These classical punks: Vienna 1908-1914


Good find in the charity shop today, Vienna 1908-1914 for £1.99. I should know the art used on the cover because I recognise it but can't name it...what the hell it makes a fine sleeve. As you know, record labels were fond of using modern art for their 'modernist' classical releases. It remains a mystery, though, as to why they're relatively scarce in charity shops compared to the big guns like Beethoven, Bach etc. perhaps it's simply a matter of less people buying them in the first place resulting in less in circulation today. The music's fantastic, of course. Comparing the two, Dorati does a much better job of creating the drama of the Schoenberg pieces than Simon Rattle. I only know because I just compared them. Speaking of their music, Schoenberg extolled the virtues of 'extreme expressiveness' and 'extraordinary brevity' - amen to that. In such brevity (as opposed to lengthy, Romantic grandeur) this music still packs a punch akin to that landed by The Ramones in a time of long-winded Prog Rock awfulness.


Hal Raglan / Gloria Gloucestershire - Split Cassette


Hal Raglan (aka Black Mountain Transmitter's J R Moore) and Gloria Gloucestershire (Nick Edwards aka Ekoplekz)(christ, enough pseudonyms already)(me, Robin Tomens aka That Fool Who Insists On Blogging Even Though It's So Last Decade)...where was I? This is as good as you'd expect if you know anything of either man's work and probably even better, what with 'Gloria' stretching her canvas (stop giggling at the back) to over 18mins in length (hold on, a 'canvas' can't be 18mins long, what am I talking about? Never mix metaphors) - anyway, stretching out like Bootsy's rubber band, minus the funk, but no less wonderful, a long space-age voyage in perfect Martian pop mode. Raglan, on the other hand, is a damned sight darker, like Gloria's evil alter-ego (thus they make a perfect pair) but thankfully rather than test the limits of noise distortion for nearly 20mins he morphs things halfway through and melts your mi-i-i-i-nd. Quite brilliant but having sold out as a limited cassette you can only hear it on Bandcamp now. 



MICHEL REDOLFI - Desert Tracks


Now here's something. An album. Electroacoustic music. Don't go away. This really is special and showcases what can be done with the right equipment, that being ears as finely tuned as Michel Redolfi's and the ability to organise sound the way he does. All you need is a pair of ears. Do you have a pair? One isn't as good, but might suffice.

Even a close listen won't tell you what you're hearing, exactly, but such is the joy of acousmatic sound. For instance, I think a voice interjects during the first track, Opening. You also hear what sounds like ball bearings trickling through your speakers along with a chain being rattled...and the voice become more distorted, alien, whilst the calm foundation continues. It's both relaxing and unsettling. 

One might expect a desert-themed album to be New Age-style peaceful, yet Redolfi's creation is more akin to a trip across the sands with Brion Gysin in The Process. The sonic landscape is hallucinatory, disorientating; a place of clanging bells, ominous rumbles and sudden interruptions. Too Much Sky can be awe-inspiring or intimidating (we feel so small) and as with nature, Redolfi's music evokes wonder along with a sense of disquiet. A classy reissue from Sub Rosa.   

Living in a Winter Wonderland...with Demdike Stare


Image result for wonderland demdike

I like a bit of rough...so do you, I know - so do Sean Canty and Miles Whittaker who, in case you'd forgotten, are Demdike Stare. You might have forgotten. It's been so long since they made an album. Of course you hadn't forgotten. They were a big thing for a few years, back during...I've forgotten. Anyway, I always liked their releases for being a bit more tasteful, rather more selective in what they sampled than your average imaginary Horror score artists.

A friend says he's heard it's more 'techno'. That's one way of looking at Wonderland; the wrong way. It's more lively than most of what they've done, album-wise, but more to the point, chops up 'street' rhythms into things of their own making...jumpy things, jagged, grindy, Grimy things. At this point I'd reference the exact genres they've been sniffing at but I know nothing of current street music, preferring to avoid the street when at all possible because it's filled with people on their mobiles, wearing tracksuits, hoods and talking hybrid patois between mouthfuls of fast food...so I've heard.

FullEdge (eMpty-40 Mix) is the kind of 'techno' that gets me going....swaying this way and that as it does, with counterpoint percussion, tectonic rhythms, beats brought up in the mix, then down - big tune - and a bit 'street' with the warped vocal sample in there - relentless too. Hold on, I'll crank up the system for Sourced - BOOM! - that's it, right there - it's kinda drum'n'bass-y but then somewhere else, like Doc Scott on steroids. The way D&B used to sample Rap or Ragga vocal snippets is deployed here to great effect. I reckon, whilst they've been 'away', Demdike Stare have spent a lot of time listening to street music, which is great because someone has to do it for me, then take what they like and turn into something as good as this.

I mentioned 'rough' at the start. Well, that's one of the pleasures of Wonderland, a rough place where bass is distorted, beats crushed, swift cuts compressed, sabre-like 'scratches' scorch the mixing desk and everything is constantly mutating.

Skanking Easy (and cheap) with Augustus Pablo


The Essential Augustus Pablo

Confession time: I didn't have any Augustus Pablo on vinyl or CD until yesterday when I picked up this dble CD comp for a quid. Yes, £1. Who-o-o-oe-e-e! I'd urge you to get it but to my surprise it seems pricey on Amazon, but hold on, cheaper on Discogs from Euro sellers. What do I mean, 'Euro sellers'? Isn't the UK part of Europe? Yes, it still is, you know (conversation with self). I don't have to tell you how great Augustus Pablo is, do I? No.  




Nothing here now but the perfume / Jim Haynes - Throttle and Calibration



For the wild boy in your life. I can't quite believe this is a real product...and to my shame, I'd actually like the box for Christmas! I'd wear it ironically, of course. Imagine someone asking what you were wearing then replying "Junky", or "Beatnik". Is this what it's come to; all those years rebelling against the 'square' world, living alternative lifestyles and writing books that broke boundaries? Yes.


***

115~2016

"It burns" are the first words spoken on Jim Haynes' new album for Cronica, but I don't think they refer to the above perfume when applied to a shaving cut, although they could, of course...no Beats here, but abrasive noise, your ears soundblasted in a magnificent fashion and once again, even more severely, my little speakers truly tested for distortion...It Doesn't Matter...that must be the recording, surely. Please. Unlike some noise merchants Haynes is not out to test our limits of endurance but instead create tonal subtleties within the turbulence and on Kirikulaul enter a strangely Zen-like zone of industrial strength quasi-choral bliss, the kind which one might experience having witnessed an apocalyptic A-bomb event, survived and decided that the world will renew itself and become a garden of heavenly delights. Another quality release from Cronica.
    

Collage / Boris Hauf - Clark / Iancu Dumitrescu



Commodities, RTomens, 198-
More art here
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clark-cover-1

New speakers for the new PC - thing is, playing Boris Hauf's Corona from the Clark album, I don't know if he's built distortion into the sound or the speakers are rubbish - 'DUFF!-DUFF! DUFF!-DUFF!' If you read this, Boris, let me know. Really, they cost a whole £25. And as this track goes through nuclear meltdown towards the end I'm slightly worried as to which it is, the speakers or him.

Well, whatever, at first I thought 'OK, clean Techno generic, fairly good' but playing it over the last few days my opinion is changing towards 'Techno generic but twisted just enough to make it interesting'. I like the clean minimalism, which is the overriding impression, but that's ignoring the distortion mentioned above...and the storm of electro-static washing over Mind Tapes, which really takes it to another level and, as it progresses, creates the impression of being whipped up in a sonic tornado. Non-Stop Flight's crackle and persistent brain-phasing texture, which barely allows the subdued beat to take hold, is also nicely done. Clark is rising in my estimation with every play. It's reissued by Shameless.  


***


I'm going to see Iancu Dumitrescu and Ana Maria Avram at Cafe Oto on the 27th - yes, I'm actually having my slippers surgically removed in order to traverse the mean streets of London, at night, which is quite some effort on my behalf I can tell you. The book, Cosmic Orgasm, is highly recommended if you want one about him. I don't think there are others to choose from. I bought it on a mad whim whilst browsing in Housmans a few months ago, based on nothing more than faint recollections of what his music is about and no idea whether any resided on my hard drive...you know what it's like, these days, the plasticity of our brains being what it is, our minds are constantly being re-shaped by multitudinous input from The Screen....that's my excuse anyway.

Turns out Dumitrascu is a brilliant composer - you may already know, but since buying the book I've been catching up. He is also deeply into philosophy and theory but finds that attempts to expand on ideas by talking to musicians about them doesn't work, they 'simply stiffen up'. He tells them to forget what he was talking about and gets better results. The same could be said for listening to his music. One may know, or learn about, phenomenology or the Pythagorean monochord (!) but my total ignorance of either does not hinder my appreciation of his music. Like the players, I find it more helpful to relax, be open-minded and free from intellectual baggage. This approach suits my basic inability to grasp anything much beyond the bare facts of life, such as having to get up every morning, sleep at night and maybe do a few things in between.

Still, I'm looking forward to hearing them both, as Avram puts it, 'solicit the maximum force of the performer' at Cafe Oto.



Here To Go: Column One


So after this concert Column One will cease to exist - bad news, but I'm assured there will be new projects in the future. Meanwhile, savour the artwork by Robert Schalinski, presumably, for the final show. His collages have featured in many booklets and flyers for Column One and I'll be sharing some of them in the near future.

Sun Ra - The Definitive 45s Collection (Strut)


Fresh coffee - 
85% cocoa chocolate - 
Sun Ra
Go!

Orbitration is needed after that political shock - no doubt lots of people wishing they could board Rocket Ship #9 to Venus and never come back - still, the next best thing to physical escape is the musical variety and who better to provide it than Sun Ra?

Evidence released a singles collection but this goes further, deeper and is therefore essential even though they share some tunes. Take I Am An Instrument for starters, literally and the tone is set, as if you don't already know the tones for mental therapy Sun Ra gave us. Spoken word, first accompanied by harp, then on the second take, piano; classic Ra poetry - "I no longer have respect for hate...I am stronger than hate..." - quite appropriate in Donald's brave new world, so let's embrace love...and stop hating he who is going to make America great again...(ha-ha).

"Zoom, zoom up in the air"...Spaceship Lullaby, Ra was no stranger to recycling lyrics and tunes, so here we get early versions of what would later become set standards (as much as there were such things) and regarded as Ra classics. That Sun Ra produced doo-wop tunes came as a shock to me a few years back before I schooled myself. Now, listening to Daddy's Gonna Tell You No Lie sung by The Cosmic Rays (clue about the shape of things to come) from the 50s, they sound even stranger, not because of their content, but the very fact that these straight genre pieces featured the hand of Ra. But everyone has roots in something and Ra's are brilliantly explained on Transparency's Eternal Myth Revealed.

A fresh visitor to planet Ra playing Disc 1 might wonder what all the fuss was about - "He's not that weird!" - but the great thing about a chronological collection like this is the trip through changes as the gradual shifts towards the Outer Realms take place. By the time you're well into Disc 2 you can hear echoes of the future leaking through, in solos, in Ra's piano, in strange brass charts and weird keys.

Appropriately, Disc 3 starts with The Bridge, a blast of 'Free' horns and more defiant, cosmo-poetry - quite brilliant, of course. "THEY MUST WALK THE BRIDGE!" Yes, they must, crossing it to the Other Side of Ra. Great version of Rocket #9 here that I'd not heard before, (the earliest one, presumably?) a looser, funkier take, with completely different music to the better known version. There are no dates on my promo copy so I can't say when this one was made. 

Blues On Planet Mars is totally amazing, a psyched-out instrumental in which Ra makes the keyboard sound like a guitar, accompanied only by bass and congas. Mayan Temple, Disco 2021, Cosmo-Extensions, Outer Space Plateau - the hits keep coming! Hits, that is, in an alternate universe. Not forgetting the classic Nuclear War. If you didn't appreciate the breadth of Sun Ra's greatness before hearing this collection, you will afterwards. Absolutely essential.

Strut 


Sell! Buy! The Art Of Typewriting, Jeff Nuttall's Performance Art / Ben Vida's Damaged Particulates



SELL! BUY! SELL!!! BUYYYY!!!!!
A conundrum, isn't it? To sell or buy or sell and buy or just sell or only buy - dilemma of the Western material world - discuss consumerism in the 21st century (existential angst of), report & write back. No, don't...

Sold stuff for £120 today, which is more than I expected to get for the CDs and vinyl - "Mmm, nice," said the shop assistant, holding Goldie's Timeless (dble vinyl) - yeah, "OK, so what? I've got the CD, don't you know there's a CD revival?" I never said, because as you know vinyl gets premium prices these days and I'm only too willing to exploit the fact.

So I mosey on down the road and come across one of those book warehouse outlet places where The Art Of Typewriting is sitting on the top shelf to my right as I walk in...£12 - result! The work is taken from the Sackner archive. You can see a film about Ruth and Marvin here



Here's a piece by me called Bourgeois Common Sense...there's a lot more vispo of mine here...



Re-reading Jeff Nuttall's classic, Bomb Culture (PDF file here) as I have been recently, it was a fine coincidence to come across Performance Art Scripts in the charity shop later - from dipping in, it looks like a great read...



***

Image result for ben vida particulates

New from Shelter Press, Ben Vida's Damaged Particulates, two long form pieces which extricate seemingly infinite potential from sonic waveforms of grand variation in tempo and density as opposed to adhering to singular moods as many producers do - so good - you have to play the title track several times to even begin to appreciate the ebb and flow, the trickles, squiggles, ripples, dips and flights. It's reminiscent of pioneering computer music in it's clean, crisp, exuberant exploration of what a machine can do. The second piece maintains a steadier mood, classically building from delicate tones to a deeper, sustained texture.

Art / Xenakis vs the builders / Editing the novel / Malcolm Pointon comp, Electromuse

Dedicated To America's Defense (detail), RTomens
***

Monday - burn Iannis Xenakis' Persepolis to disc and play...to try out the new blanks, which work, thankfully - I didn't know because I dont know much about technical stuff so I gambled on a cheap stack of 100. His noise competes with that made by the builders next door - they're big Polish men who I can't tell to fuck off, or even be quieter because they're just doing their job, the sound of which Xenakis is doing his best to counteract although, weirdly, not by drowning out (haven't got it on loud) but by imitating the buzz of their saws, consequently nullifying them, like a form of white noise - well it is noise made by a white person...


***

The Big Edit of Shadows (working title), a cut-up 'novel' comprising of texts collected over several years, gets under way...here we see the author reading the first few pages and no, there hasn't been a power cut, he is outside at night...


***


Swap Xenakis for the Malcolm Pointon comp, Electromuse, on Public Information - obvious similarities between the first track and Xenakis, although Pointon probably never stretched a creation to an hour in length. But it is a fine kind of noise and we have top UK vintage electronics archaeologist Ian Helliwell to thank along with Public Information. Pointon began his tape music voyage of discovery in 1969 having been inspired in part by Stockhausen. He had worked for the BBC, doing what, I don't know, but I wonder if it's coincidental that the same organisation should have spawned it's own school of tape music pioneers earlier in the 60s. Whatever, this is a great collection, not basement tape excavation for the sake of obscurity.  Then Wakes The Ice is as good a piece of tape trickery as I've heard, complete with chopped vocals that William Burroughs would have been proud of, play it all back...backwards too. As a bonus, in keeping with what is almost a tradition in these kinds of collections, we hear Malcolm introducing Symbiosis and describing the kit in a typically English 'BBC voice'. First class release.


Miles Davis San Francisco 1970 vinyl / Ekoplekz' Cryptik Stepperz


Fopp shopping on Tuesday, came across this in their ever-expanding vinyl section ('Vinyl Is Killing MP3s' as the stickers plastered around the shop say) because it's so fashionable right now. Fopp are and always have been waging war on the idea of no-space-needed (except on your hard drive) storage, as I know to my cost. The shop's been responsible for many a CD/DVD bargain sitting on my shelves.

A new vinyl LP now costs almost as much as my first weekly wage back when it was the only thing (apart from tapes). I've watched it swing from near-extinction to mass secondhand, cheap availability to where it is now, a mixture of shiny new extravagance, extortionately-priced Indie albums and if you're lucky sensibly-priced s/h.

Miles Davis - San Francisco 1970 on Let Them Eat Vinyl (you can't, otherwise I'd never have sold all those Blue Note albums back when I was on the dole) was only £12 so with reservations I shelled out - reservations regarding whether I actually had these tracks or not. The 'Classic Radio Broadcast' subtitle lead me to believe I didn't have them, although you know what it's like collecting these days, all that stuff on your drive.

Back home I checked, relieved to find the tracks aren't on the Fillmore West dble CD. These tracks are from the extra four-night Fillmore run booked by Bill Graham, probably when he saw how well Davis was going down the with longhairs. Must say it's a novelty putting the needle on a newly-purchased Miles Davis vinyl album. Haven't done that in decades. From the opening of Honky Tonk all doubts (about the sound quality) dissolve as my admiration for The Man, especially this period, rises up once more, flooding my senses, almost, a tingle, a gut feeling, a head feeling as, to coin a Parliament phrase, I 'Let the vibes flow through', this sort of Jazz not only moves, it can remove, dig?

Honky Tonk is such a....groove...sorry, I can think of no other word...that slow burn lit by Michael Henderson's stunning bass and him again on What I Say - ! What can I say? Turns out this night has appeared on a bootleg CD but I don't care, it's new to me. Have you tried keeping up with all the Miles Davis boots? Ridiculous - loads of very poor sound quality too.


***


Ekoplekz springs to life again by announcing Cryptik Stepperz yesterday - not new material but who cares when it's this good. He always was if not Above then Aside somewhere, apart from the pack and pushing a unique brand of digi-dub (!). These are leftovers (but some released on a limited cassette) from 2012. Listening again, allowing for his take on rhythm, I do put him Above many others, the common herd. At one point, around the time of these tracks, perhaps, he overloaded us all, coming at every angle with cassettes, split release, albums - too much of a good thing? It's possible, so it's good to be made aware once more, from the distance of his hibernation, how skilled Nick is at blending space-age radiophonics with ruff rhythms...


Deaf Center - Pale Ravine

Deaf Center - Pale Ravine

Reissue of Deaf Center's classic Pale Ravine from 2005, first on Type, now on Miasmah. There are 'ambient' albums, plenty of them, and there is this, which is in another league. Erik K Skodvin and Otto A Totland achieve the near-impossible (judging by the usual efforts) of creating beautiful orchestral pieces which feel like fully-formed compositions as opposed to pre-set 'strings' button contrivances designed to create instant 'class'. Deaf Center craft the perfect balance between Satie-esque melodic simplicity, choral grandeur, lush romanticism and cool menace. Worthy of reissue.


Hexa - Factory Photographs

Image result for hexa factory photographs

Perfectly 'Lynchian', as you'd expect from a work commissioned to tie in with an exhibition of David Lynch's painting, sculpture, installation and photography at Brisbane’s Gallery Of Modern Art last year. Lawrence English and Jamie Stewart maximise the industrial wasteland effect. You could, perhaps, say that any 'industrial' music would do the same job but Hexa have hit just the right note with a combination of grind and klang, pounding metal and deserted Detroit factory ambience.

Talking of which, Underground Resistance were featured on Channel 4's news last night, which Jon Snow presented from Detroit as a gauge of how the city's either declining further these days or, according to one part of the report, seeing an upsurge in small companies such as the Detroit Denim Co. Motown legend Martha Reeves was also interviewed and was incredibly upbeat about Clinton's presidential prospects. Sorry, but it's hard to avoid election material, even though I'm in London.

Optimism for a country's industrial future isn't the mood for Factory Photographs. Here we have nothing but decline, all in black and white, with the ghost of Henry from Eraserhead stalking the wasteland between. As this album progresses it gets more interesting, the slow motion decay is palpable on tracks such as A Breath and Over Horizontal Plains and the sound design is spot on. 

Image result for david lynch factory photographs


Unruly Milk - Spilaggges

Image of Unruly Milk - Spilaggges - CD Album

Small is beautiful. 

Have you ever considered the irony of communally-minded folk only operating as singular entities due to necessity/economics etc and rightly promoting the notion of individuality whilst espousing communal values (in society at large) & supporting Left ideals of the communal society sharing wealth etc? Perhaps there is no irony. Can't the individualism of cultural resistance inhabit a broad socially networked common society of caring for each other and more to the point, those less well-off? Surely...

Politics. I didn't mean to start that way. Unruly Milk aren't Political. They're political? They'll tell you there's no 'point' to this. It isn't part of a master plan. It isn't made with an aim. It is was it is.

Small is beautiful - make a zine, a book, an album, art - why not? Because you want to and you can.

Spilaggges deserves to be global but everything that's Global stinks - your company, your coffee, your pop icons - all rotten to the core, all Gods to kneel before because you are barely worthy of existing on their planet, never mind benefiting from their power. Global business gods - all hail them! They give us jobs, after all. They run society for us in the name of business. They're looking after us. Nissan deal! That's a lot of jobs. We're all for hire so please do so. You just can't knock job-providers. Look at the middle-classes in my street, giving work to all those scaffolders and builders via gentrification - innit marvellous?! Working class people used to live here - so what?

And on...

Worship Pop gods for through their might thou shalt inherit greater strength in numbers and the power they exude which you, with open arms, will embrace. Crowds and Power. It's great to feel a part of something, isn't it? Not just anything, but a big thing, a Global thing. Unless we join the crowd we shall be crushed underfoot as they rush towards their gods. We'll be outcast, branded weirdos and condemned to suffer that fate commonly known as being 'different' which, you'll be surprised to learn, is still a possible state of existence even today when the 'different' are mass-marketed and, yes, made into a Global phenomenon.

How to be different. One old ploy was to dress like business men when everyone else in music was looking ragged, post-Punk or whatever. That worked, for two minutes. Today we can't do that because you'll just be taken for twats, plain ordinary twats aspiring to uber capitalist social status (by other 'outsiders', anyway). There's no alternative. Every tribe is full and by joining one you'll be just another number in that tribe. Be a skinhead. That would be different. Boots 'n' braces. Scare people. Make sure you wear an Anti-Nazi League badge, though, just to make the point that you're not one of them.

Micro-talent is Big, these days - brewers, bakers...and other makers. Some sell-out to big companies and make millions. Some bands used to start small and sell out. Remember Punk? But there are few big record labels today and none are looking for the Next Big Thing from 'the street' unless it's Street music like they're praying for a 'new' Hip-Hop/Grime whatever.  

So now people really do make music for themselves without actually dreaming/believing they might 'make it'. Like this grubby crew from England's West Country (not even London!) making music in a barn. I jest, playing the city sofisticate, but really, joking aside, Unruly Milk make me consider moving to Somerset. Why? Because there is a great little 'community' of music-makers who know each other, get together and at the end of it have a small-press CD to show for it. Whereas London (curse this city) crushes the idea of any such thing. Its enormity, its alienating gleaming glass towers of capitalism tower over everything and its poor must flee to find housing. If small collectives exist they do so in secret, lost in this money jungle to those who might seek them out. If Somerset (Unruly Milk's county) necessitates close-knit activity, London makes the idea redundant, an ideal of days gone by (community-wise). London challenges the idea of getting together. The very structure itself seems to taunt those who try. Or am I just too old and don't have the energy required?

If Global superstardom/business has power, so to do Unruly Milk. What they give the giants cannot. What Unruly Milk do is connect, instantly, the second you press 'play'. Remember when music was a precious thing? Even though it may have been provided by Global companies, you treasured it, not having the opportunity to say 'No' and opt for an indie alternative until Punk happened and we know how that went. I'm showing my age.

Unruly Milk is Joe Thompson from Hey Colossus / Henry Blacker, and Kek W (ex Ice Bird Spiral, Hacker Farm, etc) with help from Elisa Thompson and Stef Giaconne. Joe calls it The New Wave of Somerset Lo-Fi and I like to believe that's really going to be something. What is this thing anyway? I hesitate to use certain labels about Spilaggges, besides, I'd only make up stupid ones. They say of Jazz that you 'get it' or you don't (try convincing someone that Albert Ayler is worth their time). I feel the same about this music. I won't try to convince you that it's anything, not in the usual way. 

I can't say one song is amazing, one solo, one rhythm or technical (as in kit) wizardry makes it shine. But even the almost-nothingness of Found Anything Yet, Jake appeals to me, at under one minute of rummaging, crashing about, a simple tune on guitar accompanied by whistling and finally, the briefest female voice sighing something.

Nothing here is common, not the 'ambient' moods, possessing as they do something else, a texture in distortion, simple repetition but most of all that feeling of...what? Spontaneity? Perhaps. If it seems 'throwaway' to some that's because they know they cost of everything and the value of nothing. The old values ceased to be significant decades ago yet people still persist in upholding/worshipping them. You know, production values, skill, virtuosity, all of which we treasure in our personal preferences from music of old yet there's no place for them here. 

This, however, is not the hackneyed sound of 'nihilism' and destructive energy (that's been commodified). To use Ornette Coleman's album title, it's 'something else'. Even the song, Western Zoyland, crackles with Otherness, literally a distortion of the Pop song, or 'la-la' vocal whimsy of Folk. Ditto Ambassadeurs, the ruffness of the song barely breaking through the fuzz. The Woods Near Albi, with it's fluttering wings sample, makes a mockery of most Hauntological efforts, being truly atmospheric as opposed to pre-set Ghost Box mimmickry.

Join the 100 club and buy Spilaggges. In doing so you'll be part of the solution, not the problem.

Available from Blackcat Records






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