Thursday, June 02, 2005

Tearing out my hair again

Albert Or Steve:

Your Moon Is Never As Bright As You Thought It Was, or so Police Helicopter would have you believe. However, you can sit there and gradually disperse into the backwards environments while hearing the sort of repetative, but somehow hypnotic, stand-up bass figure, accompanied by some constant, slight, quiet barrage of something that's probably single guitar notes flipped over backwards. Minimal, in the sense that there's not much going on.

They (he?) enter(s) a different sclaptration altogether with Say You Will, which is also minimal but this time consists of a... ? Some kind of plucked string sort of thing, possibly a bass guitar plugged straight into something, though that's not really what it sounds like to me. And a vocal. And some singing. Sort of primordial stuff. In Architecture it's almost more clear that I'm hearing a guitar. With everything sucked out of it but the bass tones. And that's all I'm hearing.

Sapless is one of his favorites he ever made. I can see why. Minimal again, but this time more viscous, with ominous repeated bass dronings and some rhythmic backwards treble-stuff. This one's worth hearing, as is the first one I mentioned. Beyond that I'm not sure. I'm gonna stop listening now.

Moving more horrendously toward a fiery death, without even listening to anything I'm all over The Secret Goldfish, who doesn't like the name of itself. They/he are/is "anti-music and anti-recording." So you can't beat that.

Though it's tempting to be anti-listening to them/him, I'm going to go with my guts and see where the juice lands. without tracks, trains are as lost as you or me is lovely and peaceful, and way more differenter than I suspected. This reminds me of Rain Theory; lots of clean, echoing, reverberating guitars. Backwards guitars run in and out, long, slow, e-bow-y stuff haunts the background. There are clicks and pops coming and going; they become more prominent as the song progresses. There's clearly something falling apart here, and the lefts and the rights decide to diverge along their own paths. This is brilliant.

chainsaw is a little disappointing at first, as i'm hearing that goddamn plugged-in-acoustic sound. But the song is crazy, weird, and catchy all at once. Vocals this time, quirky and unique. I'll give it a pass, even with that goddamned guitar sound. setting sail in large vessels is another great one, instrumental again and with much better sounding guitars than that last.

Let's just say you're better off if you go listen to all of this stuff, especially if you're into the mellow, raining, thought-or-trance inducing liquidity that I'm into. the lutz carillon is chilling, gradually building its offkilter effectedness until you can imagine what might be blood on the hotel walls. throw those sorrows out the window; the rainy days can't touch you adds some strange percussion over in my right ear to the layers of distorted and clean guitar atmospheres. There are also some bells. Bells. Chimey. Bellthings. This guy is probably eating meatballs on top of the moon, is what I think.

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