Burial - S/t


Sickoakes - Seawards

I like but havent listened enough to - Tanakh's Ardent Fevers, With Throats as Fine as Needles, and the new Scott Walker

I really want to hear Lansing-Dreiden's The Dividing Island too

Whoa.

ALEX FERGUSSON, responsible for Punk classics such as "Action Time Vision" (ALTERNATIVE TV) and Pop hits such as "Godstar" (PSYCHIC TV), recorded "The Castle" within a few days 'live' in a studio. Thus, the songs come across in a very fresh and honest manner - he wanted to do that album in the same mode of working as he used with PSYCHIC TV in the early eighties. The result is a very natural, short, but to-the-point album, starting off in an experimental, rocking and subtly psychedelic vein. It's pure Folk Noir. Some tracks for example are very sixties-like - just as if VELVET UNDERGROUND had risen from the grave and recorded new songs. But other tracks brings you good and gently picked folk. And the sweet voice of ROSE McDOWALL (DEATH IN JUNE, SORROW, CURRENT 93) will remind you of Alex' abilities to write wonderful songs

Park Attack are the new noise. Driven and intense, the band's music is an explosion of feedbacking power and wild-throated melody. Founded by the trio of guitarist Rob Churm, drummer Lorna Gilfedder and keyboardist Tom Straughan, Park Attack have been the best kept secret of the Glasgow music scene for years. After releasing their debut EP in 2005 (the stunning 16-minute Last Drop At Hideout, on French label Tigersushi and Club Optimo's O.S.C.A.R.R. imprint in the UK) the group headed to France to record their first full-length. A wild mix of stomp rock, slop punk and no wave intensity, Half-Past Human recalls the tribal arrhythmic sounds of DNA, the blaring energy of Teenage Jesus and the Jerks, and the noise-guitar hell of early Sonic Youth. The synth-heavy sound does little to smooth the roughly sewn corners, which sets electronics against grumbling guitar and wailing vocals."

can somebodt tell me the link between throbbing gristle and psychic tv?

This sounds interesting. And that cover is high quality too.

What do Super Numeri sound like? I know you were pushing them fairly hard a little while ago

I really want to hear Lansing-Dreiden's The Dividing Island too

I can YSI this for you if you want. I listened to most of it today. It's kind of all over the place but a few songs remind me of ABC.

thanks but i managed to get a hold of it

its a fucking schizophrenic album for sure

i really quite like it though, 'Two Extremes' and 'A Line You Can Cross' are great. I kinda wish theyd ditch the whole milli vanilli 'the real band is hidden' shctick though

Yeah, the cover is great, but of course this snap doesn't do it justice.

I have a hard time classifying the Super Numeri album. Wholly sprawling but always focused and minimal. Robust and slow-driving rhythms bounded by ambient atmospherics. Recorded stunningly. Ethereal but grounded. Psych rock meets hip-hop in a strange place.

I'll post a Super Numeri and Loka track shortly, but here's what the former looks like:



[img][600:600]http://www.echoes-online.de/blog/uploads/SuperNumeri.jpg[/img]

Note harpist Stan Ambrose, 74.

Ronnie Spector
The Last of The Rock Stars

[img][160:160]http://img.mtv3.fi/mn_kuvat/mtv3/viihde/cdarvostelukuvat/376070.jpg[/img]

w/ guests the Greenhornes, the Raveonettes, Nick Zinner, Joey Ramone, Keith Richards, and Patti Smith

The only reason I'm ignoring Gomez is because I haven't bought it yet.

My submissions:
Willie Nile (3 loves, 1 hate, what about the rest of yas??)
Buckcherry (come on, you love the first album; 15 holds its own)

no kidding on that Sickoakes. i posted a track from it months ago and again it was ignored.

people will discover it a few months from now

The sound is exquisite, futuristic and clean, melding enormous synthetic keyboard hooks with mellifluous guitar and ethereal vocals.

t’s some kind of synthesis of strange, sci-fi beauty and dancefloor excitement. “You and Me” may begin with a slightly dodgy a cappella vocal (not dodgy in that it fails to hit notes, dodgy in that it sounds like showing off) but once the enormous, swoonsome synth sweeps across the song, followed by a delicious bass groove, it catches you up and pulls you in. Ever since, well, “Fools Gold,” indie bands have tried to catch that dance thing, first by adding a tiresome funky drummer fill and latterly by- sod it, you’ve heard Franz Ferdinand, you know what they do. Prodigy went backwards and added guitars to beats, seeing the connection between rave and punk energy. Delays see the potential of dance music as the last great bastion of psychedelia, and work accordingly. That was what got me about the likes of Aphex Twin and Orbital a decade ago—not that they made me dance, that they made me deliriously woozy.

Some of the sonic twists and turns that Delays pull on You See Colours—the multi-tracked vocals, the airy guitars, the pulsing synths—are jaw-dropping. It’s like synaesthesia in that it ties things together that aren’t together normally, and makes it seem natural. And what’s more, makes it seem like everyone else should feel and do the same too. Why wouldn’t any band add a disco beat, a funky bassline and a head-spinning synth-string riff to a guitar-based song? “Valentine” pulls the same trick as the opener but in yet more directions, making for a stunning opening one-two punch (the jab sends you reeling, the right-hook knocks you out). Only a few of the other tunes quite match up to that (“Sink Like A Stone,” “Out Of Nowhere,” and the beautiful piano-led closer “Waste Of Space”), but the album is so concise (11 songs in 40 minutes) and so aesthetically, sonically beautiful that the songwriting and melodic shortcomings (I can’t hum anything off here after a dozen listens, but I don't care) matter little. You See Colours sends me reeling for repeat with a smile on my face.

The old Spacemen 3 cliché seems to apply here: Lemon Jelly appear to be taking drugs to make music to take drugs to. But this is an organized kind of drugginess, as each song is subtitled with a particular year between 1964 and 1995, designating the year from which each song's samples were generated...how does Fred Deakin and Nick Franglen's third long-player stack up? Oh, it's absolutely splendid! It's like a mad, beautiful mix of Lemon Jelly's past albums, the crunchy rock of the Chemical Brothers, the experimental sonic glee of the Go! Team, the dancefloor-fueling beats of Basement Jaxx, and the spaciness of the Orb at the peak of their powers...Whether or not '64-'95 gets the acclaim it deserves and takes off commercially, the album sees Lemon Jelly laying down the law in genius fashion. It sits mightily among the best work from the peers mentioned above and others like Air, Zero 7, and Daft Punk. It's breathtaking and essential listening for all fans of electronic music.