PESTREPELLER - ISLE OF DARK MAGICK
Mold with A Mind
[14:11]22.1 Mb
No Screeches and Snakes and Deep Dark Menaces
[7:09]10.2 Mb
My Gun Scatters My Gun Kills
[19:01]24.2 Mb
Dismembered Dead Things
[14:53]21.1 Mb
The Smell of Wet Fur in the Rain
[6:04]8.3 Mb
Teaching the Clouds to Be Inverted Flames
[12:35]14.7 Mb
Pestrepeller "Isle of Dark Magick" Album Review
Album Description
"A quick trip to a psychedelic plane where Sun Ra's rocksichord pumps up the volume alongside krautrock kozmik couriers Ash Ra Temple while the long shadow of Dada godfather Marcel Duchamp blots out the sun. The perpetrators are Sav X of Art Attacks/Kray Cherubs/Ether Hogg, cult underground comics artist/writer Ed Pinsent, and guitarist/writer Harley Richardson." - SYMPATHY <P>"An amorphous scientific manifesto of drone...hypnotic." - PTOLEMAIC TERRASCOPE <P>Prepare yourself for this gem of free-improvised-found-sound-collage enriched with dark pagan folky vibes and supernatural horror noise dedicated to HP Lovecraft, Clark Ashton Smith and Austin Osman Spare! <P>Most remember Pestrepeller only as the source material for Sonic Boom's (Spacemen 3) Pestrepeller remix album. It's true - while they're a supergroup of sorts in their 10th year of existence, they've still only released three proper albums. When Pestrepeller does make a sound, they make it count, sharing stages with Borbetomagus, David Shea and Alan Turner, among others. <P>Pestrepeller consists of long-celebrated illustrator and Wire journalist Savage Pencil, Evan Parker student and ex-Medicine Head member Peter Hope-Evans, comic artist Ed Pinset, cartoonist Harley Richardson and Rob Brown.
SHAWN DAVID MCMILLEN - CATFISH
Noon
[4:01]6 Mb
Glass Neighbors
[12:22]18.2 Mb
The Lawn
[5:23]7.2 Mb
Cat Mountain
[4:55]7.4 Mb
Old Bullets
[4:01]5.6 Mb
Vember
[7:20]10.8 Mb
Quintannas Head Dress
[17:32]21.5 Mb
Shawn David Mcmillen "Catfish" Album Review
Album Description
"Part of the emerging Texas psych scene - Really interesting." Thurston Moore (Entertainment Weekly June 16th, 2006) <P>Guitarist and composer Shawn David McMillen is a native of the East Texas town of Lake Jackson. <P>In the early Nineties, Shawn met Tom and Christina Carter (Charalambides) —now considered early pioneers of the present avant-folk movement—as well as Heather Leigh Murray. Shawn and Heather recorded together as Ash Castles on the Ghost Coast, releasing one CD on Charalambides' Wholly Other imprint and playing one show with Palace Brothers. Circa 1999, the pair moved to Austin where they played with Rick Reed in Abrasion Ensemble and later formed Iron Kite. <P>Recorded mostly at night, Catfish is acoustic-based only because Shawn had no electric guitar at the time. Other instruments include autoharp, Roland keyboard, Indian goat bell, Indonesian gongs, bowed electric bass, African kalimba (thumb piano), and shakuhachi (Japanese bamboo flute). Cited influences at the time include American Indian lore, music from the Middle East and India, Phil Yost, Robbie Basho, and Malachi Favors. <P>Catfish was released in 2005 as a limited vinyl issue on the Emperor Jones label. This CD version features an additional 20 minutes of material. McMillen recently also released a double LP with The Friday Group (with Tom Carter) and currently plays in Rubble along with King Coffee of Butthole Surfers.
CUL DE SAC - ECIM
Death Kit Train
[6:52]9.9 Mb
The Moon Scolds the Morning Star
[4:42]6.5 Mb
Stranger at Coney Island
[1:54]2.6 Mb
Homunculus
[7:53]13.2 Mb
The Portland Cement Factory at Monolith California
[4:12]6.5 Mb
Nicos Dream
[5:44]8.5 Mb
The Invisible Worm
[4:15]6.4 Mb
Song to the Siren
[3:38]4.6 Mb
Electar
[5:01]7.7 Mb
Laurens Blues
[5:14]7.5 Mb
Cul de Sade
[3:01]4 Mb
The Bee Who would not Work
[3:34]5.7 Mb
Negligee
[0:37]0.6 Mb
Cul de Sac "Ecim" Album Review
Bracing and Daring
Featuring spacious and sneering arrangements recalling the intergalactic-sounding artists such as the 1970's German band, `Can,' and the second half of that band's milestone third album, `Tago Mago,' with its similar slow climb to speed, and dark, atmospheric feel; "Cul de Sac" and its post-rock ideal (post rock= a fusion of many of the experimental types of rock: kraut, progressive, math, etc,) has carried their brand of eccentrically weird art-noise a long way, artistically. "Ecim" (which reads as the word," Mice," flipped backwards, as if read in a mirror,) their first LP released in 1992, is essentially a solely instrumental album, and is as far left of mainstream as you can get. This is not a connect-the-dots, cookie-cutter hipster grabber, intended to gain the suits any more capital gain; instead, its all about belting waves of sonic art to the sky, and is an experience for those with high musical attention spans, and a desire to get into something that is unique-- not being music to push into the player to kill a few hours, as it is rather an album that should be listened to only when the desire is high, so the music is indulged, and slowly nourished by your brain.
Started with the dismantled, and jaggedly transmuted track, Death Kit Train, with the soul of `Can's' deceased guitarist Michael Karoli being summoned, in which "Cul de Sac" seems to be at a zenith of creativity, with a robust, railway car of combusting instrumental jerks and tears, rips, and steers towards the sudden, open-ended ending that just breaks off and stops. This pre-determined calamity is bifacial in the way that it seems equatorial in its balance of the dynamics of classic, modern, and unique structures, tempos, beats, and time signatures; while also being persistent in its reluctance to be anything but something original and classy.
The best music can float from style to style gracefully, like a jellyfish swims in the ocean, barely noticeable in its movement, yet with a sudden sting it leaves a lasting impression of remembrance in its preys' soul. There is a certain rectifying, and relaxing catharsis when listening to such tracks as the peaceful, The Moon Scolds the Morning Star, and the sifting and windy, Stranger at Coney Island; tracks that swing like the pendulum of a grandfather clock into more ominous, but no less experimental songs; including, Homonculus, and Electar. Each song--other than the sweetly sung, lyrical cover of Song to the Siren, by jazzy folk-rock pioneer, Tim Buckley--may not have actual words, other than some mood-setting grumbling, and choppy vocals; but its still passionate, and these progressive waves of brashly and unsystematic music, both make it mannered, and creatively proportioned at the same time.
***** (Out of 5)
