Olafur Arnalds - "Variations Of Static" CDEP

With just his second release, Icelandic composer Arnalds creates a vibrant and intimately beautiful set of 5 instrumental tunes that combine the austere classical melancholy of Arvo Part with the modern sounds of glitchy electronica (think Autechre or Aphex Twin). It's an incredible (and all too-short) collection, embracing rich and sonorous strings, bittersweet piano, and, on occasion, looping yet subtle textural manipulations. The first track, "Fok", marries some minimal booms and skitters to the sensitive string/piano foundation, and "Lokaðu Augunum" is a stunning treat in the ambient tradition of Stars Of The Lid. As a complete work, this 21+ minute release flows effortlessly, ripe with emotion and delicacy. 'Variations Of Static' is a mature, thoughtful, rich, and stylish set of warmly evocative music that shows Olafur has quite a future if he can keep up this kind of quality. That's a full-on recommendation. (Erased Tapes)

Olafur's personal site

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

Ambers and reds in winter...

Ah, the frigid winter already has me longing for the spring (especially with the perplexingly massive heating bills I've accrued - gasp). But alas, the beer choices this month harken back to the fall, with one amber and a pair of reds. Here are my takes on the three 'new' beers presented to me this month. The grading scale goes from 5 (truly a craft brew, I'll be buying more on my own) to 1 (swill, only good for cleaning out the drains). That leaves 4 (solid and worthy), 3 (average beer, drinkable but not recommendable), and 2 (fair beer, but borderline swill). Geddit? Sure you do. On we go:

MICHELOB HOP HOUND AMBER WHEAT (St. Louis, MO) - 2

A fresh and summery aroma begins this one auspiciously enough. It's a cloudy, citrusy wheat ale that supposedly uses premium Hallertau and Pacific Northwest hops, but this rich and not-hoppy brew disappoints. The overly malty presence overweighs the hoppiness, and thus I have to call tomfoolery here. My expectations were not met. Maybe if they changed the name, I'd be more inclined to like Hop Hound. As it stands, I cannot commit here, no sir.

MISHAWAKA BREWING - FOUR HORSEMEN IRISH-STYLE RED ALE (Mishawaka, IN) - 3

This darker-hued (deep brown) 'red' ale has a rich and unusual (and appealing) floral nose and a complex malty flavor that stabilizes on the tongue. Mishawaka doesn't talk up this one, as there's no details on the bottle, but it's a tad more complex and hearty (for lack of a better word) than Michelob's Irish red reviewed here. This one's unquestionably a craft beer, not perfect but not bad, either.

MICHELOB - IRISH RED ALL-MALT ALE (St. Louis, MO) - 4

Pours a clean deep amber, with a fruity bouquet. Taste is almost pumpkin-ish at first, with a clean and clear finish. No surprises here, but it's more than drinkable - in fact, I had finished more than half the bottle before beginning my review! This one takes me back to my bachelor days, sipping on pints of Killian's and getting into all kinds of trouble! But that's a whole 'nother story. Hah! Me likes.

Larkin Grimm - "Parplar" CD

Simultaneously earthy, exotic, witchy, weird, whimsical, and boldly individual, beguiling mystical mountain folkstress Larkin Grimm's past is speckled with odd juxtapositions. She was raised communally in Tennessee and Georgia, was 'educated' at Yale, and left to pursue her own personal muse, which found her exploring locales as disparate as Alaska, Guatemala, and Thailand. It was in Olympia, Washington where she met a Cherokee shaman and gained a greater wisdom of the world, and thus her journey as a musician began. So the story goes. But that can be further read about elsewhere.
Origins aside, 'Parplar' is Larkin Grimm's first wide-profile release, and it shines with a distinctive voice that channels both earth-mother and murderous destroyer. It's a wise and bold set of world-inspired tunes that invoke the musical embodiment of Kali herself (witness the incantational protection mantra 'Durge' for evidence).
'They Were Wrong' begins the journey with a sensitive, earth-wise, and wide-eyed little girl's voice, albeit with a barely-submerged hint of desperate and revengeful spite. It's deep, dark, and lovely, and only hints at the possibilities that are to follow.
'Dominican Rum' is a catchy and upbeat Appalachian folk song, albeit laced with venomous ruminations and what could be seen as environmental commentary. 'Minou Minou' is a frantic bit of Indian-inspired weird-folk, and 'All The Pleasures' showcases her finger-picking proficiency well, with a down-home and ethereal vibe. Larkin Grimm's deep and dark lyrics aren't for the prudish, as she attacks the wrongs of man without remorse or fear, and her channelling of gaia's essence isn't hippie or Bonnaroo as much as it is timeless eco-warrior, liberator, and ancient soul. Larkin Grimm's is a voice that needs to be heard, more than ever in these times of environmental and social/cultural upheaval. (Young God)

Larkin Grimm site

Wire - "Object 47" CD

Being their 47th release over the past 30+ years, British punk/avante rock act Wire haven't lost sight of the fire, brevity, integrity, and sense of experimentation that made their early works like 'Pink Flag' or 'Chairs Missing' so essential (and influential). On 'Object 47', original members Colin Newman and Graham Lewis (joined by drummer Robert Grey) reconvene to produce a short (9 songs in 35 minutes) sharp shot of punchy songs that are both melodic and intelligent. The opener, 'One Of Us' is instantly likeable and catchy, and easily the most accessible cut here. 'Circumspect' is a bass-heavy mid-tempo slice of taut and angular post-punk, and 'Mekon Headman' is droney and heavy without fitting into any particular genre. 'Patient Flees' (great title) is woozy and almost lulling. Strong songwriting, clear (but not sterile) production, and impeccable presentation - absolutely top-notch in every way. Fans of the band's earlier proto-punk, proto-industrial works will no doubt find this one more than agreeable. The final track, 'All Fours', even enlists the considerable talents of Page Hamilton (Band Of Susans, Helmet) for 'feedback storm'. It's a powerful, driving, and fitting conclusion to the album. I look forward to more work from this venerable band and their myriad side projects. (Pink Flag)

Thank you Lux Interior.

When I was just finding myself amongst the rogue/punk/skater kids at my high school, a friend gave me a copy of 'Bad Music For Bad People' by the Cramps. Having only experienced some of the better-known punk and college radio/alternative acts of the era, this wild collision of unhinged rockabilly with a fixation on trashy Americana, B-horror movies, and kinky sexual references ('What's Inside A Girl?', Can Your Pussy Do The Dog', 'Hot Pearl Snatch') immediately appealed.

Frontman Lux Interior's out-of-control onstage madness was instantly cool. Here was a band who did what they wanted, and worked far outside the confines of any scene. They roped in the punks (who apparently recognized the primitive renegade spirit of Lux, wife Poison Ivy, and the rest of the band), and the goths (the graveyard appeal of Lux himself was obvious enough). I followed the band through their major label days (even seeing them all over MTV at some point with their 'hit' 'Bikini Girls With Machine Guns').

It's even strange (though not surprising) to see the whole 'psychobilly' scene evolving out of what I perceive to be a Cramps obsession. Yes, if not for the wonderful, trashy, darkly humorous B-movie weirdness of the Cramps, I doubt that scene could even exist. They were the first, and, to me, the only name that mattered. The Cramps were legends, and true rock icons, and will remain so forever more as they continue to inspire bands and artists both young and old.

On February 4, 2009, Lux Interior (aka Erick Purkhiser) passed away of a pre-existing heart condition. He was 62 (though his actual age has been debated). May he rest in peace.

Here's a rare but excellent set of 1979-80 demos from a vinyl bootleg, called 'All Tore Up'.

Cramps official website

And here's the band's infamous 1981 performance of 'Tear It Up', from the film 'Urgh! A Music War'...

"Scott Walker: 30 Century Man" (director: Stephen Kijak)

Ohio-born singer/songwriter/composer Scott Walker's rise in the 60's was brief and bright. With his band, the Walker Brothers, Walker (born Scott Engel) became a pop sensation. His success in England and Europe was massive, and he was known as the guy every girl wanted to be with, and the guy every other guy wanted to be. But he threw his pop stardom away as quickly as it came. He followed his true muse and recorded several LPs of odd, dark, and poetic songs that seemed to follow nobody else in particular (though he was known for his covers of French sleaze-chanson singer Jacques Brel). As his critically-acclaimed albums sank on the charts, he went into seclusion. For years. His myth grew, and he returned with a renewed vision, to cult acclaim and mild to lukewarm success. After another series of years away from the limelight, he returned in the 90's with the cryptic and avante-garde-leaning album 'Tilt', and thereafter with the even more arcane 'The Drift', which used raw meat for percussion, as well as full orchestras.
This feature-length documentary traces Walker's career, from his earliest days as a teen star to his 2006 recordings, where a still-youthful Walker directs his sound into unique and often confounding artistic directions, all the while wrapping his silky baritone around strange and eerily beautiful musical backdrops. Director Kijak includes, for the first time ever, studio footage of Walker recording, and extensive interviews with the man (and others, including executive producer Bowie, as well as Brian Eno, Radiohead, Gavin Friday, Jarvis Cocker, Johnny Marr, Damon Albarn, Sting (??), Marc Almond, writers, collaborators, and fans). Editing by Grant Gee is clever and arresting, and this is the definitive look at the man's career for the past 40+ years. It's a testament to the sheer genius (and possibly madness) behind the very down-to-Earth, yet enigmatic and mysteriously reclusive composer. A beauty, to be sure.