“Psych Noise” (Used 34 times)
newweirdaustralia on 05/23/2014 at 10:18PM
Dig deeper into the Australian underground with four new releases from the Wood and Wire label - Black Pines offer a ragged, psych-damaged lava-wall of ash and guts and glory; Motion erase improvised boundaries, merging avant-garde jazz and left-field electronics; there's an audacious leftfield avant-rock debut from Perth's Mudlark; and Gatherer offers ambient/drone pieces intended for the spaces between your headphones.
WW27: MUDLARK Zimdahl
The debut release from Perth's Mudlark has already been dubbed as "bristling, vibrant instrumentals that prove antsy and unpredictable" by Mess + Noise, "a hard listening indie-jazz fusion cacophony that destroys your ability to think or reason" by The Music, and Cool Perth Nights concluded that it was "a weird riddle, a fascinating and deeply enjoyable mystery". Pivoting between only two instruments, with no re-amping or overdubbing, Zimdahl aims for a truly accurate rendition of Mudlark’s unique sound in a live environment.
WW29: GATHERER Amoeba Miasma Void
Amoeba Miasma Void is the new EP from Gatherer - the solo project of Morgan McKellar, one-half of Canberra improv-noise duo, Cold House, formerly of Sydney band Underlapper and his now defunct solo project Morning Stalker. Manipulating (mostly) found-sounds from audio libraries, online video, and field recordings to create improvised sample-driven, Amoeba Miasma Void is a collection of four ambient/drone pieces intended for headphone use.
WW30: BLACK PINES Harsh Out
Black Pines is about dislocation. Two friends separated by real life, wondering out loud about how and why one whole side of rock history has evaporated. That missing side – the abject horror of psychedelic rock – is where this project lives. This isn’t a revival or pastiche. No jams. No art. This is criticism. // Ian Rogers (No Anchor) plays guitar and sings. Benjamin Thompson (The Rational Academy) plays guitar.
WW31: MOTION Syllepsis
Motion draws on experimentalism, avant-garde jazz, left-field electronic music and more. The result is music that deconstructs song forms, explores textural possibilities and is both hypnotic and immersive. Syllepsis sees Perth-based multi-media artist, Kynan Tan join the band to aid in the creation of a collection of music where electronics and instruments meet in a constant state of tension and release.
newweirdaustralia on 04/17/2011 at 07:35AM
Last year, we shifted the focus of the New Weird Australia compilation series away from a free-for-all approach to something that would have a sharper curatorial focus. Something you could put handles around (so to speak). Something you could clearly identify as “a compilation about X or Y or Z”. “We Are After All Here”, volume eight in our compilation series, does have a theme and identity of sorts, but defining it becomes increasingly problematic. Let me explain:
Throughout 2009 and 2010, we were listening to a heap of bands and artists that were clearly starting to coalesce into some form of vague and abstract grouping. Either through sound, technique, image, a reverence for the past, or just a common, skewed take on a hauntalogical notion, there was a broad church emerging that would count these artists among their flock.
Fortunately, no one dared to define it. If you speak of the devil, he’s sure to appear, thus keeping quiet and refusing to conform to definition worked well for all concerned. Having no such definition, and thus having artists co-opted or excluded based solely on the whims of the individual listener, was the perfect scenario.
But, of course, someone had to define it, and in doing so, they killed it. Hipster Runoff dropped ‘chillwave’, The Wire started talking about ‘hypnogogic pop’. Then followed glo-fi, witch house, drag, screw gaze and so on and so on. (Our favourite remains ‘crunk shoegaze’ – meaningless, yet somehow quite endearing).
The list of artists lumped together under these various microgenres was often contradictory and bafflingly random – they were subsumed to the will of the writer, desperate to force round pegs into square holes. And once this grouping was anointed with such dubious definitions, the scrutiny began – spotlights were shone in all manner of places, and backlashes naturally came thereafter. The edifice soon crumbled.
We, on the other hand, are (after all) here – ‘down under’ – doing our own thing, far removed from such recklessness. We have our own obliquely connected and amoebic group of similar artists, remaining unaffected by trend, hype or weak stylistic interpretation. And it is to this group that we turn for this compilation. If, by virtue of their geography, they had birthed their projects in North America, they might well have all been raped and pillaged by now – raked over the blogeratti coals for their part in an ill-defined ‘scene’.
Although our upside-down location can often be a curse, in this case it’s a blessing – all these artists survived unscathed, their mission no more or less impossible, living another day to ‘fight the good fight’. And we shall leave this group unnamed, for all our sakes. Suffice to say, it’s another new, weird slice through the unsung underground of abnormal Australian music.
Sample tracks from the release:
mwalker on 11/05/2010 at 10:30AM
Tomorrow evening (11.6.10) ISSUE Project Room will host the third and final evening of our Minor Musics: Finland series - which has thus far presented Lau Nau, Kuupuu, Kiila and Tomutonttu -- with a special performance from Kemialliset Ystävät in collaboration with a staggeringly-long list of some of NYC’s most fascinating & stalwart psych/noise improvisers: Marcia Bassett, Michael Bernstein, Taylor Richardson, Tom Carter, Raphael Lyon, Samara Lubelski, Pete Nolan and Dave Nuss.
As a central aim, the Minor Musics program seeks to present to NY audiences a multi-faceted glimpse into a localized international community borne, at least in part, out of a set of geographical, cultural, and aesthetic affinities. As a finale to the series, it seems only logical to deepen this attempt at cultural exchange through a true cross-pollination – fostering a collaborative performance between Jan and one of New York’s own vibrant localized communities, as represented by a pretty hefty cross-section of major players.
As preparation for what will be an undoubtedly rich evening of blissed-out synthesis, I’ve put together a little mix highlighting a number of Mr. Anderzén’s forthcoming conspirators, not a few of whom are amply represented by the vast storehouse of the FMA. As a perfect link between the previous and final concerts of the series, the mix opens with a two-part set from K-Y’s 2008 appearance on Brian Turner’s WFMU show, in which we hear Jan supported by two of the Kiila men (Jaako Tolvi & Niko-Matti Ahti), as well as Dave Nuss, who will reprise his role on Saturday. From there, we move to the New York sect with tracks from Raphael Lyon’s solo project Mudboy, a song from Samara Lubelski’s Spectacular of Passages album, a track from Nuss’ No-Neck Blues Band (live at ISSUE, no less), another ISSUE archival recording in the form of Pete Nolan’s Spectre Folk project, and concluding with a 20-min jam from Marcia Bassett & Tom Carter’s Zaika duo project.
These types of coalescences don’t pop up too often….I would recommend taking advantage.
Minor Musics: Finland is made possible through the generous support of the American-Scandinavian Foundation; the Consulate General of Finland; and ESEK, the Finnish Performing Music Promotion Centre; and Luses, the Popular Music Committee of the Foundation for the Promotion of Finnish Music, and the Arts Council of Finland.
electronicmusik on 11/28/2009 at 07:42AM
Released originally as a 3" cdr but now made available as part of the Electronic Musik back catalogue as a free dwonload.
Barbarians - harsh noise drone destructors
Noise Research - noise drone junkie