Double experimental noise act split from 2001.
Panicsville’s side has computer sounding bleeps and bloops, as if it was recorded in the late 70s. Super video game effects, combated with the occasional noise explosion (frozen game?). Their liner notes delve into the world of how emotions are poison, and how bunnies don’t give a fuck about mind games, etc… creating titles and sounds that are “reinforced previous theories of frequency induced lust, low-end orgasm ratio and pre-coital oscillating ejaculation.” Track names like ‘Unending Ovular Motion’ just makes me reach for the Midol. Overall though it’s great electronics, an easy listen and good times.
Rubber O Cement continues with the video arcade, but in a more twisted and in your face style. Bubbling, roaring, rolling and hyperventilating electronics. Pedals, knobs, and costumes. Screamy shrieking words near the later half, with some drum machines. An equally warped and enjoyable listen.
Double experimental noise act split from 2001.
Floating tone drones, conceptual compositions by Duane Pitre. It’s written that one way to view each piece as if the score was the skeletal structure of a body, and each instrument serves as a vital organ. The first track, with an organ base, is pure meditation. Instruments slowly pan in and out, humming like the belly of an airline jet. Slow, defined tones of solid sound layered and perfectly placed. The second piece has a guitar drone base, which has the harmonious tone of a swung copper bell. A subtle saxophone blows in like a midnight fog horn. The thing I love is that the whole thing sounds like a moment in time – like a single note from each instrument was caught and frozen, then played out in slow motion over each other. Very nice!
This is some hip shit! Dark, sinister, disco (don’t get scared), electronic creepshow dance party. Drowning in Goblin-esque influences. Italian horror film soundtrack stylings – wompwompwompwoozewooze. Heavy on the keyboards, some oozing electronics and thumping drums. It gets borderline cheeseball at times, but then you picture Ms. Widow with her black lace veil and blood red nails, caressing her neon purple skulls and you’re good. Klaus-y krauty-ness is a good definition I found on the interspiderwebs. This all comes from one man, Matt Hill, who also used to tour playing bass for Expo 70.
Classified as a rock band from England, under heavy influence of kraut.psych.space.noise. They’ve toured with bands such as Wooden Shjips, Mogwai, AMT, Oneida, White Hills to give you a feel…tons of KFJC favorites, as well as recorded the last Peel Session with John Peel. This is completely instrumental I hate to say “rockin’ jams” but that sums it up. Super psychedelic stoner desert trips complete with organ keys, to fast paced krauty optimism. Sonic walls of psychedelia sounds, a hint of Hawkwind and slight repetitiveness of Neu. It’s pretty killer, definitely a summer outdoorsy band sound with beer and fringe jackets in full force.
A dark ambient, midnight sounds record. Rolling, lurking, mysteriously droning. Anduin has a Lord Of The Rings reference in name, a long misty river, and you can feel that vibe for sure. Richly layered and dense fog ridden electronic tones rotate and linger in between each other. Contains studio, sampled, and live contributions from John Twells (Xela), Stefan Nemeth (Radian, Lokai), Dag Rosenqvist (Jasper TX), Noah Saval (Souvenir’s Young America), Erik Skodvin (Svarte Greiner, Deaf Center), Gareth Davis, Stephen Vitiello, and Slow News Day. Some haunting harmonicas on the B side.
Local man, Robert Rich, is a master at creating the most celestial, comet gazing, aquarium jelly electronic music. After reading his liner notes, the whole album really has a distinct view, and I can envision his quest. Words were written about morning dew drops, and the standing waters that tadpoles need to survive. This release has an incredible emotional feeling to it, definitely a life-birthing experience. Meditations will be had. He also expresses editing his music so much that almost no music is left, testing the tuning and paning effects, until each sound is flowing just right. Piano, flutes, lap steel guitar, glass and copper bells along with electronic drones and nature sounds. This is gorgeous, optimistic and relaxing ambiance.
Jesse (from folk band Fern Knight) plays the Lever Harp, which is those gorgeous tall harps that consist of 27-38 strings usually. The classical “goddess” style harp that creates the gorgeous mellow tones. Eric plays the Upright Chaturangui, which is a guitar with a super thick neck and 22 strings and usually played in the lap with a slide. A sound that’s heard a lot in Indian music, it has the higher zen like trance-drone enduring sounds. The ones that cascade over like waterfalls of shooting stars. This album is two 17 minute tracks, both incredible. Lots of finger picking, electric and acoustic strings, a tone always floating. An ethnic flair. The intensity is raised on the second track, with addition of a snare drum. Drum cadence, party of one.
A three way split with LDRTFS, Gate To Void and Aeon Nought. The first, and longest, track from Like Drone… is pretty killer. Low grumbling ambient drones interwoven with waverly voices, almost reminiscent of something you’d hear in 2001 Space Odyssey. About 12 minutes in, some heavy armed drums appear, and jolt you out of your galaxy trance. Seconds later, you’re blasted into the fire engines of the spaceship, with demon distorted vocals, and the heaviest black noise. It only lasts about 5 minutes until you’re now by yourself, floating in the void – hearing ghostly words, your life flashing around you. It gets more intense, and soon you’re having a massive panic attack as you’re blazing in the pits of hell. It concludes with you returning to your 2001 space trip, with some dark leviathan words. Gate To Void bring synth sounds, and a Xasthur cover. It’s black and dark, but sometimes feels a bit half finished, like they forgot to include some of the multi tracks, or it could be a hard contrast to the first terror track from LDRTFS. They’re definitely melodic, and more on the minimal side. The third track from them also features Like Drones, and brings in some low end doom, drone and hum, completing the sound. The last two tracks from Aeon Nought are almost like 2 different bands. The first being higher pitched, almost tinny gloomy, depressing blackness. The second being an ambient wind drone with subtle shifting voices.
Another solo venture from Prurient’s main guy, Dominick Fernow. Kind of like dance music for noise junkies. There’s a beat, but you can’t dance to it. Ok, I lied, you can sometimes. Short compilations of sounds mixed together to create a nice varied soundtrack to your faux goth noise party (for some reason I picture some black lit boozey droozy dancing going on to this). There’s over-processed sound, crunchy beats, Arabic singing, cymbals, warp gun sound… Most of this was recorded straight to tape, which Fernow then layered, effected and mixed. The second side has shorter, more cut up, parts of the track, if you’re looking for smaller samples.
A beautiful collaboration between two infamous avant garde musicians, from 1971. John Cale, of course from Velvet Underground, and minilalist composer Terry Riley. A hazy, psychedelic excursion into some free jazzed experimental rock. The title track has the upbeat, funky stylings that could double as Can. There’s tricklings of sax in a non-horrible sax way, with organs and pianos a plenty. Adam Miller offers vocals on track 3. While vocals are a hard thing for me, it seems to work. A definite 60s sounding summer-meadow acoustic guitar driven jam. It almost stands out from the rest, since it’s not fueled by a rhythmic, looping sense of instrumental patterns. The last track has a blues melody to it. Sounds like good times were had, as this has a great optimistic feel. Instrumental jams.
Solo project of Anthony Remple, from Portland. Synthesizer for lovers. Predator sounding purrs and gurgles, followed by heart pulsing warmth. Slow motion slug burps in mud ponds. Soft, and murky. Comet rainstorm of lava fueled knobs and pedals. Cassette release.
This is pretty hilarious! David Liiljemark is the weirdo behind The Wonder Boys. Side A has him saying Vill Du Dubba? in comical Muppet styles. I swear this must have been on Sesame Street in Sweden or something. Side B brings you more funny voice stylings, some Bob Dylan upswings, and tweaked chipmunk pitches. They’re all cover songs too, haha! Brainbombs, Las Palmas, and Robert Broberg. Toss one on, giggle, and have the listeners thinking WTF?
From St. Louis, this is Joseph Raglani. Moog, minimoog, bass, Korg, organs, wave generators and the such. Dreamy synth sounds, floating and bubbling to the surface. A compilation of sorts, from various CD-R and cassette releases. Side A ventures a bit on the Kraut side. Side B and C pull on your heartstrings, longing for your missed chance. An optimistic mourn, with delicate tones and drones of the space sort. Side D is more of a static electricity drone that ends with Tibetan bowls and an ethnic flair. A really beautiful release, my words can’t do it justice.
Two well known names in the noise vein. Irr. App. (Ext.) is Matt Waldron, who has done tons of stuff with Nurse With Wound. Panicsville has been around for over a decade, run by Andy Ortmann. On side A, Irr. brings dark and beautiful haunting drones. Evolving meditative pitches of ambiance. Side B is actually mellow for Panicsville. More experimental, leaning on found sounds, field recordings, itchy electronics, “horror movie synthesizer”, violin, birds and more to create a spooky picture. Ends with a fire-y snap crackle and pop locked groove!
Sujo, Ryan Huber, started with some rough ideas and recordings then passed them along to Jay Bodley, Sun Hammer, for processing and arrangement. Dense guitar drone, noise, ambient, black, dark, dreary, doom glitch. Builds up and releases before you know it. Never too overpowering, just enough to slide into a scratchy coma.
The fifteenth in a series of collaborations between bands and musicians on the Konkurrent label. Sparklehorse was a mid-90s sort of indie rockish band. I haven’t heard much, but remember seeing this band all over the place, even touring with Radiohead. The singer, Mark, apparently was a serious depressive, taking a combination of anti-depressants, valium, alcohol, and heroin in one night. This recording was released in 2009, and sadly, a year later Mark took his own life. Christian Fennesz on the other hand, is from Austria and does simple guitar and laptop works. This release blends the two into a mellow, ambient drifting album. Lots of laptop haze, acoustic guitar, and melancholic words.
A collection of field recordings, some manipulated some not, spanning 8 or so years. Murmer is Patrick McGinley, an American based in Europe since 1996. The titles somewhat describe what is the basis for each track. Swarm of sounds, bugs, bees… thunder and cranes… seaside flagpoles, etc. Each take you on a sound journey, visuals left up to your mind. Drones with found sounds. Words and conversations that have meaning none, while the world to others. Great album for the imaginative minds.
A reissue of a 2004 release, now with a 4th 40-minute track to round it out. Monos are Colin Potter and Darren Tate. Rolling, sliding, pinging, minimalistic, wind drones, guitar scraping. Like most releases like this, the further into the track you go, the more complex it is. Each builds somewhat slowly, never overpowering or quite reaching a peak, but great complexity in its simplicity. The second track on the first CD has bird field recordings. All others feel organic and somewhat mechanical in their sounds. Various instruments hide their identification. For the very patient listener, would be excellent for mixing, and layering, or let them reach for the sounds on its own.
From his website: Cold Pin is both a composition and stand alone installation, 14 strings ranging in length from 25 to 3 feet are strung across a 15 x 40 curved wall, with motors attacking the strings, connected by micro-controllers, pick-ups and rca cable, recorded in Boston’s historic Cyclorama, 2011. I actually saw something similar to this at the MOMA in San Francisco, using music boxes on the wall. Very fascinating, and a trip to it create sounds on its own. Side A is the installation along with orchestral instruments such as guitar, bassoon, clarinet, trumpet and cello. A free form explosion of strings and percussive sounds. The installation has such an organic, almost underwater clicking sound, rolling and bouncing from tone to tone. The instruments fill the void with thundering underform, creating an acoustic storm of sorts. Side B has more of the installation with the motors hitting metal squares rather than strings, along with a few minor instruments subtley in the background.
With instruments such as ghost synth and silver machines, this group has a futuristic vibe to their tripped out vision. Lovers of the abstract, black and white art, Future Blondes are Domokos, some Crutchers, a System, and Synb. I’m going to pretend their robots. Starting out with a hazed out ghost moan with subtle ear-piercing frequencies, it soon transforms into a badass, dark gothic dance beat. The kind that you picture Zuul and The Keymaster doing the dirty to. A modern take on 80s electro dance. I prefer the whole thing on 33, but I realize it’s probably meant for 45rpm, dammit I can’t tell – choose your own adventure. The second is a side-long of rhythmic, head jerking pulses with an atmospheric wind tying it together, ending with some twinkling, celestial nebulas. It has a beat… and you can grind to it.
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