Matt Mondanile of Ducktails has just released a new tape on El Tule as The Parasails. Equal parts Steve Reich, laid back pop, and Pina Colada, this tape is thirty minutes of airy bliss that could give anyone a much needed taste of vacation, anywhere there is a tape deck. I don't have too much to say about this tape, the best word is 'lush'. The minimalist arpeggios on both sides serve to open up the miniature resort this tape builds on a beach in the mind of the listener and take them on a high-flying journey over sand and sea that reminded me, for whatever reason of the main flight scene from the classic, Chitty Chitty Bang Bang.
Pick it up while its still there, this resort only has one hundred rooms available and they're booking faster than spaces at neverland ranch right now.
9.0/10 http://www.myspace.com/ducktailss
http://www.eltule.org
Thursday, July 2, 2009
Monday, June 29, 2009
The Crux - Now, Ferment
If there is a ruckus being caused in any of the bars within thirty miles of Santa Rosa, California, I would not be surprised to find The Crux at the heart of it. Straightforwardly moving through a wide breadth of song styles centered on a beautiful dark, folk feel, this band doesn't dick around. From the raucous opening track to the surprising final piece, Now, Ferment is a refreshing musical journey.
What stands out the most with this band as opposed to other folk/blues groups that I've encountered lately is the range of feels that they navigate through with apparent ease. Encompassing most of the sonic and stylistic spectrum of modern folk, even closing with an almost GY!BE-esque piece, the group manages to speak all of the dialects of their genre without losing a strong musical cohesion throughout the album. If you like folk or blues by any stretch of the imagination, you will almost certainly find something on this album that strikes a chord in your ears. This is a band to see if they come anywhere near you.
9.0/10 - www.myspace.com/thecruxandfriends www.bitethehand.org
What stands out the most with this band as opposed to other folk/blues groups that I've encountered lately is the range of feels that they navigate through with apparent ease. Encompassing most of the sonic and stylistic spectrum of modern folk, even closing with an almost GY!BE-esque piece, the group manages to speak all of the dialects of their genre without losing a strong musical cohesion throughout the album. If you like folk or blues by any stretch of the imagination, you will almost certainly find something on this album that strikes a chord in your ears. This is a band to see if they come anywhere near you.
9.0/10 - www.myspace.com/thecruxandfriends www.bitethehand.org
Monday, June 8, 2009
The Brown Book - Thirty Nothing
The Brown Book is a name I wasn't familiar with until the band recently contacted me about their album, Thirty Nothing. Based on the press release that they sent along with the album, it seems these guys have been getting a fair amount of press already. This is certainly not undeserved. Going instrumental with a typical band instrumentation is nothing new to music over the last few years, but The Brown Book has brought something unique to the table.
While most instrumental bands attempt to ascend great heights with their music (some with greater success than others), The Brown Book is content to play to their medium in a fairly straightforward way. Walls of fuzzed-out guitars meet drums in a way that might be more expected from band with a vocalist. That being said, this album is happily pretension free. This might be the closest to the punk rock equivalent of the instrumental scene right now in terms of the overall aesthetic of the album. Not overly technical or cinematic, this album is best heard LOUD.
There is something within these seven tracks for just about anyone, at times brutal, at times fairly catchy, great driving music if you like to speed. I'm looking forward to their future output, as the potential here is enticing.
Check these guys out at www.thebrownbook.org
8.7/10
While most instrumental bands attempt to ascend great heights with their music (some with greater success than others), The Brown Book is content to play to their medium in a fairly straightforward way. Walls of fuzzed-out guitars meet drums in a way that might be more expected from band with a vocalist. That being said, this album is happily pretension free. This might be the closest to the punk rock equivalent of the instrumental scene right now in terms of the overall aesthetic of the album. Not overly technical or cinematic, this album is best heard LOUD.
There is something within these seven tracks for just about anyone, at times brutal, at times fairly catchy, great driving music if you like to speed. I'm looking forward to their future output, as the potential here is enticing.
Check these guys out at www.thebrownbook.org
8.7/10
Tuesday, June 2, 2009
Dylan Ettinger - Safari Zone, Bread of the Dead
Dylan Ettinger is a man on a mission. From his face-melting blend of chaos and catchiness that goes into his live set with his band, The Rude Dudes, to his label El Tule, which is putting out a variety of music on cassette, Ettinger exudes passion for music and artistry that belies his age. If you are fortunate enough to have seen him or heard any of his music, it will come as no surprise that his two most recent releases, Safari Zone and Bread of the Dead are both beautiful in their own right.
Safari Zone, which was released on Dylan's own label, is a sterling juxtaposition of groove, chaos, and nostalgia. The opening track of side A, Gameboys begins with the construction of a sonic wall that eventually resolves into a melodic section whose simplicity reminds one of its namesake. The following song, Sub Sub grooves hard and makes use of a veritably infectious synth hook as well as driving percussion and effected vocals to produce a piece that lends itself well to getting lost in the music. The final track of the side begins with meandering percussion, distorted synth swells, distant vocals, and a laser-like drone. This track treads familiar territory for many listeners, and it is to Ettinger's credit that he can own the textures so convincingly. This track builds to a final disintegration resting on a single sustained not and a snippet of conversation, and throughout the build the drummer on the album shows great patience in his part, bringing a dynamic sense that is lost on many percussionists that seem to be merely a time-keeping formality when it comes to playing this sort of music.
Side B opens with the beautiful Love Song which centers around a bell-like melody fed back into itself to make an almost crystalline musical aura. Beneath this comes shimmering swelling textures and chant-like vocals that seem to float somewhere behind everything else. This is not your typical love song, but it might be one of the most honest, owning up to the inexpressibility of its subject and walking the razor's edge in terms of sound between ecstasy and agony, such as can be the case in life. Following this, Ocean Rain defies its new-age-sounding title and puts a different perspective on instrumental reflections on nature's work while still being honest about its inspiration. The final track, the title track of the album, builds off of samples from the game Pokemon, from which the name Safari zone comes. Eventually percussion comes in and propels the track to a sparkling finish that evolves into an almost tribal chant over a drone that sounds beautifully organic, especially given its digital source material.
The second tape that I have of Ettinger's is Bread of the Dead. The opening track is a complementary piece to the second track on Safari Zone, making use of similar instrumentation and some saxophone work by Clark Joyner, the percussionist on Safari Zone. This tape seems more aqueous than the other one and uses a sonic palette that is warm shimmering. On this tape Ettinger makes use of some of the material from the infamous Buddha Machine and bears witness to his ability to paint sonic landscapes with tangible depth.
Overall, Ettinger's maturity in his output is what stands out as his greatest quality. Both tapes are extremely well put together and all of the strengths of the first carry over to the second. It would be useless to say that either is better, except on the basis of textural preference. Furthermore, his choice to put these out on tape rather than on cdr or something similar is a wise artistic choice that really brings out the strengths of the medium itself. The warmth of cassette is done much justice in this music and complements the production style of these two releases. The work and reflection that has gone into these two releases transcends its ephemeral availability. The amount of thought in these two releases is rare in the tape world and is on par with much of the material coming out on much bugger experimental labels.
Ettinger mentioned that a new batch of the second tape will be available soon and that the first is still in print, pick both of them up soon as they will disappear quickly it Ettinger's reputation parallels the quality of his music.
Both tapes get a 9.3/10, to make room for future improvement.
Both releases will be found on the EL TULE page, http://www.myspece.com/tapeseltule
Good job kid.
Safari Zone, which was released on Dylan's own label, is a sterling juxtaposition of groove, chaos, and nostalgia. The opening track of side A, Gameboys begins with the construction of a sonic wall that eventually resolves into a melodic section whose simplicity reminds one of its namesake. The following song, Sub Sub grooves hard and makes use of a veritably infectious synth hook as well as driving percussion and effected vocals to produce a piece that lends itself well to getting lost in the music. The final track of the side begins with meandering percussion, distorted synth swells, distant vocals, and a laser-like drone. This track treads familiar territory for many listeners, and it is to Ettinger's credit that he can own the textures so convincingly. This track builds to a final disintegration resting on a single sustained not and a snippet of conversation, and throughout the build the drummer on the album shows great patience in his part, bringing a dynamic sense that is lost on many percussionists that seem to be merely a time-keeping formality when it comes to playing this sort of music.
Side B opens with the beautiful Love Song which centers around a bell-like melody fed back into itself to make an almost crystalline musical aura. Beneath this comes shimmering swelling textures and chant-like vocals that seem to float somewhere behind everything else. This is not your typical love song, but it might be one of the most honest, owning up to the inexpressibility of its subject and walking the razor's edge in terms of sound between ecstasy and agony, such as can be the case in life. Following this, Ocean Rain defies its new-age-sounding title and puts a different perspective on instrumental reflections on nature's work while still being honest about its inspiration. The final track, the title track of the album, builds off of samples from the game Pokemon, from which the name Safari zone comes. Eventually percussion comes in and propels the track to a sparkling finish that evolves into an almost tribal chant over a drone that sounds beautifully organic, especially given its digital source material.
The second tape that I have of Ettinger's is Bread of the Dead. The opening track is a complementary piece to the second track on Safari Zone, making use of similar instrumentation and some saxophone work by Clark Joyner, the percussionist on Safari Zone. This tape seems more aqueous than the other one and uses a sonic palette that is warm shimmering. On this tape Ettinger makes use of some of the material from the infamous Buddha Machine and bears witness to his ability to paint sonic landscapes with tangible depth.
Overall, Ettinger's maturity in his output is what stands out as his greatest quality. Both tapes are extremely well put together and all of the strengths of the first carry over to the second. It would be useless to say that either is better, except on the basis of textural preference. Furthermore, his choice to put these out on tape rather than on cdr or something similar is a wise artistic choice that really brings out the strengths of the medium itself. The warmth of cassette is done much justice in this music and complements the production style of these two releases. The work and reflection that has gone into these two releases transcends its ephemeral availability. The amount of thought in these two releases is rare in the tape world and is on par with much of the material coming out on much bugger experimental labels.
Ettinger mentioned that a new batch of the second tape will be available soon and that the first is still in print, pick both of them up soon as they will disappear quickly it Ettinger's reputation parallels the quality of his music.
Both tapes get a 9.3/10, to make room for future improvement.
Both releases will be found on the EL TULE page, http://www.myspece.com/tapeseltule
Good job kid.
Thursday, October 23, 2008
Kill and Eat - Green Bushes
Kill and Eat is a name with which I was completely unfamiliar until fairly recently. They recently released an album on Alright now Records entitled "Green Bushes". I have to say, these guys reminded me why I got into reviewing in the first place. The title track of the album is an amorphous piece of musical beauty. The opening section is reminiscent of elements of Silver Mount Zion and brilliantly displays the use of fragile sounding vocals and warm piano to create a sound that wears its humanity on its sleeve. Further into the track more influences seem to creep into the mix, calling to mind rainy day jazz and quirky pop to mind at times.
The following two tracks, or sketches as they are called, show some real compositional sensibilities and bring to light a few new elements to their sound. Overall this album is a solid step in the right direction for a group of musicians that seems to have a smattering of musical and aesthetic influences. This is one of the most universally appealing albums I've heard in a long time, having bits that almost any listener can take and run with. Beautifully compelling.
9.5/ 10 www.killandeat.com
The following two tracks, or sketches as they are called, show some real compositional sensibilities and bring to light a few new elements to their sound. Overall this album is a solid step in the right direction for a group of musicians that seems to have a smattering of musical and aesthetic influences. This is one of the most universally appealing albums I've heard in a long time, having bits that almost any listener can take and run with. Beautifully compelling.
9.5/ 10 www.killandeat.com
Thursday, February 7, 2008
Curia - s/t
Late last year, I received a slew of releases from Fire Museum Records, a relatively young label from Philadelphia, for whom I've done a few reviews in the past. The first that I've finally gotten to is the self-titled debut from the group Curia. The album was also released overseas by the label Ruby Red. This group two guitarists an organist and a drummer, a very typical set-up that fails to reflect the sound the group produces. The album is divided into four tracks that comprise one long improvisation.
At times I am skeptical of improvised experimental projects, simply because they seem to be able to get away with calling anything they can capture on a microphone music. However, upon listening to this album, I was pleasantly surprised by how focused the group was in the execution of a unified musical vision. The improvisation relies heavily on spatial and atmospheric aspects of playing, creating a broad, sparse sound world that the musicians explore throughout the duration. This album has some unique sounds in it and is a great listen for fans of ambient and experimental improvisation. This group has found their sound and their niche, and has the ability to take their music as far as they want in the future, as long as the focus and unity stays intact.
9.0/10 more information and ordering at www.museumfire.com
At times I am skeptical of improvised experimental projects, simply because they seem to be able to get away with calling anything they can capture on a microphone music. However, upon listening to this album, I was pleasantly surprised by how focused the group was in the execution of a unified musical vision. The improvisation relies heavily on spatial and atmospheric aspects of playing, creating a broad, sparse sound world that the musicians explore throughout the duration. This album has some unique sounds in it and is a great listen for fans of ambient and experimental improvisation. This group has found their sound and their niche, and has the ability to take their music as far as they want in the future, as long as the focus and unity stays intact.
9.0/10 more information and ordering at www.museumfire.com
Canterbury Effect - We Are All Dogs
Terre Haute based band, Canterbury Effect came out with a new album on Crossroads of America Records last September, but through various delays and forgetful encounters with Mike Adams, the label's owner, it took quite some time before I acquired it and even longer for me to get around to listening to it. Canterbury Effect has been playing for ten years now and is known throughout Indiana, and wherever else they've played over the years, for their energetic music and genuine personalities as people. Their latest album,We Are All Dogs, had been in the works for some time before it was released, and I had almost forgotten them, having not seen a show in quite awhile, almost...
Having now finally had a chance to sit down and listen to this album, I remember why I enjoyed these guys as much as I did. The songs on this album are catchy and spirited, conveying the energy of the group well throughout its entirety. The sound of the album is more layered and developed than their previous efforts and provides a refreshing step forward for a band that has been around as long as this one has. The songwriting is vaguely reminiscent of some of the work of Tim Kinsella in his various projects, but still holds its own in terms of originality and freshness.
The vocals on this album are a mix of group work, punk-esque alliteration, with some predominating vocal melodies driving a few of the songs. Their sound stays consistent throughout the thirteen tracks, but does threaten to bore toward the end, until the last track which is stands out from the rest of the songs in terms of instrumentation and sound. Overall though, this album is an enjoyable foray into the overlooked regions of music after pop-punk and is a good listen for anyone who hasn't completely given up on music that suggests solid pop sensibilities.
8.9/10 more information and ordering at www.crossroadsofamericarecords.com
Having now finally had a chance to sit down and listen to this album, I remember why I enjoyed these guys as much as I did. The songs on this album are catchy and spirited, conveying the energy of the group well throughout its entirety. The sound of the album is more layered and developed than their previous efforts and provides a refreshing step forward for a band that has been around as long as this one has. The songwriting is vaguely reminiscent of some of the work of Tim Kinsella in his various projects, but still holds its own in terms of originality and freshness.
The vocals on this album are a mix of group work, punk-esque alliteration, with some predominating vocal melodies driving a few of the songs. Their sound stays consistent throughout the thirteen tracks, but does threaten to bore toward the end, until the last track which is stands out from the rest of the songs in terms of instrumentation and sound. Overall though, this album is an enjoyable foray into the overlooked regions of music after pop-punk and is a good listen for anyone who hasn't completely given up on music that suggests solid pop sensibilities.
8.9/10 more information and ordering at www.crossroadsofamericarecords.com
Ed Schrader - The Choir Inside
The night after I saw Teeth Mountain, during the second night of the show I was introduced to the musical anti-virtuoso that is Ed Schrader. Ed approached me and called me out for being a composer immediately. He was a gracious, collected individual that completely reversed my normal role in meeting artists, having been the approchee as opposed to the approacher. Five minutes later I saw this person set up a microphone and prepare for the one-man chaos that was to ensue. Ed's set managed to be compelling and entertaining while he played a humble drum set of a single floor-tom and snare drum and sang lyrics that forced their way into your head as he perpetrated a cacophonous display of determined fervor and raw energy.
After the set, I got to talk to Ed again and he graciously offered me a copy of his album when I mentioned this site. The CD features a whopping twenty-six songs that keep the same raw feeling of his live work, but at the same time demonstrate Ed's approach to various instruments and song forms. Most of the songs on the album are short and out of all of them, only three exceed three minutes. This one-off philosophy and playful attitude that make up this album, as well as the various strange and unique recordings that flesh out the document, come together to create a unique, chaotic brand of music that is truly one of a kind. This collection of songs provides an honest and cynical portrait of the artist and his perception of his place in existence.
The recording quality of the album varies throughout, but is primarily lo-fi to an extent that can be initially frustrating to anyone who has not been introduced through a live show, where Ed flourishes. However the recording fits the music and Ed's vocals are clear in every piece, a feat that is lost on many recordings of much higher fidelity.
8.9/10 more information and ordering at www.myspace.com/edwardhenryschraderiii
After the set, I got to talk to Ed again and he graciously offered me a copy of his album when I mentioned this site. The CD features a whopping twenty-six songs that keep the same raw feeling of his live work, but at the same time demonstrate Ed's approach to various instruments and song forms. Most of the songs on the album are short and out of all of them, only three exceed three minutes. This one-off philosophy and playful attitude that make up this album, as well as the various strange and unique recordings that flesh out the document, come together to create a unique, chaotic brand of music that is truly one of a kind. This collection of songs provides an honest and cynical portrait of the artist and his perception of his place in existence.
The recording quality of the album varies throughout, but is primarily lo-fi to an extent that can be initially frustrating to anyone who has not been introduced through a live show, where Ed flourishes. However the recording fits the music and Ed's vocals are clear in every piece, a feat that is lost on many recordings of much higher fidelity.
8.9/10 more information and ordering at www.myspace.com/edwardhenryschraderiii
Teeth Mountain - s/t
Teeth Mountain is a band from Baltimore that I had the opportunity to catch at a show here in Bloomington. Let it suffice to say that between three percussionists, noisy cello drones, organic synthesizer tones, and a creative musical saw player, this was a performance that blew the lid off of typical mid-west shows and ensnared the crowd in a hypnotic musical spell producing as much wonder as compelling everyone to dance like the apocalypse was imminent. The set was notably and successfully percussively driven and was laden with massive drones, and capped off with a jam on the Baltimore Beat and a fanatic chant of "Face down, ass up, that's the way we like to f**k", which was enthusiastically joined by the almost fanatic crowd. During the days preceding and following the show, I was lucky enough to meet the bold group that put on such a boisterous display and also get a copy of their self titled, limited edition debut album.
This band seems to have a multiple personality complex in terms of their recorded work as compared to their explosive live show, presenting themselves as an amorphous musical entity that defies easy descriptions. The album, which contains eight tracks of varying lengths, is a creative document of musical ideas and voices that shows a distinct musical palette through which this group of players successfully makes complex and downright catchy noise-based, percussive music. The CD is well recorded and successfully allows each song to speak in its own way, while forming a cohesive whole whose only drawback is the brief length. This band seems to be on a mission to bring as many people as possible into the world of noisy music without forcing their hand in any way. Upon seeing this band and subsequently listening to the album, it is clear that if they play their cards right we will be seeing and hopefully hearing a lot from this band in the near future.
A quick note on the packaging of the album: It is handmade and features a hand sewn plastic sleeve around a cardboard sleeve and small sheet of liner notes that feature creative collage work by one of the members of the band.
9.5/10 more information and ordering at www.myspace.com/teethmountain
(It is definitely worth the effort to track down one of these discs if you can't make it to a show, and if they do come your way be sure to catch them as their shows are downright mind-blowing fun and they need your support.)
This band seems to have a multiple personality complex in terms of their recorded work as compared to their explosive live show, presenting themselves as an amorphous musical entity that defies easy descriptions. The album, which contains eight tracks of varying lengths, is a creative document of musical ideas and voices that shows a distinct musical palette through which this group of players successfully makes complex and downright catchy noise-based, percussive music. The CD is well recorded and successfully allows each song to speak in its own way, while forming a cohesive whole whose only drawback is the brief length. This band seems to be on a mission to bring as many people as possible into the world of noisy music without forcing their hand in any way. Upon seeing this band and subsequently listening to the album, it is clear that if they play their cards right we will be seeing and hopefully hearing a lot from this band in the near future.
A quick note on the packaging of the album: It is handmade and features a hand sewn plastic sleeve around a cardboard sleeve and small sheet of liner notes that feature creative collage work by one of the members of the band.
9.5/10 more information and ordering at www.myspace.com/teethmountain
(It is definitely worth the effort to track down one of these discs if you can't make it to a show, and if they do come your way be sure to catch them as their shows are downright mind-blowing fun and they need your support.)
The Drift - Memory Drawings
The Drift could quite possibly open the world of jazz to a new generation of listeners and break open a can of worms in terms of the future and destiny of the music that many listeners today still associate with their parents or grandparents and stiffs in suits. Their debut 12", Streets/Nazomi, and their subsequent full-length, Nuomena, opened many sets of ears to a sound that was both laden with old-school sensibilities and the medium for a new sound that was, and still remains, completely their own. Their other, vinyl-only songs were just released in a collection entitled Ceiling Sky. This catalog, along with their release for the Travels in Constants series, which I have sadly not heard, has been enough to, in my mind at least, establish them as a unique voice in music that should be heeded.
Their latest effort, Memory Drawings, furthers their musical odyssey, helping to solidify their place in music and at the same time keep both curious first-time listeners and devoted fans guessing. With the eight songs on this album, the band's sound matures and develops into a profound aural world that pushes the boundaries of both their own sound and that of their peers in various jazz and experimental groups making waves right now. I have to say that this album is probably their best work yet, and surpasses both their initial 12" and full-length by a substantial margin. Dense, contemplative horn tones meet evocative guitar melodies that thrive in a musical world grounded by one of the most tasteful rhythm sections out now. Over all Memory Drawings expands The Drift's world to a perspective that is more focused yet beautifully ambiguous. Definitely something to check out whether a first-time listener or faithful lender-of-ear.
9.8/10 more information and ordering at www.temporaryresidence.com
Their latest effort, Memory Drawings, furthers their musical odyssey, helping to solidify their place in music and at the same time keep both curious first-time listeners and devoted fans guessing. With the eight songs on this album, the band's sound matures and develops into a profound aural world that pushes the boundaries of both their own sound and that of their peers in various jazz and experimental groups making waves right now. I have to say that this album is probably their best work yet, and surpasses both their initial 12" and full-length by a substantial margin. Dense, contemplative horn tones meet evocative guitar melodies that thrive in a musical world grounded by one of the most tasteful rhythm sections out now. Over all Memory Drawings expands The Drift's world to a perspective that is more focused yet beautifully ambiguous. Definitely something to check out whether a first-time listener or faithful lender-of-ear.
9.8/10 more information and ordering at www.temporaryresidence.com
Caroline - Murmurs Mixes (itunes exclusive)
My first reaction upon receiving this particular release was that Temporary Residence had completely cut its budget for packaging. (The disc was a black image on a shiny-top cd in a plain, artless jewel case.) Thirty seconds later, as I read the press release, I was even more shocked to find out that this label that I have followed attentively for years was going digital, with an album that is only to be released on iTunes. Not that this is necessarily a bad thing, but it seemed out of character for a label that advised its fans to burn their copies of Explosions in the Sky's All of the Sudden I Miss Everyone when it made it to the top-seller charts. However, my initial reaction was completely turned to immediate relief as I pressed play for the first track.
Caroline has one of the most angelic voices to see the light of day that I have encountered in a long time, and her debut, Murmurs is one of the most intoxicating vocal albums of recent history, and has somehow still managed to go unnoticed by many. Luckily those "in the know" have been following and enjoying this album for awhile now and if, like me, they are eagerly awaiting a follow-up, this collection of innovative and intimate remixes will do wonderfully to tide them over while she works on more music in the future.
As usual with Temporary Residence, these remixes are not just gimmicky uses of a chorus and musical excerpt thrown over a dance beat. These are legitimate, beautiful re-workings of the songs that reflect talented, focused efforts and as much care as is possible while working to reflect an idea that is not originally that of the artists at hand. These remixes serve as beautifully composed musical cushions, on which the crystal tone of Caroline's voice rests. It really is a shame that this is a digital-only release, seeing as this would be an album that I would cherish on vinyl. Honestly though, for all the purists out there, this collection of heavenly music is worth braving iTunes, and if I was in a different position, might push me to actually download an album, which I have never considered seriously before now.
9.2/10 more information and ordering at www.temporaryresidence.com
Caroline has one of the most angelic voices to see the light of day that I have encountered in a long time, and her debut, Murmurs is one of the most intoxicating vocal albums of recent history, and has somehow still managed to go unnoticed by many. Luckily those "in the know" have been following and enjoying this album for awhile now and if, like me, they are eagerly awaiting a follow-up, this collection of innovative and intimate remixes will do wonderfully to tide them over while she works on more music in the future.
As usual with Temporary Residence, these remixes are not just gimmicky uses of a chorus and musical excerpt thrown over a dance beat. These are legitimate, beautiful re-workings of the songs that reflect talented, focused efforts and as much care as is possible while working to reflect an idea that is not originally that of the artists at hand. These remixes serve as beautifully composed musical cushions, on which the crystal tone of Caroline's voice rests. It really is a shame that this is a digital-only release, seeing as this would be an album that I would cherish on vinyl. Honestly though, for all the purists out there, this collection of heavenly music is worth braving iTunes, and if I was in a different position, might push me to actually download an album, which I have never considered seriously before now.
9.2/10 more information and ordering at www.temporaryresidence.com
Wednesday, February 6, 2008
Horseback - Impale Golden Horn
Horseback is the solo project of one Jenks Miller from North Carolina. This is his debut recording on Burly Time records. Miller's timing is great in terms of the shift in the acceptance of new music that seems to be taking hold of more scrutinizing listeners across the board. Impale Golden Horn is reminiscent of the work of Eluvium up to his EP "When I live by the Garden and the Sea" while maintaining a musical dialect that is completely his own. Using tranquil shimmering in the opening piece of the album as a springboard, Miller successfully demonstrates a dynamic, thorough sense of compositional patience and developmental restraint.
From Finale, the opener, to the last notes of Blood Fountain, the closing track, Miller maintains a methodical development that is both aesthetically pleasing and very well captured, as the sound of this album maintains a lightness that is easy on the ears while not preventing the dense sound sculptures to flourish. This album was very rewarding to listen to as a whole, presenting the listener with gifts of subtle change at times that are both fulfilling and surprising. Being this his first effort, I am really excited for what this artist will pursue in the future. To use a metaphor, while he is not the first to start speaking this language, he has certainly begun with a vocabulary that is diverse and certainly not typical, even for much more experienced writers. I hope that he keeps up his efforts and look forward to see what Miller will have in store for us in the years to come.
9/10 More information and ordering at www.burlytime.com and www.myspace.com/horsebacknoise
From Finale, the opener, to the last notes of Blood Fountain, the closing track, Miller maintains a methodical development that is both aesthetically pleasing and very well captured, as the sound of this album maintains a lightness that is easy on the ears while not preventing the dense sound sculptures to flourish. This album was very rewarding to listen to as a whole, presenting the listener with gifts of subtle change at times that are both fulfilling and surprising. Being this his first effort, I am really excited for what this artist will pursue in the future. To use a metaphor, while he is not the first to start speaking this language, he has certainly begun with a vocabulary that is diverse and certainly not typical, even for much more experienced writers. I hope that he keeps up his efforts and look forward to see what Miller will have in store for us in the years to come.
9/10 More information and ordering at www.burlytime.com and www.myspace.com/horsebacknoise
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