Kraak have just released the latest entry in the label's ongoing split double 7" single series titled God Damn, I Hate The Blues featuring Amen Dunes, Ignatz, Marissa Nadler, Nathan Bowles, Warm Climate, & Bridget Hayden. It's easy to take the name of this compilation at face value as the haunting specter of the blues tradition continues to filter into alternative and popular musics. The handful of musicians included in this release have been chosen wisely though and their musics seem to offer winks towards the past as well as opening up the genre's particularly downbeat notions.
Amen Dunes contribution is a take on a traditional Ethiopique song that has been taken for a strange ride. The track assumes the particular guitar styling that Damon McMahon has become known for over the past few years while his vocals quiver and wail above following the loping guitar lines. This may be one of the most satisfying Amen Dunes recordings I've heard to date actually and will become a refreshing musical moment for the winter days ahead.
Ignatz mellow country-folk groove "She Gets All She Wants" comes off as a lost John Phillips classic. I say this because the track's distinctly lo-fi sonic characteristics, complete with enough crackling hiss and tape warbling to make someone believe this could be a Phillips bootleg taken from the odd home recordings. Luckily Ignatz quickly bypasses the lingering feeling of anothers work and establishes his own voice and emotional structure that the song unfolds into.
God Damn, I Hate The Blues is available now via Kraak records.
Tashi Wada and his newest composition "Duet" exist at once as homage and a refinement of Minimalist music composition of the past. As the name implies this is indeed a duet between two violin's in their unison, and almost monumental, descent in pitch. At any moment giving way to slight drones of intonation and interacting harmonics, always returning and continuing with their downward trajectory.
Today contemporary indie and experimental musics have almost consumed the avant garde moves & form of minimalist composition. As electronic artists have come to commonly sight composers such as Terry Riley, La Monte Young, or Steve Reich as often as less academic and institutional musicians such as Kraftwerk, Cluster, or Brian Eno. I don't think very many people can say this isn't a great thing though, as the emergence of a younger and enthusiastic audience has taken on the task of rediscovering and reissuing some fantastic composers and musical works.
To make an exact reference point Tony Conrad's Fantastic Glissando matches similar aesthetic and conceptual moves. This may be an easy comparison due to both pieces utilizing the distinct sound of the violin, but beyond mere instrumentation each hold at their core slowly gliding pitch's and perceptional experiments. But unlike Conrad's abrasive pre-noise take Wada brings a more accessible and dare I say engaging take to such concepts.
Ensemble Economique is the alias of busy North California stalwart Brian Pyle, who some may know as a member of recently mentionedStarving Weirdos. As Ensemble Economique he has been quite busy the past year or two in particular with releases on label's Not Not Fun and Amish to name a few. The sound of Pyle's solo compositions follows a similar trajection to his main project and others coming out of the north-west underground, such as Pete Swanson's recent solo work.
In "Everything I Have, I Give To You" and the accompanying artist made video the sound and vision of Ensemble Economique is laid bare; haunting rhythmic loops, hovering atmospheric synths, and a vintage horror film aesthetics are combined to great affect. The video is created by way of borrowed footage from Nicolas Roeg's 1973 film , making a rather perfect fit for the vibe present in the music itself.
Ensemble Economique's newest album Crossing The Path, By Torchlight is available now from Dekorder.
Sean McCann & Matthew Sullivan are two busy men in the post-noise underground right these days. Sullivan's project Earn was recently discussed on this site and while he was on tour from Los Angeles made a stop in Brooklyn to play at a Last Nights show blowing myself and I believe the rest of the audience away with slowly unfolding compositions filled to the brim with white-noise and meditative structures. While Sean McCann has been at it on the west coast for a while now and has been slowly building a reputation as meticulous composer working in a world filled with many unmemorable improv bands trying to make a name for themselves.
It's not surprising to see these two west coast drone heavy weights coming together for a collaboration. Sullivan has released McCann's music via his Ekhein imprint more than once over the years and the two seem to have a natural affinity for similar sonic aesthetics. The track "Vanity Fair" taken from their upcoming album on McCann's Recital label incorporates varied elements found in each's work while also extending beyond the reach of either individuals solo work.
The Sean McCann & Matthew Sullivan LP will be released via McCann's new imprint Recital
Amish records has announced the release of the next Starving Weirdos album titled Land Lines. The album sees the long running north west experimental group make some of their first forays into a more structured songwriting process. This is explained by Amish as a result of the album being a couple years in the making, though recordings were first initiated around September 2010. They go as far as to incorporate some haunting vocals as demonstrated in the lead album track "In Our Way."
The band created video for "In Our Way" takes on a quasi-religious status as a result of the slowed down some synced dance moves taken from what appears to be footage of contemporary african dance moves. Something that when combined with Starving Weirdos own almost horror film score leaves a creepy yet intriguing lasting impression on the viewer.
Starving Weirdos' Land Lines is available January 24th via Amish Records
If I may forego all the usual trappings seemingly embedded into conversations pertaining to Chelsea Wolfe... At least that the sentence I anticipated starting with and then I realized I couldn't. Wolfe's persona is built upon combined elements of the gothic, greek, and occult imagery and vibe. I want to liken it to Nico once she got over being a pop star and became addicted to heroin. That is a totally update to date version who to my knowledge is NOT a drug addict which is generally great news.
The song "Sunstorm" maintains stark elegance, which is perfectly matched in this Sean Stout directed the video. Even some of the song's most far reaching moments, such some questionable lyric choices & dance moves, come off as forgettable & endearing. It's that much more then that the "Sunstorm" & Wolfe are able to withstand under such intense emotional, while still retaining a catchy enjoyable song. Despair has rarely sounded so good.
Come join Last Nights tomorrow night (Friday Dec. 9th) at Big Snow in Brooklyn, NY. It will be a great night of filled with spacey jams and psychedelic pop concoctions. With music by:
We're happy to announce "Where You Are Now" the lead track fromImagesforthcoming album titled Know What I Mean. The group recorded/mixed the album late this past spring after a busy 2011 filled with shows that saw the duo share stages with MV & EE, Soft Circle, & Spectre Folk to name a few. "Where You Are Now" sees them operating at surprising levels of clarity and accessibility for the cloudy headed psychedelic concoctions offered up in the past. As this lead track demonstrates Images aren't afraid of stepping into the light, sounding almost indie-rock while they're at it. The cleanliness of the sound itself is attributed to the live nature of the recordings, in which few overdubs were undertaken in order leaving the raw live band sound in tact. The bounce of it all makes it perfect to add some energy in the bleak days of winter ahead.
"Where You Are Now" is available now straight from the band's bandcamp site as a free download. Be sure to look out for more info on Images and the upcoming full-length Know What I Mean this January here via theLast Nights Recordsimprint &AMDISCS.
Possibly one of the first forays around here into the more electronic and techno end of the musical spectrum. Pinch & Shackleton have been at it for a while now each helping define a new era of bass music with their individual compositions. Looking back to the origins of dubstep it is easy to point towards Pinch's debut Underwater Dancehall & Shackleton's former label Skull Disco as some of the finest examples of the genre.
This self-titled collection, their first collaborative outing, sees the pair operating at the same level of quality which initially propelled them into the music public's eye. Shackleton's unique This is not to say that it is a neutral meeting ground between the two. Contrary to such a thought, the seemingly simple feet of combining the hallmark aesthetics of the two artists is a rather difficult feet that is achieved with grace.
Pinch & Shackleton is available now from Honest Jon's.
A little bit back I posted a video for Pete Swanson's track "Remote View" taken from newest album Man With Potential. Since then the album has been released by Type records who are also streaming it in it's entirety. The release comes after a steady stream of Swanson's solo work in the last two years as he has put out two albums on Thee Lobed and Root Strata respectfully, along with a good handful of quietly self-released recordings.
The stream of Man With Potential provides a glimpse into the new almost techno-oriented direction Swanson's work has taken. The results are not one oriented towards getting people onto the dance floor. As the press release states "This is Birmingham techno filtered through the mists of the Pacific Northwest, and is all the better for it. Elsewhere ‘Remote View’ explores a more downtempo sound; coming across like post apocalyptic house music as heard from a club bathroom." Such a description and sound places the music firmly within the realm of what Sonic Boom's Experimental Audio Research was after on The Köner Experiment album.
Is it just me or does this scream David Bowie? Maybe a better question is do I really care? Regardless Mac DeMarco (aka Makeout Videotape) is on to something here with a contemporary twist on some soulful glam-rock that defies time. From the opening title track the foundation for the entire EP is set in place with Demarco's cheeky baritone vocals taking center stage.
Rock And Roll Night Club is full of the type of swagger that made the afore mentioned star shine. I mean look at that picture for the cover and then you have half of the history of glam rock. That said this sound has a somewhat later take on Bowie. Young Americans in particular stands as a reference point, albeit filtered through... well Mac Demarco seemingly having a lot of fun. At least we're able to go along for the ride.
Fire Records is releasing a new 7" featuring two songs written and adapted by the trio of Tom Greenwood, Joanne Robertson, & David Cunningham. People may be familiar with these folks from their various musical travels, Greenwood being the principle songwriter and leader of avant-folk group Jackie-O Motherfucker, Robertson's own solo wanderings, & Cunningham's significant production work with groups such as This Heat along with his gallery arts sound practice.
According to the press release "These songs were formed from an inspired evening session of improvising and recording in London in June 2008, at the brick lane studio of David Cunningham. The three musicians were woking together on a performance event at the ICA in London that week, and took the opportunity to try tracking some songs together." And try they did succeeding in the creation of a slow moving musical environment that suits these artists perfectly.
In support of the 7" Tom Greenwood is heading out on a two week solo tour of the west coast this December. The tour will consist of shows beginning in Seattle, WA and down towards Los Angeles, CA. You can check out the current dates below. The shows will consist of classic JOMF material and more recent Greenwood songs and adaptations.
I'm totally excited to see some prime recordings of The Master Musicians of Jajouka back in print by way of The Primal Energy That Is The Music And Ritual Of Jajouka, Morocco. The track above Brian Jones, written for no other than the former Rolling Stone himself, is an upbeat groover that fans of some contemporary international musicians such as Group Doueh or Omar Souleyman will dig into, though it's worth noting that the Musicians of Jajouka have been on the radar of the underground and international scene since their first recordings with Brian Jones.
The album is being released by Sol Re SolwhichSS Records has announced to be their new subsidiary. The new imprint will allow the people behind SS to step away from their avant rock and into the world and all the music that comes with it. As such the internationally inclined label has set it sights on delivering some first class tunes from around the globe that "fans of Sublime Frequencies, Mississippi Records, the Nonesuch Explorer series, Ocura Records, and the Ethnic Folkways series" will love. Combine that with the label's direct use of the constructed language of the same name.
The Master Musicians of Jajouka's Primal Energy album is available now from Sol Re Sol.
Sian Alice Group have announced they've called it quits with the members going their separate ways. The news comes after releasing 2 full-lengths albums 59.59 and Troubled, Shaken Etc. , each of which are double disc sets respectively, and some odds and ends. The path for former core members Ben Crook and Sian Ahern is thus far EAUX. The sound of which judging by the two demos provided on their site continue with what their fans know and love about the group. A distinctly British sound designed for moments of introspection, with Sian's dramatic voice leading you through it.
Stay tuned to EAUX's tumblr for more updates and future music.
So I recently decided to start a facebook and post some more informal status updates there. The occasional show reminder, some videos blast from the present/future/past, or perhaps a recipes to go along with records. Who knows the internet is the limit at this point folks.
You can check it out here and "like" it if you will.
Hey those of you in the Brooklyn area should be sure to check this show out tonight. Colin L. Orchestra will be getting the evening started allowing the early birds to weep the rewards while the late comers try to catch up.
U.S. Girls has been coming out of the underground, or tape murk if you will, with a more streamlined approach to her song craft. The Island Song & it's compellingly beautiful video shot & directed by Megan Remy herself give a pretty indication of her departure. She is keeping the tape hiss to a bare minimum allowing the arrangement to naturally unfold being propelled by some almost new wave synth textures.
To go with the updated attitude and eyes for production detail Remy has released a new LP on Kraak and launched her own label Calico Corp. For the label's first offerings they have provided a single for "The Island Song", which is taken from the full-length LP U.S. Girls on Kraak, & another 7" for Slim Twig. All three releases are available now.
Pete Nolan (aka Spectre Folk) and his band have been on a winning streak as of the last year or so. The band's ferocious appetite for playing out as often as possible has seen Spectre Folk grow into a live band not to be missed around Brooklyn and New York as a whole, which can be a city gorged with talent. If one is to combine the live show with their recorded output of Nolan/the band then it becomes obvious why Fader called them a "New York supergroup".
Some may know Colin Langenus from his time as one half of USAISAMONSTER but his work with the Orchestra is a different matter. Justin Farrar wrote for the Village Voice that theColin L. Orchestra are"big band that produces a cloudy blend of classic rock, country folk, and Rhys Chatham-inspired minimalism." Letting their hair way down the group loosely work their way the tunes at hand allowing some inspiration to lead the way.
Though keeping a low profile in recent memory Images will be making a special appearance. The show is set to be the first live show since playing Creepy Teepee in the Czech Republic this past summer and haven't played NY since this past spring, which coincidentally also with Spectre Folk. A new album titled Know What I Mean, created as a duo version of the group, has recently been finished with it's release details TBA.
It's a pleasure seeing the metamorphosis some musicians have undergone in recent years from harsh noise into new calmer terrain. Luminaries that readily spring to mind are group's such as Animal Collective or Black Dice, each arriving at their own respective sound. Matthew Sullivan aka Earn has taken the same journey arriving at something totally different than said mentioned artists and what may be the extreme opposite of his previous work as Privy Seals. What results is one of the highlights of modern day ambient music.
Ambient may be a poor word/genre choice though because as the press release for his new record A Following Shadow makes clear there is a definite emotional bent underscoring the compositions, and yes the work feels like a composition not an obvious electronic improv. Possibly looking towards works William Basinki's Disintegration Loops or Eno's classic ambient albums. Which isn't a comparison to be ashamed of.
Earn is undertaking a national tour for the release, via PPM records. The tour is not only for the release of A Following Shadow. It is also for the release of two other albums the first by tour-mate Mirror To Mirror's Here You Leave Today, via Jugular Forest, & a collaborative album between the two. The collaborative effort enlists some possible postmodernist black-humor in the group title as 1958-2009, an homage of sorts to the late Michael Jackson.
The outing includes a Last Nights organized show at Shea Stadium this Sunday November 20th along with Pete Swanson (ex-Yellow Swans) + Brian Sullivan (Mouthus, United Waters) & Civilian Device. As I've mentioned before I'm looking forward to witnessing Swanson & Sullivan's meeting as it isn't to be missed along with the special talents of each musician.
Earn's A Following Shadow is available Nov. 15th., while Mirror To Mirror's Here You Leave Today is available now.
While perusing the web the other evening I stumbled upon these dudes who go by Chrome Wings. It turns out it's a duo who hail from Portland, OR and have been kicking about the ambient/pop scene for a little bit now. As luck would have it as well they had just posted a video for "Motionless" from their newest full-length New Lands.
The track & accompanying video is indicative of what you'll find on the album, albeit in a bite sized portion. A slow burner for sure whose reference points being first generation ambient composer John Hassell. For all the great warm and fuzzy vibes Chrome Wings show here they're equally able to offer something slightly more upbeat take, positioned to the realm of pop music's general framework. Tracks such as New Lands or Stay High in particular prove that the group has some wider ideas to offer and groove to other than mere hazy ambience.
New Lands has been released by AMDISCS and is available now as a digital download and LP.
It seems like the FRKWYS collaboration series has been steadily releasing a slew of quality releases. Since RVNG Intl. launched the series, 2 years ago this past September, it has steadily produced a stream of high profile remix & collaborative projects with the 12" single format in mind, something that the label is all too familiar with due to it's dance oriented approach (it's in the name). It's first release was featured three Excepter tracks remixed by the like of Chris & Cosey & J.G. Thirwell. FRKWYS has continued its winning streak thus with it's worst offerings being forgettable at worst, something that is actually quite a compliment considering the inconsistent nature which can result in such one-off collaborative projects.
As a result it's no surprise to see another seemingly legendary meeting than between Blues Control & Laraaji. The former being covered here in the past for the duo's other band Watersports here. When I saw Laraaji's name next on the release page I was pretty stoked. Some may recognize his name, heck some readers may be hardcore fans, as his place in the new age / ambient scenes have been fermented ever since his collaborative and solo projects that Brian Eno helped shed light upon in the early eighties. When combined with Blues Controls new-age, or should i say noise-age, to "rock band" mentality the prospective results have a somewhat high mark to strive towards.
From listening the first utterances of LP opener Awaken Day the album is off towards meeting the previously mentioned expectations. Beginning with a steady, deep, drum pulse ebbs towards an altered conscious state, with bits and pieces of saturated tape sounds stream in and out of the mix. All the while the subtle sound of the ocean's movements provide a bed for all of the sounds called upon to be cover by and left all to itself once all else has departed.
So yea... it's pretty much what should have come of the project. It's an updated take on a now long running tradition of altered forms of listening and thinking about musical meditations. My only complaint could not be more minor, as I'm not sure at this point how Russ Waterhouse & Lea Cho distinguish and label their performances as either Blues Control or Watersports. Considering all the new-age vibes surrounding WS this seems like the perfect opportunity for a collaboration under that moniker. Something very minor indeed because if it sounds good why wonder.
The Blues Control & Laraaji album is being released by RVNG Intl. this Nov. 15th on LP, Double Cassette, CD, or Digitally (or pretty much every single format you can possibly desire).
Type records recently announced a new solo record by Pete Swanson (formerly of Portland's Yellow Swans). The track "Remote View" is an album cut from the upcoming Man With Potential. The song takes on a dance four-to-the-floor aesthetics as heard through a horror flick, somewhat perfect considering the day. Come to think of it maybe it's the perfect late night burner for the evening, adding a bit of creeping dread into your step. The video by William Sabiston matches this atmosphere perfectly by taking it to some ghostly rave, whose strobe light is slower than if it it had a codeine drink earlier in the night. Great stuff really.
On a side note Pete Swanson will be performing at the next Last Nights show this Nov. 20th, where he will be collaborating with Brian Sullivan, who some may know as 1/2 of Mouthus and his more recent solo venture as United Waters. Their performance in my eyes can be seen two different ways. The first being an extension of the recent Pete Swanson / Mouthus / Golden Retriever show at Issue Project Room not too long back. While the second being the organic outgrowth due to Swanson's recent geographical relocation, resulting in two like minded and high profile noise denizens to meet for some collaborative get togethers.
Anyway the night will also see performances by Earn, Mirror To Mirror, & Civilian Device. It will be held at Shea Stadium, but there will be more info for all this later on. So until then...
It was a pleasant surprise for me to recently learn of this totally wacked out cassette from Sun Foot. The CS is titled Soggy Moggy, a totally fitting name in the end, and showcases some primo left coast weirdo business from Ron Burns, Brian Mumford, & artist Chris Johanson. I've known of Johanson and his visual art for some time now without knowing he was a musician of any kind. Hearing the sound contained on this release though I am somehow not surprised to hear that he is part of the action, and I believe the same can be said for at least a pocket of his fans also in the dark to his moonlighting activities.
Sun Foot establish a sound of warbled and rambling song structures, hints of exotica, and a first-take-best-take mentality. This all results in the chaotic and perhaps acid fried adventure that leaves you feeling strangely satisfied.
You can find a physical copy of the release and more from the delightfully obscure Musical Impressions.
Wow maybe we're a little late on this one, maybe just in the nick of time, but tonight Oct. 27th Big Snow Buffalo Lodge will be opening their doors to public for the first time. It's name aside (I'm told it's a Harry Nilson reference), the space has some exciting plans for the future.
Located on the edge of the Williamsburg/Bushwick neighborhoods at 89 Varet St. the space serves dual function of live music venue & recording studio, a multi-utility use that similar spaces have used such as Shea Stadium (not surprising as Big Snow is run by members of the Shea team). Combining DIY aesthetics with a voracious attitude towards booking performances the space already has some quality upcoming shows shows in the near future. This includes tonight's show that will feature performances by Pigeons, Lost Boy, The So So Glos, & Dustin Wongwhich showcases a nice batch of eclectic performances to kickstart the venue & weekend.
A full list of Big Snow Buffalo Lodge's future shows is listed at the spaces' tumblr here http://bigsnowbk.tumblr.com/
MV & EE have announced the release of their newest boxset the April Flower Tour. For those not familiar with the duo's penchant for live tour anthologies (such as the No Floor Tour or Road Trips) this is an event that is usually immediately exciting or at the least a curious venture. This one is released in a more personal homegrown fashion, being released on the duo's imprint Heroine. To get all biases out in the open, two of the eight discs contained in this release were organized by Last Nights, though to these eyes that just makes the release all th sweeter.
Clip of MV / EE / Flower at Death by Audio disc 5 on April Flower Tour
The April Flower Tour box contains jams that see Matt & Erika joined by some rad folks during their time on the road. First and foremost the addition of Mick Flower (of UK underground legends Vibracathedral Orchestra and his own solo material) and transformation into a trio sees the group able to open up and improvise within the compositions. This form of improv is no small deed coming from these folks as each have spent their careers exploring such avenues. Some shows also see the contributions from Woods main man Jeremy Earl, underground's favorite avant-percussion darling Chris Corsano, and two usual suspects to the MV & EE scene Harmonica Dan & Willie Lane.
Clip of MV / EE / Flower at SUNY Purchase disc 4 on April Flower Tour
April Flower Tour is available now straight from the source from Matt & Erika's Heroine imprint now. Also be sure to check out the Last Nights hosted MV & EE show Monday November, 21st in Brooklyn, NY at Death By Audio with Images. It's sure to be one for "the tapers pit".
So I thought this post was going to be a way late, but as fate has had it Jovontaes saw their debut LP Things Are Different Here released yesterday. If the video for lead track "Falcon" (above) offers anything it's a nice glimpse into these dudes sun soaked world of the super laid back atmospheres and equally chilled jams. The press release and video (the dudes are pretty much cruising around town the whole time) make use of the group's skateboard culture ties and for good reason. I'm pretty sure this track would fit on (that is if it hasn't been already) any skate video. Mix together a propulsive kraut groove, a nicely rolled smoke, & some skate rats and you have Jovontaes. Try it it's pretty much as fun as it sounds.
Things Are Different Here was released yesterday via new(ish) Woodsist subsidiary Hello Sunshine.
For those of us out there patiently awaiting the next No Neck Blues Band LP the wait is over. Judging by the excerpt the new LP, YTIU, sees the group working comfortably within their particular brand of improv-composition that has defined the group's sound since their inception. The track is propelled by a loose pulse surrounded by wandering guitar lines bubbling in and out, with the chatter of hand percussion & synth waves gently wash over everything.
The album is being released by Kelippah, whose proprietor Pat Murano is a NNCK member himself, along with being one-half of Keys of Shame alongside Mark Morgan (of Sightings), and solo material as Decimus.
Found while perusing Sun Araw's recently launched Sun Ark label, Hookworms seem to be at once a part of the spectrum of the former artists work while expanding beyond the usual aesthetic boarders associated with him. The group's self titled cassette on Sun Ark features some all out space rock and at times some 70's style kraut-punk tracks, such as the stand out "Teen Dreams".
On Teen Dreams the group's geographical location seems to play a larger role in Hookworms music. The singer of this band comes close at times to sounding like classic English punk & post-punk bands like Wire, Gang of Four, & The Mekons, while riding a kraut inspired groove that keeps chugging. Who's to argue with results like that?
I would encourage folks to grab a tape of Hookworms but it looks like they're sold out at the source. Luckily it will see a repress onto vinyl courtesy of Faux Discx/Gringo Records in the near future, along with an all new 7" split with Kogumaza.