Thursday, June 5, 2014

Mamoru Fujieda- Patterns of Plants (1997)

Apparently if plants could speak they would talk in brief phrases that meander and loop over and over and over, only slightly varying with each iteration, yet still conveying great depth: showing that the seeming randomness of our electricity causally links us to nature, to the chill of air that hits you after rounding a corner, or the whirling path those helicopter seeds take after launching from their pods to the ground below, or the chirping crickets that won't shut the fuck up on a summer night yet still create a lulling drone that canvases an entire forest, as if blanketing your ears for protection from damning silence, from silence that, when present, makes you turn inward, chewing on your own thoughts to fill the void with some chatter all at the expense of your own sanity, which is merely the result of sparks running through your head in a certain fashion, the same sparks that reach out into air and feel that wind chill or process that image of the seed spinning, spinning, around and around, meandering through the air before abruptly coming to a halt, in the style of those plants, whose language floats about in a circle, both going nowhere but still saying so much in the process.


Circle X - Prehistory (1983)

Another great release from Circle X, this one is basically a more refined version of Untitled, but don't let that discourage you. Prehistory is also way more post-punk influenced than their debut EP. It's still very chaotic, but in a much more organized way, if that makes any sense. In my (oh so humble) opinion this album is better than Untitled, so it's definitely worth checking out if you liked that, but it's also worth checking out if you thought Untitled was too harsh, as this one is a tad bit more ~tame~ for lack of a better word.

Circle X - Untitled (1979)

Abrasive, loud, irate no wave. Circle X is almost like a cross between early Swans and Mars. It's also deceptively catchy, despite its violent sound. This EP basically consists of frantic, angry vocals over deliciously scratchy and chaotic instrumentation, all with a steady, pulsing drum in the background. Highly recommend this one for fans of no wave.


Mami Chan Band - Live! (2001)

Mami Chan Band are the multinational experimental pop project of Andrew Sharpley, with all members contributing vocal work, ranging across multiple languages, even lapsing into a Dénudé-esque blend of french and japanese, recorded live between 1999 and 2001. The music on this disc is incredibly eclectic, ranging from the deranged yet cutesy melodica and bass waltz of "mon pére communiste et ses amis fume de l’herbe sur la patinoire"to the breathless toybox pop of "la valse", yet always retaining a sweetness and charm that soften the band's experimental edge. Pop music that's like nothing else, and the kaleidoscopic Louis Wain cover is pretty neat as well!

love & beauty

Fellini - O Adeus De Fellini (1985)

Fun and catchy Brazilian post-punk. You might remember these guys from the Nao Wave comp, they were probably my favorite artist featured on the compilation, so I decided to explore them a little further. And I was certainly not disappointed. Really bouncy with endearing vocals (albeit I don't understand what those vocals are saying). Definitely an nice, catchy album, definitely worth checking out.

sorry about the quality

Clock DVA - Thirst (1981)

Nice dark oldschool industrial with a heavy post-punk influence. Almost like a cross between Red Mecca and In the Flat Field. The album has a lot nice angular repetition all throughout. Thirst also serves as a good bridge between post-punk/gothic rock and industrial music if you ask me. Certaintly worth a listen if you're into post-punk and curious about industrial music or vice versa.

Sunday, June 1, 2014

Saint Etienne - So Tough (1993)

Saint Etienne's 1993 So Tough, though an inheritor of Eno's idea of what rock is and eighties synth-pop, is an achievement all on its own. The wandering free spirit of this band's second record is only a natural response to their first, Foxbase Alpha, a record in which house music met in graceful rejoice with indie pop. And yet, the difference between the two is well pronounced.