| #705 |
|
2004 |
Perilous 705 More stuff continues to arrive in the pre-Cyclic Defrost flurry. From Perth comes some delicate but ultimately derivative naïve electronics from Stina titled Pocket Songs (Meupe Records) much in the vein of the music box melodies of Aphex Twin’s Nannou, the Windowlicker b-side. Also from Perth is a compilation of soft IDM melodies called Aether 2 (Kieper Records) which should appeal to anyone interested in labels like Morr, City Centre Offices and artists like Xela. Like Stina, much of it wears its influences on its sleeve but there are still some promising tracks and it demonstrates that there are some exciting things going on on the west coast, much centred on Dave Miller’s (Background Records) weekly Thursday nighter Aesoteric (where both Aether 2 and Stina have been launched). I can’t say I was overly impressed with Burnt Friedman’s last album, Can’t Cool (Nonplace), it was all a bit too nu-soul. All the digital flecks and artificial instrumentation seemed too invisible – his idea of the sample band finally realised a little too perfectly. But the new Nonplace label compilation, Difficult Easy Listening, goes some distance to restoring my interest. Featuring sixteen tracks from Burnt’s various pseudonyms as well as Beige, Atom Heart, and newcomers Swaai and Swank there are some excellent digital dub and mutant funk explorations with the trademark spacious airy sample production. Also quite excellent is what must be about the sixth album from Los Angeles’ duo Languis. Originally from Argentina, Languis has done records for Zealtronic, Simball, and now Plug Research. Sutekh is a big fan and switched me on to them a few years back whilst out here on tour. Each of their releases veers further from their post-rock/laptop roots and on their new album The Four Walls (Plug Research) they rope in James Tamborello (Dntel/The Postal Service) to sing on a few tracks. The result of these vocal contributions as well as some lead bass melodies is something resembling early New Order, whilst the rest of the album is lush ambient indie synth rock with a late nod to the Beach Boys on Morningside. Highly recommended if you dug Dntel’s Life Is Full Of Possibilities (Plug Research) or M83’s Dead Cities (Gooom) last year. In a similar vein the debut album from Junior Boys, Last Exit (Elektrokin) should arrive soon. Junior Boys delivered the stunning Birthday EP late last year and followed up with High Come Down. Their sound references early New Order and synthpop but refracts it through a lens that is part warm minimal Kompakt techno and part Neptunes digital r&b. The Birthday EP particularly was lovely with an amazing remix from Fennesz who turned the title track into a swirling wash of guitar distortion whilst keeping the melodies intact. On to Fennesz himself, and he has finally released the follow up to the much lauded Endless Summer (Mego). Titled Venice (Touch) and quite surprisingly distributed locally here by Creative Vibes (something I just found out!), Fennesz has continued down the melodic path creating one of the best ambient records in a while (well, since Twine’s self titled album for Ghostly). Using a laptop and guitar, Venice is a killer record veering from a surprising but lovely vocal intrusion from David Sylvian on Transit, to Kevin Shields’ wall of noise melody on The Stone Of Impermanence to Eno-esue ambience on Rivers Of Sand. Another fine but approachable Fennesz release. Frigid is rocking on at the @Newtown on Sunday evenings with crowds continuing to grow. Sunday May 16 Patrick HAF from Southern Outpost whilst the 23rd we do a screening of the new DVD on Berlin label Monika plus sets from Groovescooter, Lorna, Sleepy Robot and Cinnamon . . . . oh, its free entry too. Yellow Peril (www.snarl.org)  Goto
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