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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William Basinski,"The Clocktower at the Beach (1979)"

Clocktower BeachWilliam Basinski recorded this music during his time living in San Francisco, when he presumably visited Clocktower Beach. Considering that Basinski once created On Time Out Of Time—music in tribute to quantum entanglement and the theories of Einstein and Rosen, and Einstein, Rosen, and Podolsky, using source recordings of the 1.3 billion year old sounds of two distant massive black holes—undoubtedly the subject matter of The Clocktower at the Beach is one of his more straightforward creations. Fair enough, it is one of his earliest drone pieces, yet his methodology is as intriguing as anything he's done, and (most important of all) the music is a memorable journey into the sadness of things. Back to "mono no aware," then.

Line

About that methodology: it seems that Basinski recorded the night shift at a sausage factory on a battery operated portable cassette player, then made this music from that source material chiefly using a Norelco Continental four speed reel to reel tape recorder. Looping and speed tampering is all very well on paper, but thankfully Basinski's ear is such that there is not the slightest trace of anything horrible, gimmicky, nonsensical, or even dull. Broken 1950s televisions, scavenged from the streets by James Elaine, were also used, I'm unsure exactly how but presumably as another sound source.

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Mike Majkowski, "Coast"

CoastThis is apparently the twelfth solo album from Berlin-based double bassist Mike Majknowski, but—far more significantly—it is also the follow up to 2021's killer Four Pieces and is very much in the same vein. That vein lies somewhere between loscil-style dubwise soundscapes and the austere sophistication of classic Tortoise or early Oren Ambarchi, which is certainly a fine place to set up shop, but that is merely the backdrop for some truly fascinating forays into sustained, simmering tension and exquisitely slow-burning heaviness. Unsurprisingly, I am like a moth to a flame when it comes to longform smoldering minimalism and I can think of few artists who can match Majknowski's execution, as he consistently weaves magic from little more than a few moving parts and a healthy appreciation for coiled, seething intensity.

Fragments Editions

The album consists of two side-long pieces ("Spiral" and "Later") that feel like divergent variations on a similar theme. "Spiral" opens with little more than a simple bass pattern, the pulse of a lonely high hat, and semi-rhythmic washes of bleary feedback or ravaged synth. There is also something resembling a minor key vibraphone melody languorously weaving through the mix, but it feels more like impressionistic coloring rather than a focal point. Gradually, a pulsing synth motif fades in that feels out-of-sync with the rest of the rhythm, giving the piece an organically shapeshifting feel that propels it into increasingly frayed and subtly unpredictable terrain: reliable rhythms start to falter, textures become more distorted, and the relationship between the various parts is increasingly in flux. It calls to mind a spider patiently spinning an incredibly intricate web while also resembling a state of suspended animation that is increasingly gnawed by an unsettling outside darkness.

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Lol Coxhill & Morgan Fisher, "Slow Music"

Slow MusicI can hardly think of anything better for Aguirre to have reissued on vinyl than Morgan Fisher's collaboration with Lol Coxhill, originally released in1980 on Fisher's short-lived Pipe label. More than four decades later Slow Music is a rare phenomenon: a masterpiece which truly sounds like one. It remains an ambient landmark, an elemental work of art and imagination, and a painstaking labor of love.

Aguirre

Coxhill started out in standard jazz, Fisher in popular music, but from these fairly conventional points, both set about making creative leaps to develop their talents, and vice versa. Fisher quickly went into and out of such disparate groups as Third Ear Band and Mott the Hoople before his penchant for experimentation led—via Miniatures (his 1980 collection of 51 one minute tracks by everyone from Gavin Bryars, XTC, and Penguin Cafe Orchestra, to Ivor Cutler, Robert Wyatt, and The Damned)—to his own radically experimental music. Coxhill accelerated into his distinctly wild yet restrained style of saxophone playing, bringing him into contact with future members of the legendary Hatfield & The North, Kevin Ayers, Shirley Collins, Derek Bailey, and many others, in addition to acting roles on stage and screen. The pair worked together for the first time one year before Slow Music when Coxhill came into the studio for Fisher's Hybrid Kids, ostensibly a collection of various mutant art-punk groups, all of whom were in fact Morgan Fisher in disguise.

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The Notwist, "Vertigo Days: Live from Alien Research Center"

Vertigo DaysThe Notwist tend to regard their live shows as launchpads where they can blast off from their studio albums on voyages of discovery. Live from Alien Research Center is a terrific document of that process, as the group re-explore the contents of Vertigo Days; their 2021 release which featured an array of guests from Angel Bat Dawid to Juana Molina. 2021-23 might seem a speedy recycling of the same material, but there is valuable quality of freedom and looseness in these live versions; stretched out and stitched together in the kosmische style.

Morr Music

As enjoyable as it has been to spend the past week on an accelerated hypnostroll through The Notwist discography, that probably cannot compensate for the inattention I've paid to it for around two decades. Over that 20 year period, there has been encouragement from reliable sources, which caused the opposite effect… since nothing provokes the contrarian quite like another person imagining they've discovered something which aligns with our own taste. At any rate, and not only in my imagination, The Notwist has been something of an invisible or taken-for-granted phenomenon, at once both subterranean and ubiquitous, not being there while always being there. With no evidence whatsoever, I feel they are content with this position. After all, without being a pastiche, their music and methodology mirrors the long revered German and European music revolution which sparked Tangerine Dream, Faust, Popol Vuh and others into a Year Zero rejection of both the shackles of military history and the occupying force of US music.

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Valentina Goncharova, "Recordings 1987-1991, Vol1"

Recordings 1987-1991, Vol 1This first volume of Valentina Goncharova's home studio recordings is devoted to her remarkable solo work over a four year period from 1987. The first six tracks in particular illustrate her genius for balancing written composition with spontaneity, and for manipulating sources (such as her voice and cello) into beautifully hypnotic maelstroms of melodic dissonance.

Shukai

I have read about the breadth and artistic vision of Valentina Goncharova, her classical studies, her quest for experimentation, her embrace of musique concrete and drone, free jazz and underground rock, her interests in Boulez, Riley, Stockhausen and others, and her wildly inventive home studio shenanigans. None of which fully prepared me for the mind-melting allure of her best music, with it's hypnotic frequencies, and mastery of space and spirit.

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Cisser Mæhl, "Innemuseum"

InnemuseumThis debut album from Danish artist/multi-instrumentalist Cecilie "Cisser" Mæhl is easily one of the strongest releases from Berlin's Sonic Pieces in recent memory. Mæhl has already carved out an impressively distinctive niche. Innemuseum first began taking shape in the summer of 2019 when Mæhl made a bunch of field recordings while working at a mountain lodge in Norway (though those recordings would ultimately become a very small part of the puzzle). After moving to Oslo, she rented a studio space and eventually met some inspiring people who helped guide her towards realizing her unconventional vision (Jenny Hval, Stephan Mathieu, and the increasingly ubiquitous and versatile Lasse Marhaug). The involvement of the latter was especially surprising for me, as this album has the intimate feel of a bedroom chamber pop masterpiece conjured from little more than a violin, a drum machine, and an ancient piano, which is generally not where I expect someone from Testicle Hazard to turn up. That said, the homespun, elegantly minimal feel of these pieces is presented in beautifully detailed, crystalline clarity, which is presumably where the Marhaug magic came into play. I suspect this album would still be quite good even if submerged in tape hiss and murk, as Mæhl has a lovely voice and plenty of great ideas, but the fact that these otherwise hushed songs explode in vivid color beautifully elevates Innemuseum to another level altogether.

Sonic Pieces

The opening "Menneskeaftryk" kicks off the album in strikingly lovely fashion, as Mæhl sensuously sings in Dutch over a backdrop of muted arpeggios that fitfully blossoms into swooningly romantic orchestral swells. The following "Små Ting" is similarly stellar, as a shuffling drum machine groove propels Mæhl's playfully dancing melody into a realm somewhere between a seductive cabaret performance and the "haunted fairytale" aesthetic of Brannten Schnüre. While both pieces succeed primarily due to the strength of Mæhl's melodies and the charisma and soul of her vocal performance, there are a number of interesting compositional and production nuances that make them stand out even further. The big one is that Mæhl's vocals (and presumably several of the instruments as well) are close-mic'd, which gives every piece a sense of intimacy and physical presence, but there is an organic fluidity to the vocal melodies that feels wonderfully spontaneous and alive as well.

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John Bence, "Archangels"

ArchangelsArchangels has an unhurried pace which I find deeply satisfying. John Bence shapes electronics, voice, piano, percussion and orchestration into dense and haunting forms, and although he creates some dynamic and challenging sounds, he never forgets that human ears need melodies and tunes. The spiritual concerns underpinning this creation also make it a good stepping off point to investigate and learn about a variety of concepts which have occupied people throughout human history.

Thrill Jockey

It is no accident that the album begins with a piece entitled "Psalm 34.4," a simple form of which states "I sought the Lord, and he heard me, And delivered me from all my fears." Quite what Bence is getting at here matters more for him than me, because my main concern is that Archangels is a genuinely intriguing and enjoyable album to listen to. Although given his victory over addiction, perhaps the album documents Bence's interest in his spiritual health, or even his gratitude for divine help. In an increasingly secular world, where such matters as diet, finances, physical fitness, and relationships blare incessantly for our attention, Archangels sounds like one man listening to himself and searching for faith.

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Myriad Valley, "Otherworld"

OtherworldThis latest enigmatic find from Arizona's eternally far out and fascinating Was Ist Das? label will be an absolute revelation for anyone who misses Natural Snow Buildings as much as I do. Otherworld is apparently the debut release for this project, but any further details beyond that are non-existent other than the fact that these four pieces were recorded by someone named "Joe" in 2022. While the label's description name-checks a few '70s psych heavy-hitters as reference points in addition to Natural Snow Buildings (Third Ear Band and Popul Vuh), those elements manifest themselves much more subtly, as Otherworld is an oft-transcendent plunge into folk horror-inspired cosmic drone sorcery. That all-encompassing devotion to heavyweight drone majesty is also where Myriad Valley departs from Mehdi and Solange's path, as Joe does not let himself get distracted by any songcraft aspirations, opting instead to focus entirely on crafting massive, sustained psychotropic drones that feel like ancient field recordings from some remote mountain cult hellbent on opening an extra-dimensional portal through sheer vibrational magic.

Was ist Das?

The opening "Hanging Crystal Garden" makes for quite a mesmerizing introduction to Myriad Valley, as slow waves of buzzing tanpura lap at the shores of an occult nightmare. The buzzing tanpura drones are a ubiquitous feature throughout the album, as is ritualistic hand percussion (in this case, something like rattling bells), but this particular piece has an especially otherworldly and sinister vibe due to the strangled dissonance of the pipes and the way the notes increasingly bleed together and dissolve into sharp feedback. Notably, "Hanging Crystal Garden" is the album's shortest piece (at eight minutes) despite being the most inspired, but that makes sense given its nerve-jangling intensity. The much longer second piece is considerably calmer and more radiant (at first, anyway), almost calling to mind a restorative early morning yogic meditation to clear the mind of the previous night's cosmic horror, human sacrifice, and demon summoning.

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Laraaji, "Segue To Infinity"

Segue to InfinityThis quadruple LP boxed set is likely to be an absolute revelation for Laraaji fans, as Numero Group has combined his landmark 1978 debut (Celestial Vibration) with the equivalent of three lost albums recorded around the same time. The albums in question surfaced in 2021 when some acetates from an abandoned storage locker were auctioned off and passed through a flea market and Ebay before being spotted by eagle-eyed college student Jake Fischer, who snapped them up for $114 after recognizing Laraaji's given name (Edward Larry Gordon, the name he was still using at the time of Celestial Vibration's release). Amusingly, even Laraaji himself is a bit mystified by the provenance of these recordings, as the documentation states that they were recorded at a studio in Long Island 200 miles from where the Celestial Vibration sessions took place (ZBS in Fort Edward). While it remains unclear whether the Fort Edward tapes were merely transferred in Long Island or whether these recordings actually originate from a different session altogether in Queens, they are unmistakably Laraaji and they are frequently as good or better than the album that actually got released. Finds like this are exactly why there are Discogs fiends hunting for lost private press New Age music, as the late '70s and early '80s were a golden age for bedroom visionaries who thanklessly explored the cosmos with little hope of ever reaching an audience. Laraaji deserves a particularly special place in that pantheon, as he may have been the most forward-thinking visionary of them all and also took his autoharp to the goddamn streets to expand the consciousness of unwitting strangers.

Numero Group

The story of how former Baptist/Apollo Theater comedian/cult film actor/Marvin Gaye collaborator/street musician/West Village folk scenester Ed "Flash" Gordon eventually transformed into Laraaji is far too lengthy for me to do it any justice here, but one especially significant event was that Gordon became very interested in Eastern spirituality after his role in Putney Swope stirred up doubts about the righteousness of the path he was on. A "paranormal sound-hearing experience" and a fateful decision to trade his guitar in for an autoharp at a pawnshop soon followed, as well as the similarly fateful purchase of a contact pickup and some effects pedals. While the autoharp was an entirely new instrument for Gordon, he dove wholeheartedly into exploring open tunings and effects and quickly arrived at a new sound he dubbed "Celestial Vibration." Having reached that point, I suspect Laraaji would have been totally content to play in parks, dance/yoga studios, and holistic centers around his community forever, as getting a record deal probably does not seem all that important once you have already figured out how to channel celestial vibrations. Exterior forces intervened, however, and Gordon met a lawyer named Stuart White who was absolutely enthralled with his music and eager to start up an independent record label (SWN). That resulted in the release of Celestial Vibration (now regarded as a classic), but not many people noticed and the label soon folded. Thankfully, Laraaji met another motivated fan soon after (Brian Eno) and the two eventually collaborated on 1980's Ambient 3 (Day Of Radiance). I am tempted to say that the rest is history, but Laraaji's work only started getting regularly anthologized and reissued in the last decade.

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Kassel Jaeger, "Shifted in Dreams"

Shifted in DreamsThis latest opus from INA GRM's François J. Bonnet is loosely inspired by René Daumal's unfinished philosophical novel Mount Analogue (1952), which recounts an imagined expedition in which explorers hunt for a mountain that can "only be perceived by the application of obscure knowledge." It has been a few decades since I last read Mount Analogue or watched the film it partially inspired (Jodorowsky's Holy Mountain) so my memory of both is blurry at best, yet that did not impair my appreciation for the album, as Bonnet characteristically channeled the theme in his own inventive and compelling way. The gist is that familiar sounds and structures become increasingly rare as the album unfolds, but Bonnet had a deeper philosophical agenda as well, as Shifted in Dreams is a meditation on how our current world is in a "blurred and uncertain state where the reality of signs loses its consistency while, paradoxically, the reality of senses and impressions becomes imperative, obvious." Bonnet is clearly not a fan of that situation, unsurprisingly, and refers to it as "the reality of demons." Putting aside the death of meaning and general existential horror of our times, however, the dissolving of the familiar is wonderfully fertile creative ground for a Kassel Jaeger album, as Bonnet is exceptionally good at layered and evocative sound design. This is a beautifully crafted headphone album (but probably only for those armed with the obscure knowledge of how to listen deeply).

Shelter Press

In keeping with the central theme of dissolving familiarity, the opening title piece is the most conventionally musical stretch of the album, resembling a warm but melancholy organ mass. There is admittedly a lot of tape hiss and murk obscuring the sound of the organ, but that is probably as close to the recognizable physical world as this album ever gets and that situation does not last long at all (the piece plunges down a rabbit hole of mindfuckery after a few minutes). The general vibe is best described as "I am in a numbing fog of painkillers in a cathedral during an air raid, but everything is in slow motion and also made of crystal." While those crystalline sounds remain a regular occurrence for the duration of the album (Bonnet got his hands on a Cristal Baschet), just about everything else is an elusive and shape-shifting fog of field recordings, asynchronous loops, analog synth, processed guitar, and studio wizardry.

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