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"Grinding guitars crunch in a celestial manner, establishing a savage intensity that frequently betrays a peek of heaven. Confused? Don't be. This music achieves a euphoric state through the application of melodic brutality. Guitars blaze with molten fury, expressing chords of searing disposition. The result is so mesmerizing that it's breathlessly hypnotic. And exhausting too. Deafeningly passionate percussion rumbles beneath the layered guitars, providing a suitable locomotion for the grinding tuneage. At other times, the drumming adopts a lazy attitude as it belts out soothing rhythms that gradually amass vitality. A bevy of electronics and effects seethe amid the mix, further cementing the music into a wall of sound that even a neutrino would be hard pressed to penetrate. Ah, but this music is not all brutal and ferocious. There are frequent softer touches that exhibit alluring skill as dreamy passages are crafted, serving as bridges from one pinnacle of intensity to the next. The guitars, however, retain a sense of power that refuses to be suppressed. While displaying restraint, the layered guitar riffs bristle with vigor and soar with majesty. The music possesses a remarkable density that can be exhilarating. The compositions capitalize on this harnessed might, channeling ecstasy into a harsh milieu that shines with the final glory."

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Joy Wants Eternity - You Who Pretends To Sleep
www.myspace.com/joywantseternity

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If you've heard Deerhoof's noisier forays, the screaming of Satomi Matsuzaki mixed with their lo-fi-gone-mad sonic sense, then Friend Opportunity is going to sound like radio-ready pop. Rest easy, though: the album's mélange of melody and big riffs doesn't give up much ground. Greg Saunier's drums do jump out, sounding studio-painted in their crispness and deep kick-drum thunderclaps to open the album. And is that a touch of Tony Iommi for a few seconds on "The Galaxist"? Matsuzaki still finds her way to float spaceward, with orchestral washes and synth underscores along for the ride, on "Whither the Invisible Birds?" Then there's more drums, more guitar, all of it pitch-perfectly rendered. It's still fractured, but you won't even cut yourself on the edges while dancing techno to the stripped, jerky beat of "Kidz Are So Small." --Andrew Bartlett

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On his previous albums, Eluvium's Matthew Cooper draped his instrumental music in a rockist aesthetic. Those soundscapes were charted with heavily treated guitars, but the music on Copia, his fourth, is mapped out with a more orchestral instrumental palette. Organic elements-piano, brass and strings-mingle with synths and echoing ambient atmospheres. But this instrumental shift hardly alters the course of Eluvium's music: His songs are still painstakingly constructed and layered with sonic detail. And like his previous work, Copia is more concerned with texture and tone than with hooks or conventional song structure. In other words, Eluvium's departure from guitar-based music is akin to him speaking in another language but still saying the same thing.



Eluvium's strength lies in creating music that evokes a whole host of emotions. As horns hold long notes over a twinkling sheen of keys, opener "Amreik" unfurls slowly and sets the contemplative mood of the album. Like what follows, it's produced as if the music were being transmitted from within the womb: Sounds ring out and bleed together. Such fuzzy edges don't mean that the sound is muddied, though. Instead, they charge the music with an insular coherence.



On "Prelude for Time Feelers," Eluvium builds on top of a delicate piano progression. With each repetition of the motif, he adds to the foundation-quivering synth strings, rumbling brass-until the initial progression sinks to the bottom of the mix, eclipsed by the whorl of accompaniments. "Seeing You off the Edges," on the other hand, never strays from its washes of slow-motion synths. It builds in long, sustained notes, seeming at once airy and heavy with dread. The combination of emotions conjures Górecki's "Symphony of Sorrow" as much as Vangelis's or Eno's film scores (whether real or imaginary). It's almost certainly the album's most affecting song, but is it beautiful because it breaks your heart, or vice versa?



With one foot in pop music and one in avant-garde composition, Eluvium has crafted an album that is at once immediate and accessible while deceptively complex. These instrumentals command a listener's attention but never stoop to pop-music gimmickry. They exist in another world altogether, adrift in an echoing atmosphere.

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Eluvium - Copia
www.myspace.com/eluviumtaken

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The raw artiness and German rock influences heard on this U.K. sextet's landmark Transient Random-Noise Bursts (1993) have been distilled into a smooth sour-mash cocktail here. As with sister act The High Llamas, there's a buoyant '60s whimsy to these tracks, recorded in Chicago (with Tortoise's John McEntire), Düsseldorf and elsewhere. Laetitia Sadier has refined her Françoise Hardy routine, and Tim Gane marshals his vintage synths to fine effect on "Prisoner of Mars" and "The Flower Called Nowhere." --Jeff Bateman

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With Feed the Animals (yes, it's worth your $5 and no, you won't find a review of the full-length here right now—wait a little longer), Gillis resolved to list out every sample he used... for no specific reason.

Check out all fourteen cuts at the Feed the Animals YouTube page. Every song's notes include a complete rundown of the jam's samples. While Gillis' diligent effort to be open about the samples he used on his forth long-player yielded something of modest intrigue, we're left wondering why he decided to exert the effort.

If one views Girl Talk as a soloist with a unique style, sound, and aesthetic unto himself, naming every "instrument" (a.k.a. sample in Gillis' case) appears pointless, futile. Radiohead wouldn't call out, in chronological order, every guitar, bass, drum, keyboard, synth, and filter they used on In Rainbows, so why is Gillis doing the same? If he's wanting to project himself as a serious musician over a simple-minded hypey DJ, Gillis ought to have skipped the meticulous liner notes.

Regardless, we're still hooked on "Set It Off" (above), but could've totally told you Radiohead's "Paranoid Android" falls in at the 0:21 mark.

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Girl Talk - Feed the Animals
www.myspace.com/girltalk



Oh Yeah!

STS9 - Peaceblaster
www.myspace.com/sts9

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I discovered this gem late in 2006, and became obsessed. This is by far one of the most infectious albums I’ve heard in the last few years, and provides hours of deliciously catchy and quirky electronic beats with sinister overtones.

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The Knife - Silent Shout
www.myspace.com/theknife

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"The melding of bombast and beauty, this is what Caspian does best. On their first release You Are the Conductor, perhaps the best instrumental EP of 2005, Caspian maintains a firm melodic foundation while not forgetting to bring the rock. This record displays maturity well beyond the band's years. The songwriting, cohesiveness, and grandiose sound all point to a promising future. If Caspian progress from the admirable debut of You Are the Conductor they could easily become a powerhouse in the post-rock scene." -- Delusions of Adequacy

Caspian's first full-length album for Dopamine Records finds one of instrumental rock's most promising young bands rising to new levels of creativity, execution, and sonic prowess. The Four Trees is a majestic journey deep into the imagination--the kind of record that won't quit until it has carefully probed the parts of your soul that delicately ask to be understood and discovered for the very first time. This is sonic storytelling at the height of its powers.

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TrippinTeddy said:


Tunng- Good Arrows
DivShare File - Tunng - Good Arrows [2007].rar

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