Published August 31, 2009
Little is known about Electric Assembly, save they are a quartet based in London whose MySpace page describes them as “The Velvet Underground plays Boards Of Canada produced by Kevin Shields arranged by Sun Ra listened to by Syd Barrett”. Naturally this conjures up all kinds of images of psychedelic experimentation. In truth, they deliver on this promise pretty well too.
If I were to judge ‘White Splinter’ on three of its tracks, it would be a decent but unremarkable post-rock record. ‘Descent Pattern’ is a fairly pedestrian piece full of austere, savage noise which borders on prog metal. ‘Broken’, however, takes its foot off the pedal and its spare, solemn balladry offers a subtler version of Spiritualized’s quasi-religious symphonies, whilst ‘Wipe The Sun Off Your Shoes’ ends proceedings in a hopeful manner led by pleasant layers of bass and organ.
This just leave one track, which is not only the longest (it takes up more than half of the EP’s thirty five minutes) but also easily the most rewarding piece of music here. Built around what sounds like a loop of drone, wispy shoegaze guitar melody and insistent percussion, ‘11.43’ varies little until shards of feedback interrupt the flow and then settle down again to let the hypnotic groove ease to its denouement. It’s very rare that such a repetitive track should remain so captivating after so many listens but it is nevertheless a wonderfully enduring instrumental.
I wouldn’t normally advocate an EP on the strength of just one track but for ‘11.43’ alone, ‘White Splinter’ is recommended for drone rock/shoegaze afficionados. Perhaps its main achievement though is that you can actually hear elements of the aforementioned influences throughout the record, without diminishing Electric Assembly’s own identity.
Electric Assembly Official Site
Electric Assembly MySpace
Dream Driven Label and Shop Site
Mogwai, Spacemen 3, My Bloody Valentine
Published August 30, 2009
I am reliably informed by their press release that anata wa sukkari tsukarete shimai is Japanese for “you are completely tired”. Despite this band’s EP encompassing just twenty five minutes of music, listening to it feels like a long battle against hypnosis. That’s not because it’s a hard slog but because the ideas and moods are both exhausting and impossible to ignore. The men to blame are the bizarrely named Gnomefoam, _ and Bunny, who hail from England, Japan and Scotland respectively.
‘Forsake’ makes A.R. Kane’s visionary forays into dreampop look rather tame as some computerised vocals combine with warped effects and a doleful guitar. ‘Cataract’, meanwhile, recalls the distorted atmospheres of teenage prodigy Khonnor but its breakbeat “chorus” is arguably the most commercial thing on offer here. Then beneath the heavily digitised vocals of ‘Bearsuit’ I could hear the distinct words “I put my arms around you” which is the first sign of the sweetness promised in the EP’s title, although its potentially romantic ideas are undermined by a long sequence of seemingly random bleeps.
It is left to the last two tracks to recapture a sense of emotion. The title song revolves around a doomy piano hook and spine-tingling harmonies. Then the end arrives via ‘My Drive’. Once again it’s a queasy macabre journey but one which is quite beautiful in its own twisted little way.
‘Sweetness And Light EP’ is, to say the least, experimental. Yet there are frequent moments of fragile beauty to be treasured from the apparent dissonance and chaos. Overall, it’s another winner from Bearsut Records who seem to have a neverending supply of wayward geniuses on their roster.
anata wa sukkari tsukarete shimai MySpace
Bearsuit Records Label and Shop Site
Tropical Australian Stinger Research Unit, A.R. Kane, Khonnor
Published August 27, 2009
When I last wrote about James Simmons it was to commend him for producing an effective EP called ‘How They Grow’, which married together the sounds of Epic45 and Durutti Column. It did, however, lack its own unique voice. Despite being possessed by similar ghosts, it’s pleasing to report the first album by A Dancing Beggar sounds much more complete and cohesive.
The Epic45 comparisons are apparent from the outset as delicate summery guitars and field recordings evoke that same sense of childhood nostalgia but Simmons has clearly drawn on his own memories here. Although its title sets its aim clearly, the gorgeous ‘Sand Beneath Our Toes’ is capable in music alone of conjuring up images of the beaches in South West England and even if the brilliant ’22 Summers’ may forever be teetering on the brink of sadness, its beguiling melody is as hopeful as it is haunting.
The samples are well chosen too: ‘Branches And Nettles’ is one of several songs to put bird song to good use whilst ‘Our Distant Memories, Our Idle Dreams’ allows Cynthia Lawson to recall almost jumping into an empty swimming pool as a child.
Promising though it was, ‘How They Grow’ now seems like a naive piece of work. That’s because, by turns emotive, melodic and evocative, ‘What We Left Behind’ is a major step forward in the career of this young performer and is a rewarding experience for those still hanging on to the last days of youth and dreaming of an endless summer.
A Dancing Beggar MySpace
Epic45, Durutti Column
Published August 25, 2009
As one of the acts on Romanian-based electronica label Patpong Records, Alternati-v represents the downtempo side of the scene. The work of Victor Mihailescu, it’s hard to think of an album I’ve heard recently which is quite as relaxed as his ‘Turning Points’ record.
Breathy vocal samples and twinkling ambient touches make for a blissfully undemanding opening. Some of the blander material betrays the influence of fellow Romanians Enigma but generally Michailescu avoids faux etherealism. He adds beats to infuse chill-out number ‘Moonstruck’ with some much needed impetus, ‘Night Revelation’ is an impressive mix of synth washes and strident rhythms whilst ’21st Century Breeze’ manages to evoke floating in space. It’s probably indicative of the album as a whole though, that two of the best tracks, ‘Better’ and ‘Perfect Cure’, feature guest singers.
All things considered, ‘Turning Points’ is a likeable album which doesn’t demand too much effort from the listener. However, once you get beyond its coffee table pleasantness, there’s little to divert the attention.
Patpong Records Label and Shop Site
Lhooq, Life Project
Published August 23, 2009
London’s The Brent Flood achieved their first level of fame by winning the honour of Best Indie Act at the 2008 Indy Awards. Granted, awards ceremonies aren’t always a guarantee of quality but – on this evidence – The Brent Flood at least know their way round a decent tune.
The lead-off title track is a familiar tale of romance; the kind of which young teenagers may seek solace in. It is, however, lifted from obscurity by a terrific nagging chorus and the soaring vocals of Jay Marsh. It’s a similar story for ‘Pleasure Seeker’; there’s some fairly pedestrian verses again but the chorus is stirring and memorable. ‘Kiss The Dirt’ is probably the most complete song where Robin Chesterman’s guitar work resembles the speed and dexterity of Josef K, or at the very least Franz Ferdinand, whilst the final two songs are slightly inferior to what has gone on before but make up an enjoyable, if slightly one dimensional EP.
It’s probably a sign of the times that the winners of a prestigious award don’t really have a distinctive sound. Despite that though, The Brent Flood songs are infectious and have an appeal that should appeal to fans of slightly leftfield indie rock.
The Brent Flood MySpace
The Reverse, Blackbud
Published August 22, 2009
I was a little surprised to read that Engineers were perceived as a shoegaze act. Sure, there are elements of shoegaze/dreampop in their first album and EP but for me they were more like an ambient rock act. Typically though, ‘Three Fact Fader’ has confounded my theory with an album which says “Sod it, we are a shoegaze act after all”. Thankfully, they prove themselves just as brilliant in their new “guise”.
‘International Dirge’ – despite the lack of promise in its title – is an elegiac moment of wonder based around a lovely flowing piano hook. Yet as much as ‘Sometimes I Realise’ and ‘Hang Your Head’ represents their pounding anthemic side there’s a song like ‘Brighter As We Fall’ which is as gentle, emotional and beautiful as this kind of music gets.
Later on in the album, the London-based trio get more experimental. It pays dividends too, with the heady spiralling psychedelia of the title track and the thrilling dynamics of ‘Emergency Room’. They also employ a string section for three songs and emerge with flying colours. Another point to note is that – unlike so many other dreampop acts – the vocals on ‘Three Fact Fader’ seem whispered but they can still be heard above the tremendous noise.
Despite my initial apprehensions that the band had retreated in to their shell, ‘Three Fact Fader’ eventually emerges as a triumphant record, swathed in gorgeous layers of melody. All of which proves that if Engineers are just a shoegaze band they are a great one.
Engineers Kscope Page
Chapterhouse, Slowdive, The Great Depression, Doves
Published August 20, 2009
Two decades on from when the term “techno” was first coined, it’s pleasing to report that one of the veterans of the scene, Tommi Bass, is still active in the genre. Although born in Britain he now calls Berlin his home. Thus we have ‘Gamma’ a collection of eight tracks, each imaginatively titled ‘Gamma’ and this album constitutes one part of his Radiation series of releases, with ‘Alpha’ and ‘Beta’ already available on other labels.
Bowel-shaking beats and dub are certanly well employed here but the overall tone is one of dance minimalism. ‘Gamma’ is entirely wordless apart from a few utterances of ‘OK’ on the stealthy ‘Gamma 02’. The album as a whole may lack warmth but each track is different enough from the last to sustain interest. ‘Gamma 04’ mixes menace with playful noise, ‘Gamma 05’ moves along to a train track rhythm and by the final track – that’ll be ‘Gamma 08’ then – there’s a sense that an undercurrent of evil has been gradually encompassing the air space since the start of the record.
With its stubborn refusal to let in any shades of emotion, ‘Gamma’ could have been a rather sterile experience. Yet “Mr. Bass” has infused his music with enough idiosyncracies to make it a thoroughly listenable hour of sophisticated electronic music.
Tommi Bass MySpace
Rednetic Label and Shop Site
Nathan Fake, SI-CUT.DB, Colder