REVIEWS

bushmans revengeThis is the second album from young Norwegian trio Bushman's Revenge. The most obvious comparisons to be made are with Rune Grammofon label mates Scorch Trio and Moha! as well as Shining, who guitarist Even Helte Hermansen is also a member of. They explore similar rudiments of fuzzy guitar wailings, riffs the size of Texas and improv wig outs that should keep all those Albert Ayler fans out there more than satisfied. The album opener typifies the tracks that follow. A slouching fist pumper built on a lolloping stoner riff that wouldn't have been out of place on a Sabbath or Hendrix record, both references you will hear throughout the album. The vintage style production lends an analogue warmth to the recordings which further highlights the nostalgic referencing of those woodstock days. The album exudes a certain youthful, good time exuberance that you just cant help but be swept along by. Whilst the tracks are a little generic there is variety in the form of a delicate textural interlude as the albums axis. Their technical skill is evident in abundance but inspite of the collection being far from weak, the album as a whole lacks a certain venom. The result is an album that's both instantly forgettable and foot stompingly infectious in equal measure. -- simon harris.

:: Bushman`s Revenge /You Lost Me At Hello - Rune Grammofon/Cargo.

la nuit electriqueLe Nuit Electronique is the latest release from Zaïmph, American Marcia Bassett's creation. Prolific in her output (this is her 19th release as Zaïmph in 5 years to date), Bassett's music writhes around in sustained turbulent textures impregnated with intensity. The four tracks presented on this disc are a fine example of this. The presence of the usual drone elements (extensive reverb and delay) do tend to wear on this listener, not helped by the usage of white noise also, there are exceptions to the rule, however. The first track is an exception, yes there is a white noise swathe (what sounds like the crackling of an old record) but the surface material is clearer and, in context of the rest of the disc, more interesting. The evocation of an antiquated musical box, continually changing, contracting and expanding, is precisely manipulated throughout much of the fifteen minutes - it is certainly the standout track of Le Nuit Electronique.
        The second, and again untitled, track specifically reminds me of James Tenney's music, it's penetrating and sustained soundworld often alluding to an outright exposition of fury without ever presenting it in a 'conventional' fashion. One is not aware of a moment of vehemence until it has passed, such is the slow progression of the music. Time and our perception of it is probably the most intriguing facet of this music--two of the tracks last over fifteen minutes, another lasting almost nine with one curious offering lasting just twenty-eight seconds. This final brief moment of harsh sonic noise is the only clearly delineated moment where one is allowed to glimpse the true darkness which is obscured throughout the rest of the disc. Its fleeting presence finishes the disc emphatically, at once closing and opening reflections on the album.
    Even with my previous criticism of Bassett's usage of the staple drone elements of reverb and delay, in this music it is (mostly) clear as to why they have been used. The masking of the sounds helps Bassett form more gradual transitions between textures without single events being overbearingly present. Even the name 'Zaïmph', a creation of French writer Flaubert, intimates ideas of cloaking or concealment, the Zaïmph being an ornate bejewelled veil which brings death to any perpetrator that touches it. It is an excellently chosen name, the mixture of concealment and of a possible impending act of violence is omnipresent throughout Le Nuit Electronique.  -- johnny herb. 

:: Zaïmph/La Nuit Electrique - Utech/A-Musik. 

arbouretumA haunting melody over a layed-back guitar duo (Another Hiding Place), wait... next hammering drums and a subtle yet strong voice (Infinite Corridors). "Song of the Pearl" is a very chilled out rock album with various moods which would suit a late night after a concert to bring you back down to earth or an evening contemplating the sunset. "Song of the Pearl" is the third album from Arbouretum and shows a solid foundation in songwriting and instrumental competence. Dave Heumann is the man behind the music. He collaborated with and is accompanied by Cory Allender, Danial Franz and Steve Strohmeier. As in previous albums, Heumann continues with folk melodies over rock instrumentation. However, I wouldn't go as far as describing this as a folk-rock album. It is way too versatile to be hindered by such categories. The album kicks off with a memorable track, "False Spring", with a sound which rings on in the air and mind for a long while. The sound is very much solid and heavy - reminiscent of many Pacific Northwest groups, and the vocals bring a richness which is rarely heard. Many of the melodies, taken from English folks songs, are as familiar as the blue sky. They create an almost homely feel yet the music always seems on the edge of a full on guitar solo. The last track, a fine cover of Dylan's 'Tomorrow is a long time', is an apt closer for Arbouretum. This is an album for guitar lovers, song lovers and times when you just want a damn good record to play and you can't decide from your usual set. --anna johnston. 

:: Arbouretum/Song of the Pearl - Thrill Jockey/Rough Trade.

chatham singersJuju Claudius swings like a big dog's bollocks. This is the second record that Billy Childish has made with this group including his wife Julie on bass and vocals. All the songs are as raw as a prairie oyster, grinding and stomping with unashamed abandon. A gentleman known as 'Budy' Jim contributes lashings of harmonica to the proceedings and it seems that enough stiff liquor was passed around to add an inebriated sway that, against its better judgment, holds the whole enterprise together. This is unashamedly backward-looking music with barely a nod to any musical development since the '50s, but such quibbling is just ....overthinking it. The touchstones here are Howlin' Wolf, Bo Diddly and slightly later groups of hooligans such as The Sonics. More recent 'garage rock' performers have coated their performances with a sticky layer of irony, a knowing wink in case their audience should accuse them of that worst of crimes: sincerity. Here you will find no heavy-handed concepts or sharp-suited wannabes, just serrated guitars, thudding drums and a level of passion that just can't be faked. -- nick ilott.

:: The Chatham Singers/JuJu Claudius - Damaged Goods Records/Cargo.

rauschgoldFollowing on from Peter Grummich's recent 'Dinner Music For Clubbers' mix, Alec Empire has flicked his post Atari-Teenage-Riot fingers through the back catalogue of Staubgold for the second in their series of mix tapes. The label has always been biased toward the darker shades of the experimental spectrum, but this mix really showcases the diversity of the label's output over recent years. Tracks range from the wonky minimal techno of Noze's remix of Kammerflimmer Kollektief (which probably wouldn't be out of place on a label like Perlon...) through the saturated jittering noise of Organ Eye, to a track from Autistic Daughters' recent album and the lazy synth laden warbling of Mapstation. The mix itself strays a long way from Empire's trademark post apocalyptic electro but he makes his own mark in the form of 7 tracks that are dubs or remixes he did himself. These tracks are the real highlights of the album, in particular the closing track, a brooding texture which pulses and shimmers in the gloomy aftermath of all that went before. Staubgold releases are never instantly accessible and always challenge your ear, this album is no different. The mix is lengthy but thanks to the variety and strength of the selection it never tires. It's a genuinely dark record and one of the most eclectic and stimulating mixes I've heard for a long time. -- simon harris.

:: Rauschgold/Alec Empire plays Staubgold - Staubgold/Indigo.

humcrushI must say percussive. Everything. So punctual and precise and clear and crisp, but still with undertones of phat, flanging phases. The main percussive influence is obviously from Thomas Strønen, he plays with such conviction it makes us wonder if he ever had not played jazz drums. Additionally, on the other percussion instrument, the keyboards, Ståle Storløkken intermits Thomas' rambling prose with a whole range of sound sources and modulations. The day the two came together was an epoch for all as they gel so well, playing cheeky question and answer games and the odd musical competition too. Additional to the crazy, jazz hot blood fuelled fights, there are also a few slower more atmospheric compositions. These still have the percussive junctions but generally more of a steady groove. Sculptured soundscapes one could say. In my opinion another great success to roll straight off the Rune Grammofon new and interesting jazz conveyor. You should also really see a humcrush video i guess, or even better live. Sorry i didn`t post that one earlier, not because its bad, in fact, its great!  -- stewart hill

:: Humcrush/Rest at World's End - Rune Grammofon/Cargo.

sum of rIts always interesting to see how the left-field music scene can re-create itself only by collaboration. When you deal with raw output, it's only to be summoned that sharing your rawness with other sound-freaks like you will create something new, interesting with new perspective on your body of work. Switzerland's Sum Of R is a good example for good collaboration - and the way of maximizing the power of three brains to become one. The act started as an experimental side-project of Reto Mäder which go solo under the RM74 moniker, soon to become a full functioning live band which like to bring the vibes of noise and neo-folk with the inevitable metal aroma. Keeping it slow and almost-boiling during the whole time, Sum Of R manage to create a disturbing atmosphere, yet not too pressuring and pushing, with no high peaks or the banal silent-to-noise curve methods that makes most of this body of work being a bit worned-out. The nice thing about this album is that Sum Of R don't really trying to oblige to specific genre but leaning on the mood and the expression of their output. You hear some SunnO))) riffs coming from the back, but then it becomes a post-apocalyptic canadian post-rock, moves into the minor dark-ambient of the likes of Xela and The Fun Years. The album pushed by eternal feedback, epic organ drones and manipulated vinyl loops, but also take the use of random sources and sometimes even some distanced-reverbed vocals mumbling in the background - all of that to create a very nice chaos to swim in, with some strong evoking moments in between. -- omer schwartz 

:: Sum Of R - s/t     utechrecords.com/Drone.