Sweet Christ, how do these fuckers do that? This is what Bardo Pond would be like if they did amphetamines instead of weed or something. This is a recording of those Manchurian brain-eaters playing a concert right in their lair. Even though side A begins slowly and carefully, this 8-strong hairy monster gets its groove locked and it switches into rapid fire, full-automatic hyper-krautrock mega boogie expanding in all directions at once; like a think tank pushing all their brain power into creating the most ecstatic sound ever made. This is like a slightly less noise rocky, less obnoxious Acid Mothers Temple & The Melting Paraiso U.F.O. But the atmosphere stays, and it fucking slays. Whether you’re stone sober or in the stratosphere, it will still sound like the inside of a furnace, where all the instruments fuse together into a fuzzed-out, heavy metal Boredoms tribute.
tl;dr It sounds like a TGV flying straight up towards the Sun.
I can hear it clearly. Every once in a while, it is coming back and calling me .The American Primitivism. Ever since I stumbled across some Robbie Basho stuff back in ‘08 I’ve been aware that this orient-tinged lengthy fingerpicked suites were the prelude to psychedelia, to all rock, post-rock,anti-rock, electronics, post-music, everything that sounded trippy and teleported you to another world. It all began with the American Primitive. And now, a decade after freak folk, a new wave of fingerpicking explorers is emerging. To name a few: David Bachman, Sean Proper (both of whom received glowing reviews from Weed Temple), and the most recent discovery, the raga-tastic soul traveler Forklong Daruplat from Belgium. Released on the always quality Hare Akedod, it is a raw document of the experience of nature and true sorrow. Sometimes light and glowing, sometimes somewhat detuned and dark-toned, these are stories told through intricate string plucking and sometimes arpeggiating clusters of notes. The man pushing the acoustic guitar to the limits, but sometimes also making good use of pauses and silence. Consider this album to be your soundtrack during your nearest bike trip to the forest. Highly recommended!
Somehow imagining that the music on this burning krautrocker would be played by the three benevolent-looking ladies on the cover makes it all the more badass. In fact the Great Western Plain is three manly men from Portland, ME who brew up their own hypnotic fuzzy edition of psychedelic rock and sandwich themselves somewhere between the neurotic 90’s indie classics and the best, autobahn-burning synaptic travellers. And all that done with a classy distortion to boot. And that meaty bass, it makes my knees soft. Gentlemen, start your engines.
EDIT: I just noticed I wrote “OR” instead of “ME”. They’re from Portland, Maine, NOT Portland, Oregon. So sorry, guys! I feel so embarassed now. 😦
Here’s yet another multi-instrumentalist with an anonymous edge who wants to make his music sound like a clever collection of found commercial music and cleverly assembled samples. Sure, it’s hazy, but it’s not cheesy enough to be h-pop. Or at least that’s what they made us think and suddenly there’s a guy like Babexo, who does some slow jazz impressions which is nearly as steeped in hiss and maze of half-memories as 1991, expect with a melodic, melancholic edge. Plus check this out, Helmut Newton did the cover! What’s not to love? Get a bottle and get dissolved in that scorching heat.
Thick synth pads unwind in front of the listener like the gates to heaven, slowly ascending into the Music for Airports era Brian Eno synthesizer-fueled floating bliss. Selaroda’s smartly named Polytexturalism cassette, released via Sanity Muffin label, contains the horizons of known trippertronics into a handy yet heady package, becoming a compilation of sorts, an apt portrayal of changing ideas and the creative process. It’s an introspective journey across the different stages of the ambient dream, from huge swells of white noise to slowly trotting New Ageisms. Michael Henning (the man behind Selaroda) gains an unique access to the unearthed potential of original Kosmische Musik creators and expands on their ideas – beginning where they finished. The effect is astounding, and many stages of psychedelic experience are to be awaited – even with the lovely Dolphins Into the Future styled super-dazed shimmering miniature! Recommended!
The work of the Iowa-born, London-based electronic producer Karen Gwyer has been hypnotizing ever since discovering her debut LP Needs Continuum about two months ago. From the first seconds of the opening “Sugar Tots” I knew I was in love. Droning, monotonous melodies crawl up and down while the deconstructed & slowed down techno/house beats unveil into a nearly Gas-like hypnotic, dazed state. This release by Karen was released via the leading mutant techno label Opal Tapes. Three lengthy tracks evolve and grow around slowly, like the fungus in the corner of the room over time. Or mold. The sounds of this tape are paradoxically clear and murky, the endless two-note shuffle in the background gives a propulsive, while the main melody expands and mutates into a sort of ever-repetitive, minimalistic version of Amber era Autechre (or a similar work from early Warp Records). Each track is longer. The time gets stretched, the sounds grow busier and more enveloping. One keeps listening until their entire body is disintegrated within the ambiental drone techno. Higly recommended!