Review: In the grand tradition of German psychedelic rock and early electronic music, Ash Ra Tempel's 1971 debut is something of a ground zero. Whatever you think of the krautrock tag, the coterie of artists and innovations associated with the era and movement begins right here. This 50th anniversary edition of a truly seminal album takes us back into the heart of the band and their big ideas, as spelt out in the manifesto from Manuel Gottsching which has been faithfully reproduced in this lavish edition. From the psych freak out of 'Amboss' to the swirling soundscape of 'Traummaschine', this is as landmark as it gets.
Review: The rise of Black Midi has been hard to keep up with over the past few years. Their first release was no less than a link up with Can's Damo Suzuki in 2018, and their Schlagenheim debut LP followed promptly afterwards and won them unanimous praise the world over. Since then, they've blazed a trail out in front with an angular confection of art punk that's catchy and obtuse in equal measure. After 2021's Cavalcade, they're back with Hellfire, a third album which builds on the melodic growth of their last while notching up the intensity. Lead single 'Welcome To Hell' comes snarling out in a cacophony of funky, discordant bombast - the sound of a band relishing their success as a springboard for bigger, wilder ideas.
Review: Palto Flats and Putojefe Records present the first ever reissue of a truly mysterious record from the experimental extreme of folk, drone and experimental dulcimer. Dorothy Carter only released a small handful of records, but Waillee Waillee has since attained a mythical status amongst those in the know. It's not hard to understand why from just one listen, as the lilting bed of zither and dulcimer forms a dense blanket of harmonious drone upon which Carter's voice soars with a choral serenity. It's stirring and spiritual, calling to mind the powerful effect of Laraaji's music but tipping more towards a folk tonality which makes the music entirely unique.
Review: The Moon and the Melodies, a remarkable collaboration between Cocteau Twins and ambient pioneer Harold Budd, remains a standout achievement in both artists' repertoires. First released in 1986, this enchanting album is now receiving a well-deserved vinyl reissue, meticulously remastered by Robin Guthrie from the original tapes. This album is a stunning fusion of the Cocteau Twins' signature dreamlike atmospheres with Budd's elegant, improvisational piano, resulting in a listening experience that is both expansive and deeply personal. The blending of Elizabeth Fraser's ethereal vocals, seamlessly intertwined with Guthrie's luminous guitar work and Raymonde's resonant bass, creates a sound that is both distinct and evocative. The album effortlessly balances vocal tracks with instrumentals, each adding to its rich and diverse sonic palette. This reissue offers a chance to rediscover a defining moment in the evolution of dream pop and ambient music. The Moon and the Melodies continues to stun audiences. This CD edition is the perfect vehicle to an ethereal beauty of the highest order.
Review: Acclaimed Japanese artist Cornelius is back with a new three-song EP, Bad Advice/Mind Train, featuring a collaboration with Arto Lindsay. The EP's first single, 'Mind Train,' is an epic nine-minute track inspired by Yoko Ono which blends ethereal space-pop with minimalist structures and bursts of exhilarating chaos. Cornelius describes 'Mind Train' as a symbol of spiritual and inner exploration that is designed to prompt self-reflection. The accompanying video, created by renowned visual stylist Keita Onishi, enhances this journey with stunning retro-futuristic graphics that allow you to explore your own interpretations.
Review: Pom Poko have matured significantly with their new album Champion, which is a rather profound and uplifting post-punk effort. Vocalist Ragnhild Fangel Jamtveit, bassist Jonas Krovel, guitarist Martin Miguel Almagro Tonne, and drummer Ola Djupvik are more connected than ever here both personally and musically. Unlike many bands that use the term "family" all too loosely, Pom Poko has truly become a tightly-knit unit through extensive touring and what they say is a rigorously democratic songwriting process. Their focus remains on staying true to their artistic values here while also pushing the boundaries of their dynamic and often chaotic sound.
Review: American experimental rock band Puscifer were first formed in Los Angeles by Maynard James Keenan, best known as the lead vocalist of the groups Tool and A Perfect Circle. First released in 2008, D Is For Dubby lay among the first album-length dub version sessions to ever be released, owing to the eclectic taste and subsequent remix motive of one Brian Williams aka. Lustmord. Not homing in one any one Puscifer album but rather playing selector over a ream of the band's best works, Lustmord does plenty work to retain the sonic character and tempi of Keenan and co's recordings, albeit also squarely fleshing out the dub aesthetic potential within them, with the likes of 'Queen B' and 'Indigo Children' mixing the dark prog feel of records like V Is For Viagra with the hard digidub impacts and womps of Lustmord's very own sonic terrestrials.
Review: In many ways Spiderland is lucky to exist., Slint weren't exactly the most avid studio band in the world, only recording two full length albums during the five years in which they were properly active. They also disbanded around the time this record was released - 1991 - perhaps even shortly before, which could have scuppered any plans for their difficult second even after they managed to emerge from a recording facility with enough tracks.
But what tracks they are. Spiderland is rightly considered an absolute landmark, an LP that captures the spirit of rock 'n' roll in transition. Leaving one decade behind, and the hardcore punk that had dominated the underground guitar scene, while still retaining those ethics, it has one foot in grunge, another in experimental, another in garage and a fourth somewhere else. Enough limbs to mark it out as a real mutant.
Review: Multi-disciplilnary Swiss artist Zimoun makes large-scale installations of noise and movement from cardboard, DC motors and other industrial objects. He has shown them in prestigious museums and galleries across the globe and now in his new album ModularGuitarFields I-VI he has relied on just one instrument, the Tenor Baritone Guitar, which he has then fused with elements of a modular synth setup and a vintage 1960s Magnatone Amp. It is a deliciously atmospheric work of raw sound, hints of psychedelia and gritty microsounds that are like scone sculptures that evolve as you listen and make for a hypnotic experience. Each new listen reveals a fresh layer to get lost in and as such makes for a fascinating album.
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