Let’s keep this Collection rolling! Now, with 10 albums from 10 artists, each one creating something that is more than experimental; rather, at times, creative ingenuity.
You may enjoy my list, you may think I’m downright retarded putting Die Form past Kraftwerk. Well, this is not structured in any particular order, so calm the ‘f’ down! – also, send me all the hate mail you want, but it doesn’t matter ordering any works of art from ‘least to greatest’; but that’s just 21 year old me.
I feel like I’m getting a little off track, here’s a collection of ‘The Wonders of the World!’
by Die Form
A tonal snapshot of mayhem, where electronic machines and disorderly guitars support the cry of ‘Pain – Passion – Urge,’ or how Philippe Fichot puts it – the mastermind behind my favorite experimental project, Die Form. Releasing Hurt back in 1985 originally as cassette, along with second studio album Some Experiences With Shock, finally – in the digital-age – we can enjoy the sounds of an artist drenched in the sweat of fastidious mechanisms for the chaos of pleasure; Hurt will always remain as one of the most insane improvisational releases.
by DOMS
Finally, something resembling punk has come to Arizona with a vengeance. Well, maybe not the hardcore Minor Threat, or Germs-type I personally am familiar with – but all the more, an old-school banger for fans of those early punk sounds. Some songs remain relatively alternative, others are a blast of rock ‘n roll, but nevertheless, you can taste the rebellious spirit of this majestic attitude; see guitars and drums thrash about rambunctiously as beer bottles and vomit are taken with the motion; feel transported back to when music wasn’t a grubby, money-making machine.
by Anatomy of the Heads
Ever wondered what being stranded on an island would sound like, An Adoration in Prayer and Ritual will surely give you an interesting taste. Pumped with a nice flux of Hawaiian vibes and viscerally eccentric arrangement’s, guitar’s and classical styles seem to be shrouded in this kind of undulated noise. Softly stirring; deeply invigorating, as I listen to this album I’m filled with a tension that is somehow relaxing – yet feel like I’ve transformed into Michael Meyers everytime I listen. And, that’s a good thing, I enjoy walking around the neighborhood, slowly, stealthily, looking for my next victim – but you know, that’s just me, I guess.
by Gradient Echo & Slvshthree
Two tracks swirl your ears in the most amicable way; repeated vocals seal you in the envelope of life. But, don’t form the idea that this is some delicate ambient album, these are rambunctious jungle-beats pumping you full of delicate-ambiance. In both songs, the synths are structured perfectly, a wonderful melange to pass the night into dancing and somnolent elements. Personally, 100% was the most enjoyable for me, a relaxing vibe that comforts the crazy percussion’s. The aura is as surreal as an out-of-body experience; if you believe those.
by Autito, el niño autista
Strangely resembles alien-communication. Dissonant sounds and textures of high-pitched electronic dots swarm us. Throughout each 25-minute song on this two-track release, you can’t help but feel like you’re existing in some foreign remote country through these micro-tonal structures. At times creating serene and interesting designs but then immediately placing a largely eccentric arrangement to overpower. Some noises and 8-bit synths created really cool rhythm’s, and were immediately accompanied by these strange organisms flexing throughout the album. Like a bunch of meat-heads trying to overthrow decent structure; but, they’re majestic meatheads, I’ll give them that.
Hear how it all began. Maybe not the Derbyshire method, but certainly the more practical method. The Man-Machine is even more rhythmically brutal and beautiful than before, and is also Kraftwerk’s most consistently catchy album. Not only in terms of its most famous tracks: the proto-electro snap of ‘The Robots’ and the peerless, can’t-get-it-out-of-your-head Euro-funk of ‘The Model’, which was so far ahead of its time that it would go on to become a UK number one three years later. This paradoxical emotion, this fauna sprouting from circuit boards and supposedly sterile machinery, shows the true meaning of the album title’s blend of the organic human with the inanimate machine.
by hyperlacrimae
Releasing on May 27, I wanted to include this album in the mix, because as of right now it’s the label’s, Infidel Bodies, most recent release – and by just taking a gander at the third track In My Poison, it’s hard to react to being shrouded in heavy ecstasy. A tribal beat that ravishes sacrificial adventures, a harrowing escape from monstrous sea creatures seeking the apocalypse of humanity. More than an electronic album, more than foreign, enigmatic emotion – at its simplest, a phantasmal tribal journey sprouting massivity and laboring the human spirit.
by Beyond the Ghost
Sounds are threaded through an undulating terror, chords and rhythmic bass lines form visceral passageways to embellish fragmentary images. Daunting experimentation’s drift in and out of phase, rhythm and harmony; each one repeating and colluding with one another in constantly shifting and unpredictable combinations. Soft but sonically detailed textures overlap at a level of sustained pace and dynamic that allows the listener to choose the degree at which they listen.
by Phoenix Brown
This is what happens when record shop owners get bored, they create some of the greatest music with some iconic flair. Some songs are an ensemble of jazz arrangement’s and crazy instruments, others are a mixture of wonderfully mixed noise from its original source that it leaves you hypnotically paralyzed. You know from the first chord that this is gonna be about blood, guts and searing, heavy-duty, puke-on-your-shoes rock’n’roll. Favorite track was Gimmie, a perfect remix/interpretation of the Black Flag song.
by Seeded Plain
Chords shriek and groan, scraping across thick metal ground. Sounds after committing a murder, picturesque of the kind of dilapidated internal structure which would reside after an experience of that magnitude. Many of the sounds are kept minimal yet unbounded by any true thought as to how abundant they should be. Some arrangement’s vacillate this devastation, while others are a nice whisper of psychedelic elements softly stirring something rancorous in the chamber of panic and dread.
A n t i : Music Review (SUBMISSIONS CLOSED) 