Showing posts with label -2010. Show all posts
Showing posts with label -2010. Show all posts
Saturday, July 9, 2011
mysterious black metal: mamaleek - kurdaitcha (2010) & murmuüre - murmuüre (2010)
Black metal is a genre becoming more and more crowded everyday, making the effort to find acts doing something interesting and original with the sound that much harder. Recent trends like an overt shoegaze influence were astonishing when they arrived, and have now become commonplace and BORING. The problem of searching for new sounds is compounded by the fact that trying new things is always risky, and the bands out there making genuine efforts to push black metal forward don't always succeed in making something that's actually good.
Mamaleek - The Hypocrite & The Concubine by speedglueandmusic_aw
Mamaleek - My Body Rock Long Fever by speedglueandmusic_aw
Kurdaitcha is Mamaleek's third album, but it is my first encounter with them. I first heard this album a few months ago, and have been trying and failing to put into words what it sounds like ever since. They are a pair of brothers from San Francisco, but beyond that not much is known about them. It USED to be standard practice for black metal musicians to be "mysterious" and not very press-savvy, but in recent times certain black metallers have embraced press coverage with open arms (hello LITURGY), so it's actually pretty refreshing that I'm not staring at glossy photos of these dudes while writing this. It makes it a lot easier to focus on the music, which is good since this music is AWESOME. Mamaleek's approach to black metal reminds me a lot of Lifelover or Joyless, in that they incorporate many disparate and unusual styles into an overal black metal vibe. On top of the black-metal-appropriate buzzing guitars and pounding drum machine, Mamaleek incorporate sampled pan flutes, unnerving disembodied voices and other unexpected elements. These unusual ingredients are not just garnishes on top of meat-and-potatoes black metal however, as Mamaleek's music is as much industrial, noise and shoegaze as it is black metal. I know I mentioned earlier that I thought shoegaze and black metal was a played-out combination, but it's done here in a less clumsy and more original way, so I don't feel like I'm listening to some trend-hoppers. In fact, despite the reckless mish-mash of genres happening on Kurdaitcha, the album is incredibly listenable. While it might not be sufficiently grim for black metal purists, and too harsh for those not open to metal, I imagine that there is a pretty sizable group of people like me who have been starving for something new that is as WEIRD and RAD as this record is.
Murmuüre - Amethyst by speedglueandmusic_aw
Murmuüre - Disincarnate by speedglueandmusic_aw
While Kurdaitcha is an album I've been turning over for months, attempting to unlock its secrets and mysteries, Murmuüre's debut self-titled album from last year is one that I've only recently come across (despite hearing some very high praise from the always reliable aQuarius records last year). Hailing from France, Murmuüre's approach to black metal is as bizarre, adventurous and psychedelic as Mamaleek, but the end result is very different. Murmuüre's music is more open-ended, mostly layers upon layers of thick and threatening atmosphere, only occasionally punctuated by a beat and a few howled vocals. Although not as immediately catchy as Mamaleek, Murmuüre have just as much happening on this album- it is a record both sonically busy yet also subdued. I admit that I haven't listened to too many dark ambient records, but this is probably the most appealing approach to that idea that I've come across, and I suspect I'll be continuing to find interesting and new details the more I listen to this.
Labels:
-2010,
experimental - noise,
industrial,
metal - black
Monday, March 14, 2011
the austerity program - backsliders and apostates will burn (2010)
The Austerity Program - Song 25 by speedglueandmusic_aw
THE AUSTERITY PROGRAM // Song 27 by ourbandcanbeyourlife-77
Although I'd been planning to sit down and write this review for a few weeks now, THIS bumped writing this review up to the top of my list. If you didn't click that link, it's a news bit about how there is going to be a live tribute to the book "This Band Could Be Your Life", featuring the music of the classic bands from that book as performed by some of the fucking LAMEST modern indie bands who have NOTHING to do with the bands they are covering. In particular, I'm pissed that some jackass (seemingly Michael Azerrad, the author of "This Band..."???) thought it would be "cute" or "funny" or "ironic" if St Vincent covered Big Black. Ha ha, isn't that funny? Aren't you laughing? Its like, St Vincent is this twee folk indie chick, and like, Big Black are that seminal pissed-off noise rock group that basically personified seething hate and loathing? GET IT? THIS BAND COULD BE A JOKE HA HA HA OMG LIKE THAT'S SO FUNNY. Anyway, this is a review of an album, not just my raving about some boneheaded indie rock travesty. And the reason that said travesty prompted this review is because The Austerity Program are pretty much the closest modern equivalent to Big Black around. The relentless drum machine, the heavy bass driving the show, the snarky attitude, the intense energy of Big Black are nicely kept alive by The Austerity Program. On previous releases, Terra Nova and Black Madonna, The Austerity Program didn't quite manage to rise above the rank of "pretty good Big Black rip-offs". On last year's Backsliders and Apostates Will Burn EP, however, The Austerity Program have refined and focused their sound, becoming "pretty excellent Big Black rip-offs". While it's impossible for any Big Black fan to listen to this without hearing that band's influence, there are a few differences between them and The Austerity Program. While The Austerity Program's guitarist/vocalist Justin Foley often recites his lyrics in the same deadpan spoken style that Steve Albini used, Foley also stretches his vocal chords out further, reaching for melody far more than Albini ever did. This is one of the band's most notable qualities, because Foley is not a very good singer. However, I think that fact works to the band's advantage: Foley's caterwauling lends a sense of sincerity that makes his darkly humorous lyrics more interesting. And in terms of subject matter, although Foley visits the same kind of bleak subject matter that Albini covered, Foley seems more desperate and out-of-control than Albini did. While my repeated references to Big Black might seem dismissive of The Austerity Program, I think that there's more going on here than simply paying tribute to an older band. And even if they were, seeing as Big Black are better than 99% of any other band (then or now), being a Big Black clone still puts you ahead of the rest. Just don't ask me what I think of bands that "ironically pay tribute" to them...
THE AUSTERITY PROGRAM // Song 27 by ourbandcanbeyourlife-77
The Austerity Program
New York City, New York, USA
Backsliders and Apostates Will Burn (Hydra Head, 2010)
RIYL: Big Black
Although I'd been planning to sit down and write this review for a few weeks now, THIS bumped writing this review up to the top of my list. If you didn't click that link, it's a news bit about how there is going to be a live tribute to the book "This Band Could Be Your Life", featuring the music of the classic bands from that book as performed by some of the fucking LAMEST modern indie bands who have NOTHING to do with the bands they are covering. In particular, I'm pissed that some jackass (seemingly Michael Azerrad, the author of "This Band..."???) thought it would be "cute" or "funny" or "ironic" if St Vincent covered Big Black. Ha ha, isn't that funny? Aren't you laughing? Its like, St Vincent is this twee folk indie chick, and like, Big Black are that seminal pissed-off noise rock group that basically personified seething hate and loathing? GET IT? THIS BAND COULD BE A JOKE HA HA HA OMG LIKE THAT'S SO FUNNY. Anyway, this is a review of an album, not just my raving about some boneheaded indie rock travesty. And the reason that said travesty prompted this review is because The Austerity Program are pretty much the closest modern equivalent to Big Black around. The relentless drum machine, the heavy bass driving the show, the snarky attitude, the intense energy of Big Black are nicely kept alive by The Austerity Program. On previous releases, Terra Nova and Black Madonna, The Austerity Program didn't quite manage to rise above the rank of "pretty good Big Black rip-offs". On last year's Backsliders and Apostates Will Burn EP, however, The Austerity Program have refined and focused their sound, becoming "pretty excellent Big Black rip-offs". While it's impossible for any Big Black fan to listen to this without hearing that band's influence, there are a few differences between them and The Austerity Program. While The Austerity Program's guitarist/vocalist Justin Foley often recites his lyrics in the same deadpan spoken style that Steve Albini used, Foley also stretches his vocal chords out further, reaching for melody far more than Albini ever did. This is one of the band's most notable qualities, because Foley is not a very good singer. However, I think that fact works to the band's advantage: Foley's caterwauling lends a sense of sincerity that makes his darkly humorous lyrics more interesting. And in terms of subject matter, although Foley visits the same kind of bleak subject matter that Albini covered, Foley seems more desperate and out-of-control than Albini did. While my repeated references to Big Black might seem dismissive of The Austerity Program, I think that there's more going on here than simply paying tribute to an older band. And even if they were, seeing as Big Black are better than 99% of any other band (then or now), being a Big Black clone still puts you ahead of the rest. Just don't ask me what I think of bands that "ironically pay tribute" to them...
Tuesday, March 8, 2011
horseback - the invisible mountain (2010)
Horseback
Chapel Hill, North Carolina, USA
The Invisible Mountain (Relapse, 2010)
RIYL: Grails, Om
Originally released in a limited run in 2009 on Utech, Horseback's four-song mini-album The Invisible Mountain was re-released in 2010 to wider audiences on Relapse, one of the biggest metal records in the US. You might expect that would mean that this is a metal album, and I guess if the presence of (rather subdued) scruffy black metal vocals is all it takes to make something metal, then this is. I was certainly expecting this to be metal, since I first heard about this album on Haunting the Chapel's best of 2010 list, where it broke the top 10 (besting Burzum even)! But apart from the raspy vox, this is pretty much a straight-forward neo-americana/post-rock album in the vein of Om, (modern era) Earth, Barn Owl, the soundtrack for Jonah Hex that Mastodon made, and most of all, Grails. Which isn't necessarily a bad thing- do you like those bands (and that OST)? There is a good chance that Horseback's trance-inducing basslines, mournful steel guitar, and patiently unfolding darkly Western soundscapes will appeal to you. One noteworthy aspect of this album is how natural the blend of traditional American instrumentation, post-rock structures and black metal tinges is. Horseback's sound, while not terribly groundbreaking, is definitely fully formed- when Horseback hit their stride, especially on "Tyrant Symmetry" and "The Invisible Mountain", the result is an compellingly heavy groove. And the album's final song (the vividly named "Hatecloud Dissolving into Nothing") stretches out over 16 minutes, abandoning the rhythm section in favor of slowly twisting and mutating shimmery guitars and strings, resulting in a very sorrowful and moving epic. That being said, although The Invisible Mountain is well crafted and enjoyable, Horseback have yet to really bring anything new to the post-metal table. I found the mileage I got out of this album to be inconsistent; sometimes I put it on and found myself engaged and taken by the grandiose songs, whereas other times I found myself wishing that there was something more original here. Perhaps most of all I think that this is a very promising start for Horseback, and I'm looking forward to see if they can solidify their place among the already established bands in this genre. However, if you consider yourself an post-metal-stoner-Americana enthusiast, this is definitely an album to check out.
Monday, February 14, 2011
aesahaettr - aesahaettr (2010)
Aesahaettr - The Sundering Blade of Bolvangar by speedglueandmusic_aw
Aesahaettr - The Fury of the Panserbjorn by speedglueandmusic_aw
Black metal comes in a lot of different flavors. There's the raw, evil sound of early black metallers, all harshness and aggression. Or the slower, more melancholy style pioneered by Burzum, furthered by Weakling, and propagated by about a million modern black metal bands. There's industrial black metal, false & hard-rocking black metal, lo-fi & experimental black metal, shoegaze black metal ("depressive rock"), 8-bit black metal, wooden black metal, epic war black metal, folk black metal, noise black metal, orchestral black metal, etc etc etc ad infintum. It can get overwhelming, and so its something of a relief that Aesahaettr, a new one man black metal project from Montreal, doesn't add anything new to this pantheon of black metal offshoots- in fact, this is almost exactly what I would call the textbook definition of modern black metal. This is not a bad thing, because Aesahaettr do by-the-book black metal right. Side A of this, Aesahaettr's self-titled demo cassette, features black metal in the driving, upbeat, riffing style, all fast picking and programmed drums. I like the sound of drum machines and I like drum machines in black metal, so that was one thing that appealed off the bat. But what I am truly a sucker for (and what I think is the primary thing that sets Aesahaettr apart from other like-minded bands) is hooky, empowering riffs, and Aesahaettr brings some real fist-pumping-head-banging moments on Side A. I have to admit that I do feel somewhat conflicted about this, as black metal is meant to be dissonant, misanthropic, isolating, and basically the opposite of "catchy". But I guess that's why I'll never have trve grim kvlt black metal cred, and instead will spend my time listening to music that claims to be evil, yet sounds like the sort of speed metal used to soundtrack a Mega Man game. Side B of this tape fulfills Aesahaettr's obligation to the other main style of modern black metal, the Wolves in the Throne Room back-to-nature epic that takes at least 15 minutes and requires strings and live recordings of the outdoors- and Aesahaettr succeed in pulling this off. Basically, if you crave something new and different from contemporary black metal, look elsewhere. But while this may be more of the same, its more of the same done really well and should appeal to fans of meat-and-potatoes black metal.
Aesahaettr - The Fury of the Panserbjorn by speedglueandmusic_aw
Black metal comes in a lot of different flavors. There's the raw, evil sound of early black metallers, all harshness and aggression. Or the slower, more melancholy style pioneered by Burzum, furthered by Weakling, and propagated by about a million modern black metal bands. There's industrial black metal, false & hard-rocking black metal, lo-fi & experimental black metal, shoegaze black metal ("depressive rock"), 8-bit black metal, wooden black metal, epic war black metal, folk black metal, noise black metal, orchestral black metal, etc etc etc ad infintum. It can get overwhelming, and so its something of a relief that Aesahaettr, a new one man black metal project from Montreal, doesn't add anything new to this pantheon of black metal offshoots- in fact, this is almost exactly what I would call the textbook definition of modern black metal. This is not a bad thing, because Aesahaettr do by-the-book black metal right. Side A of this, Aesahaettr's self-titled demo cassette, features black metal in the driving, upbeat, riffing style, all fast picking and programmed drums. I like the sound of drum machines and I like drum machines in black metal, so that was one thing that appealed off the bat. But what I am truly a sucker for (and what I think is the primary thing that sets Aesahaettr apart from other like-minded bands) is hooky, empowering riffs, and Aesahaettr brings some real fist-pumping-head-banging moments on Side A. I have to admit that I do feel somewhat conflicted about this, as black metal is meant to be dissonant, misanthropic, isolating, and basically the opposite of "catchy". But I guess that's why I'll never have trve grim kvlt black metal cred, and instead will spend my time listening to music that claims to be evil, yet sounds like the sort of speed metal used to soundtrack a Mega Man game. Side B of this tape fulfills Aesahaettr's obligation to the other main style of modern black metal, the Wolves in the Throne Room back-to-nature epic that takes at least 15 minutes and requires strings and live recordings of the outdoors- and Aesahaettr succeed in pulling this off. Basically, if you crave something new and different from contemporary black metal, look elsewhere. But while this may be more of the same, its more of the same done really well and should appeal to fans of meat-and-potatoes black metal.
Sunday, January 30, 2011
Kvelertak - Kvelertak (2010)
Kvelertak - Ulvetid by speedglueandmusic_aw
Kvelertak - Mjød by speedglueandmusic_aw
RIYL: Turbonegro, Satyricon
What's an easy way to piss off a black metal fan? Tell them this was your favorite black metal album of 2010 (it wasn't my favorite, but I did decide to throw this into my top 10 at the last second). Heck, just the fact that I picked "metal - black" as the label for this entry seems debatable at the very least. If you haven't heard this yet, its basically an amalgamation of current-era Satyricon (somewhat) and Turbonegro (mostly): that is to say, major-label friendly black metal and cheesy modern hard rock that Scandinavians seem to love for reasons unknown to me. This album certainly caused its share of controversy when it came out last year; for some people, it was the funnest, hard-rockin'-est, black-metallin' riff-fest album of the year. Or so I hear anyway, because really all I ever saw were metal blogs saying "DAMMIT STOP TALKING ABOUT THIS SHITTY ALBUM". As it so happens though, I like current-era Satyricon and Turbonegro, so I think this album is pretty fun. I think this album would sound good in a bar, or when driving a car really fast. Or driving a car really fast to/from a bar. I can say that it doesn't really suit me as well when I am sitting in front of my computer listening to it, as you undoubtedly are (unless you are in a car or a bar and reading this- how are you doing that??). So anyway, if you think black metal is VERY VERY SERIOUS AND ALSO TRUE AND ALSO BLEAK you will probably HATE this and I won't blame you for that. If, however, you like "riffs" and don't really care if some bros from Sweden or wherever these guys are from are co-opting black metal sounds for their bro-rock fest, you might enjoy this. I guess the question is, can you enjoy music even if the people behind it are total douches? If you like black metal, isn't the answer to that pretty obvious? If you CAN get behind this concept, this album is pretty fun, although the songwriting is not terribly strong- most songs have inspired moments and then a lot of filler. But I'm always in favor of things that sound new and different, and I'd say this is a pretty good sound.
Kvelertak - Mjød by speedglueandmusic_aw
RIYL: Turbonegro, Satyricon
What's an easy way to piss off a black metal fan? Tell them this was your favorite black metal album of 2010 (it wasn't my favorite, but I did decide to throw this into my top 10 at the last second). Heck, just the fact that I picked "metal - black" as the label for this entry seems debatable at the very least. If you haven't heard this yet, its basically an amalgamation of current-era Satyricon (somewhat) and Turbonegro (mostly): that is to say, major-label friendly black metal and cheesy modern hard rock that Scandinavians seem to love for reasons unknown to me. This album certainly caused its share of controversy when it came out last year; for some people, it was the funnest, hard-rockin'-est, black-metallin' riff-fest album of the year. Or so I hear anyway, because really all I ever saw were metal blogs saying "DAMMIT STOP TALKING ABOUT THIS SHITTY ALBUM". As it so happens though, I like current-era Satyricon and Turbonegro, so I think this album is pretty fun. I think this album would sound good in a bar, or when driving a car really fast. Or driving a car really fast to/from a bar. I can say that it doesn't really suit me as well when I am sitting in front of my computer listening to it, as you undoubtedly are (unless you are in a car or a bar and reading this- how are you doing that??). So anyway, if you think black metal is VERY VERY SERIOUS AND ALSO TRUE AND ALSO BLEAK you will probably HATE this and I won't blame you for that. If, however, you like "riffs" and don't really care if some bros from Sweden or wherever these guys are from are co-opting black metal sounds for their bro-rock fest, you might enjoy this. I guess the question is, can you enjoy music even if the people behind it are total douches? If you like black metal, isn't the answer to that pretty obvious? If you CAN get behind this concept, this album is pretty fun, although the songwriting is not terribly strong- most songs have inspired moments and then a lot of filler. But I'm always in favor of things that sound new and different, and I'd say this is a pretty good sound.
Sunday, January 2, 2011
A Look Back at the Music of 2010
2010 was a continuation of a most successful run in the overall electronic scene. This seemingly sudden burst in creativity has been slowly building for years, most notably with the rise of dubstep, a term that is becoming increasingly hard to define as it evolves into different sub-genres. It's gotten to the point where people refer to it and all related genres as 'bass music', 'street bass', or something mildly ridiculous like 'future garage' (garage being a kind of 2-step UK electronic music). Either way the scene is definitely flourishing in really exciting ways and shows no real sign of stopping. 2011 will likely start off with a bang as super-awesome dubstep producer Joker releases his very first LP. Not to mention an LP by Egyptrixx, and quite possibly the king himself, Richard D. James. But i digress.. here's a list of my favorite albums/tracks/EPs/etc from this past year. The nature of this genre is such that it's not super LP friendly necessarily, so i'm chosing singles, tracks and EPs as well as albums. Hope you enjoy these as much as i did! happy 2010, looking forward to an amazing 2011.
Top 20 Releases of 2010 (in no particular order):

Actress has an amazingly special sound. Mostly based around straight-up techno, the way he approaches it is weird and interesting in a very subtle way. He adds little flourishes, pacing, vibe, and just random weird effects and textures to a relatively simple format, making his sound really unique. The overall effect is a strange mixture of sublime, brooding, contemplative and funky. Splazsh explores a nice range of sounds while still maintaining that special Actress touch, and that's quite a feat in itself for any artist. One of the most compelling releases of 2010, or any year for that matter. (review by MRT)
This is pure minimal house/techno at it's best. Completely dreamy swinging beats with just the right type of ambiance. I'd venture to say that even the average listener couldn't not be swayed by the undeniable groove of 'Tell Me Anything'. It's simple progression just too nice, too smooth. Generic to most maybe, but this is for techno-lovers only.

ASC has at least one major thing going for him: a super distinctive sound. Existing somewhere between twitchy drum and bass and IDM, his sound is cold in the overall environment it creates. But that seemingly cold environment is home to some pretty epicly emotive and often warm sounds. 'Reality Check' (track review) off this particular EP is a perfect example of that. Well worth the nearly year-long wait between my first listen and the official release.

With this, Autechre didn't just create an album, they created a little musical universe. traditionally their sound had almost exclusively consisted of intense, challenging, grating beats that would leave the average listener feeling pulverized, and maybe even a little worn out (in a good way though). This was a fairly sharp turn, and a very welcome one at that. It's beautifully ambient, while taking their intense IDM rhythms and putting them into a shiny crystalized form. The result is an album that shines exuberantly, and will in my mind at least be remembered as an all-time classic in this field of music. Whatever that may be... (review)

Upon first listen, my mind was blown by this EP. I was completely not expecting something so great, just looking up random artists on the Boomkat record site. It was a very pleasant surprise. The EP in it's entirety is very solid, but track that really stood out for me was 'See Birds (Moon)'. just the way the reverb on the snare hits, the keyboard effects come in and out of the background throughout, and the vocals dreamily float through the space they've created make for a completely magical experience. Brilliant. Looking forward to whatever their next release might have in store.

Breach is a somewhat obscure artist out the post-dubstep/funky/uk electronic scene. Less obscure now after releasing the killer single 'Fatherless'. It possesses a nicely calibrated moody/vaguely sinister vibe, driving beat, tasteful and well-timed use of samples. Just an overall perfect club-killer production. The kind of track that will always get people's blood pumping in a live setting.

Continuing with the club-killer theme, here's another one from [same scene] artist Deadboy. Sounds more or less what Kode9 (great DJ, not greatest producer in my opinion) wishes he sounded like. A sweetly funky beat, a warm synth riding the groove, and the sample "if u want" repeated throughout with nicely timed delivery. Like all music from this scene, the beauty of it is that it's often catchy and infectious, but almost always has an interesting contemplative vibe riding somewhere in the background. It's what gives releases like this a bit of depth and ultimately makes the scene as a whole more worthwhile. I'm all for it.

Demdike Stare are pretty prolific for an artist that has basically just hit the scene, having released a trilogy of albums this past year (Symbiosis, Liberation Through Hearing, Voices of Dust). Voices of Dust is really what does it for me though. It kept true to their sound, but is more complete as an album than the other two releases. The usual brooding vibe was accompanied by an insane tribal-chant-laden mindfuck (appropriately titled 'Hashshashin Chant'), a creepy, seemingly Bug-influenced use of sub-bass ('Desert Ascetic'), but most notably.. a beautiful, ambient build of a track that peaks with a gentle warm synth line washing over you for minutes that frankly don't last long enough (the 11 minute 'Repository of Light'). Yet another release that captures an artist's sound very well and just sounds complete as an album. It's what modern classics are made of.

Egyptrixx might just be my favorite artist of the year. He definitely showed promise in 2009, but this year just blew it out of the water. He's developed a really unique sound palette that is totally out of this world, and seems to have a really good ear for how to actually compose a track (not too long or over-indulgent) which is a lot to say in the current 'cult of the amateur'. The trademark characteristic in his music is a sort of stretched out alien synth, that at certain points is seemingly used vaguely as sort of a psychedelic voice effect. Time will tell if his sound progresses and evolves as excitingly as it has during his debut. But in the meantime, he's basically killing it in a very good way.

Games are one of the most pleasant surprises of 2010. I was already somewhat familiar with Oneohtrix Point Never (one half of Games' main project) and enjoy that quite a bit, but this is the one that really stuck with me. Sounding kind of liked 80's pop filtered through a computer on an acid high, they really found a way to set themselves apart in an age of relative mediocrity. The title track 'Everything is Working' is chock full of ideas and sounds busy and overloaded at times. But upon further listening, it becomes apparent that it all actually works together well, creating a dreamy, chimey, vaguely pop-y track with a nice little beat to boot. Actually forced to change their name due to legal issues, it'd be a blessing if this unit stayed intact and continued this level of output. A group to look out for.

An unlikely duo, these dudes put together a pretty perfect dub track in 'NY Is Killing Me'. Jamie XX is really making a name for himself aside from his role as the [mostly undetectable] beat jockey in the band The XX. Samples of Scott-Heron's voice are basically done perfectly. The dub-y beat flows along just as it should, with a little bit of future-funkiness added into the beat for good measure. Essential stuff. Beautiful little synth work at the end of the track as well. The full album of remixes is due next year.

GIRL UNIT has the formula for club-friendly bass music down pat. A member of the Night Slugs crew that are destroying audiences all over the UK electronic scene right now. Total bangers: 'Shade On' from the IRL EP, and 'Wut' are shiny, hyper-melodic, explosive tracks that would blow away any audience (and have, as witnessed by yours truly at a recent Mary Anne Hobbs gig in SF). Definitely someone to look out for in 2011 and beyond.

I couldn't possibly put it better than fellow writer MRT did in his list of favorites (link), but John Roberts was a great example of techno done right in 2010. Characterized by restraint, a clean delivery, and just a good sensibility for delicate, tasteful melody. In my top 5 this year I'd say.

The former Pocahaunted vocalist's collaboration with Zola Jesus was fantastic, but i think this one wins me over. The funky, warped guitar beats of Matrix Metals combined with her dreamy washed-out vocals just really do the trick and make for a great semi-lo-fi experience. Totally far-out dream-rock (somebody help me out on the actual genre here), one of my favorite [mostly] non-electronic releases of the year.

One of the most unexpected releases of the year (hailing from Kentucky, WTF?), this guy has a slight James Blake element to his music, a bit of Raime, and maybe even a little bit of Silkie. But that's not even doing it justice. Just completely surprised at how well developed his sound is in this debut. Sounds like Actress on crack, James Blake with balls, and Silkie put through a warped effects filter. Just a great combination of styles put together in a very cohesive, professional way. There's no way this review/description is doing it justice.. just take a gander if you will.

OK, I ACTUALLY BOUGHT A RECORD PLAYER AND THIS EP ON VINYL JUST SO I COULD HAVE THIS TRACK. Seriously, i could not find it anywhere in mp3 form and it's that good. Nothing too crazy experimental, just the best pop-y instrumental hip-hop-ish track i've heard in a very long time, if not ever. Most sweetly enjoyable track of the year. Feel-good music of the best variety.

These guys basically came out of nowhere. Yet another amazing debut. Dark, sparse, yet driving brooding beats with haunting vocals creeping their way in and out. Off a label that i'd most definitely like to look deeper into, Blackest Ever Black. These guys have the potential to open up a new genre of dark, minimal dub-influenced music. (review)

Absolutely wicked track from drum and bass turned dubstep/funky artist Redlight. With a relatively simple beat with traditional claps as the rhythm markers, a ravey series of synth stabs, the title comes in with the 'rolling' effect that spins back and forth to amazing effect. Apparently created using a technique called sidechain compression, it makes for one the coolest, most enjoyable tracks i've heard all year. From the 'What You Talking About?' EP.

A varied and brilliant experimental ambient album off the Modern Love label. Kind of what you'd expect if you're familiar with said genre, but still great to have in 2010 nonetheless.

Hands down my favorite album of the year. Just a brilliant amalgamation of different techno and general electronic styles put together in such a beautifully succinct package. 'Leave Things' is an epic closer, with a pulsing amen appearing over a sentimental synth line. It's a perfect combination of reflective vibes and adrenaline. And that more or less sums up the album for me: the sweet melancholy of say, an Aphex Twin synth pad, combined with that gets-your-blood-pumping sense of rhythm and experimentation. Shed creates beautiful little worlds on this album. Little musical worlds that i'll be revisiting again and again.
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So that's it for my musical experience this year, more or less. Aside from these amazing releases there were countless other tracks, mixes and various releases that rounded out the year in a very excellent way yet don't quite fit the end-of year list format. This doesn't really do the year as a whole justice. Just touches the surface of what will hopefully be an era of musical ingenuity that is sustained for the foreseeable future. Amen to that.
Top 20 Releases of 2010 (in no particular order):
Actress - Splazsh LP

Actress has an amazingly special sound. Mostly based around straight-up techno, the way he approaches it is weird and interesting in a very subtle way. He adds little flourishes, pacing, vibe, and just random weird effects and textures to a relatively simple format, making his sound really unique. The overall effect is a strange mixture of sublime, brooding, contemplative and funky. Splazsh explores a nice range of sounds while still maintaining that special Actress touch, and that's quite a feat in itself for any artist. One of the most compelling releases of 2010, or any year for that matter. (review by MRT)
read the rest!
Andy Stott - Love Nothing/Tell Me Anything 12"
This is pure minimal house/techno at it's best. Completely dreamy swinging beats with just the right type of ambiance. I'd venture to say that even the average listener couldn't not be swayed by the undeniable groove of 'Tell Me Anything'. It's simple progression just too nice, too smooth. Generic to most maybe, but this is for techno-lovers only.
ASC - Certainties EP

ASC has at least one major thing going for him: a super distinctive sound. Existing somewhere between twitchy drum and bass and IDM, his sound is cold in the overall environment it creates. But that seemingly cold environment is home to some pretty epicly emotive and often warm sounds. 'Reality Check' (track review) off this particular EP is a perfect example of that. Well worth the nearly year-long wait between my first listen and the official release.
Autechre - Oversteps

With this, Autechre didn't just create an album, they created a little musical universe. traditionally their sound had almost exclusively consisted of intense, challenging, grating beats that would leave the average listener feeling pulverized, and maybe even a little worn out (in a good way though). This was a fairly sharp turn, and a very welcome one at that. It's beautifully ambient, while taking their intense IDM rhythms and putting them into a shiny crystalized form. The result is an album that shines exuberantly, and will in my mind at least be remembered as an all-time classic in this field of music. Whatever that may be... (review)
Balam Acab - See Birds EP

Upon first listen, my mind was blown by this EP. I was completely not expecting something so great, just looking up random artists on the Boomkat record site. It was a very pleasant surprise. The EP in it's entirety is very solid, but track that really stood out for me was 'See Birds (Moon)'. just the way the reverb on the snare hits, the keyboard effects come in and out of the background throughout, and the vocals dreamily float through the space they've created make for a completely magical experience. Brilliant. Looking forward to whatever their next release might have in store.
Breach - Fatherless 12"

Breach is a somewhat obscure artist out the post-dubstep/funky/uk electronic scene. Less obscure now after releasing the killer single 'Fatherless'. It possesses a nicely calibrated moody/vaguely sinister vibe, driving beat, tasteful and well-timed use of samples. Just an overall perfect club-killer production. The kind of track that will always get people's blood pumping in a live setting.
Deadboy - If U Want Me 12"

Continuing with the club-killer theme, here's another one from [same scene] artist Deadboy. Sounds more or less what Kode9 (great DJ, not greatest producer in my opinion) wishes he sounded like. A sweetly funky beat, a warm synth riding the groove, and the sample "if u want" repeated throughout with nicely timed delivery. Like all music from this scene, the beauty of it is that it's often catchy and infectious, but almost always has an interesting contemplative vibe riding somewhere in the background. It's what gives releases like this a bit of depth and ultimately makes the scene as a whole more worthwhile. I'm all for it.
Demdike Stare - Voices of Dust

Demdike Stare are pretty prolific for an artist that has basically just hit the scene, having released a trilogy of albums this past year (Symbiosis, Liberation Through Hearing, Voices of Dust). Voices of Dust is really what does it for me though. It kept true to their sound, but is more complete as an album than the other two releases. The usual brooding vibe was accompanied by an insane tribal-chant-laden mindfuck (appropriately titled 'Hashshashin Chant'), a creepy, seemingly Bug-influenced use of sub-bass ('Desert Ascetic'), but most notably.. a beautiful, ambient build of a track that peaks with a gentle warm synth line washing over you for minutes that frankly don't last long enough (the 11 minute 'Repository of Light'). Yet another release that captures an artist's sound very well and just sounds complete as an album. It's what modern classics are made of.
Egyptrixx - Battle For North America EP/The Only Way Up EP

Egyptrixx might just be my favorite artist of the year. He definitely showed promise in 2009, but this year just blew it out of the water. He's developed a really unique sound palette that is totally out of this world, and seems to have a really good ear for how to actually compose a track (not too long or over-indulgent) which is a lot to say in the current 'cult of the amateur'. The trademark characteristic in his music is a sort of stretched out alien synth, that at certain points is seemingly used vaguely as sort of a psychedelic voice effect. Time will tell if his sound progresses and evolves as excitingly as it has during his debut. But in the meantime, he's basically killing it in a very good way.
Games - Everything is Working EP

Games are one of the most pleasant surprises of 2010. I was already somewhat familiar with Oneohtrix Point Never (one half of Games' main project) and enjoy that quite a bit, but this is the one that really stuck with me. Sounding kind of liked 80's pop filtered through a computer on an acid high, they really found a way to set themselves apart in an age of relative mediocrity. The title track 'Everything is Working' is chock full of ideas and sounds busy and overloaded at times. But upon further listening, it becomes apparent that it all actually works together well, creating a dreamy, chimey, vaguely pop-y track with a nice little beat to boot. Actually forced to change their name due to legal issues, it'd be a blessing if this unit stayed intact and continued this level of output. A group to look out for.
Gil Scott-Heron and Jamie XX - 'NY is Killing Me'

An unlikely duo, these dudes put together a pretty perfect dub track in 'NY Is Killing Me'. Jamie XX is really making a name for himself aside from his role as the [mostly undetectable] beat jockey in the band The XX. Samples of Scott-Heron's voice are basically done perfectly. The dub-y beat flows along just as it should, with a little bit of future-funkiness added into the beat for good measure. Essential stuff. Beautiful little synth work at the end of the track as well. The full album of remixes is due next year.
GIRL UNIT - IRL EP/Wut 12"

GIRL UNIT has the formula for club-friendly bass music down pat. A member of the Night Slugs crew that are destroying audiences all over the UK electronic scene right now. Total bangers: 'Shade On' from the IRL EP, and 'Wut' are shiny, hyper-melodic, explosive tracks that would blow away any audience (and have, as witnessed by yours truly at a recent Mary Anne Hobbs gig in SF). Definitely someone to look out for in 2011 and beyond.
John Roberts - Glass Eights

I couldn't possibly put it better than fellow writer MRT did in his list of favorites (link), but John Roberts was a great example of techno done right in 2010. Characterized by restraint, a clean delivery, and just a good sensibility for delicate, tasteful melody. In my top 5 this year I'd say.
LA Vampires and Matrix Metals - So Unreal

The former Pocahaunted vocalist's collaboration with Zola Jesus was fantastic, but i think this one wins me over. The funky, warped guitar beats of Matrix Metals combined with her dreamy washed-out vocals just really do the trick and make for a great semi-lo-fi experience. Totally far-out dream-rock (somebody help me out on the actual genre here), one of my favorite [mostly] non-electronic releases of the year.
Milyoo - Dasien EP

One of the most unexpected releases of the year (hailing from Kentucky, WTF?), this guy has a slight James Blake element to his music, a bit of Raime, and maybe even a little bit of Silkie. But that's not even doing it justice. Just completely surprised at how well developed his sound is in this debut. Sounds like Actress on crack, James Blake with balls, and Silkie put through a warped effects filter. Just a great combination of styles put together in a very cohesive, professional way. There's no way this review/description is doing it justice.. just take a gander if you will.
Onra - 'Bonus Beat' [from The One EP (vinyl exclusive track)]

OK, I ACTUALLY BOUGHT A RECORD PLAYER AND THIS EP ON VINYL JUST SO I COULD HAVE THIS TRACK. Seriously, i could not find it anywhere in mp3 form and it's that good. Nothing too crazy experimental, just the best pop-y instrumental hip-hop-ish track i've heard in a very long time, if not ever. Most sweetly enjoyable track of the year. Feel-good music of the best variety.
Raime - Raime EP

These guys basically came out of nowhere. Yet another amazing debut. Dark, sparse, yet driving brooding beats with haunting vocals creeping their way in and out. Off a label that i'd most definitely like to look deeper into, Blackest Ever Black. These guys have the potential to open up a new genre of dark, minimal dub-influenced music. (review)
Redlight - 'MDMA'

Absolutely wicked track from drum and bass turned dubstep/funky artist Redlight. With a relatively simple beat with traditional claps as the rhythm markers, a ravey series of synth stabs, the title comes in with the 'rolling' effect that spins back and forth to amazing effect. Apparently created using a technique called sidechain compression, it makes for one the coolest, most enjoyable tracks i've heard all year. From the 'What You Talking About?' EP.
Suum Cuique - Midden

A varied and brilliant experimental ambient album off the Modern Love label. Kind of what you'd expect if you're familiar with said genre, but still great to have in 2010 nonetheless.
Shed - The Traveller

Hands down my favorite album of the year. Just a brilliant amalgamation of different techno and general electronic styles put together in such a beautifully succinct package. 'Leave Things' is an epic closer, with a pulsing amen appearing over a sentimental synth line. It's a perfect combination of reflective vibes and adrenaline. And that more or less sums up the album for me: the sweet melancholy of say, an Aphex Twin synth pad, combined with that gets-your-blood-pumping sense of rhythm and experimentation. Shed creates beautiful little worlds on this album. Little musical worlds that i'll be revisiting again and again.
-----------------------------------------------------------------------------------------------
So that's it for my musical experience this year, more or less. Aside from these amazing releases there were countless other tracks, mixes and various releases that rounded out the year in a very excellent way yet don't quite fit the end-of year list format. This doesn't really do the year as a whole justice. Just touches the surface of what will hopefully be an era of musical ingenuity that is sustained for the foreseeable future. Amen to that.
Thursday, December 23, 2010
2010: my favorite albums!
Ok, so every year when I sit down to make my best-of the year list, I fall into this trap where I start wondering if the albums I'm picking are REALLY the INCONTESTABLE BEST ALBUMS of the year, and it's a pretty bad way to go about making a list. This year I'm trying to take it a little bit easier- this list is not what I'm saying are the BEST albums that will stand the test of time, just a bunch of albums I liked that happened to come out this year. In fact, only my top 6 records do I feel belong in any really top ranking- the rest of the list could have fallen in a completely different order, were I to assemble this list last month or next week or even right now. Anyway, I enjoyed all of these albums in different ways, so let me know what albums were your stand-outs this year!
30. The Alps - Le Voyage
29. Neil Young - Le Noise
28. Sun Araw - On Patrol
27. Danny Paul Grody - Fountain
26. Afrirampo - We Are Uchu No Ko
25. Arp - The Soft Wave
24. Pocahaunted - Make It Real
23. Abe Vigoda - Crush
22. Aboombong - Asynchronic
21. Emeralds - Does It Look Like I'm Here?
20. Avey Tare - Down There
19. Zola Jesus - Stridulum
18. Ariel Pink With Added Pizzazz -Ariel Pink With Added Pizzazz
17. Nite Jewel - Am I Real?
16. Swans - My Father Will Guide Me Up a Rope to the Sky
15. Nice Nice - Extra Wow
14. Julian Lynch - Mare
13. C V L T S - L V S T (review)
12. Salem - King Night
11. Nobunny - First Blood (review)
read the rest!
30. The Alps - Le Voyage
29. Neil Young - Le Noise
28. Sun Araw - On Patrol
27. Danny Paul Grody - Fountain
26. Afrirampo - We Are Uchu No Ko
25. Arp - The Soft Wave
24. Pocahaunted - Make It Real
23. Abe Vigoda - Crush
22. Aboombong - Asynchronic
21. Emeralds - Does It Look Like I'm Here?
20. Avey Tare - Down There
19. Zola Jesus - Stridulum
18. Ariel Pink With Added Pizzazz -Ariel Pink With Added Pizzazz
17. Nite Jewel - Am I Real?
16. Swans - My Father Will Guide Me Up a Rope to the Sky
15. Nice Nice - Extra Wow
14. Julian Lynch - Mare
13. C V L T S - L V S T (review)
12. Salem - King Night
11. Nobunny - First Blood (review)
10. Die Antwoord - $O$
I think this is one of those things that if you are sick of the joke, you HATE IT. Some people were sick of the joke the second these guys came out. I still think its funny. I'm probably going to be embarrassed I picked this next year.
09. †‡† - CDR
I think this is one of those things that if you are sick of the joke, you HATE IT. Some people were sick of the joke the second these guys came out. I still think its funny. I'm probably going to be embarrassed I picked this next year.
09. †‡† - CDR
Speaking about making picks that will be embarrassing next year.... witch house! This has all of the overwrought epicness of Salem without the incredibly shitty constant drum machine hand claps.
08. Sex Church - Six Songs By Sex Church
(review)
Now that I'm actually writing these blurbs, I can't really justify why I felt this album/EP needed to be ranked so high. I really dig the downer garage shoegaze schtick though.
(review)
Now that I'm actually writing these blurbs, I can't really justify why I felt this album/EP needed to be ranked so high. I really dig the downer garage shoegaze schtick though.
07. Wild Nothing - Gemini
(review)
True, this album is super derivative, but it does it so well! I think 2011 might be the year that I decide I have too many shoegaze bands in my life, however.
(review)
True, this album is super derivative, but it does it so well! I think 2011 might be the year that I decide I have too many shoegaze bands in my life, however.
06. V/A - Three Years Ahead: The Cloud Rap Tape
(review)
Not technically a proper album, but rather a mixtape made by a blog. But who cares, this would make the top 10 on the strength of the Lil B tracks alone (actually, it pretty much did).
(review)
Not technically a proper album, but rather a mixtape made by a blog. But who cares, this would make the top 10 on the strength of the Lil B tracks alone (actually, it pretty much did).
05. How To Dress Well - Love Remains
(review)
I didn't really think I liked this album so much when I started listening to it, but the more I dug in the more I found I really enjoyed it. So damaged and pretty.
(review)
I didn't really think I liked this album so much when I started listening to it, but the more I dug in the more I found I really enjoyed it. So damaged and pretty.
This album leaked last year! But it actually came out this year. It was a good way to start 2010. Such a warm and comfortable sound, for warm and comfortable times.
Moon Duo are kind of like a rehash of Wooden Shjips (the band they share members with), except better. There needs to be more music from this group soon!
02. Ariel Pink's Haunted Graffiti - Before Today
Amazing to me that Ariel Pink managed to pull this off so successfully- who is so joyfully catchy and head-scratchingly fucked up and weird at the same time?
01. LA Vampires & Zola Jesus - LA Vampires & Zola Jesus
(review)
Is this actually better than any of the other albums that came out this year? I don't know if I could defend that claim, but its definitely the album I feel the most excited about calling #1. The best thing either of these artists have produced! So effortlessly cool.
(review)
Is this actually better than any of the other albums that came out this year? I don't know if I could defend that claim, but its definitely the album I feel the most excited about calling #1. The best thing either of these artists have produced! So effortlessly cool.
Tuesday, December 21, 2010
2010: my favorite metal albums!
Here's part one of my best of 2010 lists, and frankly I think that this year was AMAZING for music- there was just so, so much good stuff that came out and it was impossible to stay on top of it all. This is definitely true for metal, and when reading other people's year end lists, I was overwhelmed by how much I had missed! So I'm not saying that these are the written-in-stone BEST metal albums of the year, but just the ones I like the most out of what I managed to hear!
ALBUMS I LIKED, but didn't have enough time to review to put on the list, or didn't like strongly enough to put on the list (in no particular order) 2010:
Shining - Blackjazz
Sigh - Scenes from Hell
Ludicra - The Tenant
Agalloch - Marrow of the Spirit
Alcest - Écailles de Lune
The Body - All the Waters of the Earth Shall Turn to Blood
Bongripper - Satan Worshipping Doom
Dark Tranquillity - We Are the Void
Deathspell Omega - Paracletus
Deivos - Gospel of Maggots
Nutr - Unholy Inscriptions on A Tainted Wall
Skagos - Skagos/Panopticon Split
Panopticon - Skagos/Panopticon Split
Decrepit Birth - Polarity
The Secret - Solve Et Coagula
Thou - Summit
Triptykon - Eparistera Daimones
Wrath of the Weak - Solace
MOST DISAPPOINTING ALBUMS THAT SHOULD HAVE RULED BUT DIDN'T FOR SOME CRAPPY REASON, 2010:
High on Fire - Snakes for the Divine
Harvey Milk - A Small Turn of Human Kindness
Daughters - S/T
Kylesa - Spiral Shadow
BEST ALBUMS OF 2010 BY WHICH I MEAN MY FAVORITES AND THE ONES I FOUND THE MOST INTERESTING:
read the rest!
ALBUMS I LIKED, but didn't have enough time to review to put on the list, or didn't like strongly enough to put on the list (in no particular order) 2010:
Shining - Blackjazz
Sigh - Scenes from Hell
Ludicra - The Tenant
Agalloch - Marrow of the Spirit
Alcest - Écailles de Lune
The Body - All the Waters of the Earth Shall Turn to Blood
Bongripper - Satan Worshipping Doom
Dark Tranquillity - We Are the Void
Deathspell Omega - Paracletus
Deivos - Gospel of Maggots
Nutr - Unholy Inscriptions on A Tainted Wall
Skagos - Skagos/Panopticon Split
Panopticon - Skagos/Panopticon Split
Decrepit Birth - Polarity
The Secret - Solve Et Coagula
Thou - Summit
Triptykon - Eparistera Daimones
Wrath of the Weak - Solace
MOST DISAPPOINTING ALBUMS THAT SHOULD HAVE RULED BUT DIDN'T FOR SOME CRAPPY REASON, 2010:
High on Fire - Snakes for the Divine
Harvey Milk - A Small Turn of Human Kindness
Daughters - S/T
Kylesa - Spiral Shadow
BEST ALBUMS OF 2010 BY WHICH I MEAN MY FAVORITES AND THE ONES I FOUND THE MOST INTERESTING:
9. Kvelertak - s/t
This has been making a bunch of journalist's best-of lists, and a lot of bloggers' and fans' worst-of lists. Sure, Kvelertak's blend of hardcore-influenced rock with black metal flourishes is glossy and hard to take seriously, but if you accept it for what it is then this album is pretty fun. This is to metal what Taco Bell is to Mexican food, but once in a while I like to get some Taco Bell, you know?
8. Nachtmystium - Addicts: Black Meddle pt II
I thought this album was pretty bad the first time I heard it, and I didn't think much better of it the second, or third, or fourth, or fifth time I listened to it.... Even though I think that (kind of like Kvelertak!) Nachtmystium are a little too hard-rock and not sufficiently kvlt, I kept listening to this album over and over again. I'm still not sure it's a good album but its got some kind of hook in me.
7. Triptykon - Shatter
It's a little weird that I picked the Triptykon EP instead of the full-length album it accompanies, but to be honest I didn't even realize there was a full-length until a few weeks ago, and I haven't had the mental space to sit down and process it yet. Actually, when I first heard this EP, I had no idea it was the new project from Celtic Frost's Tom G Warrior, and was impressed at what a fully-formed sound this new band had. In retrospect its less impressive since this is basically "Tom G Warrior's NEW Celtic Frost", but at least he had the decency to do it under a new name. There's a lot of silly gothiness going on here, but there is also some really convincingly evil vocals and an amazingly crushing guitar sound. I dig it.
6. Culted - Of Death & Ritual
Like Triptykon, newcomers Culted bridge the gap between doom and black metal, and much like Triptykon, the results are pure, awful evilness. I found the last track on this four-song EP to be pretty terrible, but other than that, this has a wonderfully vile atmosphere to it and I'm eager to see what this band does next.
5. Trap Them - Filth Rations
Nearly half of the releases on this list are EPs- I guess I had a short attention span this year. Or maybe, I just appreciate when a band manages to get the point done in an efficient manner. Trap Them don't waste any time on this EP, delivering vicious metal influenced hardcore in a Converge style.
4. Vit - -
This was a latecomer to my best-of list, sneaking in at the very end. I don't really know anything about this band, but they weave disparate sounds into their epic black metal in a way that I really enjoy. There's some post-rock going on, some weirdly warm and friendly guitar sounds, some back-porch banjo playing, yet it always somehow works. "Ascention Ritual" is a strong contender for my favorite metal track of this year.
3. Krieg - The Isolationist
This album definitely snuck up on me- at first I didn't think much of it, but its just a really solid black metal album. It doesn't really inspire me to say much about it, but I sure do enjoy listening to it.
2. Hayaino Daisuki - Invincible Gate Mind of the Infernal Fire Hell- or- Did You Mean Hawaii Daisuki?
No other metal release this year had as much energy as this one did. This gets my fists pumping and head banging everytime.
1. Burzum - Belus
Did anyone think that Burzum would ever be relevant again? I definitely did not, but this is a testament to the fact that no matter how despicable he may be as a person, Burzum is definitely one of pillars of black metal.
Tuesday, November 30, 2010
nobunny - first blood (2010)
RIYL: Jay Reatard, King Kahn & BBQ Show, The Exploding Hearts
When I first saw local act Nobunny a few years back, his bunny-masked garage rock seemed like just a joke, and I didn't feel inclined to keep up with his output. When I saw he had a new album out this year, I was pretty sure it was going to be another middle-of-the-road garage revival record- but I'm glad to say that I was way wrong about that. I have a soft spot for catchy, power pop & doo-wop influenced garage rock a la Jay Reatard/King Kahn/Exploding Hearts, and this exactly that, done right. Nobunny has a knack for catchy melodies, and he switches styles up often, making for a diverse and enjoyable set of songs that pretty much always hit their mark- "Breathe" is a slow-grooving T. Rex vamp, "Never Been Kissed" adds a frantically hammered piano into the mix, and "I Was On (The Bozo Show)" closes out the album with a take on the famous circus song "Entry of the Gladiators". The lyrics are clever too, frequently funny and surprisingly dirty. First Blood is so sunny and fun I almost forget that we are in the middle of a cold snap and I can see my breath inside of my house. The album's 11 songs are over in less than 25 minutes, but there's a lot of memorable hooks packed into that short play time.
BTW- Number of times I resisted making bunny-related puns in writing this review: 5
When I first saw local act Nobunny a few years back, his bunny-masked garage rock seemed like just a joke, and I didn't feel inclined to keep up with his output. When I saw he had a new album out this year, I was pretty sure it was going to be another middle-of-the-road garage revival record- but I'm glad to say that I was way wrong about that. I have a soft spot for catchy, power pop & doo-wop influenced garage rock a la Jay Reatard/King Kahn/Exploding Hearts, and this exactly that, done right. Nobunny has a knack for catchy melodies, and he switches styles up often, making for a diverse and enjoyable set of songs that pretty much always hit their mark- "Breathe" is a slow-grooving T. Rex vamp, "Never Been Kissed" adds a frantically hammered piano into the mix, and "I Was On (The Bozo Show)" closes out the album with a take on the famous circus song "Entry of the Gladiators". The lyrics are clever too, frequently funny and surprisingly dirty. First Blood is so sunny and fun I almost forget that we are in the middle of a cold snap and I can see my breath inside of my house. The album's 11 songs are over in less than 25 minutes, but there's a lot of memorable hooks packed into that short play time.
BTW- Number of times I resisted making bunny-related puns in writing this review: 5
Tuesday, November 23, 2010
how to dress well - love remains (2010)
RIYL: Grizzly Bear, Dirty Projectors
Forget how awful this band's name is.... I almost passed this up because the name was so dumb, but I'm glad I didn't because I think this is one of the better pop albums I've heard this year. Love Remains, How To Dress Well's debut album, is anchored by soft falsetto vocal aerobics akin to bands like fellow NYCers Grizzly Bear/The Dirty Projectors/Antony Hegarty, but hides the vocals behind layers of reverb and distortion, surrounded by lo-fi washes of keyboard and sparse percussion. In a more glossy presentation, I would probably be put off by the modern r'n'b influenced pop-style singing, but the simplicity of the sound makes it feel much more immediate and personal than it otherwise might. Most of the album is quietly atmospheric ballads, but there are the occasional uptempo rockers ("Walking This Dumb (Live)") or trip-hop forays ("Endless Rain"). The sequencing of the album is somewhat ramshackle, reflecting that this is a group still finding its sound, but I personally find the messiness appealing. Hopefully, How To Dress Well's future output will keep that quality intact.
Forget how awful this band's name is.... I almost passed this up because the name was so dumb, but I'm glad I didn't because I think this is one of the better pop albums I've heard this year. Love Remains, How To Dress Well's debut album, is anchored by soft falsetto vocal aerobics akin to bands like fellow NYCers Grizzly Bear/The Dirty Projectors/Antony Hegarty, but hides the vocals behind layers of reverb and distortion, surrounded by lo-fi washes of keyboard and sparse percussion. In a more glossy presentation, I would probably be put off by the modern r'n'b influenced pop-style singing, but the simplicity of the sound makes it feel much more immediate and personal than it otherwise might. Most of the album is quietly atmospheric ballads, but there are the occasional uptempo rockers ("Walking This Dumb (Live)") or trip-hop forays ("Endless Rain"). The sequencing of the album is somewhat ramshackle, reflecting that this is a group still finding its sound, but I personally find the messiness appealing. Hopefully, How To Dress Well's future output will keep that quality intact.
Wednesday, November 17, 2010
krieg - the isolationist (2010)
Although Krieg have been around in various forms since 1995, their newest album The Isolationist was my first experience listening to them. All I knew going in to this record was that I'd heard of the band here and there, knew there was a connection to black metal supergroup Twilight (who I actually haven't listened to yet), but never really felt compelled to seek this band out. I guess I'd never really seen or heard anyone declaring that Krieg was really good and important and I need to check them out, so I just never did. Upon listen to this, my first impression was that this was yr standard epic, sorrowful black metal; extremely well produced, and at times very compelling, but nothing that special. But quickly this album started getting... weirder. Not really obviously weird, not avant-garde experimental techno black metal with toy pianos or anything, but more like strange winding and dissonant chords, guitarless passages of reversed drums and wordless howls, a voracious static that devours all other sounds, or an unnaturally frantic quickening of the pace at the very end of a song. This is still pretty traditional black metal, but well-executed, and the occasional strangeness sets it above being just middle-of-the-road. When things really coalesce for Krieg, and I would say they do more often than not, this rivals the best black metal of the year (BURZUM). But there are enough moments too where things drag on just a little too long..... and I start zoning out. I admit that I tend to gravitate towards less orthodox styles of black metal, but although this album doesn't take too many risks, it nevertheless stands out among this years' black metal releases.
Wednesday, October 13, 2010
Raime - Raime EP (2010)
ah yes, the spirit of hallow'a eve is upon us. and what better way to celebrate than through some dark, semi-ambient electronic music?
the Raime EP is the debut of a group that are pretty new to the scene, but it's already pretty clear where they stand musically. their compositions are generally pretty cavernous in terms of the musical space they provide: vocals appearing and disappearing in and out of the background, drums pattering away in the distance, little lightning strikes of bass, and a consistent sub frequency to add some weight to it throughout it all. 'this foundry' is a slow-burner of a track and definitely possesses the kind of hypnotic quality that comes with repetition and minimalist tendencies. it all comes through to a pretty remarkable effect. definitely one of the top releases of the year thus far.
on Blackest Ever Black.
Raime - This Foundry by speedglueandmusic_raw3
Labels:
-2010,
electronic - ambient,
electronic - dubstep
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