AARON MARTIN
River Water
PRE026
Preservation 2008
10Tracks. 46mins56secs

River Water is a more varied and energetic outing than Aaron Martin’s sober debut, Almond, published on Australian imprint Preservation in 2006. Martin takes the ephemeral world music concept and pushes it forward boldly, and although it’s something of a bitty collection, it’s one packed with episode and intense detail.

The compositions are finely detailed with a bevy of instruments - cello and violin feature predominantly, backed by flute, singing bowls, spanish bells, mandolin, harmonica, ukulele, and a variety of other non-conventional instruments. Martin’s playing is generally flinty, and he oscillates between backgrounds that are relatively sparse to other more heavily textured, a decision which allows the music to be both intimate and suggestive of a grand scale. Continue Reading »

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LEANDER
Pass Fail
KENCD2
Kennington Recordings 2008
11 Tracks. 45mins23secs

There is something immediately engaging about Pass Fail, from the moment the eponymous opener stirs to life. Languid vocals and drowsy indie colourings are given counterpoint by what sounds like a mislaid Autechre drum pattern. A melancholy mantra lingers – “And you say pass, fail, but this is not your voice” – an intriguing line whose meaning seems to drift somewhere out of reach of the listener. It is the sort of opener that offers untold promise – the casual delivery, the infectious tune, the dispassionate elegance of tone. And yet, for all its interest, this opening salvo proves to be a prelude to a series of disappointments that are as baffling as they are deflating.

In a way, the assured, ice-cold beginner feels as though it somehow should have its own separate existence, because what follows is a sequence of tracks that try to follow its template whilst never quite finding the right balance. Continue Reading »

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LOTHAR OHLMEIER/ISAMBARD KHROUSTALIOV
Nowhere
NOT008
Not Applicable 2008
05 Tracks. 33mins48secs

Nowhere is the first collaboration between Dutch jazz bass clarinetist and soprano saxophonist Lothar Ohlmeier and Isambard Khroustaliov, the alter ego of British experimental musician Sam Britton, who is more commonly known as one half of electronic entity Icarus. Ohlmeier studied music in Hannover and Amsterdam before establishing himself at the forefront of the Dutch improvised music scene. He has since collaborated with a wide range of jazz artists, including pianist Julia Sassoon and drummer Bart van Helsdinger, with whom he formed Azilut! in 2000. Now living in England, Ohlmeier continues to perform all over Europe. Meanwhile, beside his regular stint with Icarus, Sam Britton has been working on solo projects under his Isambard Khroustaliov guise, releasing a first limited CDR, entitled 8 Minutes, on the band’s imprint, Not Applicable, in 2002, followed by a collaborative effort with Italian-born percussionist Maurizio Ravalico, Five Loose Plans, in 2006.

The fruit of three years of work, the five tracks presented here, culled from recordings made during a residency at the IRCAM in Paris and at various music festivals across Europe, demonstrate the increasing connections between traditional improvised music and modern forms. Continue Reading »

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DISKJOKKE
Staying In
STS145CD
Smalltown Supersound 2008
10 Tracks. 56mins05secs

If staying in is the new going out, DiskJokke is the shiny banner that advertises it. Hailing from Oslo where, alongside like-minded characters like Prins Thomas and Lindstrom, he is at the forefront of the new Swedish dance scene, Joachim Dyrdahl has spent the last few years honing his dance floor potential at Sunkissed, one of Norway’s most notorious clubs, where he is a regular behind the decks. First spotted by Prins Thomas, who released three of his tracks, Dyrdahl has since, under the DiskJokke banner, had tracks featured on a handful of compilations, released a couple of EPs and is fast becoming a sought-after remixer. He is now signed to Norwegian imprint Smalltown Supersound.

Staying In, Dyrdahl’s debut album, incorporates elements of classic disco and house, sprinkled with hints of electro and Detroit techno to give his sound a slightly more angular form. Dyrdahl also pays much attention to his melodies and to the mood of each of his creations, which ranges from atmospheric to playful moments. Continue Reading »

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SOLO ANDATA/SEAWORTHY/TAYLOR DEUPREE
Live In Melbourne
12k2008
12K 2008
03Tracks. 49mins.37secs

Photographer, sound artist and label manager Taylor Deupree took to recording the festivities housed under the Social Club one April night in Melbourne, Australia. With good reason, too, for the night displayed here bristles with a vast array of events, too numerous to catalogue. The sonic endeavors of Solo Andata, Seaworthy, and Deupree himself, are filtered through a refined sensibility, resulting in a work of coherent flow and balance, and, perhaps most importantly, an ephemeral elegance bound to a very real sense of time and place. Continue Reading »

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VARIOUS ARTISTS
Monika Bärchen: Songs for Bruno, Knut and Tom
Monika60
Monika Enterprise 2008
15 Tracks. 54 mins 44 secs

As the adage goes, wherever you bite a stick of rock, the word inside it is the same. And so it goes with this birthday prize of a compilation – wherever you look, the same eye-widening sense of newness and fun is on show. This tenth anniversary package of the German Monika Enterprise label is, perhaps unsurprisingly, not really what you would expect. Rather than resurrecting hip, effortless tracks that passed unnoticed a decade ago, Gut here brings together a collection of entirely new songs, all by long-time Monika stable-mates. But the intriguing thing is that, on first listen, this really does sound like a best-of in the worthiest sense – an album of career-defining classics. From Capri Sun electro guitar pop to underground polka techno, everything here just seems to fit.

It is a liberating album as much as anything else – one that, in just fifteen songs, sums up the casual, effervescent daring of the label itself. Continue Reading »

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After fifteen years, Autechre still manage to surprise and inspire. On Quaristice, Sean Booth and Rob Brown turn their back to the ultra precise soundscapes that have defined their work in recent years and focus instead on a much more spontaneous and direct sound, developed from their live sets. Mark Flanagan talks to Sean Booth about how the band’s live sound has infiltrated their studio work, how him and Rob work together, what they think of live bootlegs, and being Myspace’d.

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OUR BROTHER THE NATIVE
Make Amends For We Are Merely Vessels
FAT-SP15
Fat-Cat Records/Splinter Series 2008
08 Tracks. 78mins18secs

From the wild poetry of their debut, Our Brother The Native have drifted into much darker and tormented terrains with their sophomore effort. Indeed, while on Tooth And Claw, the band were found playing in the garden of CocoRosie and Animal Collective, Make Amends For We Are Merely Vessels depicts much more ghostly and gothic musical forms.

Formed in 2005 by Michigan-based John-Michael Foss and Joshua Beltram, and Californian Chaz Knapp, OBTN rapidly caught the attention of UK label Fat-Cat, and, just over a year later, released their debut album. Under their geeky appearance, the trio revealed an incredible level of sonic maturity, incorporating everything from folk and electronica to post-rock and noise. Their second album, Make Amends For We Are Merely Vessels pushes the boundaries much further. Continue Reading »

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Daedelus is set to return with the follow up to last year’s Fair Weather Friends EP later on this spring with a brand new album. Entitled Love To Make Music To, the album is due out in June on Ninja Tune, but Daedelus is currently giving away the first single from the album, Hrs:Mins:Secs, available to download from his website, daedelusmusic.com. The single features the original version, which is a techno-infused mashed up piece of paranoid electro, plus a rather lush remix from Ethan.

Downloading the single also gives the chance to pre-order a limited edition digital version of the album.

Daedelus | Ninja Tune

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Since 1995, Scottish musician Alistair Crosbie has been forging his own sound on the Glasgow underground scene, mixing drone, folk and pure noise whilst collaborating with like-minded musicians such as Brian Lavelle and Andrew Paine. His efforts were recognised by this website in December when his album This Quiet House featured in our top 20 long-players of the year. With a new release Seven Starlings More on the way, he took a break from the studio to speak extensively to themilkfactory about his music, the failure of the pop industry, and a curious penchant for Girls Aloud.

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