April has been a bit of a roller coaster ride.
Last weekend I caught the bug that's been going around and I still haven't totally shaken it of. At one point three-quarters of my house had it, turning our home into somewhat of a viral cesspool. I did, however, manage to haul myself out of bed–if not barely–to trot around my neighbourhood, capturing some sounds in the field. This–miraculously and much to my surprise–ended up being very successful and has inspired me to pick up where I left off on much delayed plans to finish a composition that has been in the works for ... a while. Anyways, I am proud to announce that the work is in its final stages and what I can give away is, shall it ever be released, the album would take the shape of a single track, roughly an hour long, composed almost entirely of the sounds of stoic mechanics and tape grit. More on that to come.
Fake Jazz Fest was a huge success and I really enjoyed playing it (to warm responses may I add). However, apparently one of the interns forgot to hit record until about the 7 minute mark of my set. So, I'm left with a less than stellar fifteen minute version and feelings of regret towards my decision to not record it myself. It's just less to worry about you know? No hard feelings though Western Front. You are still probably the best Vancouver venue a guy like me could ever play at.
During my days of physical ineptitude I had plenty of time to catch up on some overdue listening. Here is some of the music I've been into lately-
Carve Out the Face of My God (Post Present Medium, 2010)
This is the second piece of wax I've been able to get my hands on from LA native Kyle Parker. The first being the Monorail split with Emaciator. Truth be told, Parker's side of that split ran out of steam a minute or two before the grooves did, but Carve Out the Face of My God is a drastic improvement. Simple rhythms act as an effective skeletal foundation to these micro-movements of sound, the tracks here utilizing a technique of interlacing small sonic eruptions with a 60's style ambience, though think guitars instead of synthesizers. Although the path of my musical progression has meandered towards long form compositions, Carve's eleven tracks act as a refreshing breather. Definitely a record I'll keep coming back to.
Untitled (Self Released, 2010)
Not to be confused with San Fran post-rockers Glaciers. This trio, composed of Rob and Jeff of Rough Noble fame (electronics/tape/oscillators and minimal percussion) and Leaf (experimental vocals) is one of the most exciting local acts these ears have heard in a while. Nice guys, great tape.
In Teufel's Kuche (Absurd / Ignivomous, 2009)
A challenging yet rewarding neo-avant garde release from Daniel Lowenbruck. A turbulent 10" that takes the cut-up fashions of experimental turntablism and infuses it with the early industrial sensibilities of Maurizio Bianchi and Ramleh. Really awesome.
The Towering Sky (Faraway Press, 2010)
What can I say? Andrew Chalk doesn't really disappoint. As Marsfield we find Chalk in collab with Vicky Jackman, Rob Barnes and Brendan Wells. It's nice to see this finally coming to light after much delay. The music, more like the old-school Chalk. Meaning. Basically. Perfect.
Illusion of Safety
Probe (Predition Plastics, 2010 Reissue)
A recent reissue from the legendary Illusion of Safety. I've got to say that outside of a few 7"s and some live material I haven't really heard all that much IOS. And Probe has acted as a good album to break the ice with. Some great use of silences. I've now made it a goal to hear way more of Dan Burke's stuff.
John Duncan and Giuliani Stefani
Palace of Mind (All Questions, 2001)
Speaking of legends, John Duncan is a name that will be uttered in experimental sound circles for years to come. Here, Duncan and Stefani explore the regions of shortwave radio, voice and more to create an hour long slab of menacing mechanized drone. Totally captivating.