Tim Exile – Listening Tree

Tim Exile creates slamming dance-inclined tracks by pulling at the threads of several electronic movements and stitching them together into an inclusive parachute – escalating, enveloping, exhilerating high altitude drops over an expansive oscillating environment.  Listening Tree is a galaxy-surfing warp drive pop electronica extravaganza.

Tim_Exile_Listening_Tree_Warp_Records

Pouring the excitement of peak-era big beat into a swirling dervish of glitchy textured electronica and experimental hiphop madness, it’s difficult to pin down; which is perfectly acceptable, as head nodding, dancing, or driving too rapidly take precedence over silly genre name games.  The stunning percussion and breathtaking tone shifts keep a heightened mood throughout, unrelenting in its seductive energy.  Undeniably futuristic laser-guided synth lines and cavernous bass manipulations consistently serve up hook after wacked-out hook, while vocals on several of the tracks create an immediacy many of Exile’s peers lack, though they’re never so prominent as to overshadow the jawdropping sonic adventurism.  It’s basically the whole package.  This album hits on several important fronts and then takes the listener back to bed at the end of the night.

[check up on Tim at his myspace while snagging Listening Tree at bleep or amazon, which sells cd, digital and vinyl issues]

Can – Future Days

Can - Future Days

Can rock the world.  Really fucking hard.  If you don’t know this in your body and soul, then take the time to either A) reassess your lifestyle, or B) start listening to their albums and make life a little better for your self and loved ones alike.

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Boris – Flood

Boris Flood

Boris. Often mistakenly considered simply a doom/stoner/sludge outfit, the Japanese band has managed to subtly weave in varying textures throughout their discography. On this particular record, they keep things on a minimal page and emerge with their most powerful, transformative work in the process.

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ROVO – Mon

ROVO.  Get familiar. Featuring electric violinist Yuji Katsui and guitarist Seiichi Yamamoto (of Boredoms), this group has built a rock solid career releasing consistently vibrant, energetic, forward-looking, impeccably arranged tribal/jazz/electronic/noise/funk/dance-fueled records.  Yes, I just made a reductive chain of genre names.  Read on to know why…

mon

Mon is an unequivocal masterpiece.  Currently in the center of ROVO‘s ever-expanding discography, this is, to me, their most representative album – an absolute highlight of effortlessly addictive yet experimentally-tinged instrumental groovy goodness.  I truly hope you give it a listen.  For your own sake.

For many people (like myself), discovering this band is that *aha!* moment when they realize there is, in fact, a group making the kind of music that resembles what they’d subconsciously love to hear.  This is dream music in the most literal sense; it’s a perfect combination of previously-unrealized elements brought together in a cohesive, ambiguously, strikingly original sound.  Still, there’s a warm familiarity bred of the intuitively catchy, effortlessly hypnotic beats.  Even if it’s not horizon-expanding for you, this album has my guarantee as an invigorating wave of narcotic bliss.  Jump in, the water’s warm.  You’ll be back for more.

[this is a reasonably difficult album to track down, but I’ve found copies on amazon.jp (don’t worry, it can be read in english) and ROVO’s myspace has more info]

Omar Khorshid melted my face.

Omar Khorshid And His Guitar conjure pure six string wizardry. This sound is perversely incredible. It’s unconscionable. The deep well of feeling I’m overcome with while hearing this – how much I must have been missing out on all these years! The change starts now. Prepare cochlea for imminent eargasm.

Rhythms From The Orient took me by complete surprise. A certain nice young fellow at Everything’s Exploding shared a raft of information about Khorshid which led my ears to this utterly sublime alchemy. It’s Dick Dale-ian surf guitar rumble meets mooged-out spacey atmosphere over a floor pounding belly dance groove. In fact, it’s everything that statement conjures and then some – hammering accordion and hand drums electrify several moments, and a sense of joyous abandon colors the entire project. It honestly sounds as if it were as fun to make as it is to listen to.  Which of course, is a blast.

omar-khorshid-4-cc3b3pia

I’ve looked around for legit copies of this album in any form and this place seems to be the only source. If you can help it would be greatly appreciated!

Cornelius – Fantasma!

Cornelius is the music pseudonym of pop wunderkind Keigo Oyamada, a true maverick and leading light of his nation’s music community.  He was first, unfortunately, tagged as the “Japanese Beck” – unfortunate because he’s so much more than this reductive catchphrase could encapsulate.  He initially traded in pop-sound mashups and collage song structure, as Mr. Hanson did, but most similarities end there.

fantasma

One reason the Beck comparison fails is simply that Cornelius was working within a music scene he helped create – shibuya-kei.  Starting with his group Flipper’s Guitar, and popularized by Pizzicato Five, the sound thrived in Japan throughout the 90’s and is still the basis for many new projects – everything from Buffalo Daughter‘s trance-rock disco confections to the utterly sublime Katamari Damacy game soundtrack.  [Which reminds me, I’ll be writing about that strange treasure of an album soon.]

Since you’re here about the album, I’ll get to it.  Fantasma is considered by most fans to be the crown jewel of Cornelius‘ recorded output.  As a lover of Point, I’m personally on the fence, but there is no question that this is the place to start if you’re curious about the man and his amazing work.  Imagine a musical genius being exposed to all manner of 20th century music – from the bleeding-edge avant garde composers to the purveyors of sixties pop majesty – all at once, with no distinctions drawn between ‘art’ and ‘fun.’   Then imagine him fusing everything he hears into a cohesive shape, focused through a lense of 80’s hiphop irreverence and carved with a DJ’s ear for pacing and transition.  Then imagine he makes a record with the ambitions of Pet Sounds-era Brian Wilson.  You’re close.

Now, play this album and realize that Keigo Oyamada shares not only the ambitions, but talents of my favorite Wilson brother.  This is no mere cheap analogy:  Repeated close listens to the nuanced and fractured pop ecstasy he’s made reveal the truth in my words.  He may never be as lauded, much less well-known, as those Beach Boys he worshipped as a youth.  But he deserves it, and this album is Exhibit A in making the case.

[grab this at amazon or for only $8 from matador themselves.]

Shogun Kunitoki – Vinonaamakasio

vinonaamakasio

With a name like Shogun Kunitoki, you’d be forgiven for assuming the band is Japanese in origin.  Fittingly, they’re scandinavian.  These Finnish fellows create a sound which I first described as “Steve Reich using Black Moth Super Rainbow‘s instruments, scoring a Miyazaki film” upon hearing the debut, Tasankokaiku.  And truthfully, my silly description still stands tall if you’re familiar with the references.  If not, then read on.

This band takes elements of the strain of minimalism exemplefied by Terry Riley and later, Steve Reich – but the influence is exactly that:  an element of the sound.  The album is full of defiantly  fleshed-out songs with structure and mood shifts, beginnings and endings.  The instrumentation is refreshingly lived-in, with warm analog synths and the unprogrammed appeal of live percussion.  The atmosphere is pure 60’s sci-fi and lounge wrung through a modern sensibility which betrays the artists’ hindsight and ingenuity; in other words, this music doesn’t simply coast on the preconditioned atmosphere moog tones and synth squeals conjure – it’s pulsing with the (seeming) foreknowledge of punk zeal, bulging fuzzy psychedelic rock acoustics, and a post-rock ache for reinvention of the comfortable and pedestrian.

If you are familiar with the debut album, then you know what to expect when I say it’s more of the same and beyond.  In other words, there are no game-changing shifts in approach;  this is an update and expansion on the unique slice of sound Shogun Kunitoki have previously carved out for themselves.

And if you’re truly lacking in inspiration, do yourself and the world a favor:  go watch Nausicaa of the Valley of the Wind.