Ethernet - "144 Pulsations Of Light" CD

Using sound as a meditative or healing instrument isn't a new idea. In fact, this is likely among the earliest applications for music itself. Tim Gray (who is Ethernet) seeks to re-establish the self-healing and trance-provoking elements of ambient sound on his debut here. Beginning with the drones of "Majestic", Gray's shimmering pulses are grounded by an underlying 808 backbeat -- a singular, simplistic rhythm. "5 + 7 = 12" is almost melodic, as a lilting loop is placed among the electronic textures and field recordings. That dubby back-rhythm, combined with the trancey natural landscapes, reminds me a bit of the landmark work of Wolfgang Voigt as Gas, although Ethernet is more drone-based and hazy/distant. "Summer Insects" drops the beats entirely, and becomes even more effective and organic, like a paean to a lost rainforest. "Seaside" is a calming affirmation, while "Kansai" is more upbeat. The closer, "Temple", is a celestial gem that sparkles and gently lulls. This is some righteously beautiful and timeless work, and here's to hoping that Ethernet can continue on this splendid, nature-oriented path. (Kranky)

Ethernetspace

Tanuki Dreams site

Nudge - "As Good As Gone" CD

Nudge have both melodies and rhythms (and vocals). But, does that make them "pop" music? In a skewered, left-of-center way, I think it does. A kind of collaborative group featuring members of fellow Kranky acts Valet (Honey Owens), Strategy (Paul Dickow), and Fontanelle (Brian Foote), Nudge's sound encompasses bits of ambient pop, dub, and psychedelische musik, and sounds like a woozy, trippy, and cosmic sound-collision, as seen from behind a foggy, steamy glass window. Opening with the wide-eyed "Harmo", the album veers into more song-oriented (but still drifty) territory with cuts like the obtuse "Tito", before it all settles down to the fleeting closer, "Dawn Comes Light". Throughout, Owens' vocals are sparse and delicate, even almost bluesy in spots, while the music behind her is electronic, quirky, and really quite otherworldly. It's a pop music that isn't meant for the charts. And that is refreshing and commendable. (Kranky)

Nudgespace

Nudge on Kranky

To Kill A Petty Bourgeoisie - "The Man With The Shovel Is The Man I'm Going To Marry" (director: Tristan Allen)

A lovely, dark little official video for this track from the duo's last release, though new to me. Their new CD, "Marlone", is due this month from Kranky, which I look forward to...Meantime, check this out.

Visit the band's site: Riley Bushman Recordings And Archives

Lotus Plaza - "The Floodlight Collective" CD

The debut solo release from Deerhunter guitarist Lockett Pundt, is a woozy little collection of shimmery yet edgy pop sounds -- not surprising, considering the lineage. Anyhow, Pundt seems to be taking elements from both 60's sweet-pop and modern drone/shoegaze -- sounding like he's stepped out of a Creation (or Factory) record from the 80's. Make sense? It's an appealing and highly accessible set, from the relatively straight-forward 'Red Oak Way' to the gauzy blur of the splendid 'Quicksand', which bounces along like the Beach Boys on a psilocybin jaunt, with a bouncy drum rhythm and shards of gnarly noise. 'What Grows?' is a typical example of Lotus Plaza's genre-melding pop sounds -- simple melodies wrapped around textured guitars and distant, reverbed vocals. Fans of stuff like Slowdive will appreciate Pundt's ear for hazily-sweet melodies and moody aural scultptures. (Kranky)

Deerhunter/Atlas Sound/Lotus Plaza blog (with tons of freebies for download)

Kranky page (for direct ordering)

Tim Hecker - "An Imaginary Country" CD

Montreal-based electronic composer Hecker is a veteran sound artist who dabbles in a variety of styles and installation/commission pieces, but his recordings under his own name are his primary focus, and thankfully so. 'An Imaginary Country' is a lovely and ambient set of sounds that pulse and shift like ethereal spirits engaging in colorful flights around the Earth's polar regions. This is ambient, but it's not audio wallpaper in the least. Hecker's immersive atmospheres are warm and human, with little slivers of melody evident. 'Sea Of Pulses' brings in some dubby bass undercurrents to accent the shimmering drones, grounding the piece nicely, and bringing a warmer side to the fore. Very effective. 'The Inner Shore' follows seamlessly, functioning as a kind of cooldown/chillout point to it's predecessor. 'Pond Life' ushers in some more dissonant, static noise elements, whereas 'Borderlands' could almost be seen as deep-sea classical music, featuring some digitally effected piano sounds - all blurry and funhouse-like. 'Currents Of Electrostasy' is more placid and even contemplative. Overall, 'An Imaginary Country' paints a timeless and captivating picture of nature as seen through a cracked digital eye. (Kranky)

Tim Hecker's website

Pan American - "White Bird Release" CD

Mark Nelson (formerly of Labradford)'s 6th album as Pan American is a superlative and evocative set of dense, moody, and atmospheric proto-ambient soundtracks. And with the addition of drums, vibraphone, and bass to some tracks, the approach seems to lend an almost 'band' feel in spots. The opener, 'there can be no thought of finishing', is an ambient glacier of tones and shoegazey-distant vox. 'for aiming at the stars' brings on a dubby bass rhythm to accompany the Fripp-ish guitar textures. 'both literally and figuratively' continues the lonely, natural travelogue with wide-open vistas of blurred guitars, bass, and drums - and accented by whispery vocals. This is perhaps the closest Nelson's Pan American project has come to making 'pop' music in the broad sense. 'how much progress one makes' harkens back to Pan American's earlier works - a submerged minimal electronic pulse that seems like an underwater approximation. The closer, 'in a letter to H.G. Wells, 1932', is a gentle drone that eventually builds itself up to the point of being a cacophony of electronic static. If Pan American seeks to paint expansive visuals in sound form, then 'White Bird Release' is unequivocally a success, conjuring a sense of nature with a hint (or warning) of something bigger than us. This is some truly beautiful music that follows no formulas, yet ends up affirming what is really important about life - the journey. (Kranky)

Pan American info@kranky

Labradford site

Deerhunter - "Microcastles / Weird Era Cont." 2xCD

Atlanta 4-piece Deerhunter, led by the prolific Bradford Cox, drop their second full-length here, and it's surprisingly their most commercial offering to date. Taking pieces of shoegaze, sixties pop, weird folk, and indie rock, Cox and co. concoct a catchy yet hallucinogenic collection of homespun recordings with melody and woozy affection. 'Activa' is a soft, narcotic lullaby, with 'Nothing Ever Happened' (being the first single) being a driving rock song. This sums up the diversity of 'Microcastles', and like their friends in Animal Collective, there's something for everyone here. Nice pop songwriting and out-there sounds congeal like My Bloody Valentine meeting the Beach Boys and then being produced by someone from Pavement. I like this one a lot. And there's a second disc attached, titled 'Weird Era Cont.', featuring 13 more tracks of 'ambient garage punk' (as described by Cox himself). Here flow more textural soundscapes, happy singalongs, and everything in-between. 'Weird Era' seems more raw and intimate than 'Microcastles', and may well be demos or home recordings. Regardless, there are some lovely tunes here, and 'Microcastles/Weird Era Cont.' is more than a worthy deal. (Kranky)

Deerhunter site

Bradford's blog (with many free demos/singles)

Brainwaves 2008 Festival

If you are reading this and are to be anywhere near the Boston, Massachusetts USA area later in November, you definitely need to get your tickets for this upcoming festival put on by the massively wonderful Brainwashed family of websites and headmaster Jon Whitney...

The list of announced performers is incredible, and this assemblage is not likely to happen again. Support independent music and the arts and check out these shows!

Pasted directly from Brainwashed:

The following is the schedule of performers. Set times and order will not be posted until the day of the event. Be sure to arrive when doors open to find runnning order and set time schedule.

Note: DJ Steven Stapleton will be spinning between sets all weekend long.

Friday, November 21, 2008 - doors at 7pm, music begins at 8pm
Meat Beat Manifesto
Silver Apples
JG Thirlwell's Manorexia
Marissa Nadler
& a special Greater Than One video presentation

Saturday, November 22, 2008 - doors at noon, music begins at 1pm
His Name Is Alive
Gary Wilson
Rivulets feat. Jessica Bailiff
Major Stars
Nmperign feat. Jason Lescalleet
Glenn Jones

Saturday, November 22, 2008 - doors at 7pm, music begins at 8pm
Matmos
Threshold HouseBoys Choir
Little Annie
Reformed Faction (Mark and Robin of Zoviet France, Rapoon, Dead Voices On Air)
Andrew Liles & Jonathan Coleclough

Sunday, November 23, 2008 - doors at noon, music begins at 1pm
Stars of the Lid
To Kill A Petty Bourgeoisie
Boduf Songs
Lichens
Nudge
Strategy
Windy Weber (of Windy & Carl) & Thomas Meluch (of Benoit Pioulard)

Ticket prices for the day passes is as follows and will only be available direct from the Regent Theatre:
Friday, November 21st, 2008: $20
Saturday, November 22nd, 2008: $45
Sunday, November 23rd, 2008: $20
(restoration and online transaction fees are NOT included in this price)

For more information and details (including individual artist info), direct yourself here.

Boduf Songs - "How The Shadows Chase The Balance" CD

Englishman Mathew Sweet records his intimate and dark little songs alone, often at night, in his bedroom studio. And whatever spirits he is able to conjure, it seems he's more than comfortable in their presence. 'How The Shadows' is full of quiet and unassuming songs rife with stark atmospheres and an air of palpable blackness. Like the wonderful and moody photographs on his website, Sweet's music displays an isolationist tendency, but oddly, it's not (at all) a sad kind of vibe. Musically, it's a beautiful and melodic kind of acoustic guitar-oriented sound, but lyrically there's a lot more going on - some deeper, almost threatening contemplations and parables are at work within. It's a work of accomplished subtlety and near-Lovecraftian storytelling. On the surface, and instrumentally, Boduf Songs resembles a kind of 'folk', but this is the kind of 'folk' for fans of stuff like Neurosis, maybe. If black metal went slow and acoustic, this may well be the sound of it. Very enjoyable, and probably even better in the wee hours of the night. Thoroughly impressive! (Kranky)

Boduf Songs website

Christina Carter - "Original Darkness" CD

As a half of Charalambides, Carter has been a major player in the modern folk/psychedelic realm. She has released numerous solo recordings, many of which in insanely limited quantities (read: collector's bonanza), and this is her third (relatively major) release on Kranky.

Created almost solely by Christina herself, 'Original Darkness' is the result of a single-minded vision indeed. Her wispy, ghostly ethereal songs here seem to function as an exorcism of sorts - but in a subtle and understated way. There are no rants or soul-rending here, as Carter's tense collection of moody, sometimes flighty, other times intensely and quietly introspective songs flitter and float above, casting a gray and shadowy cloud just overhead. She works her distinctive and vulnerable voice along minimal drones, gently-strummed/plucked guitars and atmospheric keyboards to create magickal songs that are more like incantations rather than hummable melodies or 'pop' songs. Christina Carter's music follows her own intuition, rather than established patterns or structures. 'Original Darkness' is a deeply personal and internal dialogue that at times can be as unsettling as it can be liberating. (Kranky)

Charalambides personal label, Wholly Other

Christina Carter bio page at Kranky

Benoit Pioulard - "Temper" CD

Soft, blurry, and wispy folk-drone-pop from this Oregonian composer (known to his parents as Thomas Meluch), 'Temper' continues in the direction of his inaugural release of a couple of years back, and offers better songs. The strength of Benoit Pioulard's fragile and often delicate popsongs are his bouncy, almost upbeat melodies. But coupled with the well-layered and deftly-mixed guitar textures are Meluch's vulnerable vocals, all swirled-up in a melange of effects and introspection. It's an effective mix - and it works wonderfully in the composer's favor.
The first track, 'Ragged Tint', is among the more rhythmic cuts here, and sets the stage for the more folksy offerings that follow. Recorded at home by Meluch, the sound is quite lush, flowing, and really quite lovely. If you can imagine something like Nick Drake as remixed by Kevin Shields, you may understand the overall vibe of 'Temper'. Highly enjoyable music for sunny days and a glass of lemonade. (Kranky)

pioulard site

Raglani - "Of Sirens Born" CD

Imagine my surprise to learn that this amazing and powerful set of drifting, narcotic kraut/dronescapes were created less than 4 hours from me - in (mostly) sleepy St. Louis, Missouri! Come to think of it, I've probably been in the company of Mr. Raglani at some shows in recent years...

Anyways, composer Joseph Raglani has been active with what local papers call 'noise' for some time, but this all-too-brief (35 minutes left me wanting more) selection of free-flowing, tonally-balanced sounds is far too nuanced to be consigned to that broad category. Inspired by the films of the great Werner Herzog and other filmmakers as much as by music, Raglani's organic-sounding tracks aren't so much melodic or rhythmic as evocative - mysterious and haunting, sometimes dark and other times light and full of life. These 5 tracks flow together nicely, actually being more involved and involving than simply ambient. These are wonderful tones to imagine and dream with. Maybe you like to meditate? Even that seems possible here. Congrats to Joseph on a supremely enjoyable debut journey on Kranky - may there be many more! (Kranky)

Raglani website

Pegasus Farms Records (Raglani's personal label)

Bird Show - "untitled" CD

Chicagoan Ben Vida has enlisted the help of some like-minded Kranky roster-mates (drone master Robert AA Lowe of Lichens, laptop composer Greg Davis) for his third LP as Bird Show. But his now-trademarked tribal/primal/psychedelic freak-scapes are still just as subtle and effective as before.

'Clouds And Their Shadows' could almost be described as a blissed-out bit of space-jazz (with regards to Sun Ra), but beyond that, Bird Show's sound is that of a primitive trance/ altered state, with elements and instruments from distant cultures siphoning through the blurry haze. The only obvious structure is the rhythm, which is generally congas or hand drumming, and there are voices here (which are non-lyrical), which could very well be summoning ancient spirits. 'Green Vine' is more jammy tribal out-jazz, whereas 'Berimbau' is an exotic raga/drone that floats and drifts into the subconscious quickly in it's brief 2-minute span. A fine and immersive selection of explorations into inner space. (Kranky)

Atlas Sound - "Let The Blind Lead Those Who Can See But Cannot Feel" CD

Atlas Sound is the debut solo effort from Deerhunter frontman Bradford Cox, and this pretty little ambient pop album was composed and recorded entirely by him at home. There's some nice swirling soundscapes, guitar drones, lots of hazy reverb, primitive electronics, and dreamlike-gauzy vocals, all adding up to a textural post-shoegaze ode to, well, falling in love. But Atlas Sound doesn't sap it up as this may imply. 'River Card' is an introspective and starry-eyed gem, complete with tinkly keyboard accents and a fatalistic outlook. 'Cold As Ice' is drifty and, well, chilly, and 'Scraping Past' has a subtle electronic rhythm present behind the droning vocals and guitar noise. 'Let The Blind...' is a nicely personal recording, and full of sublime sounds to caress the soul. I like it. (Kranky)
Bradford Cox myspace

Valet - "Naked Acid" CD

The second solo album from Portland guitarist/vocalist/inner space traveler Honey Owens, 'Naked Acid' is a brilliant piece of twilight psychedelia with some nicely out-there touches. But unlike others (not naming names), she wisely never fully loses sight of the songs themselves - pulling them back in when they wander off too far. Owens' drifty, distant vocals are seemingly pulled from another ghostly dimension, and her guitar is both melodic and ferocious, often at the same time. Pieces like the unforgettably-titled 'Fuck It' are wispy slices of proto-ambient blues, if that makes any sense, with only a spartan drum amidst the layers of guitar noise and lysergically-driven effects. 'Fire' almost returns to Earth (hah) and is as close to a pop-song as Owens is likely to pen, while the closer, 'Streets', boasts some surprisingly jacked-up some drum programming alongside the jagged drones. Astoundingly beautiful and individual work here. (Kranky)

Stars Of The Lid with Christopher Willitts - 04.24.08 930 Listening Room, Louisville KY

Housed in what was once an old schoolhouse, the '930 Listening Room' is, in actuality, a part of Sojourn Community Church, and this is actually a really nice, informal place for shows. There's an adjunct art gallery (secular) attached, and the seated venue is comfortable and roomy. The complimentary coffee/tea is also a nice touch. There was no overt evidence of reference to any religious elements (aside from the initial opening act being a local church deacon named Jamie Barnes, who performed some really pleasant folksy indie sounds). Anyways, after our little hot beverage 'pick-me-up', we walked around the little gallery space and then found front-row seats. Chris Willitts is a San Francisco-based guitarist/programmer, and his funny faces and comical demeanor helped his set substantially. I thought his music was far too disjointed and freeform (and I appreciate a lot of abstract music, thank you very much). He ran his guitar through all kinds of digital computer effects, and the results were really pretty messy. His final track was his crowning moment, approaching a kind of ambience, but I wasn't really very interested otherwise.
SOTL were next, and this was quite a spectacular showing, and leagues better than when I saw them last in Bloomington in 2003 or so. Toting along a full (live!) string trio, Adam Wiltzie and Brian McBride's hypnotic, organic ambient sound was brought into proto-classical territory, with plenty of dynamic and melody. Their set ran about an hour, and their extended pieces were lovely and intense, with abstracted backing projection films and a lightshow that cast the stage in all kinds of hazy, colorwashed glows. Stunning and deep, Stars Of The Lid are among the leading purveyors of true ambient sound in all the world. This was certainly a world-class show, and in little lazy Louisville, no less. Wow! And if you happen to be near one of their shows anytime soon, check out the limited tour-only CD available (it looks like it's called 'Carte-De-Visite'), as well, featuring 9 rare or unreleased SOTL tracks. It is wonderful, as is anything in the group's astounding back catalogue. photo credit: Nick

Autistic Daughters - "Uneasy Flowers" CD

Drifty and sparse, yet melodic indie rock kinda sounds from New Zealand guitarist/vocalist Dean Roberts and his band. 'Uneasy Flowers' blurs the lines between your standard guitar/bass/drums/vocal kinda setup and more bare-bones minimalist construction, much like the wonderful Low and their mellow, shimmering moodiness. Similarly, Roberts' vocals and lyrics are somber and soft-spoken, yet more prominent and focused than in his past work. 'Uneasy Flowers' is a thematic album, with all tracks linked together lyrically. The subject is a character called Rehana, whose path is traced and described as a nomadic and ragged figure with a sort of tragic outlook. Looking for something a little on the sad and lonely side? Autistic Daughters provides the soundtrack, with a nicely subtle air and plenty of rich, gauzy textures. (Kranky)

Cloudland Canyon - "Lie In Light" CD

Cloudland Canyon - "Lie In Light" CD - The second long-player from this intercontinental (Brooklyn/Hamburg) collab continues in their tradition of way-out kosmische-kraut grooves and trance-drones. It's a handily modern mix, densely-packed with stoned-out rhythms and trippy effects. 'You & I' is a cool Suicide / Neu! homage of sorts, overlaid with humming, buzzing drones and a robotik, motorik pulse. 'Scheisse Schatzi, Auf Widersehen!' is a glowing firefly engulfing the skyline with energy synthesized from deepest inner space, while 'Heme' is a light and airy flight over the trees at sunset after a satisfying day of imbibery. Come to think of it, 'Lie In Light' echoes this narcotic, drifty vibe, in an almost Spiritualized sort of way, and 'Mothlight, Part 1' continues in this melodic, rock-oriented fashion. Really astoundingly resonant and brilliant work, tailormade for those who wish to 'travel' a bit with their music. (Kranky)

Explosions In The Sky with Lichens, The Pageant, St. Louis 03.29.08

Comrades: Will tha D (driver of doom), Chris-T (navigation x-ecutioner), Cori (Gamemasta-C). This drive to St. Louis was smoooove as could be, with prime weather and plenty of daylight. On the way, I was impressed and surprised by the sheer amount of over-flooded areas in Illinois...farmlands completely under water, like monstrous lakes. I'm sure that much of the highways were impassable just a couple of weeks back. And I thought my area was bad with the 7-8" of rains! I am only sad that I didn't have a camera. As I've been told, these were 'once in a hundred-year' rains.

Anyhow, we arrived in St. Louie without incident, and proceeded to hit our favorite restaurant on the strip by The Pageant...a little hole-in-the-wall called simply 'Thai Cafe'. After a too-long wait for our food, my Pad Thai was fine (though rather mild), and the Thai iced tea yummy enough. We skipped on over across the street to the club and got right in, even managing to snag prime balcony seats in the center. A most triumphant time! I remember seeing Sigur Ros there the second time (with Cori) and having to share one barstool off to the side. Talk about sore backs..but not this time.

Anyhow, after having some nice draft Fat Tire ales, we watched the opener, Lichens, and his brand of primitive drone/trance rock. The audience mostly didn't seem to care for Robert Lowe and his drifty soundscapes, complete with bird calls and vast waves of sound from only a guitarist, his voice (and sometimes additional guitar), and a stack of effects pedals. I think Lichens' sound is positively transcendent and beautiful, though it seems a large venue like the Pageant wasn't the best setting for such a personal type of music, as evidenced by the crowd growing perceptibly impatient with the non-'rock'-oriented music. After 20 or so minutes, the din of the throng's chattering threatened to overpower the blissfully pure music on-stage. Sad, but true, at least from where I was seated. Lichens set lasted about 40-45 minutes or so.

When Explosions came on, the large crowd was ecstatic with cheers, whistles, and applause. It was the Texan group's first trip to St. Louis, and they seemed surprised to command such a large audience. They tore into plenty of tracks from their various albums, moving effortlessly from the gentle guitar pluckings and melodies to raging torrents of ear-shredding noise. And for a purely-instrumental act, the band exhibit a good share of stage charisma, never going motionless for long and always seeming to give their instruments a solid workout.

If you're not familiar with them, Explosions are a pretty close counterpart to their brethren from Scotland (Mogwai), Iceland (Sigur Ros), or Japan (Mono), though Explosions don't usually pummel quite as hard as the 'Gwai or Mono, and with less preciousness than Sigur Ros. Their extended songs are simultaneously sad and hopeful, and always meditational yet 'rocking'.
Incredible show, really, and as the lady and I took in a couple of Long Islands (each!) after our beers, we got pretty, umm, hammered. A planned post-show trip to a local liquor store to track down some fine Fat Tire (or other New Belgium craft beers) was well-gone and forgotten in our haze. Maybe next time. Live Photo credit:?? from the eits German fan page.

EITS

To Kill A Petty Bourgeoisie – "The Patron" CD

This slice of malevolent beauty comes from a Minneapolis duo who mix angelic female voices with harsh and often jaggedly crunchy ambient/electronic sounds. Jehna Wilhelm's fleeting and ethereal voice reminds me of Rose McDowell (of Strawberry Switchblade/Current 93/Coil infamy) while the sound (courtesy of Mark McGee) is a varied and swirly vapour of textural dreams and fuzzy hallucinations, sometimes heavily rhythmic and at other times with a decidedly sinister ambient (even post-industrial) slant. One standout, “You Guys Talk, We'll Spill Our Guts” is a dark nursery rhyme, like the transfiguration of a soul into the great unknown. The nearest parallel would have to be the amazing and magickal Coil “Solstice” singles, but To Kill A Petty Bourgeoisie conjure their own spirits on this compelling and mysterious debut. (Kranky)