Tag: experimental

TRACK | Mirry – Anthem

5/5 golden merles

From the bin rescued personal recordings of Mirabel Lomer, the great aunt of Tom Fraser who found and — with the help of musicians Simon Tong, Antonia Pagulatos, and Michael Smith — collaboratively arranged and reworked the pieces. Her original tape recorded piano tracks are accompanied here by cellos, keyboards, saxophones and synths, interworked patiently and earnestly in an accumulate flood of heartfelt aspiration.

The result is ambient and experimental, delicate and expansive, a lovely tribute that is immediately imbued with implicit meaning through the nature of the finality and tenuousness of its discovering. A context we should all have with respect to all work made by other humans but are deprived of through the mundanity of our manner of existing, the illusion of the banality of daily living as it slips quietly away.

But beyond the affirming story of its origins, the work is remarkably detailed and composed, the swells and pitches elevating and conspiring beautifully across the decades. The original renditions have also thoughtfully been uploaded in their initial scope and design.

If looking for more quality in the rediscovered, see Sibylle Baier’s Colour Green, or maybe Darnielle’s Songs for Pierre Chuvin, for more inspired collaborations with the late and great.

TRACK | GEE TEE – Mutant World

5/5 golden merles

More common era essential lo-fi punk rock by Kel Mason (DRAGGS), “Mutant World” has all the essential vitamins: it is blown out but remarkably to a more ideal proportion, the synths are sampled from a Godzilla mouth beam, and it contains the unmistakable reflection of your face reflected back in a pool of your own blood.

The track’s a well worked clobbering. Over 81 seconds, ascendant minor melodies combine to accent the the nebulous bulk and vividly this breach is annexed and incorporated into the spiraling form. At the chorus the vocal channels rend apart, tearing across the sound scape. It’s sensed then plotted out with a lot of care and calculation.

It’s a good week for new media. After the JWST release today, there’s a new GEE TEE 7″ out Friday on Goner Records.

TRACK | Violent Change – Unit A

5/5 golden merles

“Unit A” is the easiest point of entry to a great experimental lo-fi rock set, VC3. Awash in fuzz and form, the rampant melody augments and deviates in plenty of soaring and delicate ways. There’s enough feinting at traditional form coinciding with the stylistic subversion to keep it fresh and engaging.

There’s a lot in the way of texture and the weighting thereof: the processing all around, the vocal layers elevating at the chorus and a sparingly employed harmonica stretching the tactile wave. All of this is solidly plating the hooks, enshrining and embracing the more established elements.

Within the genre and particularly to those acclimated, there’s a lot of admirable gradation and nuance to the discernible creative problem solving. This refinement pulls some aspects of the abstraction away from suspicion, provides a benefit of the doubt in areas that lack explicit mechanisms of conveying meaning.

See also the Chunklet Industries Honey Radar/VC split from 2021 for some complimentary schemes.

TRACK | The Lavender Flu – Demons In The Dusk

5/5 golden merles

Experimental psych and folk rock from Oregon, The Lavender Flu’s “Demons in the Dusk” finds the lugubrious periphery of rock to be a haunting and inviting sector. And they offer great returns residing and mining this quarter comfortably immediately before collapse.

The album as a whole is consistently wailing and receding, working within its own internal logic that promptly consumes the listener. But “Demons In The Dusk” is probably the foremost hook, the crown jewel of a barb that easiest draws you in. It rewards your patience with a strange, strangled style, then an uptick of treble and trembling in the end.

As we hurtle unapologetically toward a new dark age, estranged from the storied ends, adrift and listless, it suits us well. At least the paths run parallel. Craven and composed, it saunters to the threat of annihilation, an easy going end that specifically omits a mea culpa, “The Lies that you breathe / will follow you.”

4 sides for 30 wending tracks, the double vinyl is around.

TRACK | Akusmi – Divine Moments of Truth

5/5 golden merles

An inspired enmeshing of momentum, electronica curtailed to contain only the essential. Of a stunningly metered jazz/experimental set, “Divine Moments of Truth” stands out to me as a pinnacle of those forms.

The relative minimalism of what transpires builds into a great escape, evenly, cleanly out of its abstraction. It feels as though there is something at stake and yet remains “as simple as possible but not one bit simpler,” the energy is convincingly condensed in such a way as to warp your perception of relative space time. A credible spell, intuitively assembled, or the result of finely tuned music theory, I don’t know. But the kind of wonder and admiration I feel for its accumulated reserves is like the saying that any technology produced by a significantly advanced civilizations is indistinguishable from magic.

Arriving last week into the world, there’s ~30 clear vinyl remaining from a set of 300. Not a bad return on anything in the common era, much less a finely rendered crop of electronic jazz concoctions.

TRACK | Sterile Cuckoo – The Ghost of Saint Claire

5/5 golden merles

“The Ghost of Saint Claire” has a composition that incorporates more creative tools than most songwriters employ and with more conviction. I’m very fond of these configurations, their sequencing — from field, to shoegaze, to ambient drone — is always dreamy, always threatening to break into bloom. It is mesmeric, captivating material.

Three things primarily pique my interest among its graces: First, the cohesion of its assembled genre influences. Second is the structural invention and pacing. And third is the collaborative element. Each of these involve their own degree of risk and reward.

There is some risk in breaking free from the yoke of strictly enforced genre limitations, attempting to create the more refined/unique niche, and the prospective audience readily available to receive it. Another risk is in leaning into the expanse, allowing the void to patiently fill itself with subtle field and noise cues, breaking the form but maintaining a series of footholds. Yet another risk is in collaboration with others to contribute toward the fundamental ideas and ambiance (orion lake & Antonio Svisa).

But, truly, they’ve all paid off tremendously well here. And, from the outside, that act of crafting feels honest and refreshing, to have honed the influences or held a vision intact throughout. It’s realized to a point that probably none of it seems like risk at all to its progenitor, but rather the only way to properly render the material and synthesize the influences. Listening to it feels a little bit like taking part in that conviction and it is a joyful event. There is much to admire in its grandiose and ephemeral lo-fi textures, and the deteriorating and rising of its well designed phases and fractals.

TRACK | Prison Affair – Nice Guys

5/5 golden merles

Spanish lo-fi texture god-ghouls, Prison Affair return with Demo III, a slick and bountiful repeater. Top tier sludge and melody worship, it is both sickly and perpetually fun.

The aesthetic sense is something akin to reliably nailing Jell-O/jelly/ectoplasm to the wall; take your pick. Hard to quantify and deceptively simple, spatially ingenious, modestly amuck stuff.

The excited and concurrent release among the lo dash fi pipeline was impressive, dropping last month across Tremendo Garaje, Harakiri Diat, and tagoschlucam, among others, to much outpouring of love. They are highly consistent and rightfully flourishing, short and detailed tracks hyper focused on quality over quantity yet regularly uploading great sets of EPs/demos.

TRACK | Times New Viking – Half Day In Hell

5/5 golden merles

With the proper balance of muck and bile, “Half Day In Hell” conspires to deliver noise pop rock with great wrath and fission. In this base of static hum, no melody is sacrificed to the texture but heightened by it.

Not exactly discordant, it is raised to extremes of saturation with very modest deterioration to melodic intent. Elliott and Murphy trade vocals in the haze, refining the wavelengths. It’s the best produced thing I have listened to (revisited) in ages.

After the last week of inconsequential societal response into a myriad horrors, lines like “we will stay forever for a week,” “we have done all that we can do,” “and don’t agree on what to do just to kill time,” and “we couldn’t come together even if we tried,” land a little bit differently, arbitrarily recontextualized to the present in the constant mire of all that is. But these statements remain vaguely stated enough to interpretively address any given scope of social incongruity.

It is modestly miraculous, full of fine trepidation, not reliant on habits and precedent but reaching in its forms to match the emotion and intention. It feels refined but natural and that is a bit freeing. Often when this path is followed it leads into greater abstraction that discounts melody and a greater loss of coherence. Which is fine, but needn’t be the case. Finding that balance is powerful and admirable.

TRACK | Tawings – Listerine

5/5 golden merles

Post-punk/pop from Japan, Tawings sculpt tunes that blend various rock influences minimalistically but with much warble and precision. The instrumentation shakes and severs, fitful and concerted, to great, elaborated result.

With “Listerine” particularly the track is paced in a sophisticated lurch, with many flourishes punctuating the soundscape.

The internal logic of the tactful ornamentation locks decisively around the steady bass and drum foundation. The phrasing and lyricism is agile throughout, happy to fall apart, but prevailing in the act, composed and resolute.

Unique and fun, the vinyl is available for about ~$35 including the shipping from Japan on the bandcamp. There’s also a super cool looking partially clear/cutout case for the single version, but so far no availability on the Discogs.

TRACK | Women – Eyesore

5/5 golden merles

“Eyesore” is a clinic on texture and tone. The track is a How-to with respect to texturing a track so well that you don’t need a proper hook to emerge until 4 minutes in. Once it lands it can only be extracted surgically.

There is so much more room for experimentation in pop/rock that can venture into new territory and yet remain catchy and instantly resonate. Women were comfortable operating within this space. The album itself and the ST before it are legendary stuff, and so is the continued work by Flegel under Cindy Lee.

I’ve written on “Heavy Metal” here, as “pretty captivating, and contorts the space of any room into which it is freed.” A sentence I don’t remember writing but am very happy to find here, reminding me that sometimes articulation happens and it isn’t just incoherent rambling, desperately melting down thesauri and clumsily reconstituting them.