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My Cat is an Alien, "Spiritual Noise, Vol. 2"

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cover imageEarlier this year, Maurizio and Roberto Opalio debuted an ambitious new phase of their long-running My Cat is an Alien project with Spiritual Noise. Vol. I.  Appropriately, this sequel is a continuation of that vein, but there is no such thing as a predictable linear progression in the Opalios' universe: each fresh album is like a veil being pulled back to reveal an otherworldly and deeply hallucinatory vista quite unlike anything anyone else has ever recorded.  In fact, this project calls to mind a lonely satellite that just keeps drifting deeper and deeper beyond our solar system, sporadically sending back increasingly haunted and alien images that have no earthly analog.  Naturally, music this unapologetically outré is an acquired taste that can challenge even the most adventurous ears, as there are no recognizable reference points or even nods to Earth-bound modality, but the closing "Silver Glimpses of Infinity" is the closest that the duo have come to comparative accessibility in years…probably.  It is equally likely that listening to so many MCIAA albums has irrevocably rewired my brain at this point and I am now fully desensitized to the more queasy and reality-dissolving elements of their aesthetic.  Either way, it is still quite an amazing piece.

Last Updated on Monday, 21 October 2019 06:57

Bill Orcutt, "Odds Against Tomorrow"

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cover imageBill Orcutt's career admittedly had quite an abrasive and chaotic start with Harry Pussy, but it has always been abundantly clear that he is one of the more idiosyncratic and explosive guitar stylists on the planet.  It was not until he started releasing solo albums, however, that I began to feel like he was some kind of outsider genius rather than a room-clearing noise maniac (though I imagine it was impossible to convey any emotion more subtle than "baseball bat to the face" with a human volcano like Adris Hoyos behind the drum kit).  In any case, Orcutt's late-career shift to more intimate, melodic material has been nothing short of a revelation and 2017's self-titled studio album was the brilliant culmination of that evolution.  With this follow-up, Orcutt occasionally hits some similar highs, but Odds Against Tomorrow is more of an intriguing transitional album or lateral move than another instant classic, as he mostly dispenses with playing standards to focus on his own compositions and some very promising experiments with multi-tracking.

Last Updated on Monday, 21 October 2019 06:53

Mára, "Here Behold Your Own"

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cover image Following up the limited 2015 release of her solo debut Surfacing, Faith Coloccia’s (also of Mamiffer) latest work is in some ways a continuation of that, but also something new entirely.  With recordings dating back to 2015, Here Behold Your Own captures not only an artist, but a person in transition:  the material was recorded before and mixed after Coloccia gave birth to a son with her Mamiffer/SIGE partner Aaron Turner.  Like revisiting a photo album from many years past, she creates a perfectly somber, yet pleasurably nostalgic mood.

Last Updated on Sunday, 20 October 2019 14:49

Brainwashed Is No Longer Accepting Unsolicited Packages

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Due to time and financial constraints Brainwashed is no longer accepting unsolicited packages at the PO Box. (This means if we didn't ask for it, please don't send it.) Unwanted packages will be subject to refusal/return, recycling, or sale. For labels and artists who are interested in having their music covered, there are more details in the Contact Us page.

Last Updated on Monday, 22 August 2011 00:33

Todd Anderson-Kunert, "Conjectures"

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cover image Compared to the first release I heard from Australian composer Todd Anderson-Kunert, Conjectures is a significantly different piece of work.  A Good Time to Go, from 2018, was an excellent tape of that drew from all different forms of abstract electronic sound art, from elements of rhythm and heavily processed sounds to more conventional synthesizer expanses.  For Conjectures, he takes a more reductive approach.  Using only the massive Moog System 55 modular synthesizer, the result is a very focused, yet dynamic work that showcases both the instrument and the artist.

Last Updated on Sunday, 20 October 2019 14:53

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