Cyclic Defrost Magazine

Posted: 13 Jan 2009 06:30 AM CST

Labfield are a Swedish experimental duo who create this intriguing slightly mechanical improvised drone music. The opening piece Gin vaguely contextualises things. On one had you have the odd dose of electronics, an almost wind up rickety alarm clock, and on the other bowed strings. They are the two halves more or less, but gradually throughout the next 24 odd minutes they begin to coalesce as the density increases, and new sounds are introduced and it becomes a whole, this one whirring purring lightly throbbing highly textured drone. It’s like how you’d imagine the delicate machinery in a doll factory to operate, metallic, drony, yet also small and fragile. It’s hard not to be overwhelmed by the beauty of the textures, and it’s intriguing that the duo elect not to engage in the the kind of wooly bass heave rumbles that most drone music seems to enjoy, and instead highlight the intricacies of the textures they’re working with. In search of progression the duo then become a little more haphazard, with some jangling metal and very liberal use of something deep and thumping, signaling that the moods they achieve are quite transitory and it’s best not to get too attached.

It’s an inspired combination, Swedish guitarist David Stackenas, who uses prepared guitars and guitars as resonators as well as low budget electronics and Norwegian percussionist Ingar Zach, who offers real percussion and then sets up a whole bunch of toys in particular a couple of Indian electronic instruments such as electronic sruti box and saranghi box which are great for Eastern sounding sustained drones. This is the duos first album, a curious work that marries sound art drones with more musical though highly textured treatments as the next two tracks find the duo willing to work with conventional guitar strumming and on the final track Showa using sound art ingredients like difficult pitches and electronics to almost musical effect before building into the dreamy drony noise. The result is stunning, though difficult to take in. It’s an album that can’t be pigeonholed and is all the better for it. If you’re curious about their technique and ingredients there’s a great video on their myspace page:

Bob Baker Fish

Various Artists – Solos In Stereo II (Solos)

Posted: 13 Jan 2009 02:48 PM CST

Solos In Stereo II

Since being formed back in 2003 by Bay Area producers Roche and DJ Enso, the San Francisco-based Solos label has amassed an impressive roster of artists, and this second instalment in their ongoing ‘Solos In Stereo’ compilation series acts as an overview, with appearances from all seven artists currently signed to the label, as well as Rhode Island duo Javelin and Chicago’s Pugzly Atoms and Wes Restless. As you’d expect, the flavour here predominantly leans towards MCs and hiphop-centred beats throughout the 14 tracks assembled here, though there’s certainly some intriguing house and electro oriented sidesteps to be enjoyed along the way. After opening with Yao’s spectacular intro offering ‘Rebirth Of Rebirth’, which smoothly blends lush soul vibes with rough, beatboxed vocals and ticking drum machine snares, Javelin’s ‘I’m A Kidputer’ instead opts for a twisted glam-rock / distorted electro hybrids, fusing crazed vocals and samples with stinging overdriven guitars and the sorts of thumping drums you’d normally associate with Gary Glitter. It’s typical of the sorts of unexpected stylistic shifts on offer here, with CB Radio’s ‘Muevete’ offering a refreshing digression into minimalistic techno atmospheres, that fuses Latin pop vocals with the steady clank of 808s in a moment that sits somewhere between CSS and Carl Craig, before Bookworms’ ‘One Mo’ Gin’ edges closer to the sort of territory currently occupied by Spank Rock and Roche even manages to work a riff on Joy Division’s ‘She’s Lost Control’ in amongst the crunching distorted digi-hop beats of his own bass-throbbing ‘Dashing.’ Nice. An impressive collection from Solos that represents the perfect intro point for those previously unfamiliar with this eclectic SF-based label.

Various – Dreams Come True, Classic First Wave Electro 1982-87 (Domino)

Posted: 13 Jan 2009 02:50 PM CST

Dreams Come True

Jon Savage put this compilation together, a document of the first wave of electro, mainly on the disco-inflected end of the spectrum, with the possible exception of The Latin Rascals who add a sinister edge to the standout track from this compilation. Artists such as Class-Action, C-Bank, Debbie Deb, Janice, Noel, to name a few, many I don't recall ever hearing.

The opening track does give me one reference point that I do recall from this era, Yazoo with the “Situation 12" Version”, this was my new wave back in the early 80's, it was pop music, but the 12" versions and remixes always took it to a new level, and it wouldn't be until the late 80's these versions would inspire me further, as acid house creeps into the picture.

Another great historical document of an overlooked era in dance music.

Wayne Stronell

Oddfoot - Sequins/Cicatrix (Monstera Deliciosa)

Posted: 13 Jan 2009 02:51 PM CST

oddfoot

Oddfoot is a Melbourne one man project helmed by Tim Farrell, a former Newcastle resident and self-confessed "social retard" (see his MySpace). Farrell exhibits quite convincingly here that whatever form of relentlessly abrasive electronic noise terror he applies himself to he'll come out on top. On top, not because Sequins / Cicatrix is especially compelling, but more so because Farrell always sounds like he's at war with his instruments, using great force to obliterate whatever subtle pop sensibilities he may have. Synapse inducing beat-manipulation, unapologetically coarse textures and unlikely pop-culture samples abound here, all sounding like something that might let off sparks when performed.

The opening track 'Vauzzav' fits unambiguously into the 'noise terror' category: it sounds like Farrell is gleefully taking to his sequencer with an angle grinder, annihilating the whimsical loops he begins with. The same can be said for 'The Fiery Flame of Desire', where some form of Popcorn-esque diddly flails pathetically beneath (what sounds like) drills and (what could be) sandpaper rubbed on the receiver end of a megaphone.

These harsher moments are quite a lot of fun, mostly due to their eagerness to engulf the listener in chaos. Oddfoot apparently takes pleasure in offering up relatively pleasant sonic landscapes and then mowing them down with the reckless zeal of a warrior. Tracks like 'Dave Battles The C Algebras' and 'Rokusaburo Michiba' all showcase a few seconds of melodic and structural sensibility before they're completely whitewashed in feral white noise pops and wheezes. Farrell builds them up in order to tear them to shreds in the most visceral way possible, though exceptions can be found during 'I Love Enya' (predictably utilizing Enya samples) and 'Myki's Faeces', the latter of which – despite the title – is a surprisingly subtle, oppressive and atmospheric turn, almost like an Oddfoot piece sans destruction. It's the best piece here.

The problem with Oddfoot though, is that it's all just too funny. Sequins/Cicatrix is certainly engaging, but noise full of ironic gestures and inscrutably hilarious track titles seems bereft of any real purpose. The extremities are amusing but the chances of coming back for a second helping are slim, and if anything is really being subverted or challenged here I'm afraid James Kirby's V/VM projects covered this territory many years ago. An appeal to a noise artist for more subtlety may be antithetical, but seriously, Oddfoot's best stuff here is still breathing when it ends.

Shaun Prescott

King Cannibal – Aragami Style 12″ (Ninja Tune/Inertia)

Posted: 13 Jan 2009 04:05 PM CST

King Cannibal - Aragami Style

Ninja Tune show us they haven't lost it, and sign King Cannibal to the label. What a brilliant move. King Cannibal, or Zilla, his hip-hop alter ego, is a very talented producer. As Zilla he's released praised mixtape's, collaborating with Buddy Peace, memorably for the Warp mixtape included with the first Warp Video's DVD, and the occasional track on a compilation, and even a remix or two. He obviously likes the electronic end of the spectrum, with his attention to each sound, the syncopation, the repetition. King Cannibal isn't a new thing for him, he's teased us with a few more mixtapes, the odd ep, but this is the first for Ninja Tune, and its quite brutal. The Bug is in danger of being toppled as the king of future dancehall sounds, King Cannibal offering up some brutality all of his own, encompassing his love for building tension, magnified by great use of film dialogue, and creepy breakdowns. With “Aragami Style”, it breathes post-rave-drum'n'bass-dancehall, the harsh, hard sounds, but in a fluid ever changing tapestry of rhythm, growling bass and pummeling beats. “Flower Of Flesh & Blood” is a whole different beast, showing a dubstep aesthetic, but with that trademark bass growl, film dialogue, building the tension. Whereas the A-side looks back to rave, this looks back to acid, its been a while since I've heard a 303 used so well in a track. Brutal but brilliant stuff, I for one am looking forward to the debut full-length on Ninja Tune, especially if this is an indication of the pummeling we will receive.

Wayne Stronell

Hint – Driven From Distraction (Tru Thoughts/Creative Vibes)

Posted: 13 Jan 2009 02:53 PM CST

Hint - Driven From Distraction

Tru Thoughts continue to release quality future soul and jazz, having now built a solid reputation worldwide, you would think like many other labels in the genre, their output would now be watered down, middle of the road sounds that emanate from trendy bars and cafes in our cities. This, honestly was what I was expecting, so many quality labels have ventured wayward, but Tru Thoughts have great confidence in their roster of artists, never pushing the boundaries into the stratosphere, but they are keeping it interesting.

Hint gained acclaim for his debut in 2003, Portakabin Fever, and a handful of tasty ep's since. Its taken a while to put this one together, he has covered an eclectic array of styles for this album, with guest vocals from long time collaborator Laura Vane, prodigious teenage MC Rizzle, and label mates Kinny and Rup.

The album meanders through a staggering range of influences, soul, jazz, funk, latin, world rhythms, broken beats, hip-hop, nu-disco, downtempo… a true melting pot of sounds, sometimes working better than other moments, but always holding a focus, and a funky undertone, even in the more mellow tracks. MC Rizzle's contribution is a standout, a relaxed, humorous flow, not unlike some of our favorite home grown MC's, the hypnotic horn loops take this to a whole new level. Maybe these grime influenced tracks mark a change in direction, similar to dubstep's development, heading in a funky direction.

An enjoyable album, never veering to a future-jazz pastiche. Full to the brim with new ideas and sounds, showcasing some very talented vocalists to great effect. Get the Hint, buy the album.

Wayne Stronell

Last Step - 1961 (Planet Mu/Inertia)

Posted: 13 Jan 2009 02:22 AM CST

Aaron Funk , otherwise known as Venetian Snares pioneering breakcore producer, takes on crowd pleasing acid style. It is unfamiliar territory, to please the crowd when the boundaries of electronic sound seem to be the only territory that Funk has found familiar. Having found the unfamiliar always to be that which was of interest, that an inquisitive audience was always pleased by something groundbreaking it is not strange that this album is strangely normal.

Definitely there is something retro in the air of this album, squelching acid lines, acid attacks and chopped up beats. It is definitely down tempo from Venetian Snares breakcore realm and reads as an exploration of styles within acid genre demonstrating skill with aplomb. Clearly nods to Aphex, Vibert, Squarepusher become mirrors and references, explorations of pre-existing sound columns within this yet un-deconstructed temple. The very idea that Funk is visiting territory made predominately in Max/Msp but presumably with Renoise only reinforces the adaptability and structural understanding brought to the task. It does not explain how acid comes across as electronic disco and the ease of language adoption has rendered the genre as a form of kitsch.

Given that the album is a follow-up to a well received 12" and self-titled album, that the audience jumping for joy now may be discovering this joy long after the first flowerings, is enough to weal out the arguments against kitsch. Regardless it is an argument against itself; bring on some f@#king breakcore Aaron.

Innerversitysound