Music Reviews



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Artist: noisepoetnobody & Vance Galloway
Title: Uranium 238
Format: CD
Label: Lens Records (@)
Rated: *****
I have become quite enamored with Lens Records. Whenever I wind up with something from them in my mailbox, I know that it will at least be interesting. This is a difficult album to describe and the press release was not much help either. On his website, noisepoetnobody lists as influences such bands as Psychic TV, The Legendary Pink Dots, Scorn, Hafler Trio, Download, Dead Voices on Air, Muslimgauze and Coil, and in this case you can actually tell. Perhaps the best way to describe this album is subdued experimental. Take a mix of drones, toys, and bits of noise, shake it up, and apply liberally. I found this to be wonderful background music while I was grading papers. If you want your experimental music to be peaceful instead of noisy, this is the release for you. Quite enjoyable. This album weighs in at around 50 minutes.
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Artist: Mana ERG
Title: Idiosyncratic
Format: CD
Label: XBDA (@)
Rated: *****
I had not heard of Mana ERG, so I did some searching and found an interview with Chain DLK in which they cite The Residents, Clock DVA, My Bloody Valentine, Laibach and Recoil as their influences. Now the band is down to Bruno de Angelis (not to be confused with the fashion designer) and a few guest musicians. This is pretty standard electronica with a fair amount of samples. I'm not quite sure the samples really work here, but the music is pleasant. There are definitely overtones of Clock DVA's Digital Soundtracks here, but not quite as dark. The samples are the only vocals. This album weighs in at around 42 minutes.
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Artist: Peter Evans and Nate Wooley (@)
Title: High Society
Format: CD
Label: Carrier Records (@)
Rated: *****
I had not heard of these artists, but I have heard of their previous collaborators: John Zorn and Fred Frith were the ones that stood out to me. So this is trumpet improvisations, but you'd never know it by listening to it. To me, that's a good thing. Here's how the label described it in the press sheet: 'What you get is two of America's leading lights on the instrument laying everything on the line in one of the rawest, loudest, and delightfully abstract free improvisation records of its time. Using guitar amplifiers and their trumpets to shape feedback squall, Evans and Wooley have proposed a new kind of timbral dialogue to an already percolating world improvisation scene.' Much like their labelmates Architeuthis Walks on Land, they take their instruments and completely reconceptualize what can be done with them. This is noisy and harsh with plenty of feedback in the mix. But it is also varied enough to keep it interesting. Most importantly, I found myself wondering how they managed to get those sounds out of two amplified trumpets. This was pretty impressive and nothing like I expected. Give it to your favorite trumpet player and ask, 'can you play trumpet like this?' This album weighs in at around 64 minutes.
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anymore
Artist: Vortex
Title: Rockdrill
Format: CD
Label: Cyclic Law (@)
Rated: *****
According to the linear note of this album, rockdrill is the history of the sculpture made by Sir Jacob Epstein and depicted in the pictures in the curated booklet. So this is, in fact, a work about the (con)struction and (de)struction of a work. The history of the rockdrill is a strange one: a sculpture destroyed by the war, reconstructed and, casted again, partially destroyed by the author unsatisfied by the result.
"Rockdrill I" opens this release with a drone that develops in an almost industrial beat, "Canto Spoleto" relies on spoken word part that try to evoke a nostalgic novel of past times. "Spiral" is an oppressive drone coloured by atmospheric samples. "Fatalism" use a classical guitar line to brighten the musical journey. "Iron Cage" juxtapose an almost religious chorus above a martial beat. "Persistance" and "Asylum" are ambient tracks constructed above samples that are almost an introduction to the final part of this album. "Construction" marks the part of the reconstruction with metal resonances and and a soundtrack-type texture. "The Fall" is an atmospheric track relying on a ritualistic beat while "Rockdrill II" is a solar tune based on a clear drone. "Epilogue: Canto Zero" begins with an high frequency noise above a sad line of guitar and ends with metallic resonance above a martial beat.
This release has the unusual quality to be able to tell a story, so it's one of the best release of the year. Truly recommended.
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Artist: Tetsuya Hori (@)
Title: Dried Fish is Just Good as Bait
Format: CD
Label: Aphonia Recordings
Rated: *****
When you have comments like 'For Voice and Cigar Box' and 'For Voice, Face, and Rubber Bands,' you know that you are in for an interesting ride. The disc is packaged in a poster that, according to the press material, has images of Izumi Ose making different facial expressions that correspond to the silence the disc. I have to admit that this approach didn't really do much for me (although it does clue you in on when the yelling is about to start). Perhaps part of this comes from Hori's statement that 'My pieces do not have a concept. That is the concept. . . . I want to show the listener nonsense.' My wife commented that it sounded kind of like Sun Ra at the beginning and I can see that with the sudden vocal exclamations and spacey sounds, but Sun Ra had a lot more complexity; I would put this along the lines of some of Hafler Trio's work. But Hori is also a serious musician as evidenced with track two, which contains a nice piano interlude. Overall, this is interesting and engaging. The mixture of sudden screams, peaceful music, and silence works quite well. It's nice to see someone pushing the envelope of music and this album does just that.
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