Posts filed under 'Experimental'
Porest
Tourrorists!
Rating: 5.0
[Abduction; 2006; a genre name doesn’t fit here]
My recent obsession has been catching up with some Sun City Girls records I’ve missed, and that in turn brings you to their label, Abduction Records. Aside from the Girls, Abduction releases a select few “adventurous” artists including Specs One and Porest. As much as I’d like to say this concept record is mind-blowing and revolutionary, I really can’t stand to listen to it long enough to digest it in one sitting. The ideas are there and I’m sure there’s something good to be said about it, I just can’t grasp what that is at the moment.
While there are moments that I don’t want to hit the next button, I mostly really, really do want to. Considering it is a social commentary on the current mindset of American citizens and the disinformation we are fed by our government, it’s at least worth talking about from that perspective. Listenable moments include the punky, Middle Eastern instrumental (with sample of gunfire) “Continental Revolt”, the text to voice synth tale (or conversation) of a tourist/terrorist over a loungy bass and high hat of “Let’s Roll”, an excellent instrumental (and again Middle Eastern flavored) rocker with world beat drumming, the oddly appealing “We Eat The People” (download below) and the splicing of an INS interview over sporadic pounding of “INS Urgent”.
While I go back through and listen to select songs, I realize that they are just overpowered by the really bad ones. It’s kinda like listening to early Ween records when they were really into inhalants or whatever. There’s good stuff there, but sometimes it just gets out of hand. On the other hand, maybe it’s like the inhalants themselves. It leaves you puzzled, not a bit smarter, but happy enough to have had the experience.
Download We Eat The People
Buy it now:
Abduction
Forced Exposure
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May 8th, 2006
Magicicada
Everyone is Everyone
Rating: 7.1
[Public Guilt; 2006; Experimental / Ambient]
Let me just start by saying that anyone who will dump a couple dozen copies of their own CDRs into a bin at the local Tower Records deserves to be heard. And both are true of Christopher White aka Magicicada. Seems like a good guerilla marketing plan to me, but I might suggest making up some stickers to put on them that say something like “FREE - for promotional purposes only. Not for resale… especially by these corporate fuckers!” I’d love to see the look on the manager’s face when he tried to stop me from walking out the door with that.
This newest release by White is an eerie, dark exploration in sound design. With an organic approach to creation, these eastern and folk influenced experimental works rival some of the strangest electronic ambient out there - from drifting soundscapes to meditative trances. The list of sound sources reads more like two separate lists. One of instruments. And one of random shit that makes noise. Pump organ, contact mics on faulty electrical lines, melodica, accordion, guitar, synths, cellos… and iron balls rolling around on a wooden floor, air cans, public transit buses, oven doors, paper, cellophane, frogs… You get the idea and you’ve all heard the found sound records that go out of their way to be obscure, but these tracks play more as the soundtrack to everyday life that the actual sound of everyday life.
Particular highlight tracks include: “Well Below”, which is a collage of soft typewriter-ish pecks and clicks, twinkling chimes, distant, chanting vocals, somber wails that sound vaguely like bagpipes, all over a slow, droning backdrop. Chaotic yet hypnotic. “I Demand My Fucking Cloud” has a slow freak folk guitar loop and fuzzed out waves of distortion that eventually evolve into quiet, staticy noise with constantly changing layers of sound from indistinguishable origins. That and the best track name I’ve heard in a while. And “Cause”, which you can go ahead and experience for yourself right now.
Nothing Earth-shaking or particularly unique about this record, but well executed and it gives you the feeling that you are peeking into the private visions swirling around White’s head, and although they are quiet, they are quite disturbing and menacing.
Download Cause
Buy it now:
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January 27th, 2006
Decomposure
At Home and Unaffected
Rating: 6.4
[Unschooled; 2005; Experimental]
As At Home and Unaffected opener Whose Side Are You On? begins with a staticy intro, your initial thought is “well, I’m in for an hour of experimental found sound collages again.” - at which point you are correct in a way, but not like you are expecting. However, no sooner than that thought processes, the catchy pop-ish guitar and vocal melody begins and continues pleasantly, but unspectacularly, until the chopped up beat kicks in as the first chorus begins. At this point, you now realize (and are lead to believe) you are in for something unusual. A combination of experimental electronica, IDM and pop unlike anything you have experienced before…
That being said, Whose Side Are You On? (in my opinion the album highlight) is a bit of a bastard child in the album as a whole. Anything resembling pop, with exception to Disconnect, is soon laid to rest with the agitating dicing and reassembly of random sounds on At Home Part One and Bathroom / Guitar / Piano. Then out of nowhere comes Distraction, with it’s Trent Reznor-esque vocals and a slightly scathing commentary on our ever-consuming, gotta have it desires. The rapid-fire beats, choppy construction and constant change is back again on the slightly subtler (relatively speaking, as subtle describes very little found on this record) and easier listen, Guitar / Trivial Pursuit. Another direction is briefly explored on the hip-hop-ish, spoken word (over the least-molested rhythm) of Multitracked. As the album nears completion, you are brought down from the manic, overwhelming style with warm, mellow, fully intact keys of Piano / Melodeon. And finally, closing track, The Wars, strikes a pleasing balance with a toned down, tear it apart, build it back construction style Decomposure (Caleb Mueller) has exhibited up to this point while at the same time, showcasing both his songwriting and vocal abilities.
Mueller seems to have found a handful of niches (but doesn’t commit fully to any) with his compositions and proves himself as a master of turning ordinary, everday sounds into extraordinary works of art while following a fairly strict set of rules:
1. No computer-generated sounds, only recordings.
2. Sounds should be from his apartment when possible.
3. Either no effects that makes the original sound unrecognizable, or better yet, no effects at all.
4. Little or no beat looping.
5. No pitch correction of vocals.
6. Break the rules occasionally if it sounds good (except number 1)
Download Whose Side Are You On?
Buy it now:
Unschooled Records
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November 7th, 2005
Jackie-O Motherfucker
Fig. 5 - Rating: 8.6
Liberation - Rating: 8.0
[ATP; reissue 2005; Post-Rock]
Thanks to the recent re-issue by ATP Records, two classics of the experimental rock / post-rock scene are now more widely available. Classics in terms of importance and beauty, not so much in terms of a certain amount of time since first issued. Both albums originally released on Road Cone (Fig.5 in 2000 and Liberation in 2001) have since become unavailable, sold out, never to be re-issued by Road Cone. However, with masterful works such as these, time is on their side… and a proper outlet for it’s further distribution was inevitable.
JOMF’s fourth full length, Fig. 5, begins with the droney, electronic hum of a flourescent light nearing it’s death amidst an array of apocalyptic noises (Analogue Skillet) that suddenly diverges into the minimalistic Native Einstein that evokes visions of an eery, rural setting for supernatural happenings, like the soundtrack to a yet unwritten M. Night Shyamalan film. Soon taking center stage is the slowly marching Your Cells Are In Motion with it’s steady percussion and warm, twangy guitar and very sparse, distant vocals only to be ousted from the spotlight by the gloomy version of the traditional folk song Go Down, Old Hannah and an unrecognizable, crawling, bizzare mountain folk transformation of Amazing Grace. Following immediately afterwards is the slowly rambling, dusty desert highway imagery and soothing, mellow vocals of Beautiful September leading soon to the epic, psychedelic free-form jazz of Michigan Avenue Social Club - as sprawling as the night lights of Los Angeles. And a brief twinkle and disconnected horns slips the album into slumber until next time…
Liberation marks both a continuation as well as evolution in the JOMF sound. The production quality has improved and the band has shifted slightly towards a more hazy, organic post-rock conciseness. Although opener Peace On Earth never quite hits it’s mark with disjointed, indecisive percussion and competing vibraphone and strings and excessively dragging 10 minute running time, the reward for patience is soon delivered in the experimental Americana meets free-jazz of Ray-O-Graph and twangy Northern Line. The tranquilizing effects are re-administered with the 19 minute In Between that surprisingly erupts into a chaotic display as it passes the 13 minute marker to keep you from slipping to far into sedation. The pleasant, weeping strings and distant vocals of Something On Your Mind provide somewhat of a relief for those searching for something resembling a traditional structure, as well as a nice escape from the atmospheric post-rock fog clouding your mind. The remaining span of approximately 22 1/2 minutes and 3 tracks delivers the finishing dosage of their spacey, sonic concoction gauranteed to leave your eyelids sagging and a knowing smile on your face.
Download Analogue Skillet from Fig. 5
and
Something On Your Mind from Liberation
Buy it now:
ATP Records
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October 31st, 2005