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New Warm Ambience From Greg Davis

1179756116_l New Warm Ambience From Greg Davis

As a prodigal son of Burlington, Vermont, home to Ben & Jerry’s and *yaaaawn* Phish, it’s a goddamned miracle that Greg Davis isn’t churning out some rehashed hippie shit. On the contrary, Kranky’s Greg Davis is a student of a happier, warmer school of ambient music. Sublimely optimistic and viscerally beautiful, the just-released Mutually Arising, his first full length in seven years, is the summertime evening response to Tim Hecker’s and Keith Fullerton Whitman’s icier dronescapes.

As with most work in the modern classical/minimalist/drone genre, the album is meant to be enjoyed as a whole. However, the excerpt below should demonstrate what I’m talking about. “Hall of Pure Bliss” is just that – a canticle adoring the opening to a portal, or the soundtrack to sprouting flowers. Truly beautiful stuff.

Mutually Arising just dropped this week courtesy of Kranky.

For fans of:  Stars of the Lid, Tim Hecker, Labradford

MP3 :::
Greg Davis – Hall of Pure Bliss [excerpt]

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Nudge – As Good As Gone

nudge Nudge - As Good As Gone

The latest offering from Los Angeles based Nudge (not to be confused with The Nuge), As Good As Gone, is a slow-burning, beautiful record. As a quick introduction, Nudge is Paul Dickow of Strategy, Honey Owens, best known for her contributions to Jackie O Motherfucker (whom you know and love if you’re reading this blog), and Brian Foote, best known as the rad dude at Kranky who hooks me (and, consequently, you the reader) up with interviews and promo albums.

While the subterranean groove and minor key construction on As Good As Gone evoke a more haunting, nighttime-appropriate flavor, there’s also a visceral optimism that runs underneath the record’s seven songs like groundwater. Perhaps it’s the playfulness between genres and moods, or the freewheeling construction of the songs… or perhaps not all noise/post rock/freak psych kids like to make nihilistic records.

The opener “Harmo” makes a most unusual, extensive use of harmonica you’re likely to hear anytime soon, setting the stage for a delightfully disjointed psychedelic IDM canticle, ending in widely sweeping whispering vocals that blow through your headphones like sandstorms. “Two Hands” operates as sparse stoner rock – fluid, emphatic bass lines set the anchor for ride-heavy drumming, swirling wah guitar, and melodic, ominous vocals. “Burns Blue” cultivates the latter, spookier repertoire of Roky Erickson circa “May the Circle Remain Unbroken,” proving once again the importance of space in a song – sometimes it’s what you don’t play that cultivates the most expansive soundscape. Closer “Dawn Comes Light” is the type of gorgeous ethereal chant shanty in the vein of Jessica Bailiff, Charalambides, and Fontanelle that made Kranky famous.

Nudge’s As Good As Gone lies as a cross-section between ambient, electronic, psychedelic, and (loosely speaking) pop, and handles all approaches with panache. It’s good stuff. As Good As Gone drops on September 7 courtesy of Kranky. (Preorder)

For fans of:  Cloudland Canyon, Flying Saucer Attack, Indian Jewelry

Fagen-Becker Quality Rating
steelydan2 Nudge - As Good As Gone

MP3 :::
Nudge – Two Hands

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You Kids Like Tonality-Focused Ambient Music?

gregkowalski You Kids Like Tonality-Focused Ambient Music?

Bay Area drone architect Gregg Kowalsky is one of Kranky’s newest offerings. Of course, Kranky is one of maybe four labels wherein if the skewed rectangle logo is present on any given album’s spine, said record will probably be blazin’. Kowalsky’s Tape Chants is no different.

While I enjoy ambient music, there are very few ambient artists I can truly cheer for outside Christian Fennesz and William Basinski. However, Kowalsky, who holds a masters in electronic music performance and recording, is one of them. The potent alien oscillator tone that opens “Vi-Vii” makes your eyes dart about the room, provoking you to think someone else is present. Sound interesting to you? It should, I love that feeling. And like Basinski, Kowalsky has an affinity for tape loops. For live performances, Kowalsky uses between six and ten cassette recorders and commercial stereo units scattered about the perimeter of the performance space. The amplitudes of the individual tape players are adjusted, and Gregg walks around the space listening to the overall mix, acting as a true sound alchemist. As he describes himself “the live set fits somewhere between sound installation and performance.”  Many of the tapes from these live installations make up his sophomore release.

Sure, to an extent, Kowalski makes academic music. But you don’t have to be a music academic to find the timbre, tonality, and serendipitous deameanor of tape loop performance completely engaging. Kowalski craftily cultivates a sort of breathing organism in his fascinating thick analog stew – creating ambient music to get excited about.

Tape Chants is available now courtesy of the good bros and broettes at Kranky. Greg is also hitting the road this week, so peep his MySpace page for the latest date confirmations.

For fans of:  Fennesz, Brian Eno, Seefeel

MP3 :::
Greg Kowalski – Vi-Vii [Excerpt]

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Making Post Rock Cool Again

l_1e6c9e89e4a94ee7b4904f447cd870eb Making Post Rock Cool Again

The two music communities most directly responsible for the American post-rock movement are, without much argument, Chicago and Louisville. Since I used to live in the former and currently live in the latter, I suppose I have a natural inclination toward what we know as post rock. In its heyday, post rock was the dominant form of any experimental rock in the indie world, which has since been replaced with the New Weird America dudes. I like both movements myself, but I’m glad to see post rock is making a comeback (particularly since Mogwai’s latter output hasn’t been cutting the mustard). To that end, it’s good to know we have a guy like Bruce Adams, co-founder of Kranky who now runs a new, very art-centric label called Flingco Sound. Of course it’s out of Chicago, and of course the roster is really good (albeit modest right now).

Interbellum is one of these offerings. Hey, remember Rachel’s? Remember how they ruled? Yeah, me too. Interbellum, the project of jazz drummer Brendan Burke, reproduces that exact sunshine through the covers feel wherein minimal stringed instrumentation is utilized to a massive effect. Sparse electronic flourishes and field recordings evoke GYBE and Set Fire to Flames, but with a more cinematic slant. If hopeful chamber noir isn’t a genre yet, let’s make it for Interbellum. The two tracks below can be found on Over All of Spain the Sky is Clear.

artist_group_005 Making Post Rock Cool Again

Haptic is another group of Windy City weirdo rippers, and man, I like “Patience Worth.”  So don’t look so glum, chums!

Sure, this sort of ambient approach isn’t for everyone, but if aquatic blips and fuzzy, Basinski-style tape loops pique your interest, make no haste in mashing play on the song. Sparse percussion and flapping static make a great soundtrack for flight. I’m pipping this track in on my next parasailing excursion (dude, I’m not kidding).

There are a couple of other artists on the FSS label worth czeching out, and I would encourage you to do so. Between these offerings and massive groups such as Flowers of Hell, post-rock is coming back for more. And I’m excited.

MP3 :::
Interbellum – Gran Canaria
Interbellum – 6EQUJ5
Haptic – Patience Worth

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Lotus Plaza – The Floodlight Collective

51UL6AxTPrL._SS500_ Lotus Plaza - The Floodlight Collective

Lotus Plaza is the solo outing of Deerhunter guitarist Lockett Pundt, and yes, it does sound like band mate Bradford Cox’s project Atlas Sound, but Pundt’s balmy atmosphere on The Floodlight Collective stands in direct opposition to Cox’s self-described fall/winter sound. Pundt, having been the inspiration for many of Deerhunter’s tender moments, proves to be wholly capable of producing his own brand of sedate nostalgia.

Keeping with the sock hopping doo-wop debuted on Microcastle, these ten tracks further explore the ambient tidings that narrated half of Cryptograms. We can hear Pundt drawing influence from Kompakt’s Pop Ambient series, especially through the evaporating synths and muffled incantations of tracks like “Antoine” or “These Years”. In addition to knowing when to pull the plug, these songs ascend their modest structures because of their spirited delivery that inhabits each layered track, saving them from turning stagnant. In truth, out of all Deerhunter related material, The Floodlight Collective is the most natural fit for Kranky Records thus far.

While these hazy reveries are the bedrock of the album, the standout moments are the ones with some kick to it. The blissful charmer “Quicksand” borrows the playful chaos and choral singing of Person Pitch and glues it to some over-exposed surf rock, creating an elevated garage rock hymn.  Another highlight, the kraut-rock carousel “A Threaded Needle”, sounds like Neu! if they were Sunday drivin’ in the countryside instead of tearing up the Autobahn.

To our dismay, these cuts with a strong sense of identity out shadow the ones in a quandary. It can be difficult to seamlessly move from the bold tracks to the less confident ones like “What Grows?”, which evokes b-side Weird Era Cont., and without a full band, comes off sounding a bit irresolute. Floodlight Collective is fleeting, and hard to grab a hold of, but at the same time it is undoubtedly accessible, charming, and engrossing. If Brian Eno’s original intent for ambient music was for it to “accommodate many levels of listening attention without enforcing one in particular,” then Pundt’s debut effort is a success. There’s enough going on in the mix to warrant multiple headphone listens, but it gels together so effortlessly that it can serve as perfect background music as well.

The Floodlight Collective is available now on Kranky.

Fagen-Becker Quality Rating
steelydan2 Lotus Plaza - The Floodlight Collective

MP3 :::
Lotus Plaza – Antoine
Lotus Plaza – The Floodlight Collective

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Boduf Songs on His First Tour (They Grow Up So Fast)

2070314355_1b7c37dfb9_o Boduf Songs on His First Tour (They Grow Up So Fast)

Moody, blacker than black slowcore folk superstar Boduf Songs, fresh from dropping How Shadows Chase the Balance on the flawless Kranky label, will bring joy to all the girls and boys this fall in his first national tour.  Since it’s his first one, be nice ya’ll!  The tour includes two New York shows and a shit-ton of art galleries. The jaunt across the upper midwest and northeast also includes some on-air playin’ and spitballin’ on Pittsburgh’s low power but pretty darn good WPTS before his performance later that night on Nov. 19th.  If his live show bears any of the intensity of this recent work, do not drink before these shows, lest you want to leap off a bridge later that night. Continue reading ‘Boduf Songs on His First Tour (They Grow Up So Fast)’

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Don’t Be a Jerk – Grip the New Deerhunter, For Real

deerhunter2 Dont Be a Jerk - Grip the New Deerhunter, For Real

Tomorrow, Deerhunter’s monolithic double disc Microcastle/Weird Era Cont. drops courtesy of Kranky or 4AD, depending on where you live. Yes, it leaked, and we all greedily took. We all witnessed the Lord of the Flies-esque free-for-all, and the subsequent fallout from the blog debacle – in addition to the rueful behavior of the fallible, sinful collective of scalawags and pirates known as your peers and neighbors. And after the dust settled, we all found out that Deerhunter had recorded an incredible collection of music. Continue reading ‘Don’t Be a Jerk – Grip the New Deerhunter, For Real’

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