a weekly digest from the staff and contributors of brainwashed
V08I09 - 03062005
Click here for other issues
brainwashed introduces the golden eye
Watch as Agent Whitney travels to Scotland (Glasgow), Wales (somewhere unpronouncable), Germany (Cologne to the English speakers) and the USA (New York City aka the Rotten Apple) to grab four interviews from four fantastic individuals who have a rich history with Brainwashed.com and plenty of musical overlap, yet I don't think any has met each other! Daniel Padden, Thighpaulsandra, Colin Potter, and Andreas Martin are the stars of the latest Eye DVD issued by Brainwashed. EYE007: The Golden Eye comes in the standard black sleeve, but the cover paper is a special gold texture and can now be ordered at the Brainwashed Commerce page. Thanks for your continued support.
hafler trio announces plans for north american tour
A North American tour is in the planning stages for Hafler Trio with Colin Potter (of Nurse With Wound and Ora), and Andrew Liles. The three are looking into the possibilities of playing the cities Los Angeles, San Francisco, Portland, Seattle, New York, Boston, Detroit, Chicago, and Toronto. Interested parties with serious inquiries regarding venues or offers should contact lisa at brainwashed dot com. Suggestions are also being welcome for "interesting swag" (like shirts or whoopee cushions). Dates will be published here when finalized.
nww stock rescued from world serpent
In unrelated Colin Potter news, a few Nurse With Wound titles have been rescued from World Serpent and are now on sale at Potter's ICR Distribution. These are only available while limited supplies last. Most titles will be made available again at some point in case you miss them.
brainwashed presents otolgy
Everything is on schedule for the April 16th release of BRAIN005 (Sybarite, "Dolorous Echo"/"The Mast"), BRAIN006 (Jessica Bailiff Live at VPRO Radio), and BRAIN007 (Aranos, "No Religion"/"Spitting Revivalist Dreams of Everlasting Pain"). Otology: The Brainwashed 7" Singles Collected comes free ONLY with the pre-order of all three limited 7" singles and presents on CD for the very first time the music from BRAIN001 (Coil remixes by Thread), BRAIN002 ("Share the Day"/"Dream Stealer" by Edward Ka-Spel) and BRAIN003 ("Bloodstream"/"Airstream" by Greater Than One). Sound samples and the awesome cover artwork images (thanks to Ben Palmer once again and Brain contributor Jim Siegel) are available at Brainwashed Recordings. Copies can be reserved with a purchase at the commerce page at brainwashed. Thanks for your support, it helps with snow removal expenses.
After a four year absence, Ida return with a new record on a new label with some new members in the group. They're on the road right now supporting Heart Like a River and we caught up with them in the arts and crafts room, buried deep at the Museum of Fine Arts in Boston. Don't let their quiet, introspective music fool you, they're a bunch of potty-mouthed rock 'n rollers at heart.
38 Minutes, Quicktime Streaming Video
- A current web browser
- A modern computer
- The latest quicktime plugin for streaming media (hint: use the latest Mozilla if other browsers aren't working)
- A fast connection
- A willingness to learn
If you see a blank window without anything streaming, don't complain to us. You don't have the latest version of Quicktime for streaming media. Go download it. It's free.
|MUSIC IN REVIEW|
aeolian string ensemble, "eclipse"
While the Aeolian String Ensemble might not be a household name around these parts, David Kenny, the man behind the "ensemble," should be recognized from the credits of some of the fans' most favorite Current 93 and Nurse With Wound releases as well as production on SPK's "In Flagrante Delicto" and the first Cyclobe record. "Espacios" opens this three-song release like a fog drifting into the dark night. It's slow moving, chaotic in its continuously morphing volume, yet perfectly settling and comforting. The low frequency rumbles that come in and out of phase are a complete mindwarp and play well to the higher pitched somewhat "lead instrument" sounds. I can't be sure what sound is actually being created by the alleged Air Harps or Wind Vanes but like a Mirror record, it's sometimes best to just sit back and let it take over rather than overanalyze it too much. "K1" is the second piece on the disc and if it sounds remotely familiar to some, it's because it was originally named "Sucker for a Sob Story" back in the 1980s. "K1" was originally recorded and mixed with Steven Stapleton back in 1981 at IPS Studios. On the Historical Auricle CD, Stapleton is listed as contributing mix and sounds, while here he's just noted for his encouragement! Regardless, the 11-minute 24 year old recording sounds perfectly preserved and timeless, remarkably predating all Nurse With Wound ambient recordings. "Eclipse" ends the CD, a nearly 17 minute excerpt of a live recording which took place during the 1999 eclipse which seemed to effect other Europeans like Richard H. Kirk (see Darkness At Noon), Einstürzende Neubauten (see Total Eclipse of the Sun), and probably others I'm forgetting or avoiding. The Aeolian String Ensemble's performance took place at Bosham Harbour and for the first few minutes it sounds as if the sea was captured in the background. Eventually the ensemble's own music overcomes all extraneous sounds as everything builds into a thick, lush, and gorgeous aural soup, eventually breaking and giving way to the mutated sea sounds. Once again, the recording is nothing less than completely mesmerizing, and its brevity is almost a blessing and a tease at the same time. I do appreciate a well-developed ambient track but there are some people (I'm looking at you, Basinski) who need to know when to cut the song off. The entire CD lasts less than 45 minutes, and it's perfect enough to anticipate the next release, whenever that may surface. Like the only other Aeolian full-length release, Eclipse is once again covered by the artwork of Christoph Heemann and although it would be nice to hang on a wall somewhere, the joy in this release is not any fancy packaging, but the fantastic music contained herein. - Jon Whitney
Eluvium, "Talk Amongst the Trees"
Temporary Residence Limited
Eluvium differs from his fellow electronically-damaged guitar virtuosos (Fennesz, Remedios, et alii) by his insistence on repetition. He finds a hook and sticks with it, unapologetically and uncompromisingly. This isn't to say that Matthew Cooper's songs sound repetitive. There can be repetition without attaching the stigma of repetitive dreariness. In fact, Cooper has shown his ability to change dramatically not only within songs but between albums. Whereas last year's An Accidental Memory in the Case of Death was a collection of crisp and clean piano pieces, Cooper's first album Lambent Material was a sonically dense patchwork of melody and static. Talk Amongst the Trees sounds much closer to Eluvium's debut album. But where Lambent Material explored the submarine, this album is an extended rumination on all things celestial, ethereal, and airy. Song titles alone suggest part of this motif. "New Animals From the Air" starts the album with five distinct and critical layers of sounds all criss-crossing each other and interweaving. There are echoes, reverberations, and elliptical overlaps. "Show Us Our Homes" looks up to the sky from the perspective of the ground instead of the suspension and flying in the previous song. It is a calmer and more pensive affair, like looking up at clouds or stars lying on your back. In harmony with the motif, "Calm of the Cast-Light Cloud" is precisely what the inside of a cloud would sound like, no more and no less. The centerpiece of the album is "Taken," a seventeen-minute expanse of pure altocumulus beauty. If the gods were truly just, this song ought to have scored Nintendo's Kid Icarus game. But since the game and the song are separated by about eighteen years, I have my doubts regarding justice in this world. "Taken" is one of the most narcotically dulcet songs ever put to ones and zeros. You want the song to continue interminably because everything about it seems right. Since it repeats a twenty-second melody consistently for seventeen minutes, it also has the effect of elongating and warping time, making the song seem longer than it is and giving the illusion that you have been granted your wish for the song's interminability. The closer on the album is called "One" and it chimes equally with windswept tones and oceanic resonances. A marriage of the aquatic and the ethereal culminates in this song. The spectral power of Eluvium is all too crystal clear in Talk Amongst the Trees and you get the sense that the talk alluded to in the title is no more than the wind rushing through weary boughs and leaves, giving form to what is essentially formless. This album simply floats and it is all but impossible not to hover along with it. - Joshua David Mann
MASHA QRELLA, "UNSOLVED REMAINED"
Aside from her quirky, yet laid back style of songwriting and performance, the thing that stands out on Berlin-based singer/songwriter Masha Qrella's second solo recording, Unsolved Remained, is the distinct care and quality put into its production. Her 2003 debut, Luck, had been recorded mostly in secret at her home with little outside help. Her peculiar neo-folk/pop piecemeal brand of instrumental songwriting, brimming with pauses, false starts and isolating of instruments, had fallen short of attaining a certain level of adhesion; her first recording as a solo artist and not having a bevy of support behind her (remember: secret recording). The experience of recording a debut disc and subsequent performances over the past year-and-a-half have solidified Qrella's songwriting style and certainty as a solo artist, which are apparent on this new release. Again, recorded and mixed at "Villa Qrella," a more knowledgeable approach in studio production gives more conviction to the disc's eleven tracks. The title track's subtle electronic treatments, drawn out minor key chord changes and bright acoustic guitar lead off Unsolved Remained. Qrella's lyrics reflect on a past relationship; her vocals retaining their delicate and breathy characteristics as the electric guitar power chords ring out over controlled feedback. The heavy bass end and offbeat guitar stabs of "I Can't Tell" play against shifting and broken-up rhythm programming, choppy vocal lines and various synth layers. The whole thing eventually settles into a unique country/reggae manipulation (!!) completed by the addition of flutes. "Destination Vertical," by far the coolest track on the disc, is based on a synth and steady machine-beat pulsing track by Berlin-based electronic audio/video crew, Rechenzentrum. Qrella's addition of descending vibrato-laden guitar melody, power chords and lyrics that convey imagery of being high atop the snow-covered mountain peaks have this track yearning to be busted out by club DJs in the regulation 12" format. As her first release for the Morr label, Qrella's fashion of vocal electro-pop is in good company with like-minded artists such as Styrofoam, the Go Find, Tarwater and Lali Puna. With any luck, she'll soon be as prominent a figure as her label mates. - Gord Fynes
BJ Nilsen & Stilluppsteypa, "Vikinga Brennivin"
The Helen Scarsdale Agency
This is one of the best, most expertly crafted releases I have heard in quite some time. The artist formerly known as Hazard (Nilsen) and Stilluppsteypa (recently reduced to a duo of Sigtryggur B. Sigmarsson and Helgi Thorsson) combine sounds that evoke panoramic landscapes. Beginning this remarkably cohesive 56 minute set, "En Dare Kan Fraga Mer An Tre Visa Kan Svara" approaches like distant footsteps trying to walk straight on a windy path. Small rustling sounds eventually coalesce into thicker swarms over 12 minutes. This music is successful because it recalls a barren landscape, but still provides small, recognizable nuances to cling to. The quiet crackling sounds, bell tones and low moans which hover just below the long sustained tones of each piece add depth. At first Vikinga Brennivin seems minimalist in that there are no melodic or rhythmic elements. However, its appeal lies in uncovering the many layers of sound that make up this minimal facade. During "Heilir, thorn eirs hlyddu" there is a wall of static that is barely noticeable until it is suddenly removed from the mix at the six minute mark. The six minutes that follow this shift are then more interesting because they feel like undergrowth being pulled to the surface for inspection. On "En Dare..." and "Det Ar..." the trio pursue a decidedly more organic sound, while on "Heilir..." and "Vidunder" a digital patina is added to the low-end rumbling that provides contrast but doesn't sound too jarring. On "Vidunder" in particular, sharp high-end digital stabs echo from speaker to speaker and are the closest the trio get to achieving rhythmic tension. During "Det Ar..." a single low tone is given several minutes to meander before being joined by what sounds like smoke or gas being emitted from a pipe. The effect is akin to watching clouds pass slowly overhead through a skylight. The sounds that are used throughout the album sound as if they were carefully chosen. The group meets its objective of combining elements in ways that produce subtly changing, atmospheric works in which more is discovered upon each listen. They seem well-attuned to a common mission and the result sounds more seamless than simply being the sum of familiar parts. The gorgeous, unique silkscreened copper plate by Jim Haynes that serves as the sleeve for the first edition of 300 enhances the perception that this is a work which has been carefully and lovingly crafted out of a combination of passion and skill. - Jim Siegel
BJ Nilsen, "Fade to White"
The first thing I noticed upon picking up this disc was the cover, startling in its divergence from Touch photographer Jon Wozencroft's typically blue-toned design. The majority of images here are gradations upon a white scale, slow and detailed blends like the window ledge-fragment on the front, juxtaposed with the dramatic plunge into pure white of the tree silhouette on the inner sleeve. The choice of both title and design for Nilsen's debut full-length (under his own name) might not be coincidence; white, as a symbol of blankness or absence, seems the color most appropriate for the artist's recent work following years of recording as Hazard. Past Hazard releases, with names like Wind and Land, used a process in which environmental field recordings were transformed and obscured via computer and the addition of manufactured acoustic textures to create droning monoliths of hazy, indistinct but natural sound. Nilsen's relationship with nature has always been one of vague intent, his Hazard music forever avoiding the accessibility suggested by a "field-recorded" music. Fade to White, though, sounds like a conscious attempt to carry these sounds, however humble in origin, past the elemental abstractions suggested in previous titles and into a temporal realm of commonality and decay. Never have Nilsen's sources been more heavily obscured, though never have his compositions sounded so simply or weightlessly constructed. Perhaps taking inspiration from Nilsen's new-found love of the pipe organ, as documented on Spire and his prior live CDR, these six lengthy tracks are complex without being complicated, massive droning structures without weight or density, captured on the brink of a final dissolution. It's as if the insect frenzy, blizzard winds and hollow industrial spaces of previous releases are replaced now with echoes of an earthly movement, vestal remnants of the natural sublime reduced to its most basic melodic or textural parts. This music has an inertia separate from anything suggested by the naturalism of sounds or even rhythmic loops placed on top. Obscured textures move things in a perpetual fade-out doubling as perpetual saturation; I'm reminded of Bergman movies told in segments that overflow with light in perfect and anxious timing. I get the impression, based also on his recent collaboration with the unclassifiable Stilluppsteypa, that Nilsen has entered a new phase in his art, combining an exhausted reverence for natural phenomena with an interest in values that transcend or speak-through the natural world. Titles like "Grappa Polar," or the title of the new collaboration Vikinga Brennivin(a hallucinogenic Nordic liquor) indicate that altered states or the journey inside may now have eclipsed previous interest in the investigation of the surrounding world. Nilsen's Fade to White is a blindfold, a scraping clean of the canvas to discover which images are lost, which remain, and which are transformed. - Andrew Culler
25 Suaves, "I Want it Loud"
Not a single thing about this metal trio is particularly distinct or original, but somehow that just doesn't matter. Peter Larson, Fumie Kawasaki, and Dave Sahijdak churn out destructive and catchy riffs with a powerful delivery, sticking to the straight and narrow path burned open years ago by other well-known guitar wizards and drunken party freaks. Despite all their references being established and well-known performers of years past, their music is hard to shove aside as just rip-off material or more-of-the-same rock music. 25 Suaves obviously love what they do and their newest record is a blast to play at high levels and head bang with. "Turn Up the Music" opens the record like the mission statement every boy and girl has ever dreamed up while listening to their favorite guitarists, vocalists, and drummers: "My life is making rock / from underground / I pray my life to have time / to make this sound / Loud, I want it Loud." Images of beer spilling everywhere and technicolor mohawks spring immediately to mind and before long the molasses-thick guitars and abused drums turn into hypnotic layers of rock holiness, dedicated to the destruction of everything established... to hell with the details. With titles like "Born Dead" and "Let it Burn," the thematic elements of I Want it Loud are right on the sleeve and the music doesn't even remotely fail to live up to those teenage concepts. Maybe 25 Suaves are playing on some rather immature impulses and all that other nonsense, but in that way there is absolutely nothing hindering their thunderous sound: no weighty concepts or overly complex rhythms and riffs overshadow the effect that the music has. Each song is completely energizing and worthy of broken chairs, bruised bodies, and police officers raiding underage drinkers in their best friend's uncle's basement. Repeated listens don't actually inhibit the record from being any more fun, either. Playing it in the car, at home, while cooking dinner, and while being alone and secretly rocking out like I was part of the band have all shown I Want it Loud to be an insanely and confoundingly excellent record through and through. All of these songs should sound standard and absolutely boring with their repetitive and imitative sound, but all the power and recklessness this album harbors only reminds me why I was so addicted to rock n' roll in the first place. - Lucas Schleicher
Big Business, "Head for the Shallow"
At first I thought, "Great, another duo playing guitar and drums is releasing music with the intent of resurrecting the lost heart and soul of lead-lined rock." This time around it's Jared Warren of Karp playing bass guitar and singing with drummer Coady Willis from Murder City Devils. The most immediately obvious and awesome feature of Head for the Shallow is its neutron-thick production. Warren's vocals sound like they are erupting from the mouth of a biker-boy from hell and his bass sounds almost too thick and grotesque to be called just a bass instrument. Backing up the chugging riffs and igneous yelps is Willis' constantly shifting percussive movements. Willis never exactly moves me into a state of awe, but his chops are heavy and perfect for this record, staying simple and moving with the rumble and sway of the guitar playing. For every repetitive chord there is a new fill or a different set of rhythms hacked out of the snare, bass, and toms that keeps things from getting too predictable. At least the music doesn't get too predictable most of the time. "O.G." is a convincing start, the whistle of some stranger echoing out before the beginning of the song as though a western movie of the most violent proportions is about to begin. Sure enough a gargantuan sounds pours out of the speakers as the whistle ends and neither Warren nor Willis bothers to attenuate their rotund and shaking playing until the track ends. "Focus Pocus" continues the metallic spasms that opened the album, but focuses somewhat more on the spaces and dynamics that exist between the loud and the extremely loud. "White Pizazz," on the other hand, doesn't stand the two-man test that Big Business puts it up to; the expanded melodies are nice, but it lets go of the pressure that the album has developed a little too quickly, plus Warren's performance is, at times, a bit on the over-done side. Head for the Shallow is over 40 minutes long, but contains only eight tracks. As a result, some of these songs go on just a little too long. Nonetheless, there's a wealth of heavy goodness literally oozing out of every note and, with a few exceptions, Head for the Shallow sounds like a jackhammer or an electric shock out of the past. The music definitely has its roots in the music of a certain Brainwashed poll favorite, but ultimately the grind of the music is primal and crushing and seated in a muck all its own. - Lucas Schleicher
We know that our music picks may be somewhat challenging to find, which is why we have a community section which can be used to obtain nearly everything available on this site.
WEEK OF MARCH 6 - MARCH 12
0=0 - Soul Hunter Testifies 12" (Planet µ, UK)
13+God [Themselves & The Notwist] - Men Of Station/Soft Atlas 12" (Alien Transistor, Germany)
* Isabelle Antena - En Cavale CD [remastered reissue with bonus material] (LTM, UK)
* Isabelle Antena - Hoping For Love CD [remastered reissue with bonus material] (LTM, UK)
British Sea Power - It Ended On An Oily Stage 7"/CDEP (Rough Trade, UK)
Caribou [Manitoba] - Yeti 12"/CDEP (Leaf, UK)
Combichrist - Everybody Hates You CD (Metropolis, US)
Daedelus - Exquisite Corpse CD (Ninja Tune, UK)
Dead Meadow - Feathers CD/LP (Matador Europe, UK)
Decibully - Sing Out America CD/LP (Polyvinyl, US)
Diary of Dreams - Menschfeind CD (Metropolis, US)
Future Prophecies - Warlords Rising CD (Beatservice, Norway)
Guapo - Black Oni CD (Ipecac, US)
Love A sLaughter - Laughter's Filth CD (Sub Pop, US)
* Kalima - Kalima! CD [remastered reissue with bonus material] (LTM, UK)
Karl Marx Stadt - 2001-2004 LP (Lux Nigra, Germany)
Karl Marx Stadt - 1997-2004 CD [collection of two previously released vinyl LPs] (Lux Nigra, Germany)
Mando Diao - Hurricane Bar CD/LP (Mute, US)
Michael Mayer - Lovefood Remix/Slow 12" (Kompakt, Germany)
Meloboy - Hot Love 12" (novamute, UK)
Mobius Band - City vs Country CDEP (Ghostly, US)
Monade - A Few Steps More CD/LP (Too Pure/Beggars, US)
Noakes Pressure/DLF - Rhyme More/5 Bar Funk 7" (Projector, UK)
Marco Passarani - Sullen Look CD/2xLP (Peacefrog, UK)
Praveen - Backed by Spirits CD (Neo Ouija, UK)
Rhythm & Sound - See Mi Yah CD/LP (Burial Mix, Germany)
Sero.Overdose - No Time For Silence CD [also available in a 2xCD limited edition] (Alfa-Matrix, Belgium)
Thee Silver Mt. Zion Memorial Orchestra & Tra-La-La Band - Horses In The Sky 2xLP (Constellation, Europe)
Various - Run The Road CD [with Terror Danjah, Kano, Jammer, Dizzee Rascal, Shystie, Tinchy Strider, Lady Sovereign, The Streets and more] (Vice/Atlantic, US)
* Wilco - A Ghost Is Born 2xCD [reissue with bonus disc of outtakes & live tracks] (Nonesuch, US)
:wumpscut: - Blondi CDEP (Metropolis, US)
This is simply this week's highlights from the NEW RELEASES provided by Greg and Feedback Monitor. For a more detailed schedule stretching into the future, please check out the page, since release dates can and will often change.
|LINK OF THE WEEK|
ellis is making a comeback!
So, somebody made an intricate Java applet to chart baby name popularity by decade. Sure, see how popular "Jaden" really was back in the 1950s you stupid yuppies.
just watched Torture: The Guantanamo Guidebook
on channel 4, where volunteers experienced
guantamo style interrogation techniques
one of them had 'Subhuman' played at him at high volume
I think Cher might be more effective.
Subject: christoph heemann and andreas martin
i found your cd list in google, you are not seeling lebenserinnungen eines lepiopteroologen
by christoph heeman and Andreas Martin by any chance? or know where i could get it?
At least once per week somebody asks about this CD, and every week it's suggested to email Robot and pester them to reissue it. Maybe enough demand will warrant a repressing. It's not impossible. www.robotrecords.com - go there now and demand it! NOW!!!
Subject: live live live
SirenDisc (http://www.sirendisc.com) has the "Live! Live! Live!" CDEP available for $22.99.
(Do a search for "chk") I got mine from there. Generally very good service, very cheap
shipping (99 cents per order, even if it requires multiple boxes, even if it includes
preorders). Not much in the way of Brainwashed stuff, but worth occasional peeks.
Thanks for the note.
I received and watched THE EYE 834. This is great, the first time I see a
Pink Dots gig (much more than ..., actually) correctly shot. Bravo.
Thanks a ton. Maybe a full video of them might be in order one of these years.
Subject: message for matthew jeanes
sorry to read that you didn't like our record (Take U To The Car
Crash). you may well have been able to hear it properly if you removed your head from your
love and hugs,
anthony vicious, vicious pink goo
Oh boo hoo. You know how many other publications tossed your crappy CD cos they couldn't be bothered? You should be thankful you got the publicity. If you're not, we'll be happy to remove your review, give NO links and NO sound samples, and forget you even existed, so long as you promise never to send us such worthless tripe again.
You'll always get a bad review no matter who you are. Welcome to the business. Now stop being a baby.
Subject: brainwashed radio
You recently did a review of a Whiteloge record and was wondering if you played them on your
radio stream? If not, could you add them?
Sorry, the Brainwashed Radio is only reserved for bands and labels hosted at brainwashed.com.
Subject: no subject
That's just a lame joke. Sorry, you can do better.
Subject: no subject
IM INTERESTED IN MAKE CONTACT WITH MUSICIANS AND MAKE MUSIC . I WANNA MAKE A PROJECT LIKE
MOGWAI , MONO , GODSPEED YOU BLACK EMPEROR OR MATMOS... THANKYOU
I hear you're throwing out your computers for guitars. I hear you're throwing out your guitars for turntables. I hear you want to make a Yaz record.
Subject: no subject
i remember a brainwashed page from ages ago that showed all trent reznors old boy bands, is
this htm archived anywhere?
Probably an old link of the week. Never hosted here. But the marching band photo was saved on the hard disk:
(of course it's him, LOOK AT THAT TEENAGE ANGST!)
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let us know what you think
Communicate with us, tell us what's in your player, tell us what you want more/less of, send recipes.
|WHAT'S IN YOUR PLAYER?|
i blame laibach
Stars of the Lid - Tired Sounds of ...
Cultural Amnesia - all free mp3's from their web
Thighpaulsandra - Some Head EP
Burzum - Filosofem
Azure Skies - azure skies
Nurse with Wound - She and Me Fall Together in Free Death vinyl
Death in June - 93 Dead Sunwheels
Hafler Trio - Where Are You?
The Residents - Wormwood
Fredrik Thordendal - Sol Niger Within
ELpH - Zwolf
Daniel Tóth, Czech Republic