NEW RELEASES
Prefuse 73 Reads the Books
White Out with Jim O'Rourke &
William Winant
Arcade Fire
The Most Serene Republic
Microsolutions to Megaproblems
Xiu Xiu
Röyksopp
Chris Cunningham DVD

AFX (Analord 10)
Wolf Parade
VVV
Harold Budd & Eraldo Bernocchi
Ferenc
Mr. Scruff (Reissue)

ALSO AVAILABLE
Richard Davis

"Pagina Dos"

Scott "Prefuse 73" Herren turns another page in his ever-unfolding musical history book, this time collaborating on an EP with the Books. What actually started off as a chance meeting, led to Nick Zammuto and Paul De Jong making a guest appearance on Surrounded by Silence (Prefuse 73's most recent full-length), and it's now been expanded to this 20-minute-long sonic reading. With eight "songs," or in this case "pages," ranging from eight-seconds to five-and-a-half minutes, Herren uses sound sources from the Books, combined with his own library of vocal snippets and beats, to create something acoustic, electronic, ethnic and urban. Marrying Zammuto and De Jong's banjos, cellos, clavinets and other acoustic instruments with Herren's MPC and digital slicing adds a folky element to his brand of electronic hip-hop--a signature style that more recently, he seems to be moving away from. Included is their previously released collaboration, "Pagina Dos," from Surrounded by Silence, with seven more pages to make it complete. The standout cut is "Pagina Ocho," which features lovely layers of breathy vocals from former On!Air!Library! vocalist Claudia Maria Deheza, and brings this reading to a wonderful, ethereal close. (Definitely a track for your summer mix tapes). There's nothing here that will disappoint fans of the Books and Herren's work as Prefuse (especially Extinguished Outtakes) and Savath & Savalas, except the somewhat short running time. This reads more like a novella than an encyclopedia, but is still recommended. [DG]

"Ghost Mirror Image"

"Favorite Jungle"

White Out is a rotating crew of sound sculptors revolving around the nucleus of Tom Surgal (on drums, bells etc.) and Lin Culbertson (synths, autoharp ), whose previous albums came out on Thurston Moore's Ecstatic Peace label. China is Near, released on the ATP label (All Tomorrows Parties: the indie/experimental festival, most recently curated by Slint) is their most recent and includes Jim O'Rourke on synth (alongside Culbertson) and William Winant on timpani, tam tam, vibes and drums (alongside Surgal).

The opening track, "Ghost Mirror Image" is a frantic, free and focused 13 minutes that breaks down into a slow rising UFO blast-off by minute nine. Bowed cymbal sounds cut through bubbling clouds of reverberation. Twenty-first century Bitches Brew/Dark Magus synth-atmosphere encrusted with glistening clusters of metallic rustling, crystalline key melodies, rolling taps of percussion, and sheets of noise displaying the random accuracy of John Cage. "Stifled Moon" opens with gorgeous waves of metallic gong/drone melded with occasional rolling tom toms and a macabre winding metal percussion sound that's punctuated by occasional cymbal-edge pings.

"Mutinous" begins with a beautifully melded combination of low bass keyboard hum and subtly rolling floor toms. Soon, a distant birdlike electronic screech, I believe from O'Rourke's "analog suitcase" synth, enters and mutates into a cackle that begins to fluctuate wildly. Winant's timpani creates globular waves of bass that are further propelled by Surgal's tom toms and percussion, directly in sync with the swelling claustrophobia created by all involved. A slow earthquake experienced from inside a haunted mansion or maybe a soundtrack for molten lava, this is the type of sound exploration/propulsion White Out is all about.

China is Near is an album for those interested in hearing what it would be like if Sun Ra and Miles Davis jammed TODAY with Pauline Oliveros and Supersilent. [SM]

"No Cars Go"

What do you want me to say? Do I need to spell it out? A-R-C-A-D-E-F-I-R-E!!! Do you still need convincing? Here are some bullet points:

1) Most wanted band on earth. They couldn't be any hotter if they actually were an arcade on fire.
2) Reissue of their painfully limited 2003 self-released debut. The band was selling an earlier repress of this on their recent tours, but you didn't buy one, and if you did, you probably already sold it on eBay for $100.
3) Nicely remastered and sounds a lot better than the original.

Um, what else is there? This six-song debut may not be quite as good as their full-length album, but it is nonetheless essential for the fans, an excellent first step as the band figured out their sound, and it has a bunch of great songs that they continue to play live. [JM]

"Content Was Always My Favorite Color"

"Relative's Eyes"

There might be an Arts & Crafts logo stamped on the back cover of the Most Serene Republic's debut album, but surprisingly, these newcomers aren't another Broken Social Scene offshoot. Hailing from Milton, Ontario, this six-piece do make a joyful indie pop noise with Underwater Cinematographer, but in an earnest, almost schizophrenic manner. In "Content Was Always My Favorite Color," the Ben Gibbard-meets-Wayne Coyne inspired melodies from vocalists Adrian Jewett and Emma Ditchburn float above the proggy saw-tooth din of buzzing keyboards, handclaps and a drum machine that sounds like it's going to explode. That is, until the music unexpectedly drops out from underneath the multi-tracks of vocals and the sudden, frantic acoustic guitar strums set the stage for a skittery, percussive workout; and then the song deconstructs into a wash of synths. It's almost impossible to predict where the group is going to take each tune: a dreamy stretch of a lone keyboard passage may lead to a cacophonous rock outburst, or a roomful of people chanting "she took a sad song and made it sadder" over and over. Regardless of where the Most Serene Republic go, their ambitious, not-quite lo-fi experimentations rarely overshadow the group's catchy pop charms. Definitely the best Arts & Crafts release since Broken Social Scene's You Forgot It in People. [GH]

"We Got It 303 (Live Acid Edit)" Secondo

"Enkidu" Kit Clayton

"Discoethique" A. Greenman

From Soul Jazz electronic offshoot Microsolutions to Megaproblems, comes a compilation culled from various 12-inches that they've released over the past two years, offering music from both known and unheard producers. Included are tracks from Ammoncontact, Kit Clayton, Sutekh, Kid 606, Hu Vibrational, among many others, with some remix production coming from Daedelus and Telefon Tel Aviv. This is a synthy, mid-to-up tempo instrumental set that flows from disco redux and electronica, to avant hip-hop and jazzy house. Fans of the aforementioned artists will definitely enjoy the selection, and you'll also hear tracks that are reminiscent of cuts off of Luke Vibert's Lover's Acid, Isolée's latest, Superpitcher and Kompakt Records in general. Microsolutions may be slightly choppy at first but the comp finds its groove about halfway though; remember this spans two-years and several countries. The best of the bunch comes from Kid 606 ("Batmen"), A. Greenman ("Sunday Kind of Love") and Sutekh ("Boulez Toes"). Not your typical sound from Soul Jazz and better for it, expanding horizons is always a positive thing. [DG]

"Likelihood of BANG"

"I Just Found Ill(i)N(o)ISs"

Drummer Kevin Shea (Storm & Stress, Coptic Light) flails in frenzied circles around Mary Halvorson's plodding and frequently dissonant guitar lines on this stripped-down avant rock debut. Shea and Halvorson are both talented improvisers and miraculously, the spastic outbursts of percussion always stay tightly glued to the comparatively slow and deliberate guitar parts. The album seems heavily influenced by bands like U.S. Maple, but People have tighter song structures and Mary Halvorson's vocals are far more tuneful. Sometimes she sounds a little like PJ Harvey. Those of you expecting something remotely similar to the I and Ear label's prior release by singer-songwriter Mike Wexler will be surprised to hear how different this is. It sounds more like something that Ipecac would release, which makes sense since Halvorson also plays with Mr. Bungle bassist Trevor Dunn in his Trio-Convulsant. [RH]

"Pox"

"Rose of Sharon (Grey Ghost Version)"

I don't think I have ever heard an album where so many instruments can be compared to action verbs. There is a lot of energy coming from these songs, between the consistently abrasive instruments mimicking laser guns, out of tune guitars, distorted organs, and anything else that maintains the sound of chaos, and Jamie Stewart's urgent vocals focused on subjects that seem uncomfortably personal. Listening to La Foret really is an enjoyably awkward experience. "Clover" makes us cry right off the bat, with heartbroken lyrics that are easy to relate to. In "Muppet Face," the synth action and drum machine kick in, but not as expected. Even though there's a catchy beat, there are also surprising sounds around every corner, including a tuba shrieking over the distorted guitar. Stewart's voice serves as the peaceful touchstone for these songs--soft and quivering, not unlike Antony's (and the Johnsons) or even Conor Oberst's, only a bit more timid.

In "Mousey Toy," the percussion mixes with the synths and sounds like a musical machine gun--it pierces as much as it intrigues. "Baby Captain" is especially captivating--with its story so soft, maybe you should lean in--the melodic chords that sing in the not-so-distant background remind me of the sound of an approaching ice cream truck when it's still a few blocks away. "Bog People" doesn't let up; the autoharp is such a fantastic beginning and then it builds with the addition of clicking and whipping. The song ends with tribal drumming and the hiss of a garden hose spun out of control. Stewart's voice sounds so far away yet so insistent. It might be cooler for rock and roll to remain detached, but sometimes a little emotion doesn't hurt. [AC]

"Only This Moment"

"Someone Like Me"

You know how every year there's an album that you can't escape, be it cocktail parties, brunches or shopping for shoes in SoHo? Daft Punk's Homework, Air's Moon Safari, The K & D Sessions from Kruder & Dorfmeister, or Zero 7's Simple Things are ones that come to my mind. Röyksopp's 2001 debut is another. Four years after Melody A.M. and certainly long overdue, the Norwegian duo of Torbjörn Brundtland and Svein Berge are back with their follow-up, The Understanding, and I predict there will be no escaping this one either. From the lush electronic production to the rich, atmospheric beds of synthesizers, Röyksopp's latest picks up and takes off from where their previous, million-selling record left us, comfortably shaking off the chill-out tag by focusing more on melody, variety and accessibility.

Though fellow countryman Erlend Øye doesn't return for another appearance, Brundtland and Berge's voices are equally suitable, delivering the same sort of breathy melodies in songs like the trance-tastic (thank you Duane) "Only This Moment" and the shuffle-beat bliss-out of "Someone Like Me." During the mid-tempo melancholy of "What Else Is There," the Knife vocalist Karin Dreijer's unique hybrid of Bjork and Kate Bush adds an alien element to the already chilly otherworld musicscape. In contrast, tracks like "Circuit Breaker," (which features some nice, soulful vocal accents from Kate Havnevik) and the vocoder'ed "Beautiful Day Without You" are solid slices of future funk. A good balance between modern disco, downtempo pop, and the pulsing soundscapes of ambient Eno meets epic Vangelis, Röyksopp's new album will be the perfect complement for sipping wine on a roof with a few close friends while gazing across the East River, getting down during a late night in Ibiza, and everything in between, including cocktail parties, brunches and shoe shopping. (Limited Edition includes a second disc with five bonus cuts.) [GH]

Chris Cunningham is a pretty cool dude. He's yet to fail at providing a smattering of seriously gut-visceral and artistically insurgent (and totally amusing) reality diversions. A nondiscriminatory cosmopolitan of sorts, you could say he's an objective populist entertainer as he dispassionately appeals to anyone and everyone with his vibrant and motley expressions of manias, afflictions and universal neuroses. You're bound to identify, empathize, and get ill.

Rubber Johnny probably never would have been released if it wasn't for the unconditional support of Warp. Thankfully, a harboring label of cool-collective cats exists that are not only fans of cleverly-way-out stimulatory sounds and experimentations in music video, but all around obscene casualties. Cunningham first forged a relationship with Warp in 1995, with a promo for Autechre. Soon, he began directing a score of vids for Squarepusher, Bjork, Portishead, and most notably Aphex Twin. Not to mention, he has paid dues as designer and engineer for Stanley Kubrick.

Continuing his psychoanalytic forays in mutant fractals and anatomical perversions, Cunningham's latest is a seven-minute lurid exposé of a shape-shifting, coke-snorting, alien-boy gyrating madly in a wheelchair, entertaining a wild-eyed chihuahua. This is pretty sick rave choreography--a mind-boggling technical feat in hair-trigger-chaotic-editing-mastery, animative experimentations and musical synching. The intro to Aphex Twin's Drukqs kicks in and the composition expands into classic Richard D. James hyperactivity, with basslines so foully elastic that I can't help but parallel the idiomatic referencing of Rubber Johnny to the British condom.

I guess if I were to ever go back to a rave, I'd want it to be in Rubber Johnny's basement. Hanging out with freaks in surreal-scope as seen through Lacan-Lynchian goggles. Through DV and night vision. Maybe stylized to sickening perfection by Helmut Newton without the glitz and glamour. So I like this thing even though it's reeking of a sophistic-cool factor, like a could-be posturing for a promo reel for the next Viceploitation effort. Shrugs... and cheers to Cunningham for keeping it hip AND innovatory. Also, cheers to Warp for supporting the Arts. The DVD features neat packaging with a 40-page booklet containing Cunningham's debut-published artwork. [MT]

The final installment in the Analord series is a two-song picture disc! Alternating black and white Aphex Twin 'arrow logos' mark the A and B sides. The 'white side' sports one of the most straightforward and catchy tracks in the series, with a skipping/jogging pop beat. Typically nerdy, hand-played lounge piano trickles in and breaks down only to come back up in a wash of hazy analog buzz. The 'black side' is a much perkier drum and bass track with a metal squawk/talkbox bassline. The breakdown features a reappearance of the angelic "Windowlicker" backing vocals. Since half of the copies we received were warped, maybe we can assume this is accidentally the rarest one in the series. Unbunch those panties and hightail it over here to get your copy! [SM]

"Disco Sheets"

Showing all the right indie rock moves with its undeniable awkward catchiness, it seems Sub Pop have found its very own Next Big Thing in Canada's Wolf Parade. Modest Mouse's Isaac Brock (who allegedly "discovered" the band) lends production help and two of the dudes played with Arcade Fire, and those are all the reference points you need. With two tracks off the forthcoming album and two exclusive to the EP, this might serve as merely a teaser before the real thing drops but since the wide-open door has already been kicked in (NY Times approval, Spin piece), that hardly matters. Wolf Parade are going to be big. [AK]

"Desperate Nation"

"It's Violence"

The new Pan Sonic/Alan Vega collaboration (VVV = Vainio, Vaisenen, Vega) is here. Released on Austria's Mego label, Resurrection River is quite similar to the album the trio released on Mute five or six years back. The main difference being that the new record features tracks that lean more toward Pan Sonic hip-hop ("It's Violence", "Resurrection River", "I Got Wheels...", "Job Blue" and "Sellin' My Monkeys"). The opening title-track sports a beat not entirely unlike Tone-Loc's "Wild Thing," except VVV drapes it with a dark synth wash and Vega's croon/chant of "glory, glory hallelujah" that mutates it into an unholy pole-stripper anthem. The trio achieves ideal moments such as the minimal-noise dub tracks "So Tired", "It Was Her Eyes" and "11:52pm". (The fog horn dirge and crackling static of "11:52pm" was enough to inspire one of the store dogs to growl and bark at the speakers! Bravo VVV!) Pan Sonic create the perfect subterranean/urban backdrop for Vega's spat out vocals. An excellent soundtrack for overworked MTA workers about to "go postal." [SM]

"Four Fragment"

"Five Fragment"

Harold Budd, veteran minimalist and one-time Brian Eno collaborator, follows up the acclaimed Avalon Sutra--reportedly his final studio album--with this live recording of a performance with Italian electronic musician Eraldo Bernocchi, composed to accompany an outdoor video installation. Budd's meandering and lovely piano improvisations are augmented here by spacey ambient drones, there by deep dubby electronic beats in the vein of Bill Laswell, DJ Olive, and Badawi, with sampled fragments of vocals and hand percussion echoing from the foreground to the background. Inevitably, the most effective moments come when Bernocchi takes a step back and lets sparse sounds complement Budd's gentle piano explorations. [RH]

"Nitsa is 11"

"France"

Smooth, pumping techno house from Ferenc, the creator of "Yes Sir, I Can Hardcore." Dreamy and melodic but big and forceful enough to float through the big rooms, Fraximal matches sensitivity and melody to bouncy trackiness. Imagine the trancey lift and bounciness of Kaito (minimal trance) with tech-house beats and structure. [SM]

"Chicken in a Box"

"Jazz Potato"

Is it too soon for a mid-to-late-'90s abstract hip-hop revival? I don't know, but judging by the price of old Mo' Wax and Ninja Tune singles on eBay these days, there is obviously a demand. Ninja Tune has decided to dust off the out-of-print debut album by Mr. Scruff, the Manchester, England-based producer with a penchant for the concoction of lazy instrumental hip-hop and beat-heavy breaks. Some of this stuff has a mellow jazzy feel, like the heavily filtered "Night Time," which blends Rhodes keyboards and spacey synths over an infectious, bouncy break. Several tracks on this album would not sound totally out of place on a DJ Shadow or Prince Paul album, or as a B-side to an early UNKLE single. "Limbic Funk" is underpinned with a sharp skeletal break that gets injected with various stabs of rhythmic distortion and wacky vocal snippets. All in all, I would say that the music holds up pretty well without sounding too dated. For those who missed out on the days when England was sending out a steady stream of experimental hip-hop (popularly known as trip-hop), here's your chance to relive some of the memories. [GA]

"Hear This"

Richard Davis' new album finds the producer bringing the pop elements buried in his tech house to the forefront. Details is more vocal-driven than 2002's Safety, displaying an almost traditional sense of song structure augmented by his signature tight sound-craft.

THIS WEEK'S CONTRIBUTORS

[GA] Geoff Albores
[AC] Amanda Colbenson
[DG] Daniel Givens
[GH] Gerald Hammill
[RH] Rob Hatch-Miller
[AK] Andreas Knutsen
[JM] Josh Madell
[SM] Scott Mou
[MT] Mahssa Taghinia


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