Brainwashed Radio: The Podcast Edition

Art table in Hammond, Indiana photo by Hilary

It's another weekend of multiple podcast episodes of brand new music and gems from the vaults.

Episode 694 features Belong, Annelies Monseré, People Like Us, Chihei Hatakeyama & Shun Ishiwaka, Causa Sui, Lee Underwood, The The, Dadadi, Nový Svět, Shuttle358, Keiji Haino, and Peter Broderick & Ensemble 0.

Episode 695 has Miki Berenyi Trio, Shackleton & Six Organs of Admittance, Olivier Cong, France Jobin & Yamil Rezc, The Cat's Miaow, Daniel Lentz, Efterklang, Mick Harvey, Lightheaded, Internazionale, Dettinger, and Jóhann Jóhannsson.

Art table in Hammond, Indiana photo by Hilary.

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Jean-Noël Rebilly and Andrew Chalk, "Tsilla"

TsillaThis is the second duo collaboration between Chalk and Rebilly, as the pair previously surfaced with L'état Intermédiaire back in 2018. Their shared history goes back to at least 2012 though, as they teamed up with Vikki Jackman for A Paper Doll's Whisper Of Spring. While details about Tsilla are less scarce than usual due to its release on An'archives rather than Chalk's famously terse Faraway Press imprint, I still know very little about Rebilly other than the fact that he plays the clarinet. Beyond that, I am unwilling to hazard any guesses about who is playing what here, as both artists' contributions are largely blurred into a painterly haze (not entirely unfamiliar territory for Chalk). Far more relevant than the instrumentation is the album's inspiration: engraver Cécile Reims, whose "denuded landscapes," "spiraling abstractions," and "unearthly radiance" may have inspired Chalk's visual art as well. If not, Reims is at least a kindred spirit and her collaborations with Hans Bellmer, Leonor Fini, and Salvador Dali probably make a decent enough consolation prize. Reims's deepest impact on Tsilla may have been upon the process rather than the outcome, however, as the pair set out to honor her "tender weaving of emotional complexity carved with the hand-held and simple tools of artisans" in their own way ("a similar transfiguration of base materials"). Regardless of how it was made, Tsilla is quite a unique album in the Chalk canon, as the best pieces evoke a beautifully nightmarish strain of impressionism.

An'archives

The album opens in unexpectedly tense and disturbing fashion with "Pliskiné," as shivering strings quiver in dissonant harmonies over a bed of subtle, slowly shifting drones like a swarm of hallucinatory bees with bad intentions. For better or worse, that particular descent into horror is not a representative one, though Tsilla is quite a dark and uncharacteristically heavy album for Chalk (and presumably for Rebilly as well). "Pliskiné" aside, the album's other deep plunge into nightmare territory is "Hauteville," which feels like a groaning, slow-motion descent into squirming, buzzing cosmic horror at its most exquisite. In general, the longer pieces tend to be the strongest while the shorter pieces feel more like bridges or interludes, though "Visages d'Espagne" is a notable exception that resembles a seasick duet between a koto and a vibrato pedal.

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Bill Orcutt, "Jump On It"

Jump On ItThis latest LP from San Francisco-based guitar visionary Bill Orcutt is a spiritual successor of sorts to 2013's A History of Every One, as that was apparently his last solo acoustic guitar album. The resemblance between the two albums largely ends there, however, as Jump On It is as different from the deconstructed standards of History as it is from last week's Chatham-esque guitar quartet performance for NPR. While I do enjoy Orcutt's Editions Mego solo era quite a bit, there is no denying that his artistry has evolved dramatically over the last decade and his recent work definitely connects with me on a deeper level. In more concrete terms, Orcutt's work no longer resembles the choppy, convulsive, and possessed-sounding fare of History, as he has since reined in his more fiery, passionate impulses enough to leave more room for passages of tender, simple beauty. In fact, Jump On It might be the farthest that the balance has swung towards the latter, as the characteristic Orcutt violence is a rare presence in the collection of quietly lovely and spontaneous-sounding guitar miniatures.

Palilalia

The album opens in appropriately gorgeous fashion, as the first minute of "What Do You Do With Memory" is devoted to a tender, halting and bittersweet arpeggio motif, though the piece then takes a detour before reprising that wonderful theme for the finale. The detour is admittedly brief, but so is the song itself, which illustrates a central feature of this album: these pieces generally feel like a series of spontaneous snapshots/3-minute vignettes rather than fully formed compositions that build into something more. That is not meant as a critique, but it does mean that Jump On It is something other than Orcutt's next major artistic statement. I am tempted to say that most of this album feels akin to a pleasant but loose improvisation around a campfire, but there are also some pieces that evoke an usually meditative Django Reinhardt playing alone in a late-night hotel room.

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Illusion of Safety & Z'EV

Illusion of Safety & Z'EVFinally seeing the light of day after two years of production related delays, with the recordings dating back even longer than that, this collaboration between Daniel Burke (IOS) and the late Stefan Weisser (Z'EV) could almost be a time capsule, except the sound of it is entirely timeless. Recorded and mixed between 2008 and 2012, the two lengthy pieces that make up this self-titled album clearly bear the mark of both individuals, but mesh together beautifully in the very different sounding sides of the record.

Feast of Hate and Fear / Cipher Productions / Oxidation / Korm Plastics / Drone / Personal Archives / Public Eyesore / Tribe Tapes / Liquid Death / No Part of It

Although a mail-based collaboration, Z'EV and IOS's work complement each other perfectly, with the acoustic percussion from the former weaved into the electronics and field recordings of the latter, and both artists having a hand in further mixing and processing afterwards. These elements are clear on both side-long pieces that make up the album, but structurally the two halves differ rather notably.

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Contrastate, "35 Project"

35 ProjectA 10" record rigidly divided into four different pieces (each mostly around four minutes in length), this new work from the enigmatic sounding, long-standing UK project is mostly centered around the same authoritarian lyrical elements, but each differs significantly in their compositional approach. A complex mix of styles define each piece, neither of which are too similar to another, but are unquestionably Contrastate, and showcases all of the unique sounds they are known for.

Black Rose Records

The aforementioned lyrical elements are quite dystopian "You do not have the right to be free/ you do not have the right to shelter and food/You do not have the right to love/You do not have the right to work" are just a few examples and appear in various stages of processing throughout. The first of the four untitled pieces is classic Contrastate: bursts of noise, sustained digital sounds, fragments of voice, and a significant number of loops layered atop one another. Lush synth passages and bits of conversation are consistent with the trio's previous works. For the second, the use of loops continues, but with hints of melody and cut up percussion pervade, making for a more spacious and restrained feel in comparison.

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Kammerflimmer Kollektief, "Schemen"

SchemenThis eleventh album from Germany's Kammerflimmer Kollektief is not my first exposure to the project, but it did succeed in making me wonder why I have not been a passionate fan of their work before now. Admittedly, the idea of harmonium-driven free-form jazz/psychedelia is not quite my cup of tea on paper, which goes a long way towards explaining why I was so slow to embrace this project, yet the right execution can transform just about anything into gold and this foursome are extremely good at what they do. It also does not hurt that the Kammerflimmer gang have some intriguing and unusual inspirations, as they namecheck both Franz Mesmer and underheard German psychonauts The Cocoon in addition to the requisite nod to Can. Kammerflimmer Kollektief certainly assimilate those influences in a unique way though, as the best songs on Schemen sound like a killer post-rock/psych band blessed with an unusually great rhythm section and real talents for roiling guitar noise, simmering tension, and volcanic catharsis.

Karlrecords

This unique and eclectic project was founded by guitarist Thomas Weber back in the late '90s and has had a somewhat fluid membership since, but it is safe to say Heike Aumüller significantly transformed its trajectory when she joined the fold in 2002, as she is responsible for both the band's unusual cover art and the even more unusual use of harmonium. Unsurprisingly, I encounter the harmonium a lot with drone music, as it lends itself to that aesthetic perfectly, but Aumüller generally uses it for more melodic purposes and clearly has no aversion to dissonance, as it sounds like she is beating her bandmates to death with an accordion in "Zweites Kapitel [ruckartig]" and "Fünftes Kapitel [kreuzweis]." While "Zweites Kapitel" is an endearingly explosive feast of scrabbling guitar noise, clattering free-form drumming, and tormented bow scrapes, the album's stronger pieces tend to be those which take a more simmering and sensuous approach.

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David Colohan, "A Lunar Standstill"

A Lunar StandstillIn the village of Stanton Drew, and dating from around 4,500 years ago, is the third largest complex of standing stone circles in England. David Colohan visited the site one rainy morning in early 2020 and was inspired by the mix of winter sunshine and eerie ancient atmosphere to create a record of his impressions. Fair enough, since people rarely send postcards from their travels anymore. Actually, the postcard analogy only works if it allows for someone designing a postcard when they get home, since Colohan's use of field recordings is minimal and he doesn't really create music in situ. He's done this before with other locations but A Lunar Standstill is easily his most consistent recording.

Woodford Halse

Colohan uses alto saxophone, clarinet, electric guitar, field recordings, harmonium, mellotron, modular synthesizer, trombone, and voice. Maybe I am triggered in a good way by the harmonium but much of this music gives off such a warm and pleasant hum that I started dreaming about Ivor Cutler as a Druid—although I hope that does not sound trite, as Cutler's music has a spiritual grace and trusty home grown solemnity which bestows upon it a uniquely absurd sense of substance and sincerity. The more bizarre it gets the more serious it becomes. On the subject of bizarre, Colohan's "A Static Field" is strange—as if it were composed for divining sticks, ley lines, and glow worms.

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Nonconnah, "Unicorn Family"

Unicorn FamilyThis latest release from husband and wife duo Zach & Denny Corsa appears to be their fifth full-length under the Nonconnah name (the duo were previously known as Lost Trail) and it is characteristically wonderful. As is the norm for Nonconnah, Unicorn Family was culled from several years of recordings featuring a host of eclectic collaborators (folks from Lilys, Half Japanese, Fire-Toolz, etc.) and those recordings have been expertly stitched together into beautifully layered and evocative soundscapes teeming with cool tape effects, thought-provoking samples, and killer shoegaze-inspired guitar work. In short, business as usual, but Nonconnah's business is consistently being one of the greatest drone projects on earth, so this is already a lock for one of my favorite albums of the year. Aside from the presence of a lovely lo-fi folk gem with actual singing, the only other notable departures from Nonconnah's existing run of gorgeous albums are shorter song durations than usual and the fact that the duo's samples have more of an eschatological bent. I suppose this album is an unusually focused and distilled statement as well, but that feels like a lateral move given how much I loved the sprawling immensity of Don't Go Down To Lonesome Holler.

Was Ist Das?

The album opens on an unusually simple and intimate note with "It's Eschatology! The Musical," which approximates a melancholy Microphones-esque strain of indie folk recorded directly to boombox. Despite its amusing title and throwaway final line of "that's how the album starts," it is a legitimately lovely, soulful, and direct way to kick off an album that is otherwise composed entirely of complexly layered soundscapes of tape loops and shimmering guitar noise. I have been an enthusiastic fan of those soundscapes for a while, of course, as well as an equally huge fan of the way the pair transform sped-up tape loops into rapturously dizzying and swirling mini-symphonies at the heart of their drone pieces. Given that, I do not have anything particularly fresh to say on those topics other than that I was newly struck by how the combination of slow drones and sped up tapes evokes the hypnotic streaking of car lights in time-lapse footage of a busy highway at night.

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Tim Hecker, "No Highs"

No HighsThis latest opus from Tim Hecker is amusingly billed as "a beacon of unease against the deluge of false positive corporate ambient." Given the weighty themes of his previous albums, Hecker's actual inspiration presumably runs much deeper than that, yet the "beacon of unease" part of that claim may be more literal than it sounds, as one of the album's central features is described as "Morse code pulse programming." While I am not well-versed enough in Morse code to determine if Hecker's oddly timed rhythms are covertly incorporating text or a narrative into these warped and nightmarish soundscapes, the gnarled and harrowing melodies that accompany those erratic pulses are more than enough to make the album thoroughly compelling listening regardless. Aside from that, No Highs marks yet another significant creative breakthrough for a formidable artist hellbent on continual reinvention and bold evolution. While it is hard to predict whether or not No Highs will someday be considered one of Hecker's defining masterpieces or merely an admirable and unique detour, its handful of set pieces feel quite brilliant to me and I do not expect my feelings to change on that point..

Kranky

The general tone of No Highs feels like a continuation of the smeared, howling anguish of Konoyo and Anoyo, approximating lonely distress signals emitted from the smoldering ruins of Konoyo's planetary death spasms. Compositionally, however, No Highs feels like an entirely different animal altogether, as Hecker has swapped out roiling maximalism for simmering minimalism and distilled his palette to little more than insistently telegraph-like synth pings punctuated with occasional plunges into swirling and howling cosmic horror. In fact, the album makes me feel like I am stationed at a desolate outpost in a blackened wasteland nervously watching apocalyptic storms mass on the distant horizon. Unsurprisingly, the strongest pieces tend to be the ones where those storms reach their full fury, such as the opening "Monotony."

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Ale Hop & Laura Robles, "Agua dulce"

Agua dulceThis is the debut collaboration between two Berlin-based Peruvian musicians and also marks my first exposure to percussionist Laura Robles. I am, however, reasonably familiar with the alien soundscapes of Ale Hop (Alejandra Cárdenas) and this union seems to have inspired some of her finest work to date. Notably, Robles is "reputed to be one of the best cajón players in Peru," which is useful context given how radically (yet lovingly) the pair deconstruct and reinvigorate the instrument ("a symbol of resistance, experimentation and transformation" in Peru). In more practical terms, that means that Cárdenas and Robles dramatically disrupt, distort, and repurpose traditional dance rhythms into a wild psychotropic mindfuck. In fact, it sometimes sounds like Robles recorded her parts alone as a freeform performance at an Ayahuasca ceremony or something, but the seemingly roving and divergent threads always come together in impressive fashion in the end. Amusingly, I would have thought that the enigmatically and erratically shifting rhythms of Agua dolce would be damn near impossible to dance to, yet these pieces apparently made quite a splash when the duo coupled with dancer/choreographer Liza Alpiźar Aguilar for the Heroines Of Sound festival. Whether or not that means that I would be a terrible choreographer is hard to say, however, as the finished album may have ultimately landed in far more lysergic territory due to Cárdenas' additional edits and production wizardry.

Buh

The album borrows its title from "the most popular beach in Lima," which is near where "both artists lived during their childhood, houses apart, without ever meeting one another." Improbably, they eventually met as expats on the other side of the world and happily found themselves to be kindred spirits tuned into the same outré wavelength. I suppose Robles is arguably the more conventional of the two despite playing Peruvian music in Germany on a self-built electric cajón, but that is only because Ale Hop often sounds like she is from a completely different planet or dimension altogether. The most impressive example of that otherworldliness comes at the midpoint of "Lamento," as the hissing, blatting electronics and sleepy Latin rhythms seem like they are suddenly interrupted by the appearance of ghost UFO that propels the proceedings into dazzling new heights of haunting, spacialized phantasmagoria. That said, the entire first half of the album is one mesmerizing psychotropic jungle freakout after another, as Cárdenas unleashes her inner tropical Lovecraft to conjure a host of squirming, gelatinous, seething, buzzing, and jabbering electronic sounds over Robles' clattering percussion workouts.

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Marta Mist, "Eyes Like Pools"

Eyes Like PoolsThis is my first exposure to this UK-based collective centered around Gavin Miller (worriedaboutsatan) and Sophie Green (formerly of Her Name is Calla), but they have been fitfully releasing albums for more than a decade now. Their last major release, Scavengers, was back in 2016 on Time-Released Sound, so Eyes Like Pools both ends a lengthy hiatus and marks the collective’s first appearance on Athens’ sound in silence label. Much like Miller’s worriedaboutsatan project, this latest statement from Marta Mist occupies a vaguely cinematic stylistic niche where ambient and post-rock blur together, but Eyes Like Pools parts ways from worriedaboutsatan by swapping out electronic beats for Green’s achingly lovely violin melodies. While the more ambient side of Marta Mist’s current vision is appropriately warm and immersive, those pieces tend to be quite brief and the more substantial string-driven pieces are the true heart of the album (and it is a fiery heart indeed).

sound in silence

The album opens with a pleasant yet deceptive intro of gently rolling piano arpeggios before unveiling the first of its three major highlights: the 14-minute “Alway On.” The piece begins modestly enough with some lovely violin drones, but tendrils of melody soon start to appear and a low industrial hum gradually blossoms into a slow-moving chord progression driven by deep, warm bass tones. There are admittedly a couple of moments where it starts to err a bit too far towards soft-focus prettiness for my taste, but Green’s sliding, smearing, and occasionally snarling violin carves through the bliss haze enough to keep me transfixed regardless. More importantly, “Always On” delighted me with a very cool and unexpected ending in which echoey guitar chords slowly emerge from the ambient haze like a vengeful rockabilly ghost.

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