Gregor Samsa - 55:12 (V)

Gregor Samsa is beautiful, minimalist post-rock. And epic. Beautiful, epic, minimalist post-rock. The . . . seven-member? band brings Sigur Rós to mind with the epic orchestration and beautiful melodies, but with a distinctly softer overall tone and more softly accessible male and female vocals.

Gregor Samsa's music doesn't in the least reflect Die Verwandlung to me - one of the most depressing works I've ever read, as compared to soft, hopeful, tender beauty. But I appreciate the reference. And the music. And members of Kayo Dot? Amazing. I'll admit that the strings bring Godspeed You! Black Emperor and Thee Silver Mount Zion Memorial Orchestra to mind, but I think in terms of delicate beauty, Gregor Samsa has truly overtaken these. And there's no flavour of Jewish music worked in, which, though it's a lovely flavour, detracted for me from the purity of the music as an original work in a modern context.

All of the tracks on 55:12 are amazing. Soft, attractive melodies. Like listening to Slowdive drawn into something slower and more gently thoughtful. Sit with 55:12 for several hours, and you'll feel at once uplifted and longing for something lost.

Freakflag - Experiments in Evolution (K)

Advertisments are a curiosity. On the one hand, they shall present to a neutral person some impressions on the item, like sound, smell, taste etc., but on the other one must all these facets be distilled into one catchy sentence or phrase. There you have the dilemma. Depending on the point of view of the person who wrote such a short description, one facet will be emphasized, while others are neglected. Some praise the band's musicianship, other the unique interpretation of the ideas and to some the mere existence of a band is great. The larger the band, the more of these phrases can be found... but Freak Flag is a small band ... from the underground. What kind of description might be found on their music?

So, there you are, the feeble person, without any knowledge on what the band performs and by mere chance you are confronted with this short advertisement: «Unbelievable experimental outfit, will likely induce acid flashbacks». Perhaps it may be best to consult a pharmacist before listening to the music or do some Google search on the topic "can music have a negative affect on my brain". You might also consider the option where to listen to the music. Who knows what might happen in the time you are 'affected by this piece of art? What would you tell your insurance company in case of a car crash ... while driving and listening to this album? Consider the effects!

Drugs play also a role on this album, yet not an important one. The dangers of the consumption of marijuana are dealt with on «Trans-con» or to be true, the band used samples in which people are warned about the consumption of it. Indeed it works; the track is really fascinating due to the different kind of samples in it and the weird way of song-writing. Freakflag takes the listener on a trip with this one song and it is a quite representative one for the whole album. The term «experiment» of the song title, gives some impression on what this albums offers to the listener: weird electronics, influences from the metal scene, some folk now and then and much more. All had been thrown together and the outcomes of it are fifteen unique tracks; and what about the quality?

Well, the band's potential is unfolded every time they start to rock and to combine a lot of elements into their songs. A little bit out of place are the electronic tracks, as they do not really fit into the whole concept behind the album, but perhaps this is rather a matter of personal preferences than a general obstacle; luckily these play only a minor role in the oeuvre. Characteristic for the music is impression that it creates in the head of the listener: everything seems to be in a flow. Accordingly is the music rather gentle and 'inoffensive' due to the lack of extreme elements, like breaks, noisy eruptions or the like; exception might be the track «End Suture» as well as the middle part of «Trans-con». It all lures the listener into a deep and (a little bit) depressing atmosphere and the music is quite appropriate to listen to in the background or to relax; perhaps its quality could be better would it be more influenced by the Drone genre and much longer, because this way the repetition in the elements could be brought to a new level and some ideas could be evolved further.

All is very calm on this album and even though there is a lot of complexity in the song, it is not perceived this way; the repetition of motives does its best to cover it up a bit. «Experiments in evolution» wants to be discovered, wants the listener to take the trip and needs some time until its full potential will be unfolded. It nothing that could be listened to when not much time is at hand or that would spin in the CD-player on a daily basis. It is a unique example on musicianship that finds its way onto one's playlist now and then; to remind this person on the beauty beyond the barren fields of commercial music.

Devourment - 1.3.8 (V)

Devourment's 1.3.8 is something of a classic in the gore and death scene - originally formed in San Antonio in '95 with Chicagoan vocalist Wayne Knupp, Devourment wandered through the next 4 years with lineup changes, releasing a couple of demos and replacing Knupp with Ruben Rosas - as much as possible. Rosas recorded vocals on Devourment's 1999 release, Molesting the Decapitated, before being jailed, during which time Knupp rejoined the band and recorded the track "Babykiller," which saw release on the Southern Uprising compilation, and then the Devourment compilation 1.3.8, featuring that one track, three from the earlier Impaled demo with Wayne Knupp, and 8 with Rosas' vocals from Molesting the Decapitated.

Not confusing at all.

"Babykiller" is a classic track. Don't read the lyrics. Whatever you do, don't read the lyrics. But the track is the perfect slam-dancing beast, and Knupp's vocals are pure raw gurgle. Right down to the 24 or 25-second extension at the end of the track.

The next three tracks, from the Impaled demo, aren't as well-produced. And that's saying something; "Babykiller" is RAW. Incredibly scooped distortion and all. And the Impaled tracks are a few good notches muddier. The songs are great. The messy bits are perfectly messy, and the chugs are clear and heavy. Knupp's gurgling is as gory and indecipherable as ever.

That said, I tend to skip past the Impaled tracks to hear the better-recorded versions of the same songs from Molesting the Decapitated. Rosas' vocals don't have quite the same raw edge, but they're definitely in the right mold to fill the gaps, and the production is comparatively without blemish. The tracks have the traditional gore soundclips about murder and the like, but the whole album is filled with appealing dance grooves. This is happy music. In a gore-dripping, dark, hateful way. Get this stuff and enjoy it . . . unless it's too far below your artsy standards or the focus roils your gut, you will.

And Devourment's writing a new album - and don't forget to check out Butcher the Weak in the meantime.

Current 93 – Black Ships Ate the Sky (J)

The kingdom of neofolk hails its king, David Tibet, whose groundbreaking solo project, Current 93, has kept a firm grip at the head of the neofolk movement (with good friends Death in June and Sol Invictus). Throughout its 24 year existence, Current 93 has covered vast expanses of music in his consistent, year-by-year releases, experimenting with industrial/post-industrial, classical, medieval, noise, a capella poetic readings, and, of course, folk/singer-songwriter.

At first glance, the CD cover of “Black Ships Ate the Sky,” one is reminded of David Johnston’s work (see my review of Jandek’s “Ready for the House” if you wish to learn about “outsider music.”), silly, childish, and irreverent, thanks to the crude Jesus in the center, most likely drawn in crayon. Released in 2006 Anno Domini, “Black Ships Ate the Sky” is an in-depth journey into the obsessive madness that is David Tibet.

“Black Ships in my eye! Black Ships ate the sky!”
“Black Ships” features many, many guest vocalists, including (in track order) Marc Almond, Bonnie ‘Prince’ Billy (a personal favorite), Baby Dee, the mysterious Antony, Clodagh Simonds, Cosi Fanni Tutti, and Shirley Collins. Most tracks feature David Tibet’s strange, atonal storytelling voice, but thanks to these guest vocalists, David is able to concentrate more on his songwriting, as well as experiment with different styles within his folk realm, such as Appalachain-tinged blues (note the banjo on the first “Ideumea” with Bonnie ‘Prince’ Billy) and Nick Drake “cluster (jazz) chords.” Think of this album as an expansion on the “Inmost Light” trilogy (“Where the Long Shadows Fall (Beforetheinmostlight),” “All the Pretty Little Horsies (The Inmost Light),” and “The Starres are Marching Sadly Home (theinmostlightthirdandfinal)”).

Emotion and tone on this album range from, but definitely are not limited to, madness (“Black Ships in the Sky”), resign (“Ideumea” w/ Bonnie ‘Prince’ Billy), and thoughts on religion (“The Autistic Imperium is Nihil Reich”). Tibet’s lyrics have been fairly consistent, regardless of delivery: The earlier recordings reflect his preoccupation with death, Christ, mysticism, Aleister Crowley, Tibetan Buddhism, Gnosticism, Weltschmerz, nihilism, Noddy, and a variety of occult notions. The later to present-day period of Current 93’s recordings increasingly reflect Tibet’s interest in Christian mysticism.
Though most had thought David Tibet had reached his pinnacle long beforehand, “Black Ships Ate the Sky” is here to prove us all that Tibet has many, many more albums left in him. Expect a new release later this year or early 2009.

For fans of: Death in June, Sol Invictus, Bonnie ‘Prince’ Billy, Nick Drake, Birch Book/In Gowan Ring, Comus, Agalloch, and much, much more. A very accessible release.

Bonnie 'Prince' Billy - The Letting Go (J)

At first thought, with a stage name like "Bonnie 'Prince' Billy" and having the label "Alternative-Country," Will Oldham's music could only spell trouble for the country-despising country that we live in (save Texas). I was expecting some sort of "hootenanny" with some bluegrass banjo, fiddle, perhaps a jug or two playing in the background.

Yet again, I was wrong (it tends to happen to me a lot).

A cousin of mine (who, incidentally, got me into the band Low, whose CD "Drums & Guns" I have reviewed for this month) told me to check out Bonnie 'Prince' Billy, and due to my cousin's supreme musical awesomeness, I could no longer put off my intrigue with Mr. Oldham's strangely-named side project. And I must say, I am eternally grateful to my cousin Suzanne for helping me out.

When it comes to B'P'B, the label "alternative country" confuses me. Yes, there are some rather east-Texas-y vocal harmonies in "Cursed Sleep" and the rather Southern Blues-y-ness of "Cold & Wet" may give Mr. Oldham's release a rather country-like atmosphere, but overall this release is much more performed "an hommage" to singer-songwriter greats Nick Drake, Leonard Cohen, and Bert Jansch.

Lyrics on this release are much different than the rest of the Bonnie 'Prince' Billy discography, which deal more with metaphorical sexual images. "The Letting Go" tends to deal with more tender, cute, "lovesy" lyrics; almost like a love poem. A great example of the "sweet" characteristic of the lyrics can be seen in my personal favorite track, "A Strange Form of Life":

"and the softest lips ever
25 years of waiting to kiss them
smiling and waiting
to bend down and kiss twice
the softest lips."

Will's voice for most of the CD is a calm, almost spoken-yet-still-sung crooning voice, reminiscent of Leonard Cohen, though, at times in songs such as "Cursed Sleep" and "The Seedling," he lets his voice soar on its raw emotional power.

Musically, "The Letting Go" is very diverse. Normally, Oldham would release a disc with either the soft, Nick Drake-esque string-accompanied songs, or the more American folk-y songs (ranging from Appalachian folk to Western-tinged folk, reminiscent to that of the aforementioned Steve von Till), yet on this release, Oldham mixes up his writing styles, which is a treat.

On this release, Oldham is joined by Psychedelic Folk artist Faun Fables, also known as Dawn McCarthy, on harmonies. Ms. McCarthy's harmonic sense is amazing, and her voice complements Oldham's voice perfectly. Her range is rather large, ranging from the mid-range/low tones of "Wai" to the shockingly high notes of "Strange Form of Life." Dawn's voice creates a feeling of wholeness - a complement or second half. Considering this release deals more with emotional love as opposed to physical, having a woman alongside Oldham really helps the "love" idea succeed.

Overall, currently "The Letting Go" is one of my favorite albums. I recommend listening to this release and just letting your emotions run wild.

For fans of: Nick Drake, Steve von Till, Agalloch (The White EP), Buffalo Springfield, America, Neil Young, Woven Hand, 16 Horsepower, Iron & Wine, and Low

Barzel - A Shield of Defense and the Word of the Son of Blood (V)

Barzel is a strange creature. The front of this record is anything but vague: the largest words are the phrase "MILITANT JEWISH INDUSTRIAL." That's certainly a fair warning label - or blessing.

Barzel is essentially a noise project - a strongly rhythmic noise project, harkening to the Futurists' ideals of music made from noise - covered in soundclips of Jewish, Zionist propoganda. In the case of this particular record (I asked David of Barzel), the voice clips are from "an old LP about the birth of Israel," and David gleaned the clips on the new record (which I haven't laid my hands on yet) from a variety of documentaries. He admits that it's hard to find applicable material.

Personally, my favorite aspect of Barzel is the overall sound - David manages to make the industrial noise sound like not only a call to arms in the defense of Israel, but like historical music made for the LP he samples. The distorted, pulsing roar is softened into a vintage vinyl sound that creates something of an amazing atmosphere. Even when Barzel's noise influences come forward in a blast of sound and distorted screaming that would do a live Masonna show proud (as in the track Milchemet Brera/Jewish Steel), it doesn't detract in the least from the historical atmosphere of the overall work.

I'd recommend this record for not only anyone interested in industrial and noise music, particularly older examples, but also for those interested in examples of historical propoganda in the context of race and nationalism. If you can hunt down a copy (try contacting David at myspace.com/barzelx), pick it up.

Arcane Art - Keen Joys of Solitude (V)

Karsten Hamre is one of those people who enjoys having far too many projects at any given time. Not that I know any of those *cough, cough.* Arcane Art is a project that specialises in keyboard work with spoken word.

Some of the atmosphere of Keen Joys of Solitude reminds me of some of the neofolk that I listen to far too much - an observation borne well by my recent discovery of Karsten's last.fm profile. Artists in common? Death In June, In Gowan Ring . . . it's oddly meditative music for something as . . . not ambient as it is. The melodies are enjoyable in a calm way and the orchestration is creative and works quite well. I'm almost certain the last track quotes American hymn "Lift Every Voice And Sing," which strikes me as quite strange coming from a Czech artist, but I suppose it may well be a coincidence.

Arcane Art seems in some ways a forum to discuss art and a work to relax the artist rather than so much an offering to others. It comes across as personal and heartfelt. Do explore Karsten Hamre's work where you can - I don't know how available this (limited) release is anymore.