True enough, the song has a scabrous bloodthirstiness not heard from the Atlanta band since bonus album Weird Era Cont. But often overlooked is how it carries out that record's vision of a "cassette cathedral. Pals the Black Keys called this approach "transcend-fi," but that too potentially distracts. And that's just it: Refusing to distinguish romantic obsession from musical fixation, provocation from hooks, and finally "mono, monomania The metal-on-metal rhythm that drives the track is a prime example of noise using industrialization against itself, using machines to exhume feeling lost by technocracy.
The thunderous beat hits deeper than any other drum pattern this year-- extreme music groups should sample it wholeheartedly. Chardiet's warbling voice sounds like a distress call from an alien world, and the reinforcements aren't around to hear it. She convinces you, at least for the song's duration, that there is no return.
Her dystopia becomes yours. There is no great catharsis; disease looms over long after the album's ceased. Never mind all the high-concept pre-release hijinks that they engaged in this year: at their core, Arcade Fire are ruthless creatures of habit.
Since 's Funeralthey've saved the arguably best song for almost last, with the five-minutes-and-change hands-across-Montreal moment squeezed in the penultimate slot on each of their albums. So here we are with "Afterlife", the latest and perhaps greatest entry in this tradition, and its placement is especially crucial on the sprawling, ambitious Reflektor. Carnival Bizarre - Cathedral - The Carnival Bizarre (Cassette at the tail end of the album's dense, almost suffocatingly maudlin second disc, the effervescent, radiant shuffle of "Afterlife" is a very necessary cold glass of water to the face, with an earwormy wordless chorus that closely resembles Howie Day's Alexandra Patsavas-core smash " Collide ".
Bucking Reflektor 's fixation on societal alienation and fear of technological dependency, "Afterlife" dials back the hand-wringing to address the one force that, try all you might, you can't fight: death itself. Lyrically, Win Butler drops his megaphone and his guard, cursing the notion of even considering what happens after we pass our expiration dates before trying, in vain, to take a stab at knowing the unknown.
And it all leads up to a pleading chorus so ebulliently undeniable that Butler cuts the third verse in half, just to get to it sooner. Choose your favorite School Band-inspired shirt style: v-neck or crew neckline; short, baseball or long sleeve; slim or relaxed fit; light, mid, or heavy fabric weight.
Moisture-wicking active t-shirts are here, too. T-shirt colors are available in the best-selling black, the classic white, and many others. School Band T-Shirts 10, Results.
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It's not something I necessarily understand, I must admit. This is quite noisy, quite heavy, but the music lacks a bit of power I think. It surely could have benefitted from some additional mastering. Everything on this CDR is a bit on the low side, volume wise, which takes away some of the sharpness of the music I would think.
But even then I doubt if I would enjoy it very much. Lots of distorted sounds from sound effects, heavily processed vocals, which are supposed to evoke nightmare type of stuff, or some sort of obscure ritual. Maybe, just maybe I saw this being played live, and providing there was no blood spatter ritualistik on stage, and with an appropriate volume, I may even enjoy this. But now, cramped together on this CDR, I am hardly convinced at all. Maybe if you are a noise head with Album) satanic obsession you could tell me what I fail to see.
So, occasionally I get something new, and here's a thirty-two minute EP recorded in Iceland, a few months back. Already dark enough over there to start thinking about Christmas, as Silber Records asked them for a download only with the idea of that season in mind. The results are also available as a highly limited CDR on the bands own 'Orphanology' label. Twelve pieces, from a handful of seconds to almost nine minutes, there is a bit of field recordings in here, which have a lot of guitar and electronic sounds, along with whatever field recordings were used in this.
Lots of spacious stuff flying about in this dark days, but I wonder where the component Christmas fits into this, other than perhaps some more desolate playing, but hey, that can be done anytime and anywhere. It's a fine release with some highly atmospheric tunes and textures and given the fact that the rain pours down today, just before Christmas; this is probably the right bunch of tunes for the right time indeed.
Since much of their music is generated through improvisational means and via rehearsed songs, everything is recorded and a tour document is assembled by using these recordings to create something new, most likely by creating a collage of these recordings. It's probably not very likely to say: oh this bit they played in my town.
Everything is source material for something new. I have a feeling this cassette deals with some of the more experimental music of Drekka. Nicely obscured sounds from playing around with contact microphones, vocalisations from humming around and spacious yet lo-fi electronics. This is away from the constructed songs I just heard on the CDR or some of their earlier, perhaps also less rock like.
Drekka remains something of an unclassifiable musical act, and that's a great thing. This may all suggest a bit of noise, but it isn't. Here we have a duet for two keyboards and maybe some effects, or maybe one keyboard and a guitar.
For just over thirty minutes they improvise together and it's never noisy or such like, but in the earlier part of the it's a bit more psychedelic, but as the piece evolves, it becomes gentler and spacier, until at the very end it's almost like cosmic music.
After the twenty-minute mark it seems to be just keyboards. It's all together not really a gentle flow, and perhaps somewhat loosely organised and not entirely flawless but: it's a live recording it actually works quite well. Of the two releases with Ed Pinsent this week this is the one that I like way better.
It's something I wouldn't have minded seeing in concert myself. On cassette we find Jason Kahn with two live recordings fromone from Brighton and one from Ghent, Belgium. Kahn plays analogue synthesizer, mixing board and short wave radio. In both of these concerts we find Kahn at his more experimental doing. In his usual work he displays more of love minimal and sustaining sounds, but in these two pieces everything buzzes and hisses, scratches and bumps.
The shortwave radio even leaks 'real' music, effectively killed by Kahn after a Album) moments. I am not sure but I wouldn't be surprised to learn that these two concerts were chosen for this release because of the similarities in approach.
Kahn always knows how to surprise the listener and this cassette with live recordings is no difference. The first one is by the recently very prolific Francisco Meirino, who besides producing music is also a father. And kids have toys that make sound, which in the hand of Meirino is another instrument.
In the eighteen-minute piece he uses binaural microphones to record some of the toys and their sound qualities: rattling, buzzing and shaking, the outside as well the inside - motors and such. Meirino then creates a piece of music with all of these recordings. He layers them together and edits them into what one could perhaps call a typical Meirino composition. Sharp, brittle sounds, many layers together but so that are still defined and with a couple of sharp edits: cutting out and make a completely different changeover.
Unlike many of his other pieces it takes a while before electronics are in play - assuming actually these a motor sounds - only after twelve minutes this happens. Before that it's a lot of crackling, making this more of an acoustic thing. It's a fine work, something that is a bit different from his other work but not his best. Maybe some of the sounds in the earlier part of the piece could have used a bit more variety.
The latter is a double bass player also regular bass and guitaractive as an improviser and composer, while Cooke is normally a percussionist playing traps and waste disposal sink, but in this duo he takes up a role as a recordist. Check out some videos of their concert on Vimeo and you know what I mean.
By scanning various reflections and surfaces he picks up the bass close by and a bit further away. Here we have two pieces of nearly twelve minutes each in which the double bass mainly plays drone like sounds with the bow on the strings and with lots of spatial qualities to it.
Everything seems to be resonating, but rather in a beautiful way, especially in the second track, which is my favourite here.
Some very intense pieces of music indeed. The first piece seems to be a bit more loosely organized and owes more to 'regular' improvisation: maybe it's harder here to figure about what the role of Cook is. Altogether I'd say a pretty interesting release. They have three lengthy cuts on this thirty-minute of excellent noise rock. Their drums might be coming out of a box, or played on a drum kit, but the guitars are surely played through lots of stomp boxes to create a lovely psychedelic and minimal noise rock.
The references here are to Skullflower, but I would think the whole genre of noise rock meeting krautrock is as much a valid reference. Play Loud music would be the best tag for this music. A heavy rolling rock of music. Henry Plotnick is thirteen years old, still not the youngest ever artist reviewed in Vital Weekly. His music is something entirely different. In all the quoted reviews on the press text Vital Weekly is surely not the first to review this we read he's eleven years old, but maybe they refer to earlier releases?
Plotnick plays the synthesizer - check out the labels' website for some pictures - and the names that are dropped include Cluster, Terry Riley, Brian Eno, a lighter William Basinski or David Lynch, which surely made me curious having played a load of Cluster records just the other day.
He plays his keyboard along with a loop pedal and that's it. Of all the references I can see most clearly the link with Cluster - perhaps having just heard them - in most of these pieces. It has a similar Farfisa organ sound, put on endless repeat and Plotnick adds some weird, percussive sounds to it.
Sometimes a bit too naively, or a bit too long for my taste, but somehow it works quite well. It's certainly all oddly free music, recorded in some rather lo-fi way, which seems to fit the mid-seventies Cluster vibe.
I think this guy can go places, given some self- help on a bit more structuring and composing. Nice one! Oh, both of these tapes actually. On the first we find two microtonal improvisers at work: Robin Hayward who plays tuba and Morten J. Olsen the well-known percussion player from Norway.
Here he plays rotating bass drum, and Hayward the microtonal tuba, so everything is quite low end. It's a work of improvisation but they have been putting it all together through means of layering - more bass I would think - to generate a complex web of sounds that may remind the listener of drone music made with a bunch of low filters from analogue synthesizers. Sometimes the bang on the drum reminds us this is in fact something else, which is quite nice. This is music that sucks you into it, the sort of acoustic noise that I like.
Backwards - Various - Essential Underground Hip-Hop 2 (CD), Raleigh - Arcwelder - Pull (Vinyl, LP, Album), Pat Boone - Dont Forbid Me (Vinyl), Upotreba Majmuna - Gustaph Y Njegovi Dobri Duhovi - V (Vinyl, LP, Album), Whos Kidding Who - The Jane Does - You Bring The Devil (CD, Album), Rubberduck (From The Rubberduck Ep) - Various - Promo Only UK Underground Beats: March 2007 (CD), Bumble Boogie, Dick For Brains - M.D.C.* - Millions Of Dead Cops - Millennium Edition (CD, Album), Destination Unknown (RADs White Label 12 House Mix) - Missing Persons - Walking In L.A. - Dance Mixe, New Orleans - Iggy Pop And The Stooges* - Live In LA 73 (CD, Album), Sigue Sigue Sputnik - Second Edition Rebel Rebel (Flexi-disc)