Christian Lillingers Grund - C O R [Plaist, 2018] Germany

Another unfortunate and self indulgent cover, another collective led by a drummer, another splendid record. By far the best thing they have done, this part-orchestrated, part-spontaneous 2 bass vehicle (hence Grund) shall not be easily digested. May its complexity render thee persistent though, for thou shall be rewarded.

No prisoners taken here, the goal is in the travel and Christian Lillinger will go to any lengths to achieve that. Electroacoustic ambience, polyrhythmic fluidity, free jazz, spontaneity in duos and trios, post-avant classical whatever, noise, skrieks and skronks, electronic-like, even drum 'n' bass improvisation and more importantly, energy, team spirit, dedication and balance, that's what's in the main recipe for C O R. Everything on the record is of course produced by acoustic instruments (except for the occasional rhodes) thanks to the stunning musicianship and genius that is Grund.

The band's proceeding like the autocratic mechanism it is and I, the listener, am helpless. This is where new music is going in 2018 and I love it. Induction in the groove, meticulous planning and suffocating freedom is what the guy on the cover brings and I certainly hope many will embrace it. Get past the artwork and invest to traverse through the unknown. And why oh why did they have to omit Plastik from the vinyl edition?!?

Christian Lillinger | drums, composition | Pierre Borel | saxophone | Tobias Delius | saxophone, clarinet | Achim Kaufmann | piano, fender rhodes | Christopher Dell | vibraphone | Robert Landfermann | bass | Jonas Westergaard | bass 

Anna Högberg Attack - Self-titled [Omslatt, 2016] Sweden

I figured that to stop listening to an album I have to write about it. And lately I've been buying records almost impulsively, as if that gives me some special meaning, a way to get b(u)y. "Shit I don't feel well today let's buy me some Rahsaan". Really, anything goes as soon as it is a bargain and of course appeals to me.  So one day I was browsing hi and lo only to come across to this awesomeness of a cover. I knew Anna Högberg but I had no idea about a band bearing her name and oh they've already had a record out? And a year's passed already? Shame. And more shame that the band played my town and I had no idea, but it was a festival and me don't likey festivals, I keep telling meself.

What do people do after they receive their records? Store them carefully? Do most of us "collectors" even have a turntable to play them on? I know that I'd occasionally buy records without having one but here's an excuse for that.. I'm an immigrant in Sweden trying to make ends meet, switching homes like a caged canary is being switched corners to avoid getting sun-toasted. But now I've got me a cool corner and a turntable and I'm playing my records. Which reminds me I've yet to receive this one. It's been 3 weeks already, I ordered from a Swedish retailer, the label is Swedish, the band too, their label oh as well, so why does it take so long to get here? I've been killing it on Spotify anyway so why the fuck do I even bother paying for it? Here's an explanation for that one too.. I like to partake in the supreme communication form we humans are blessed with music, so I treat a record in any form as an artefact of this communication. In this case, I'm the receiver and Attack is the preacher. I'm listening.

This is a spiritual record and I mean in it in the house-of-god sense of the word. It's full, if I may say so, of Aylerisms, Coltraneisms, Colemanisms but only to the level a good student has been doing their homework. The six ladies here unleash with relentless force and conspicuous grace, balancing between chaos and safety, retaining their own personal blast, their own personal voice. The sound delicately gives and I, ever unsuspected, take. Best release of 2016 hands down, too bad I got to know of this in late 2017. But good for me that the band's apparently releasing their sophomore in 2018, with the recording sessions having been finished as of November 2017. Brilliant and can't wait!

Erland Dahlen - Clocks [Hubro, 2017] Norway

Another solo album from this astonishingly creative Norwegian. I am writing these lines as the album's progressing, soundscapes are unfolding in front of my ears, I desperately wish to dance but it's too late so I dance anyway. I'm happy Erland, third fucking masterpiece in a row?

Yes, for those infodiggers, the guy is already famous from his sessions with Nils Petter Molvær, Mike Patton, JP Jones, Stian Westerhus, Garbarek, Xploding Plastix and a sheer shitload of geniuses I'm too envy to mention. But I reckon his solo output is more essential, because he takes up all the risks, from transforming his creative energy to playing entrepreneurship.

I'm already on the third repeat tonight, it's my first encounter with this. It's certainly giving off a spice of the dystopia it carried it, but it's a hopeful, positive manifest. Erland is mainly pounding the drums but here he's employed mellotrons, knives, musical and non-musical saws, metal sheets, vintage drum sets, drone-boxes and 'electronics'. It runs on pure, primitive, even tribalistic gas. Ecstatic, forward-looking, jaw-dropping. Hey where's my copy?

No Noise No Reduction - Au Doux Combat Me Joindre [2017] France

It's a sea of reeds and it takes three masters adept to exploiting all the expressive range saxes have to offer to accomplish a feat as NNNR have. One barytone and two basses do the damage here and they'll have you dancing, cheering and lamenting within a matter of minutes. 

NNNR come from Toulouse in SW France in what is essentially Occitània, a crossroad for one too many a tradition. It really shouldn't strike you as strange to hear ethiopian-styled balkan-like dadaisms alternating with dissonant noisey droney passages and mechanistic grooves. The discipline it took to produce this! But really, NNNR rocks hard.

The power of the sax is such that we'd implicitly require a jazz reference to any brass ensemble but I'm afraid this isn't what's up here. NNNR have something to share with Gilbert Artman's Urban Sax (the Spiral album maybe), Maximalist!, Bise de Buse and Sledě, Živé Sledě. That's not their drummerless presentation but their meditative musique concréte and serialist approach to composition. More importantly though, this ensemble rocks, or it punk rocks. For the last few days I've been listening to the album relentlessly and it finally reached me: if anything and as a common denominator, NNNR continue in the daring industrial post-punk tradition that Cassiber and This Heat set. I also get some hints from X-Legged Sally and Blast but I know that's just me. How about some Look de Bouk and Toupidek Limonade references (Hellebore too? hmm)? Dammit I know I'm over the top.

All the aural suggestions and connections I've offered here only have to do with how I perceived the whole thing. They do not attempt to explain NNNR's uniquely artistic nature and contribution, rather than give some guidelines that I'm comfortable with. Anyhoo, the spirit of the true creatives is very much alive with this release.

Another serious contender for album of the year 2017.

Buy.the.CD.

Yolk - Solar [2017] France

Another beast of its own, Yolk is an example of the unease entity that refuses to settle. Multiverses of influences are molded into Yolk's own, with the range extending from Art Bears to Magma to Sleepytime Gorilla to GYBE! to Gong to Yolk. Odd time signatures, pounding riffs, balkan grooves, psychedelic landscapes and Delphine Delegorgue's out-there, psychotic, inviting, captivating vocals might give a premature picture. Plus, Valentin Carette's guitar playing and approach is phenomenal as usual. The guy is a genious!

Solar is similar to the band's eponymous as well as last year's "You Decide". I find it less direct and more sophisticated than the 1st and definitely less obscure, a tad lighter if you will than the 2nd. Probably due to its long compositions, Solar expands on Yolk's qualities and the songs take their time into the listener's subconscious. I hate to admit it, but this is also an album to dance to. I've tried it and it works!

Get.The.Vinyl.

The Dirty Snacks Ensemble - Tidy Universe [2016] USA

The Dirty Snacks Ensemble. What's the story behind the name? why Tidy Universe? I'm always curious about the extramusical traits of a record, after all it's those traits that complete the experience. I discovered Dirty Snacks while "wandering" around in Bandcamp during some long day's small hours; I hadn't finished the album when I pressed 'Buy Record/Vinyl', it was instant love. Am I being naive for buying records? friends suggest so but come on, it's the ultimate extramusical trait that enhances the experience. I mean I'll still stream, obviously, but you develop a different relationship with a music you like, it's getting physical (you get me).

Dirty Snacks are the brainchild (hate that word) of Mark Clifford, vibraphonist, keyboardist and composer and it seems they're based in Oakland. You get that Sunshine State vibe (pun) throughout the album. It's lingering on the positive yet thoughtful side, with lots of groove and experimentation. I'll draw some parallels with The Claudia Quintet although I find Dirty Snacks a little more daring and playful while not so polished. 

The ensemble sounds so organic (love that word) it feels they're recording next to you. Now. You gotta love how the reeds (especially that bass clarinet) interact with everything. Or how the vibes and piano bind the whole into one. The violin can range from austere to clumsy. The drums are delicate and the bass is king; some awesome post-jazz-rock moments here. You gotta love how the compositions are breathing, how these creatives are relevant. The style is maybe chamber-jazz, some friends called it cinematic; you can call anything cinematic, as long as it's soundtracking your own movie. And this is mine.

Is it arbitrary if I say SUPPORT THE ARTIST? I didn't think so.

Spjärnsvallet - Again and Again [1975, 2014-15] Sweden

A gift. I'm not sure how many remember Spjärnsvallet but this "comeback" took me by surprise. Actually it's nothing more but outtakes from their 1975 self-titled album, plus a newly recorded track. The album is dedicated to the late Kjell Westling, a distinguished multi-instrumentalist known to have participated in many seminal Swedish prog bands. 

In fact the quartet is a who's who of the 60s/70s Swedish prog, rock, psych and freak folk scene: Archimedes Badkar, Träd Gräs och Stenar, Blå Tåget, Harvester, Vargavinter, Thomas och Turid, Marie Selander, Pärson Sound, Nynningen and Nationalteatern among others. Some of those sound explicitly daring to this day. That background is prevalent throughout Spjärnsvallet's music. Add to that, Bengt Berger's and Christer Bothén's itch to travel to Ghana and India (the former) and Mali and Morocco (the latter) with the purpose to expand their musical vocabulary.

Again & Again is for those like me who think that the eponymous is just too short. It is well introverted and you can notice the balkan, south indian or north & west african traditions with great transparency. Still, there are discrete improvisational, compositional as well as overlapping moments just like on the debut. Does it differ from the original 1975 statement though? I believe it does. 

The closing track, Again, is the only absolutely new piece here, recorded in 2014 by the 3 surviving members of the group. I like to imagine it as the closing statement of an era, an elegy dedicated to the late Kjell Westling. It showcases the ability of the trio to continue breathing as a single organism. Just like before. I really couldn't think of a better fitting conclusion. The word spjärnsvallet, the way I understand it, stands for the cascade that we will set off should we support each other. Brilliant.

Artús - Ors [2016] France

A very very remarkable outfit, Artús (formerly known as familha Artús) is a collective attempting to tell the story of a bear. We follow Dominique the bear just as he's exited hibernation state at the top of the mount Estibére to what may be perceived as an allegorical narrative. Can you spot the bear on the cover? I bet. 

Artús come from Gascony in southwestern France and they employ the Occitan language to unfold their story. Occitan is spoken from the southern part of France to the Italian Alps, to Catalonia, the Pyrenees and Monaco among other places. It may be recognised as an official language or not (as in France's case). I just offered this little piece of cultural geography since I did not know anything about it and wanted to shed a little light behind the band's backdrop. 

It becomes apparent from the first notes in, that Artús are standing with one foot to the past and one to the future. On top of the classic rock setup (with a baritone guitar) they're blending the violin, hurdy-gurdy, baisha, various percussions and more importantly, three-way chanting. The result is an organic polyrhythmic and uprooted beast that is irate rather than lamenting. You can feel something old and traditional in what these inventives are doing, something that is screaming in fury. It's I presume, the voices of the unheard, as Artús transcribed them.

This is by far my best album for 2016.

Ithak - Black Nazar Corporation [2016] France

Ithak may be one of those acts that go unnoticed. This is their second album, it was released in 2016 and it really flew low while it deserves otherwise.

The band is a typical quart..er..wait there's no bass...ooh ok the bass duties are taken over by a barytone saxophone, which is actually the main reason I was drawn to their music.

I'm trying to find a common denominator for the sounds offered and I think that's the oriental music influences. Oriental can be too inclusive so I'll try to confine that a little. Maybe there's mainly Turkish and Moroccan music references. The compositions are mesmerisingly addictive, there's an prevalent in-your-face attitude and I believe the players enjoy what they are doing to the max. This is a diverse offering.

I'd reluctantly label them as Zeuhl, though it would be a very modern take in Zeuhl or maybe it's just another influence on their palette. The band have tagged themselves as RIO, cyberpunk and oriental rock among others. All I know is they made me turn my head.

Support the band here

Sun Body - Sun Body (2016)

What a beautiful name. Sun Body. Sounds like the band wanted to send a message, perhaps of modest solipsistic essence. I'll take the cover as just that too. 

Saying hi from New Jersey, Sun Body thrive in what is sometimes identified as shoegaze, or maybe ambient post-rock. Again, I'm using hard-to-define genres that are rather there to confuse than clarify. "So how does it sound? Is there any , say, Sigur Rós or Caspian, or Gates, or even Alcest in it? Is there anything for us to find there?".

What is certainly there is quasi-droning textures. Timbral, but not indefinite, with the marvellous bass setting the tone. Hearing the album again and again, I find it to be a collection of doomed, hopeless remarks, a personified desert if you will, aesthetically closer to GYBE! or Aidan Baker than anything else. Throw some Mono for good measure too, just for the attitude. Forget any 'Dream Pop' implications, if anything, this is nightmare pop. It is overall really rewarding and refreshing, for it makes the listener feel, well, alone. Abandoned. As we are. To the end. That's what it did to me anyway. The spacey production contributes to the album's necessary bleakness for in all, what remains is just agony and there's nothing for you to help you elude it.

Humble or pragmatists as they appear, Sun Body would not require of anyone to pay for access to their music. But you can make a gesture, show them not all is forlorn. Not as long as we are still around.

Nicotina es Primavera - Animal Cerámico (2016)

This is a masterpiece. It is indeed so rare to come across so balanced pieces of music, regardless of the style or perspective. Nicotina es Primavera (what a name, what connotations it is invoking to an ex-smoker) is a highly energetic bunch of creatives from Peru and Argentina. On the first couple of listens I roughly categorised their output within the Avant-prog frame being both correct and misleading. The "genre" is so loose in its meaning that anything could practically fit in.

It is the blend that counts (not a smoking pun I assure you). Animal Cerámico is as adventurous as the best ones within the genre, and also much more than that. It is possible that my Avant-prog knowledge(as well as its sub-genres) is limited and I'm set to take the hit. Being a balanced album, the ranging disciplines flow from chamber music to Rock in Opposition, to free jazz (although the improvs sound more constructed than abstract). Everything is intertwined at points and is certainly executed at its highest caliber. Add that if they told me this is a live recording I'd fall for it.

If I had to draw a certain parallel, I would say that it reminds me more of a sunny and optimistic Univers Zero than anything else. This though does not do any justice, since I find Nicotina... to be absolutely unique. The dissonances, the melodies and the contrapuntal and often complex harmonies here support the light rather than the darkness. I needed that. I'm also not sure when I last listened to an outfit that employs its dynamics so well, so inventively. Or that interchanges between styles, patterns and rhythmic intelligence so smoothly. I dare say it again, this is a masterpiece!!

Be a part of their energy here:

Last but not least, the lads and lassies offer their work for free to those who will appreciate it. Give it a listen and if you like it (if you've read so far you will), support their genius!!

Buy the album, embrace the artist!!! You can do so here.

Spire - Live in Bergen (2014)

Give the peasants wine and they still want dirty water. Or that's what's inscribed within this project's tape release that celebrates exaltation through music, the type of liturgical, high medieval music which teaches humbling. What's praised here the way I see it, is the power of the organ. Not to be mistaken, the Spire is a church organ collective, specialising in drawing drone and ambient music exactly where it should be played, the church.

Behold the track listing:

A1: Charles Matthews plays JS Bach “Komm, Heiliger Geist”
A2: Charles Matthews plays Giacinto Scelsi “In Nomine Lucis”
A3: BJNilsen and John Beaumont “Black Death” 
B1: The Eternal Chord “The Eternal Chord (Live)”
B2: Marcus Davidson “Ananta”
B3: The Spire Ensemble “Live In Bergen”
B4: Charles Matthews plays Arvo Pärt “Pari Interval”

This should give an impression what to expect, but if it fell short, the video below will do the job. I will not lie here, the primary reason I bought the tape is A3: a project featuring John Beaumont's conjuring tenor voice over BJ Nilsen's electronic wizardry. The rest are of powerful meditative/humbling quality (Beaumont doubles on another track too), but the Black Death is... just magnificent.

I shall blabber no more. Take Mike Harding's (courtesy of the collective) word for it:

It is impossible not to be drawn upward, whether towards the spire of the church or cathedral or to the huge and daunting forest of pipes themselves. The organ dwarfs all comers, and unlike other instruments, it is this non-musical element which makes the organ stand apart.

Dan Phelps - Arc (2016)

This just came in and truth be told, I was anticipating it like crazy. In fact, I had this expectation that it would be greater than 2011's Modular, which I consider to be a cornerstone in, let's call it, groovy ambient. Or modern tribal manipulations. Who cares about labels anyway? I know I don't. Honest.

I must say that I had not preordered it, or sneak-peek on snippets but I was patiently waiting to buy it on its release date, or what was May 17, 2016 (there's a chance I bought it the day after, oh well). So essentially I knew nothing about the album's orientation or whatever, I just had a feeling it would be Phelpsy. What I surely knew though, and I would too be to excited to hide it if I was Dan, is that the drums are handled by none other than mr. Jim Keltner. Jim Keltner. Phew. You know, that dude you've been dancing to his grooves even if you were unaware. I'll just name a few: The King (huh, that King), CSNY, the Beatles minus Sir Paul (of course I'm talking personal bug albums here), Joe Cocker, Leon Russell, and the list goes on. Jim Keltner.

As Dan puts it, he wanted to improvise with mr. Keltner, and well who doesn't right? As such, the songs took shape around those sessions and since, they had been manipulated to reach their current form. Atop of the improvs, several exquisite musicians tagged along to result in a very thick, very groovy, very much forward record. Some songs involve 3 drummers simultaneously (and yes judas, this has a certain aural purpose) while others flow from a Frisell-type-of-mantric-groove to a fucking suite of sorts (call me bunker). Awesome strings arrangements. Damn me this proves to be a masterpiece.

Somewhere in the liner notes, Dan describes that by revisiting this, he gets visions, shapes and colours. He's right. To me it sound like a beast that takes up space in your emotional hard drive and occupies certain neurons while modifying certain interconnections at different sonic times. As of this writing, I've listened to the album maybe 15-20 times. There are parts and feelings I swear they were not there previously. Say what? I'll know more about it later. How much later? No idea.

You got a clue hopefully. You'll love it. Really. SUPPORT the artist here!!!

It Grows On You from Dan Phelps on Vimeo.

El Doom & the Born Electric - Selftitled (2012)

The way I've set my mind around this very blog, makes it rare, really rare that I wrote a review before owning the actual album first, in physical or digital format, doesn't matter to me.

Let me introduce my daily routine. I start working too early, earlier than my colleagues, earlier than people in my hometown some 4,000 km away, earlier than people living on the other hemisphere. It's awesome as I get to listen to music all the time. The awful part is that due to some inexplicable condition I'm suffering from, I must change album lists often. It's called boredom. Thus, I literally listen to a shitload of albums every day, new, old, classic, unknown or famous it's really up to the moment. Some of them I buy.

Today I forgot refreshing my list. Damn! In despair I started searching on spotify and my eye landed on El Doom & the Born Electric. Stupid band name. I gave it a shot anyway, there was no time really. In the first couple minutes it occurred to me that this shares the metallic tendencies the Ghost are known for, minus the horrible pizza toppings. I hate Ghost. Anyhoo I was wrong. Not about the toppings.

Boy was I lucky though! As the songs played through I would be gradually falling for with it. I was hearing all those I've been so far grateful for: Rush, David Bowie, Soundgarden, Alice in Chains, Mars Volta, David Bowie again, Radiohead, Opeth, Tool, some 16 Horsepower agony. All these, in no particular order or magnitude, in such dosage and with such ardor that makes up for a totally unique release. God I LOVE EL DOOM. And the Born Electric no doubt! Add some heavy/power metal implications here and there, not the wanker kind though. This shit is progressive rock at its VERY finest! Why the hell was this unknown to me??

I shouldn't forget the stellar personnel here. Besides Ole Petter Andreassen, the mastermind, singer and guitar player, I was amazed to find out that Hedvig Mollestad is handling the hammond plus some guitar duties. Brynjar and Haavard Takle Ohr of El Cuero fame are present on guitar and drums respectively. The real cookie though is Nikolai Hængsle Eilertsen and Ståle Storløkken from Elephant9 on bass. Nikolai's among my fave bass players and Ståle is also in Supersilent and a conductor? I think. Ok. Psyched! Other guests include Mikael Lindquist on Mellotron and the monster Jon Eberson on guitar. Nuff said. ENOUGH!!

Listen to the magnificent closer and feel free to order this MASTERPIECE here. Oh and last but surely not least, El Doom are supposed to deliver their sophomore as of this year, 2016. Can't wait! Thanks Ole Petter!

UPDATE: You know an album is a classic one when each day a different track dominates your speakers and you eagerly await for your vinyl copy, even though no turntable is available.

Matt Chamberlain - Comet B (2016)

Matt Chamberlain is the musician's musician as well as the musician's musician's musician. Well, you get the picture. The guy has played a vital role in so many collaborations that his own website can't keep track! His overwhelming resume includes, among others, Bill Frisell, Robert Fripp, Pearl Jam (just a short stint), Fiona Apple, Critters Bugging', Soundgarden, the Wallflowers... aaaaargh IT'S JUST TOO MANY! The list is practically endless...

Comet B is the versatile drummer's latest output under his name. I won't lie, this to me was the single most anticipated album of the year and the best insofar. The vibes dispersed throughout showcase Matt's sensitivities and I would label the effort as ultimately-groovy-modern-traditional-music (no hashtags) or ancient-turntablism-in-space (still no hashtags). There are some shamelessly (while meticulously) combined sounds that would otherwise take me by surprise (i.e. mellotron vs. lap steel). Alas it's all so natural! It shall be no exaggeration to say that Comet B contains some of his finest compositions so far (and the bar had already been set high).

Somewhere here is where I would like to note that what I love most about Matt is his drums sound. Yeah he is a monster anyway, among the finest and most eclectic too but, what is really inimitable is the warm welcome of that snare drum, or his bass drum roar. You will just have to delve into it. Roll with it. And make sure you let the music take you wherever and whenever it is supposed to take you. 

Peace

Support the artist. 

AOVL - Absence of Visible Light (2016)

I'm back! And boy do I bring good stuff! Here's to breaking my silence with a release that's the next best thing to... silence. AOVL, standing for Absence of Visible Light, is the brain product of CJ Larsgården of Yrsel fame (that doom/ambient outfit). 

What's on here is dark, engaging and ritualistic drone designed to help explore those distant chambers in your head. The context is being kept relatively minimal, and by that open to individualistic interpretation. Whichever your purpose in life, lo!, sign up for a cathartic experience.

As ever, mere words won't describe what this release has to offer, so to wrap up, there are plenty of choices for you to follow and celebrate. You may order the tape version by Do you Dream of Noise?. If so, I'll be a clicksaver, it's right here. Note that AOVL is the very first release by the label, limited to 50 copies.

Or you might be the anti-materialistic type and maybe in this case you'd just love to support the artist. Awesome! Here's the bc page. And last, but certainly not least, you may just want to sense the flavour, or let the music travel you a bit say, on your up and coming train trip. Thus, you may stream here.

Spread the word!!

Rex Ilusivii - In the Moon Cage (2015)

Mitar Subotić was a pioneering electronic/experimental musician from Novi Sad in former Yugoslavia. Originally a diverse composer, his Rex Ilusivii monicker was concerned with the darker side of things. As such, the music involved can be described as esoteric ritualistic ambient combined with new age, while the traditional balkan song and chanting influences add to the overall eeriness, giving off a unique flavour.

The record compiles Suba's outtakes for Rex Ilusivii from 1980 to 1991, explaining the occasional shift in style among the compositions as the years were passing by. This release certainly came just in time for us who either had no idea about Suba, or had entirely forgotten about him. Too bad he left us so soon.

Appreciate the man's genius here:

Me and the Muses, by Grant Snider

Archaeopteryx Ultraavantgarda - Vol. 1 (2012)

Archaeopteryx Ultraavantgarda is an ensemble waving from Asturias, Spain. Their sound is tres minimale, avanto-retro-futuristique, the vision is meta-pre-post apocalyptique, the smell is that of pure reek and the meaning is non-existent. This will appeal to all those self-proclaimed individualists with no sense of humour. Or not. Dislike! Disengage, you heartless robot!

Seriously, my first post on this blog concerns this very recording, because it epitomises my views on avantgarde music, whichever the subgenre. Spontaneity, grimness, light-heartedness, some legal dose of (post) punk/metal/core and an occasional awkwardness is what I am looking for. Add some non-conventional instrumentation and the cheesy keyboards to get the full picture. Anything except polka will do. Also, the lo-fi drumming at parts is pure genius. Pick your side, I absolutely love it! 

So long!

this blog is about music that has largely gone unnoticed, yet it could still create some impact if it found the right audience. more importantly, it is about music i love. the spectrum of choice is encircling experimental music, free jazz, electroacoustic, drone, noise, avantgarde, zeuhl, r.i.o. and so on, you name it.

the list comes across just like the days are dying. the point is to help these brilliant albums continue going largely unnoticed, by exposing them through my crappy blog, for the pleasure of the indifferent that would either way pass them by. added is that the list takes no special order, the same way unpleasant circumstances in life come as they wish