Favorites of 2012: Brandon's Selections

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I always have trouble making year-end lists. It's easy to pick number-one, but figuring out weather that hip-hop album should be above that drone record for the number-seven spot is hard, trivial, and stupid. And a little disrespectful to the music. So this year I'm trying something new, and simply highlighting records I liked this year by genre. Some made up, some real.

Best Hip-Hop Record:

Danny Brown - XXX (Fools Gold)
Ok, so this came out digitally on Fools Gold in 2011, but wasn't available physically until 2012. XXX is an instant classic: it's a drug album, a depression album, a party album, and a pop album. Some of the highlights are "Party All The Time", "DNA", "XXX", "I Will", and "Die Like a Rockstar". I think what really makes it great is Danny's unique Detroit realness. Coming from a relatively unknown rapper on an independent label, one would think his cockiness would disrupt his natural flow and progression, or make him seem fake, but, in actuality, it only adds to his sense of power and skill. Here is an up and coming emcee who can admit to his own flaws while simultaneously claiming ownership of the rap game: impressive indeed.

Best Pop Record:

Frank Ocean - Channel Orange (Def Jam)
I'll admit that I wasn't a fan of Nostalgia, Ultra. and the first time I listened to Channel Orange, I wasn't impressed-- boy did that change. What we have here is perfectly crafted alterna-pop, proving once again that the dirty south can do no wrong. Frank Ocean crafts beautiful melodies on this album, both with instruments and with his voice. This record was a lot more drug-inspired than I expected, and if you're looking for the next bunch of sing-a-long party tunes, look no further.

Best Noise Record:

Moth Cock - Moth Cock (Tusco/Embassy)
You can read my full review of this record, but suffice it to say that this is a record full of stony drones, screeching hiss, and morphing, creepy alien horns that really make you wonder just what the hell is going on. Oh, and did I mention the A-side of the record plays backwards?

Best Synth Record:

Discoverer - Tunnels (Digitalis)
This was a really tough category for me, because 2012 had a lot of great synthesizer music come out. We saw amazing records from Motion Sickness Of Time Travel, Hive Mind, Raglani, Emeralds, and Headboggle, just to name a few, but I really think Discoverer's Tunnels really set the bar on just want a synth record should sound like. It's cold, but not too cold, its dancey, but not shake-ya-ass-dancey, more like, nod-your-head-dancey. It evokes thoughts of modern legends like Oneohthrix Point Never, as well as classic synth gods like Tangerine Dream. Almost instantly Tunnels transports the listener to the great disco in the sky, and I never want to come back down.

Best Electronica Record:

Crystal Castles - (III) (Casablanca)
I've been a Crystal Castles fan for a long time now, and I've always been afraid they would put out a bad record. Too poppy, not crazy enough, to watered down. It seems instead, with the release of (III), they've gone in almost the opposite direction, becoming stranger, less accessible, and perhaps even isolating all but the most dedicated fans (of which there is no shortage). Crystal Castles seems to have taken a turn to the darker side of the spectrum, evoking more elements of noise, witch house, and drone music with them on their descent into madness. What I've always loved about this band is that they don't really give a shit, and that attitude shines through in their music.

Nyodene D - Edenfall (Malignant, 2012)

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Industrial music was a movement started in the late 70's as a way to cope with living in an industrial society. Factories were booming, shipyards and train stations were constantly moving, the air was polluted, and you were considered lucky to get a job in manufacturing. Fast-forward 25-or-so years, and things aren't quite the same, especially here in the midwest/Great Lakes region of the country. While America struggles to embrace a service-based economy, there is absolutely no question that industry is dead. Once great cities like Cleveland, Chicago, Milwaukee, and Buffalo are now cesspools of rust, unemployment, and some of the greatest industrial music to come out of America ever. Growing up near Cleveland and now living in Eerie PA, Nyodene D has seen it all. The depression, the hate, the fear, the scum. He has seen it all and been moved by it.

So what does this leave for industrial music? Surely 'industrial music for industrial people' can't exist in an environment so ripe with decay, can it? Is this unique subgenre of outsider music finally approaching  'post-industrialism'? Judging by the sheer scope of Nyodene D's most recent album, Edenfall, I'd say so.

You might remember the name Nyodene D from a cassette I reviewed a few years back on this blog, God and Country. God and Country really set a new bar for Nyodene D, and not just 'photos of faces of statues as album art' (which I really do love), but musically as a whole. Lyrically, Edenfall really lightens up on the political and religious themes, yet not sacrificing any of the edge. The themes of resentment towards humanity and society are there, but masked beneath facades of deeper poetry and anthropological motifs. The lyrics are subtler, more relaxed, and seem to work better that way. The best part is they sound really intelligent without sounding pretentious, a rare trait in modern music. Nyodene D's lyrics are as complex, listenable, and well polished as the production and overall atmosphere of this album. While dark synthesizers crush in and out, mutilated samples play. If that sounds like it would make you sick, especially since there is an overall rhythm to the dissonance, don't fear. For every dark and abrasive sound I hear on Edenfall, I also hear reverb and more serious, less distorted synths droning away in the background. This adds a sense of place to the music and doesn't make you feel so stuck in harsh noise land. When the last track had played and all was said and done, I really enjoyed Edenfall, probably more than anything I have heard Nyodene D do before, and I can't wait to see more from this project.

The album itself comes in a really nice digipack, with lyrics and artwork, on pro-pressed CDs, for only $11. There is also a deluxe edition that comes with the record, a special Nyodene D + Sektor 304 collaborative CD, a few stickers, and a beautiful box for only $24. This would make a great christmas gift for anyone you know who has a taste for the macabre.



[Nyodene D Bandcamp]
[Buy Edenfall from Malignant Records] 

Amalgamated - Spark I (Intangible Cat, 2012)

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When I first got a good look at Spark I, I was thrilled. It had been far too long since a piece of music has gotten me excited just from looking at it, and I was already pondering what sounds could be found inside this package. The artwork is simply a picture of some complex, mysterious circuit board, with an equally intriguing symbol cut out of vinyl and stuck atop the sleeve. Add in that this is a 3-inch CD-R (one of my all-time favorite formats), and I'm sold. But I'm still full of questions: What is this circuit? Is it one of the members mothers old fax machine, the board of a Commodore 64 or some other archaic processor, or maybe a synthesizer used on the album? Some questions are better left unanswered.

Turns out Spark I is the first in a two-part series of recordings by Amalgamated, recorded live at a venue in La Salle, Illinois, and then cut, chopped, screwed, and re-processed into two 3" CD-Rs. Now, usually knowing the method in which a record is conceived doesn't make much of a difference to me as a listener, however knowing that most of this music was improvised and not premeditated actually makes me appreciate the music more, as the level of cohesion found here is impecable. This is clearly ambient music, not drone music, though what the difference is, I couldn't say. At times I'm reminded of Phillip Glass and Tangerine Dream, and at other times I feel Amalgamated is closer to Miss Kittin and The Hacker or VNV Nation. The beats that fade in and out of the wall of synthesizers and samples are so subtle, so tasteful, so perfect, that I'm pretty sure I even caught my dog nodding her head subconsciously.

Spark I evokes stream of consciousness images of science fiction as well as futurism, and at 23 minutes long, doesn't overstay its welcome as so many modern-day ambient projects do. When the disc is over you feel neither unquenched nor over-satiated. I'd even go so far as to say I felt refreshed after hearing Spark I in its entirety. At $4PPD a disc and $3 a download, I'd say this would sit nicely on a shelf right between Brian Eno and Akira Yamaoka.



[Amalgamated Bandcamp]
[Buy Spark I from Intangible Cat]

Morriconez - Cloud of Dust, Cry of Death (Wil Ru, 2012)

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When I first saw that the title of this project was "Morriconez" and the the artwork indicated some kind of western feel, my first though was "you've got to be kidding me." Turns out, they're not. Now, the press release indicated to me that this artist was formerly known as Jjango Cleefworth Morriconez, as well as about fifteen other monikers, though it all stems back to one guy, a Mr. Jeffery Wentworth Stevens, who appears to be quite the fan of spaghetti westerns. But enough about semantics, let's get down to the music.

Now, I first want to mention that, while I initially thought the goal of Morriconez was to rip off recognizable elements of the legendary Ennio Morricone and turn them into some kind of 'cowboy-wave' internet sensation, it became clear that Morriconez is actually just a guy from the Southwest who was inspired by his surroundings and their culture, and was therefore naturally drawn to Ennio Morricone. And while I didn't hear any whips cracking or horses trotting, what I did hear was actually rather enjoyable. Morriconez uses tons of live drum loops, which is a really cool way to use electronica style composition and still sound as organic as possible, and the result is a backbone that sounds both analog and digital, magical and scientific, half man half machine.

While Morriconez does evoke images of the west, deserts, tumbleweeds, and peyote buttons, it is actually the other side that sticks out to me as the strength of this record. Leads that sound somewhere between horns and strings, vocal effects that sound robotic, and reverb that doesn't quite sound warm enough is actually what pushes Cloud of Dust, Cry of Death above and beyond the average 'experimentalist' record and into the void of memorable, unique, records from 2012.



[Morriconez Bandcamp]
[Stream/Buy Cloud of Dust, Cry of Death from Wil Ru]

Domo Genesis & The Alchemist - No Idols (Self-Released, 2012)

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Now, this isn't the first time that I'll say I think Domo Genesis is the most talented member of Odd Future (alongside Mike G), and after Domo's newest mixtape with the legendary Alchemist, it's certainly not going to be the last. I may be a little biased because for about two months before this mixtape dropped, my Twitter feed was so filled with hype for this I had to unfollow Domo. So when I finally got to hear it, I was excited, but I really didn't think it would blow me away as much as it did.

It should come as no surprise to anyone familiar with The Alchemist that the best part of this mixtape is its production. The beats are complex yet elegant, every sample is perfectly placed, and the use of vocal effects is sublime. But again, that should come as no surprise to anyone. What is surprising is how hard Domo spits it. On the Odd Future tracks I've heard him on he always rips it harder than anyone else, but always seems overshadowed by the other members. Indeed, most of OF's work as a group seems crowded and rushed, but the solo efforts are usually pretty decent. No Idols, though, really lets Domo shine through as one of the most talented rappers in the game today.

A lot of critics were quick to dismiss Domo's solo work and work in MellowHigh as weed-worship rap, having a strain of medical named after him (Domo OG) and his obviously THC drenched lyrics, and rightly so, but No Idols breaks from that formula a little, but not much. True, No Idols is definitely a tape to smoke to, but I feel it could be enjoyed by 'non-heads' just as easily. I really see No Idols as a turning point in Domo's carrer, and I can't wait to see where he goes next.



[Domo Genesis Twitter]
[Download No Idols from Domo's Tumblr]

Comiskey - Relays (Self-Released, 2012)

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It's said that persistence wears down resistance, and after sending me about 5 or 6 different packages containing the same CD, I figured I should give Comiskey the same chance I give recordings I'm seriously excited about. Not that I'm ever not excited to open up a package for review, but it seems the music sent to me is either uninteresting, boring, or I simply don't have the time. Now, while those are all poor excuses, the fact simply remains that I'd rather spotlight new music I'm really really into, rather than write about how mediocre every Tom, Dick, and Harry's bedroom noise-pop project is. And that's exactly what I was expecting every time I opened up one of Comiskey's packages.

Black-and-white art printed on an 11 x 8.5 sheet of regular computer paper and held together with tape simply doesn't catch the eye, even though I'm pretty sure we've all done it at some point. Still, there remains an honest and charming quality in homemade packaging, and it's the same quality that really makes Relays transcend above the average bedroom laptop project. Comiskey's Relays sounds like equal parts Boards of Canada, Fat John the Ample Soul Physician, and Autechre. It's at once relaxing and anxious, stoned and focused, minimal and complex. The best part is that it's only Comiskey's second EP, and it's already a huge improvement over his first, which leads me to wonder where the future will take this destined-to-be prolific project. The worst part about this EP is how short it is, at just under 16 minutes, it feels rushed, almost as though Comiskey was worried about his music sounding boring or repetitive. The tracks don't have time to breathe, which does add to that aforementioned anxiety, though I really feel it is more of a hindrance than an asset.

All said and done, I think everyone should check out the avant-downtempo jams located deep inside the ghetto of Relays, and if you're ever around the Denver area, keep an eye on the local gigs and an ear to the bedroom windows late at night. Oh and while you're at it, visit Comiskey online where you can download all of his recordings for free. Maybe he'll even send you a CD.



[Comiskey Soundcloud]
[Stream/Download Relays from Comiskey]

Moth Cock - Moth Cock (Tusco/Embassy, 2012)

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It's really no secret (or surprise) that I love Kent, Ohio's Moth Cock. For years I've been saying that they're so ahead of the curve they're actually behind it, and their new self-titled (or untitled, I'm not really sure) LP on the mighty Tusco/Embassy proves once again, that along with misery, absurdity loves company. The LP itself comes in hand-screened sleeves (a staple of the Tusco aesthetic), and comes in either orange, brown, or orange/brown split vinyl. Now, if the music on this disc wasn't enough of a trip, the A-side of the record actually plays backwards-- meaning you start the needle on the inside of the disc and it spirals outwards-- while the B-side plays like a normal record. The confusion I faced trying to play this thing only foreshadowed what was to come.

The A-side consists of some kind of hazy, cannabis-tinged wall of drone with modulated clarinets cutting in and out just as effortlessly and freely as any jazz great. It gets to the point where you're not really sure what you're hearing other than a reverb-soaked acid flashback, but damn does it sound nice. By the time the drums come in the side is almost over, and it just cuts out suddenly, leaving you with a hole inside that you never knew existed. This one creeps up on you to say the least.

I will say though, Moth Cock really shines on the B-side of this one. There's a lot less reverb (which, although usually appreciated, really muddies up the modulation on the A-side), and the weird stuff going on can really come through. I hate to make comparisons, but the more times I spin this record, the more it sounds like a lost Black Dice recording from the Creature Comforts sessions. It's full of blips, beeps, and even more horns. Oh and did I mention the absolutely evil sounding Jupiter 6 cutting in and out? If anything could make this record any stranger, it would have to be how it ends the same way it comes in, the blaring, delayed horns.

The last time I caught up with Doug from Moth Cock, he told me about how a few 5-foot-tall iron letters mysteriously showed up in the yard of a house he rents, so he sold them at his garage sale. Then he told me that when you're a weird dude, weird things just kind of happen to you. I think this record is Doug's way of giving his little bit of weird back to the world, as if we didn't have enough absurdity already.



[Moth Cock Myspace]
[Buy Moth Cock from Tusco/Embassy]

Interview: Robert Turman

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Robert Turman at RCNCAVE, 5/12/11

photo by Leonarda Beal

Robert Turman was a member of pioneering industrial band NON (alongside Boyd Rice) and has been a prolific member of the underground industrial/noise music scene since the 1970s, playing alongside artists like Aaron Dilloway, Boyd Rice, Timothy Hendricks, Jandek, and others. Robert now resides in Oberlin Ohio, and recently I caught up with him before a live performance at Akron Ohio's Rubber City Noise Cave to talk with him about his recently released double-LP Flux (Spectrum Spools) and his upcoming double-LP Beyond Painting (Fabrica Discos).

So the first thing I wanted to talk about, I'm actually confused as to the history of Flux, I read somewhere that it was a reissue, but I was actually under the impression that it was never before released material, so which is it?
It was a very very limited release. Originally I started putting cassettes out in reel to reel boxes, and the very first edition there were, maybe... not even 10 copies, and then I made it with the colored cover like it turned out to be, and there were... not even that many more, and then I made some after that in 5 inch reel boxes with black and white art on different colored paper, and there might have been 25 of those or something, and that was all over a few year in the early 80s.

So altogether less than 100 copies?
Yeah.

Okay. So how did John [Elliot, curator of the Spectrum Spools label] find out about this, did he have a copy or was this something you had told him about?
No, he probably heard it from Aaron Dilloway (Hanson Records). Aaron talked about putting it out on Hanson, and that was taking too long, but Aaron had transferred it, and done cleaning up on it, and that's probably how John first heard it, on a CD from Aaron I would imagine. Aaron had sent me, when he was still thinking about putting it out, he had sent my original cassette, which I had mixed onto a really cheap, used, low noise cassette, that was the master and so that was the only copy ever, he had sent it to a guy in England who was supposed to master it, and this was like... a year and a half ago, and the guy did a little bit on it and sent it back. [During this time] I had been gone for a while and came back and Aaron had these rough mixes and I only heard, maybe, part of the first two tracks, one of which sounded really good, and the other sounded horrible, and Aaron was supposed to make notes and send it back to the guy and... Anyway it kinda got neglected, and when John got more interested in it and he got the label he said "well let's just put it out" and so he ended up getting the tape from the guy in England. And Rashad Becker did and amazing job. I had tried with a friend of mine... cleaning it up, and just ended up making it worse, though I had done some transfers myself that I thought were pretty good, with a little bit of processing, but he (Becker) made it sound really good.

I also recall reading that you had said you recorded it (Flux) while you were having trouble sleeping and it was the only thing that helped you sleep at night. Is there more to that story?
Um yeah, I mean there was a period where I was having trouble sleeping and it was the only thing that would help me sleep.

So is that the only recording from that period, or is there more?
Umm it's hard to say, its been so long. I'm sure I have other stuff from that period but from that exact time period, that's probably about all there is.

Okay and the reception so far has been generally positive, now looking back that it has been released, is there anything you wished you'd done differently?
The only thing I wish I had done different was, there was another piano piece that was done probably right around that time that would have been nice to include on the CD. It MIGHT have made it too long, but it might have just fit. I think as it is, it's just over 60 minutes, so it might have just fit on the CD.

So is the recording just piano, or what other instruments did you use on it?
Well the first side... The first three pieces are xylophone and kalimba and one of them has a tape loop, and one of them is just xylophone. And the last three pieces are just piano and one of 'em has a very crude little drum machine that I play with the tempo through the whole track, so it's a constant speeding up and slowing down through it all.

Okay cool. So what about your new double-LP, Beyond Painting, that is coming out on Fabrica? What can you tell me about that?
That was, from what I can remember, about 1990 and was some of the last recordings that I did by myself. I ended up, shortly after that, getting into a rock band and didn't do any recording by myself for a long time. Well pretty much. I was still doing some things but it was side projects and stuff, so it was different. Like country western reggae and some stuff like that, and that was all recorded after the Beyond Painting tracks and it was always some of my favorite stuff, and I finally decided I was going to do something with it so I did the CD-R and now the double-LP.

Cool. So are people who have Flux and really liked it going to be kind of, shocked at what Beyond Painting sounds like, or does it fit within that same theme?
It's a lot different. It's um, I'd say a lot heavier or darker, and Flux is more... sombre. Beyond Painting is fairly dark. As far as instrumentation, it's a lot different, also in overall sound, but I don't know if someone who didn't know me or anything about it, if they were to hear it and say "oh it's the same person", I really don't know. But it's mostly all just this cheap, crude sampling keyboard that I had for a long time and a lot of it is just samples of my voice.

So what are you going to be playing tonight then?
What I've been doing lately, live, is... well, most of the stuff I've always done is kinda loopy and repetitive, and what I've been doing live lately changes a bit more, still loopy, but more abstract, not so much like a piece where it has a basic sound and it's that way for the whole piece, it's sort of ...extended. It goes through a lot of changes.

Anything else you'd like to add?
Uh, no that should be about it.

Robert's set that night was, as expected, a shifting, morphing trip full of cut up tape loops of vocals, strings, and god only knows what else. Robert's record Flux is available now (and highly recommended), and Beyond Painting should be available in the next few months.

Pierrot Lunaire - Theme for Ascension and Eternal Love (Hooker Vision, 2012)

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Pierrot Lunaire and I have been trading tapes, CD-Rs, and digital files now for awhile, and I'm pleased as punch to present Theme for Ascension and Eternal Love, his first vinyl release. This lovely green wax was released by the awesome Hooker Vision label on the first of the year, and it only seems fitting that one of the first releases of 2012 I've heard so far has been this one. I'm honestly not 100% sure what to think of myself as I sit here on my couch, dog in lap, typing this review of what is possibly, one of the strangest records pressed, or, at least, that I own.

The record starts out with strange squeals, blown out tape loops, and swirling voices, and then the sax comes in. I was reminded of Pharaoh Sanders, a broken radio, and that one time I drank too much cough syrup. It wasn't bad, but I was glad when it was over. It was an intense trip to say the least. The B-side (MUCH more preferable) was essentially the same set up, but seemed to flow much better and be less... intimidating? It was a bit more mellow, but just as psychedelic. The ending of the record is amazing, with this weird swing trumpet sample floating over the haze that the rest of the track developed.

While not entirely 'well developed', groundbreaking, or limit-pushing, I can honestly say I have never heard anything like this before and I can only hope that Pierrot Lunaire continues to grow as an artist, because he has something seriously amazing in his head that will only continue to pour out of a blotter-sized hole. This guy is so ahead of the curve, he's behind it. Keep an eye out in 2012 for Pierrot Lunaire, because this guy will be tripping out even the most experienced acid eaters in what can only be described as Stephen King's wet dream meets Stephen Hawking's worst nightmare.



[Pierrot Lunaire Bandcamp]
[Buy Theme for Ascension and Eternal Love from Hooker Vision]

Fervid - How? (JVGM, 2011)

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So this CD comes in the mail, and sometimes, I wonder if people read the reviews I write for this blog, or just send whatever they can to whoever they can (an effective strategy if you believe there is no such thing as bad press), because I usually write about the more 'avant-garde' and 'underground' releases (plus 10 pretentious points), and typically I review music that I feel deserves attention, because life is too short to listen to bad music, right? Right, so when looking at this CD, I was confused. This looks like something that came straight out of the 90's, and not in a cool 'indie-sludge' way, but a boring 'alt-rock' way.

What really bothered me wasn't the lack of interesting album art, the press release that basically said 'Hello, this is a compact disc full of music', or the back cover photo in an astonishing resolution of 72 dots per inch, but the track titles. With songs names like "Walls Of Jericho", "The Message", and "God Caught Her Stealing A Heart In The Morning", I had no choice but to gulp. Was this really... Christian Rock? If you're still reading by this point, you're probably expecting me to rip this album apart. The truth is, it's actually not bad.

The album is your basic rock-'n-roll band, clean four-chord power-pop instrumentation, bland yet catchy lyrics, and the occasional guitar solo. What makes it slightly above the bar I set so high is how well it all sounds. This album is produced incredibly well (though again, it's nothing new or groundbreaking, your basic rock band set up), by the band itself I presume (no producer was listed in the credits). I even found myself nodding my head to most of the tracks on this one. The guitar work is pretty good, and the vocals are great as well. All in all, it's slightly above average and, if it is religious, I couldn't tell. The standout track is also the title track, "Why?", which is your basic shout-rock anthem, but is pretty good nonetheless. If you do decide to give this one a home on your CD spindle or hard drive, (which I wouldn't specifically condone or warn against), you'll want to avoid the acoustic tracks (or as I call them, snore ballads). All in all, Why? was a humbling and interesting experience, but to be honest, I'll probably never listen to this again.

[Fervid Webpage]
[Buy How? from JVGM]

Favorites of 2011: Brandon's Selections

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Year-end lists have always bothered me. There is still so much music I have not heard from this year, I feel it would be impossible for me to judge fairly, or to be unbiased based on other people's opinions. I've read the others' lists, and it's impossible to make one without taking other reviews into comparison. I don't want to spout the same old same old indie band hyping as you've read on every other list, but I don't want to plug a bunch of limited noise tapes no one has ever heard. Not to mention, but my tastes are constantly evolving, and I've discovered love for lots of other bands and styles this year, things ranging from old school rap to classical jazz, and who's to say that hasn't influenced my love of new pop music? So take my list with a grain of salt. The reason I haven't written a four page essay on each thing listed here is simple: these are, in my opinion, the BEST ALBUMS OF 2011. They should speak for themselves.

--

Honorable Mentions:
Battles - Gloss Drop (Warp)
Bee Mask/Envenomist - Split (A Soundesign)
Bent Knee - Bent Knee (Self-Released)
Bile and Horseman - The Blood Porter (Self-Released)
Jandek - Where Do You Go From Here? (Corwood Industries)
Radiohead - The King of Limbs (XL)
Mike Shiflet - Sufferers (Type)
Sleep ∞ Over - Forever (Hippos in Tanks)
Toro y Moi - Underneath the Pine (Carpark)
Tyler, the Creator - Goblin (XL)


10. Tom Waits - Bad As Me (Anti-)
2011 Had been enough of a long damn wait, the world needed more Tom Waits, and he delivered everything as expected.


9. Opeth - Heritage (Roadrunner)
It had also been too long for a new Opeth album, and this may be their most honest effort since Damnation. Åkerfeldt's lack of growls made this equally good and disappointing.


8. Yellow Crystal Star - Our Mother Jaguar Tongue (Rainbow Bridge)
Not only one of the coolest and weirdest tapes I've heard all year, but one of the best performers I've seen this year. Long live drone!


7. tUnE-yArDs - w h o k i l l (4AD)
At a time when pop music seemed boring and dull, this band came out head first with a creative punch in the face! Loved by 'indie kids', bloggers, soccer moms, and music haters everywhere.


6. Blouse - Blouse (Captured Tracks)
Throw the Cocteau Twins in a blender with Peaking Lights, add a dash of dreamy-haze, and you will have the most critically (and dare say I, criminally) underrated band of the year.


5. RxRy - Alpha (Sweat Lodge Guru)
It's no secret that we love this band here at Olive, and for good reason. This band's full-length delivered as promised, and oh so much more.


4. Wolves In The Throne Room - Celestial Lineage (Southern Lord)
I've always joked that WIITR was 'Pitchfork-approved black metal', but damn, this band combines hatred, bleakness, and beauty in a way I've only dreamed of. In nightmares.


3. Bee Mask - Elegy For Beach Friday (Spectrum Spools)
Bee Mask has long been a favorite project of mine, and it's great to see his output this year gain so much attention. With this massive double LP, it's easy to get lost in reverb-heaven forever.


2. EMA - Past Life Martyred Saints (Souterrainian Transmissions)
I had been waiting for this for a long time, being a HUGE fan of Gowns, and I'm glad that EMA has put out such a powerful record. This is certainly her most realized work to date, and I'm excited to see where she goes next with her new found 'indie-cred'.


1. Gang Gang Dance - Eye Contact (4AD)
Waiting for the newest Gang Gang record has always been like waiting for Christmas, and this year, Christmas came in the summer. This record does not disappoint. Seriously. Fuck the haters. Go. Buy. This. Record.

Bent Knee - Bent Knee (Self-Released, 2011)

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Bent Knee sent me a CD in the mail recently, and I was instantly curious. Being described as "Nine Inch Nails with Bjork as the lead singer," I was a bit scared and even a little turned off, but the gorgeous packaging and cryptic press release made me listen. After carefully peeling off the wax seal, I was greeted with much more than a CD. Cryptic poems (I'm assuming lyrics), poured out of the cardboard envelope, printed on semi-transparent paper, along with a pro-printed (not burnt!) CD. I was scared initially by how 'dark' this band seemed to be trying to appear, but I popped it in my CD player and went for a drive anyway.

I was initially met with gated drums, with huuuuge gaps of silence between them. At first, it was all 'dark, industrial' sounding, and I was really starting to sigh, but then the synths, guitars, and strings came in (suddenly), and all of a sudden this album had a certain quality to it that I couldn't quite place my finger on... So I listened onwards.. I was soon met with something rather strange indeed. The music pouring out of my speakers was in fact dark, mysterious, and.. dare I say, beautiful? I was reminded of The Fiery Furnaces, The Mars Volta, Tera Melos, and yes, even Bjork (though if you were to ask me why, all I could say was it had a 'BIG', sound to it). The worst part of this album is that it is criminally short. Personally, I cannot wait to hear more from Bent Knee, and I hope they'll be in Ohio soon.



[Bent Knee Website]
[Buy Bent Knee from Bandcamp]

Playlist: Occupy Wall Street

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Whether or not you agree with the motives behind the Occupy Wall Street movements, two things are clear: it's impossible to ignore, and seeing people stand up for what they believe in will always be a wonderful thing. Some of the best music has been inspired by protest, police brutality, civil unrest, and dissent. I offer you a Spotify playlist to listen to while reading about, or taking part in protests.

[Occupy Music]

City/Ruins: Art In The Face Of Industrial Decay (Live Bait Recording Foundation, 2011)

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City/Ruins is a documentary about the Northeastern Ohio industrial music scene. That may sound a bit too much of a niche for the average Joe to enjoy, but if you're a fan of industrial music, the DIY scene, Cleveland, or post-industrial economic collapse, this film may be something to enjoy. It juxtaposes segments of artists talking about the history of the 'scene' in the area with live footage of different acts playing. There is also some poetic narration going on in between interviews to keep everything cohesive, which really helped.

What I like about the film was that you really get a feel for what the area is like, even if you've never met anyone featured in the movie. You feel like you know and understand these performers and can see a part of them that few do. There are parts where the film feels slow, or even boring, but it's pretty easy to get through. Being someone who considers themselves a part of the 'Cleveland Scene,' I was thoroughly impressed by the level of cohesiveness and respect that the film brings to the scene. You really get a feel for what drives people to make noise-music that would drive away all but the most devoted listener. These artists give every bit of their life creating something that so few get, and it's really amazing to see them talk about it in their own words.

At a 15-dollar price tag, the DVD is just expensive enough to drive people away, but you do have to realize that what you're getting is a professionally made disc (not a home-burnt DVD-r) from an independent recording company run by one guy. Overall the film was written, directed, produced, shot and cut by two guys, with some additional help from a few more. City/Ruins is DIY at its finest, and though the price tag is a bit much, but you'll be getting a piece of outsider music history that will be well worth owning.

[City/Ruins Trailer]
[Buy City/Ruins from Live Bait Recording Foundation]

The Collection Of The Late Howell Bend - Beasts For A While (Ownness, 2010)

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When I was first mailed this disc, I couldn't have been more excited to put it on, based entirely on the artwork. I was expecting something maniacal, evil, and disgusting. And while some may argue that is exactly what I got, I was definitely surprised when the needle dropped. What I soon found out is that The Collection Of The Late Howell Bend is not a black metal band, a wall noise project, or even some type of witch house act, but some type of next-level piano/synth/vocals post-neofolk meandering. AWESOME.

While I was initially intrigued by the strings, pianos, and vocals, I do want to use this opportunity to call out the cheese factor on some of the tracks. The synth lines often sound (and feel) like they were pulled out of a discarded Legend Of Zelda game for the Super Nintendo, which, although not entirely un-enjoyable, almost don't fit in with the feel of Beasts For A While. However, as much as that synth doesn't fit in with the album, it also fits perfectly. Along with the piano and cello, you are transported to a screened in porch, cramped tight with good friends, warmed by cheap wine, and the smells of summer are fresh in your breath. At least, that's what I got out of my first few listens.

Perhaps the more I listen to this album, the more places I will be transported to. Perhaps not, but that's not going to stop me from trying because the moment you lift the needle from the silent locked groove, you'll just want to flip the record and start it all over again. Oh, and if that's not enough to get you to buy this, tell me how many 11" records you have ever seen.

[The Collection Of the Late Howell Bend Myspace]
[Buy Beasts For A While from Ownness]

Slutever - Pretend To Be Nice (Bantic Media, 2011)

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Slutever is a self-described 'brat-punk' band hailing from Philadelphia, and their first venture into the realm of vinyl is exactly what a 7" record should be-- short, energetic, attention-grabbing, and good enough to leave the listener begging for more. Now, the whole 'girl lo-fi punk rock' thing has been done a thousand times over and it could be enough of an obvious shtick to keep would-be listeners at bay, however anyone who is afraid of another Best Coast obviously cares too much.

Just because these girls play scuzzy, fast pop-punk and sing about weed, McDonalds, and boys doesn't mean that they're the genre defying buzz band of the summer. In fact, Slutever is about the farthest from Urban-Outfitters-core that one can get without being Jandek.

Pretend To Be Nice is the perfect punk record for 2011 because it doesn't give a fuck about anything except for what it is. The obvious standout track is the last track on the record titled "No Offense," which is the best written and produced track, and also appears on the band's digital EP Sorry I'm Not Sorry. Give these girls a few years, a handful of 7" records, and as much weed as they can handle and people will be looking back at Pretend To Be Nice saying "Why didn't I get into this back in 2011!?" REAL TALK.



[Slutever Bandcamp]
[Buy Pretend To Be Nice from Bantic Media]

Dog Lady - The Garden of Agony (NNA Tapes, 2011)

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Dog Lady, the project of Michael Collino, is who you would call prolific. Coming out of the slime-pit known as Detroit, Michigan, Collino has made a name for himself as one of the most versatile, despondent, and interesting musicians to come into the noise scene since... well since ever. On The Garden of Agony he really focuses on the melancholy side of his work.

NNA Tapes seems to be a synth-focused label, so when I found out that a Dog Lady jam was coming out, I was a bit shocked, as every time I've seen Dog Lady, his sets have focused on violin and electronics, and his releases that I have heard have consisted of mostly sound collage. When I started to play The Garden of Agony however, I remembered how I felt the first time I had heard Dog Lady: scared, depressed, miserable, lonely. Even in a room full of friends, Collino had managed to isolate me and bring me into his world, a world of eerie fog, lost whispers, and a unsettling understanding. Now that this tape is playing in my headphones, I am not only reminded of, but transported back to that world.

At a price of eight dollars shipped to North America and ten anywhere else, it may seem like NNA is charging more than most labels out there, and for a 17-minute tape, it almost seems like a waste, however, I can assure you you will not be disappointed in the package. The artwork that NNA does is always beautiful, and the tapes themselves always sound great. Don't sleep on this tape, and don't try to fall asleep with it playing either, because unless you are a master of the dark arts, this will probably freak you out.



[Dog Lady Discogs]
[Buy The Garden of Agony from NNA Tapes]

Derek Rogers & Bill Shute - Four Texas Streams (Kendra Steiner Editions, 2010)

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When I heard that Derek and Bill had collaborated on a disc, I knew that it was going to be something special and that it was something I absolutely needed in my collection. For those who are not familiar, Austin, Texas's Derek Rogers is on the forefront of a new drone movement sweeping the internet. Bill Shute, also hailing from Texas, is a poet and purveyor of experimental music, running the awesome imprint Kendra Steiner Editions as an outlet for music and poetry.

What we have on Four Texas Streams is essentially the most out-there recordings to ever come from Austin; and much like the city itself, it is beautiful, haunting, and thought provoking all in one. Clocking in at just under fifteen minutes, what we have is Derek creating haunting soundscapes, and Bill reading his poetry. Now, while that may sound like one is filling in background for the other, it really comes out quite balanced. Even though Bill's voice is louder in the mix than anything Derek is playing, neither one seems to overpower the other. It's as if both artists play to each others strengths and weave seamlessly in and out. This is not Derek Rogers plus Bill Shute, this is Derek Rogers with Bill Shute.

Four Texas Streams itself is a 3-inch CD-R limited to just 55 copies, and at five dollars postage-paid anywhere, it's worth picking up for yourself, or a gift for anyone interested in experimental music or poetry.

[Derek Rogers Bandcamp]
[Buy Four Texas Streams from Kendra Steiner Editions]

Red Electric Rainbow - Night Vision (Hyperdelic, 2011)

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Those familiar with "Dangerous" Dan Smith's Red Electric Rainbow moniker will already know where I'm going with this review. For those of you not in the know, have you been living under a rock? Some maybe quick to dismiss RER as "just another synth project" which, technically speaking, it is-- however that doesn't mean it is unwarranted. Night Vision is the first on Smith's new synth-based label, Hyperdelic, and is a great introduction.

Night Vision consists of two side-long compositions comprised mainly of repeating loops that build on top of each other, then abruptly end. The tape contains ten minutes per side, so it's just long enough to put you into a bit of a trance before halting you back to reality. The most admirable aspect of Night Vision is the relaxed feel of it. Too often an artist forces you into his or her zone, imposes their vibes on you, and makes you fall into their realm. Don't get me wrong, that isn't always a bad thing, but the way RER simply invites you into his "Nintendo Forest," caring not if you enter, makes it seem that much more fantastic and surreal. Serious synth sweeps will carry you away, only if you want them to.

The tape itself is pro-dubbed and is encased in absolutely beautiful packaging. Seriously, you'll be kicking yourself in the ass for not buying this once it goes out of print and Dan Smith becomes the next John Elliot.

[Red Electric Rainbow Tumblr]
[Buy Night Vision from Hyperdelic]

Terror Bird - Human Culture (Night People, 2011)

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Night People is one of those labels that I've heard nothing but good about, but have only really checked out a handful of releases, so when I was asked to review the debut Terror Bird full-length, Human Culture, I was excited at the chance to delve into some of Night People's newest work. The album started off with some cheesy piano-pop riffs, which threw me way off. I'm not sure what I was expecting, but it certainly wasn't as upbeat as this.

The cheese eventually faded and what I was left with was some pretty simple piano and vocals and drum-based tracks that were sort of hard to separate from one another. At points, I was reminded of some of Ariel Pink's older works, but mostly what we're dealing with here is reverb-soaked synth and vocals.

I feel as though Terror Bird have a lot of potential to be really great, but need to broaden their sound and focus more on production than minimalism. It's certainly not a bad album, and it does have its standout tracks (the track "Dumb Sick" especially), but I'd recommend trying this one before you buy it, as I certainly wasn't impressed.



[Terror Bird Myspace]
[Buy Human Culture from Night People]