Aaron Dilloway Modern Jester Rar Extractor
Sort by: Rating 5.0 classicNot shitty high energy vocal house.Eben D'Amico where are you now? Please come back and save pop punk.I genuinely feel bad for people that can't get past the repetitiveness of this album. Despite the 'insert beat, repeat' formula that is (mostly) at play here, from start to finish there isn't a single moment that isn't 100% pure sonic bliss. Sure if you're concerned with structure over texture you might not 'get it', but if you just let the sounds wash over you, you might eventually find that this is as sublime as music gets.Out of the numerous albums that I havelistened to, analyzed, disected, and engrossedmyself in, this is hands down my thirdfavorite.
Or maybe fourth.Best album of the 70s.4.5 superbApparently I'm the only one here that thinks this is easily one of the best albums of the decade. Combining all the best elements of Sufjan Stevens, mewithoutYou, and Modest Mouse, and adding Daniel Smith's bizarre Godly sense of humor, this album is a trip.Exploding out of the gates with the trippy yet rocking 'New Terrain', it is easy to tell that this album is about to deliver something special. You are taken for a ride through warped lyrical passages and blasts of guitar and fuzz that if played backwards creates a whole new thrill.
A spastic guitar with seemingly no rhythm begins 'Introducing Palace Players', eventually settling in to one of the album's best grooves. Random stabs of down-tuned guitar lines add flavor to create a completely unique listening experience. The vocals shine throughout the album, especially on 'Beach' and 'Repeaterbeater'.
'Cartoons and Macrame Wounds' paints a nostalgiac world drawn using childish words that loop and overlap until the song seems to spiral out of control. 'Silas the Magic Car' is the most laid back song but also provides the purest vocal and instrumental performance that is simply beautiful. Everything seems to build to the absolutely epic 'Sometimes Life isn't Easy'. Unfolding like three songs in one, this amazing track takes the listener on a journey from the out-of-nowhere high-pitched screams in the intro to the upbeat verses (including the greatest handclaps ever recorded) to the stunning yet reserved refrain that displays the most heartfelt vocal melody on the album. This is an extremely detailed album that requires multiple listens to fully absorb its beauty.Mind-Bogglingly ahead of its timeSo I don't know if you guys heard, but 'Cover Up' is the second greatest pop/punk song of all time.This is the Kid A or Laughing Stock of Pop Punk.
Completely misunderstood at it's time of release, this work of art brilliantly fuses Jazz, classic pop, and other unconventional methods into one of the most unique albums in the genre. Sadly, the backlash from fans wanting another Stay What You Are seemed to cause Saves the Day to avoid future creative endeavors.I don't understand how anybody can not like this.4.0 excellentWith a nice blend of the best aspects of M83, TV on the Radio, and The Knife, the greatness of this album completely took me by surprise. Oh, and the vocals are great - don't listen to the other Soundoff.Good Concept album from a somewhat stale genre. Too bad their next album was horrible.Syro, twelve years before Syro.Porcupine Tree is lame as hell, but this is some beautiful stuff. And Drugged II is much better than Drugged III.Every song sounds the same and they're all awesome, except 'Tugboat' which is slightly more awesome.The beat in Rift Zone is SICKProbably the most awesomely gay album of all time.Stay What You Are and In Reverie are better than this.
I know what's what.Basically the blueprint for Angelo's Twin Peaks score3.5 greatThey do Arctic Monkeys better than Arctic Monkeys does Arctic Monkeys.Boards of Canada worship galore. Borderline Plagiarism. Which means I can't help liking it.' Phut of Plex' is unbelievably good.
The rest is believably good.I probably shouldn't like this, but for some reason I do. And I don't know why guys.
It would have been dishonest to pick anything else for our choice for record of the year 2017 - ‘Grafts' has more or less been on constant rotation here since the very start of the year and has dug its claws deep into our psyche in the months since. Japanese composer/demi-god Ryuichi Sakamoto presents an exquisitely oneiric and elusively spiritual new album inspired as much by the sound sculptures of Harry Bertoia as the magic of Andrei Tarkovsky’s seminal septet of celluloid classics.It’s been some years since Sakamoto has placed his name at the top of a solo album proper - as opposed to his swathes of collaborations and film scores - and we can promise that the results herein are definitely worth the wait.Imagined and realised after a period of fright with his health, Async captures Mr. Sublime dream-pop beauty from Colleen, a gorgeous and crucial push and pull of experimental urges and pop immediacy.
Make sure to check the brain-dancing percolations of ‘Another World’ and her exquisitely off-kilter title track. New album from Dominick Fernow’s most intriguing alias with 'Sound on Sound” processing by Silent Servant and a remix from Substance (Chain Reaction). Ok so this is without doubt the most frenetic and exciting new music we've heard in 2017 - a double LP selection of pure Singeli fiyah originally issued on a limited edition tape back in June, now fully remastered and available on download and vinyl formats for the first time, inaugurating Uganda’s Nyege Nyege Tapes' hugely exciting upcoming vinyl series.
Hailing from Tanzania’s febrile Dar Es Salaam underground, Sounds of Sisso showcases the punkish sounds of the Sisso studio with a volley of hi-velocity missiles sounding like nothing else but in our minds comparable with full on Soca or Shangaan Electro styles as much as Northern British takes on happy hardcore and Makina, trust there’s no messing about with this one.!!!For us, like many others, this is a bracing first introduction to the Singeli sound, whose collision of souped up rhythmic energy and breathless bars should immediately translate far beyond its East African base. Ryan Carlile and Spencer Doran traverse the outer reaches on this killer Visible Cloaks document for RVNG.We just knew last year's debut Visible Cloaks offering for RVNG, the Miyako Koda-featuring Visible Cloaks single Valve, would be the prelude to something greater from Ryan Carlile and Spencer Doran. Reassemblage marks the Portland pair's second album and further expands upon the Visible Cloaks 'verse, calling on Motion Graphics and Root Strata alum Matt Carlson for assistance.Inspiration for the album stems from a video essay of the same name by Trin T Minha-ha, which explored the impossibility of ascribing meaning to ethnographic images.
With this in mind, Visible Cloaks set about transposing the inherent futurism of acts discovered on their inspirational Fairlights, Mallets and Bamboo mixes well into the 21st Century through modern sound design.This results in an album whose eleven tracks possess a startlingly lucid and vibrant vision, forming new structures and ideas in the process. The aforementioned Valve features early in Reassemblage, Miyako Koda's presence gaining even more meaning within the context of Carlile and Doran's intentions for the album.Elsewhere, vocals are deployed with a more abstract bent, VC playfully skewering Matt Carlson's voice through digital manipulation on Neume for one of the album's forays through musique plastique. Circles offers a genuinely spine-tingling moment of modern classical, whilst Motion Graphics follows his avant-jazz Future Times gripper with some illuminating assistance on the digital tranquility of Bloodstream.Wonderful stuff all round. Superb curio from NYC-based Kathleen Baird, now Ka Baird for the purposes of this LP, sweeping from alien/avian electronics to Sun Ra-meets-Pekka Airaksinen electro-jazz freenuss, iridescent string and flute movements, and one a-m-a-z-i-n-g piece of flute, vox and pulsing bass that sounds like a winged sister of Robert Aiki Aubrey Lowe - practically worth it for this one alone! Seriously - one of the most original and brilliant things we've heard this year.'
Sapropelic Pycnic is the world debut of music presented under the name of Ka Baird. While this record is a commencement of many sorts, it is in no way a mere beginning: Ka was one of the founding members of experimental psychlings Spires That In the Sunset Rise. Gorgeous new album from Teresa Winter, an uncanny collection of ambient / dream pop / entheogenic reveries that comes highly recommended if you're into anything from Grouper to F Ingers to Leyland Kirby to Delia Derbyshire to early AFX.Teresa Winter’s LP debut Untitled Death is a hallucinogenic wormhole of sensuously ambiguous pop and electronic experiments primed for the after-after party and altered states of reception.
Alex Zhang Hungtai explores forlorn, strung out avant-industrial and rhythmic noise feels as Love Theme for Luke Younger’s Alter after laying his Dirty Beaches alias to rest in 2014, and more recently guesting on Dedekind Cut’s American Zen album“If there's a single guiding motif to this debut recording from Love Theme, it's the melancholic throb of love learnt and love lost, a descent that tumbles and slips through the overall feeling of looking back. As intimately and carefully as its parts cohesively lament a narrative, it's the after-image that catches your breath, like a memory morphing as it is observed.Comprised of Alex Zhang Hungtai of the now defunct project Dirty Beaches, along with Austin Milne, and Simon Frank, 'Love Theme' is arranged from an improvised session with twin saxophones, synthesizer, percussion, drum machine, and voice.Over the course of a year the material was edited remotely from the members' home cities of London, LA and Taipei.The record's sullen ambience is never left too long to set in. The aching wane of the saxophone arrangements frisk the propulsive aggro of the mixed percussion, forcing a melancholic halo upon the queasy stupor of the synthetic swing that closes each side of the record. It's a bizarre lust for life that's being divined from equal parts dislocation and invigoration, a potent remedy which perhaps Love Theme can call their own.Percolating and finding form over time, the record instinctively follows a travel narrative, moving across a series of landscapes, reflecting the innate experiences of the expressions and voices that were first collected in South London back in February 2015.' Shinichi Atobe exists out of time, producing material that’s both inimitable and genuine. 'From The Heart, It's A Start, A Work Of Art” was released in May and is perhaps the most unique and enduring of all of his output over the years - easily ranking among our favourite releases of the year. Curiously, it has origins going all the way back to early 2000, when three of the tracks here were originally produced and cut to acetate at D&M in Berlin (in an edition of 5!), presumably lined up as a follow-up of sorts to Atobe’s legendary 'Ship Scope' 12” for Chain reaction from the same era.
At bleedin’ last, The Gag File retches up Aaron Dilloway’s long-awaited follow-up to the noise classic, Modern Jester 2012, which has since taken on cult status with miscreants across the board from Demdike Stare to Happa and practically every other crank out there.Fronted by an unnervingly coy ventriloquist’s dummy which indelibly mars the memory from first sight, The Gag File offers up Dilloway as a sort of psychopomp or vessel through which humanity’s ills are digested and distilled then regurgitated in the kind of day-later dog’s dinner that stains your clothes, teeth and mind. Debut release from a new addition to the Modern Love family featuring 10 dancefloor variants shot from the hip. RIYL Kassem Mosse, Willow, Lorenzo Senni, DJ Stingray, Move D, El-B.Outta the shadows and into the strobe-light, Alex Lewis aka Turinn debuts on Modern Love with a highly rinsable debut double-pack of sawn-off brukbeats and anxious, nerve-riding grooves brewed in the ravines of North Manchester. Perhaps the most ambitious and absorbing album yet from Lawrence English, featuring a whole host of friends and collaborators including Swans’ Norman Westberg, The Necks’ Chris Abrahams and Tony Buck, Mats Gustafsson, Werner Dafeldecker and The Angels of Light’s Thor Harris.
It’s an arctic, ice-cold meditation rendered in the most beautiful drone and semi-orchestral variants - think somewhere between William Basinski, Akira Rabelais and Badalamenti at his most terrifying. Terekke takes L.I.E.S. Over the line with his sublime debut LP, Plant Age - the label 100th release. If you’ve been wowed by his handful of Terekke 12”s to date, take it on trust that this one’s his best so far.
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For everyone else, this is some of the loveliest, fugged-out deep house you’ll hear all year.In the mould of his much loved singles, Plant Age finds the Amsterdam-based producer lushing out in eight ways, all linked by the classic spirits of deep, ambient and dub-house styles. It’s surely an analogue bubblebath for the soul - the kind of careful, caressing music to put on at any time of the day to ease your worries.With xanax-like efficacy, he conducts a deeply anaesthetising drift from the watercoloured chords and elusive, Sprinkles-like bass on Tack thru cotton-built deep house in BB2 and delicicious, barely-there ambient structures in Swim, then sending gentle shockwaves thru the smoke with his doubles stepper Mix91, before pushing off into purely opiated 4th world zones in JQM, and kissing off with the aqueous smudge of Closer.Immaculate stuff. The third of a six album cycle cataloguing The Caretaker’s fictional first person account of life with early onset dementia, presenting some of the last coherent memories before confusion fully rolls in and the grey mists fade away. In this crepuscular, autumnal phase, recollections phosphoresce and wilt in advancing stages of entropic decay, steadily approaching a winter of no return.Continuing to mirror the progression of dementia, using nostalgia for ballroom as an allegory of the disease, The Caretaker’s musical flow in places becomes more disturbed, isolated, broken and distant. Singular memories, and all their connotations, begin to atrophy and calcify, crumbling away with each rotation of the record - sometimes in curt scene cuts, others in quietly breathtaking reverbed fizzles; like tea lights extinguished, never to flicker again.These are the last stages of awareness before we enter the post awareness stages, where those memories become completely detached from comprehension. On stage 3, the haunted ballroom's repertoire becomes increasingly muddled, pealing off in recursive contrails from the gestures of Back There Benjamin, to snag on the stylus in starkly reverberant knots on Hidden Seas Buried Deep, or worn down to calloused nubs such as To the minimal great hidden, and Sublime beyond loss, all leading up to some of the project’s most uncanny detachments in Libet Delay and the coruscating brass shimmer of Mournful Cameraderie, which beautifully suggest the mercurial nature of memory and its recollection. Extrended/alternate and original versions of incidental music and sound design from the new series of Twin Peaks.For many this will be the most exciting musical artefact from the new series of Twin Peaks so far, including some of the most evocative and eerie sound moments from the new series.Included is an extended version of the 'Cymbal Wind” that prefaces the Twin Peaks theme every episode, as well as that highly fucked up “Electricity’ effect and Caretaker-esque 'Interior Home by the Sea”.
This is really sound design of the highest order, if you’re a Lynch freak or indeed into anything from Deathprod to Demdike Stare, this will blow your mind. Intently focussed and organically complex analog synth music by a promising new composer, Caterina Barbieri, demonstrating a heightened sensitivity to the rhythmelodic patterning potential of an Indexed Quad Sequencer and Harmonic Oscillator with Patterns of Consciouness in a way that intersects aspects of Lorenzo Senni’s pointillisticTrance as much as the disciplined meditations of Robert Aiki Aubrey Lowe or Alessandro Cortini’s plaintive waves. Avanti is Alessandro Cortini’s sixth album and his hauntological magnum opus; a masterful embodiment of his nostalgia for analog synth recordings wrapped up in a pall of decaying futurism.
After numerous Forse volumes, a pair of LPs for Hospital Productions, a live recording tape and a collaboration with Merzbow, we’d wager that Avanti is the most substantial Cortini album to date.In a Leyland Kirby/The Caretaker-esque gesture, Avanti investigates notions of memory surrounding music. Startling side of pelting drum machines and psychedelic noise from Japanese synth/punk pioneer Hiromi Moritani a.k.a. Phew; an avant-garde vocalist who started out in art-punk unit Aunt Sally and has since collaborated with everyone from Ryuinchi Sakamoto to Can, DAF and Bill Laswell during an illustrious career.Light Sleep packs the kind of febrile energy and thrust that you might expect from a young, new artist enthralled with the possibilities of vintage hardware.
Which makes it all the more remarkable that it arrives well over 30 years into Phew’s far flung catalogue, at a time when you might expect them to be exploring lounge jazz or new age electronics. But scan back thru her oeuvre and you’ll hear that Phew’s already done all of that, mostly in her early years, and now it’s clearly her time to cut loose.Succinctly and accurately summed by her label as “a more animated Nico singing (in Japanese) for early Suicide”, Phew’s home recordings - recorded and edited in Tokyo, 2014 - work right on the biting point with tungsten tipped drum machines piercing thru banking walls of bittersweet noise. Establishing its trajectory in New World, she unleashes a ruthless, breakneck rush of excoriating rhythm and urgent yelps in CQ Tokyo, calving away to reveal plangent horror score drones in Mata Aimasho.She returns to jabbing drum machine pointillism pitted against her own random exclamations like starker John Bender in Usui Kuki, while the Suicide-meets-Nico analogy really comes into play on Echo and Antenna sprawls out in cosmic noise like some Astral Social Club or Ashtray Navigations invocation harnessed and kerned by Craig Leon.Stonking stuff. Chicago Ghetto House staple Jana Rush delivers a properly rugged debut album of footwork on Lara-Rix Martin’s Objects Limited.Notably entering the world of DJing at age 10, and making her first productions only 3 years later - some of which ended up on Dance Mania alongside DJ Deeon - Jana’s recent tilt into footwork, documented on the warped, febrile designs of her MPC 7635 EP as JARu in 2016, places her not only as one of the scene’s few female operators, but also one of its rudest and most idiosyncratic.Pariah is Jana’s first longform statement and it bangs from every angle. The cult Australian trio align with Stephen O’Malley’s label for a fine new album.After delivering a trilogy of albums for their own Fish Of Milk label, Chris Abrahams, Lloyd Swanton and Tony Buck resurface with a new long player as The Necks on Ideologic Organ. Few other bands can grapple three decades of genre-defying musical innovation and still sound fresh, but The Necks do it with supreme class on Unfold, a four-track album pressed up on double vinyl and gifted the mastering touch of Rashad Becker at D&M.The label state these four tracks are not numbered deliberately, leaving the listener to navigate Unfold from whatever angle they choose.
All four approaches are, as you would expect, a delight; be it the arresting musical symbiosis of Rise to the brushed percussive drama and crystalline piano motifs of Blue Mountain via the clockwork free-jazz skitters of Timepiece and Overheard, perhaps The Necks’ most accomplished slice of melancholia. Nyege Nyege Tapes is a Kampala based label exploring, producing and releasing outsider music from East Africa as well as showcasing international collaborations.
For its first batch of releases the label is showcasing the electro-achoi sound coming from Northern Uganda, a compilation of the new beats scene from Dar Es Salaam Tanzania, and the first studio album of Uganda's legendary thumb piano player Ekuka, plus a few other surprises from Congo DRC and South Sudan.The third releases on the label is the best of the batch; the first-ever international release by Otim Alpha. It features 11 fast-paced Electro Acholi versions of Larakaraka wedding songs from Uganda. Energy crew, your time! Club ready crunchers from the excellent host of Comeme Radio show Bon Voyage.Hotly-tipped by Helena Hauff among others for her DJing skills, Inga Mauer continues her rise as a producer with the latest Shtum release from Uncanny Valley.As with her Hivern debut last year, the four tracks on this single find Mauer channelling her inspirations - Bunker, Nation, early industrial grot - through a contemporary lens. The results are diverse, ranging from the big room techno flirt of Dno to the malfunctioning throb of Silences which sounds like a Charles Manier cover of New Order classique Your Silent Face.She conjures some wicked sub bass frequencies on the skittering electro smear of My Flights Without You whilst Dystopia is the sort of lolloping EBM tool Powell likes to drop in between EVOL and DJ Stingray. The ‘queen outsider of Berlin Avant-Pop’ returns with a new album exploring social indignation and identity deconstruction for Klangbad. Think somehwhere between Space Lady, Inga Copeland and Ectoplasm Girls, featuring Faust's Joachim Irmler.Berlin-based Russian Mariya Ocheretianskaya makes a swift return with a new Mary Ocher album following last year’s self-titled ‘sub-religious’ endeavour alongside her drum unit Your Government.
The grandly-titled ‘The West Against The People’ was produced by Ocher in collaboration with Klangbad co-founder and Faust don Hans Joachim Irmler, with the aforementioned Your Government featuring heavily among the album’s thirteen tracks along with a guest spot from German wave icon Felix Kubin.The grandiosity of the title and themes explored by Ocher is more than matched by the sweeping drama of the music, at times recalling the bizarre DIY stylings of Space Lady or Inga Copeland. For the most part however, this is Ocher’s eccentric story to tell, and it’s a wonderfully psychedelic and varied listen that retains a certain cohesion that has you coming back for more.In the first few tracks alone, Ocher veers from Ectoplasm Girls-style spectral drone on Firstling, Pt. 2, to Avant poppers with allusions to psyche-rock. At other points, there are odd soundtrack compositions reminiscent of something you might hear on an Andy Votel mixtape, whilst Kubin seems to bring new levels of bizarreness out of Ocher on album closer Wulkania.Brilliant and weird - highly recommended. TAR is a poetically plotted suite of ambient/noise and modern classical composition with a real emotive pull, firmly realised by Iranian artist, Siavash Amini. Brighton’s K-Lone helms the next chapter on Parris’ Soundman Chronicles label, backed with an oxidised dub remix by Bristol’s O$VMV$M.Apparently a year in the works, Old Fashioned convects 10 minutes of silty chords, subtle beachside atmosphere and exhaling dynamics, leading up to a levitating dub bass in classic, or should we say Old Fashioned Berlin style. Schmoke a bowl a drift off styles. In The Dust Of This Planet brings that vibe closer to the UK lean of Parris or Batu, but more low key, furtive, and O$VMV$M seemingly leave Old Fashioned to the elements, returning a wizened, saltier version.
Prodigal avant synth-pop star John Maus - an important early collaborator with Ariel Pink (who guests here) - returns to the scene he was instrumental in setting with Screen Memories, marking up his first album since We Must Become The Pitiless Censors Of Ourselves 2011 and one of the most addictive records of the year thus far.The palette remains mostly unchanged from his chain of previous Maus classics, as written for and released by Upset! The Rhythm and Ribbon Music during the ‘00s.
But the tone, timbre and layering of his synths, drum machines and vocals in Screen Memories are discernibly tweaked for emphasised flavour and emotive affect. The results find Maus better expressing his contemporary concerns thru the prism of outmoded equipment, giving voice to the truth of timeless, absurd matters in an ever-more personalised style of pop articulation.Under the wonderfully evocative header Screen Memories, a title which simultaneously conjures reflective, nostalgic imagery and possibly suggests a sort of picnoleptic reaction to the hypermodern narcissistic condition, Maus parses his own image and sense of self from the TV ‘snow’ or distortion of reality.
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It appears as a self who can’t escape the formative digital tang of the ‘80s which underlines so much of the modern world, yet a one who lives and dreams in the here-and-now.It’s a supremely smart demonstration of avant-pop as playful metaphor, with Maus merging/duetting ever closer to his fine-tuned synth as a form of basic AI, occupying a strange harmonic uncanny valley of phosphorescing shadowplay between his probing hooks, bathing in the plasmic timbre or temporal and cognitive dissonance of late capitalism. Pivotal NYC noise figurehead Margaret Chardiet marks the 10th anniversary of Pharmakon with a mentalist projection seeking to highlight humankind’s perpetual struggle to transcend mind and body. Alessio Natalizia aka Not Waving rides the wave of a lifetime on his magnum opus, Good Luck.His second album for Diagonal is an emotional but fiercely optimistic LP of skewed cathartic dance-pop written in the midst of these dark and uncertain times, fine-tuning 20 years of recording and rave experience into a vibrant, pop-ready statement that’s never felt so necessary.It abandons the sensitive streak hinted at on Animals, his debut LP for Diagonal, to pursue a creative hunch for concision and social unity. This new perspective drives the album’s flux of emotions and guides what some may find to be a utopian outlook, wrapping his trademark experimental urges, clever song arrangements and winking edits in a larger narrative: a new system, if you like, that offers a way out of the contemporary condition towards something pure, sweaty and wild.
Tzusing follows THAT ACE cinematic LP on L.I.E.S. With this trampling collision of throat music, EBM, and industrialised trap for Bedouin Records.There’s five tracks for the ‘floor or the BDSM dungeon, booting off with the stomping bass and throaty overtones of Flow State featuring Illsee and sinking lowing the bullet-riddled industrial trap wreckage of Shame.The B-side signals a blank eyed sort of gabber trample with the horn wielding 風雲再起 and then a spot of late ‘80s/early ‘90s EBM swagger with 地心引力抓不住你 and 得意先生.