Brainwashed Radio: The Podcast Edition

Mountain in Japan photo by Chris

Three new episodes for your listening enjoyment.

After two weeks off, we are back with three brand new episodes: three hours / 36 tunes.

Episode 697 features music from Beak>, Brothertiger, Kate Carr, Gnod, Taylor Deupree, FIN, Church Andrews & Matt Davies, Ortrotasce, Bill MacKay, Celer, Kaboom Karavan, and Ida.

Episode 698 boasts a lineup of tracks from Susanna, Nonpareils, KMRU, A Place To Bury Strangers, final, Coti K., Dalton Alexander, Akio Suzuki, The Shadow Ring, Filther, Aaron Dilloway, and Ghost Dubs.

Episode 699 is bursting at the seams with jams from Crash Course In Science, Chrystabell and David Lynch, Machinedrum, Ekin Fil, Finlay Shakespeare, Actress, Mercury Rev, Dave Brown / Jason Kahn, øjeRum, d'Eon, Jeremy Gignoux, and Shellac.

Mountain photo taken in Japan by Chris.

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Taylor Deupree, "Sti​.​ll"

Sti​.​llI had a roommate back in the '90s who was deeply into the ambient side of techno, which was something that I intensely loathed at the time. Unbeknownst to me, however, that was my first exposure to the seemingly ubiquitous and eternal Taylor Deupree (via his Human Mesh Dance and Prototype 909 projects). I have since grown to genuinely love his work, of course, but I am sufficiently guilty of taking him for granted that I slept on his landmark 2002 album Stil. The same is not true of Joseph Branciforte (who runs the greyfade label), as he was so taken with the album that he embarked upon a multi-year project to "bring Deupree's explorations of extreme repetition and stillness into the world of notated chamber music." That initially seemed like quite a quixotic endeavor to me, but the resultant album is an absolute revelation, as breaking Deupree's elegantly skipping and sublime ambient magic up into individual acoustic components reveals an incredible degree of harmonic and dynamic sophistication that would have been otherwise lost on me. To paraphrase a scene from Mad Men, hearing Sti.ll after listening to Stil. feels like the moment in The Wizard of Oz when everything unexpectedly bursts into vivid color.

12k/Nettwerk

According to Deupree, the original album was inspired by the seascapes of Japanese artist Hiroshi Sugimoto and led to a significant change in the direction of his own vision (the idea of "stillness" became a guiding theme, as alluded to by the album's title). Compositionally, that change manifested itself in the four longform pieces of Stil. being devoted entirely to the "complex repetition of looping passages," as Deupree found that sustained immersion in repeating patterns could reveal "hidden pulses and movements not initially apparent," which is a vision that historically resonates quite deeply with me. In nuts-and-bolts terms, the original album was assembled from "melodic and granular passages juxtaposed in variable-length loops." Naturally, the "variable length" bit is what triggers the subtle, slow-motion transformations in these pieces, but Deupree illustrated the process more dramatically by noting that Stil.'s title piece was "based entirely on oscillating variations in a single 0.33 second tonal fragment." In short, small changes eventually bring fascinating and unexpected results.

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Nový Svět, "DeGenerazione"

DeGenerazioneThe enigmatic, inscrutable, and defunct Austrian duo of Jürgen Weber and Lili Novy/Frl. Tost has long been a subject of fascination for me, as I have had a bunch of their albums for years and enjoyed them, yet knew virtually nothing about them at all. In fact, I still would find it incredibly challenging to even answer a simple question like "what does Nový Svět sound like?" as their elusive discography continually blurs the lines between industrial, folk, cabaret, improv, collage, and whatever other esoteric influences they decided to assimilate for a given album. Amusingly, they also had a quixotic tendency to record albums in languages other than their native German, as evidenced by this newly released album from the vaults, which was originally intended to complete a "Spanish trilogy" back in 2007. In characteristically contrarian and mystifying fashion, it was shelved for being "too Spanish" and a synth album (Todas Las Últimas Cosas) was released instead. If this were any other band, I would drive myself crazy wondering why they would allow such an mesmerizing and wonderfully weird album to languish unheard, but baffling choices were basically the norm for Nový Svět. In any case, this album rules and I am thrilled to finally get to hear it.

Quindi

Aside from rudimentary and potentially dubious details like "Nový Svět were originally Vienna-based and formed in 1997," most of my knowledge of the band's history amusingly comes from a 1999 Russian interview in which the hapless interviewer kept asking an obviously disinterested Weber about how Futurism shaped the project's vision. Given that Weber glibly dismissed a few prominent Futurists as embarrassing weirdos and dandies in the interview, it is probably safe to say that they were not a terribly big influence, but he did seem to know a hell of a lot about the European avant-garde despite attributing the band's origins largely to alcohol and having a bunch of instruments lying around. Based on what little I know, it seems that the project's shapeshifting vision was more likely shaped by an interest in traditional music and instrumentation colliding with a fondness for tape loops and samplers, but Nový Svět also seemed to be shaped quite a bit by their immediate surroundings and a host of non-musical influences (theater, Buddhism, hedonism, folklore, Cage, Pasolini, Esperanto, Art Brut, etc.)..

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Hollywood Dream Trip, "Second Album"

First issued in 2013 as a limited-to-50 CDr, the, um, second album by the duo of Christoph Heemann and Will Long (Celer) was initially released in conjunction with a tour and has been only digitally available since. For its tenth anniversary, Black Rose Recordings have reissued this second (of three) recordings from the project on a wider available physical edition, ensuring that its lush, yet sparse collection of electronics are available once again for those longing for a tangible copy.

Black Rose Recordings

Consisting of a single 42-ish minute piece that was created using only two synths, a reverb unit, a tone generator, and tapes Second Album's overall sound reflects this intentionally stripped-down setup, but the duo cover a lot of different territories throughout its lengthy duration. Opening with a basic, resonating synth pulsation, the two delicately add in some low frequency elements and subtle melodic tones to flesh everything out.

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Sewer Election/Incipientium, "Sorceress"

SorceressA pairing of two Swedish artists, the veteran Dan Johansson (Sewer Election) and the relative newcomer Gustav Danielsbacka (Incipientium), Sorceress makes for an unsettling collaboration at various points throughout its four compositions. With their heavy use of manipulated tapes, they add an uncomfortably organic sense to the sputtering electronics and junk noise that sound anything but human throughout. It may be unsettling, but it is also delightfully enchanting throughout.

Throne Heap

The album is essentially split into two halves, with Johansson handling mixing duties on the first three shorter pieces, and Danielsbacka tackling the 20 minute fourth and final work. The two different approaches clearly reflect that mixing was handled by each individual, but the overall product complements each other quite well.

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Jim White & Marisa Anderson, "Swallowtail"

SwallowtailThis unusual drum and guitar duo first surfaced back in the dark days of early 2020 with The Quickening, which they boldly recorded without ever having previously performed together. Obviously, both artists are seasoned improvisers and excellent musicians, but I was still taken aback by the instant and incredible chemistry on pieces like that album's title track. Given the significant hurdles like distance, touring schedules, and other collaborations, it understandably took quite some time before the opportunity to reconvene presented itself, but the duo finally managed to meet up in White's native Australia in 2022 for some recording sessions in the coastal town of Point Lonsdale. The resultant album feels a bit different from its predecessor for a couple of reasons (no acoustic guitars this time around, "big change of vibe and scenery"), but the three-part "Bitterroot Valley Suite" beautifully recaptures the magic and spontaneity of the pair's debut while also breaking some very compelling new ground.

Thrill Jockey

In the album's description, Anderson notes that Swallowtail's engineer (Nick Huggins) was an avid surfer "attuned to the cycles of tides and sunrises and sunsets and ocean rhythms" and suggests that "all of that got into the music." I could not possibly agree more with that assessment, though I would have guessed that it was actually White who was the surfing enthusiast, as his drumming throughout this album beautifully mirrors the dynamics of rolling and crashing waves. Notably, Anderson's playing evokes water as well, but I would characterize her circular arpeggio patterns as something more akin to ripples in a pond, which is a strategy that works quite well here. In fact, that magic formula runs throughout nearly all of Swallowtail's strongest pieces, such as the opening "Aerie" and the aforementioned "Bitterroot Valley Suite": Anderson's rippling and chiming arpeggio patterns are breathlessly propelled forward by the rolling, elemental power of White's drumming. That said, those pieces are considerably more dynamically and melodically complex than that sounds, as White's crescendos ebb and flow just like actual waves and Anderson's patterns often branch out into tendrils of melody in the spaces between those climaxes.

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Myriam Gendron, "Mayday"

MaydayDespite her slim discography, Montreal-based Myriam Gendron has quietly amassed a very passionate following over the last few years, which is quite an impressive feat given that she frequently sings in French and the bulk of her previous oeuvre was devoted to interpretations of French/Québécois traditional music or Dorothy Parker poems. Obviously, such fare is quite far from the zeitgeist of the present time, but that is a big part of Gendron's allure: her work taps into a deeper and more timeless vein that captures the joy and pain of being alive in an unusually profound and direct way. Those same themes unsurprisingly remain central on Mayday (it was assembled in the wake of her mother's passing), but this third album is Gendron's first to focus primarily on her own original compositions as well as her first release to be professionally recorded in an actual studio. To celebrate that auspicious occasion, Gendron is joined by a host of talented collaborators like Dirty Three's Jim White, Body/Head's Bill Nace, and Marisa Anderson. Characteristically, the result is yet another absolutely mesmerizing Myriam Gendron album.

Thrill Jockey/Feeding Tube

Every single Myriam Gendron album to date has included at least one achingly gorgeous and perfect song (Not So Deep As A Well's "Recurrence," Ma Délire's "Go Away From My Window," etc.) and that trend happily continues here. In fact, Mayday actually features TWO such emotional gut punches. The first is "Long Way Home," which calls to mind a great lost '70s folk rock gem by someone like John Martyn. As always, I love Gendron's sad, low voice as well as her lyrics and her simple, unpretentious approach to melody, but this one simply has one heartbreaking line after another. Despite that, the piece still feels wonderfully bittersweet and uplifting due to its arrangement, as Gendron is joined by Marisa Anderson on lead guitar and Jim White on drums to balance the song's deep sadness with rolling and swaying folk rock magic. That "full band" approach is the ideal setting for such a poignant, quietly heavy piece, which is an unexpected evolution of sorts: I have long believed that Gendron's most beautiful songs would work every bit as well with no instrumental accompaniment at all (like all the best folk/traditional music), but Mayday features a handful of pieces in which well-placed guest appearances launch an already hauntingly beautiful song to another level altogether.

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Celer, "It Would Be Giving Up"

It Would Be Giving UpThis latest boxed set to emerge from Will Long's Celer reissue campaign celebrates one of the project's more recent works, as It Would Be Giving Up was originally released as a digital-only album back in late 2020. As was the case with previous reissues, the album has been remastered by Stephan Mathieu, but the more exciting bit is that I had never actually heard this particular album before and it instantly became my favorite Celer release by a wide margin. That makes sense, as according to Long, It Would Be Giving Up is thematically tied to two of Celer's other recent classics (Future Predictions and Memory Repetitions), as the three albums focus upon "ensemble pieces made with tape loops and analog instruments" and share a certain "wall of sound" aesthetic. While my love of Future Predictions is well-documented and remains as strong as ever, I now believe that It Would Be Giving Up is the single most essential album in Celer's entire discography, as it beautifully transcends the ambient/drone milieu to strain towards ecstatic heartache as high art.

Two Acorns

The album consists of four longform pieces that are each relegated to their own separate disc. That initially seemed like a curious decision, as the first two pieces could have easily fit on the same disc, but I ultimately decided that it made perfect sense to treat each piece like a standalone album or EP. In essence, It Would Be Giving Up is essentially four top-tier Celer releases with enough stylistic and thematic common ground to be presented together, which is important to note, as there is not a single weak piece to be found. This album is a four-disc tour de force because that is simply how much great material Long had recorded: nothing is unnecessarily extended and there is no filler to be found anywhere. This is simply four absolutely stellar pieces in a row without a detour or lull in sight.

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A Lily, "Saru I-Qamar"

Saru l​-​QamarMy familiarity with James Vella is primarily through his role running the excellent Phantom Limb label, but that is just one facet of a varied career, as he is also a fiction writer and a member of the Canterbury-based post-rock ensemble Yndi Halda. He records as a solo artist too and has been sporadically releasing albums as A Lily for almost two decades now. Notably, Vella is also of Maltese descent, which inspired this wonderful stylistic detour: Saru l-Qamar is assembled from tapes of home recordings archived by the Maltese heritage organization Magna Żmien. Naturally, that made my ears perk up immediately, as I often enjoy the crackling and hissing escapism of dispatches from long-dead people in far-flung places, but the “oneiric bliss” of Vella’s achingly beautiful and hallucinatory collages proved to be an unexpected and welcome enhancement. This is one of my favorite albums of the year thus far.

Phantom Limb

The album’s title translates as “They Became The Moon,” which is a lovely and poetic way of saying that the lives and loves of previous generations remain part of the fabric of our lives forever (like the moon, they are “always present, but always out of reach”). Naturally, Vella’s own family surfaces (in the cover art), but the bulk of these recordings are snatches of traditional Maltese folk songs known as għana. Normally, the phrase “folk song” conveys a canon of specific songs and lyrics that have existed for generations, but għana departs from that tradition in being a malleable song form that people can use to tell their own stories. According to Vella, “from the ‘60s until the modern era, it was common for Maltese families to receive reel tapes from relatives abroad,” as that was simply how people shared news with distant friends and family. In short, Maltese people had their own cassette underground in which they regularly exchanged personalized songs with each other. Unsurprisingly, I am now retroactively mad that my own family never exchanged songs about mundane events like getting a new cat or whatever. Life could be so much more beautiful than it currently is.

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Celer, "Engaged Touches (Expanded and Remastered)"

Engaged Touches (Expanded and Remastered)Will Long's ambitious campaign to remaster and reissue key highlights from Celer's overwhelmingly vast discography continues with this expanded reincarnation of 2009's Engaged Touches (appropriately released on fellow ex-pat/ambient artist Ian Hawgood's Home Normal label during its Japan-based era). The album is an especially noteworthy release within the Celer canon for a couple of reasons, but the big one is that it ranks alongside 2008's Discourses of the Withered and 2019's Xièxie as one of the project's perennial fan favorites. While my own pantheon of essential Celer albums does not always align with that of said fanbase, this one's prominent place makes sense, as it was definitely one of the most high-profile albums released during the white-hot height of Celer-mania. As such, it was probably one of the first Celer albums that many people heard. It is also inarguably one of the strongest albums recorded during the project's early days as a husband-and-wife duo with Danielle Baquet-Long (Chubby Wolf) and most of the other contenders were not yet widely available before Bandcamp transformed the musical landscape. Given that, a reissue was both welcome and inevitable, but those who already love this album will likely be thrilled by the prospect of hearing it in its newly expanded and remastered form.

Two Acorns

Much like how Wong Kar Wai was unable to resist tweaking the color grading of his films when the opportunity to release 4K restorations of his oeuvre presented itself, this version of Engaged Touches has been transformed and reshaped a bit by Long. Obviously, just about any artist can find room for improvement with the benefit of hindsight, but assessing whether this expansion is a significant improvement over the original is a bit tricky given the nature of the music (endlessly repeating slow-motion loops). In any case, this new version is roughly three times as long as the original (now either 3 CDs or 5 vinyl sides), but it is also two versions of the same album: the first two discs offer a new version with extended track lengths, while the third disc remains faithful to the original in every way except being remastered by Stephan Mathieu.

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Six Organs of Admittance, "Time is Glass"

Time is GlassThis latest release from Ben Chasney's shapeshifting and long-running psych project is billed as a sort of homecoming album, as Chasney recently moved back to California's famed Humboldt County region after a few decades away. As befits an album recorded on a picturesque coast best known for weed and beautiful redwood forests, Time Is Glass is an especially intimate, casual, and mellow Six Organs album (the cover art of a beachside dog walk captures the tone quite nicely, I think). Admittedly, that softer side of Six Organs is usually not my cup of tea (I am a fundamentally un-mellow person), but I genuinely appreciate Chasney's passion for continual evolution and reinvention and there is already a sizable backlog of Six Organs material that falls more in my comfort zone. As such, I am always willing to indulge Chasney's erratic muse wherever it may lead. More importantly, I consider Chasney to be something of a fitful and unpredictable guitar visionary: there are admittedly plenty of Six Organs songs that leave me cold, but it is never safe to assume that a new Chasney album will be devoid of flashes of brilliance. In keeping with that theme, Time Is Glass is a bit of an uneven album for me, but it does feature two sustained flashes of brilliance that rank among Chasney's finest work.

Drag City

Listening to this album, I was newly struck by the improbable stylistic gray area that Chasney's oeuvre inhabits: Six Organs of Admittance has basically been an underground/psych institution since the turn of the millennium, but it always seemed like Ben's vision was shaped by classic rock almost as much as it was inspired by artists like Loren Connors and Richard Bishop. That is definitely not an easy balance to navigate or seamlessly maintain, but sometimes the collision of those two sides yields extremely cool results (Chasney's talents for dual-guitar harmonies and occasional fiery shredding have always delighted me).

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