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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.

Last Updated on Tuesday, 06 March 2018 08:14

Eyvind Kang, "Plainlight"

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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.

Last Updated on Monday, 05 March 2018 10:02

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.

Last Updated on Monday, 05 March 2018 10:15

Dedekind Cut, "Tahoe"

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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.

Last Updated on Monday, 05 March 2018 09:58

Jason Wietlispach, "Oak Creek Recordings"

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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.

Last Updated on Sunday, 04 March 2018 19:49

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