The Artist/Album: Richard Skelton, Landing (Type, 2009)
A Short Review: If strings could cry uncontrollably, they’d sound like this…
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The Artist/Album: Brian Eno, Apollo: Atmospheres & Soundtracks (EG, 1983)
A Short Review: We’ve been trying to tear through Rick Moody’s rather absurd/rambling Four Fingers of Death book for the past month or so, and while we’re about 100 pages from the finish line, we prefer the first half of his two-part doorstop by far. Mostly because its ill-fated Mars mission reminds us of the paranoid humanoid vibes that permeate 2001: A Space Odyssey.
This ambient Eno album—rounded out by Daniel Lanois and Brian’s brother Roger—arrived 15 years after Kubrick’s instant classic, and yet it’d sync up perfectly with every last frame. Which makes sense; Apollo was originally meant as the soundtrack to a narration-free documentary on NASA’s moon missions. It was eventually ruined by test screenings and testicle-less edits, though, so you’re better off putting Kubrick on mute and hitting play if you want the full experience here.
The Artist/Album: Electric Wizard, Black Masses (Rise Above, 2010)
A Short Review: Campy cover art and B-movie song titles (“Scorpio Curse,” “Crypt of Drugula,” “Patterns of Evil”) aside, Electric Wizard’s seventh album goes great lengths to retain the group’s “heaviest band in the universe” title. Succumb to its spell and you will be rewarded with a record that’d make even Ian MacKaye feel stoned.
The Artist/Album: J.D. Emmanuel, Wizards Reissue (Important, 2010)
A Short Review: As New Age as this office gets without sparking a couple sticks of “Meditation Incense” and setting adrift on a magic carpet ride in our mind. Originally released in 1982, Wizards has been repressed in a limited 500-copy vinyl run. And while the cover art is pure cheese, the music thankfully is not.
The Artist/Album: Shackleton, Fabric 55 (Fabric, 2010)
A Short Review: Skull Disco’s co-founder continues to sketch his next steps by weaving black-lit strands of his past with shadowy glimpses of his future. Probably the darkest ‘dubstep’ mix you’ll ever hear.
The Artist/Album: Grasslung, Sincere Void (Root Strata, 2010)
A Short Review: As recommended by Nite Jewel in our last issue, Brooklyn’s own Jonas Asher chases a series of CD-Rs and cassettes with a 500-copy disc that fills the room like an unforgiving gas leak. As beautifully damaged as solo soundscapes get.
The Artist/Album: Xeno & Oaklander, Vigils (Wierd, 2010)
A Short Review: Originally released as a limited CD-R in 2006, Vigils was recently repressed as an expanded vinyl/digital EP featuring a live track from Wierd’s weekly party (“Blue Flower”) and a poison-tipped synth-pop track from 2004 (“Ransack”). As always, everything’s strictly analog, tracked in one take, and backed by machines that are wildly expressive and emotionally damaged as the replicants in Blade Runner. And if you’re wondering what’s next, well, we’re told that Sean and Liz are busy recording their next record now, right as the former gears up for the release of his next Martial Canterel album.
The Artist/Album: Sonic Youth, Simon Werner a Disparu (SYR, 2011)
A Short Review: Well there you have it: Sonic Youth’s SYR imprint isn’t as strictly experimental as you’d expect. Take this French film soundtrack, for instance. Aside from a few chalkboard-scraping high notes and feedback flareups, Simon Werner a Disparu is driven by welcome departures like subtle piano strands (“Les Anges au piano”) and pockets of peak v. valley material that could pass for Mogwai’s new full-length. Not to mention quite a few songs that are clearly Sonic Youth instrumentals. (“Theme d’Alice” is just begging to be played live—all 13 minutes of it.)
FYI: The digital version is available now, but a limited vinyl pressing isn’t on the way until March 1. You can pre-order that here.
The Artist/Album: Lone, Emerald Fantasy Tracks (Magic Wire, 2010)
A Short Review: The sleeve of Lone’s latest mini-LP screams “Remember (Walking In the Sand),” as refracted through Boards of Canada’s cracked prism. And yet the record itself is as restless and ready-to-rave as a Manchester warehouse, circa 1989.
