Tunturia : "Maps" (Self-Released)

To all the people who have been asking, I'm now working over at Angry Ape and (just recently) Grooves Mag. However, I am allowed to post some reviews here, just not the amazing free stuff I get from the webzines. I can post reviews from cd's sent direct by bands though!

So without wasting anymore time, any keen post-rock fans will have heard of Tunturia by now. A terrific recommendation from The Silent Ballet, this is my thougths on their self-released debut "Maps". There is also an mp3 of the wonderful "Cast Shadows On Clouds" at the bottom of the page and is part of The Silent Ballet compilation series.



There is something reassuringly ambitious about "Maps", the self-released debut from Canadian instrumentalists Tunturia. While their name is derived from the Finnish term meaning 'treeless plain', it's Tunturia's ability to construct a swooning, majestic sound that is most striking here. Make no mistake, this is post-rock of the most epic proportions. A sound that summons the atmospheres of daunting, desolate landscapes and invokes images of vast glacial terrains.

Using an array of guitar effects, synths and thought-provoking audio samples, Tunturia have issued a grandiose statement in "Maps". Hailing from the melting pot city of Toronto, this quartet tap into its bustling diversity, defining each of the ten tracks with social, cultural, historical and emotional issues. The grainy audio sample on "Qui Tacet Consentit", for example, is of NRA leader Charlton Heston and deals with his lax attitude towards remedying the powder-keg issue of gun violence in North America.

Both "Cast Shadows On Clouds" and "Echoes Of The Unmoved Mover" anchor this album into the epic post-rock terrains occupied by only a select few. The former moves from celestial, chiming guitar work and echoic sampling that's dripping with nostalgia and into a majestic orchestral passage. The sort of passage the term spine-tingling was created for.

"Echoes..", meanwhile, develops in a more conventional manner. On face value, you may have heard an instrumental passage similar to this one, a hundred times before. But just about when you are ready to dismiss it completely, Tunturia unleash a volley of monolithic, house-leveling distortion that will (quite literally) take your breath away.

Perhaps their crowning moment, though, comes on the 14-minute album closer "Lost In The Hidden Forest". Journeying into the depths of the soul of a faceless man lost in unfamiliar territory, Tunturia seamlessly weave between intricate guitar lines and tentative percussion and into walls of devastating, euphoric noise. It is refreshing for a young band to be so daring and "...Hidden Forest" is sprawling in every sense of the word.

A remarkable debut from a group of musicians with enormous potential. Tunturia: a band with a conscience, a band with big ideas, a band so effortlessly epic that it should be a criminal offence to ignore them.

8.5/10

"Cast Shadows On Clouds" mp3 - Tunturia

Celeste : "Pessimiste" (Denovali Records)

France is better known for electronic exports like Air and Daft Punk, but Lyon hardcore/metal quartet Celeste are here to redress the balance with "Pessimiste", a 12" (limited to 500 copies) featuring 5 tracks of apocalyptic, discordant heavy rock. It's a devastatingly brilliant statement combining the key elements of Neurosis, Will Haven, Red Sparowes and even hints of Explosions In The Sky. Celeste have created a distinctive sound despite being involved in a over-crowded genre.

Listening to the monumental "Diluons Nos Souvenirs D'enfance", is like the equivelent of being hit by a tonne of bricks. It leaves you absolutely flattened by the sheer intensity of its impact. It's stunning five minutes of barbed guitars, explosive throat-shredding vocals and dynamic drums. But you will realise from the outset on opener "Afin de Tromper L'ennui", that Celeste are an uncompromising beast. They don't do things by halves, they go for the throat like a pack of rabid wolves.

Music simply cannot get any heavier than "Car Quoi Qu'il Advienne, Tout est à Chier". Designed to rupture your speaker system (and possibly your eardrums), Celeste weave between dense metal dynamics and intricate Explosions In The Sky style guitar interplay. Then both aspects are combined to near fatal effect. However, amidst the mass of doom, strife and juggernaut riffs, there is a keen sense of melody buried deep in their apocalyptic sound. "De Notre Aversion à Notre Perversion" starts like the tolling of the bells of hell itself, then swerves into a beautiful tranquil guitar passage, before we are escoretd right back to Satan's lair via riffs the size of tidal waves.

Drawing on influences that are both experimental and diverse, Celeste has melted the boundaries of hardcore and metal to create something that is their own. Hauntingly heavy and intoxicatingly melodic, this is metal but not as we know it.

Rating - 86%

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"Afin de Tromper L'ennui" mp3 - Celeste

Yellow6 : "Painted Sky" (Resonant)

Three things in life are certain. Death, taxes and quality releases from Yellow6. The solo project of Jon Attwood, Yellow6 releases have graced the coolest indie labels on the planet, from Darla right through to Make Mine Music. For "Painted Sky" (his 7th album and over 50th release in total), Attwood seems to have found his true home through the Resonant Label who can count kindred spirits like Port-Royal and Library Tapes amongst their roster. Amazingly, this is the first release by a British artist from the UK label.

As a relative newcomer to Yellow6's music (I bought "Disappear Here" around 18 months ago), I was hugely impressed by his contributions to compilations for a few European based labels. It seems, despite the prolific nature of his abiltiy to write songs, quality is rarely a problem. It appears to be the case with "Painted Sky" too, where Attwood has opted to dismantle his sound, instead using just guitar, piano and subdued percussion elements only. It is testament to his abilities, therefore, that his guitar-based experiments here, are some of the most emotive and rich sounding of the year.

"Pleasure/Pain" is an absolutely gorgeous piece of music, with a cool, pronounced melody that combines with frost-bitten guitar work for over eight beautiful minutes. A definite album highlight. Attwood's sound mixes the key elements of cult bands like Bark Psychosis, New York experimentalists Charles Atlas, some of the earlier Kranky artists and even hints of Ennio Morricone. "I Know I Shouldn't (But I Do)", is a superb album opener, like the most affecting Labradford number you've never heard. Full of vivid guitar notes, dripping with melancholy, they reverberate from speaker to speaker. The track becomes more aggressive, towards the end his guitar tone is full-bodied and even a little anguished sounding.

"I Loved You More Before I Knew You Loved Me", comes across like a gigantic music box, with the sounds of Attwood's guitar slowly weaving intricate lines around a shimmering backdrop. "Common", meanwhile, gives us the first hint of the subtle percussion, mentioned in the press release. Using more glacial melodies and guitar distortion, this track is transported into darker territiories with the addition of Massive Attack style beat work and mysterious sound effects.

It is tracks like "Common", "Mare" and "Azure" that prevent "Painted Sky" from being one-paced and repetitive. There is no disputing Attwood's guitar skills, but changes in tempo help space out the driftng ambient passages. Both "Azure" and "Mare", for example, make good use of excellent organic percussion, while Attwood sprays a combination of subtle, distorted and reverbed guitar tones around his canvas. It is a simple, but effective technique.

With over 50 releases its never easy to know where to start with Yellow6. I would suggest "Painted Sky", it contains most of the elements of Attwood's sound. Consistency is never an issue, steeped in emotion "Painted Sky" features several heart-breaking moments . For organic guitar and piano experiments in an ambient post-rock/shoegazer vein, you could do far worse than visit Attwood's back catalogue. But in 2007, he stands shoulder to shoulder with some of his more famous counterparts and "Painted Sky" could very well be soundtracking these last few weeks of Spring.

Rating - 84%

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Library Tapes : "Feelings For Something Lost" (Resonant)

The problem with this 2nd album from acclaimed Swedish duo Library Tapes, is not trying to negotiate the long song titles ( example : "It Was A Cold Day In February And We Walked Across The Lake"). It's finding the right mood or setting to fully apprecite this short collection of sparse piano-led pieces. Listening to this when driving is a no go, too many distractions. Similarly, loading this onto your Ipod and for use when travelling on public transport doesn't work either, the background noise would drown out 75% of the sounds on "Feelings For Something Lost". I found sticking this on repeat, dimming the lights and reaching for a good book (I chose Ian Rankin's excellent "The Hanging Garden") is the best way to sample this album. I often find this method allows the music to slowly edge its way into your subconscious and that proved to be the case here.

I got this album on the basis of some excellent reviews and one truly outstanding contribution to the Miasmah "Silva" compilation. This was a distortion heavy piece that really did have me thinking that the world had finally found someone to carry on Labradford's work. So it came a s a surprise to find this album contained little more than muffled piano arragements, field recordings, tape hiss and static sounds. A little disappointed, this one was consigned to the nether regions of my Ipod playlists.

However, through the methods described above, I have managed to stretch some enjoyment from this album. "Lives Running Low Through 7th (The Shame Of It All)" starts with low-key storm sounds and adds some beautiful piano playing that resembles a toybox. Barely one and a half minutes long, it sounds as if it was recorded in a darkened attic. Restraint is the key here, the spaces betweem notes are important. "Departures (Burning Saints For Your Own Sins)" is an unsettling mix of wind sounds, gurgling noises and a vacuum of wailing guitar feedback, that is so far back in the mix that it is hardly audible. But there is a feeling that a lot of the short tracks on this album are out-takes from previous recording sessions.

Lasting just 28 minutes, this release would be better suited as an Ep. Although, the length of time it takes for "Feelings... to register anything of note would suggest otherwise. There are some inspired moments, such as the lonely piano of "Feelings For Something Lost In Two Parts" or the rain-soaked ambience of "It Ends With A Version Of Keeping Reminding About What Once Where". But, the majority of the music is rather forgettable, making this record a challenging experience at best. However, I will reserve judgement until their next release "Höstluft" surfaces, which should see light of day in June 2007 through Make Mine Music.

Rating - 62%

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Grinderman : Self-Titled (Mute Records)

"Foul-mouthed, noisy, hairy and darn well old enough to know better" reads the Grinderman press release. This is not what we expect of Nick Cave, along with three of his Bad Seed conspirators, at this stage of his career. Approaching the ripe old age of 50, most artists are content with nostalgic arena tours where they recall past glorious in front of over-zealous audiences. Cave, though, has chosen a completley different path. Maybe it was a pact with the devil in exchange for his soul, but on this form there is no stopping rock's main hellraiser. Grinderman are a hard-drinking, hard-rocking garage rock band that recalls the spirit of MC5 and The Velvet Underground.

Stripped down to the bare essentials, Cave even learned the guitar for this album. He is joined by Warren Ellis on Fendocaster duties, Jim Sclavunos manning the drum stool and Martin P. Casey holding it altogether with some dirty, distorted bass. This Grinderman experiment is said to be the way forward for future Bad Seeds releases. Let's hope so because this album is tremendous from start to finish, with Cave in particularly fine form.

His lyrics are brutally personal ("My face is finished, my body's gone, and I can't help but think up here, in all this applause and gazing down at all the young and beautiful, with their questioning eyes that I must, above all things, love myself"). They are wickedly funny too, on the same track, "No Pussy Blues", Cave bemoans his lack of luck with the ladies with this classic line: "I sent her every type of flower, I played the guitar by the hour, I patted her revolting little chiwawa, but still she just didn't want to...". Of course, this is all soundtracked by rapid-fire basslines and staccato drumming. It's honest and angry, with the band unleashing their vitriol with furious wah-wah guitars and pummelling percussion in the chorus.

Despite being labelled a garage-rock band, Grinderman are far from limited. On the eponymous "Grinderman", Cave shows us why he is the closest thing to Jim Morrison, with a performance that summons the shamanic spirit of The Doors poet. "Love Bomb", on the other hand, is a greasy blues-based track with waves of wailing guitar. While, "(I Don't Need You To) Set Me Free" returns to that vintage Bad Seeds sound. "Honey Bee (Let's Fly To Mars", however, is the album stand-out. A fast-paced, dynamic rythmn, howls of discordant guitar work and kooky, horror movie organ sounds are mixed to terrific effect, giving the impresssion that this would be an absolute show-stopper if the band ever toured this album.

Grinderman, therefore, is a massive slap in the face to those who doubted Nick Cave & The Bad Seeds. In these days, when BBC Radio don't play your records because your not on their cool list or because your over 40 years old, this record gives the middle finger to all those who place unfair expectations. The older you get, the more retrospective your material should be. This is a school of thought shared by media and (some) fans alike. Not so!, says Cave and his cohorts. A mid-life crisis?, not a chance!. This is the sound of a band showing us young upstarts how it should be done.

Rating = 87%

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Myppa : "Altruistic Behaviours" (Herb Recordings)

Following on from Zerova, Martin Czajka is another Polish import from Herb. Recording under the moniker, Myppa, he creates organic electronic music that delights with it's child-like nature and simplicity. Each of the nine tracks on "Altruistic Behaviours" are perfectly crafted slices of electronica that employs looped vocals (that recall Sigur Ros), colourful melodies and innovative rythmns.

The album's title track comes across like Sigur Ros clashing with the playful nature of Khonnor, while "Gydppa's" combination of a heart-warming melody, innocent samples and gorgeous string arrangements is magical. The seven minute long "Ledesma", meanwhile, points to an Album Leaf influence, with a stuttering rythmn and hazy tones that builds eventfully for its duration, before subsiding into the next track, "Kindergarten".

"Kindergarten", itself, is the album's best track and is a little surprising given the playful nature throughout the rest of "Altruistic Behaviours". A slow moving ambient passage, that consists of ethereal drones and some chiming sounds, it's repetitive nature will soon cast a hypntoic spell over the listener. Giving a rather tranquil impression to the end of this album.

"Altruistic Behaviours" is another lovely release from Herb Recordings, its childlike naivety is part of Myppa's charm and has you wondering if Martin Czajka really is that little cartoon child on the cover of the album.

Rating - 78%

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Ben Frost : "Theory of Machines" (Bedroom Community Label)

Icelandic music seems to be taking over my life at the moment. Ok, Ben Frost was born in Melbourne so isn't technically Icelandic. He has, however, lived in Reykjavik for over two years now and some of that Scandinavian magic must have rubbed off in him. It was in Iceland's capital that he met "Theory of Machines" collaborator Valgeir Sigurðsson. Coming to prominence through the severely limited "Steel Wound" LP, and thrust into the limelight via remixing duties for Björk, Frost has created "Theory of Machines" and it is a jaw-dropping effort that ambigiously mixes noise-rock, dirty and distorted electronica and apocalyptic synths. Released on the close-knit Bedroom Community label, Boomkat recently hailed "Theory of Machines" as 'the future of electronic music'. For once believe the hype, Frost is the real deal.

The 10 minute title track sets the tone immediately, summoning Aphex Twin's non-conformist spirit as slow drones drip from your sound system, they are over-lapped with cascading string arrangements. Layers upon layers of distortion are heaped into the mix, like the sound of a million machines about to wage war on all mankind. We get our first taste of Frost's fragmented programming abilities around the 5 minute mark with some immense hazardous, broken beat work. "Stomp", meanwhile, comes across like Autechre on anti-deperessants. Its all clicks and cuts and dynamic basslines. Some Thurston Moore style lo-fi guitar work edges its way in with those fragmented beats, before subsiding. Leaving us with an ominous sounding build-up of synths that evokes images of barren wastelands.

The stunning "We Love You Michael Gira", a tribute to the Young God Records owner (and former Swans member), follows and displays Frost's arbitary approach to making music. The rule book is completely torn-up and shredded during this pioneering track. Ill-boding synths slowly unfurl as obscured noises and bleeps float around them. A lonely piano note can be heard in the distance as ear-shredding static scratches across the mix. Those scratches develop into crashing waves of ruptured beatwork and interference, like the sounds of ghosts trying to break free from your sound system.

The noise-rock interlude of "Coda" offers only a brief respite, as "Forgetting You Is Like Breathing Water" throws the listener straight back in, head first. Returning to the dark and epic terrains of previous tracks, it comes across like a more subdued version of that collaboration between Japan's Mono and World's End Girlfriend. The brass section towards the end provides a fitting climax to this spectacular album.

In the early 90's Autechre redefined the boundaries of electronica, through "Incunabula". With "Theory of Machines", Frost has smashed those boundaries into a million little pieces.

Rating - 93%

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Ölvis : "Bravado" (Resonant)

While his Icelandic counterparts Sigur Ros and Prince Valium are keen to explore the more glacial aspects of music, Örlygur Þór Örlygsson prefers to make music that is a little more out of this world. "Bravado", his third album as Ölvis (pronounced Elvis) is littered with mantra-like vocals and showered in dense and sparkling instrumentation. Over the course of the album, Örlygsson provides some hypnotic and and alluring melodies throughout the 14 instrumentals and vocal tracks.

Following on form the critically-acclaimed, "Blue Sound", "Bravado" reads like a 'who's who' of contemporary Icelandic music with members of Amina, Sigur Ros and The Apparat Organ Quartet cropping up throughout as guest musicians. "Dream On" is a grandiose track that evokes images of vast, starlit skies. Touching into the neo-psychedelic region occupied by Mercury Rev, it is a majestic instrumental.

"Go Ape" follows and particulalrly highlights Orlygsson's rich, booming baritone. Which is, in turn, soundtracked by playful percussion and reverbed-drenched instrumentation. Lyrically. "Bravado" is said to touch on his disillusionment with global capitalism and the USA's attempts to control everything. Although for most listeners it would be hard to tell, as 95% of this album is sung in his native Icelandic. Meanwhile, song titles such as "Vincent Price", "War Chant" and "Song For Love" don't give too much away either. I'm not sure how much of an influence, if any, San Francisco-based dream-rockers Bethany Curve were during the recording process, but on "Wake Up Now" the gothic tinged vocals, slowly unfolding melody and echo-drenched sounds recall some of their finest moments.

Stand-out tracks?, there are many, this album is consistently strong. Although there are some fine moments at the start, the best tracks seem to be clustered towards the end. "Fight The Power" is notable for the Richard Ashcroft style vocals, albeit an Icelandic version. But it is Örlygsson ability to marry a simplisitc, but pleasing, melody with mechanical percussion that makes this one so appealing. Special mention must also be given to the sprawling album closer, "Merge With The Infinite". A spectacular ending that veers between an immense cinematic soundscape and some prog-rock influenced percussion.

Over the course of 14 tracks (or just over 45 minutes), Ölvis constructs dense and colourful music on "Bravado" that glides through several genres. Dream pop, psychedelia, space-rock and even hints of electronica and post-rock are all touched on, yet there is something remarkably distinctive about his sound. Easily one of the most listenable albums so far this year. If Sigur Ros are everyone's favourite Icelandic friend, then Ölvis is their slightly weird, spaced-out cousin.

Rating = 88%

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Beautiful Lunar Landscape : "Alone In This Dark Romantic Night" Ep (Self-Released)

Right from the opening strains of this Ep, it is clear that there is something special about French collective Beautiful Lunar Landscape. Recalling the start of King Crimson's "21st Century Schiziod Man", eerie drones and organ sounds drfit from speaker to speaker during the intro of the incredibly titled opening track, "Projected In This Beautiful Lunar Landscape Imagining This Glorious Chaos As A Ghost Of Myself". It soon morphs into a sprawling, interplanetery guitar experiment. The frenzied percussion and spookish theremin sounds launch this track into another dimension. As the band slowly lessen the pace and gradually move into an ambient passage, you are left wondering, did that really just happen?.

But then, further investigation into the Bordeaux-based band reveals that BLL are an immensely talented bunch. It is difficult to pinpoint their sound, there is so much going on throughout the four mini-epic's on this Ep. For a start there is the gargantuan waves of distorted guitar work, that nods to Radiohead's Jonny Greenwood, which literally can rattle your speakers, while there is a disitinctive Portishead influence which weaves it's way throughout the whole Ep. Then there is the appreciation of the dynamics of all those great shoegazer bands, while swirling mellotron sounds recall 70's prog rock bands, you know the one's it is supposedly not cool to like anymore.

Have you ever wanted to hear what Portishead would sound like melded with a shoegazer aesthetic?. Well listen to the title track of this ep and wait the whole five and a half minutes to hear some of the most incredible double kick-drum percussion this side of Slayer's Dave Lombardo.

It is not just the instrumentation that points to a progressive influence, though. Song titles such as "Crystalised, Facing This Empty Screen I Wish The Film Couls Never End", suggests more than one band memeber has a fondness for Yes albums or those wonderful kaleidoscopic double gatefold sleeve LP's from the 70's. The track itself, is a slow and brooding effort, that soon cuts to some male/female vocal parts and then to a mystical sounding spoken word part. It all soon subsides with some Greenwood inspired guitar chops and then falls into a monolithic assault of ear-shredding distortion and powerful percussion. It is absolutely, spell-bindingly brilliant.

Final track, "Tomorrow, I'll Be Born Inside An Eternal Beginning", changes tact relying on mournful synths and tentative guitar work to start with. When the drums do kick in, along with a space station style countdown sample, you are left mesmerised by the expansive and wide-reaching nature of the sounds BLL can create.

At 25 minutes long and spanning just 4 tracks, Beautiful Lunar Landscape have created some breath-taking moments. In fact some bands have had 10 year long careers and still not came close to hitting some of these heights. It is a travesty that a band this talented and creative are unsigned because music this good deserves to be propelled skywards and beyond.

Rating = 84%

Also, a quick thanks to Sean, at I Work At Initech, who pointed this great band out to me

Arcade Fire : "Neon Bible" (Merge Records)

How does a band follow up one of the the best and widely acclaimed debut LP's of all time?. If the band in question is Montreal's Arcade Fire, then they would draft in an army of musicians (including a Hungarian orchestra) and an arsenal of weird and wonderful instruments to record the expansive and ambitious "Neon Bible". Released to near mass hysteria worldwide, a debate rages on. Is "Neon Bible" as good as "Funeral", their jaw-dropping debut?. I'm not so sure, but the Canadian collective have given it their best shot, in any case.

Whether you like this album or not, whatever camp you sit in, you cannot deny quirky opener "Black Mirror", complete with Phil Spector style wall of sound production techniques, is a brilliant slice of euphoric rock. Featuring, the soon to be immortal line, "Mirror, mirror on the wall, show me where them bombs will fall", imagine tens of thousands of fans chanting this along with Win Butler on a muddy festival field. Sounding like an amalgamation of David Byrne, John Lydon and Elvis, the beanpole frontman has the charisma to be one of the great rock n'roll stars.

"Keep The Car Running" was a terrific set opener at Glasgow's Barrowlands last week and is worth mentioning for the use of a hurdy gurdy alone . Such cool instrumentation can be found throughout "Neon Bible", and on this occasion it complements the incessant rythmns that soon give way to a hugely infectious chorus. "Intervention", meanwhile, kicks off with a dramatic blast of church organ, as wailing guitars, twinkling glockenspiel and incredible percussion drives this track along. The line "working for the church, when your family dies.." is sure to raise a few eyebrows in bible belt USA.

"Black Wave/Bad Vibrations" is another sensational moment here and initially recalls some sort of dark 80's synth pop track. Trading French and English lyrics, "Black Wave.." soon unfolds into a breathtaking mass of female and male vocal harmonies. Right now, there is no band on the planet that can match music this heavenly.

"Neon Bible" maybe lacks the instant nature of "Funeral", but tracks such as the Hawaiin-tinged "Ocean of Noise" shows the band have tried to vary their sound. In this case it works a treat, with Reggae influenced guitar picking colliding with Summery synths and rolling waves of percussion. It soon developes into a dazzling chorus that transports you to the ocean front, before ending with glorious sounding Mexican horn sounds courtesy of Calexico's Martin Wenk.

However, the reason why "Neon Bible" doesn't quite top "Funeral" for me, is that some of the songs fall flat on their face. The rather dull title track, for example, seems oddly out of place near the start of the record. While "(Antichrist Television Blues)" veers a little too close to Springsteen AOR territory for my liking. Although, if you can get past that horrible comparison, then I suppose it's not so bad.

Thankfully, this is only a minor issue on "Neon Bible" and tracks like "No Cars Go" are utterly sublime. A reworking of the track which was initially found on their self-released ep from a few years ago, this is undoubtedly the album's best moment. With jagged percussion and a driving bassline, the male/female vocal duelling combines brilliantly with lush string and brass arrangements. It seems to encompass everything that makes Arcade Fire so great. Just after the 4 minute mark, the Montreal collective will send you into sheer ecstasy, with possibly the greatest, singalong chant ever put to record. It is half marching band, half stadium rock and potentially song of the year. You cannot help but join in.

Ending with the massive-sounding, soul influenced "My Body Is A Cage", "Neon Bible" is an ambitious attempt by Arcade Fire. Much more varied than "Funeral", the sheer volume of ideas occasionally lessens the impact of certain tracks. But then, it is one of those records that seemS to get better with every listen and soon turns out to be equally as rewarding as their debut. The early 90's belonged to Nirvana, Radiohead soundtracked the millenium and beyond. Perhaps it will be the job of Arcade Fire to take over the mantle as the world's next important band.

Rating - 85%

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"Black Mirror" mp3 - Arcade Fire

Bury The Sound : "Autumn Magnets" Ep (Self-Released)

Since starting this site, nearly a year ago, several young bands have been kind enough to forward some of their material to me for review purposes. There is nothing more exciting than recieving a CD in the post from an undiscovered band. It is a joy to research these bands and I am pleased to say that, more often than not, the music tends to be of high quality. You may remember the Romance of Young Tigers review from December, I still take great pleasure in recommending that wonderful, but genrally undiscovered band, to anybody who will listen.

Melbourne quartet, Bury The Sound, are another band currently on the lookout for a new label and judging by their 3-track Ep, "Autumn Magnets", they won't be waiting too long. Operating in the stratosphere somewhere between early Mogwai and the unpredictable space rock genre, "Autumn Magnets" provides some wonderfully dynamic slabs of instrumental rock. Rich guitar melodies mesh with thundering bass work, while keyboard washes provide a nice psychedelic element throughout. It is all held together by some interesting percussion that recalls the more complex nature of a few post-rock artists.

Although there is nothing particlarly ground-breaking about Bury The Sound's music, it shouldn't matter. Especially when tracks like the powerful opener "What Would One Become" rock harder than Lemmy, Ozzy and Jimmy Page together on a 72-hour Jack Daniels bender. The guitar work here is so thick with melody that it almost floods through your speakers. Using an array of effects, guitarist Tim Clarke has developed a vibrant style. The creamy guitar notes around the 4 minute mark, for example, is testament to this. Building purposefully, with some nice Mogwai style guitar interplay, this track erupts skyward with a massive wall of spacey distortion.

Guitar notes intertwine with some psychedlic synths to open next track "Saratoga", with each note deliberately and delicately urging the band forward. However, rather than go for the predicatable post-rock explosion/crescendo route, the band instead opt to let the track drift out with a space-rock jam that features a gorgeous bass melody that recalls "Ten Rapid"-era Mogwai.

Rounding things off with the Floyd-tinged stylings of "Gemini Unbound", dreamy, reverbed guitars can be heard in the distance while a subdued piano line takes the lead. Once the listener is lulled into a false sense of security, the full band kick into action, proving that Bury The Sound are as tight a unit as they come. The instrumentation, particularly towards the end during those rockier moments, is executed expertly.

All in all, it is impressive stuff from the Australians, encompassing a myriad of their influences, but over the course of the 25 minutes they manage to stamp their own authority over the sound. Their expansive guitar-driven soundscapes shows some real potential, so here's hoping a few record labels sit up and take notice.

Rating - 73%

Zerova : "I Think We've Lost" (Herb Recordings)

Zerova, a Polish quartet, relocated from the pressures of city life to the more rural surroundings of the Polish countryside in Bialystock to record this rather tremendous album. Formed after seeing Mum perform in 2003, Zerova create music much like their Icelandic heroes, but also bring their own unique Eastern European flavour. Laid-back guitar work, pitter patter beats, hazy vocals and glacial keyboard tones combine to make music that sounds like it has been created by little furry creatures, rather than human beings.

I have to be honest here and mention the fact that I could not get past opener "Fukka'jo" the first time I heard this album. It is so infectious that I must have hit the repeat button at least 50 times and this one is easily the most played track on my Itunes. Thae large wave of distorted guitar around the 3 minute mark is magical and works brilliantly with the spluttering beats.

Touching on genres such as post-rock, glitch, electronica and ambient music "I Think We've Lost" is an imaginative and compelling release. There is a certain innocence about the way "Drift" unfolds with understated beats and sweet clarinet notes. Elsewhere, "Unnamed Place" makes use of hazy Khonnor-esque vocals and beats that are so delicate, that they sound like milk bottles clinking together. In fact, the programming throughout is particularly innovative and it is merged with soft electronic notes to give a remarkably polished, but lo-fi sound.

It's difficult to pick a stand-out track, all ten are of the same quality. It might be the inventive bubble-beats of "Today I've Passed The Barn" that catches your attention or the driving Indietronica of "You Won't". But each track is almost irresistable and the result is this exuberant little album. I could easily go on about other tracks such as the beautiful "Crickets" or the chirpy "Water House", but in keeping with the tone of the music of "I Think We've Lost", I'll keep it short and sweet. Just order this album.

Rating - 90%

"Fukka'jo" mp3 - Zerova

Shamanic Technology : "Doorways" (Herb Recordings)

Having described the music of Shamanic Technolgy on these pages as "brilliant anthemic and euphoric electronic music", "Doorways" is an album that I have been anticipating for some time now. A mix up of some sorts at the Herb HQ meant it was delayed for a good few months. But it is now out there and the overall signs are good, it has been worth the wait.

For the uninitiated, Shamanic Technology is the work of Bournemouth based producer Chris Hare and the project was designed to allow him to break free from the shackles of dj'ing in the UK club scene. "Doorways" is his answer to those rigid club rules and is an album in a similar head-nodding vein to labelmates Rubens, only it is presented in a much darker manner.

The crystal clear production and crips beatwork immediately sets this album apart and is testament to the 2 years it took Hare to write and record. Recording as Shamanic Technology has allowed Hare to breathe and develop a largely distinctive sound. Of course, everyone has their influences and "Doorways" vaguely recalls the likes of Plaid, Boards of Canada and even a bit of Amon Tobin.

There is a sense that a lot of thought has went into this album in terms of making a unique sound, with Hare expanding on the template outlined by the aforementioned artists. Psychedlic melodies collide with broken (but clear) beatwork and frequent spoken word samples that gives this album a dynamic aura. More often than not, "Doorways" sounds fantastic.

Last December Herb Recordings donated an mp3 of "Electronic Therapy" to this site for people to sample the mood of the album. It was an excellent choice because it is indicative of Shamanic Technology's overall sound. One of the more accesible numbers, back in December I described it as a track full of "satisfying and snappy beats and urgent synths" and I stand by this statement. It also reinforces the anthemic quality of Hare's music.

"Pathseeker" shows Shamanic Technology in a different light and is more playful in nature. Basing the track around a hazy, floating melody, the meticulous programming provides a perfect backdrop. The crackling beatwork of "mIrRoRs" further enhances Hare's reputation of adept producer, while listening through headphones reveals several subtle enhancements that may go unnoticed on first listen. "Toy Vision", meanwhile, features a twisted toybox melody that soon mutates into a segment of synth bubble melodies and elastic beats. The simple but full-bodied sound quality helps to propel this ambitious number forward.

"Doorways" is a distinctive statement form Shamanic Technology. Amid the gifted production style, clear-cut beats, interesting vocal samples and darkened melodies, a huge amount of ideas are bursting to get out. At times it's playful, elsewhere it's trippy and others it's downright evil sounding. But the overall ambition ensures that "Doorways" remains an eventful experience and it serves to stretch electronica into some uncharted territories.

Rating - 80%

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"Toy Vision" mp3 - Shamanic Technology

Prince Valium : "Andlaus" (Resonant)

Thanks to Sigur Ros and their tremendous recorded output, anything that has even a vague link to Iceland has me producing my credit card to online distributors without even stopping think about it. So you can imagine my disappointment when I wasn't overly impressed by this effort, by the Icelandic Prince Valium, when it arrived. I bought this album in the first week of January and was completely indifferent to it after the first few listens. For a start, every track seemed to follow the same structure of glacial atmospherics, dark e-bowed guitar and some less than inventive beat programming. In short, I initially found it a tad monotonous For the best part of January and most of February, this sat on my desk gathering dust until I decided to give it one last chance. It was then that it all began to click into place.

Prince Valium is the work of Þorsteinn Konráð Ólafsson, who is also one half of ambient/electronica duo sk/um. Under his Prince Valium guise, Ólafsson creates music that is reminscent of Sigur Ros' polar e-bowed guitar soundscapes and marries it with nostalgic beat work. The overall sound of "Andlaus" is deceptively massive, the echoic atmosphere is such that it sounds as if it was recorded in a large cave of ice.

The first two or three tracks, although pleasant enough slices of post-rock/electronica, glide past without leaving much of an impression. It isn't until the fourth placed "Afsal", that Prince Valium's potential starts to shine through. Melting away the glacial exterior, there is something heart-warming about the shimmering reverbed guitar melody. Combined with soft, synthetic drums, this is "Andlaus'" first moment of real beauty.

Much like Sigur Ros', the music here is expansive and epic. It must be a national requirement for the natives of Iceland to learn how to e-bow a guitar. It seems all Icelandic musicians are at it, but it does seem complement how I imagine the Icelandic landscape. "Tómleikar", a brooding, icy ambient passage contains some of this slow-moving, guitar work, as does "Redecorations In Four Dimensions". Only the latter, adds a touch of melancholy creating a wintry and soothing soundscape.

Having initially labelled "Andlaus" repetitive and boring, it is a pleasure to announce that I have been completely won over by this album and "Burning My B.A" is one of the tracks that turned it. It sounds as if it was recorded deep somewhere in the Arctic, the stuttering beatwork, wind sounds and booming melody soon envelopes you in frosty blanket of sound. "Guð Blessi Þig", the final track on the album, makes a mockery of my attempts to brand this album as repetitive. Completely changing tact, swirling mellotron sounds soon develop into an eerie circus style melody, the beats are a throwback from sometime around the mid-80's, recalling some of Vangelis' work. It is a sinister end to "Andlaus", but ultimately a brilliant one.

You have two choices with "Andlaus": Firstly, you can be initially pretentious like me and brand this album as poor man's post-rock/electronica, without giving it a proper chance. Or you can let the music unfurl at its intended glacial pace and embrace its ice-cool charms, crystalised melodies and some of the finest e-bowed guitar work this side of "Takk".

Rating - 73%

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Wes Willenbring : "Somewhere Someone Else" (Hidden Shoal Recordings)

Walking to the train station one chilly Saturday afternoon, the previous night's excess ensured that my head felt as if it had been trampled on by an elephant. Such was my hangover, music was the last thing that I needed. However, the walk to the station is quite boring, so I decided to load Wes Willenbring's "Somewhere Someone Else" onto my Ipod and with seconds of album opener "Aperture" the pain in my head seemed to subside. It didn't matter that ferocious looking rain clouds were forming overhead, everything at that moment made perfect sense.

Wes Willenbring recently moved to San Francisco where he has created this gentle and multi-textured album of atmospheric piano and guitar based pieces. Percussive elements are completely eschewed in favour of soft piano tones, warm drones and beautiful guitar work. Bringing to mind artists such as The Dead Texan, Labradford and Eluvium, Willenbring has managed to add something new to this genre.

The music here slowly unfurls, while layers of differing melodies are carefully added. The shimmering beauty of "As You Fade Away" is a prime example of this, two or three drone-melodies float together while softly plucked guitar notes intertwine. It's an intriguing combination that seems to take its cues from the wall-of-sound approach of bands like My Bloody Valentine. "Small Reminders" helps to fill the gaping hole left by the absent Labradford. Dripping with melancholic guitar work, each note and tone is deliberately placed. You don't notice the lack of precussion, the hypnotic instrumentation ensures that.

It is hard to pinpoint exactly what places one ambient album over the next, but with "Somewhere Someone Else" you can make no mistake. The vast, luxuriant soundscapes transport you to another world. "Reverie", for example, starts with reverbed guitar work that soon meshes with unearthly drones. Within seconds you become immersed in its thick, liquid sounds. It becomes apparent that the only way to experience this album properly, is through your headphones and at full volume.

It's hard to pick a favourite track here, such is the quality of each composition. Every single track provides an alluring listen and Willenbring's meticulous attention to detail catapults this album ahead of its peers. At a push, I would pick penultimate track "Lost Illusions" as my favourite. It is four minutes of pure ambient joy. This cerebral effort features some of the nicest guitar plucking I have heard so far this year, it's brooding and nocturnal again recalling Labradford. It moves at almost glacial pace.

Hidden Shoal are fast carving out a niche for themselves in the ambient/electronica market. Following on from Slow Dancing Society's "The Sound of Lights When Dim", Willenbring's "Somewhere Someone Else" is a tremendous affair of restrained, multi-layered and hypnotic soundscapes.

Rating - 87%

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Arc Lab : "No Spectre" (n5md)

Toronto is a city that has a place in my heart. Having spent several months there in 2005. immersed in its cultural diversity, laid-back atmosphere and friendly people, I returned for a visit late last year. It was during this brief holiday I first came across Torontonian down-tempo electronica producer Arc Lab, aka Medard Fischer. I stumbled across a rather cool record shop, Penguin Music, whose sole reason for existence, it seemed, was to cater for my tastes. It had a wall for recommended releases and I left with several shiny new cd's. One of those cd's was Arc Lab's "Nineteen Floors" and although the album wasn't particulalrly ground-breaking, it certainly piqued my interest.

Fast forward to 2007 and Arc Lab has had his new record "No Spectre" released by n5md. Firstly, I would like to nominate this album for having the best cover of the year so far. It marginally beats Tobias Lilja's evil raven eye cover, with remarkable close-up of obscured tree leaves that seem to emit more shades of green than I thought was possible. It hints at an organic sound on "No Spectre", but nothing could be further from the truth.

The press release for this states that n5md have returned to their roots with "No Spectre" and it is a predominantly machine made release, save for the occasional female vocals which crop up now and again. It is a fairly consistent effort from Fischer and he has developed some very well-honed programming skills. The production and beatwork are crisp and precise here, while the fresh synth textures and chiming melodies provide some nice flourishes. But, there is a nagging feeling that this is a lab-based production and it lacks the emotional depth of (previous n5md releases) SubtractiveLAD's "No Man's Land" or Last Days "Sea". At over an hour long it feels cloned and repetitive in places, treading over well worn paths.

But then, an album doesn't have to be ground-breaking to be enjoyable. Opener, "I'm All Vectors" is a refreshing slice of downtempo electronica statting with a couple of minutes of oriental sounding chimes, that build with static sounds before floating beats emerge in the mix. However, a number of tracks employ this strategy and the lack of variety soon detracts from Fischer's obvious production skills.

As a stand alone release, some of the songs on "No Spectre" could turn a few heads. "Versions" features cool robotic programming and chiming bell melodies, that are wrapped around with guazy synths. The muffled sample of people chatting at some bar is a nice touch before those crisp beats come back into the fray. "So Much For No Surprises", meanwhile, offers a respite from the chimes and lightweight beats. It has a rougher edge to it, even bordering on the sinister sounding. The beats are more forceful and particularly inventive and the harpsichord style melody towards the end is gorgeous.

Things pick up a little towards the end and tracks like "Plays Tim Arndt" falls into an excellent segment of uptempo beatwork, throbbing basslines and twinkling synths. While, "The Past" features some alluring female vocals, that gives the album a much-needed human touch.

"No Spectre" is by no means a poor release, any fan of the likes of Arovane, Donato Wharton or Autechre will undoubtedly enjoy this. But, given the quality of previous n5md albums, something doesn't quite click into place. It lacks the emotional impact we have come to expect from the innovative label and while it is carefully constructed and expertly produced, it is a liitle too synthetic for my tastes.

Rating - 65%

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Explosions In The Sky : "All of a Sudden, I Miss Everyone" (Temporary Residence)

Explosions In The Sky need no introduction, the Texan quartet have set numerous standards with their previous albums. 2003's "The Earth Is Not a Cold Place" is considered by many, as a benchmark album of the post-rock genre. Since then, many have tried to match it, most have failed. In fact, I would go as far to say, that the thousands of acts who have aped EITS sound, have almost succeeded in cheapening its value.

However, it's 2007 and "All of a Sudden, I Miss Everyone" is out and EITS are not messing about. They are back to reclaim their throne, from the legions of poor man's post-rock bands, and they mean business. "The Birth and Death of the Day" heralds their return with a rattle of guitars, bass and drums within the first 30 seconds. It's a real statement of intent and after a couple of minutes of intense build-up this track explodes into a crushing, galloping rythmn, resembling the charge of a cavalry at the start of an ancient war. I will eat my hat, if this is not the set opener on their forthcoming tour. The glorious start and triumphant chorus of "The Birth and.." would be worth the admission price alone.

The good thing about "All of a Sudden..." is the Texan quartet haven't screwed with their sound too much. There are no "Kid A" style left turns here, asides from the slightly forced sounding piano washes on "So Long, Lonesome" and "What Do You Go Home To?". But we can forgive a band for experimenting, can't we?. Besides, give "What Do You Go Home To?" a few more listens, the melody will burrow itself into your head and it will catch you in the back of the throat.

The main problem here is the fact that the album has been leaked on the net for over 3 months now, enabling people to form their opinions and basing them on poor quality mp3's. Most have dismissed this album as a poor return from EITS. Upon hearing the stunning 13 minute "It's Natural To Be Afraid", complete with the trademaek intense build-up, followed by a volley of heavenly, cascading guitar interplay, I would have to disagree. It's a near flawless return, with some of the tracks having real potential to become crowd favourites. It is as if they have never been away.

My only (minor) gripe is that not one track stands out over the other. "The Earth Is Not..." had "Six Days At The Bottom of the Ocean" and as gorgeous as the likes of "Welcome, Ghosts" is here, it doesn't quite match the emotional impact of past glories. But, I have always maintained that Explosions take things to a different stratosphere ,let alone level, in a live setting. Listening to the monolithic "Catastrophe and the Cure", I can almost picture guitarist Munaf on stage with his legs apart, swaying hypnotically to the music.

Every single element that makes EITS so special is intact on "All of A Sudden..". The guitar interplay, the intensity, the swooning melodies, the militaristic percussion, it's all there. Explosions In The Sky are back and have reclaimed their throne. They are the Post-Rock Kings once again.

"Welcome, Ghosts" mp3 - Explosions In The Sky

Rating = 80%

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Sean Moore : "Signs of Potential Life" (Post Records)

Firstly, I have to admit to not being the biggest of fans of singer/songwriter albums. As the rest of the world fell over themselves praising Sufjan Stevens, I was left wondering what all the fuss was about. Having said that, though, there is a select few artists that have managed to break down my singer/songwriter barriers. Jeff Buckley's "Grace" is one of my all-time favourite albums, while Elliot Smith has the ability to make even the most pedestrian of acoustic guitar and vocal tracks sound completely heart-breaking.

So it is a pleasure to hear that Sean Moore's vocals, on this debut solo album, has a similar endearing quality to that of Smith. Not only that, on opener "Reluctance Towards A Force That Pulls" he displays a keen understanding of the pop hook. You cannot help but be whisked away by the sheer euphoria of his multi-tracked vocals and bittersweet melodies. It provides a strong start to the album and will have you humming along all day long.

The Orlando, Florida based musician plays in a number of bands, it is any wonder how he found the time to record an album that is chock full of ideas and production touches. The 3 years Moore spent making "Signs of Potential Life", seems like time well spent. This isn't just a musician with a voice and an acoustic guitar, "Coughing In The Clouds", for example, touches on the epic, psychedelic benchmarks set by The Beach Boys "Pet Sounds". It turns from the simplest of numbers into a gorgeous, cinematic symphony in the blink of an eye. The coughing sounds, disguised as percussion, nods to the work of Brian Wilson.

At times, however, "Signs of Potential Life" feels slightly too over-blown for my tastes, the sheer volume of ideas throughout ensures they are almost bursting to get into the mix. "Collection Expense For Conversing In Codes" jumps all over the place and loses focus towards the end. "Ticket Stubs & Spent Love", on the other hand, is equally as schizophrenic but there is an alluring quality to Moore's vocals and the psychedelic horn section, violins and glockenspiel work a treat.

But then, the basement aura of "Visibilty Anxiety" is different and provides a song with a real lo-fi charm. Starting with some lovely guitar-picking, Moore's richly textured vocals emit yet another infectious melody, proving he can operate in a stripped down atmosphere too. It is the perfect closer for an album that literally explodes to life from the get go.

While "Signs of Potential Life" recalls The Beach Boys on a number of tracks, there is number of poignant moments wrapped up with gorgeous vocal melodies, that even the most stone-hearted person could enjoy this one.

Rating = 70%

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Sankt Otten : "Wir Koennen ja Fruende Bleiben" (Hidden Shoal Recordings)

Germany is really an under-rated nation, in terms of what it has contributed to the music world. Consider Tangerine Dream who, way back, in the early 70's laid out the blueprints for, what is now, contemporary electronica. Then Kraftwerk unleashed their "Man Machine" on an unsuspecting world, changing it forever. Even this side of the millenium, The Notwist proved, with "Neon Golden", German creativity is at an all time high. Sankt Otten's "Wir Koennen ja Freunde Bleiben" deserves to be held in the same esteem as those aforementioned albums.

Roughly translating as "Let's Remain Friends", this album from the Osnabruek quartet is an ultra-cool cinematic experiment, that should be soundtracking the atmospheres of smoke-filled jazz clubs in some futuristic world. The brainchild of percussionist Stephen Otten, one of the most alluring aspects of "Wir Koennen..." is the differing styles of rythmns, from trip-hop to jazz and electronica to straight barrelled rock. "Hoeneraush" contains a dirty hip-hop beat, its massive, clunking sound is warpped up with a melody with a dark heart. You can't help but nod your head along or tap your feet to this sinister track.

There is also a certain something about Oliver Klemm's guitar tone, on several tracks his work is simple, but devastatingly effective. On "Zum Schweigen Verdammt" his rich, swirling textures combine immensely with the washes of strings creating a noirish soundscape. The album, as a whole, is such an expansive effort, there are a number of reference points, but they are all presented in a unique Sankt Otten way. "Bluehende Landshaften", for example, recalls Massive Attack's "Angel", with its seductive undertones that are overlayed with guitar, piano and string parts. The brooding beat ensures "Bluehende.." builds tensely for over five minutes before simmering and then quietly dying out.

"Fandenscheing", meanwhile, would not feel out of place on a Miles Davis album and evokes those smoke-filled jazz club images again. While, "Fallen and Fangen", one of the few tracks that contains vocals, provides this album's most upbeat moment. The seductive female voice provides a respite from the darker tracks and ensures "Fallen and.." is one of the more optimistic sounding numbers on here.

"Wir Koennen..." is a melting pot of influences and sounds. A grandiose statement that touches the cornerstones of noir film soundtrack, atmospheric rock, jazz and Trip-hop. At times it matches the brilliance of Portishead's "Dummy" or Massive Attack's "Mezzanine" and should certainly be considered by fans of those albums. The differing sounds will guarentee that this will be an alluring listen every single time you hit the play button.



Rating = 85%

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Vanessa Van Basten : "La Stanza Di Swedenborg" (Radiotarab)

Vanessa Van Basten hail from Genoa, Italy and are bizarrely named after the wife of Dutch footballer Marco Van Basten. This duo operate somewhere between the heavy post-rock world and the experimental metal tendencies of Neurosis. La Stanza Di Swedenborg is a beguiling mix that is augmented by God Machine-style distortion and occasional Mike Patton-esque vocals.

Using a glut of electronic, distorted and acoustic instrumentation, it all starts with the impressive title track. A tense 3-minute build-up of Italian spoken word and apocalyptic synths soon explodes with some tremendous, melancholic guitar work and industrial-sized drums.

This album flows seamlessly, with some tracks being interspersed by ambient drones, cinematic passages, and eerie sounds. On “Dole”, however, Vanessa Van Basten again opt for those pulverizing distorted riffs, this time overlaid with superior acoustic guitar work and blended with gigantic drumming.

The percussion is particularly impressive throughout, but is most notable on “Giornada De Oro”, which is surely the world’s first industrial/folk song. Combining echoed harmonica, acoustic guitars and elephantine rhythms, it is a highly original and surprisingly contagious piece of work.

“Floaters” provides La Stanza Di Swedenborg‘s best moment. Recalling Faith No More at their finest, the crystal clear melody soon erupts into a collage of euphoric sounds and Patton-esque vocals, the distorted guitars becoming denser with each passing second.

"La Stanza Di Swedenborg" is a welcome shot in the arm for the world of intelligent metal. Combining moments of true beauty with head-shattering drums and monolithic distortion, it provides a refreshing snapshot of emotionally heavy music.


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Rating = 70%


"Dole" mp3 - Vanessa Van Basten