This path of so called smart electronica continues with a fierce collection of rattling materials break beating away in a hyper nerve breakdown in which even Mario sounds are chopped in. There are melodic ambience materials floating around on too of these active drum and rhythm programmed materials (…)
A little more than half-way through Do You Dream About Me, Wullen and company pivot us with a change in noise and tempo that drifts almost into silence and then slowly field recordings and other noise creep back into the foreground for one last striking verse.
Each track is a short burst of energy disappearing as quickly as it appeared leaving you grasping for some semblance of continuity. “Yeah, I’ve got this,” you tell yourself and then a gust of saxophone or the stammering of drums tilts you away from the previous track on to something new.
Golgotha Communications has just dropped a very special release through the HAZE netlabel. When you listen to it you will be instantly introduced to an experimental audio world that is rich of a high psychedelic effect.
This is a release that isn’t for everyone. It does, however, have an audience. It is definitely a work that will appeal to people who like Steve Reich, The Fucked Up Beat, and the experimental self-releases by Sonic Youth.
A magical, though melancholy domain runs parallel to ostensible reality. It lies beyond the «boundaries» of mundane chatter and/or primetime harmonies. It offers a sense of freedom, a bittersweet divorce from comforting typicality that’s known to «bums on the road.»
Most of the tracks are field recordings layered and looped upon each other with some processed sounds that produce a wonderful ambiance of noise and glitch. With Chronotope, Ladzes brings the coherence to his 12 tracks mainly through his careful ordering of the tracks.
Roswell Radio Cult is an album of suggestion, a sound implicit rather than explicit and utterly defiant of explanation. In such cases, it’s often as helpful to put on some tap shoes for le Corbusier, or simply recommend that the reader simply listen for himself.
These Anti-fascist hymnals are ideal for undergarment removal after a PBR drenched, DMT tinted evening or as soundtrack to the window smashing, corporate bank looting riot enthusiasm of hard-line anarcho-punks.
Working Title is a big album in many ways, least of all it’s 80+ minutes of music, as Kritchev vs. Ban make us rethink what is acceptable. The artists push the listener’s tolerance by looping samples endlessly which successfully turn the tracks into an almost meditative exercise.
I have complete respect for this project and their willingness not to pamper to the limits and expectations that cocoon much of today’s music. An entire universe away from the mainstay of non-thinking background pop which the populace are force fed until they puke sequined S&M cat-suits.
The meanings that lie within these dark and stormy tales are timeless classics that have never ceased to be applicable to society in general – take any era in the past 100 years and apply one of Kafka’s stories to it and you’re bound to come away with a metaphor for that particular time.
The inclusion of Untitled in this blog is a bit odd given that it’s origins are unabashedly techno. But where Raw N^D hooks me in is their exploration of techno with distortion, noise and other twisted sounds.
Whatever that evolution may bring, though, he remains committed to a lo-fi sound. As we’ll see below, there’s a good reason why any such progress would — or should — remain shackled to understatement and slight distortion.
The band refuse to respond in kind. In a strange combination of worry, awe, and self-irony, their first video is entitled «Misha Meets the UFO.» A teddy bear(!) is frozen with fear in front of an insistent light source.
On their eponymous album, Sommerfeldt and McDonnell have put out an excellent album of improvisations of saxophone and laptop that uses their inherent dichotomy to work together rather than display their opposition.
The parallels with modern Belarus are clear — they also explain why the instrumentals on this Haze netlabel compilation are so uniformly grating or jarring. Despite the clear philosophical kinship that exists between Pussy Riot and our Belarusian collectives could not be more different.