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Nurse With Wound - Homotopy to Marie (1982)

booze krautedeliche After the first two (basic) album, separation of pataphysical Merzbild Schwet and collaboration with Tibet Insect , this was the first chapter in which Stapleton worked in total solitude. And it is an amazing, ambitious and delirious surrealism collage of over an hour long, which takes my breath the whole time. It had been only three years by the sudden debut and English had already developed a distinctive style, marked by swings between fearful austerity, abstract and compelling irony (not always easy to grasp, perhaps).
I Am Blind is a rummage among metals in small denominations, wheezing lower dark-ambient and voices from beyond the grave, except for a brief foray style karate that jolts of fear. The title track is basically a solo gongs, including spoken voice of women and children, squeaks claims; everything is weighed up by pauses that inspires fear whatsoever.
Austral dustbin dirge marks a bit 'the beginning of the second phase of the disc, which pushes very cut-up. Snarling dogs handled all manner of percussion, sonic absorption, sampling and terror that continue to spiral The schmurz, unstoppable 25 minutes of madness. And 'here that we find the true meaning of ironic Stapleton; quotes do not count every play and it emerges that she had forgotten a previous listening: female dialogues in English, classical music opera disfigured by Larsen, micro-chips cartoon music, ghostly walking distance moved by the wind bells and banjos desertified, etc etc ... Absolutely genius.
The closure The tumultuous Upsurge, is a half minutes of barely audible cacophony, but I seem to sense the laughs manipulated by machine. Even if not, I imagine them as a worthy final chapter of this fundamental in the long career of this truly unique character.

Nurse With Wound - Homotopy to Marie (1982)

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Nocturnal Projections - Nerve Ends in Power Lines (1981-83)

The first few steps of the Jefferies brothers, pioneers in New Zealand to offer a certain type of sound-wave punk. The NP lasted only two years (although they would continue together after the This Kind Of Punishment) and released a handful of individuals, all collected in this anthology released in 1995.
They were not too bad, although very young and a little bitter. Peter was still only a singer but his nasal tone was marked out looking. Graham and the rhythm section were rather influenced by early Joy Division, the most raw and tinged punk ( In purgatory, Walk in straight line, moving forward), but towards the end naturally moved towards a more gothic heavy borrowed from Closer (Another year, You'll never know), while in other episodes managed to coin something more personal ( Could be Increased).
Obviously it is a smaller production that is lost in the sea of \u200b\u200bthose years, but is interesting for fans to hear the artist Peter Jefferies in its infancy. He was already distinguishable from the rest.

Nocturnal Projections - Nerve Ends in Power Lines (1981-83)

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Neu! '72 Live in Dusseldorf (1996)

With the growing cult who have earned during the 90s, could be normal to try to scrape the bottom of the barrel. In fact, the publication of this pseudo-live arose from a long period of conflict between Dinger and Rother, compounded by the fact that in those years the three original historical records were reissued by the phantom German- label specializing in pirate bootleg ( and here's why I bought Neu! 1972 not understand why there were no SIAE, missing information, we had fallen too, but there was no alternative at the time if they wanted to hear!). So Dinger, prey to a spirit of retaliation made by publishing the Japanese Captain Trip Neu '86 and this here, and Rother are angry even more.
That said, it must be said that '72 Live in Dusseldorf is a very unusual episode. This is not live, but a private session and two with improvisations by Eberhard Kranemann (another character on those difficult to categorize, complete artist that will transit after for a short time even in Kraftwerk, as well as in Nurse With Wound), here involved a strange electric slide-banjo and bass.
The audio quality is extremely poor, and it is conceivable that the average fan of Neu! none are found almost nothing attractive. There are shots of the first album, there is a 40-minute jam of minimalism in which wild maybe find some creative ideas, but instead ends up being the delirium freakedelico dell'ingombrante Kranemann. There is titled Silence, that begins with a litany of disturbing and goes with the typical rate Dinger, eventually faded, however, to be a copy of Hallogallo. almost inevitably ends with a blues unstructured inconclusive, whose most interesting moment, ironically, is that the final feedback. Rother
easy to see why it was not just enthusiastic about the publication. Not that this should be to diminish the importance of Neu!, But it is a document quite dispensable, as well as the decision of the fact that Kranemann could never work.

Neu! '72 Live in Dusseldorf (1996)

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Neil On Impression - L'oceano delle onde che restano onde per sempre (2008)

The world is so small that until recently I was not totally aware of this band, my compatriot. And this can not but rejoice, because that has never been just a very flourishing cultural and musical center. So I just filled a serious gap, which is the hope of seeing them live soon.
This was their latest product, and I must say, it's really exciting. Entirely instrumental, articulate and jagged, saw the starting lineup expanded to an octet of strings with the graft. The sound is a immagignifico meeting point between the progressive (extremely complex plots, though devoid of virtuoso) and instru-classic epic of 2000, with a wink to wring Godspeed You Black Emperor during the most solemn.
There is an enormous effort of composition, in this variegated maze, it would take several plays for assimilate in its entirety. Thanks also to the U.S. are able to eliminate this phase of the slack or repetitive, focusing on the dynamics that keep the listener always restless wide awake. Among the 12 titles of the lot would include primarily the fantastic Deserts move (the middle phase with the beat and refractions guitar is creepy), the orchestral and cinematic The Garden of the reflexes, and wonder The army of paper moves to the east, mini-suite from Baroque progressions breathtaking.
But as mentioned above, is all hard to dazzle with his magnetism. A formal perfection that knows how to unleash the same warmth.

Neil On Impression - The ocean waves that remain so forever (2008)

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Fred Neil - Fred Neil (1967)

A sort of anti-star who paid for his reluctance to popularity ended in the darkness of time. The only reason I knew him is the fact that Tim Buckley, in the few interviews in life, declared and paid tribute inspired, as well as it bestowed its coverizzando Dolphins live since 1968, when a years after Neil had released this album.
And indeed there is to be struck by the similarity: first, to be read almost calligraphic curls that worked for Dolphins but not only. The deep voice and charming Neil certainly did not have the same extension, but some trills, cadenzas and passages betray more than anything.
Musically, however, there were many differences. The ohioano proceeded with a folk-blues mottled country, infinitely more straightforward and dry compared to California, but he also knew how to write great songs Ba-de-da, I've got a secret, Faretheewell, Everything Happens, together the same Dolphins. A songwriting disenchanted with his feet on the ground but able to generate melodies airy and serene, a superfine craftsmanship.
But it was not all: Everybody's talking, who became famous around the world a couple of years later thanks to the film Midnight Cowboy , was really written by Neil who here gave the original version. A good source of income during his lifetime, you might say ...
The album ended with a significant gap, the swirling acid-jam westerns Cynicrustpetefredjohn Raga, which also showed some quality guitar up to the time limitation on singer-songwriter .
There was only one other disc the following year, after Neil left of all studies and appeared more sporadically in some concerts during the 70's. He devoted the rest of his life to pro-dolphin association he founded, earning the Everybody's talking royalties. He died in 2001 at age 65. He had no art, and lightning Buckley, but a longer life.

Fred Neil - Fred Neil (1967)

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Necks - Sex (1989)

justifies me forever, because I'm not a lover of jazz. I never listened to the classics of the '60s, I stopped to give attention to a few or even their entire dish, in short, is not a valid excuse. It is also why it happens almost by accident a disc so that freaks only marginally jazz, and I witch.
Necks is a trio that debuted in Sydney Australia with just this Sex, and obviously had their origin from the classical genre. But this is a job too atypical to be confined, and is in a middle ground where minimalism and improvisation merge mysteriously.
The first is the task of the rhythm section: Buck (drums) and Swanson (bass) are hard work of jazz musicians who consumed guess it was infamous, or keep the same pace for an hour, stealthy and sinuous. Logical that we both enjoyed it more the pianist Abrahams, which is instead a display of sophisticated lenses phrases, repeated in almost precise figures and micro-intercalated with just a few notes, without ever overdoing it. In the background of a subdued wailing trumpet (not given to know who has played) and percussion deaf almost imperceptible indefinite create scenarios, including fog and just deserts.
However, it was clear that Sex group had very specific purposes, far from wanting to showcase personal stage. Emphasizing the very high quality sounds (seems ahead of them!), The final effect is that of a pleasant hypnosis, an abandonment relaxed, authentic food for thought.
At minute 56, when bass and drums stop their tireless walk on tip-toes and Abrahams has already closed the cover-piano keyboard, the desire to be seduced again is hard to hold ....

Necks - Sex (1989)

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Mogwai - Music For A Forgotten Future (The Singing Mountain)

On Sunday Morning, of course ....

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National - Sad Songs for dirty lovers (2003)

The first true disk-revelation. The following year, five have left their daily work, making a bet that the strategic long have won.

The first glimpse of the same name in 2001 was already very good quality, but there was a substantial bitterness that diminished the final result. Instead Sad Songs centered in the middle of the goal: simple, beautiful compositions, Berninger neo-maudit next door, arrangements measured but great taste. It happened as the perfect stepping between folk-rock and indie, none of the two components overcome the other, and the quality were able to soar without limits.
The first part of the disc is unforgettable: the watercolor Discrete Cardinal Song, the sparkling Slipping husband, country confidential It Never Happened, Murder the obsession of me Rachel, in twenty minutes touch on the details and enjoying the passage of the National harmonic wisdom. Down to an utter astonishment, that Thirsty that evokes many things vintage but ends up not having time literally.
difficult to maintain the superb level, but at the end of the second part is anything but a poor figure. Available smells of new-wave sinewy, Trophy Wife is the more easygoing side of their micro-trends in country-folk, Patterns Of Fairytales is an ecstatic ballad punctuated by brief electrical glitches (isolatissimo episode, I think).
forgettable two-three episodes do not affect the overall quality of the disc, after all. Without making any revolution, indeed, with the greatest discretion, the National had put a spoon important for the radiant career that awaited them, and I hope to continue with the quality they have been able to keep up to date.

National - Sad Songs for Dirty Lovers (2003)

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Gnaw Their Tongues – Rend each other like wild beasts (2009)

(written by GC)

With this work, three tripartite composition of long duration ( 20, 12 and 8 minutes), Maurice de Jong of the Dutch music definitely goes in the territories inhuman.

Doom, industrial, noise are the forms used to organize real horror symphonies absolutely closed to hope. The title track

seems like a hallucination Ligeti in the final sequence of 2001: A Space Odyssey , but as mentioned, not a coupe de Jong self-awareness, rebirths and palingenesis. Whispers emanating from the interstellar void, rumors overwhelming, metallic threats: the man pressed something irreducible residue of life to force her to surrender, as in a blind god Lovecraft and gurgling in a senseless uproar of flutes, the fate of the universe .

Then Shall They Come, O Master ... is a Black Mass in honor of these deities. The new Crowley emphasizes percussion crescendo stun, wild invocations, irresistible clatter to subside only in the final moments.

In Sullen silence pestilence stalks forth, a circular saw and a rumbling apocalyptic backdrop to vociferations infernal then channeled into a cacophony ending that leaves exhausted and stunned.

A tour de force unheard which, together with previous work of the Dutchman, by title and ornamental artworks almost unbearable, as a musical experience that is very soundtrack of the last days of humanity; absurd for a definition, or difficult, it seems condensed into a few lines of Montale Clivo that read: "In the evening just lying, is heard / a wail of horns, a decay .

Gnaw Their Tongues - Rend like wild beasts Each Other (2009)

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Nadja - Radiance of shadows (2007)

ruinous represent the reverse of the coin of the neo-Gothic post-modern to Have a Nice Life, in my opinion. Canadian duo composed of the deus-ex-machina Buckareff Baker and bass player (which you would find at most to see a brit-popper ..), which perhaps only the guilt that they released something like a forty between album and EP in just 8 years of existence, making it impossible to assess just just great for their actions. So you might as well rely on the advice of many who have heard more and draw a couple, of which this Radiance of Shadows indeed impressive for the titanic intent.
These three giants of more than 25 minutes each, symphonies maximalist apocalyptic doom that I seem to hear a scent, vaguely Gothic for the note. The saturated chitarrone slaughtered to Sunn O)), the most extreme elephantine movements, pauses to reflect environmental, vague melodic to Jesu, everything is engineered to disrupt and create advanced stages of magnetic storms.
Despite the use of drum machines and noisy long floods, Nadja they show the one hand (er, could senbrare foolish, but I think) romantic Passionara I learned after several plays, widening or expansion of time these three giants, and realizing that the basis for All Radiance is fundamentally a work of painstaking composition.
enough to hear, in particular the splendid first phase TASTED I have the fire inside your mouth, to have an idea. In essence, I would say of Lycia amplified to the max.

Nadja - Radiance of Shadows (2007)

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MX-80 Sound - Always Leave Em Wanting Less (1997)

frammentatissima During their existence (which unfortunately I fear it is closed because of Mahoney's death a few years ago), the MX-80 have was a time when they recorded the album for Atavistic I've seen enough and the year after they released this live, recorded between Chicago and San Francisco, units in which the legendary art-wave metal-reinvents itself through an alienating post-blues-slow-core dominant traits typical of their alienated DNA.
In place of the entity that staged the terrorist bombings of Out of the tunnel, there was a band matured under the guise of a sound apparently less agitated. Only openness reported to the earliest times, with a torrential Myong Von Brontee: almost everything else was focused on the disc just came out.
Stim had abandoned the sax and his singing was more apathetic and less involved. Anderson continued his mission with a cross cutting guitar, alternating its classic, crazy tantrums operations to more than chisel.
The Blues? Yes, a bit 'but there is obviously just like the MX-80 could do it: We will bury you, Can not win' em all, seem sarcastic and bawdy enough to not be taken too seriously. The percentage of slow-core but it was a bit 'square a circle: their Promise Of Love of 1981 was coverizzata diec'anni later by Codeine, and here are some tracks that almost produced a version of the futuristic alien- New York trio. 15 Laffs, Face of the Earth, Thank you boss, moviolistiche hallucinations are marked by the heavy bass and the chimes of Sophiee flangerizzati Anderson. There
a pause: the acid instrumental Halloween obsession Have Another round of drinks, and especially the 6 movements Black Feldman, regularly scattered along the lineup, were six breaks of improvisation post-atomic collective reiterated that, if ever proof were needed, the artistic stature of the MX-80.
What is called a complex criminally ignored ...

MX-80 Sound - Always Leave Em Wanting Less (1997)

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Mùm - Finally we are no one (2002)

an album that lives in an eternal dimension muffled. From Iceland
with heat, I would say. Múm I do play with the sounds and Children go back almost to the point that I imagine their music as an ideal background for groups of asylum. It 'nice to let yourself' go to the atmosphere as the room (ha) istics, with the ever-invasive electronic sizzled, and the arches as in the beautiful I can not feel my hand anymore, for example. The female voice so childish, then, plays its decisive role. Beautiful We have a map of the floor, with that instrumental break and the opening words of guitar and piano at the center. All
played at your fingertips, never go over the top. Well, perhaps Mum is the limit here, although able to write brilliant melodies and inspired, show a bit of repetition of strings (the final excessively long The Land Between Solar System), lingering in different compositions almost like jam sessions. Then, for heaven's sake, perhaps their goal is precisely that, to bring the listener into a dreamlike wraparound plan to rock it with confidence and linearity. Listening is very pleasant, but leaves me with a hint of uncertainty ... Electronics petty or song form? Oh well, who cares, we stand in this comfortable limbo giochiamoci and on ...

múm - Finally We Are No One (2002)

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Mountains - Choral (2009)

Duo Thrill Jockey Chicago that affects an ambient vintage that adds nothing to the story the class, but made extremely well with this Choral.
Everything is made with traditional tools and without even the shadow of a modern electronic eras: the original title track lies in a dense drone almost krauto style, with layers that are invitations harpsichord to heaven. A bell'arpeggio acoustic guitar forms the boundary for Map Table, and ago by rhythmic support to the explorations of thunderous Telescope and Add infinity.
Melodica contemplation is a superfine night of taste, and the closure of two Sheets is nothing but a magical exchange between sub-tolling of the reverberations a liquid and a ringing guitar (I think) electric piano .
Extremely simple but secure grip for those who love the genre. Much less the next Etching. I hope they have not lost this delicate and fascinating sap.

Mountains - Choral (2009)

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Moon Seven Times - The Moon Seven Times (1993)

Before Lanterna, Frayne and his guitar were at the service of mesmeric M7T, who were proponents of a post-Gothic -atmosphere of great charm with a decent commercial potential (the shoegaze was still quite popular in their sound and it was related only to smear). It did not last and a lot of them was lost after the dissolution, but left two good albums in a derivative product that was not good and could generate environments. The suave singer
Canfield came from a dark-gothic dark training and remembered a bit 'Timms of the Cowboy Junkies, her husband was a drummer Gamble restless very suitable to handle a minimum water. Frayne unrolled carpet of undulating reflections and harmonics, with humility and taste. The result is an evocative debut, with a little repetition that appeared around the corner, but regularly driven by the skill of the group in being able to coin a formula quite personal. Vapors
chiaroscuro.

Moon Seven Times - The Moon Seven Times (1993)

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Mono - Hymn To The Immortal Wind (2009)

acknowledge that Mono in the past have done good things, but this requires me Hymn deplorable mental associations. A parallel to a disturbing trend glorious than their own, reminds me of the progressive decline in the mid-'70s, the post-Gabriel Genesis, Yes after Close to the edge , in free fall towards aesthetic views and free positive voltage of each of the imperfect.
Luckily epic instru-known yet give great emotions, and some new lever force decided that keeps far from drying up. In this case, I believe that the recent slip of the Japanese is not exactly an alarm bell, but only one unhappy episode.
Hymn is sterile and pompous, it moves in steps elephantine developing very few ideas that run on empty indefinitely. A 30-piece orchestra supports them causing a thickening of the sound that seems to raise its voice, lingering on topics solemn and dramatic shootout.
not know, maybe I'm influenced by seeing the Godspeed! Only two weeks ago. But even after several listens, this record tells me little or nothing, and he says that one of its kind and its surroundings is greatest admirer.

Mono - Immortal Hymn To The Wind (2009)