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...a fine selection of music taken from the web + some exclusives...
Not Waving - Voices III MP3
Alessio Natalizia ov Walls spools out the 3rd and final Not Waving cassette, loaded with 8 tracks, 30 minutes of wistful tape loops and burbling machine noise with an eerie, proto-technoid edge. 'Voices III' yields a shady spectrum of hushed, pulsing electronic dialect neatly complementing the diversity of the first two volumes. Each cut says its piece succinctly, from the scrambled radiophonic transmission of 'Excesses' to the settling synth sediments of 'Voices' via the slow-blooming arpeggios of 'Witzelsucht' and the waltzing drum machine figures of 'Body-Image' or its radiant inversion 'Disembodied'. The beauty of this series partly lies in the fact the music could have been created at any point over the last 30 years; it's timelessly intangible and spectral, a place out of space-and-time, futuristic yet instinctively primitive. Highly Recommended!
Not Waving - Voices II MP3
Currently hitting a golden streak of releases, Alessio Natalizia of Walls ushers out a 2nd volume of synaesthetically-attuned, motorik electronica as Not Waving. As with Volume I, he again weaves inspiration from Oliver Sacks, Ivan Pavlov, B.F. Skinner and "the enduring relation between perception, memory, attention and comprehension" into minimal, stealthily emotive abstractions nodding as much to early Radiophonic pioneers as Italian Library records and early minimal wave explorers. What sets him apart from reams of others operating int his quadrant is a well timed sense of discipline and momentum, never outstaying his welcome and constantly keeping our attention with subtle variations, quicksilver turns of phrase and crude but effortlessly effective melodic progressions helmed by tape-lagged grooves. RIYL ambient AFX, Ekoplekz, BBC Radiophonic Workshop.
Not Waving - Voices I MP3
Alessio Natalizia ov Walls meditates on the fidelity of memory and synaesthetic perception with his third release as Not Waving. Taking inspiration from neurologist Oliver Sacks, the philosophy and thinking of B.F. Skinner, and the research of Russian physiologist Ivan Pavlov (not CoH), 'Voices I' spans seven hazily hypnagogic pieces of chattering drum machine pulses and groggy synths threaded and embedded with tape-manipulated field recordings challenging the listeners sense of space and place with intra-dimensional, extra-textural ambiguity. It makes a virtue of the uncanny spaces between his various hardware "voices" and the way we sense and feel their shapes, timbres and textures in a 2D environment. Or to put it another way, it's trippy sh*t for fans of vintage Italian industrial experiments and the likes of Thought Broadcast. Highly Recommended.
Kristin Hersh - Hips and Makers FLAC
In 1994, Kristin Hersh took a sabbatical from her beloved and beleaguered Throwing Muses to record her first solo album, Hips and Makers. Mostly acoustic, entirely personal, Hips' songs touch the core of Hersh's daily life, specifically as it involves her husband and family, topics she rarely explored with her band. Produced by ex-Patti Smith guitarist Lenny Kaye, Hips and Makers infuses the singer/songwriter tradition with a jolt of complexity and authority. Hersh still favors the taut, stream of consciousness lyrics she whittled down to the bone with the Muses, but she never veers into confessional "dear diary" territory, although she does allow peeks into a world where clotheslines, bee stings, and the occasional ghost aren't unusual. Musically more measured and clearly quieter than any Muses disc, Hips showcases Hersh's fluttery voice atop powerful acoustic guitar with flourishes from cello and piano. "Your Ghost," the album's moody and dazzling opener, features backup vocals by R.E.M.'s Michael Stipe and sets the tone for the album: like a family, it's happy on the surface, intriguing when explored.
Wu-Tang Clan - A Better Tomorrow MP4
The Actor - The Trumpett Years 1982-1984,Exploded View MP3
Digital Dance - Total Erasement FLAC
Prior to forming Digital Dance in Brussels, in the summer of 1978, Jerry WX (voicen guitar) and Stephan Barbery (guitar) were closely involved in the local punk scene. Jerry WX played with Chainsaw, the very first Brussels punk band in 1976, and a year later with X-Pulsion. Stephan Barbery played with Thrills from 1977 to 1978. During this period X-Pulsion, Thrills and a third band called Streets played many gigs together, often swapping instruments and members (see our recent Punk in Brussels 1977-1979 compilation). Despite their difficult reputation and lack of commercial success, Digital Dance built up a cult following, having even support of John Peel in the UK. Between 1979 and 1981, Digital Dance released 3 singles and did several notable live concerts, as opening act for Magazine or Siouxsie and the Banshees. The various members subsequently played in groups as diverse as Fad Gadget, Marine, The Revenge, Kid Montana, Noh Mask, The Names, Snowy Red, The Weathermen.... Digital Dance did their last live show in 1981, there was no definite end of the band but they don't play together between 1982 and 1998. Sadly, Jerry died in 2000. Last, but not least, the punk years in Brussels generated many fanzines. Digital Dance also published the Digital Magazine.
Islands of Light - Ruebke FLAC
Various Artists - Brasil do Brazil MP3
A swinging set of Brazilian and Brazil-inspired tunes from the Ubiquity catalog featuring songs from Bosq, Tita Lima, The Echocentrics, Shawn Lee, Ohmega Watts, The Soul Sufers, and many others. It also includes classics from John Beltran, Snowboy and remixes from Tall Black Guy, Joe Claussell and The Superimposers. The compilation is an eclectic mix of styles from Batucadas with an electronic twist, Samba and Bossa Nova with hints of deep Funk (Girl From Sau Paolo) and Eastern Jazz (Bei’s Bossa) to psychedelic Tropicalia (Nao Vacila). This deep selection of tunes is the perfect soundtrack to sit back and watch the “beautiful game” with a few friends while enjoying a nice caipirinha.
01. Bosq Of Whiskey Barons - Bosqtucada
02. Snowboy - Casa Forte (Joe Claussell's Spiritual Samba Remix)
03. Shawn Lee's Ping Pong Orchestra - Brazilian Bubble
04. The Soul Surfers - Girl From Sao Paulo
05. Bosq Of Whiskey Barons - Paciencia De Jo (Feat. Tita Lima)
06. John Beltran - Bota Foga
07. Bei Bei And Shawn Lee - Bei's Bossa
08. The Echocentrics - Mundo Pequeno (Feat. Tita Lima)
09. Jed And Lucia - Smoke Signals (Superimposers Remix)
10. Shawn Lee's Ping Pong Orchestra - Nao Vacila (Feat. Curumin)
11. John Beltran - Sun Musica
12. The Echocentrics - Jardim (Feat. Tita Lima)
13. John Beltran - Pica
14. Ohmega Watts - The Platypus Strut (Feat. Tita Lima)
15. Bosq Of Whiskey Barons - Paciencia De Jo (Tall Black Guy Remix)
16. Ohmega Watts - Adaptacao (Feat. Tita Lima)
17. Shawn Lee's Ping Pong Orchestra - Boss Bossa
18. John Beltran - Kiana
19. The Echocentrics - O Elefante (Feat. Tita Lima
Aaron Martin began his musical life at age 11, switching between guitar and drums. At the age of 17, he decided to change paths and learn how to play the cello, which he went on to study in college. While earning his music degree, he began to experiment with recording. After creating several self-released collections of music, and graduating from college, he recorded Almond, which caught the attention of the Australian label Preservation, and became his debut release. He has gone on to record two more albums for Preservation, River Water and Chautauqua as well as one album for Experimedia called Worried about the Fire. He has also collaborated with a variety of other musicians, including Machinefabriek, Part Timer, Dawn Smithson (as Winter’s Day), and Dag Rosenqvist (as From the Mouth of the Sun) with releases on Type, Dronarivm, Facture, and Under the Spire Recordings. Aaron Martin lives and records in Topeka, Kansas.
The Durian Brothers - Das Macht Modern FLAC
Dusseldorf trio The Durian Brothers arise on Kontra-Musik with Das Macht Modern, the latest release wrapped in sonic intrigue from the Malmo-based label. Made up of Stefan Schwander, Mark Matter and Florian Meyer, this trio are Brothers only in name, and perhaps the unique bond they have for creating music using modified turntables, sequencers and other machinery, an unorthodox method that ensures The Durian Brothers are fully deserving of the term experimental. There's plenty of variety in tone and sound achieved across the five tracks, even if they all share a certain loose limbered rhythm and ooze organic vitality (in the case of "Secession" it sounds like bodily functions are being manipulated). One of this year's most interesting techno records without a doubt!
14 Tracks: The Best Of 2014 Part One MP3
We kick off our 2014 survey with 14 crucial mutations that twyst the lines of grime, trance and footwork to nexx level results. Lars T C F Holdhus proved to be one of this year's most exciting, intriguing artists, and fronts this selection with the cryptography-inspired, gyroscopic post-hardstyle sweep of '54 C6 ...' beside DJ B.Boy's slo-mo bullet from Lisbon, 'Moh Cota' and a couple of other Latinate zingers from the brilliant NMO and Arca. Lorenzo Senni also made our year with his stunning 'Superimpositions' LP, from which we've included 'PointillisticT', alongside Matthewdavid's heady soul spinner 'In My World'. It was a vintage annum for instrumental grime, epitomised in Mumdance's ridiculous 'Don't Get Lemon' construction with Spyro for Rinse, and equally with Bloom's shocking 'Cld Grip' or the staggered grime-techno of Air Max '97. From Chicago, DJ Rashad (R.I.P) and DJ Earl's footwork productions for Hyperdub knocked us sideways, and the uniquely incisive rhythm deconstructions of Ueno Masaaki, Gábor Lázár and Fis offer sharply contrasting, new rhythm solutions. Join us for part two next week where we'll focus on other stylistic areas of excellence released over the last twelve months.
Alberto Boccardi - Alberto Boccardi MP3
The self titled debut of Alberto Boccardi.
For his self titled debut, Alberto Boccardi presents an album of sparse instrumental and electronic soundscapes. The album has 5 tracks, and is over in a brief 27 minutes. The opener "Laying On Before" is rich with the sunbleached shimmer of distorted rock organ, and immediately makes a good impression on me. With funereal pacing, Boccardi explores the inherent melancholy and disoriented sedation of the shoegaze chordal palette. His soundspaces have the sort of open, occasionally disturbed stillness of the field in the cover image, and the glassy rhythmic warble of the processed organ is soothing. The second track, "Desolate Red Fingers" is an odd and emotionally naked 2 minutes. A soft, repetitious Gamelan chime provides a haunting reference point for a yearning female vocal, sung in English with a heavy accent. The emotion of this is quite potent but seems out of place, or unresolved, on the rest of the album, as it marks the only appearance of sung vocals. "Unexpected Places, We Saw" is the longest piece on the album at 9 minutes. It is led for its first few minutes by a clean guitar echoing on the distant horizon, percolated with brief spits and shards of noise. Boccardi strums synergistically into the delay, builds momentum, and a chord progression begins to solidify ('solid' moments are rare on this album). From this solidness, the track dissolves into absolute stillness, and finally a few muffled notes drift to the surface, and lay placid, dissolving all memory of the former momentum in a lethargic blur, seeming to slow deeper and deeper into the blank, not unlike drifting to sleep at the end of an eventful day. A beat formed from rounded clicks and pops catches the hidden pulse of this ambience, and momentum is restored. "You Told Me You Were Lying" takes the album into cold, digital synthetic realms, an understated IDM broken beat rhythm encircled by the submerged whirring of motors and chittering of fragmented hi hats. All manner of digital DSP can be heard, though it never takes on the mechanized, generative feel of mathematical composers like Ryoji Ikeda and Autechre. A solitary, deeply reverberated piano melody enters, and continues even after the beat dissolves. The female vocalist from the second track can be heard faintly speaking in the background, but her words are not really audible. This is a pleasant, if unoriginal, armchair reverie. The closer "Clocking the Time" is perhaps the most 'empty' piece, essentially the warning bleats of a saxophone sounding out against a thoroughly compressed grey mud that pumps and breathes with its reverberations. A restless muffled rhythm maintains a bubbling murmer at the edge of the mix. The saxophone's bleats intensify until shrieking aggressively into the red, splitting fiercely into digital clipping. It's loud but not absurdly so, and it certainly works as a dramatic device to close the album. In conclusion, I enjoy the pleasant faded melodic palette of this album, though it seems to be over very quick, and there's not as much substance here as there could be. I get the impression that Alberto Boccardi is quite capable of creating a unified, extended emotional narrative with these kinds of sounds, but has instead opted for something rather meandering with this recording, with heavy use of space. It's quality understated music that grows on one over time, though I hope to hear a bit more focus and ambition in his future works. Recommended to any soundscape listener who is familiar with the pre-requisite Stars of the Lid, Brian Eno, Steve Roach, etc.
Zu + Eugene S. Robinson - The Left Hand Path MP3
Bing And Ruth - City Lake MP3
I recently caught Bing and Ruth in New York at Le Poisson Rouge; they shared the bill with the stellar Amen Dunes and a disappointing two-piece iteration of The Black Heart Procession. I spoke with one of B and R’s two clarinet players outside during a smoke break, and he mentioned his group comprised twelve musicians. I anticipated a sound akin to Constellation favorites Do Make Say Think and Godspeed, but he described their genre as ambient. Twelve people playing ambient sounded intriguing to say the least, if a bit dubious; I’d describe it as minimalist post-rock as heard on a typical record by The Necks, but minus the pressure of holding a listener’s attention for a single hour-long track. Somehow, even with 4 times as many members as that Australian trio, B and R’s approach is more delicate; the space created within each composition effortlessly belies the band size. Chris Abrahams-esque piano flutterings repeat endlessly courtesy of band leader and composer David Moore, who gave me to understand any Necks overlap was accidental as he hadn’t heard of them. Moore’s piano is clearly the central cog to B and R’s machine in both their live show and vinyl-only record City Lake, but throughout the experience one can notice everything from female coos, cello adornment, bass rumbles, rain-on-tin percussion, flickers of lap-steel, clarinet whispers, and tasteful electronics. Opener “Broad Channel” well displays the record’s modus operandi; it’s almost as if the band were tuning before they begin to really perform, yet no one (except the piano) wants to make the first move, or to continue playing through the entire process. The different instruments gradually grow and recede; the effect isn’t anticipation for an actual performance, but contentedness at just being swaddled by the warm stirring. As if the stirring were all there is—no forward movement, just a stretching, an awakening—and somehow it’s more than enough. “Put Your Weight Into It” furthers this curious sensation of repeated opening, laying dual female vocals over eddying piano lines; the wordless sounds unfurl and blur into each twinkle; they trickle out and bubble back in. The listener strains to discern clarinet gurgles so strained themselves they almost resemble feedback—yet it’s all too swirled to be sure. It’s amazing how it can grow into a car-siren pitch and yet within moments dip away to a timbre of ease and peace. For a record that played as seamlessly live as City Lake did (the band performed it straight through with such unwavering focus I actually thought it was one song split into several movements), the record offers plenty more distinct styles and moments; it feels simultaneously brief, uniform, and complete. “And Then It Rained” does its title justice with a graceful exhaling effect, a relief and appreciation for something finally arrived. ”Rails” boasts a Reichean handclap counterpoint, as well as an endless, floating sensation (those sighing cello sweeps) somehow contained within a mere eight-minute running time. “City Lake/Tu Sei Uwe” is the longest track and easily the most raucous—one that unexpectedly grows to a clattering and angry storm. “Broad Channel/A Little Line in a Round Face” is probably my favorite of the bunch, and as the title would suggest, it builds upon the achievement of the album’s opener, creating a glorious embrace of swelling yet gentle instruments. And closer “Here’s What You’re Missin” joins alien electronics to a ghostly, mournful piano presence; it’s a complex being for now at ease with itself. While Bing and Ruth played City Lake live that night with utmost fidelity, somehow I find the record more rewarding at home on headphones. It feels intimate, like something that should be kept close and to yourself—especially when you’re watching the band live and the people around you make it painfully obvious how uncomfortable they are listening to minimalism, waiting for some big payoff that never comes.
These lean, athletic visions seem to stand testament to a kind of survival – a proof of life. Muscular shapes maintained only to a level of functioning physical survival, of necessity, and no further; ﬁlthy, uncivilised, caked in sweat, and battery acid. Starved of all the adornments of its predecessor; wholly absent of guitar, of piano, of string instruments and natural wooden intimacy, A U R O R A offers a deﬁant new world of ﬁercely synthetic shapes and galactic interference, pummelling skins and pure metals. Performed by Ben Frost with Greg Fox (ex-Liturgy), Shahzad Ismaily and Thor Harris (SWANS) and largely written in Eastern DR Congo, A U R O R A aims directly, through its monolithic construction, at blinding luminescent alchemy; not with benign heavenly beauty but through decimating magnetic force. This is no pristine vision of digital music; but an offering of interrupted future time, where emergency ﬂares illuminate ruined nightclubs and the faith of the danceﬂoor rests in a diesel-powered generator spewing forth its own extinction, eating rancid fuel so loudly it threatens to overrun the very music it is powering. And so, is the ongoing evolution of Frost’s music, conceived as equally the observer, as the catalyst in this music, and harbinger of the idea that so often we think of beauty when in fact we should be thinking of destruction. The result, mixed in Reykjavík with Bedroom Community head Valgeir Sigurðsson, is a machined musical surface, evolved and reﬁned, yet irrevocably damaged. Curiously, darkness is expelled to the muddy sedge and a confusing irradiant glow permeates A U R O R A, where everything once wounded, remains ﬁercely animate and luminescent with charged destruction.
Public Enemy - Singles N' Remixes 1987-1992 MP3