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29 sep 18

DeRank™: 0,00

#zot2017

Avey Tare - Eucalyptus (Domino, July 21, 2017)

The world of music criticism is incredibly varied, presenting different variables and considerations that one might find completely out of place or even nonsensical. I’ve read reviews of this album that are absolutely damaging, tearing it apart as if it were devoid of any meaning, when in my opinion, that’s not the case: it may appeal to some or not, but there are plenty of interesting ideas, even if it sometimes gets bogged down in certain mannerisms that prevent it from fulfilling its mission gloriously, but one couldn’t ask for more. After all, Avey Tare (that is, David Portner) comes from Animal Collective, a group that can certainly be described as a manifesto of the indie-pop genre. While it’s quality within its genre, it doesn’t have a significant psychedelic folk connotation, but as mentioned, the guy gives it a shot with interesting results. Psychedelic folk references from the American seventies like "Season High," "Melody Unfair," and "Ms. Secret" are intelligently combined with synthetic components and low-intensity Eastern shamanism, drone ("DR aw one for J"). Then the album loses its way a bit and becomes, in some ways, too pathetic in the style of Devendra Banhart ("Selection of a Place") or worse like "Boat Race" or Thom Yorke in "In Pieces," the allegorical rock and roll of "Roamer"... before recovering at the end with the trio "Coral Lords," "Sports in July," "When You Left Me," which revisits the dominant "electroacoustic" psychedelic folk sound in the album and mixes it with certain Amorphous Androgynous shades. I’d give it two stars, but as always, I prioritize taste over the overall quality of the album, which is certainly not trash-worthy, although it may be difficult to balance between music that is not for everyone (not because it’s "high," but simply because one might find it boring without grasping the rationale) and the pop-art aspirations that evidently it can’t seem to do without.

#aveytare #animalcollective #indie

Avey Tare - Ms. Secret (Official Video)
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21 sep 18

DeRank™: 3,59

#zot2017

SPIRIT VALLEY - NEGATIVES (FUZZ CLUB, AUGUST 04, 2017)

A classic release from Fuzz Club Records, but - it must be said - of definitely higher quality than the average of the recent releases around the end of 2017 and this year 2018. Spirit Valley is a duo from Sydney, Australia, made up of Dave Tomlison and Chris Stabback, who now go by the "nicknames" Dave Spirit and CHris Valley. Based in Amsterdam, in the fertile Netherlands, which has now become home for Fuzz Club, where they also established the label's first festival in Eindhoven, held practically a month ago, the two recorded "Negatives" in Utrecht, their second LP following a self-released album from a couple of years prior. The sound is very minimal, and I believe the album works precisely because it is not entirely aligned with other sounds of the neo-psychedelic genre (there are some elements, like "Waiting For Real") but instead leans more towards dark sound forms influenced by the '80s, akin to the garage sound derived from Nikki Sudden/Jacobites. The sound is obsessive (especially the title track), very fuzzy, accompanied by the inevitable keyboards and synths, and with distorted guitars definitely rooted in the wave tradition ("Dileria Hysteria," "Chronic Youth," "Vacational Mind"), but there are gems like the Suicide-esque "Don't Panic," reinterpretations of Velvet Underground through New Order ("TNNLVSSN"), low-intensity post-industrial loops like "Heatwave," and the beautiful closing ballad "Spheres." It will surely appeal to fans of Joy Division, Nikki Sudden, Jacobites, Epic Soundtracks, as is inevitable for anyone who loves the Underground Youth, Throw Down Bones, etc. It's a nice little record; it's hard to ask for more from a formula like this.

Spirit Valley - Heatwave

#negatives #spiritvalley #levitation #wave #neopsichedelia
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18 sep 18

DeRank™: 4,15

#zot2017

Melange - Viento Bravo (Beyond Beyond is Beyond Records, November 17, 2017)

Beyond Beyond Is Beyond Records never releases ordinary records. On the contrary. It is truly worth listening to each of their releases with great interest and acquiring them blind, as the outcome will always be excellent. Among the now countless neo-psychedelic bands in the old continent, this Spanish group (a quintet comprised of Adrian and Sergio Ceballos, Daniel Fernandez, Miguel Roson, and Mario Zamora) stands out particularly for its sound and the great variety and quality of the proposed sounds. Formed in Madrid in 2014, "Viento Bravo" is the second album by Melange: to label it neo-psychedelic might evoke a certain type of music that has become massively widespread in Europe, making it somewhat of a misleading indication. The quintet actually branches out into a sound that I would describe as truly very distinctive. They could certainly remind one of a certain King Gizzard histrionics, with moments of fusion ("Splendor Solis"), tropicalism ("Cotard"), even flamenco and bolero ("Oxi," "Siempre Avanti"), Morricone-esque visions ("Ruinas"), while clearly dominating a vintage inspiration that is enhanced with progressive timings and typical use of keyboards. Truly an incredible little record, I had it set aside for a long time; not listening to it would have been blasphemous.

#psichedelia #levitation #melange #rock #madrid #beyondbeyondisbeyond #vientobravo

"Río Revuelto" - LP Viento Bravo - Melange
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12 sep 18

DeRank™: 3,00

New video and tour for THE DEVILS, hello friends.

The Devils - put your devil into my ass

THE DEVILS - EUROPEAN FALL TOUR 2018

05/10/18 SWITZERLAND BADEN - ROYAL
06/10/18 SWITZERLAND OLTEN - VARIO BAR
07/10/18 SWITZERLAND LANGENTHAL - PLATTENLADEN
08/10/18 SWITZERLAND ZURICH - EBRIETAS
09/10/18 SWITZERLAND BIEL - LABIU
11/10/18 AUSTRIA LINZ - KAPU
12/10/18 GERMANY KEMPTEN - THE 13TH FLOOR KULTURETAGE
13/10/18 GERMANY Available
14/10/18 GERMANY MUNICH - UNTER DECK
16/10/18 GERMANY AUGSBURG - HAIFISCHBAR
17/10/18 GERMANY KARLSRUHE - ALTE HACKEREI
18/10/18 GERMANY FRANKFURT - DREIKONIGSKELLER
19/10/18 GERMANY LEIPZIG - UT CONNEWITZ
20/10/18 GERMANY ASCHAFFENBURG - BEATBARACKE
21/10/18 GERMANY BERLIN - CORTINA BOB
23/10/18 GERMANY SPEYER - ZIMMERTHEATER
24/10/18 GERMANY AACHEN - MUSIKBUNKER
25/10/18 HOLLAND HAARLEM - PATRONAAT
26/10/18 HOLLAND UTRECHT - DB'S
27/10/18 FRANCE TOURS - OXFORD PUB
29/10/18 FRANCE ORLEANS - BLUE DEVILS
30/10/18 FRANCE STRASBOURG - LA LAITERIE
31/10/18 FRANCE AUDINCOURT - LE MOLOCO
01/11/18 FRANCE PARIS - ESPACE B
02/11/18 FRANCE CLERMONT - BOMBSHELL
03/11/18 FRANCE PERIGUEUX - LES TOQUES
04/11/18 SPAIN BILBAO - LA NUBE
05/11/18 SPAIN Tbc
06/11/18 SPAIN A CORUNA - MARDI GRAS
07/11/18 SPAIN LUGO - CLAVICEMBALO
08/11/18 SPAIN VIGO - LA FABRICA DE CHOCOLATE
09/11/18 SPAIN Tbc
10/11/18 SPAIN MADRID - FUN HOUSE
11/11/18 SPAIN COX - TNT BLUES
12/11/18 SPAIN Tbc
13/11/18 SPAIN Tbc
14/11/18 SPAIN Tbc
15/11/18 SPAIN BARCELONA - MARULA CAFE
17/11/18 HOLLAND EINDHOVEN - HELLDORADO 2018
20/11/18 ITALY Available
21/11/18 ITALY Available
22/11/18 ITALY Available
23/11/18 ITALY MEZZAGO (MI) - BLOOM
24/11/18 ITALY LA SPEZIA - SKALETTA ROCK CLUB
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7 sep 18

DeRank™: 4,82

#zot2017

Yazz Ahmed - La Saboteuse (Naim Jazz, May 12, 2017)

I wasn't familiar with Yazz Ahmed. A British musician (trumpeter) originally from Bahrain, she has collaborated with pop artists from the UK like the giants Radiohead (the album features a particularly unique cover of "Bloom") and These New Puritans. With "Le Saboteuse" (Naim Jazz), she collects in a double LP four releases that came out between 2013 and 2016 in a limited edition that constitutes a masterful work in the jazz fusion genre of these years. Since it consists of four different recordings, the number of musicians involved is variable, but musically the collection is still coherent. The sound of "Le Saboteuse" is a jazz structurally built on the strength of the winds, whose role is clearly central and capable of literally enchanting the listener, transporting them to distant places with Middle Eastern charm, featuring acid jazz sessions and intoxicating arrangements of bass and percussion that adapt to the atmospheres, moments of minimalism infused with the use of digital instrumentation (never overdone), especially lounge dimensions. But fortunately, we are not talking about elevator music. The album also hints at other traditions, such as those of the peoples from Eastern Europe or West Africa, but this is probably not coincidental considering that certain "shades" are as old as humanity itself. The only limitation is that there are 13 tracks, some of which are quite substantial, but the reality is that they originally came from 4 different releases, which is a bit of a typical limitation of compilations, yet its value remains unique and very high. A must-have. P.S. For Radiohead fans, who are always many: the album also includes a distinctive cover of "Bloom." I also feel the need to mention that she is truly very beautiful.

3-4/5

Yazz Ahmed: live session VG Turning East

#sabouteuse #bahrein #jazz
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31 aug 18

DeRank™: 7,10

#zot2017

Wolf Eyes - Undertow (Lower Floor Music, March 24, 2017)

Another ghostly release from Detroit's Wolf Eyes on Lower Floor Music last year. A 12" flash in the style of vocalist Nate Young and saxophonist John Olson (with guitarist James Baljo completing the lineup). Traditionally a noisy group, here they engage in an experimental work that combines drone and electronic components with noise obsessions, straddling between avant-jazz attempts in the vein of Mats Gustafsson and a Suicide attitude. The title track is a kind of underground recital almost inspired by Jodorowsky, alongside "Laughing Tides," "Texas," and "Empty Island," creating avant-jazz happenings in a cyberpunk context both visionary and structural, a melting-pot of transcontinental sounds. "Thirteen," clearly the highlight of the release (because it lasts indeed more than thirteen minutes, almost fourteen), takes up that underground style, as in literally underground, of the first track, but amplifies the swirling of ghosts, with the evocative role of the saxophone echoing through the tunnels of an abandoned subway, while at the corner a gaunt version of John Lee Hooker strums a dissonant arpeggio and mumbles a hypnotic blues born of paranoid deviations. In essence, I really enjoyed it and highly recommend it; it has clearly made me want to dig back into their massive series of releases: a mission not easy to accomplish. One day.

3-4 stars

#wolfeyes #undertow #experimental #minimal

Undertow | Wolf Eyes
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13 aug 18

DeRank™: 1,06

#zot2017

Hey Colossus - The Guillotine (Rocket Recordings, June 02, 2017)

Another little record released during 2017. I'm referring to the latest LP by Hey Colossus, a London sextet that is part of the neo-psychedelic wave of the last decade but whose roots lie in a more complex ground like math-rock, clearly combined with a certain noise component and the usual nods to the wave, an accent that generally never fails for all bands coming from the UK. Released on perhaps the most interesting label (among the most popular, still clearly at an underground level) in the European landscape, Rocket Recordings, the album has a massive and at times winding sound (particularly note the use of bass in "Englishman," "Experts TOll"): in some tracks, the powerful sound of the guitars practically fills every space, leaving no room to breathe except for the voice, usually captivating and where necessary, amplified by the use of distortions and almost theatrical in some interpretations on the edge of the pathetic like the ecstatic noise apotheosis of "Back In The Room" and the noise breaks of "In A COllision." The psychotic chants of "Honest To God" or "Calenture Boy" up to the subtleties of "Potions" and the long session "The Guillotine." Teetering between a '90s aesthetic and Swans attempts, the album actually presents itself as something that can cater to a wide audience. The doubt is whether and how many of those who belong to it will then regard it with the due and requested affection, perhaps precisely due to a certain feeling of it being an album out of time... but this is perhaps a characteristic that emerges from many English groups that are definitely much more banal and less talented (because, let's be honest, these guys are ultimately good) than the colossi.

Hey Colossus - Experts Toll (Track)
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11 aug 18

DeRank™: 4,06

A record suggested by the almico @[ALFAMA] and featured in the #zot2017 review.

Cobalt Chapel - Cobalt Chapel (KLOVE, 2017)

I spent quite a bit of time with this record at the end of last year (2017) after it was pointed out to me right here on these pages, then for no specific reason, but because I got caught up with a thousand other listens, I set it aside only to pick it up again now, months later, and confirm all the wonderful feelings it had already given me back then. Cobalt Chapel is a collaboration between Jarrod Gosling and vocalist Cecilia Page. The album takes certain Canterbury-derived elements and reinterprets them in a noir and mysterious key, placing them in a more modern context shaped around Cecilia’s voice, which clearly plays a central role (though there are moments of purely instrumental sections and long sessions of organ and synthesizer sounds) and at times serves as the very backbone upon which the individual tracks rest (see "The Lamb," "Crestone Ridge"). The beautiful thing, what might be the true strength, is that it’s hard to give it an exact genre definition. The duo jumps from a certain form of French chanson styled like Serge Gainsbourg to sophisticated synthetic baroque atmospheres, spatial lounge dimensions, and that histrionic psychedelia of the United States of America (clearly inserted within a visionary context, but in a different setting). Had it come out forty years ago, it would have been just another record of psychedelic folk music, perhaps with references to Celtic culture. Instead, today, who knows, perhaps it could be defined more as a kind of post-modern sacred music. It holds up over time, without losing its edge even after a year. That’s no small feat. I believe they released a new single recently, so, well, I imagine they’ll soon put out a new LP; let’s see if they can maintain this ecstatic, ultra-dimensional formula without taking dangerous indie dérives.

Cobalt Chapel - Three Paths Charm
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17 jul 18

DeRank™: 3,38

I finally suggest a new record within the legendary #zot2017 series.

Bong Wish - Bong Wish EP (Beyond Beyond Is Beyond Records, October 27, 2017)

Bong Wish is the solo project of Mariah Saleh from Boston, Massachusetts. To date, the only release is this EP that came out last year on a label I am particularly devoted to, Beyond Beyond Is Beyond Records, featuring only four songs but very interesting ones. Clearly devoted to the psychedelic sound of the sixties and to a certain British progressive folk, the EP contains four tracks, including "My Luv" and "In The Sun," which bear the classic marks of sixties folk ballads with evocative vocals, minimal acoustic guitar use, and unconventional arrangements of strings and flutes, accompanied by regurgitating synths and cinematic atmospheres. In "Saturn Spells," this then explodes into progressive derivations with a more widespread use of keyboards. It's curious, though, that the central piece diverges from the project and how it is presented, because "Conversation With Business People" evokes a certain Ultravox! aesthetic with its use of drum loops and minimalist electronics borrowed from Kraftwerk, instead revealing itself as a kind of art-pop moment reminiscent of Talking Heads. To be honest, I'm not sure what direction this will take. I expected a quick comeback, but for now, there’s none in sight. However, the songs on this EP are beautiful overall.

Bong Wish
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17 jul 18

DeRank™: 6,00

Esteemed @[G]

I awoke in the middle of the night with an idea that might give a new boost to our legendary debasio.

Why not open a new review category defined perhaps as "in-depth" and/or "monograph" (these are just two examples) where everyone could post their personal review (let's say) on a band in a specific way, or a musical movement, or a film director?

Maybe this could interest the users. Not me specifically. I mean, I don’t know, I hadn’t even thought about it, I was sleeping, but I woke up, even though I’m already sleepy again, so I’m going back to bed, bye.

#debasio #debaser #reviews #debaserèmorto #debaserèvivo #debaserx #sacravacca #lasacravacca #vivadebaser #yabayabadu
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12 jun 18

DeRank™: 3,00

#zot2017

Mette Rasmussen, Tashi Dorji, Tyler Damon - To The Animal Kingdom (Trost Records, August 25, 2017)

A few months ago, I wrote on these pages about Tashi Dorji, a protégé of Ben Chasny (Six Organs of Admittance), a guitarist from Bhutan who now resides in the USA, forming a combo of rare power and expressive capacity with drummer Tyler Damon. Aware that this is not a type of sound that universally gathers acclaim, I present the duo here in the company of a big name in the genre, the Danish saxophonist (but based in Trondheim, Norway) Mette Rasmussen, a collaborator of Chris Corsano and, among other things, a member of Mats Gustafsson's expanded formation Fire!. "To The Animal Kingdom" was recorded in Toronto in 2016: the resulting effect from listening is absolutely devastating, alternating between noise fury and moments of an ambient nature, and particularly highlighting Rasmussen's saxophone, which reigns supreme over the metallic and art-expressive surface of the Torji-Damon duo, who confirm their already recognized chemistry here. Released by the Austrian label Trost Records, the album is expected to be followed by the release of a collection of other recordings from the same period on Feeding Tube Records in the coming days. I haven't listened to it yet, but of course, I expect the value to be equivalent: after all, the more programs you have, the more you go to touch the true "nature" of the genre.

3/5

#avantjazz #freeimprovisation #noise

To The Animal Kingdom | trost records
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4 jun 18

DeRank™: 0,00

#zot2017

Heron Oblivion - The Capel (Self-Released, December 01, 2017)

I’ll be honest: I’ve read some very negative reviews about this band (there are also positive ones) and I find them absolutely unjustified. While everyone has their own tastes and expresses their own point of view, this is undoubtedly one of the most conventionally powerful yet authoritative psychedelic rock groups around. I think of those trendy definitions these days against the establishment. Indeed, I must say that if you publish on Sub Pop, I couldn’t care less: but if you produce good things, I’ll give you credit for it, and there’s no doubt that Heron Oblivion is a good band and has nothing to envy from the various Espers and Comets on Fire from whom the band members (Meg Baird, Ethan Miller, Noel Von Harmonson, Charlie Saufley) hail. This live recording from San Francisco on January 27, 2017, released last December, is even better than their debut LP, if possible. The band maintains an ecstatic tension throughout the performance, occasionally referencing a certain vintage folk psychedelia of the sixties and seventies, whose “antiquated” character is compensated by bursts of noise in the style of the best rock straddling the late eighties and early nineties. I think of stuff like Sonic Youth, but the ferocity of the sound and the extended fuzz at times bring to mind Bardo Pond (“Your Hollows”), just as “Rama” may remind one of Low. The track that concludes the album is a cover of Doug Sahm (“Crossroads”) and is another little gem from an album that isn’t unforgettable but where everything works as it should. Recorded by Chris Woodhouse (Thee Oh Sees, Fuzz) and Eric Bauer (Ty Segall, Heron Oblivion, White Fence).

#thechapel #heronoblivion #alternative

Heron Oblivion - Your Hollows (Live)
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1 jun 18

DeRank™: 3,00

#zot2017

Swedish Death Candy ‎– Swedish Death Candy (Hassle Records, December 22, 2017)

Based in London, Swedish Death Candy (aside from the name which is misleading, being dedicated instead to the disgusting taste of Swedish licorice) is a group that can be described as "multi-ethnic." The stable members all reside in the capital of the United Kingdom but come from different backgrounds: drummer Marco Ninni and guitarist Francesco Codardo are Italian, while bassist Jiwoon Wang hails from South Korea. The only member from the southern area of the City is Louis Perry. The band had been playing together for several years before releasing this LP, recorded and produced by Tobin Jones and released by Hassle Records. The sound is decidedly heavy-psych, but one can perceive a certain homage to a particular '90s alternative sound that permeates an album that is overall very solid, dense, and structured on guitar and bass riffs that are particularly powerful, immersive, and in many cases captivating. There are also tracks that lean towards a certain psychedelic vibe derived from Syd Barrett's Floyd but updated in a more syncopated manner, like "Avalanche," and pop ballads such as "Whenn All Is Gone," with an album that softens in the second half with – once again – the pop psychedelia of "Pearl" and "Liquorice, Pt. 2 & 3," which evoke a certain playfulness reminiscent of Damon Albarn, albeit less brilliant, while still trying not to renounce a certain vigor typical of the sound. In the end, it’s a nice album, enjoyable, and goes down easier than a licorice for sure. A debut band, probably with room for growth; it remains to be seen which direction they will take.

#swedishdeathcandy #garage #uk

Swedish Death Candy - Full Performance (Live on KEXP)
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29 may 18

DeRank™: 9,51

#zot2017

Arto Lindsay - Cuidado Madame (Ponderosa Music & Art, April 21, 2017)

I've listened to this album quite a lot in recent months. This is because, beyond its intrinsic beauty, "Cuidado Madame" (Ponderosa Music & Art) has an undeniable pleasantness that, despite its sophisticated sounds, remains unchanged and conveys those warm and reassuring sensations typical of an unexpected minimal tropicalism. The connection in this sense between the artist and his work can be traced back to the fact that Arto Lindsay (born Arthur Morgan Lindsay, practically the leader of DNA) has a particular blood tie to Brazil, which is where he was born and raised and where he currently lives. A multitude of comparisons have been made with pop artists from the "indie" scene regarding this album (which is an event since he hasn't released many, especially in recent years), but I think it's safe to say that this is kind of a unique case. How can I present it to you? Imagine Brazil told through the lens of Lounge Lizards or DNA influenced by certain pop sounds from the late seventies. Or better yet, think of the trippy jazz and bossa nova soundtrack of a "Brazil" that aligns roughly with Terry Gilliam's cinema. A perfect and unimpeachable record from every standpoint, and for true "connoisseurs," I'd like to highlight the incredible beauty and sensitivity of "Pele De Perto," written with Marisa Monte—the kind of track that, once you close your eyes, makes you feel finally at peace with your souls and rested as you haven't in a long time.

#tropicalismo #nowave #artolindsay

ARTO LINDSAY - ILHA DOS PRAZERES (OFFICIAL VIDEO)
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27 apr 18

DeRank™: 3,00

"If All I Was Was Black".

It's pointless to spend more words describing an album whose title says it all.

#2017

Mavis Staples - If All I Was Was Black (ANTI-Records, November 17, 2017)

Surely one of those chapters among the releases of 2017 that must be recovered at all costs. Especially if you enjoy black music, of which Mavis Staples can undoubtedly be considered one of the greatest historical interpreters. Not to mention a prominent figure always at the forefront of the battle for civil rights, particularly for African Americans (she was a personal friend of Dr. King). Released last November and practically coinciding with her induction into the "Blues Hall Of Fame," "If All I Was Was Black" renews the partnership between Staples and Jeff Tweedy, the album's producer and virtually the author of all the songs. It must be said that this partnership is certainly fortunate, as Tweedy's writing has a certain "freshness" that has revitalized an artist born in 1939 who may have slipped a bit into obscurity but still has an incredible energy and always a fantastic voice. The album thus carries the strength of the great classics of blues and soul music, but the sound is certainly far from being labeled as "vintage." Similarly, it's hard to choose a particular track to describe its beauty. I must say this is one of those albums that are practically "perfect." All the songs are of extremely high quality. If I had to choose one, I'd name the title track. A typical and significant piece for Staples that – like the others – Tweedy tailors perfectly for her as if he were making her a suit. Kudos to him, but perhaps – who knows – in the end, writing for this tremendous interpreter might not be that difficult after all. In any case, excellent work. Five stars/five.

#blues #gospel #blackmusic

Mavis Staples - "If All I Was Was Black" (Full Album Stream)
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26 apr 18

DeRank™: 0,49

Another beautiful album from Born Bad Records.

#zot2017

Marietta - La passagère (Born Bad Records, August 25, 2017)

The name "Marietta" might bring a smile to those who have not yet encountered this latest talented French songwriter. In fact, it's a solo project by singer-songwriter and musician Guillaume Marietta (already known for The Feeling of Love). "La Passagère," released last year on Born Bad Records, is his second album and can objectively be seen as the consecration of an artist and musician with a distinct pop sensibility, while also being theatrical and original in its arrangements. The title is a nod to Iggy Pop's "The Idiot," from which the album perhaps draws some decadent and post-punk imagery. Fundamentally devoted to the psychedelic sounds of Syd Barrett and compared to contemporary artists like Kurt Vile, Cate Le Bon, or Kevin Morby, Marietta actually proves to be much more gifted than all these musicians. Likely comparable to his label mate Forever Pavot (Emile Sornin), the sound of "La passagère" blends French songwriting with arrangements derived from '60s psychedelia ("La carte," "Livide est la nuit") and experimentalism that encroaches on the realms of progressive music or acid jazz ("Nos ventres nus," "L'insecte dans ma bouche," "La passagère"). "La grande ville malade" reminded me of the early BJM and their devotion to '60s and '70s psychedelia, while "L'electricité" and "La bouche du vent" are post-diluvian electric ballads in the style of David Bowie. "Maud La Nuit" clearly references Japan and David Sylvian. Simply a fantastic album with great songwriting and consistently intelligent arrangements. Highly recommended (notably featuring SOKO as a collaborator), and I also suggest checking out all the releases from this excellent French label.

Marietta - La passagère

#marietta #bornbadrecords #thepassenger
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24 apr 18

DeRank™: 0,49

Sure, @[dipsomane], "Wind River" is a masterpiece. :)))
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24 apr 18

DeRank™: 3,00

In truth, few have really paid attention to the release of this Martin Rev album published last May. An album worth revisiting if you love the sound and underground culture typically associated with Suicide.

#zot2017

Martin Rev - Demolition 9 (Atlas Réalisations, May 26, 2017)

Obituary of Alan Vega (1938-2016).

To tell the truth, "Demolition 9" is not specifically dedicated to Alan Vega, with whom Martin Rev wrote one of the greatest chapters in the music of the New York scene and, in general, of a certain underground current whose long wave is destined to last for years. However, being the first album of unreleased material since 2009 and especially the first album after the death of his adventurous partner, considering it from this perspective is somehow inevitable. Moreover, it is somehow pleasing to remember him this way, with this album that Martin Rev creates as a hardly comprehensible object divided into 34 tracks, which presents itself as a kind of avant-garde post-punk and minimalist work. True to his garage aesthetics and New York no-wave culture, with those images charged with expressive violence, the album alternates between brief noise snippets and ambient moments, even glitch and minimal orchestral compositions. It's 34 tracks for 34 different sensations or "sketches." Objectively an experimental work and difficult to evaluate without considering it as such, it’s an album I suggest to all fans (and there are many) devoted to the cult of Suicide, but it might not appeal to those who do not love it and recognize fundamental content within it.

#martinrev #alanvega #suicide

Demolition 9
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23 apr 18

DeRank™: 1,76

Beautiful synthetic minimalism and electrifying jazz abstractions.

#zot2017

Botany - Raw Light II (Western Winyl, January 20, 2017)

I know little about Spencer Stephenson aka Botany, producer and musician from Austin, Texas, but his work certainly seems interesting and worthy of attention: pieces of minimalist ambient that, without any pomp but rather in a subtle way, weave around and then through the ears, going straight to the listener's heart ("No Head", "Tenth", "Minuses"). Without underestimating the impact of a certain danceable groove and glitchy sounds and effects that are typically trance-like ("Crowd Nothings", "Yon", "Wednesday Night", "Tetherball"). Within "Raw Light II", recorded and released as an appendix to the album that came out in 2015, all these elements are present, but the soul component also stands out ("Lo, Hi", "Janis Joplin" or world music ("The Strangeways") which I personally find exhilarating. Truly a beautiful album.

#botany #stephenson #electronicmusic

Botany - Janis Joplin
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16 apr 18

DeRank™: 0,00

I’m directing this question particularly to the younger users like @[MikiNigagi] (but I’m addressing everyone): I mean, is this Myss Keta a real thing? Is there really an “indie” scene in our country of more or less young people who listen to this crap and enjoy it, maybe seeing some kind of content in it? They talked to me about it tonight, kind of accusing me of not knowing her, and I promised I would listen to something. I don’t think I’ve ever heard anything so bad taste and unbearable at the same time.
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16 apr 18

DeRank™: 0,00

We are certainly not talking about an album that is exactly "rock" (although there are some more "intense" moments), but if you want to listen to a beautiful pop music album, then Laetitia Sadier is just fine.

#zot 2017

Laetitia Sadier Source Ensemble - Find Me Finding You (Drag City Records, March 24, 2017)

"Find Me Finding You" is the first album released by former Stereolab frontwoman Laetitia Sadier with her new open project "Laetitia Sadier Source Ensemble". The album was released last March by Drag City, which serves as a historical “cradle” for the French singer and musician, who once again demonstrates her great style and elegance in a series of synthetic pop compositions that draw on jazz and bossa nova just as much as on yè-yè. Electronic symmetrical constructions intertwine in a multifaceted manner within a psychedelic dimension reminiscent of Os Mutantes and vocalizations worthy of Rita Lee, filled with hypnotism and the use of echoes that is neither excessive nor extravagant, but perfectly functional to the overall plan. Honestly, it’s an untouchable pop album that might be overlooked compared to more prominent names who present the same things in a nearly garish and far less inspired manner. Well done, as it shows that there is no need for glitter and lace, nor to "raise the voice" with stomach-turning sounds and bad taste to truly be heard.

3.5/5

Laetitia Sadier Source Ensemble "Love Captive" (Official Music Video)

#stereolab #dragcity #laetitiasadier
sotomayor
sotomayor
7 apr 18

DeRank™: 0,00

#zot2017 is tinged with decadent tones and atmospheres in this EP by Foreign Resort.

The Foreign Resort - Part Time Punk Sessions (Ignition Age, November 24, 2017)

An EP by Foreign Resort, a band from Copenhagen, Denmark (led by frontman Mikkel Borbjerg Jakobsen), drastically oriented towards a minimalist dark-wave aesthetic with a punk attitude and at times obsessive post-industrial rhythms. This little disc opens immediately with "Onto Us," which at times could even evoke the more obsessive sound of Suicide, complemented by post-industrial echoes that are somewhat typical of the dark-wave genre as it is presented today. The rest, while catchy, is not particularly original and follows the same formula with evident references to Joy Division in "Suburban Depression" and "Take A Walk," while "Dark White" is clearly an Interpol piece influenced by certain hardcore sounds inflated by mainstream music a decade ago... although at times you might also hear something reminiscent of Jamie Stewart. Ultimately interesting, but not that much: I feel like I'm teetering on the edge of something that could be good or not. Only this time the scales are decidedly tipping to one side, so I think it’s best to let it go. However, if you like the genre, it’s recommended as it could open the doors to this band, which is doing quite well and is definitely better than the general average of these irreducible late dark-wave acts.

#foreignresort #parttime #punksessions

The Foreign Resort- "Suburban Depression" | Showcasing Artist 2016 | SXSW
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