Review: Hydra – Your Name (Everyday Samething, Aug 1).Review: Arek Gulbenkoglu – fissure, fissure, fissure (self-released, Jul 26). Review: Jordan Deal – GOGO Underworld (Cor Ardens, Aug 5).Review: Ghost Dance – 1000 Instances of Grief (FTAM, Aug 20).Review: Jürgen Eckloff – Diese, Nichts & Solche (Fragment Factory, Sep 1).Review: Moth Cock – Whipped Stream and Other Earthly Delights (Hausu Mountain, Sep 2).Review: mockART – views | interrupted (self-released, Sep 2).Reviews: Sick Days, Pool Pervert (Vacancy, Aug–Sep).Review: Candi Nook – How I Invented Sound and Redesigned the Human Ear (sPLeeNCoFFiN, Sep 30).Mix: Freeze Like a Fucking Progress Bar.Review: Micro_Penis – Süra Wald (Chocolate Monk, Sep 24).Review: Lisa Cameron, Damon Smith & Alex Cunningham – Time Without Hours (Storm Cellar, Oct 14).Review: Gaped – Fever (Veil Tapes, Oct 27).**Material hosted on Nina Protocol or any other platform associated with cryptocurrency, NFTs, or artificial scarcity of any kind is also very much unwelcome here. If you have rehosted previously reviewed material elsewhere and want me to switch links, please reach out.** I know this is not the most convenient policy for many, but blame Bandcamp, not me. Only submissions of any other kind-physical, file transfer, FMA, Soulseek, etc.-will be accepted. **I will no longer review or link to any material hosted solely on Bandcamp. If you’d like to write a guest review or essay (or anything, honestly I’m not picky), just let me know.Ĭontact/submit via for physical address. I almost always restrict coverage to things that have come out in the past two weeks or so.Ĭurrently the site is written by just me, Jack, but I’m open to expanding in the future. Also, I will be much more likely to review an album if it is not sent as a promo blast/press kit. However, I only review albums I like, and the “reviews” themselves (“blurbs” might be a more accurate label, but god, what an awful word) are more intended to encourage discovery rather than to express my personal opinion. When I say nothing is off limits, I really mean it. If you have an album you’d like me to review, please email me or comment on a post. I tend to focus on material that resides in the experimental or avant-garde realm of music, but nothing is off limits. I do not agree with the statement I’ve chosen as the title for this site everything I write about here-a great deal of which could be called “noise”-is music. Here you’ll find reviews of recent albums, various features and lists, and occasional mixes. Even if it doesn’t sound like your thing, you should try it this is a very special and exciting new album. I’d be lying if I said To Be Brave wasn’t intense, but it’s so concise and well put-together that the more discordant elements are digestible. The stretch of cryptically numbered miniatures in the second half of the album, preceded by the equally diminutive title track, embark into deeply physical sound-object arrangements that further blur the divide between the thumps and bumps of reality and the electrical storm hanging above. This coexistence occurs with differing amounts of unease, often undergoing a drastic change within a single track, as is the case with both of the aforementioned tracks “Warm Milk” evolves from harsh to hypnotic, “New Moon” from soothing to sinister (the wet smacking noises used near the end really could be some heavily processed mouth sounds, I honestly have no idea). Unlike September’s Jaguar 100%, the heavily altered auditory acrobatics of Xanthopoulou’s text-sound ranting is at least not perceptible on this new release, and instead the buzzing digital abstractions are woven throughout ennui-vignettes, the two often coexisting as on “New Moon” where the alien pulses of the former lurk beneath the meditative object percussion of the latter or on the blasting opener “Warm Milk” for which the opposite is the case. Barcelona-based sound artist Daphne Xanthopoulou finds beauty not only in the mundane sounds of our everyday lives, footsteps and chimes and ringing telephones captured with wildly varying fidelity, but also in the intense, noisy glitch-scapes she coaxes from extensive processing of those recordings, presenting two dimensions of reality simultaneously-though moments on To Be Bravethat feel like “reality” are quite sparse.
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