Walter Gross - LA Pink FIlth

King of thug noise,collage beats and grime ambience.And some pretty good dance moves.

filth .

Basil Kirchin - Abstractions of the Industrial North

A man of disguise and variation,Basil Kirchin always seems to amaze me.Although this release reffers to his soundtrack experimentations,you can clearly see his compelling roots.

Somewhere between surrealism and genius,Kirchin insisted on creating music for fiction movies.Free from optical and musical boundaries,using tapes and field recordings managed to create his own system.A system full of eastern sounds,psychedelic touches,jazz patterns and contemporary orchestration.

Well,this should be more of a movie critic since Kirchin's vision was to give up his jazz restrictions and create more fluid acts but i decided not to give up spoilers.


abstract .

Alumbrados - Generation Of Vipers

Bardo Pond brothers wearing saman outfits and some tribal mood.
For real.

Armour Of God

There you have it.The only tracks Armour Of God managed to record,the one side of the 3rd Stone split.Three tracks that stand for the fast paced takes of Iron Monkey along with the more brutal side of JPM.Pay your respect .

Hurray For The Riff Raff - It Don't Mean I Don't Love You

Dusty,lo-fi folk through accordion,banjo,violin and the essential voice of Alynda Lee Segarra creating  uphill nostalgia for the strong.Decorative means are not necessary,summer critters are already there.

hurray .

Morrowfest 2012

Today.Move people.

Helena Gough - Mikroklimata

"As a sculptor might bury their hands in their chosen media,
or chip away at a block until what remains stands as a physical
manifestation of what exists in their imagination, so Helena
Gough’s music is the end product of a long process of collecting
and manipulating material, kneading it, tearing it, reducing it
down, building it back up, somehow knowing when to stop and
present what is left.
Gough is a composer working in the digital realm. This, her
second album, comes nearly four years after the first, with
the intervening years spent gathering small fragments of sound
from a variety of places, which she then processed and altered
continually until finally weaving them together in an intensive
session of concentrated intuitive composition lasting just a few
months. The sounds that appear on Mikroklimata began life
as field recordings, digital and analogue synth experimentation
and recordings of acoustic improvisation sessions by George
Cremaschi and Peter Evans. The origins of the sounds are all
long gone, however, lost in the process of crunching the material
into its malleable state. If there ever was recognisable bass or
trumpet sounds in here, they lost their identifying character
some way down the line.
The four pieces that come out of the other end of this process
sound thoroughly physical. Twisting, turning knots of sound
tighten and unravel as they progress along their muscular
journey, full of rapid shifts in pace and dynamic. Gough’s sound-
world is thoroughly digital, the natural acoustic presence of the
displaced samples is replaced by a vibrant synthetic torsion as
they come back together in composition. However, despite the
computerised texture and minute detail of its constituent parts,
Mikroklimata sounds very human, its shapes and progressions
resembling an improvising saxophonist in full flight. Not unlike
the music of Gough’s contemporary John Wall, these compositions
somehow sound fluid and natural, as if played by some massed
orchestra of alien instruments rather than pieced together from
hundreds of smaller fragments. Powerful, expressive musique
concrète for the 21st century, Mikroklimata stands out from the
crowd as a work of considerable substance."
Richard Pinnell in The Wire.

klimata .