Your ears will burn

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Not for all the ears, but still amazing


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Various stories circulate about just how official this item is... this is Henry Weld's account, which seems to be the most reliable source so far: "Originally suggested (half-jokingly) by Moore to be put out as a 2x10" in gatefold, the band finally said `no'. Blast First went ahead anyway (Not was created by Blast First for official bootlegs (other releases by Big Black and Band Of Susans)) and when the band heard it was out it was withdrawn (ie all remaining copies were allowed to be sold). The official pressing was a numbered edition of 2000, though there are more unnumbered copies indicating a second press. There are boots on LP (check to see if it has inner sleeves (original) or inserts (boot)) and CD.

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"Time takes its crazy toll and how does your mirror grow you better watch yourself when you jump into it 'cause the mirror's gonna steal your soul "

-The Diamond Sea

Tracklist

• Fire Engine Dream (2003) - outtake from "Sonic Nurse"; previously unreleased.
• Fauxhemians (2002) - from the Noho Furniture sessions; originally released on the compilation All Tomorrow's Parties 1.1, released on ATP Record
• Razor Blade (1994) - b-side from "Bull in the Heater" single.
• Blink (1999) - from the Pola X Soundtrack.
• Campfire (2000) - from the compilation At Home with the Groovebox, released on Grand Royal Records.
• Loop Cat (2003) - from the compilation You Can Never Go Fast Enough, released on Plain Recordings.
• Kim's Chords (2004) - from the British and Japanese import of Sonic Nurse.
• Beautiful Plateau (2004) - from the Japanese import of Sonic Nurse.
• Three Part Sectional Love Seat (2001) - from the Noho Furniture sessions; previously unreleased.
• Queen Anne Chair (2001) - from the Noho Furniture sessions; previously unreleased.
• The Diamond Sea (1995) - full version from "The Diamond Sea" single; a slightly shorter version appears on "Washing Machine".

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Once you tame this wild, noisy, amphetamine-fueled, out-of-control beast of an album, it will be your best friend for a lifetime. Few albums are as off-putting on initial hearing; fewer still will reward you more after hundreds of spins. Inexplicably, its chaos, noise, and howling confusion will become comforting. But it takes awhile...

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(link fixed on MU)

Ritual music from Finland's deep primeval forests, according to ancient Gods long forgotten. "I", this one-man anti-band's debut release.


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Talk about "highly anticipated": fans of Fennesz had three years to marvel in his Endless Summer CD. Meanwhile, the album became a hit in left-field electronica, exerted a major influence on countless sound-alikes, and even allowed Fennesz to break — however slightly — into the mainstream. Is Venice better than Endless Summer? No, but the fact that it doesn't disappoint, despite the expectations generated by this bona fide follow-up, is by itself a commanding feat. The reason why Venice doesn't top its predecessor is because it follows a rather similar recipe and therefore lacks the effect of surprise. Otherwise, it is a very fine release, highly enjoyable yet genre-pushing, and unmistakably Fennesz from beginning to end. The melodies that haunted Endless Summer's washes of granulated noise are still present, although in a more subtle form. Except for one standout exception, you won't be whistling these tunes in the shower, as the melodic component is more evanescent, but the impression of listening to "songs" remains strong. In that respect, highlights include the delicate opener "Rivers of Sand" and "The Point of It All." The album features two extra contributors. One of them was predictable; after all, Fennesz had appeared in duet with David Sylvian on the latter's 2003 solo CD, Blemish. They do it again in "Transit," a beautiful song about departures that makes one think the pair should definitely work on a full-scale collaborative project (it could be Sylvian's best collaboration since the Sylvian/Fripp albums). The second guest is Viennese guitarist Burkhard Stangl, a maverick improviser and puzzling experimentalist. His appearance on two tracks, "Laguna" and "Circassian" (the latter another highlight) follows up on Fennesz's 2002 collaboration with his improv quartet, Polwechsel. These two pieces (on which Fennesz joins on guitar) have a light post-folk flavor. The album is marvelously sequenced, with short soundscapes articulating mood shifts. The only weak point is found in the closing track, "The Stone of Impermanence," significantly harsher in texture and sound than what came before, which makes for an uncomfortable finale — the piece would have worked better at midpoint, tempered by gentler neighbors. Still, Venice is another success and every bit as delightful as its predecessor. The presence of David Sylvian will make it easier for new fans to jump in.

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1. Colours Move [Radio Edit]
2. Colours Move
3. Sweet Love For Planet Earth [Andrew Weatherall Remix]



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Sounds Like:
Noise Rock, Art Rock
Melt-Banana, Sonic Youth

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Robert Rutman is an instrument inventor who created the steel cello in the early '70s. The instrument is a large sheet of steel suspended vertically, with a wire stretching between the two right corners. This string is bowed, and the curved steel acts as a resonator. The player can fret the string to produce a wide range of pitches, and can also use the instrument for percussive sounds. All of these techniques are exploited here by a quartet of players.

This collection is a good exploration of new areas of instrument building, as well as a fine ambient and drone release in its own right.

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The press releases say that Aqua Necromancer is Merzbow's tribute to progressive rock. If you are a prog rock fan lured to this entry by that statement, beware: you may not want to go down this extremely noisy road. Then again, if you have been nurturing some curiosity regarding the extreme art of Merzbow, this may be the point of entry you were waiting for. This album ranks among the Lord of Japanoise's most accessible releases. It is just as headache-inducing and mind-numbingly harsh and loud as his other ones, but it constantly features a beat. Rhythm tracks have been lifted from prog rock anthems by the likes of Soft Machine and PFM — but good luck identifying them. Comparable to other beat-driven Merzbow projects like Doors Open at 8 A.M. (that one a tribute to jazz drummers) and Merzbeat, Aqua Necromancer takes you on a ride through the underside of prog. Layers of heavily treated noise guitar, synthesizer explosions, and the aforementioned rhythm tracks are assembled into five powerful pieces. Rather repetitive and linear, they resemble more the Krautrock of Faust or Can than what is generally understood as prog rock. For outsiders it will be one hell of an experience (emphasis on "hell"). For Merzbow fans, this album is definitely a keeper, since it is rich, ferocious, and surprisingly entertaining. Go ahead, freak your friends out.

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The Lust Lust Lust was published in late 2007, this disc will not come out to clarify that a bit and not be as dark as in previous installments, but the guitars are still the basis of shoegaze and lo-fi feature from Whip It On . The game between Sharina voices Foo and Sune Rose Wagner keeps each song with a good rhythm and kept quite interspersing instrumental distortion. The sixty like and what they can show: Dead Sound is a clear example of this, the best song choice as a single for his power and structure; Aly, Walk With Me gives a hand to the influence of The Velvet Underground and even stops the spread of electronic sounds of Bristol.
Years:2007

Sounds like:
Velvet Underground,
Noise rock pop
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"Regarding the full length recording "Cell Scape", it has often been stated that Melt-Banana used a drum machine for the recording of this album. However, it has been debated greatly by fans of the album, some of whom argue that they in fact used a live drummer in the studio. In an interview just after the release of "Cell Scape," the band was asked who played drums on the album. They alluded to the presence of a Japanese drum machine. This answer has been by and large unchallenged. Nevertheless, many agree that a close listening to the album reveals that the percussion is provided by a live musician. The stylistic choices of the rhythm section suggest that the drummer may be Dave Witte, though live he has played some of the beats differently than they are played on the album."

Sounds Like:
Noise, Experimental
The Locoust, Naked City

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