Monday, August 3, 2009

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Paradigm Shift Radioshow Playlist 3 August 2009

Posted: 03 Aug 2009 05:11 PM PDT

The Paradigm Shift is a weekly Monday night radio show presented by Sub Bass Snarl on Sydney radio station 2SER fm 107.3MHz – check the 2SER website for the NEW IMPROVED live web stream!

It airs Monday nights at the time of 730pm for 90 minutes (Australian Eastern Standard Time – GMT+10).

Get in touch to send us your music (320s welcome!) – EMAIL: paradigmshift [AT] 2ser [dot] com

Unkle Ho – Lime Juice [Subterranea] (Elefant Traks) *
Studio Tann – Ultra Sound (unreleased) [dubplate] *
Urthboy – Served [Spitshine] (Elefant Traks) *
Aoi – MK-Ultra (unreleased) [demo] *
Clubroot – Serendipity Dub [Clubroot] (Lo Dubs)
Truth – Revelation [LAB007] (Aquatic Lab)
Claw – Unamused (unreleased) [dubplate]
Bassnectar – Heads Up [JFX Bits #3] (Jarring Effects)
Aoi – Played [unreleased] (demo) *
Blunted Monk – Remind Myself [Operation Dreamscape Instrumentals] (unreleased) *
Aoi – Mayday [unreleased] (demo) *
Killa Qweenz – Double Up (Polo Club Remix) [unreleased] (dubplate) *
Filastine – Hungry Ghosts [JFX Bits #3] (Jarring Effects)
George Lenton – Cold Rocker [unreleased] (dubplate)
Sook – End of Time [Hive Mind EP] (Rottun) *
Rob Threezy – Dark Knight [The Change Up] (Nightshifters)
Urthboy – Hellsong (Jew-Fro Remix) [digital] (download) *
Vista – Neptune [Aquatic Lab Sessions Vol.1] (Aquatic Lab)
m3t4 & Myrkur – Wobble Diktat [JFX Bits #3] (Jarring Effects)
Enclave – Ironyism (E383 remix) [IF085] (IF? Records) *

[* = Australian track]

Tinariwen – Imidiwan Companions (Shock)

Posted: 03 Aug 2009 05:55 AM PDT

Imidiwan_Companions

It’s album number 4 for Malian seven piece Tinariwen (Shock), and on Imidiwan Companion we’re seeing a refinement of their unique and beautiful sound. Such is this incredible Toureg ensemble’s popularity that they’ve played with everyone from the Rolling Stones to Tuung in the last few years, even landing in Melbourne earlier this year, seducing audiences with their hypnotic webs of guitar, hand drums and evocative call and response vocals. If you want desert rock, if you want to know where the blues came from, it’s all right here. It feels incredibly immediate, once the repetative riffing begins all you can see are sweeping vistas of sand. Whilst the earthy groove underlies all their tunes, ocassionally here they strip it right back to bass and percussion, amping up the funk, playing a little more with dynamics. They also do this gentle stripped back fireside groove, that when the group vocals comes in the hair stands up on the back of your neck. There seems to be a little more spoken word here than previously, kind've gruff and throaty, but really if you're a fan of any of their previous releases you're not going to be disappointed here, they have created a sound so incredibly unique and beautiful, each successive album is just about refinement as they continue to grow in confidence.

Bob Baker Fish

HC-B – Soundcheck for a Missing Movie (Hidden Shoal Recordings)

Posted: 03 Aug 2009 05:12 AM PDT

hcb
Sicilian band HC-B, named after Henri Cartier-Bresson, have created an imaginary Soundcheck for a Missing Movie. Not necessarily that the movie, Electronic Labyrinth: THX-1138 4EB, a George Lucas short film, predating THX 1138, is actually missing; it is just highly unavailable and is essentially incorporated as the last act of the later film. Yet the propensity for this band to be viewed as creating a soundtrack is an extension of the predominately instrumental, part scored, part improvised nature of their work resembling atmospheric post rock soundscapes.

The inclination to compare this to Morricone is merely an affectation in regards its origin and content and if any such note was to be made it would be that HC-B's soundscapes contain a vastness of detail within a compact space whereas Morricone tended towards sparser detail to suggest a large space. It is an inverse comparison which is as far as that bow will stretch. However the detailed vastness is precise and composed even the crescendos alive with content have form and movement, not merely a blur of seeping bleeding noise.

A good deal could be made of the mastering of Bob Weston (Shellac) as a key component to the overall sound of the album if it were not that all five band members were multi-instrumentalists, widely mixing up form and genre concepts, it would not have passed near Weston's mixing desk. Track's like 'Hot Afternoon At The Bulls’ Square' whose entering Theremin staccato, insistent tight patterned drum, squealing horns morphing later into triumphal messengers while discrete axe play fills in the detail. 'Slow Compensation' brings in clear vocals with deliberate harmonic form, violin and theremin creating a melancholic tone only to be trumped by a mournful trumpet. If you are quite accustomed to the expectation that rock as compositional treatment displaying intricate and subtle nuances along with the visceral draw of the medium then Soundcheck for a Missing Movie may very well be for you.

Innerversitysound

Hrossharsgrani – Sanguis (Beverina Productions)

Posted: 03 Aug 2009 04:19 AM PDT

Hrossharsgrani

Austrian dark-ambient outfit Hrossharsgrani have in recent years coalesced down to the one man core of sole remaining member Hugin, after the recent apparent departures of former collaborators Munin and Fygle. Whichever the case, this limited to 500 copies reissue on Austrian industrial / noise label Beverina collects together the four tracks that originally made up Hrossharsgrani’s 1998 debut demo ‘Blut’ alongside a previously unreleased video for ‘Carpe Noctem’ as an enhanced CD section, all under the revised title of ‘Sanguis.’ From the very outset, 18 minute long opening track ‘Pax Vehiscum’ sees all of the established hallmarks of the dark ambient genre firmly intact – read spooky chorale vocals, crunching oppressive industrial static and the diseased swell of detuned string arrangements. It’s captivatingly queasy stuff in controlled doses, but unfortunately the effect occasionally wears off over the duration of these lengthy tracks, with the repetitious use of the same melodic traces leading to a slight sense of directionlessness as points here. It’s certainly remarkably humourless stuff, to the point where I’m beginning to suspect that the seemingly ritual slaughter-themed video accompanying ‘Carpe Noctem’ might not actually be someone’s idea of a Spinal Tap-esque joke. Yes, these guys are really EVIL and they really want you to know it, but against today’s contemporary dark / industrial ambient-noise landscape, the contents of ‘Sanguis’ have invariably dated a bit over the ensuing decade – making this one for the hardcore Hrossharsgrani fanbase perhaps more than anyone else.