Cameron Stallones, the man behind the wonderfully weird vibes of Sun Araw, gave us a more “sanitized” sound on “The Inner Treaty.” But don’t flinch, he hasn’t let his hot and dubby drone-rock go the way of sterilized studio work. Instead, he’s gone to the moon. And if you didn’t know this from Scientist, space is also a place to get dubwise.
If you picked up “On Patrol” or his collaboration with the legendary Congos then you’ll be ready for this one, though it is sparser to start instrumentally. It’s in the space between that he’s allowed his work to breathe and get weird(er). Opener “Out of Town” seems stretched to it’s furthest nth listenable, with reverberated vocals bounding in to keep you hanging on. As the album goes along the space closes in, until you reach the undeniably catchy and squiggly “Like Wine,” ending side one.
Cameron’s enthusiasm for his own decadently interesting tunes are exclaimed in simple statements of “Alriiiight!” and “Yeeeeaah!” throughout the disc. If each Sun Araw album could represent a time or place, they would actually all be considered very now and very near. “The Inner Treaty” is another beautifully contorted act committed to vinyl; Sun Araw brings a fizzing concoction of musical updates to your stereo. Reason to cheer! -Wade
It’s the work of Eno and Klaus Schultz fleshed out without ego, for the satisfied id’s of post-rave home listeners. Well, Boards of Canada are actually not those guys, but two fellows from Scotland recording for Warp around the second half of the Nineties on…
Along with the likes of Aphex Twin and contemporaries on the Planet Mu label, Boards of Canada made music that seems to work best before and after dancing, or any space between for that matter. Such is modern life. Prompt command line:
Actually, “Music Has the Right to Children” has a number of sketches as opposed to straight ahead dance tracks like opener “Wildlife Analysis” and “The Color of Fire” that show very different moods using the same equipment. These songs go any direction they please other than directly heavenward.
But don’t get the idea that this is purely ambient swirl working within techno parameters, though. Many of these songs are up front and fully formed, just not quite dance floor optimal. Give “Rue The Whirl” a spin and the downtempo vibe of Boards will be apparent. -Wade
A culmination of noise, Bossa Nova and The Face have wrought the career of “pop musician” Arto Lindsay. He made a big splash as one of New York’s favorite noisemakers in the three-piece of DNA. His Latin roots set in more firmly later on, when he fronted Ambitious Lovers and began work on his solo albums.
Arto became comfortable making sultry Brazilian music and made exception to cover Prince’s “Erotic City” plenty of times in the 90’s. “Invoke” shows Lindsay treading new ground away from his jet-setting idea of soul and into cerebral mood music of sorts… With his newfound confidence in sampling abilities, he plays with these forms as much as he did earlier with Brazilian crooning and detuned guitar. It’s a pretty tall order, but in Lindsay’s hands these styles come together well. Not that he’s some fancy fashioner; Arto remains earnestly self-taught and his stints in North and South America lead to genuine results and a modern, international sound.
The real standouts seem to sound as lush as luxury in NYC. “Ultra Privileged” and “You Decide” are bright tracks of mood music. Arto’s signature guitar work has been subdued from terrible noise to playful chirps, asserting itself into many song rhythms. More a studio effort than a document of his live abilities, “Invoke” is, in short, an Arto album to hear while drinking wine and wearing silk pajamas, particularly with a hip lover. -Wade
Ten years old! And hardly a blemish on this self-titled LP by everyone’s favorite party group of NYC hipsters. James Murphy (alleged Mark E. Smith impersonator, former Six Finger Satellite sound guy) did most of the work on these tracks, with a little help from his friends and future live players.
Spotted with hits, tracks of mashed up genres come together in a mix of dance, punk and psychedelia drenched in electronic residue. After the release of the totally-meta “Losing My Edge” single, Murphy still had opportunities to sport irony and pretension. “Daft Punk Is Playing At My House” kicks side one off and from there takes you to the bonafide pop of “Tribulations” and the Suicide-esque pummel of “Movement,” which probably has the most lyrical heft of the record’s time:
“It’s like a movement/without the bother of the meaning
it’s like a discipline without the discipline of all the discipline”
Bands have to try so much harder these days, not to succeed, but to avoid pastiche. Or in LCD’s case, work to rise above it and approach music making in earnest. What can all this familiar music mean? Or, what can it be perceived to mean? Real or imagined, these are the pitfalls that LCD manages to dance around. And you get to dance around too, especially on “Thrills,” “Disco Infiltrator,” etc;
Hardly being lumped in with other dance-rock diminished returns of the day (and there were a lot of them, oh boy), LCD’s first release manages to harken back and still sound fresh. And moments like “Never As Tired As When I’m Waking Up” shows that Murphy is just as good a songwriter as he is a studio head. He loves his music, and if you like his long list of refs and citations, chances are you probably will too. -Wade
Coming out of nowhere (actually, rural Pennsylvania), Black Moth Super Rainbow are quite an enjoyable anomaly. Working with samples, synths, vocoders and a living, breathing rhythm section, BMSR produce a sort of electronic psychedelic pop informed by all sorts of contemporary sounds.
On “Dandelion Gum,” a mid-period release, it all comes together in the best possible ways. “Jump Into My Mouth and Breath The Stardust” is meditative with it’s acoustic guitar samples and sounds somehow folky, despite vocoders heavily transforming vocals. “Melt Me” is a pure sugar rush for your speakers with fat electronics, maracas and a killer bass line. And “Rollerdisco” sounds as if it was disco-edited library music from a PBS channel; hipped-up space age material reminiscent of Stereolab.
Side one is chock full of these meshed, unique tracks. Side two has a few detours; many of the songs are simple demos or snippets. One is even called “Untitled Roadside Demo,” and just off the cuff you can tell that the players here have found something special with each other. Recommended if you’ve ever liked a Ghost Box release, The Books, or library music in general. – Wade
If I was hard-pressed to name a group important in music after the turn of this last century, live or on record, then Black Dice would probably make that list, near the top. Not quite affiliated with any subculture in the DIY/noise/hardcore contingent, they have always been carving their own path, going after what sounds good to their particular ears.
That’s good, because taking a feedtube of straight punk, or avant-garde, or whatever “out” material that’s lying around is a sure way for a group to marginalize themselves these days. The Black Dice instead listen to Carly Rae Jepsen or Cheap Trick or AC/DC or a local Disco station around Brooklyn… And that’s how we see what’s beneath all the tones, feedback and strange electronic romp; skewed and fragmented pop and rock hooks otherwise recognizable across America.
So here on “Mr. Impossible,” the last offering we have by the Dice who are now a trio, we have probably their tightest and most accessible album to date. It can still have people running from a room, but the hooks made by their strange machines are all live, and sometimes they can swing, even appearing conventional at times. And there be lots of hooks! Opener “Pinball Wizard” could rival the Peter Gunn theme if 30 seconds of it were inserted into some new crime series. “The Jacker” is a whirring, back-to-the-start groover that eventually breaks out and escalates wildly. And “Spy vs Spy” harks back to their older material; more cerebral, full of druggy loops.
It’s quick and easy to compare the Black Dice at a glance to the No Wave camp of artists that made NYC home. And the ultimate aftermath of that: groups and individuals working with anything, taking shape and eventually regressing/progressing to either rock-out or groove. Yeah, Black Dice do that, but it’s a new century and there are new forms to mesh. -Wade
21st Century music has led to some pretty interesting permutations. Sounds and rhythms and equipment that was forsaken by underground rock purists (in America) suddenly didn’t register as taboo anymore with a younger generation hungry for new styles to consume.
Like labels Olde English Spelling Bee and DFA, the work put out by the California tastemakers of Not Not Fun and their dance-oriented offshoot 100% Silk mix the spirit of underground autonomy with adventurous production. Not Not Fun’s founder, Amanda Brown, releases albums under the name LA Vampires, and produces one-off projects with many of the her labels stablemates.
On “Freedom 2K” she took a shine to house producer Octo Octa, who makes sleek and shiny tracks in comparison to other label affiliates. Whereas previous LA Vampires output was murky and bubbly, a fringe dance interest, this album can be seen less as an outsider work and more like something you might really hear in a high-end club. Tracks “Wherever Boy” and “Freedom 2K” are lush, golden tracks for clubbing. “His Love” and “Found You” may be just as suitable for a chill-out room or home listening as they are on the floor.
Slender beats and hardcore bass shifts all over, “Freedom 2K” is a great introduction to an underground label that that doesn’t see dance-music making as a curiosity, but as a future. -Wade
When one pushes synthetic sounds to the realm of unreal and back again, what else is left to do? Brian Eno’s work behind an engineering board had taken him far and far out by 1990… The exciting world music he had envisioned did not match the world music found in the New Age marketing-niche of the previous decade, and albums bearing his name seemed to carry his signature thumbprint, even when thoughts of strong structure more or less faded away with each LP.
On “Wrong Way Up” the studio still acts as the lead instrument, but song structures make a return. And who better to help Eno return to strange but impactful songwriting than musical-foil John Cale? All sorts of beats and chirps assembled throughout these tracks are meshed through Cale viola, not to mention any sort of instrument the duo could get their hands on. What they come up with most of the time are musical figments riding chopped and screwed grooves.
Lyrics are not esoteric but definitely familiar to fans of either Eno or Cale; impressionistic views presented in a pop context. The results can be surprisingly affecting like on “Cordoba” when repetitious mentions of buses and stations highlight an obvious separation, or on choice single “Spinning Away” with it’s constant citing of colors and shades.
Eno and Cale are to pop what they were to Rock… That is, artsy. And like Duchamp’s urinal, placed the wrong way up. -Wade
A bold and visionary statement from German guitarist Gottsching who masterfully blends subtle low key electric guitar improvisations with washes of ambient electronica to create a timeless otherwordly soundscape that draws in the listener. As stated this is the track sampled for the Balearic scene hit “Sueno Latino”.However to hear the full piece is a much greater joy.The familiar riff is spread over about 40 minutes while runs of improvisation drift in and out of the mix.The electronic backing is what makes this record so special though as it makes it impossible to gauge what era the music comes from.It simply hasn’t aged one bit. A unique record that will please lovers of many genres. –A