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I wish I still had my Sabrina LP

Why isn't Luomo's 'Smiling Off' mix leaking?
Cos Murphy is probably sitting on it with his fat ass. Somebody steal his iPod.

Afrirampo - 'I Did Are'
Ok I get it, cute Japanese chicks who rock the fuck out. But what, please tell me, is so appealing about these Japanese sisters and what do they have that Deerhoof has not? Apart from this rifftastic wreckage it just won't hit me in the face like it should.

Mt. Eerie - 'Uh Oh It's Morning Time Again'
Very charming guy, I never knew until I saw him perform. He comes across as the shy intelligent kid but once he starts joking, it's on. No Flashback dissapointed me, as well. As it does to so many other Microphones devotees probably. This tune is from his forthcoming Singers album and jesus this is 100 x better. Sounds like he's sitting around a campfire with friends and an electric guitar. Believe it or not; the tracktitle is the hook. Uh oh!

Odd Nosdam ft. Jessica Bailiff - 'Untitled Three'
Oh Jessica! See, Odd gets it right here, he backs off and lets Jessica do the magic. Throws in a modest beat, static droning on, picture perfect. It's a shame he doesn't give her this kind of space on the rest of the e.p.

But whatever, get that new Pelt album, it's huge!


Shine like an '84 jheri curl

Boards of Canada - 'Chromakey Dreamcoat'
Biiiiig metallic synths, shuffling beats, all turning into big clouds of brooding atmosphere. Like a hot and foggy summer day. I can't really remember what seasons MHTRTC or Geogaddi evoked but Campfire Headphase has summer written all over it.

Boards of Canada - ''84 Pontiac Dream'
This sounds really Fennesz-y. Like cathedrals of static caving in slowly while creating gorgeous dust clouds. It's pretty much a chill out track, like a slowmotion beachwalk.

Goldfrapp - 'U Never Know'
I'm not impressed by 'Oh La La' at all. To me Goldfrapp has to seduce me and not lay some kind of party track right in my face. This is more like it. Alison croons her way through a sentimental little vibe. It's more like a mix between Felt Mountain and that one that came out last year or whatever...


Everybody a pimp

Devendra Banhart & CocoRosie - 'Little Monkey/Step in the Name of Love' RENEWED pt. 2
Bianca told me she turned Devendra onto hiphop again. Dude sure looks like a gypsy pimp. He nicks a small cut of R. Kelly's 'Step in the Name of Love' and makes it something entirely of his own. Yeah, those lyrics are so universal, man.

Max Richter - 'Sarajevo'
Goosebumps. Goosebumps. Goosebumps. Goosebumps. Goosebumps. Goosebumps. Goosebumps.

Bloc Party - 'The Pioneers (M83 remix)'
Kele's dramatic voice really goes well with the haunting strings spiralling up and down. This is just trademark M83 stuff, those bombastic washes, like aural waterfalls rumbling through your ears.

edit: I've just put a new ysi of devendra steppin in the name of love on
edit 2: re-upped again


Lowtones 0.01

My first attempt at mixing, ever. Maybe an assemblage is more appropriate. I've stuffed some avantronics up front, sliding into techtrancy stuff by way of Colder and Ciaraaaaaaahhhhh.

Gimme thumbs up if you like it, or take me down if you don't.

1. Todd Dockstader – ‘Aw’
2. Alva Noto / Ruychi Sakamoto – ‘Morning’
3. Amina – ‘Hemipode’
4. Reuber – ‘Überlandweg’
5. Colder – ‘Wrong Baby’
6. Ciara ft. Ludacris – ‘Oh’
7. Studio Pankow – ‘Zitadelle’
8. Ferenc – ‘Diplodocus’
9. Baxendale – ‘I Built This City’ (Michael Mayer remix)
10. Marc Houle – ‘East to West’
11. The Psychonauts – ‘World Keeps Turning’ (Highfish & Zander remix)
12. Superpitcher – ‘Tell Me About It’
13. Holden & Thompson – ‘Come to Me’ (last version)
14. Isolée – Pillowtalk

Download here (74:00 192 kbs)


Chirp motherfucker

Animal Collective - 'Grass'
Ok. This destroys everything. Just when you began wondering how they were gonna evolve from Sung Tongs they blow your brains out with this over the top psychedelic little piece of ruckus. By far the most Here Comes the Indian-like track on the new album. Insanity, yo!

CocoRosie - 'Tekno Love Song'
Hey, at least they admit to being gimmicky. Yeah that's right, playboy, they use hiphopslang in weird folksongs. They paint moustaches on their lips, don't shave their armpits and remain sexy at the same time. Not even Ciara can pull that off. 'Tekno Love Song' is an ode to their past as ravers, being happy hardcore fans. Yeah, wtf. Can't really hear that in the song either. Crunchy acoustic guitar chords sounding like coming out of clockradio speakers dribble by. Intimate. Sierra nails it here with her breezy soprano, can't really compare it to anything. Billie Holliday sure ain't as freaky!

Devendra Banhart - 'Heard Somebody Say'
This is a million miles away from the answering machine tapes he recorded Oh My Oh My on. Pacing along with a candy coated piano melody and sweet haa haa haaaa's. Sounds like Devendra doing an impression of a Magnetic Fields song. Really though, his world is so colourful. Even when he keeps it simple it's gorgeous, this is not simple, imagine the beauty.


Represent from midnight to high noon

With two amazing compilations already in this year 2005 is shaping up to be the year the free spirited end of music is proving it's longevity. By The Fruits You Shall Know The Roots (3CD) (a collaboration between Time Lag and Eclipse) and The Tone of the Universe (= The Tone of the Earth) (2CD)on Pseudo Arcana (buy that shit) represent the best of everything otherwordly.

The Skaters - 'Between Land and Cloud Galloping Through Her'
Going by their name you'd expect punkpop anthems on skipping classes, late night skating sprees through shopping malls or whatever the fuck more. Not these Italian guys though, here they weave vocal loops into a cute and compact four minutes. Should've really been longer. I'm very curious to hear how their approach evolves on a complete album.
On The Tone of the Universe (= The Tone of the Earth)

Birchville Cat Motel - 'I Am But Dust'
I'd imagine the land of The Ring to sound like this. New Zealand's Birchville Cat Motel craft drones that buzz like a swarm of entranced bees. In the distance a steady drumbeat creates a surreal backbone, like there's nothing special going on it keeps a steady pace while in the foreground drones build up to an ecstatic heaven where Loveless quietly enjoys it's influence.
On The Tone of the Universe (= The Tone of the Earth)

Six Organs of Admittance - 'If There's Time, Sing! Sing! Sing!'
You could give Ben Chasny a few broken strings and he'd still be able to hypnotize you with them. This eightteen minute long epic shimmers with acoustic hums and strums while never losing focus and inbetween he sticks an actual song or three. Beautiful stuff.
On By The Fruits You Shall Know The Roots


Deep Covers

dead raven choir - 'first we take manhattan'
It doesn't get any grimmer than this and when i say grim i mean grimmer than Dizzee's grimmest hour, ever. Maybe Simon R.'s grime needs to be redefined, maybe this is what grime should sound like. Maybe Darkthrone should be called the main grime family instead of Roll Deep. Or maybe not, doesn't matter in the end cos when Dead Raven Choir light up their acoustic flame it all goes up in smoke anyway. This cover of Leonard Cohen's classic gets smothered in acoustic rumblings (the group insists they only used acoustic instruments on their insanely dark album, Sturmfuckinglieder) while the singer (Polish, the whole band is) groans with a deep Eastern European accent about first taking Manhattan and then Berlin. Next to him, Cohen sounds like a twee boyscout.

spacemen 3 - 'starship'
Spacemen took a lot of shit during their first years and it only started to come together for them commercially when they imploded on personal levels. The great sonic cues they got from bands like MC5 and Stooges were their driving force, majestic swells of feedback and fx building up to a thick groove that just drones on and on and on and on. On their version of MC5's 'Starship' they loose all the gospel baggage and let it rip for a full on five minutes.

my bloody valentine - 'map ref 41°n 93°w'
For Wire, 'Map Ref 41°N 93°W' was an entrance into pop territory, for Kevin Shields it was just another challenging plate of sounds to get off on. Layering the distorion thickley over the staccato postpunkmelodies it transforms in a transcendent piece of postpunk fantasy, a bonding of the miraculous late '70's postpunk with the sophisticated New Romantic aura and the thick fog of his shoegaze kingdom.


nu day

Gonna stizzart with a new formula sometime this, or next week. Only the most OUTTHERE stuff is gonna feature here so beware of exploding brains and melting hearts when you go here


suspended until further notice

continue here


Magik Markers - I Trust My Guitar etc. (Ecstatic Peace)

No wave was what punk should've been. A nihlistic view on music based on a deep believe in anti art as a form of rebellion. As a hidden reverse for England's blossoming postpunk scene no wave only thrived for a short period of time, frantically making it's appearance with it's wall of terror it deceased as soon the major labels started brewing marketing plans for it's anti-heroes, Lydia Lunch and James Chance. Now, with the greedy plundering of everything postpunk it's only a a matter of time someone would delve into the sounds of the Lower East Side.

While they admit to recently starting to like no wave outfits like Teenage Jesus and Red Transistor what they, in their minds, are trying to convey is a mixture bewteen Bad Brains, Cro Mags and Black Flag. Seems only logical when your abilities are slightly lacking you end up at the no wave clubhouse. I Trust My Guitar, Etc. is their first proper album having released a string of cd-r's with selfmade packaging. This hit me fresh in the face after seeing them perform live at the Belgian K-RAA-K festival in March. Singer/shouter/provoker Elisa managed to come across destructive and charming at the same time which grabbed the attention of everyone in the public, while some might question it's authenticity it's virtually impossible to escape her energetic drive. On record she maintains this frantic rebellion, rather ranting than singing while drummer Pete Nolan pounds the drums with metronomic tribal force. The first side of the LP and the first five tracks of the album are it's songbased core. The part that connects them to the whole no wave era. The titletrack kickstarts the party with atonal guitarbursts that are more rhythmically constructed than melodically. On 'Morris House' Nolan maintains a monotone beat that steadily speeds up, Elisa's vocals occassionally come out of the thick mist laid down by walls of spacious, metallic feedback unleashed by guitarist Leah.

The album's second part consists of only one 22-minute track that sounds like a clash of broken riffs involving Bardo Pond, Shellac and Keiji Haino. Starting with grotesque industrial clatter it slowly manoeuvres itself into a locked groove orientated around more or less semi improvised and effect laden guitar riffs. Not your traditional rock record, I Trust My Guitar Etc. is refreshing, daring and bravely seeking a niche for itself and while it keeps on punctuating my soul I hardly felt this satisfied after hearing a record.


Autechre - Untilted (Warp)

I like this albumtitle. They might have won albumtitle of the year already. Autechre and funny, man, who would've known. Those geeky kids twiddling with selfmade software, squeezing hardcore mathematics inbetween beats. They fuck up logic and rape rationality. It's pretty much unsellable music. Hey, you like to play flippergames, that's Autechre right there for you! People don't buy that. As for me, I don't want to know about essence, I don't care for electronic equipment, architecture built my house, I'm kind of stuck there. What I do care for are the abstract characteristics of emotion and feeling. Feelings you can't predict, the feeling that gives you the most fucked up depression often morph into huge revelations on a personal level resulting in the most beautiful moments in life; change is a likely result and a healthy one as well. Art, musically or otherwise, gives you moments in time to look back upon your emotional history. The way you perceive art is the way you experience life.

Untilted is the most fucked up of Escher drawings. You trick yourself into thinking you 'get' it but you know you don't. You climb those swirling stairs and climb and climb and climb. Where's the end? Where the hell is the start? On Untilted it starts with 'LCC', they give you that, a start but once it's started it's gone, it's no longer in the hands of human rationality. Until you hear a sound that captivates you, makes you think you 'get' it. And just when you start thinking about getting comfortable it's gone, an echo might be the only proof it ever existed.

Also: headphones. You need to listen to this album on headphones, when played in a room it loses much of it's density, ideas get lost in mid-air. On 'LCC' the round 'n' rolling beats intertwine with s&m like whipping effects. Starting off at high speed, slowing down in the middle to make room for an actual kind of melody that gently floats in the background like a young butterfly in spring. They've backed away from the scientific approach they've embraced so much starting with Tri Repetae++ to Draft 7.30. It's much more about fun, at times even sounding like a twee-d down (or up?) version of their harsher, earlier efforts.

This shows on 'Ipacial Section' which isn't so much of a departure from Draft 7.30 but it's vibe is much more playful. Like getting stuck in a nightmarish videogame with Lee Perry on the controls. As 'Ipacial Section' progresses more ideas get tossed in until it struggles to regain it's composure, only to use that renewed sense of vitality to come up with a different stucture that is based on a background of stuttering beats and clicks. Much more than on Confield and Draft, the spaces on Untilted serve a function. They heighten tension, stimulate fantasy. ie. the last two-something minutes of 'Pro Radii', most of 'Augmatic Disport'. They no longer want to examine the architecture of the playground but still, they are, rightfully, very hestitant about the idea of playfullness. Somehow though, it seeps through the pores of Untilted's most rewardig moments. The whole of 'Sublimit' gets it exactly right. Watching AE through a clear lens mess with a fucked up discovibe is truly exhilarating and makes for Autechre's finest moment to date.


Magik Markers - 'I Trust My Guitar, etc'

Maybe not the freshest thing out there today but certainly one of the most exciting bands to rise from the ashes of late 70's / early 80's NYC. Magik Markers are two girls that, er, sing and play guitar and one guy drumming. Young band, too. Normally I'm no fan of girlfronted rockbands but this is another category, this is 'blaow in your face, big daddy, take my foot up your ass and watch me steal the show'. I know, cos I saw them live last month and they rocked so hard it hurt, so good. The screamy female is totally mad on stage and the album kind of captures it, which is really suprising. Lots of bass, heavy distortion, fuck melody.


British Seapower - Open Season (Rough Trade)

In general I get more aroused by a fresh tuna sandwich than by the latest and greatest rocksensation. I'm a fan of the eighties gloom 'n' doompop and hardly a sentimental moaner but there's a difference in between the context bands (not acts) as Gang of Four, The Slits, Pere Ubu, the Pop Group et al played their musics as opposed to the acts (not bands) from today who use the foundation their forefathers layed down, as a gimmick. Bloc Party not included because some bands (Franz Ferdinand not included) just hit the right spot and with a song like 'Price of Gasoline' they actually make a mark about today's society. Strokes, Killers and The Rapture all, boldly spoken, steal their stance from their infamous ancesters. Ironically they take their sport even more serious than the people back then and the haircut that Bravery singer is so proud of wasn't even funny when Morrissy rocked it back in the eighties. Time will kill trends and al but a few will not live to see their names in a Simon Reynolds book.

No clue on how British Seapower will do in a book about retropostpunk but what these young chaps presented on their racuous debut album, The Decline Of..., was and still is very fascinating. Joy Divison comparisons still ring round their names but today that only seems an easy cliche. Open Season is far from a Decline Of Pt. II nor does it compare in any way to Curtis' gang. It's a drastic change from a rusty and quirky postpunksound to a cerebral and luscious popalbum. It's the album that I will time and again return to when I want some pretty music to sing along too. That's a valuable characteristic, in fact, every year needs an album like that. Last year The Dears seemed to have taken the job. And while Bloc Party recently delivered a more than decent debut it doesn't often encourage me to put it on and press play. Open Season on the other hand has been more in than out of my cdplayer. A fallback album I can trust. It has space, it has charisma, it has joy, it has fear, it has, well, it has it all to be honest.

The dramatic and joyeus single 'It Ended On An Oily Stage' sets it straight from the start; they've polished their shoes and their sound. An epic rockanthem like 'Be Gone' settles itself in your mind as soon as it starts off it's sweeping guitarmelody, all in all not too far distanced from the exotic guitarmelodies Smiths guitarist Johnny Marr used to come up with. Lyrically they still hit topics unknown to rockmusic since Morrissey sang about vicars in tutu's. 'Larsen B' even addresses the state of the Antarctic as it's slowly creeping up on us ("desalinate the barren sea").

Singer Yan's hushy and breathy voice might be a little awkward at first in a genre where articulation seems a big key to succes but after a while of course this becomes so tied with the music you can't imagine it any other way. Especially on the quiter parts of Open Season he sings like he's sitting next to you, talking softly about birds, rural scenes and "the coastal regions of his mind". Ballads like 'Like A Honeycomb', 'North Hanging Rock' and 'The Land Beyond' sound so overtly romantic and cosy I can't see any reason to not hit the repeat button again and again.