Posts Tagged ‘Album Review’

LXMP – Żony w pracy

Posted: 31 May 2016 in Albums
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Lado ABC – Lado A/18 – 21st March 2016

Christopher Nosnibor

It’s all about the retro vibe. And it’s all about messing with the listener’s brain. Described as ‘an attempt at finding the perfect balance between beautiful and unbearable music,’ the Polish duo’s latest effort, Żony w pracy (trans. Wives at Work) Bringing a carnival of analogue synths to the party in a celebration of the machines of the East (Korg) and the West (Moog). Unfortunately, Żony w pracy often fails to find the balance it seeks, and ends up sounding more like a deranged duel than the homage it’s intended as.

Beneath a throbbing bass track, the time signatures of the percussion on the albums first track, ‘Brasilia’, are ever-changing, slipping the groove with to disorientating results. The track bubbles along nicely, mellow, jazzy easy-listening synth muzak until it sinks underwater into a muffles murk. So far, so middling analogue experimentalism, the likes of which has been done countless times before. It’s fun, it’s clever, but it’s awkward and twisty and difficult to really get into the groove.

But then things go crazy on ‘Torreador Janusz’, a frenzy of synths stab and loop and warp deliriously, descending into a riot of bleeps and squiggles flying in all directions. Wibbly, wobbly and whimsical, it’s smart and techy. But like so much music that’s smart and techy, regardless of genre – from jazz through avant-garde and experimental to post-rock, tech metal and prog rock – the mastery of instruments and a penchant for messing about with convention and form amounts to so much showing off. Yes, you can play – but how about some tunes? Still, XLMP manage to stay on the right side of the precipice that is unlistenable smug muso wank with just enough attention – or concession – to listenability.

‘Kosmos, Teil 1’ is perhaps the album’s most linear piece, a soaring, surging rush of synths in space that hints at Krautrock leanings. There are undeniably rather hipsterish overtones to it all, but it’s well executed and there is a sense that there’s an element of knowingness and self-aware humour at play here: Piotr Zabrodzki and Macio Moretti state that Żony w pracy is an homage to the real working wives, Anna and Zofia, and write, ‘Żony w pracy apart from being an homage to the homages, also, or even above all, ask one question of the “fundamental” sort – “How are you gonna play that live?”.

I’m not going to make any public judgement based on their latest promotional shot, and will keep my attention on the album itself and so, I will say this: guys – maybe you should listen to your wives. Żony w pracy has an indisputable novelty value, and does offer moments of fun, but how enduring its appeal is, well, that’s something that seems less certain.

 

XLMP

 

LXMP on Bandcamp

Sly & the Family Drone – Appetite For Tax Deduction

Posted: 29 May 2016 in Albums
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17th May 2016

Christopher Nosnibor

The ever-awesome Sly & the Family Drone return with another puntastically-labelled slab of awkward noise. Sticking to their staunchly DIY ethos (although, and I mean it as no criticism when I say that this may well be a choice but their options are likely to be limited), this latest effort is released on translucent green C33 cassette in a limited edition of 50, and digitally.

Apart from being a killer live band, their offbeat humour, not least of all as manifested in the referential titles have always been an integral part of their appeal (at least to me): 95 Minutes Over England documented their first tour, and all three of the recorded sets lasted longer than Suicide’s notorious show, and the band are willing participants in the ensuing percussion-led riots.

Understanding Appetite in any context of chronology is rather difficult, given that it originally appeared as a digital-only release a few months before their colossal full-length album proper, Unnecessary Woe. It’s not so much a companion piece but a contemporaneous standalone counterpart. But the main thing is that it contains a whole lot of dark noise.

While each of their other releases features at least one long-form sprawler, Appetite For Tax Deduction is an unusually concise work, with none of the four tracks crossing the ten-minute mark. Still, the first track, ‘Favour for a Favour’, is a dank, rumbling semi-ambient piece. Heavy, shuddering low-end sounds and growling vibrations sound like subterranean earthworks. It bleeds into ‘Wine into Water’. A mangling mesh of distortion and a continuous bottom-end drone that tears the air provides the gut-churning backdrop to extraneous electronic noise, shrieks of feedback and indecipherable, distorted to fuck vocals. It’s pretty sinister stuff, and its claustrophobic intensity is a world away from the cathartic and communal live performances.

With a title worthy of That Fucking Tank, ‘Simply Red Stripe’ is a classic example of the Sly humour. Its nine-minute sonic assault is built around an insistent, low-end throbbing, dense and immersive. Tonal shifts trick the ears into thinking there are fleeting moments of melody submerged in the hum, only for it to become apparent that it’s little more than a rising wail of feedback and the fizz of melting electrodes. It’s by far the most rhythmic track of the set, and, with nods to Suicide, Throbbing Gristle and Whitehouse, it’s magnificently uneasy listening.

‘Your Mum’s a Provincial Rock Club’ features what appear to be horse’s hooves – the only overt percussion to feature on Appetite – beneath a cement-mixer mess of collages sound, booming bass blasts and fractured tweets and flutters of treble spiralling in a vortex of echo and infinite delay, building and building until the sound coalesces into a vast tidal wae of white noise that ultimately swallows itself.

 

Sly and the Family Drone - Appetite

Ytamo – Mi Wo

Posted: 28 May 2016 in Albums
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Someone Good – RMSG014 – 18th March 2016

Christopher Nosnibor

Lawrence English, sound sculptor and the man behind the Room40 label and subdivision Someone Good, has a god ear and a keen sense of what makes for interesting and unusual listening. The liner notes to Mi Wo centre around English’s recollection of his discovery of Ytamo while touring Japan in the early to mid 00s. Specifically, he writes of how the first time he saw her perform, he was completely enthralled by the unusual and soothing music Ytamo conjured.

Listening to Mi Wo, it’s immediately apparent what he found to captivating. There’s an otherworldly quality to the music, and the sounds emerge and fade into one another as if created by some invisible force.

Ytamo’s style is built on diversity and eclecticism, while simultaneously, it’s about understatement and subtlety. The methods by which she draws together seemingly disparate elements transcends not only the boundaries of genre, but also culture and time. Despite its overt modernity, there are motifs and atmospheres which hint at traditionally-rooted music with ancient origins.

Laid back jazz vibes filter through and gradually evaporate in the sparse digital washes of ‘Autopoiesis’, and jaunty bleeps and whistles flicker lightly through trilling easy listening tones and mellow, bumping beats. The familiar blurs into the unfamiliar, with unexpected resonances. Subtly powerful, Mi Wo is a work of musical alchemy.

Print

 

Ytamo on Soundcloud

Nathassia – Light of the World

Posted: 28 May 2016 in Albums
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Inter-Dimensional Recordings – 1st June 2016

Christopher Nosnibor

The greatest pressure for any emerging artist must surely to be to get product out onto the market: something to satisfy new fans and entice prospective fans. The urge to splurge material, whether ready or not, in order to strike while the iron is hot is more than most can resist. Nathassia is indeed a rare artist, and, it would seem, something of a perfectionist. Recording as Nathassia Devine, she had a 13-track debut album recorded, packaged, and in circulation to the press, finding favourable reviews (including one from me). That was 2014. The album was shelved. It’s now 2016, and a lot has happened. Having decided to pull back and regroup, restyling herself as Nathassia, she’s spent the intervening time reshaping her sound and building an enviable audience at home and internationally. Finally, she’s satisfied, and the end product is Light of the World. And yes, it was worth the wait.

Cut back to 10 tracks, only four songs from the original album remain. Having honed her songs with the assistance of Bruce Elliott-Smith, Light of the World finds Nathassia exploring cross-cultural music evermore broadly and evermore confidently. Half Dutch, half Indian and residing in London, Light of the World is very much a 21st century hybrid of these very different cultural backgrounds. It’s an electronic album, but not one that confirms to any one strain or style, leaping hither and thither and picking, magpie-like, from a host of musical strands.

Nathassia’s striking appearance is the perfect visual representation of her sound, and embodies her mixed roots, as East meets West in a perfect amalgamation. But this is no mere marketing schtick: she is very much a self-made package, and one which has immense market appeal both visually and sonically.

Contrast and juxtaposition lie at the heart of Light of the World, but rather than treat this yin and yang as conflicting elements, she embraces them and draws them together to intriguing effect. The sultry ‘Egypt’s Queen’ finds Nathassia rolling her r’s and accentuating the eastern influences of her music. Single cut ‘Turning Headz’ is more hard-edged and showcases a driving, drum ‘n’ bass orientated sound, something which wasn’t present on the original album, and similarly, ‘Parasite’ is driven by a grating bass and insistent, industrial-edged drumming. Melding insistent beats with snarling techno, it’s dark in hue, and paired with Nathassia’s keeningly exotic vocal delivery that’s tinged with a hint of venom, it’s a powerful piece.

Elsewhere, the title track spins out an expansive, cosmic vibe, highlighting the diversity of the material on Light of the World. It certainly isn’t an album that works to a formula, and stands as a truly multidimensional piece. It helps, of course, that the range is matched by the quality of the material.

Light of the World is an album which not only reveals Nathassia to be a fascinating, chameleon-like songsmith and performer, but a distinctive and even unique voice.

 

light-of-the-world-album-artwork

Nathassia Online

Tides From Nebula – Safehaven

Posted: 26 May 2016 in Albums
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Long Branch Records and Mystic – 6th May 2016

Christopher Nosnibor

Instrumental four-piece Tides From Nebula are an instrumental 4-piece fail from Poland. Some of you may already know that, especially if you’re reading this in Poland, given that I’m reliably informed that they’re Poland’s most popular post-rock band. But then, how big is post-rock in Poland? Big enough, I guess: it’s something that seems more popular in mainland Europe and beyond than domestically here in the UK, and home-grown post-rock acts like Her Name is Calla seem to have a bigger fanbase beyond the British Isles than at home. It’s not just about catchment or population: the UK seems, in the main, to be depressingly mainstream and conservative in its tastes. Anything remotely alternative is niche, and there’s little to no crossover between mainstream and alternative markets. Elsewhere, music fans seem altogether more accommodating and diverse, and the levels of enthusiasm shown to bands is significantly greater beyond the confines of our island shores too. I daresay that Tides of Nebula have felt the cultural differences during their extensive touring: since their inception, they’ve played over 500 shows globally, and Safehaven is their fourth album.

It is, without doubt, a quintessential post-rock album. The guitars chime and build their way, inexorably, to surging, euphoric crescendos that soar and sustain. Yet there’s an understated power evident here: there are some big chords, and the heavy strikes hang in the air with a long afterburn.

But then, ‘The Lifter’ marks a change of instrumentation and a change of style, the throbbing synths and more mechanised sound beneath the interweaving guitars presenting a sound more electronically focused, hinting more at Depeche Mode than the well-trodden post-rock conventions. And gradually, the album finds Tides from Nebula incorporate an increasing range of electronic instrumentation, and while as I say, it’ a quintessential post-rock album, it’s also an album that does a whole lot more and does so in a way that’s interesting and holds the attention instead of becoming bogged down in indulgent-wankery.

As the album’s cover art – a shot of the Cayan tower in Dubai or a manipuation thereof? – suggests, the album’s architecture is daring, and comes with a big twist. And as Safehaven demonstrates, it’s their ability to move beyond the conventions of straight, guitar-based post-rock – and to do so without it sounding forced or like a desperate push to step out of a well-worn post-rock rut – that really goes in the band’s favour. In fact, while the latest album by Explosions in the Sky sees them trying and failing to achieve precisely the same, Tides of Nebula succeed, striding confidently into expansive new territories. And in that context, it’s reasonable to call Safehaven a triumph.

Tides - Safe

 

Tides From Nebula Online

Natalie Beridze – Guliagava

Posted: 25 May 2016 in Albums
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Monika Enterprise – monika87 – 27th May 2016

Christopher Nosnibor

The enigmatic Natalie Beridze’s latest album is accompanied by an appropriately enigmatic blurb, which references clouds, un and weightlessness. Such abstraction is entirely appropriate for an album that crates a blur of sonic abstraction and is housed in a cover which features artwork which is far from figurative. What does it all mean? Is it a dream? A hallucination? A mirage? Is it even real? Perhaps, perhaps not: it matters little. To capture and confine the material on Guliagava is more or less impossible. Every moment is fleeting, ephemeral. But then, to attempt to capture the moment would be to spoil the effect, and to diminish its power. It’s not about freezing the moment, but living in it.

The woozy, languid sensuality of ‘For Love’ possesses a smoky, opiate dreaminess. Soft-focus, rolling basslines undulate across stuttering, glitchy beats and gauze-like synths which spiral and drift. There’s a lot of space, a lot of smoke and mirrors as the sound reflect and refract to create strange, dislocated soundtracks. The howling metallic scrapes that open ‘Light is Winning’ give way to a dark, murky and menacing bassline and thunderous bass beats. If light is winning, it’s only just got the edge in what appears to be a truly monumental battle. ‘Natalie whispers, half seductive, half threatening, certain but uncertain: ‘Words, emotions, water, sweat / into the void / In outer space / Once there was only dark / But if u ask me / The light is winning.’

Chiming cadences emerge from within wispy, cloud-like atmospheres. But a deep, penetrating blast heralds the arrival of ‘Tore Up All My Maps’, a track built on the juxtaposition of mellow but taut vocals and a frenetic, heavy-duty drum ‘n’ bass rhythm. The shimmering glimmer of ‘Docha with Fading Grey’ is corrupted by the scratching of surface decay, a sonic rust misting the surface.

The soft vinyl-like crackle that casts a sheen over ‘Opening Night’ evokes a nostalgia not for vinyl, but for the heritage of vinyl, the subconscious yearning for another age, a pre-digital age. What precisely is it that one finds oneself pining for? It is, of course, something undefinable, vague – and it stands as a fair analogy for the experience of listening to this album, in that there’s an inescapable sense of the intangible, the unreachable.

The textures Beridze creates, and the way she contrasts them, are magnificent, making Guliagava an evocative, haunting album heavy with implicit meaning and resonance.

 

Natalie Beridze - Guligava

Natalie Beridze Online

Regolith – I

Posted: 23 May 2016 in Albums
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Rock is Hell – RIP67

Christopher Nosnibor

This one’s been out a little while now but has only recently landed with me. I can’t feel too much guilt: Regolith aren’t exactly the fastest of movers, however you look at it. They’ve been going for a full decade, and despite having racked up a substantial catalogue of EPs and split releases, it’s taken until now to get around to a proper album (although, arguably, 2009’s Music for Hot Air Balloon, with its three tracks spanning a full hour, would constitute an album by most people’s reckoning). Musically, they’re not exactly about pace, either, trading in crawling ambient drone of almost incomprehensible proportions.

Their debut album proper isn’t exactly about the immediate hit, the hooks or the general accessibility, either, and necessarily requires time to engage, cogitate and digest.

I is a monster work: a double album comprising just four tracks. And the sound is as immense as the album’s duration, inching toward the 80-minute mark, with each of the tracks clocking in around 20 minutes in duration. But it’s not just about the length: feel the weight. The sounds may be produced electronically using analogue synths and a vast array of effects, and Regolith may describe themselves as ‘tech freaks’, but the material is heavily steeped in the tropes of doom. Having spent my childhood living on the flight path of the takeoff / landing of the RAF Vulcans, I feel qualified to make the analogy of the drones sounding like jet engines rumble and roar, a spectrum of lower-end frequencies that focus on the ribcage, the particle-splitting noise is also more than enough to terrorize the most dulled eardrums. ‘Platinum’ sounds like my young recollections of the Falklands War. The molecule-destroying, air-shredding sound engulfs the listener; the experience is immersive and annihilative.

‘Comet Tails’ is a far sparser affair, echoed beats decaying into the void, the space between the sounds comparable to the distance between planets. Gradually, as slowly as a planet on the outer reaches of a solar system orbits its sun, a low drone begins to rise and swell, a dark, large sonorous body of sound, a black hole cruising closer with inexorable determination. The hum continues to grow until its edges begin to distort and disintegrate and bleeds into ‘Star Trails’. One benefit of hearing this in a digital format is the two tracks do run together. Of course, the downside is simply that however enormous the sound, the full enormity can only really be conveyed via the medium of vinyl, and ideally on a decent set-up with a solid amp and some fuck-off powerful speakers. It’s an album that has the capacity to make the earth move.

The sound is more than fitting for a band named after ‘a layer of loose, heterogeneous superficial material covering solid rock, which includes dust, soil, broken rock, and other related materials and is present on Earth, the Moon, Mars, some asteroids, and other terrestrial planets and moons,’ and whose objective is to create ‘music on a geological scale; music of mountains, shifting like glaciers, slow and relentless processes on grand timescales’. The tracks on I are at once heavy on the ground, and beyond gravity, simultaneously tectonic in their movement and of galactic proportions.

Regolith

Regolith Online

TE Morris – Newfoundland

Posted: 21 May 2016 in Albums
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TE Morris – Newfoundland

Christopher Nosnibor

TE Morris, founder and front man of esteemed purveyors of post rock Her Name is Calla has enjoyed a lengthy detour as a solo artist over the last few years. He’s a man who’s overflowing with ideas and material, far more than one band could ever contain, and with the members of Calla strewn about the country, developing new material on top of rehearsing is a slow process. As such, the solo career, which has spawned a slew of albums and EPs, has been a very necessary outlet. When the creative juices are flowing, you just have to let them run. However, he’s announced that his focus from hereon in will be on the band alone, and that Newfoundland will be his last solo release.

Because Her Name is Calla is very much about collaboration and the organic development of material, with the individual members each contributing in various ways to the dynamic of the sound, Morris’ solo recordings have always stood apart from the band’s output. and while much of his solo material is sparse in its arrangement, often comprising only acoustic guitar and vocal, there is no sense that these are offcuts or outtakes of would-be, could-be Calla songs.

Having said that, Newfoundland, for the connotations of discovery, of new ground and of possibilities, and despite the implications of context, which carry a certain sense of closure as the ‘solo’ chapter of Morris’ career comes to an end, is the solo work which sounds and feels most like Her Name is Calla. And in doing so, it feels like Morris is returning home. Newfoundland is a work built on layered instrumentation, bringing texture and sonic depth to the songs.

The piano is prominent across the album’s thirteen tracks, and Morris’ haunting voice which often soars toward an otherworldly falsetto is a constant here, as ever, and fans of both Her Name is Calla and Morris’ previous solo work will be both unsurprised and no doubt relieved to learn that it’s a characteristically reflective, introspective and melancholic set of songs.

‘The Sea of Tranquillity’, a ten-minute epic, drifts through a succession of moods, the soft piano augmented by mournful strings as Morris emotes on being lost in space. It’s touching, moving and powerful in a restrained, refined way. ‘A Year in the Wilderness’ finds organ and a swell of strings add drama and a sweeping, cinematic feel to the song, which contrasts with the hushed intimacy of ‘How Far Would You Go to Disappear’ which immediately follows. ‘The Mountain’ again hints at the beauty and enormity of nature and at the same time the challenges of a personal, emotional mountain, and builds to a crescendo worthy of Her Name is Calla as he ascends toward its ragged peak – a triumph riven with an ultimate sense of failure, as he sings, defeated, ‘I let the woodlife crawl over me / And eat me from the outside and in’.

One of Morris’ distinct trademarks is his ability to pen lyrics which are simultaneously intensely personal, yet elliptical, conveying manifold shades of anguish, grief, turmoil, distress, reflection, and, very occasionally, joy. He does it all in a way which is subtle and elegant, and there’s a rare grace to his songs.

With its samples and distant electronic beat, ‘Trials’ marks something of a departure and shows Morris extending his sonic palette, a trajectory furthered on the yawning drone of ‘—‘ , the album’s third untiled track .The final track, the nine-minute ‘Lasting Words’ makes for a fitting sign-off, as he sings, relieved, elated but conflicted, ‘I don’t want to hear the silence / And I can’t wait to start again / Trying not to break away.’

In short – and as expected – it’s a beautiful record, and one that’s heavy with emotion. Such sorrow rarely sounded so magical.

 

 

TE Morris

Newfoundland Online at Olynka Records

Suns Of Thyme – Cascades

Posted: 20 May 2016 in Albums
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Napalm Records – 27th May 2016

Christopher Nosnibor

The promo write-up is right in observing that it’s ‘hard to imagine something called Krautgaze could be nurtured anywhere other than in Berlin’, describing the city as ‘the perfect breeding ground for a band like Suns Of Thyme: the five-piece lets space rock, shoegaze and psych with a nostalgic twist masterfully collide with death rock and the likes of Velvet Underground on its sophomore album Cascades.’

But to my old ears, as much as Cascades is shoegazey and psychedelic, what’s most striking is that the album’s nostalgia harks back to the goth sound of the mid 80s. It’s not the bleak post-punk sounds of Siouxsie and the Banshees or The Sisters of Mercy which filter into the sound of Cascades, nor the art rock of Bauhaus – the bands that defined goth without actually being goth, because goth didn’t even exist at that point – but the more accessible alternative bands that merged in their wake.

Loping drums drive fractal guitars that bend and shimmer on opener ‘Do Or Die’, a track which combines the gothy indie rock of Rose of Avalanche with the psychedelic grooves of The Black Angels, all under a vaguely Madchster haze.

There’s a undeniable indie rock / pop sensibility in evidence here, and ‘Intuition Unbound’ points straight back to 1986, amalgamating the celtic guitar motifs favoured by bands ranging from Ghost Dance to Balaam and the Angel via later Salvation. In some ways, it evokes a strange nostalgia for a strain of music that’s strangely detached from its origins and somewhat diluted in context of its roots, but it’s clear Suns of Thyme have both sense of thyme and plaice, as well as an aptitude for a certain sense of (melo)drama: ‘Ich Traum Von Dir’, while still evoking the spirit of 80s goth proffers forth credible moping and a disconsolation that’s actually quite affecting. It’s also a decent tune, and above all, tunes are what matter. There’s no shortage of them on Cascades. ‘Schweben’ builds a mellow shoegaze vibe over a lazy, motoric rhythm, with hints of Chapterhouse, but equally shoegaze revivalists like The Early Years.

And so it is that Cascades is an album that crosses a range of styles and periods, and in some ways, it’s difficult to disentangle nostalgia and anti-nostalgic kneejerk (of course, much of this is very much about a personal reaction on the part of one man who just so happens to be the reviewer), It isn’t always east to extrapolate sincere homage from the minefield of dubious dredging of the past. But Suns of Thyme manage to draw together a sufficiently broad range of ‘retro’ elements and combine them with some songwriting that’s savvy enough to give Cascades a life of its own.

 

suns-of-thyme-cascades

Suns of Thyme Online

Ran Slavin – Bittersweet Melodies

Posted: 19 May 2016 in Albums
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Crónica – CRÓNICA109

Given Ran Slavin’s broad artistic pursuits, which span video installation, sound and film, and his far-reaching interests which manifest in the exploration of the tensions between opposites, Bittersweet Melody is something of a summation of his preoccupations.

Just as ‘bittersweet’ is one of those words that encapsulates contradiction and juxtaposition, so Slavin’s latest album is built on contrasting sounds and forms. Culled and curated from pieces of work from Slavin’s archives and a release from over a decade ago, the material which comprises Bittersweet Melodies has been disassembled, reassembled and generally re-rendered.

A mellow organic drone hovers and hums through ‘Saturday’s Dress’, but the ambience is disrupted by very mechanical-sounding pings and spring and microtonal bleeps by way of irregular rhythms. A repetitive thrumming hum provides the framework for the minimal yet dense and sinister ambient hip-hop of ‘Category: Murdered Entertainers’, with distant snippets of exotica adding a heightened sense of the unfamiliar to its curious texture. Elsewhere, polyrhythmic percussion collides with stuttering trip-hop beats and eastern-flavoured scales entwine luscious soundtrack strings. Frenetic drum ‘n’ bass ballasts against shimmering electronic froth and looped vocal fragments wash in and out of rumbling scrapes, fear chords, dissonance and a rich soup of sound from all corners of the globe and of the recesses of the mind. Woozy ambience and glitchtronica waft into passages dominated by dank pulsations and murky, shadowy shapes.

The fragments evoke neither nostalgia nor excitement, but a sense of displacement, or alienation. How else does one respond to pan-cultural motifs overlaid and strewn with dancehall music and digital blips but with a sense of vague bewilderment? Slavin does not contrive to create a typical collage mash-up: Bittersweet Melodies is something altogether more subtle in many respects. Moreover, the contrasts and oppositions are moulded and melted into one another to as to become complimentary. Strange, disorientating and uncomfortable, with a lot happening simultaneously, but complimentary nevertheless.

 

 

Ran Slavin

 

Ran Slavin Online

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