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The Wierd Compilation Vol. II: Analogue Electronic Music 2008 (2008, Wierd Records)
Reviewed by - Frank Deserto
Buckle up and prepare for another expansive treatise of the best underground minimal wave, for May 15th yields the anticipated release of the second Wierd Records compilation. Further pushing boundaries and eternally steadfast in their mission to shift the outdated perception of the analog synthesizer as a distant, cold, and futuristic instrument to a more organic and passionate tool of human expression, the compilation collects 39 solid tracks across four vinyl LPs, with a digital counterpart available via planet iTunes. Though several of the best artists featured on the first collection appear once more, this compilation champions numerous unmentioned and exclusive gems, and expands its horizons to include several takes on drone, early industrial, and noise, including several offshoots from Michigan moguls Wolf Eyes. It is an ambitious collection through and through, marrying the catchy, cold, and romanticized minimal wave explorations that put Wierd on the map with grit, grime, and a fruitful experimental edge. Though on paper, these sounds may seem in stark opposition to each other, the underlying use of strictly analog synths and drum machines add textures and soundscapes that unify the collection, while the otherwise dynamic shifts in style keep the compilation from growing complacent and stale. Highlights across the board include tracks from Cuban experimental outfit the Siamese Pearl, Russian minimal act Private Entertainment, and Detroit-based Hive Mind, whose takes on drone are sonically brutal, yet curiously comforting. The synth-based Wierd alumni also offer up several exclusive appearances, as Xeno & Oaklander, Opus Finis, and Sleep Museum all continue their DIY resistance to the digital and distant craft of modern music. In line with the underground ethics of the bands etched on the grooves, the Wierd compilation is as elaborate in its design as it is with its musical statement. The 32-page booklet includes full information about each featured band, the remaining pages filled with shots from the weekly Wierd night in New York City. Also included is an essay written by Sean McBride of Martial Canterel/Xeno & Oaklander and label head/DJ Pieter Schoolwerth entitled, “2008: The Analogue Synthesizer as a Folk Instrument of Human Resistance,” which serves as a must-read proclamation for a must-hear compilation. Though the vinyl price tag may seem hefty to untailored or unfamiliar fans, the sheer quality of this music, the intricate design, and the fervent ambition of the project more than make up for the cost, making this compilation absolutely vital for minimal wave and experimental enthusiasts both new and old. It serves well as both a fitting introduction and a collector’s dream. Naturally, treats like these are limited, so be sure to nab a copy before it becomes Very Rare forever…Records of Reference:
OMD- Architecture & Morality
The Elephant Table Album: A Compilation of Difficult Music
Cabaret Voltaire- Red Mecca Elika - Trying Got Us Nowhere (2008, Fiercely Independent)
Reviewed by - Frank Deserto
Shoegaze has come a long way since its early 90s heyday. Suffering a series of near-deaths, the genre soldiered on as more generations of musicians plugged in their delay pedals and cranked the distortion. To this day, some play it by numbers, retaining the same freak-out fuzz effects and airy vocals of the past, lacking any new or thrilling contributions. Meanwhile, other bands push the envelope a bit further, developing and mixing textures like a hell bent apothecary. New York’s own he/she duo Elika are of the latter variety, and their proper full-length debut, “Trying Got Us Nowhere” is a pleasant addition to the fold.Short, but sweet, this seven track record combines blissed-out musicianship and unfiltered female vocals with warm electronic programming. Instead of brusque, Curve-esque aggression, these percussive patterns and textures add a lighter and more dance-friendly vibe. In fact, Elika’s approach is a more pop-oriented affair overall, for these songs are undeniably catchy. Just try to resist whistling along as ‘Nowhere’ comes to its beguiling conclusion, or withstand the toe-tapping potential of ‘Let Down.’ Other tracks, such as ‘To the End,’ hold several surprises in store, as a wall of guitars unexpectedly blooms from an otherwise mellow hymn, briefly launching the song into the atmosphere. I suppose one could say this is straightforward shoegaze fare, but I swear I didn’t see it coming this time ‘round.The lyrics to these tracks are completely decipherable; an interesting diversion from typical reverb-drenched production. This is a blessing to listeners eager for a unique touch, as singer Evagelia Maravelias’ vocals flirt with child-like melodies and mantras, thriving under such unadorned repetition. Though some devout shoegazers may not dig such a departure, it is this somewhat unorthodox production that makes “Trying Got Us Nowhere” stand out from the rest, as revivalists and classic dream poppers should otherwise find comfort in this record.Records of reference:M83- Dead Cities, Red Seas, & Lost Ghosts
Starflyer 59- Talking Voice vs. Singing Voice
Strawberry Switchblade- Strawberry Switchblade
We Miss The Earth - A New Silent Era
Reviewed by - Andru Aesthetik
Meet my new favorite band from Los Angeles. They are called We Miss The Earth and they are forging a new blend of influences that sounds fresh. With a sense of urgency, fragility and introspection their music channels frustration and heartbreak into a tightly wound beast of musical ferociousness while retaining its heart on its sleeve. What's even more amazing than the music is the fact that this band is really just one person in that all the music was written, recorded and performed by one man. His name is Spoon.Leading this sonic assault with a wreckless abandon on the guitar that ranges from fuzzed out washes of feedback enveloping your eardrum to minimal dissonant & discordant notes floating in the atmosphere he lays down a deadly venom with each and every note that floats through the ether. Combine that with a sometimes disheartened and distressed vocal delivery reminescent of Jim Reid & Adrian Borland, he drives the songs straight into your head and heart. Not content to rest on his shoegazing laurels He adds just the right amount of atmosphere and eerieness on the Moog Prodigy & Korg MS-10 synths. In fact, hearing his synth playing on this record really reminded me of two things. One was that absolutely nothing beats the warmth and tonality of an analog synth and two was that I wish there were more bands who used synths to flourish their music melodically instead of with just cold sterility. Spoon does just that on this record and it really takes the quality and mood of every track to a whole other level of atmosphere. Lastly, the bass playing on this record is fucking brutal. On every song Spoon just cuts through and smacks you around with precision and force yet perfectly complementing the various highs and lows of every note in each song whether restrained or full on.This EP is nothing but 8 songs of pure chaos and despair refined into a percectly executed story of personal angst. With an eerie and anxious mood surrounding the whole record one is really left with a sense of what it feels like to live inside the agitated psyche of anyone who has ever been disaffected with life. Where most bands will end up coming off as "woe is me" whiners, those who have always made great post-punk music have always found a way to express their dissatisfaction with everything that is not right about life without ever coming off like they never wished for something more than this. Essentially that is what makes for the most powerful musical connection between artist and appreciator. With that in mind you will find that We Miss The Earth are right there with you if you have ever been knocked down in the gutter. But beneath that feeling of frustration, they are urging you to stare at the stars - if only before you get knocked down again, as the magic is always in the moments bewtween the monotony.Records of Reference: The Sound - Jeopardy
The Jesus And Mary Chain - Psychocandy
The Names - Swimming
My Space Profile Weep- Never Ever; Demo (2008, self-released)
Reviewed by - Frank Deserto
Weep: Verb. To express grief, sorrow, or any overpowering emotion by shedding tears. In noun form, the latest and downright best musical undertaking yet from Doc Hammer, Renaissance man extraordinaire; also notorious for his efforts with Cartoon Network's Venture Brothers, the operatic-laced Mors Syphilitica, and his own oil-based artwork.The Weep project was once a previously aborted follow up to Hammer's work in Mors Syphilitica, rekindled just this year as a one-man recording venture (thus far). Five tracks have surfaced in the form of the "Never Ever" demo, and though each features the swirling, layered sound that Doc has perfected over the years, plenty of new tricks are on display. Firstly and most noteworthy, this is the first project of Hammer's to feature his own vocals, which add a deep, yet crisp rasp to perfectly counterbalance the epic highs of the music.While this demo plays more like a unified EP, each of the five tracks explore unique sonic and structural territory. A track-by-track analysis, if you will: 'The Weep' begins immediately with a pitch-shifted synth line before a series of syncopated instruments join in unison. It is a sweet, yet melancholic song with the sort of chorus that calls the most affecting shoegaze to mind, equally singable as it is breathtaking. Track two, 'Lay There and Drown,' is a much more energetic and gripping affair, driven by intense percussion and solid guitar work. At the midway point, 'The Hole' is potentially the catchiest of the bunch, complete with classic Cure-esque synthesizer melodies and octave-laced bass. The darker lyrics are charismatically contrary to the track's otherwise ecstatic style, a palpable and interesting dichotomy that is one of this disc's many keys to success. Track four, entitled 'One Lock, One Key,' uses swinging hooks to propel forth with a powerful edge.Last, but certainly not least, "Never Ever" ends on a solid note, as 'Can’t Be True' begins with an arpeggio of gaping guitar feedback reminiscent of Frippertronics, building an impressive and passionate array of melodies that drop slowly in a satisfying and cyclic conclusion. In the end, "Never Ever" is a confident and extremely promising debut from the heart and soul of one of music's finest. This material is certainly intense, but instead of beating and bludgeoning eardrums into submission, it instead plucks at heartstrings while remaining infectious, melodious, and memorable. Don't let the word "demo" dissuade you from inspecting and adoring these five tracks. Seek them out and spin them over and over and over again, for each listen only makes the heart grow fonder.Records of Reference:Modern English- ‘Mesh & Lace’
Swans- 'The Great Annihilator'
Cranes- ‘Loved’MySpace Profile Entertainment - Gender (2008, Stickfigure Records)
Reviewed by - Frank Deserto
From the opening snare hits of lead off track ‘Romance in a Rain,’ Entertainment’s long awaited debut record “Gender” heads straight for the throat, claws bare and gleaming. As dissonant keyboards drones, tense vocals, shrill guitars, and hypnotic bass lines join the nervous din, the cacophony grows and taut groundwork is laid for a successful and well-executed post-punk record. Hailing from Athens, Georgia, Entertainment have spent several years perfecting their craft, releasing a series of 12 and 7 inch singles throughout various channels. Each of these records, in cahoots with their powerful live show, would offer a mere taste of what the band held in store for their debut. In these trying times, where albums swell with filler material and quickly overstay their welcome, “Gender” is a concise eight-track affair, a slim, yet powerful treat that delivers the goods and exits with all fury intact. Each track is ruthless, crisp, and hard-hitting, exploring and updating the manic darkness of The Birthday Party and the catchiness of Bauhaus while adding a dash of minimal synth, German cabaret, and tarted-up glam rock for good measure.Aside from the gripping opener, other standouts on “Gender” include the buzzing ‘Patroness,’ the nervous shuffle of ‘Swing Movements,’ and the final catharsis of ‘Flesh,’ which ends the record the same way it began: with an enraged bang, leaving the whimpers for any unsuspecting listener. Fortunately, this is not your grandmother’s post-punk record, and “Gender” is solid proof that the old spirits are still present in the creative minds of the new.Records of Reference:The Cure- “Pornography”
Sort Sol- “Under en Sort Sol”
Virgin Prunes- “If I Die, I Die”Official Site
MySpace Profile Simon Reynolds - Rip It Up and Start Again: Post-Punk 1978-1984 (2006)
Reviewed by - Amber Hughes
This is not a book of leftovers on the punk era. “Rip It Up and Start Again..” is a cohesive assessment on the music that was produced after the onslaught of punk. When punk became stereotyped and self parody, there were artists that went beyond sped up three chord Chuck Berry riffs and infused their work with intelligence and irony, this became known as post-punk. Simon Reynolds delves into various music genres used by these artists: DIY, Dub, Industrial, Ska, German Electronic, No Wave, New Wave, Synthpop, Funk, and Goth. The Leeds and Manchester scene get extensive attention in the beginning of the book before moving onto the No Wave and New Wave scene in America.Reynolds creates an engaging piece of work. Giving insight on a wide range of bands such as Joy Division, Cabaret Voltaire, The Pop Group, Throbbing Gristle, and Pere Ubu that unfortunately have not received the attention they so rightly deserve. The pop culture commentary is accessible even to those who are not fans of this type of music. Unfortunately there is no Bibliography included, so you will have to do some detective work to locate the origins of the quotes used. The US (Penguin Group USA) edition is the abridged version of the original UK (Faber & Faber) edition. The US version has three chapters cut and other chapters included have been shortened, about 200 pages have been taken out. Even with these changes “Rip It Up and Start Again...” is worth the read. I would recommend shelling out the extra cash to obtain the UK edition.Full of anecdotes, political content, and pop culture references, “Rip It Up and Start Again...” is bound to serve as an Encyclopedia on post-punk. Even after two decades of writing music reviews, Reynolds still has the ability to capture the intensity and translate the feelings of hearing a record upon first listen. On a subject that he is all too familiar with, the writing remains passionate instead of a tedious chore of rehashing history.Official Site Martial Canterel - Refuge Underneath (2007)
Reviewed by - Frank Deserto
Even in its heyday, the analog synthesizer was an oft-dismissed instrument, the result of stubborn organic purists proclaiming music must be as unrefined as can be. However, the instrument soldiered on through and earned a fair reputation in the 80s, replaced by newer, faster, and sleeker digital variations as the years passed, and is now (if sometimes begrudgingly) accepted into the modern musical canon. Meanwhile, during the salad days of punk and wave, a series of minimal synth bands released several influential records and 7’’ singles in foreign lands, their impact felt especially in the influx of modern electronic dance music. The original minimal movement shared in the DIY aesthetics of punk rock, and though the music was mostly created through analog keyboards and primitive drum machines, the intensity remained intact, blending in a morose, romantic, and synthetic edge, equal parts unique and captivating. Unfortunately, despite cult success in Europe during the 1980s, the remnants would barely reach the US coastline, as the flamboyantly decadent New Romantic movement instead took the country by storm. These days, with overdeveloped 88-key workstations and preprogrammed laptops appearing with revivalist electroclash acts, it becomes increasingly rare to see those keyboards of lore, and seemingly, the gritty, passionate edge of minimal wave was lost in the upgrade.Fortunately, the heart and soul of true minimal music is alive and well in the heart of Sean McBride, who is also involved with Xeno & Oaklander, Three to Forgotten, and most notably his own one-man project Martial Canterel. Over the course of six years, the complexity, romanticism, and darkness of the first faction flourishes due to Sean’s prolific efforts, spearheading a revived interest in minimal wave music in the United States underground. Martial Canterel’s most recent effort, late-2007’s Refuge Underneath is a further treatise in the genre, and not only does justice to the ethics of the past, but treads inimitable ground, creating new and exciting music with exclusively analog instrumentation.Released on New York’s Wierd Records, also notorious for celebrating and rekindling this interest as both record label and promoter in New York City, Refuge Underneath is a collection of sorts, compiling various recordings over the span of four years. Bits and pieces of the record originally appeared on various rare cassette releases, while a few tracks reside solely on this disc. However, despite its piecemeal origins, Refuge Underneath flows perfectly, casting a heavy, analog spell that never breaks through 18 tracks.Not that the record is without subtleties and highlights however, for each song’s complexity and melody creep out from the pulsating electronics and stand on their own, both as infectious, moving dance tracks and ice cold mood-music. Exclusive track ‘Harbors & Martyrs’ combines well-constructed ambience with energetic percussion, while ‘Sister Age’ has a few hooks hidden up its sleeves. ‘Refuge Underneath,’ the album’s first track, would fare well as a club stable, the throbbing beat and driving synth lines propelling the tune’s otherwise dirge-heavy vocals and atmosphere to dizzying heights. Though each track’s instrumentation is primarily synthetic, with bitter, under-the-sheen vocals serving as lone organic elements, these songs remain incredibly humanistic, a rare treat in any modern electronic recording where machines seem to run the show.There resides a palpable hint of excitement in the heart of Refuge Underneath, and though it isn’t Martial Canterel’s first release, it bubbles with a sense of newfound importance. Though the true future of minimal synth music has yet to be decided, in the meanwhile, this record is a welcome and pioneering addition to the fold.Records of Reference:The Human League- Reproduction
Jeff & Jane Hudson- Flesh
Opera Multi Steel- Cathedrale
Clair Obscur- PlayOfficial Site Savage Republic - 1938 (2007)
Reviewed by - Joshua Pfeiffer
Savage Republic, are one of the most unique bands in the Post-Punk canon. Since 1982 they have been a cult favorite, particularly in their home of Southern California. Combining exotic tribal and Industrial percussion, shimmering middle-eastern guitar melodies and shouted vocals that reinforce the propaganda imagery on the group’s record sleeves. The bands current lineup consists of surviving members Thom Fuhrmann, Ethan Port, and Greg Gunke. They are joined by former Autumnfair vocalist Val Haller, and drummer Alan Waddington.1938 feels like an album that was recorded a year after their last recorded output was released in 1989 (shortly before their initial breakup in 1990). It certainly doesn’t sound like 18 years have passed when you listen to this album. In fact 1938 feels more like the culmination of the bands entire career. Tracks like “1938” and, “Torpedo” recall the heavier and more challenging material found on the bands debut LP Tragic Figures, while dreamier fare such as “Siam”, “Caravan”, and “Peking” bring to mind the majestic sound of their second LP “Ceremonial”.Like their previous albums the majority of the songs are instrumentals, while there are a handful of vocal songs performed primarily by Thom Fuhrmann. 1938 also features a variety of non-traditional instrumentation, such as violins and atmospheric synths. The Chinese hammered dulcimer, and other assorted percussive elements such as oil drums, and metal pipes can also be heard as well.Overall this is a nice step in the right direction for Savage Republic, a group that have successfully reunited and kept to their roots while constantly exploring their future.Official Site
My Space Profile Unextraordinary Gentlemen - 5 Tales from God-Only-Knows EP (2007)
Reviewed by - Joshua Pfeiffer
Los Angeles natives "Unextraordinary Gentlemen" are one of the newest modern bands to embrace old world aesthetics, and apply them to late 20th Century musical genres.In their case it's the Victorian fantasy genre, which encompasses the tales of Dickens, Kipling, Carol, Wells, Poe, Stoker, Verne, etc., and the music of Post-Punk and New Wave luminaries such as Fad Gadget, Nick Cave, Oingo Boingo, The Cure, Coil, Tom Waits, etc. Their sound is a delicate blend of thrumming drum machines, and droning synths. Throbbing bass compliments of Richard Pilawski. Jennifer Pomerantz playful violin, and the orating of vocalist Eric Schreeck.“5 Tales From God-Only-Knows” is a collection of yarns concerning the inhabitants of a fictional Victorian universe. The opening track “Black Iron Road” is a slow burning tale of the effects an Industrialized society has on the living conditions of the poor working classes living beneath its refuse. The first verse alone brings to mind the social struggles of Victorian England as seen through the lens of fantasy fiction. “There is a big black bridge and it spans over hundreds of blocks, So those below catch the trash that is thrown, There’s a plague don’t you know going ‘round, a horrible pox, Sick are the shades walking pale and afraid, They sob, why, oh when will it stop?”.The second track “Mr. Soot’s Little Black Book” is a hyberbolic advertisement for the risqué ladies of “Mister Soot and His Traveling Parade of Pulchritude” (a most immoral establishment). The music twists and winds its way through a poppy but minimal synthpunk carnival.“Open Arms Empty Air” is a nice mid-tempo dance track that really shows off the bands choice of using the violin as a lead instrument as opposed to guitars or synths. Choral vocals drone as the driving bass kicks along with a persistent 4/4 beat. The lyrics seem to reflect the depressed thoughts of a passenger (or crew member) aboard a lonely airship. “The Skeleton Goes to Town” is a slightly upbeat number about an ex-constable who has turned to a life of crime. Kind of like a demented mixture of Jack the Ripper and Sherlock Holmes.And finally “Ants Under Glass” is a dark and driving dance track set in the tale of H.G. Wells “War of the Worlds”. The song concerns a survivor of the Martian attacks, who is fleeing for his life through a ruined city. Musically this track draws heavily from the more Industrial/Darkwave side of the bands influences.So if you’re looking for something different, that adheres to the blueprints laid out by its forebears, yet keeps its own identity and ideas, look no further than “Unextraordinary Gentlemen”.Records of Reference:Fad Gadget – Incontinent
Tom Waits – Rain Dogs
Clan of Xymox – Clan of Xymox
Nick Cave and the Bad Seeds – Henry’s DreamOfficial Site
My Space Profile Moldig- Moldig (2007)
Reviewed by - Frank Deserto
Despite having heard a mere handful of numbers by Italian post-punk band Moldig, I knew straightaway that they were something special. After several compilation appearances, including one on our very own Notes From the New Underground series, Moldig have just released their self-titled debut in November of this year, and what a stunning debut it is!Though the band now consists of three members, Moldig officially began in 2005 as a collaborative effort between bassist/vocalist Giuditta Corgnati and guitarist Enrico Bricco. Their sound is direct- a steady, hard-hitting electric drums backing jagged ancillary guitars, steady bass rhythms, and the occasional synth line, topped off with the crème de la crème; female vocals that are far more deep, driving, and soulful than they are meandering and ethereal, immediately setting the band apart from the flock.Meanwhile, the ten tracks that comprise Moldig’s debut record are infectious and catchy, infused with healthy yet non-intrusive dancefloor flair. Standout gems on the record include ‘Danger,’ with cyclic guitar dustings laced over driving hooks, ‘A Game,’ a track ripe for the post-punk gala, and tension laced ‘The Sense,’ featuring some of the most powerful guitar and vocal work the band has to offer. Though the record was cut before drummer Daniele Pavignano would complete the lineup, Blacklist drummer Glenn Marayansky took to the skins from afar ..ed tracks, the remaining percussion on the record the result of precise programming.Oftentimes, brevity is not only the soul of wit, but also the key to a fine record’s success. Though Moldig’s debut runs just shy of forty minutes, there’s not a single ounce of fat to trim, and in fact, the record leaves adoring ears eager for more. We only pray the wait isn’t too long, and that Moldig’s refreshing and powerful sound continues to win over hearts both near and far.Records of Reference: Death Cult- Death Cult EP
The Sound- Jeopardy
March Violets- Natural HistoryMy Space Profile A Place to Bury Strangers – A Place to Bury Strangers (Killer Pimp, 2007)
Reviewed by - Frank Deserto
Very seldom does a band with a palpable range of influences outdo the very same acts who inspired them, but I’ve often felt this way about New York City noise darlings a Place to Bury Strangers. With a firm love of sixties girl-pop greats the Crystals, the doom atmospherics of Swans, and the sheer adrenaline rush of early Jesus and Mary Chain, this three piece has been taking New York by storm since their inception in 2003. Since brainchild Oliver Ackermann’s departure from Virginia’s similarly-styled Skywave, this new project has developed a large cult following and the band has earned choice opening slots for the Brian Jonestown Massacre, Black Rebel Motorcycle Club, and even a reunited JAMC. Over their tenure, A Place to Bury Strangers has released a variety of tracks on various homemade EPs, but just this year Killer Pimp records has issued a ten track s/t compilation collecting a handful of these highlights.Though the disc sadly skips over a few previously issued gems and otherwise live favorites, the record still hits like a Harley from hell, each track delightfully boring a hole straight through your skull. The compilation begins with ‘Missing You,’ a delightfully atmospheric track with heavy build and drive, setting the tone for the following nine to come. Each song blisters with perfect noise pop flare, an onslaught of fuzzbox guitars shrieking over a mixture of organic and electric percussion, throbbing bass, and barely intelligible, yet still captivating vocals. Other highlights include dancepunk shuffle ‘I Know I’ll See You,’ the cathartic yet brief ‘My Weakness,’ slow-burn number ‘The Falling Sun,’ and more primitive early recordings ‘Another Step Away’ and ‘Breathe.’For those who have collected these tracks on various CD-Rs over the years, it’s a sheer treat to hear these tracks mastered and released proper, and as a further step for devout audiophiles, the compilation has also been pressed to vinyl via Important Records mail order. An 8-track edition has yet to surface, but we’re not holding our breath…Records of Reference: Jesus and Mary Chain- Barbed Wire Kisses
Back to Mono- Phil Spector Box
Loop- A Gilded EternityOfficial Site
My Space Profile The Opposite Sex- Violent Heartstrings (self-released, 2007)
Reviewed by - Frank Deserto
The fondest affections are reserved for those new and exciting bands that seem to appear out of thin air; majestic, powerful, and ready to take on the current scene with rare fury. The Opposite Sex is that sort of band, through and through.Hailing from the recesses of Washington D.C., the Opposite Sex is a three-piece outfit with a variety of dark influences, ranging from the avant-garde, the captivating tart of glam, the murkiness of the New York City no-wave movement, and the razor-sharp ferocity of deathrock. As a live act, they are relentless and unforgiving, delightfully theatrical yet direct. With a promising four-track EP already under their belt, the band has just self-released their first full-length, Violent Heartstrings, and what a stunning debut it is.A ten-track dissertation on post-punk fury, Violent Heartstrings both begins and ends with a bang, and all tracks pulse and clatter with delicious tension. The din of dirty saxophones hits hard throughout the album, blending in perfectly with jagged guitars, rhythmic bass, pounding drums, and nervous, piercing vocals. Stand-out tracks include ‘Shattering Walls,’ a punchy tune with a thick shroud of atmosphere, the vicious two minute onslaught of ‘Knives,’ and title track ‘Violent Heartstrings,’ the driving and catchy opener sprinkled lovingly with a hint of apocalyptic mayhem.Throughout the entirety of the record, the band sounds at home with their aesthetic revelations, their confidence even more striking and enticing alongside a series of sturdy tracks. Ripe for the discovery, one would be elated to unearth the delights that Violent Heartstrings holds in store for any unsuspecting listener.Records of Reference: Siiiii- Ancient
U2- October
Killing Joke- Killing JokeOfficial Site
My Space Profile Einstürzende Neubauten- Alles Wieder Offen (Potomak, 2007)
Reviewed by - Frank Deserto
German industrial purists Einstürzende Neubauten may have seemingly sat dormant since their last release, 2004’s Perpetuum Mobile, but on the contrary, they have been as busy and prolific as ever. Free from record label constraints since 2002, the band launched a behind-the-scene series of supporter projects, each a fan funded venture to record and release a series of musical experiments over a set course of time. Over ten discs worth of material was created as the band lay silent in the public’s eye, and now they’re ready to rise forth again with the upcoming release of Alles Wieder Offen (All Open Again), their tenth ‘official’ studio album on their own independent label, Potomak.Those familiar with Neubauten’s illustrious supporter projects will also be familiar with some of the material that appears on Alles Wieder Offen, for the ten-track record features sound bytes, backing tracks, and a handful of compositions from their supporter releases, most notably the 8-part Musterhaus series. This is not a simple compilation of past recordings, however, for Alles Wieder Offen expands on previous ideas and offers up fresh ones, and the majority of the record is comprised of unique tracks. Just like the previous few Neubauten albums, the sound of Alles Wieder Offen is much less abrasive and confrontational than their classic 80’s output, but there’s a more subdued yet powerful aesthetic with the inclusion of pianos and string instruments alongside their usual marriage of modern technology, organic percussion, and singer Blixa Bargeld’s vocal experimentations. Also unlike past efforts, Blixa’s harsh wail is more calculated, rhythmic, and direct. There are pieces that meander skillfully, like piano-centered opener ‘Die Wellen,’ which beautifully builds to an abrupt conclusion. However, songs such as ‘Let’s Do It a Dada’ and lead-off single ‘Weil Weil Weil’ throb and pulse with dance floor rhythms and infectious grooves, even if they happen to be steel-based and unconventional. In the end, though Einstürzende Neubauten may not be reinventing the wheel with Alles Wieder Offen, they have certainly recorded an album worth their supporters’ (and even their more casual fans’) fiscal input, and one that shall sit boldly beside previous efforts.Official Site
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