Nernes/Skagen - Montreal


A live recording: very slow, repetitive drone doom with more progression than the average BWOOOOOOOOOOOOOOOMMMMMMMMM-esqe stuff. It's very... smooth... the tone of the guitars, the background noise sounds... it fits like a jigsaw puzzle...


Mornings - Discography


Chillwave/downtempo. Found this guy in a SC thread. Pretty, but needs something more to it.


Musical Cereals





This made me giggle. I thought you might like it, too. If you cant read it through enlarging it, hold CTRL + click, or right click and open the image in a new tab. Fipster as huck, but eh.

Remotely - Leviathan


Dark Ambient/Drone from Remotely. More awesome work. Recommended.

Her Name is Calla - The Quiet Lamb

The Quiet Lamb cover art 

Slow building and grandiose experimental folk (slowcore? Shoegaze?)
Just bought the 2xLP of this and I am hooked. Pay what you want for the digital download, but no matter what you should check this out. Some of the tracks are paralyzingly epic and all of them are captivating in their instrumentation and development.

Waltz Bop Shop - All my idears are played live today


Mathy Jazz influenced by Beefheart and a little Hardcore. It's basically... "Math Jazz"?

Aderlating - dying of the light ep


Aderlating do Blackened Dark Ambient. Unpleasant and interesting. They also have a full length out which I strongly recommend.

Radiator Hospital - Some Distant Moon


More sad/happy (sappy?) lofi Pop Rock/Indie Folk from excellent little band Radiator Hospital. Get it. Get it now.


Harbour City Electric - Without A Sound

Without A Sound cover art 

Mood music to the Nth degree. This record is an incredible collection of funk, jazz, and rock with some interesting electronic twists and sensual vocals. Check it out!

Scattered Purgatory - City Of Innocent Deaths


Drone Doom: a live recording from the band this time. Less noisy and much more presence in the drums this time. Drones as usual, but very aggressive percussion and a more coherent sound, albeit still lofi. Vocals are prominent, too, and add a little bit of hook to the slightly more Sludge influenced sound.

Asobi Seksu x Boris - Asobi Seksu x Boris Split 7"


This latest EP seems to be a mix of Shoegaze and Dream Pop, with the odd bit of experimentation from other genres. $1.99 for the two tracks plus an extra 4 for free, so likely around 20-25 minutes of content.

Limited edition 7" Split - On the A-side, Asobi Seksu do a cover of “Farewell,” from Boris’s breakthrough 2005 LP, Pink. On the B-Side Boris cover Asobi Seksu’s “New Years,” appropriately renamed “Neu Years.” The limited Asobi Seksu X Boris split drops on Record Store Day Black Friday - Digitally there are also four bonus tracks 2 from each band.

Originals of album covers


I saw these on /mu/ and thought I'd compile them. Not my efforts finding them all. If you cant read it through enlarging it, hold CTRL + click, or right click and open the image in a new tab.

Banned Books - Mission Creep


I had no idea this was on Bandcamp: BB do Experimental Rock with a lot of influence from post-hardcore, noise rock and the like, while still keeping a lot of hooks and a hell of a good sound. I really recommend these guys.

Brandt Brauer Frick - Bop



Experimental/Acoustic Techno. I came across these guys recently, and am liking them a lot! The song starts roughly 2 minutes into the video, following a short interview.

[The User] - Symphony #2 For Dot Matrix Printers


Though this isn't a share, I need to recommend this. Symphony #2 For Dot Matrix Printers is quite literally what it says on the tin. A piece made of printers that have been set up to create different sounds, and read ASCII files to create a symphony. At a glance, a printer may seem a somewhat limited instrument, but this album is highly dynamic, with lots of sounds, and also tonal; using the various innate functions the printer has to create pitches. Interested in EAI and the surrounding experimental scene, I was instantly drawn in to the concept, and it delivers in paper-loads ehehehehehe

(It's on Mediafire)

Just an idea for the next time you feel like getting drunk.

Beejan - A Heartfelt Interlude

A Heartfelt Interlude cover art 

A collection of largely positive-themed hip-hop that borderlines on spoken word. Beejan's voice stays rather monotone, but his rhymes are substantial and obviously spoken from the heart. Give this a listen if you long for a rapper who boasts very little and loves a whole lot.

Eidetic Seeing Self Titled EP

Eidetic Seeing cover art 

A wildly amazing psychedelic journey that should be taken. Get lost in the cosmos with this or check out their debut LP for further journeys into the aether.

Jaggery - Private Violence

Private Violence cover art 

An impressively beautiful new EP from Jaggery. This album is based loosely on Truman Capote's In Cold Blood. At only 25 minutes stretched tightly over 5 tracks, Jaggery has transcended the traditional sense of a concept album by surpassing its source material in terms of its own existence. The lead singer's lyrics are incredibly deep and often discomforting, adding to the unsettling nature of the music. The band is in top form weaving jazz, chamber music, and avant garde pop into a tapestry of aural expression that leaves you yearning for more. Don't miss this...

Private Violence on Bandcamp

Interlude - A La Deriva

A la deriva cover art 

Extremely awesome post-hardcore from Spain. The lyrics are all in Spanish (and sometimes French I think) so I can't tell much about the subject matter. Regardless, this music is very compelling and a blast to listen to. All of their music is available for name-your-price download, so give them a listen.

German Error Message - After The Warmth


Experimental indie-folk. True to it's name, the lo-fi vibes in this album exerts a certain warm vibe. The light white noise which can be heard throughout almost the entire album is somewhat reminiscent of The Microphones' The Glow Part 2. In fact, almost everything in this album screams Phil Elvrum. However, instead of giving it a slightly abrasive and anxious edge like many other lo-fi folk projects, the lo-fi vibes seem to provide a great sense of comfort. This concept has been explored by many bedroom folk artists, particularly after the emergence of Bandcamp, but is the first album I've heard that really seems to pin that concept down and make it work in a really interesting and pertinent way. 
Although generally centered around the typical acoustic guitar-vocals folk repetoire, After The Warmth features a fairly impressive variety of rich brass, string and percussive instrumentation and vocal accompaniment.

http://germanerrormessage.bandcamp.com/album/after-the-warmth

The Oh Hello's - Through the Deep, Dark Valley Review

Through the Deep, Dark Valley cover art 

 When I started writing for Moosick around 5 months ago, my first review was of The Oh Hellos' debut self titled EP. That little record was a veritable folk rock masterpiece, and made it clear that the Heath siblings are a musical force to be reckoned with. After months of anticipation, they have released their first ever full length album, Through the Deep, Dark Valley. The record is presented as a concept from start to finished, and is intended to be absorbed as a single session listen.
The theme of the record concerns the relationships between children and their fathers. The proverbial dark valley seems to be a journey of loss and betrayal with an end goal of forgiveness, or at least some peace of mind. However the album feels even larger than these obvious themes. The dark valley is a search to find concurrence between one's innermost imperfections and the hostility and impermanence of life. 
To say that the Oh Hello's (Maggie and Tyler Heath) have created a masterpiece may be a stretch, but certainly the production and compositions are top rate for a self-produced record of such scope. The opening track, "The Valley", hits you immediately with a powerful, percussive rhythm beneath a clean collection of strings and a gorgeous chorus of voices. Indeed there is a great deal to take in during this track, but it is an apt opening that gives a taste of all that is yet to come.
"Like the Dawn" feels like more of what the Oh Hello's exhibited on their debut, lifting Maggie's weary, contemplative voice around a rather complex fingerpicking line. The music builds fantastically here, keeping the focus on the vocals while throwing in nice little accents like a banjo and a violin. The drums really find their place in the mix, and are executed on this song perfectly.
"Wishing Well" is another stellar track. This one builds rather subtly upon the Heaths' vocal harmonies, featuring a guitar and banjo predominantly. The climax is a beat/clap choir that is exceptionally well done that recalls lo-fi basement chants and gospel sing-alongs.
One of the most striking tracks is "The Lament of Eustace Scrubb". This tune begins as a rather morose sea shanty featuring accordion and guitar. It hits a stride near its halfway point, spurred by more incredibly potent percussion work. The end is an incredibly moody, almost ambient moment of folk-rock potential. It doesn't build it up to something too epic (a missed opportunity perhaps) but it serves as a beautiful outro to one of their most unique songs. The epic tone continues with "The Truth is a Cave". I love how powerful and honest the vocals feel on this track (although you can say that for most of their songs). Once again the drums are supremely badass, proving that the Heaths should be doing film scores for epic fantasy movies. "The Truth is a Cave" gives way to "The Valley Reprise" which caps the album off in a similar way that it began with an incredible chorus of voices rising with the sun to find a new day. The understated outro of the album is interesting too, feeling a little out of place but serving as a point of resolution.
The album as an entire work doesn't flow quite as neatly as some concept records, but the songs themselves are smooth, incredibly well done, and full to the brim with feeling. I hope that this record helps The Oh Hello's get the recognition they deserve as one of the greatest new folk outfits in music, because they have delivered one incredible full length debut. Give it a listen and hear for yourself...

Through the Deep, Dark Valley

Aseethe - Reverent Burden (2011)


This is so good I have to "reblog" it. Droning Funeral Doom. Excellent album upon first listen, so hopefully successive listens will be just as impressive. Strongly recommended.

Noise Music And The Issues Those Unfamiliar With The Genre May Have

Instigated in 1913 by Futurist Luigi Russolo, Noise music actually started as what might be considered a precursor to Musique Concrete; his manifesto discussing the progression of music through arranged noise. However, contemporary noise differs greatly to Russolo’s vision, which was the arranged sound of machinery and daily life. Categorising this into six groups of sounds ranging from roars to whistles to grunts to cracks to human animal  shouts, he intended to present it more as a piece of art, rather than present it the way one may present a piano recital to an audience. The concept of such is based not around pitch - or even potentially rhythm - but the art of manipulation of sounds. Such a perspective on even experimental music has caused much debate over the semantics of what music is, and furthermore whether field recordings and indeed, Noise, “count” as music. As electronics and speakers were developed, the manipulation of electrical signals manifested into noise has become more and more apparent, and is now essentially what contemporary noise is today. But the same problems emerge. What is music? One may argue that layered static does not constitute “music”, but unfortunately the judgement of such a thing is not a paradigm, but more something perceptive. So, for the sake of this discussion, I will say that music is, or has potential to be, “apperceived sound”. That is, what an individual hears and then both consciously and unconsciously appraises. This sort of vague term allows for those of all beliefs and persuasions concerning such an awkward topic to debate. But then there is the question of what makes Noise appealing. Those who have delved into the genre cite the development and layering of noise to be what makes it so captivating, but because it is so inherently inaccessible to those who rarely venture away from contemporary, mainstream music, many will write it off as “non-musical” or “try-hard” without considering the semantics of such terms. And despite the naivety of such comments, it is understandable! Such an abrasive sound, coupled with how many noise artists include themes such as deviant sexual behaviour, murder or death, sexual violence, and political extremism, can certainly bring disgust and an immediate negative appraisal of what is heard. Noise is inherently rude to the ears, and this is often intentional (I recall one friend complimenting a Noise artist on how impressive he found their music – they were so offended by such a comment they stopped performing!). So what one must ask is “how beauty is found in Noise”? Such a question on catchy or pretty music can be a challenge. To enunciate a liking of something without resorting to either distant comments like “it sounds nice”, “I like the melodies” or, indeed, overly scientific terms which strip the question of its value is difficult. The overarching interest in the genre seems to be a love of the free, uncontrolled and overwhelming sound which is encapsulated, while often actually being carefully constructed by the artist. In addition to the aforementioned, the lack of a prominent rhythm can cause great issue with some new to the genre: this is where the attention to texture is vital to the appreciation of Noise. Like minimal drone, a significant portion of focus is often on the subtle fluctuations of the sound and the textures found in the collective layering of them. What has come of this subtlety which some never truly adjust to is Industrial and Rhythmic Noise; even moving towards fusions of Noise with Disco, or with elements of Glitch. Furthermore, variances in the intensity of the sound have led to “light” and “harsh” noise. Perhaps a fusion of “light noise” and use of rhythmic elements is the key to finding a more accessible beauty for people unable to access the harsher artists in the genre. It was found in an experiment that infants  showed, even at an extremely young age, discomfort to hearing atonal and dissonant music.  Suggestions for the cause of this have included a difficulty of the auditory areas of the brain to process dissonant chords or progressions, and the resulting difficulty causes a negative emotional reaction. Perhaps a similar difficulty in processing more abrasive noise is a contributing factor? Combined with years of being conditioned to be used to the resolution of a melody to the tonic, or the use of very common chord progressions, studies such as this may give insight into both Noise music and the brain and its interaction with sound.

This leads us to that of the aesthetic of Noise, and how it may affect the listener’s perception of the music. As previously mentioned, many write off Noise as "edgy" and/or "try-hard". When you consider the artwork, album titles, and occasionally lyrical themes, this is an appreciable criticism, and certainly one to address. When the content and concept of the genre is generally to evoke unpleasant emotion, and to portray similar feelings to the audience through abrasive squeals, low rumbles, and layered static, it is easy to think of it in such a way. How do you account for overly dramatic or dark artwork and/or lyrics and judge the music on its own merit? What constitutes "good" Noise? Ultimately the fundamentals of modern Noise are the manipulation of tone and velocity of a (usually) non tonal sound, and one may argue that such a foundation to a genre immediately gives way to stagnation and too little to work with in a progressive manner. But consider that, in Western music, there are twelve notes. A to G#. Put into perspective, Noise is almost an entity existing parallel to the rest of music which uses the already discussed signals as opposed to notes found on the sheet. And allowing for the sounds and manipulation of sounds that can be achieved with the equipment – analogue and digital – available to most Noise artists, it is potentially an extremely diverse genre. This is particularly true in cases where the artist builds or alters pedals for themselves. Amalgamating that with the traditional use of the twelve notes, there is even more room. However, all of this brings us back to the original question: what makes an artist or album good? What is often key to judging this is an appropriate use of repetition and dynamics. Amateur Noise producers are usually very easily identified by heavily compressed dynamics and a lack of creativity in arrangement or structure, and distorting everything to the point of obscurity. What is the difference between something linear and something aimless? While minimal noise is enjoyable and often impressive, the execution of it is vital to making it interesting enough to entice the listener. Alternatively, the difference between good and bad rhythmic noise may be how derivative it is, or what the producer does to challenge the listener’s imagination or tolerances, and interest them with experimentation (and, as mentioned, texture). With violent or sexual themes, it can be judged whether the artist has any sort of interest or experience with the subject they wish to convey, or whether they are merely writing said lyrics for the shock value. So, I have come to the conclusion that noise is not  necessarily something to listen to with the same expectancy for structure as you might with traditional Western music. Those unfamiliar with it should attempt to immerse themselves and let it flow through them, appreciating the textures and layering in real time rather than trying to process what they hear, as it may prove to be their undoing in appreciating or attempting to appreciate the harsher elements of the genre. Treat it in the same way as you would a film: do not ponder on exactly what happened two minutes ago, as you will have likely forgotten the great intricacies, and will miss out on what is happening as you think away, losing concentration on actually watching it. Granted, many noise albums  may take several listens to break through the surface of the music, but if one treats it as a study of texture and tries to "feel" that texture in real time, it may help you find a new world of music.

He Who Built My Hearse - MALUS MALEFICARUM


More Drone Doom from HWBMH! Check it out!

DTROTBOT - DTROTBOT


This is an example of when people sending me their work makes me happy. DTROTBOT do this strange experimental/psychedelic rock... tracks usually develop around a fingerpicked guitar progression which is quite muddy. Then a very muddy and slightly buzzy bass will appear, quiet and minimal drums, and over it all, dual (?) vocals coming in over it as some sort of tripped up dream, and often with s top-and-start pattern. It's a brilliant example of each musician working together to create something where everything blends into a unified sound, but in the most perfect way possible. But enough of the poorly worded and vague descriptions: have a listen, and watch this space.

Low Leaf - Alchemizing Dawn

Alchemizing Dawn cover art 

An intriguing mixture of R&B. harp-driven folk, and hip hop. Soulful vocals and cosmic imagery make this an album not to be missed. Give it a listen.
 

Judd Madden - Artesian


Stoner/Doom fellow Judd Madden has a new album out! Check it out. His earlier works are excellent, too.