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Kuvatud on postitused sildiga 2008. Kuva kõik postitused
Kuvatud on postitused sildiga 2008. Kuva kõik postitused

3/17/2024

Leibnitz And The Spinozas – tutte le cose da sapere (disco muto) (2008)




20kbps

Krautrock Avant-rock Psychedelic Lo-fi Indie rock Electronic Experimental rock DIY Noise rock Shoegazing

Lugesin just Tõnis Kahu intervjuud, mille ta andis noorele Nestorile ERR-s nädalpäevad tagasi. Nagu alati, esitas ta huvitavaid järeldusi ja väiteid, mis tahes-tahtmata ergutavad (edasi) mõtlema – hoolimata sellest, kas lugeja nõustub nendega või mitte (lähtudes teistest eeldustest-arusaamadest). Käesoleva 4-loolise taiese kontekstis jäi meelde koht, kus ta mainis, et vanadele hipidele oli vastuvõetamatu My Bloody Valentine'i muusika (ilmselt soovitas "Loveless'i"). Ilmselt 60ndate-70ndate psühhedeelia oli piisavalt erinev Iiri indilegendi omast, kuivõrd Kevin Shields'i näol oli tegu obsessiivse alkeemiku-helimaniakiga – kes ideaalse heli väljatöötamise nimel kulutas sadu tuhandeid Alan McGee pappi. Ilmselt MBV muusika on psühhedeelia antidoot, mille pealtnäha naiseliku ja sensuaalse pealiskihi all kobrutab tehnitsistlik kontrollitud müra. Vaakumit tekitav masinlikkus, mille võimalik transtsendentaalne eeldus a priori on teostamatu; kui tundmuste, eneseväljendusvabaduse ning seksuaalsuse välgatused ei olnudki fiktiivsed, siis olid need pelgad peibutised, milledel muu funktsioon ja tegevusväli puudus. MBV viis asju tajuda ei olnud mitte läbi vabalt läbitavate, vaid umbe jooksnud psühhootiliste kanalite. Kahe maailmaajaloolise filosoofi nime kandva artisti üllitis on ilmselgelt vähem masinlikum ja rohkem avatud minevikule, kuivõrd on maha surutud vajadus liikuda nii horisontaalselt edasi kui vertikaalselt ülespoole – nii paremale-vasakule kui tagasi ja allapoole põiked on muidugi aktsepteeritavad, naeruvääristades enese jõulise funktsionaalsega sardooniliselt tohutut muusikaäri, võltsväärtusi ning papist siluette. Surudes seejuures armutult alla helikvaliteeti (mahutades neli lugu 2,4 MB sisse – sic!), luues endale seeläbi vabadusi ja vabandusi. Nagu albumi pealkiri tähendab – kõik need asjad, mida sa teadma pead. Lisaksin omalt poolt – midagi juurde ei ole vaja. Üks vabandus tuleb siiski ära õiendada – meenutab kohati Bardo Pond'i. Nagu meie juhtiv kultuuriteoreetik vihjas – seoseid leiab alati.

3/09/2024

Origami Repetika – Audrey (2008)



20kbps

DIY Singer-songwriter Indie rock Americana Psychedelic Lo-fi Chillwave Synth-pop

Olles just lõpetanud The Maravines'i kuulamise, ning kuulates Adam Sigmund'i elik Origami Repetika kaheloolist väljalaset, tahaksin pealiskaudselt küsida, et kui palju võib esmapilgul ühte ja sama artisti järjest kuulata (pealegi mõlemad pärit samast osariigist)? Või siis -- kui palju pean ma Amerikaanat järjest kuulama? Õige vastus -- transgressiivset nihkega muusikat/Amerikaanat/indit/jne võib järjest kaua nautida! Piiridest üle nihkuv ja seejärel vedruna tagasi pendeldav muusika tekitab loomuldasa elutervet dünaamikat. Sütitab lootust ehk tunneli lõpus paistab ähmane tuluke nagu võib-olla tekitas sarnast lootusekübekest kuuluskaunis näitlejatar kaanepealisel. Adam on läbi paari aastakümne olnud ühelt poolt uhke indimees ja teisalt kompromissitu lo-fi/DIY-tüüp; kes ka siin 401 sekundi vältel paneb indipuritaanidele puid alla harmoonikat mängides ja kui eksinud trubaduur väntoreliga sügistormis sahisevaid sünte manades. Suupilliga süntesaatoripop ja parmupilliga chillwave -- kõlab hästi, onju? Võib ka teisiti tõlgendada -- parmud viljelevad chillwave'i ja prükkarid armastavad langeda süntpoppi, mille summutatud helid kerkivad läbi prügimäe lehkava loori. Kõrge ja madal segunevad esteet-pasteetpeade õuduseks meelierutavaks väljalaskeks. Dirty habit -- nagu kannab pealkirja novembris kahekümne aastaseks saav artisti esimene taies. Väljalaskeks tõepoolest -- lugesite õigesti! -- mitte väljaheiteks. Ei ole siin sadu tuhandeid magama pandud -- ilmselt vaevu saja dollariga on asi vähemalt sama hästi ära tehtud.

1/19/2024

Senza Valore – Attack/Decay E.P (2008)



Birdsong/Archive.org

Indie folk Electronic Indietronica Ambient pop Post-pop Singer-songwriter Indie pop Chillwave Art pop Dream pop

Kuivõrd 5-looline taies algab tänaval jooksvate laste kilgete ja otsustavusega hääles alustada päeva uue hooga, siis see lakooniline episood annab juhtlõnga ameeriklase Joseph Campbell'i muusikasse -- värskelt ja julgelt indi- ja folkmuusika põhja manu klotse ja kuubikuid ümber tõstma. Nagu on sedasi toiminud Zach Condon ja Sufjan Stevens, kellede mõju siin 17-minutilisel üllitisel võib tajuda. Omaaegsetest mõttekaaslastest ei saa jätta mainimata ka Nick Yulman'i ehk Bone Conductors'it ja Bryn Martin'it ehk Bryyn'i. Kaunikõlaliste keelpilliseadete juurest sama kaunikõlaliste sünteetiliste heliarengute juurde -- ilmneb nullindate lõpul õitsema puhkenud chillwave'i mõju sõltumatule muusikale. Väga meeldiv teos -- eriliste kõrvaussidena tooksin välja lood "Adored" ning "Pioneers" -- millised meloodiad, millised harmooniad! Olen seda papagoina pidevalt korranud, et osati tollal muusikat luua -- ja veel missugust!

12/30/2023

Ctephin – Cherubim Dance (2008)



Okkulth/Free Music Archive/Ton Doigt Dans Mon Cul

Ambient drone Post-industrial Avant-garde Dark ambient Experimentalism Drone Ambient techno Abstract Illbient Minimal techno Micronoise Sound art Industrial music Industrial techno Microtonal Post-psychedelic

Albumi esimest lugu kuulates tekib tahtmine pääseda valguse kätte -- helikoe rusutud industrialiseeritud-monotoonseks maandatud hallus manab esile meeleolud, mis valitsevad siis, kui sõidad vihmasel hommikul liinibussiga tööle, molu vastu akent nõjatatud, pilk ainiti eikusagil. Järjekordne nädal, lõputuna näiv päev, mida-kuradit-ma-teen-siin meeleseisund. Ootad valgusekiirt sellesse piimjasse uduseina -- kuigi valgusekiir ei ole ilmselt kohane sõna. Muutused tulevad, ent mitte kusagil mujal kui artisti tingitud kõledas helikuplis. Inglid tantsivad lummavalt, ent siiski mornilt ja raske jalaga. Minimalistlikud helikordused-rütmid annavad droonivale tumedusele suuna -- isegi tehnovaibi võib siin tajuda. Isegi kui helivoog omandab aeg-ajalt lummava vaaba, siis helindis on tajutav torkiv helirooste.  Poolmüstilise Oklahoma pereansambli muusika sildab dünaamiliselt (vana kooli) industriaalmuusikat selle hilisemate järelmitega. "Sea Of Glass" on lugu, mis väärib eraldi esiletõstmist, kuivõrd psühhedeelse rütmilummana tõstab kuulaja teisele poole. Väga veenev -- praegusel hetkel võib seda käsitleda klassikana -- 15 aastat on see 9-looline kuulajat varitsenud. Pühitseme selle valitsemist.

6/23/2023

Moon Runners/Kevlar Klein – Minneapolis Minnesota (2008)

 
 
  • Art punk 
  • Post-punk 
  • DIY 
  • Lo-fi 
  • Outsider music 
  • Punk rock 
  • Post-hardcore
 
Eksisteeris aastatel 2008-2011 netileibel nimega Rack And Ruin Records, mille boss Dean Birkett korjas muusikafoorumitest ülesse kodus salvestavaid artiste. Palju huvitavaid muusikuid ja põnevat muusikat, mis samas osutas muusikaprotsessi demokratiseerumisele ja isetegemise väärtuslikkusele. Siin on kaks korralikku kolistajat, kelle baas on punk, ent mitte ainult energia- ja inspiratsiooniallikana, vaid ka mässu alusena, mida murendada ja lõhkuda. Elik mässu enese vastu mässata. Elik pungist on täitsa poogen artistidel. Lühikesed lood, mille energia pekstakse ülesse nurgeliste kidrade ja happeliste süntidega, kolisevate trummide ja karjuva vokaaliga. Tõsi, paar lugu on ka jutustavad – näiteks üks artist räägib oma eesnime saamise loost. Kohmakas ja ülendav samaaegselt. Samuti on üllitis näide, kuidas eksisteeriv asi võib pealtnäha kõikvõimsas netis jäljetult kaduma minna.
 
7.5 (6.5-8.0)

6/15/2022

Breitbandkater – elektrische Schafe (2007)



  • Deep house 
  • Tech-house
  • Electronic music 
  • Dance music 
  • Tech-electro 
  • Alternative dance 
  • House 
  • Electro house 
  • Funk house 

Väikese rohelise täringu-nimelise Saksa plaadifirma all üllitatud 10-looline album on elegantne tantsumuusika, mis ristab omavahel tehnot, haussi ja elektrot – erinevates vahekordades. Sobib nii tantsupõrandale kui ajutantsu-sessioonidele õhtul voodis mõtiskledes. Elekter võib haiget teha, ent siinne aineosakeste voog ergutab ja kussutab vastavalt lainemustritele. Ergab ja viirab. Eelpoolmainitet ristandid pakuvad elliptilisi trajektoore – võrreldes ringikujulisusega tähendab see avardumist ja huvitavate kombinatsioonide tekitamist. Näiteks lugu nimega “Paternoster” on lohkutõmbav majamuusika, mille taga on tunda ansamblite Neu! ja Kraftwerk`i galvaniseerivat motorik-ajamit, olles teisalt diip ja sume (ehk koguni laisavõitu). Teine tipphetk on “Mondsüchtig”, mida lükkab edasi funky vaib, millele lisavad väärtust justkui häälest ära heliefektid ja teisalt eraldi soleeriv sfääriline sündisaund. Ei ole kuigipalju tarvis, et luua kaasahaarav taies. Põhimõtteliselt sama saab väita järgneva loo “Süßer Nebel” kohta, milles jätkub funk-lainetus, ent häälest ära efekt on asendatud häälutussämpliga – ning tulemus on taas muutumatult väga hea. Albumi lõpuosa muuseas liigubki robotliku faksiimile suunas, ilmselt eesmärgiga maksta tänuvõlg legendaarsele Düsseldorfi nelikule. Hüper-tehnoaktiivne muusika, mis ammutab jõudu 20. sajandi tehnoloogilisest eduloost ja toetub kogenud minevikukaemusele. Ring sai peale tehtud, ent muusika korrapäratu elastsus on säilinud.

8.5 (8.0-9.0)

9/11/2021

Dave Graham – Orion (2008)



  • Experimental rock 
  • Ambient noise 
  • Minimalism 
  • Psychedelic 
  • DIY 
  • Avant-garde 
  • Progressive rock 
  • Experimentalism 
  • Avant-rock 
  • Improvised music 
  • Lo-fi 
  • Art rock 
  • Experimentalism 

Londoni mehe (jätkuvalt Inglismaalt – mitte vahtralehemaal asuvast Londonist, kus samuti voolab Thames`i jõgi) Dave Graham'i kuuelooline Earth Monkey Productions`i all on ühtaegu kummastav ja jõuline, samaaegselt toores ja mahlane. Mis asi see õigupoolest on? Ütleksin, et episoodiliselt pruun müra, mis on jäänud kidrameeste filtritesse kinni. Räpane heliessents, millele on antud võimalus täita ruum eksperimentaalmuusika algoritmidele rajanedes. Eks see muusika pärineb ajastust, mil heli oli paindlikum-elavam-värvikirevam ning inimesed ideedega täidetud ja märksa lootusrikkamad tuleviku suhtes. Distortion-efekt on kaalukas element käesoleval albumil, aidates luua kontrapunkti hägustatud pruunile taustale. Teisiti öelduna on pillutud liiva helikaarti ja kõlaritesse. Ülekantud tähenduses on see Dave Graham'i enda muusikalise professionaalsuse paigutamine (mänginud paaris proge/kunstrokk/metal-pundis) eksperimentaalmuusika hulluse altarile. Kontrollitud hullus? Kas hullus saab olla kontrollitud? Kas paremal juhul ei ole tegu mitte võltsfenomeniga, halvemal juhul tühistava vastuoluga? Muusikas ja kunstis on seda ilmselt võimalik ületada, päriselus oled kas süüdiv või süüdimatu (vajadusel tehakse see eristus). Muusika ei eelda erinevalt päriselust vastutuse olemasolu. Ometi viimast progerokilikku lugu (Graham laulab!) võib käsitleda nii oma pateetilistele ihadele järeleandmise kui teisalt eksperimentaaltendentside ja laulukirjutamise ühildamisena. Einoh, vägi kiirgab vägevalt siit läbi. Vägevalt äestab elik väestab ägedalt.

4/05/2020

Nine Inch Nails – Slip (2008)



  • Synth-rock 
  • Ambient 
  • Industrial rock 
  • Electronic music 
  • Experimental rock 
  • Alternative rock 
  • Electro-rock 
  • Abstract 
  • Experimentalism

Comment: I have always experienced a bit discomfort while stumbling upon the term "industrial rock" which is obviously a different case in comparison to "old school industrial", and "post-industrial". It is like an unfitting, unnecessary addition to the natural chain of the last mentioned ones given that free intention being adeptly exploited and wide sonic areas being craftily occupied. Industrial rock, on the contrary, seems like a bloody determined case to come up with some annoying configuration and channelize ideas in a way which might be in contradiction regarding the old school/the dawn of DIY cassette culture and new sonic radicals. In a word, a playful, provocative element got eradicated with a sort of embarrassing pathos through bloated guitars and unsavoury synth sounds (if to compare it to average delicacy of post-punk). In the mid-noughties NIN/Reznor had made some steps aside by releasing a couple of albums for free download and demonstrating sonorously some deviation from the usual sonic backbone. More experiments with dodges into abstract electronica/ambient (999,999, Corona Radiata), and obsessively staring yet ultimately panoramic rock outputs (The Four of Us are Dying). That's great due to the premiss and progressive path of the compositions. The rest of the 10-track issue is just industrial rock by numbers. That`s fine but not as suggestive as more experimental and hypnotic Ghost I-IV used to have.

3/06/2020

Crimson Muddle – Crimson Muddle EP (2008)



  • Post-punk 
  • Chamber music 
  • Art music 
  • Minimal synth 
  • Vaudeville 
  • Cover 
  • Art punk 
  • Synthwave 
  • Neoclassical 
  • Post-classical 
  • Coldwave 
  • Crossover 
  • Contemporary classical

Comment: 12 years ago there was panic due to economic depression, there was panic pertaining to swine flu. In a word nothing has changed for better or worse if to compare it to the recent time. What could be predicted for a near future? It might be the world, our beautiful planet called Earth unveils its primal and more mystical and envious side with the aid of its primordial beings like bacteria, reptiles and trees being accompanied by destructive weather conditions to severely punish relatively juvenile yet arrogant species, first of all, a primate called the human being. We will see the superior frightening wisdom of them. They cannot stand for a stupid ape anymore.
Maybe all is triggered because of the absence of Crimson Muddle's music which had produced off-kilter artsy punk inspired chamber and classical music by showing the human being's ability to step aside from inferior clichés and moronic patheticness sometimes. All seems to be sustained all seems to be fucking dying, there is no ebbs and tides anymore – such frenetic juggernauts and mad idealists as Mark E. Smith, and Jared C. Balogh are also gone forever. Could you imagine a cover of Joy Division being brought forth by a convulsive art group in the vein of a mutant Kronos Quartet? Or a Vaudeville-soaked playing the fool on the base of catabolic piano arrangements and string hooks? Or hysterical operatic singing accompanied by a needle-sharp drum machine cadence and a layer of drunken cellos atop? Metabolism reversible? Here it is as a part of the library of Zorch Factory Records.

1/18/2020

Buben – Distillation (2008)


  • Electronic music 
  • Post-industrial 
  • Illbient 
  • Dubtronica 
  • Avant-techno 
  • Organic electronica

Comment: this batch of 3 tracks being released on Dadaist Audio is a tight blend of different (poly)rhythmic knots and sequences, reverberant echoes, elliptical dub delays and dark-hued noises. Thirdly, a listener can hear remote, greyish sonic shades hectically coming in and then out. The artist has always been experimenting on the verge of daring intellectual noise and industrial-drenched acoustics and perplexed rhythmic outcomes. Buben is a grandmaster from Belarus who has been releasing music mostly under netlabels like Clinical Archives, Dadaist Audio, Haze, Rus Zud, Kaos Ex Machina Promotions, In Noize, Intox Noize, Protoplazma, Noise-Joy if to show up some of the most well-known ones.

1/03/2020

Betelmire – Polyester Tea (2008)

 
 
  • Drone pop 
  • Organcore 
  • Indie pop 
  • Lo-fi 
  • DIY 
  • Singer-songwriter 
  • New Weird America 
  • Twee pop 
  • Bedroom pop 
  • Indietronica 
  • Dream folk 
  • Americana 
  • Experimental pop 
  • Avant-pop
  • Electronic
  • Free folk

Comment: first of all, I can admit that Polyester Tea is almost as good as Betelmire's second (chronologically first) issue called 606 MPH (2005). 606 MPH is just pure gold by a female singer-songwriter from the Northwestern part of the United States who had used a cassette machine to record music composed on low-end electronic keyboards, an ukelele and her compelling dreamy singing to charm listeners with stunning melodies and blossoming harmonies. In hindsight, this restricted range of instruments seems to be somehow an inspiring soil to get the utmost result from it. To have drifted between electronic and acoustic, between familiar songwriting and uttermost vanguard pop experiments. Crossing the line with decency and credibility. Undoubtedly the span of time she had been surrounded by was truly fruitful and tumultuous – a musical movement called New Weird (America) was on full sway and on the other side Beach House through their obsessively droning minimalist indie songwriting lighted up a way to be followed. Additionally one can perceive muscles of twee pop. Thirdly, I can remember for then strong DIY scene, one of which platforms was CLLCT, a platform for recording bedroom artists. I can not remember anymore maybe Betelmire was a bit of it is as well but by her musicianship and attitude she could have had a perfect match. Let's mention some outstanding songs on Polyester TeaBird & Bee, Bedroom Unreality, Normandy Park, Auburn, Hidden Track (Lullaby). The issue is a part of the discography of Rain Above Records. Thank you, Betelmire for punching your unforgettable trace into my soul and mind. Good night, sleep tight.

11/27/2019

Auger Shell – The Narrows (2008)




  • Drone 
  • Drone rock 
  • Avant-garde 
  • Avant-rock 
  • Electro-acoustic 
  • Experimental rock 
  • Minimalism 
  • Ambient drone 
  • Abstract

Comment: Detroit, US-based Pat Callow under the nom de plume Auger Shell did have released all his three items under the Netherlands-based Rack And Ruin Records which has been activated in a span of 2008-2011. At RMH Holdstill Ocean is previously reviewed as a wondrous drift between experimental electronic/glitched-out developments, shoegaze/post-rock, minimalism and ambient music. The Narrows as the title suggests got more narrow or restricted. Mostly it chimes like a hard rocker who finally got sick of his lengthy, honoured career as the player of decent riffs and moderate gears being played day after day decided to develop more naughty and experimental offshoot. Indeed, all those gears and riffs are proudly represented over there yet played heavily through echo chambers and effect/control panels (it looms as if the guitar was pushed to a remote distance). At times (at its more austere and abstract moments) it is just a pure example of drone and ambient when the format is overwhelmed by a pulsating, coil-alike pattern, at its more exuberant moments the 3-track outing can be described with the prefix “rock”. Sometimes the artist opens the door to let the more or less determined sounds go out and mingle with surrounding ambiance. At times the soundscape gets more blurred due to swapping the accents with hisses and noises. For sure, the outing is enough a struggle to get through (for the listener it does mean many subsequent listening times). You can find out this issue under the number 073 in the discography of Rack And Ruin Records.

9/22/2019

Inger On The Rock – Heimkoma (2008)




  • Post-rock 
  • IDM 
  • Art pop/rock 
  • Indietronica 
  • Epic 
  • Organic electronica 
  • Electronic music 
  • Glitchtronica 
  • Experimental pop

Comment: this bunch of 13 tracks by a Russian artist (Eredel) is a sublime sonorous pavement to imaginatively trudge along the picturesque landscapes of Iceland, because of that all the song titles and cover print are Icelandic. Additionally, the music also seems to be partly inspired by the country's leading artists like Sigur Ros's sublimely bombastic orchestrations and múm's awkward and austere yet perky electronic grooves and splattering glitches (the very preference of mine). If to go beyond the borders of Iceland one can find out resemblances with the likes of Hood, and To Rococo Rot. On the other side, the picture is even more wide – the listener can hear abrasive, broken drum beats and ennobling digital noise torrents as the soil for melodies to effectively grow up on and sparse incantations on a piano and a cathedral-alike organ led droning beauty. Additionally, let's take a track entitled Vorkoma – it is headed by a contagious melody gear being propelled by a swirling chaos of arousing noises coming through enchantingly configured labyrinths. The artist looks a bit back while pushing the music further while staying vigorously balanced between variety and consistency. The wondrous outing is a part of the discography of Elpa Music, a solid Latvian record label (2006-2013).

9/06/2019

room101 – Subconscious (2008)




  • Experimental electronica 
  • Avant-electronica
  • Micronoise 
  • Drone 
  • Abstract

Comment: I am wondering why I have been so long away from the music of a qualitative imprint, Test Tube. When I started off more than 10 years ago with regard to the net/weblabel scene the imprint was an experimental one dedicated to cutting-edge electronic music among other great ones like Clinical Archives, Zymogen, One, Justnotnormal and Sinewaves. By listening to this 5-track issue I shall have to admit the adventurous, sterling touch of the label has not been diminished over the years. More profoundly, lots of buzzing noises and drones which move forth on cyclic orbits being emblematic of recent chaotic and overloaded life and on the other side an inner impulse by propelling the whole further. So one's consciousness and subconsciousness are poisoned by all sort of troublesome conflicts, tensions, changes and fears in a daily life. It is way too much enough for a person. If someone used to say that the problems are the very ground to step further for developing a life the next question is about the nature of development – has it been viable or failed? Could it foster the life in the next future? And then all the noise by Slovakian Adam Balušík gets disappeared being replaced by total silence – by death, by nothing. And then again – all starts off from scratch. Was there something ever before and will be there something after the end?

7/30/2019

dessktop – Selsey Bill EP (2008)




  • Organcore 
  • Lo-fi 
  • Drone pop
  • Improvised music 
  • DIY 
  • Bedroom music 
  • Electronic 
  • Psych-pop

Comment: Selsey Bill EP was the first sonorous appearance by Robby Massey aka dessktop, an artist who did have like to record in the bedroom (or at least at home). Later on, he would have released such issues as Kirpi EPGalleon Quilt, and Voicemeal EP and also the Split EP in liaison with Tiny Feathers all along at Rack & Ruin Records, one of the most important imprints who (in the embodiment of Dean Birkett as the head of the records) picked up grassroot/home recording musicians to be allowed to get some focus on them. If you wish one can find out my interview with him on this site. Fortunately almost all the outings of the imprint are still nicely up on the home site (unlike many other imprints from the period of the end of the 00s/ beginning of the 10s who and whose artists have just tracelessly disappeared. For instance, Holiday Records and its artists as Bonfire Kids, Young Michelin, Victory VIII etc). This handful of primitive compositions (RRR012) is something being conjured up on such instruments as a xylophone, an Indian flute, an Indian bass drum, toy accordion, a couple of acoustic guitars, a melodica, a Casio synthesizer and his vocal. I guess most of the instruments can be distinguished from one another over there to create a frantic blend of drones, glockenspiel plays based on an awkward yet charming scale of notes and key changes. At times it is emotionally heated up, then he gets calmed down and at times the sound disappears as if a river meandering inside the desert just vanishes at one moment. Robby Massey once mentioned that he had been improvising for hours on different instruments to discover and conjure up new motives. Regarded I can only agree with him the music is hard thing to get ultimately accomplished. Secondly, it seems to be a fight between managed songcraft and free improvisation to have provided welcome tension within the creative process. Yeah, it is a little bit more than just an intriguing lo-fi release (although the following outings did it even more) it is also a worth legacy of the aforementioned frenetic era.

6/18/2019

Daughters Of A Righteous Riot - Breaking My Heart Again and Again (2008)




  • Hypnagogic pop 
  • Indietronica 
  • Art pop 
  • Glo-fi 
  • Electronic 
  • Alternative pop 
  • DIY 
  • Ambient pop 
  • Chillwave 
  • Synth-pop 
  • Indie pop

Comment: this handful of compositions sounds like it was driven by a vocalist who is seriously depressed and who sings in a muffled manner even if the adverse state of mood is tried to hide with digital filters and echo chambers. I did even hear the line - I am a worthless piece of shit (being sung impressively). However, the best part of pop music used to pop out due to the artist's distress and suffering. DOARR's music is craftily embellished with acerbic synths and dynamical beats and some speech samples full of coherent synergy and ennobling impulses. One can feel that these hypnotic loops create something curative and purgative. Musically it can be considered a part of the movement of chillwave/glo-fi/hypnagogic pop though it is not an average example within the genre. Funnily, at Discogs it is tagged as dub, and house. Maybe it is in this way. Of course, the music can be considered a sort of synth-pop though it has a little to do with classic synth-pop artists like Pet Shop Boys, and Erasure, for example because it is more acidic, it is more atmospheric, it is more technical. The overwhelming issue is a part of an excellent Swedish imprint, redstarcommunity.

6/13/2019

Auger Shell – Holdstill Ocean (2008)




  • Ambient rock 
  • Experimental rock 
  • Avant-rock 
  • Lo-fi 
  • Drone rock 
  • Glitchtronica 
  • DIY 
  • Epic 
  • Post-rock 
  • Electronic 
  • Glitch ambient

Comment: nearby Detroit, US-based Pat Callow aka Auger Shell did have released all his three items under a cult imprint, the Netherlands-based Rack And Ruin Records, having been doing a decent promoting from 2008 to 2011, by the lead of Dean Birkett. Holdstill Ocean was the first and the longest issue of the three parted discography of Auger Shell under Rack And Ruin. Maybe one can find out a prescription coming out from the following sequence/number set in a queue – 037, 051, 073. Additionally to Holdstill Ocean, there are also up Bee Lions, and The Narrows to be listened to. A description by him, a blanket of evocative swirling sounds from one guitar and an arsenal of effects. The music teems with life, at times vacillating between tremble and pulse, shriek and wail, bite and grasp. Soul brother to Christian Fennesz, Kevin Shields and even Lee Ranaldo, his mostly improvisatory compositions are structured in layers and loops, sometimes stitched together with the aid of a computer. Indeed, by listening to this set of long compositions I felt to split the 4-notch issue into a disciple of My Bloody Valentine due to those slightly powerful tremolo guitar treads and lofty guitar transitions within a tangential blend of throbbing hiss and asymmetrical drone-drenched sonic bowl. The second, finishing part was clearly more about laptop and digital technology dominated experiments, it was clearly more about a contemporary laptop and digital processing-based shamanism (Tim Hecker, Pan American, Alva Noto/Carsten Nicolai, Vladislav Delay, Fennesz, Pan Sonic). More magnified loops and glitches pitched up to a higher extent. However, the more I listened to it, the more it seemed to be about magic and something transcendental. At times I feel like listening to an anthology of noise and electronic music by Sub Rosa. The artificial borders set up by me became hazy. Actually a listener can hear exalted (sic!) droning doom metal progressions as if providing some glimpses within a deadly greyish landscape. In a word, by the form it is somehow flawed yet blissful nonetheless (it might be, on the contrary, thanks to it). The beauty is not simply a state, it is the relation/move between/from an inferior/rough to superior/refined one.

2/19/2019

The Rabbits – That Cave of Love Part 1 (2008)




  • Avant-rock 
  • Alternative rock 
  • Art pop
  • Cinematic
  • Noise pop
  • Fuzz pop 
  • Comedy pop 
  • Experimental pop

Comment: The Rabbits` third outing on WM Recordings is playful and sardonic, entertaining and poignant at the same time. I have no understanding why such sort of music does not make up music charts because in fact it does have everything. Obviously it is way too dizzy for masses and all those influencers, opinion leaders and bosses of music labels who wish the world would be full of "of chickeny softness” while the world need heroes instead of it. The 9-notch outing was issued in 2008 yet it would predict what used to happen today when bloody political correctness embraces all within a society. I do not think that all sort of the so-called liberal activists with gleaming eyes could change world into a better place. I guess their pretension to make it is filled in with half-truths, faulty assumptions and partial knowledges while pretending to be idols by their public ambitions. More profoundly, one of the consequences is that young people are eunuchised by it and locked in porn sites. In truth, it is ridiculous to see all of that for a critical bystander. Do you think is it possible to change someone into a god who is a sort of animal (even if he/she does not recognize it) and headed by drives and subjugated to natural laws? Of course, it is the premise for so-called divine comedy. I do not believe in revolutions anymore, I believe in art and music and an organic way of living instead of it. I believe in a sort of patchwork through music which is represented over there – from dadaist outbursts and noise/fuzz pop spans to slightly pop-oriented developments and astounding blissful cinematic undulations and ork-pop quests. And the most important point – there is up freedom one could not find out from a recent society anymore.

2/18/2019

Tidy Kid – One Week With My Casio (2008)




  • Toytronica 
  • Electronic music 
  • DIY 
  • Alternative 
  • Indietronica 
  • Lo-fi
  • Electro pop 
  • Glitchtronica 
  • Singer-songwriter 
  • Breakbeat

Comment: one of the first netlabels I was honoured to meet was Test Tube. It might be the first impression of mine was highly piebald about the netlabel/webaudio scene and because of that I could not evaluate any single netlabel properly. However, by listening to the discography of Test Tube back now it is being a highly pleasant quality time. Brisbane, Australia-based Tidy Kid`s One Week With My Casio can be considered rather an unusual example within the discography due to providing no spot upon lush experimental/ambient music but instead of it experimenting with sounds and creating poppy songs on his own cheap Casio synthesizer. By the way, I have also a fancy Casio synth, a small monophonic Casio SA-1, my cordial relation with it has been lasting since 2000. Musically this 6-track issue is a great one by sharing expressive touch between sonic experiments, poppy song structures, and moody feeling hovering above it. From obscure lo-fi flickers and dreamy indie electronic patches to convulsive, glitched-out broken beat madness, littered electro pop and interrupted yet somehow catchy songwriting. By the way, the 6-track outing was also released as a tape release on the German imprint Froggi Records. Astounding lo-fi electronica.

1/31/2019

Porzellan – Mountains Cycles (2008)




  • Experimental electronica 
  • Ambient 
  • Minimal techno 
  • Abstract
  • Glitchtronica 
  • Avant-electronica 
  • Drone

Comment: It is said that sit down, close your eyes, listen to the mountain's birth, listen them rising, remain there forever. Indeed, it is a fine introduction by their French imprint Abyssa into this 12-track issue where silence, as it is said, is the most beautiful instrument. Indeed, nature is something unique and monumental and an artist's ambition to relate to it through his/her oeuvre it could be an immense challenge in any cases. I am convinced that an artist's fancy to record natural sounds to convey them to other people with intention to bring nature to their apartment through loudspeakers it used to be a naive, fallible idea. Because nature is an environment with an innumerable amount of sounds, perceptions and dimensions which all together establish a singular, unrepeatable phenomenon. Of course, if an artist's purpose is closely related to mix it with artificial sounds and subsequently synthesise something transgressive then I am going to say yes. This album is the latter case. This set of a 39 minute is an austere and minimal glimpse into the heart of an electronic genre where the basic algorithms are not unveiled only but also magnified in front of us. The examples are fine – one can hear swaying drones and agitated ambient shards and minimally pulsating techno vibes and roughly droning impulses.