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Podcast Episode 382: March 11, 2018

a view from Martin's window Brainwashed Radio: The Podcast Edition is brand new this week with tunes from Dylan Cameron, Cavern of Anti-Matter, Asmus Tietchens & Terry Burrows, CV & JAB (Christina Vantzou and John Also Bennett), Blaine L. Reininger, Taylor Deupree, Ekin Fil, Soft Kill, Drowse, Schlammpeitziger, and Richard Skelton.

Thanks to Martin who sent us the picture of the view from his window when he listens to the podcast episodes.

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Brainwashed Premiere: Dylan Cameron "Graceless Gods"

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This week Brainwashed is pleased to premiere Dylan Cameron’s “Graceless Gods”, part of the massive digital compilation the Holodeck label is releasing this week to commemorate their 50th release. "Graceless Gods" is a fitting teaser for the release, capturing everything he (as well as the label) excels at: heavy danceable beats, prickly, pulsating analog synths, and immaculate attention to sonic detail and production.

Holodeck Vision One features 30 artists from the label's past and present, as well as close associates such as Troller, Drab Majesty, and Michael Stein, and is available digitally on March 9. Dylan Cameron will also performing at both of the upcoming Holodeck SXSW showcases on March 15 at Hotel Vegas and March 17 at Central Presbyterian.

Preorder Holodeck Vision One at Holodeck's Bandcamp


The Skull Defekts

cover imageThe Skull Defekts have long been one of the most baffling, wonderful, and unpredictable bands in underground music, equally likely to dazzle, disappoint, or just thoroughly confuse me with each fresh release.  While far from infallible, they were also a restlessly experimental, viscerally heavy, and frequently fascinating creative force.  Consequently, I am very sad to see them go, as The Skull Defekts is the band's farewell album (though a bit of the band's brutal alchemy continues to live on in The Orchestra of Constant Distress).  As far as swan songs go, however, I am pleased to say that The Skull Defekts' final chapter is an especially strong one, inventively balancing noisy experimentation, art-damaged rock, and visceral brute force.


Dedekind Cut, "Tahoe"

cover imageI cannot think of many other projects that have been quite as instantly revered as Fred Welton Warmsley III's Dedekind Cut, nor can I think of any other artists who could comfortably fit in at both Hospital Productions and Kranky.  Tahoe, Warmsley's first album for the latter, admittedly focuses primarily on Dedekind Cut's more meditative, drone-based side, but there are still some moments ("Spiral," for example) that would not seem out of place on a Raime or Haxan Cloak album.  That shifting and elusive aesthetic sometimes leads to some unusual sequencing choices and disorienting mood shifts, but any potential grumblings I may have about Dedekind Cut's fitfully focused vision are silenced by how gorgeous these pieces can be when Warmsley hits the mark (which he does with truly impressive frequency).  This is one of the best albums that Kranky has released in a long time.


Contrastate/various, "Your Reality is Broken"

cover imageEver since their inception in the late 1980s, this UK project has simultaneously dabbled both in the worlds of musique concret and harsh electronics; two styles that are undeniably similar but have very few in the way of crossover artists, all with a distinct sense of irreverence.  Active again after a lengthy hiatus in the early part of the 21st century, Your Reality is Broken is another piece of work that successfully blurs unnecessary lines; in this case if it is a tribute album to them, a remix collection, or a compilation of collaborations.  In truth, it is all of these things at once, and it is excellent.


Eyvind Kang, "Plainlight"

cover imageBack in 2001, Eyvind Kang recorded an absolutely wonderful album on Sun City Girls' Abduction imprint (Live Low To The Earth In The Iron Age), which I naturally missed because everything related to Sun City Girls was maddeningly difficult to find in those days.  Also, I was not at all familiar with Kang back then, though he has long since become a reliably ubiquitous presence in the experimental music scene.  Sadly, Live Low is still woefully out-of-print, but Kang has finally recorded its follow-up anyway.  Plainlight is quite a bit different from the drone- and shoegaze-influenced post-rock of its predecessor though, as the only real consistent thread between the two is a vague aesthetic of rustic psychedelia.  Instead, the two albums feel like very different stages of the same long journey, which is a large part of why Plainlight took so long to appear: Kang did not want to repeat himself and patiently waited until the next stage of this project's natural evolution finally revealed itself.  If Live Low To The Earth can be said to resemble a slow, subtly hallucinatory journey across a vast, open plain, the more structured and ritualistic Plainlight is a glimpse inside an ancient and remote temple nestled in the mountains.



cover imageThe four untitled pieces that make up this (similarly untitled) cassette were recorded one November in 2016 as John Olson (Spykes) was in the upstate New York area and looking to collaborate.  Thus enters electronics virtuoso Mike Griffin (Parashi, also a member of psych rock collective Burnt Hills), and the two got together in Griffin's suburban basement studio.  With Olson in full on psy jazz mode and Griffin manning the pedals, the final product is a combination of two disparate, yet perfectly complementary performers.


Fossil Aerosol Mining Project, "August 53rd"

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The last time I covered this enigmatic Midwestern ensemble, I was a bit frustrated by the limitations of their constrained palette, but I have since warmed to them quite a bit due to their endearingly obsessive commitment to their aesthetic.  Fossil Aerosol Mining Project is less like a band than like the extremely persistent ghost of a blackly funny anthropologist hell-bent on dredging up everything our culture would like to forget.  That is truly a niche that needed to be filled and August 53rd fills it beautifully.  Cryptically billed as a prequel to The Day 1982 Contaminated 1971, this latest album seems to revisit the same source material of decaying film reels liberated from an abandoned drive-in, yet instead focuses upon the ones in a less conspicuously advanced state of ruin.  As such, this album is every bit as haunted, murky, and mysterious as its predecessor, but not quite as eviscerated of all human warmth.


"Calendar Customs"

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It is remarkable that I did not sprain my finger mashing the "order now" button when this vinyl boxed set was announced, as Folklore Tapes' elusive season-themed cassettes are among the label's most crucial releases.  Being someone who has not always been particularly enthusiastic about cassette culture, I was slow to realize just how unique and special those limited releases were when the series first appeared.  Consequently, this lavish boxed set is the first time that I heard many of these pieces, though the strange and eclectic stable of artists is certainly an endearingly familiar one for me at this point.  Obviously, having extremely high expectations for something is usually a sure-fire way to end up disappointed, but Calendar Customs actually exceeded my hopes, opening up a deep rabbit hole into an idiosyncratic, phantasmagoric, and sublime alternate history.


Jason Wietlispach, "Oak Creek Recordings"

Jason Wietlispach, Oak Creek RecordingsThis confident and well-balanced record by multi-instrumentalist and producer Jason Wietlispach confounded my high expectations. From the intriguing choice of instruments and the way they are played and recorded, to the subtle variety and flow of the music, it is an inspired assemblage of diverse musical elements. Some are finely layered and deliberately structured, others more improvised, but all add to the unfussy atmosphere and clear sense of direction pervading Oak Creek Recordings.


The Eye: Video of the Day


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Review of the Day

James Plotkin & Paal Nilssen-Love, "Death Rattle"

cover imageAmongst fans of dark, heavy music, James Plotkin is a name synonymous with work that defies categorization or genre boundaries in a slew of projects too numerous to list.  Lesser known, at least perhaps in the USA, is drummer Paal Nilssen-Love, who may be working from a free jazz template but produces music that is similarly impossible to categorize.  The two meet here for the first time on Death Rattle, the result of a four-hour improvisation recorded last year, and the result is as blistering and intense as expected.

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