martes, 29 de diciembre de 2015

The Dead Texan. The Dead Texan

The Dead Texan. The Dead Texan (kranky, 2004)

"The Dead Texan are sonatas to Stars of the Lid's noctambulant fugues. Or as Adam Wiltzie describes them, mini symphonies. The presence of piano and strings are reminiscent of Zbigniew Preisner's soundtrack work and the feel is suggestive of George Delerue's early 60s soundtracks, but the surreal smear of guitars is Wiltzie's unmistakable contribution. Wiltzie has been living in Brussels, Belgium for the past few years. A decidedly European, filmic sensibility wafts through The Dead Texanas a song title like "La Ballade de Alain Georges" (with its reference to the 1940s French actor) and snatches of dialogue indicate. Tracks vary from the flowing, transparent melody on "A Chronicle of Early Failures - Part 2" to delicate and fleeting vignettes." Brainwashed

Taco de Macque (mp3)

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sábado, 26 de diciembre de 2015

Yarn/Wire and Pete Swanson. Eliminated Artist

Yarn/Wire and Pete Swanson. Eliminated Artist (issue project room, 2015)

"Known for his uncompromising tape and synthesizer work, Pete Swanson has pushed the limits of electronic music since the early 2000s. Since stepping down as half of formative underground duo Yellow Swans, he has subverted the genres of noise and electronic dance music as a solo artist. For Eliminated Artist, the third LP release from ISSUE Project Room’s Distributed Objects imprint, Swanson ventures into new territories with two works at the intersection of electronic and acoustic sound, created in collaboration with New York instrumental quartet Yarn/Wire. Combining electronics, tape loops, and modular synthesizer with Yarn/Wire’s unique ensemble of two pianists and two percussionists, both works were recorded live at ISSUE Project Room, initiated as part of the ensemble’s 2011 residency at the Brooklyn venue and presenting organization.
For the title track, Eliminated Artist (2012), Swanson recorded improvised rehearsals by Yarn/Wire, from which he crafted an exacting, repeatable framework for live performance. A combination of live signal and rehearsal recordings were then constructed by Swanson into a live electronic mix, ranging from tranquil chromatic textures to unhinged distortion. Corrections(2014) emerged from a series of recorded fragments Swanson made using “the Putney”, an early EMS VCS3 modular synthesizer, at Rotterdam’s WORM studios in 2013. Over two days of rehearsal, Yarn/Wire and Swanson developed acoustic arrangements to integrate with the earlier recordings. Clattering, intricate rhythms combine with soaring synthesizer pitches and heavy percussive beats; the result is atmospheric, physical and precise." Issue Project Room


miércoles, 23 de diciembre de 2015

Wooden Wand. Radio Sessions, Volume 1

Wooden Wand. Radio Sessions, Volume 1 (self released, 2013)

"Unedited recording of an on-air radio performance of the pared-down touring band (Keith Wood, Clay Ruby, and Satya Sai) in anticipation of the Second Attention album, which would not be released for several months. The playing is loose and a little wild, the way an under-rehearsed, early afternoon radio performance can be, as we prepared to descend onto Austin for SXSW 2006. First-ever performance of the rarely played “The Invisible Children,” which was so new, it didn’t even have a title yet (and really should have been sung in a higher key). I didn’t catch the name of the KVRX engineer who did such a good job recording us, but if it’s you, get in touch so we can give you the credit you deserve!"


lunes, 21 de diciembre de 2015

Arrington de Dionyso. Sound Is The Medicine

Arrington de Dionyso. Sound Is The Medicine (self released, 2015)

"This album was recorded to magnetic cassette using a modified Marantz tape recorder and a Neumann U-67 ribbon microphone on January 2nd, 2015. "Side One" features the Lalove, an end blown bamboo flute made in Central Sulawesi. "Side Two" features several different khomuz, or Siberian jew's harps, and some voice. The Sound Is The Medicine."


domingo, 20 de diciembre de 2015

Ghost. Overture: Live in Nippon Yusen Soko 2006

Ghost. Overture: Live in Nippon Yusen Soko 2006 (drag city, 2007)

"As soon as that crash rumbles outward, trailed by a moment of quiet, we sense how perfectly the acoustic properties of the warehouse suit the band's art. That expanse, that tangible nothingness, is more than negative space. It envelops you like the clouds and waves wrap around Winslow Homer's lonely boaters, making them somehow lonelier and that loneliness more heroic. Likewise when Michio Kurihara lays siege to the venue's architectural emptiness with his electric guitar, it feels like a struggle against cosmic emptiness. Ultimately that is the mood of Overture. While it does feel introspective, this wandering inward is no cakewalk: it is a bumpy travel through turmoil and discord and nonstop tension." Pitchfork

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miércoles, 16 de diciembre de 2015

Six Organs of Admittance / William Tyler. Parallelogram

Six Organs of Admittance / William Tyler. Parallelogram (three lobed recordings, 2015)

"Multi-movement suites have long been a skillful part of the Six Organs of Admittance lexicon. Chasny’s contribution, “Lsha,” expands upon this artistic legacy as it commandingly pulses and moves through its three propulsive phases. Tyler presents two long-form tracks that further cement his unmatched combination of melody and composition. “No Marigolds In The Promised Land” fits into the mold of Tyler’s imaginary audio travelogues, rolling through hills and dales via the mind’s eye. His side is capped off with “Southern Living,” a gorgeous track that features more feedback than your average WT piece but also stands as a highlight within his greater catalog (from a catalog full of high water marks)." Three Lobed Recordings 


martes, 8 de diciembre de 2015

Traveling Bell. Scatter Ways

Traveling Bell. Scatter Ways (secret eye, 2005)

"One of the members of Spires, Kathleen Baird, recording under the name The Traveling Bell, finds, perhaps a slightly better balance, and an easier (but certainly not lazy) sound with her lovely solo album Scatter Ways. Baird takes a generally more melodic approach to her own music, but the odd touches of dissonance still creep in here and there. Acoustic guitar playing is sprinkled with soft drones, distant bells, jangling, shaking percussion, wind instruments, and various brushstrokes of organic sound, along with Baird's vocals. Far from having the airy kind of voice of the typical female singer/songwriter, Baird's voice is expressive and unusual, and she's not afraid to utilize her singing to create strange sounds, though she doesn't do that as much on this album as in the group context with Spires. She also throws in a few evocative, instrumental cuts on the album." Aural Innovations

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martes, 1 de diciembre de 2015

Plankton Wat. Dawn of The Golden Eternity

Plankton Wat. Dawn of The Golden Eternity (dnt records, 2009)

"a vast array of sounds and moods, from blissed-out drone punk rippers to super chill deep space folk. Total late night stoney textures, and radiant sun anthems. Acoustic and electric guitar, drums, banjo, mbira, and some singing, all mega tripped with syrupy analogy delay. Really beautiful heavy zoners" Forced Exposure

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