you down at all though. Romantically tinged “pacific sunset-like dream spanning the horizon in pulsing waves of richly coloured rhythms, tropical sound fields and pacific-inspired slide guitar”. Singing birds, rolling rhythms, looping patterns, mai tai treated beats. All with a modern, electronic edge. Arthur Lyman and Martin Denny would approve. Polynesia daydreaming. Hawaiian visions.
There’s nothing more relaxing than the soothing sounds of water. Tomoko is a Japanese sound artist currently living in Paris. For this release, she’s filled various porcelain bowls with different amounts of water, and began experimenting with their sounds. Droplets dripping, ripples, bubbles, echoing, resonating… using wooden spoons and metal wires. Has the beauty of singing bowls with the bell-like ambiance, and the charm of wind chimes. The bowls are multi-tracked, along with the occasional field recordings she made from South India. I could easily take an afternoon nap in the meadow, listening to this while making shapes with the clouds.
“Gravetemple is a sacred metaphor & psychedelic spiritual abstraction”.
Attila Csihar, Stephen O’Malley and Oren Ambarchi formed this trio, as a side project of Sun O))) in 2006.
Matt “Skitz” Sanders joined in the regurgitation in 2008.
Dark, spooky, eerie, haunting doom drones. Sickening gloomy ambient heavy bass soundscapes.
Dripping water, moaning words, wind tunnels of fog, field recordings.
Hyper drums on the C side, the most “metal” of the album. Black in style, with diluted screaming ghouls.
Pronounced aranyosh, from Bohemia (now Czech Republic).
Third album, recorded in 1999.
Known for collaborations with Nurse With Wound – which influences you can definitely hear here.
He plays violin, viola, cello, bass, guitar, mandolin, piano and more. Electronics present as well.
Experimental soundscapes, eerie and spooky at times.
Tracks 2 and 8 are 20+ minutes of hauntings.
Tom Waits-esque circus stylings on track 3.
Track 8 is blissful beautifulness.
Bay area saxophonist and composer.
Edgetone… Trevor Dunn, Scott Amendola, Kyle Bruckmann, etc…
This is every sound you could imagine a saxophone could make. Total sound explorations.
Blowing, sucking, squonking, breathing, wind, and the mechanics of the sax. Layered and floating over one another.
Skittering, scampering, reeds, frantics. Rhythm in its own source.
Great on its own, or perfect for mixing. Definitely more experimental than jazz.
Phillip is the founder of Evander Music, which presents original composition, improvised music and jazz.
Debut vinyl release from the guy who runs the Catholic Tapes label. An “electronic bog filled with subtle seductive melodies and eerie organic abstractions.” Rhythms of dense, murky electronics intertwine like fireflies doing their mating dance. The later half of side A intrigued me the most, with it’s intense digital water droplets. Starting as a soft drizzle, it soon soaks you in a drowning downpour. Subtle drifting drones shift in and out, giving it the extra spooky mind-space. Lighter, twinkling tones start off side B, which then leads into a damp, moist cave filled with scampering insects. Dark, spooky, and imaginative.
Noise rock from New York. I dig this description: “guitars that can be mistaken as a freight train being ripped for scrap metal”. It has that super rough, industrial metallic sounding crunch. Known for loud, blasting, sawing, painful blasts with fucked electronics and a rock edge. Screamed vocals, expressionless words. Rolling thunderous drums. Static distortions. Sonic chaos. Sudden endings.
Magical, mystical, pixie sounds from Robin. He was actually an original member of New York no-wave band, DNA, playing keyboards, but left soon after to start his own group, Dark Day. This release is from 2009 and here he plays harp, lyre, psalteries, tanpura, thumb piano, bells, box drum, sampler and other percussion. Short tracks (longest is a little under 5 minutes) of charming, dreamy, glowing instrumental sorcery. With track titles like ‘Mind The Dwarves’, ‘Faerie Lights’, ‘Gnomes Underground’ and ‘Rockinghorsefly’, you get a definite vision of little woodland creatures prepping their surroundings for the evening’s festivities. Glow bugs, sparkles, fireflies, and pixie dust. Super delightful, fun and enchanting.
Released in 2009, from Portland Oregon. Their first release from being a one man solo project of Set Sothis Nox La, to a 6-piece band. Members are also from Hail, Knelt Rote, Vile Horrendous, Aerial Bombardment, Order of The Vulture, Blood Axis and more. An interview with Set says that this release has a multi-percussive pagan black metal direction with some folk elements. It’s somewhat diverse in its sound, at least for me. It begins with Tibetan singing, you can really visualize the mountains and incense. There’s German singing, the metal sore-throat screams, the driving guitars, rabid drums…but then it’ll take a break into an almost shoe gaze, violin backed gothic tinged vocal run. There’s drone elements, female vocals, intense fury, and hints of industrial, choral and symphonic sounds. A fantastic booklet with runes, glyphs and Germanic folk art, as well as detailed notes and stories.
Two tracks from a cassette release. Howard Stelzer, from Mass., is a cassette nerd. He’s been creating and exploring his own tape music sounds for years, and has his own label, Intransitivere Recordings. These two tracks and pulsing, flailing, rumbling electronics, in a constant rotating cycle. Hissing and spitting, all while trapped in a glass cube. Noisy, yet controlled. More low-end rolls, and mid-tone mechanical gears than high-end whistles. Track 2 is more of a dark vibe, with skittering sounds, field recording style. Creaks and cracks, like a rat rustling around an old attic.
‘Llanos is an album not only about late summer evenings spent in tall grass, but also about the collision of worlds and tangled webs of memories. Noise, drones and musical elements combine in a futile effort to recreate a perfect moment in a perfect world that could not have possibly existed.’ This release does have a hazed out, reminiscent feel to it. The constant static noise, layered over dreamy drones is a perfect balance of the scale. It could annoy some, as it has that in-between frequencies sound, but it offers more to the ear with its challenge of hearing the beauty beneath the skin.
CW is Jay Howard, from Los Angeles. He started hearing noise back in the late ’90s and was dumbfounded. Once he started noodling around and experimenting himself, he soon was hooked. Starting with just all out blasts, he eventually started composing his sounds like songs. Circuit Wound is noise with ‘subject matter based on the various frustrations with modern society and life in a very large city’. Blasting harsh electronics, great tension release. It does have its moments of euphoria after the explosions, it’s not all just a wall of white. Some ambient feedback textures drone out on track 2, in stark contrast to the insanity of track 1.
Three ambient, experimental tracks from Steven Stapleton and Colin Potter. The first has a slow, humming drone as the base. Random sounds start to sputter in and out… electronic snakes, poison rattles, xylophones, computer rain and kinetic bugs. Each window of sound presents an added element that builds on the last. A snap of the finger, a moan, a throat hum, electronic springs… Play and response, layered and fondled. The second track has an ambient start, but halfway through brings in some out-of-place drums, which lead to an explosion – literally. It rises back up again with a Middle Eastern-flared psych guitar and drum jam. The final piece has rhythmic hand drums, pitched singing, and some layered ambient, waving drones intertwining like vines. An organ finishes it off nicely.
Jer-Mae is a Canadian born pianist, who has been described as brilliant, persuasive and beautiful. She has a passion for new music, so on this release she commissioned and collaborated with a few new names. Each piece is composed by someone, and I believe she plays the majority of it. There’s all sorts of sprinklings of piano. Some tracks are quite imaginative in their outlooks. The first “alludes to the lush, rugged beauty of Crystal Springs, Arkansas”, while the second “recalls peaceful moments spent lying in the grass”. There’s the completely minimal playing of track 3, the kind of piano you’d hear in a foreign film when the wife finds out her husband died in the war, silent tears. Track 5 contains all sorts of fun field recordings – fireworks, explosions, fire, burning cinders, rain and thunder, restless water, streams, crickets… it slowly evolves from one location to another, all while having some classical piano laid atop. The final piece has spoken words from Janyce Collins reading from Joseph Dalton Hooker’s ‘Himalayan Journals’ (1854). Electronically processed sounds created from the rhythms of her voice, as well as piano and bell tones accompany. Really lovely.
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