|
|
|
|
|
Abul Mogard - Above All Dreams 2LP
(Ecstatic)
Though, in some areas, there is considerable discussion as to who Abul Mogard actually is (many peoples money being on Moby or Panabrite or Pye Corner Audio), I am here to categorically state that I don't give a flying fuck who it is when the music is this amazingly awesome! Above All Dreams is a staggering suite of widescreen landscapes painted in self-built modular synth strokes; the lushest, industrial-est, ambient-est shit to hit the fan since Mogard's beautifully absorbing Circular Forms in 2015.
Counting six original pieces in its 66-minute wingspan, there's no mistaking that Above All Dreams is the most expansive solo release by Mogard to date. Taking into account its intangible divinity and cinematic quality - the result of no less than three years diligent work - it is arguably elevated to the level of his master opus; presenting a modular distillation of Mogard's most intoxicating strain of hauntology. Consistent with Mogard's music since the sought-after VCO tapes, c. 2012-2013, the allure to Above All Dreams lies in his ability to evoke and render feelings which are perhaps purposefully avoided in more academic echelons of drone music. Rather than a purist expression of physics through maths and geometry, Mogard voices his soul, improvising on modular synth for hours, days, months, and years in the same way a more conventional "band" develops group intuition.
The results are best considered as the ephemera of non-verbal communications. From the gaseous bloom of "Quiet Dreams" to the opiated depth of "Where Not Even" to the starlit awn of "Upon The Smallish Circulation", and through the B side's keeling, 16 minute+ panoramas of "Above All Dreams" and "The Roof Falls", the power of Abul Mogard's dreams above all transcends sound, feeling, and physics in a truly remarkable way that evades words or concrete notation. (Lee)
Hugely RIYL: Alessandro Cortini, early Oneohtrix Point Never, Coil, Brian Eno.
Check out a track here.
|
|
|
Spacemen 3 - For All The Fucked-up Children Of This World We Give You Spacemen 3 LP (Superior Viaduct)
Once again, we bring you Spacemen 3. Too much Spacemen 3 you say? Sick of hearing about how important this band is? Well that's just too bad, cuz here we go again. For All The Fucked Up Children contains the first recordings the group ever made from 1985. If you were to compare this to their final recordings on Recurring, it would be hard to believe that you're listening to the same band. However these recordings laid the groundwork for their modus operandi, which would remain intact for their career. In 1985, J. Spaceman and Sonic Boom were more focused on ferocity than meditation. These songs are essentially experimental blues mantras reduced to the most minimal ingredients. Sonic Boom was infamously quoted as saying “Three chords good, two chords better, one chord best”, and there is no better example of their minimal, maximal ethos than For All The Fucked Up Children. Some of these songs would end up being reevaluated over the next few records though others only existed here. This is the opening statement of a band who dedicated their existence contributing to the lineage of minimalism and it's hard to argue that most rock music in one way or another has relied upon the blueprint of the blues. Superior Viaduct's reissue is a perfect facsimile of the original packaging and sounds better than this material ever has. Whether you're coming up or coming back down, let Spacemen 3 be your guide. (Adam)
Check out a track here.
|
|
|
|
|
Nurse With Wound Plays The New Blockaders - Changez Les Blockeurs LP
(Dirter Promotions)
1982 saw the release of The New Blockaders Changez Les Blockeurs. A cassette only full-length that the band released in an edition of just 100. 30+ years down the line, and the impact and significance of that record has been cemented in history becoming one of the most sought after and rarest cassettes from that era. Even going down sometimes as being "the real first full noise” LP and the one that brought the nihilistic concept of anti-music to the new, post-Throbbing Gristle / industrial generation. NWW's Stephen Stapleton is said to be the very first person to have purchased this legendary cassette. And now 36 years later, his own project has completely reworked and paid homage to this release. But not as an attempt to cash in, or to fix anything, or to add any ego to the original. This is a celebratory release, a tribute if you will. NWW's own creative existence owes so much to The New Blockaders anyway, that their own editing and structuring of sound is incredibly complementary to the integrity of TNB's original. Just two sides of harsh and mind bending organic and electro-acoustic sounds. Steve's mastery of sound manipulation is unquestionably solid, and the outcome is very true to form and sincere. A very nice tribute record from one old friend to the other. (VII)
|
|
|
The Klitz - Rocking The Memphis Underground 1978-1980 LP (Mono-tone)
There’s really no easy way to say this but this archival release has pretty much anything you could ever want in found sound. The Klitz’s active period was incredibly brief (2 insane years in Memphis) and they never released a proper 7”, EP or LP in their day but the recordings they made with Alex Chilton and Jim Dickinson have it all. Catchy and primitive post-punk, loose no-wave ramblings and perhaps best of all, unhinged and disaster-ready covers of the likes of The Cramps, Rolling Stones, The Beatles, The Troggs and Chilton himself.
While Chilton and Dickinson helped get them started, the 4 women of The Klitz made a name for themselves with scrappy live performances during the height of Memphis’ music scene. Their studio recordings capture their primal ethos and arty sensibilities while working in some mind-blowing, yet lo-fi, effect-heavy chaos. On stage, they seemed to thrive as well. They got some attention from IRS Records and would even travel to New York to open for The Cramps but the lack of marketability due to their name, ultimately spelled failure. Band turmoil resulted in a breakup by 1980.
Rocking The Memphis Underground tells the tale of The Klitz as it should be. All of their studio recordings line up on Side A, while Side B shows off their brash, loose and endearingly unprofessional live shows. This ones’ a year-ender for sure. (Dom)
Check out a track here and this wonderful documentary here.
|
|
|
|
|
|
|
|
|
|
|
