Sunday, 31 May 2009
Fresh on the heels of ATP I decided to go and see one of my finds of the weekend again. Playing at a students union I was expecting cheap beer and rubbish sound quality. There was neither.
First on were Pulled Apart By Horses whose cocky and energetic live show couldn't disguise the fact that their music was below par.
Future Of The Left took to the stage with the first song from their upcoming album 'Travels With Myself and Another' which set the tone for the evening, sending half of the crowd into a huge mosh pit. The new songs went down a treat and even though most of the crowd hadn't heard a lot of them they loved it. The old favourites such as 'Small Bones, Small Bodies' and 'Manchasm' were really impressive and their stage presence was just something you need to see. By the time 'You Need Satan More Than He Needs You' was played I was to be found dancing like an idiot right in the middle of the pit. They ended the gig by completely dismantling the drum kit whilst the drummer was still trying to play. Future Of The Left put on a great show, I could literally watch these guys every night, very cool.
De Rosa are another fine addition to the heaving amount of talent coming from Scotland at the moment. Two years in the making 'Prevention' will hopefully bring the success that their last album gained them.
Their sound moves from ambient post rock to folk (I guess you could call them post folk) always with their delightful brand of heartfelt, poetic lyrics and very Scottish vocals. Subtle electronic beats and well used piano are at the forefront leaving guitars to blend in with the rest of the ambiance. The music is all very serious, with wonderfully bleak lyrics such as the opening line to 'Under The Stairs,' 'there's blood in my mouth this evening' there's piss in the snow tonight,' you get the idea pretty early on that they won't lighten up.
This is a great album and well worth the wait, although it's not what I would call summer music, more a late night driving album.
Saturday, 30 May 2009
Psychedelic, Quirky, Classic American Rock…are just a few of the words that makes a music reviewers heart sink when reading the latest press release of ‘Next Big Thing.’ Unfortunately for the Nottingham based band, The Soundcarriers, Psychedelic was used in their press release for their album, Harmonium.
The album lasts an epic 16 tracks, equating to a very long 64 minutes and 59 seconds, using what the band described as an ‘Arsenal’ of instruments from Harps to Recorders to create a record with warmth and depth. This begins to become rather tiresome after track 5, with ‘warm depth’ turning into self-indulged drones leading from one track to the other, making the album quite draining to listen to. Leaving you with a ‘When is it going to end!?’ feeling that I felt watching the last Lord of the Rings film.
With the likes of Passion Pit and the new sound of the Yeah Yeah Yeahs album taking American indie music into the pop/synth mainstream, the San Francisco based Sleepy Sun, is a breath of fresh unconventional air.
Wearing their Black Sabbath and Creedence Clearwater Revival influences very much on their sleeves the group take you through the more excepted psychedelic rock n’ roll clichés to produce an album filled with dark guitar solo highs and eerie duet vocal lows, something that the Black Rebel Motorcycle Club began in the late 90s.
With reviews of their intense and colourful live shows being positive ones, I get the feeling this band will be a force to be reckoned with on the stage. As well as being somewhat different for their contemporary’s means this is a band that should and will stand out from the pack.
Wednesday, 27 May 2009
Isis are a band I have been listening to for a good few years now, in fact they are probably one of my favourite bands. Their genre is hard to pinpoint as every album they release changes dramatically, you can certainly tell it's an Isis album but when you delve into any of their back catalogue there are so many subtle differences. I was really disappointed with their last effort, 'In The Absence of Truth.' I felt the vocals were appalling and the production was poor and I never really warmed to it, so I was apprehensive to say the least when I received 'Wavering Radiant.' Thankfully Wavering Radiant has re-kindled my love for Isis, with producer Joe Barresi donning the helm, the creases from the last album have been ironed out, the tension throughout the album builds, with every song more with the use of intricate melodies adding refreshing new textures to their sound, there is also the addition of Bryant Clifford Meyer making more use of keyboards adding a subtle depth to the sound that adds so much of a difference, '20 Minutes / 40 Years' is already one of my favourite Isis songs, starting off with teeth shattering screams and the most groovy, murky riff blending into an awesome solo. With all of this 'Wavering Radiant is still as brutal and sludgy as any Isis album to date and as ever will certainly not be all taken in with the first listen.
In this, Alex Metric's fourth ep he continues to explore the ground of making great fun electro pop without getting too self indulgent. This four track sampler to go with his highly anticipated album has some great highlights. The single Head Straight is actually pretty weak, its very non offensive pop, which I guess is what he is all about but it doesn't really anything for me. Metric has some real talent and that is shown a lot more in track two, 'What Now' where he ditches the poor vocals and concentrates more on the electro. This sounds so much better, the same with track three 'Shirley, You Can't Be Serious,' it is much more loud, aggressive and is well worth a listen.
Terry Lynn is being dubbed as the original MIA and after listening to her you can see why, hailing from Kingston Jamaica, her aggressive mix of dub and reggae makes for a really interesting sound,
check out the remix entitled the Angrier mix, underneath of her song 'Kingston Logic' to get a feel of what she's all about.
One thing that amazed me after hearing 'If You Leave It Alone' was that how many albums they had before this. These guys have a back catalogue spanning over a decade, they have also been relentlessly gigging for that long and their years of hard work is certainly starting to pay off. 'If You Leave It Alone' is full of their usual blend of quirky, warming acoustic pop. This offering feels a lot more minimal then their last few releases but that works well, giving the album a very raw edge. Being so stripped down adds to their appeal and means that it focuses more on David Tattersall's very witty lyrics, with lines such as 'I wrote my name on a banana peel, there should always be a meal with my name on it.' Wave Pictures are still one of Britain's hidden gems but hopefully 'If You Leave It Alone' will gain them a lot more deserved coverage.
'Bye Bye Bubble Belly' is a highlight, more upbeat then a few tracks and has a real charm to it.
Monday, 25 May 2009
There seems to be a fashion with bands at the moment with either having the word crystal in your name (Crystal castles, Crystal Skulls, Crystal Stilts etc) or something to do with a deer (Deerhunter, Deer Tick, etc) Crystal Antlers have gone for both of those, but don't assume for a second that these guys are jumping on any trend. Their music on the surface is an exhausting mix of feedback, organs and but once you get through that barrier there is an amazing amount of melody, brilliant key changes that send songs in a complete direction from how they started and influences ranging from 60's psychedelia to free form jazz, etc. Each song interlaces nicely into one another. You can' hear the lyrics through the noise but that just adds to the charm and appeal of Crystal Antlers.
This is definitely a band we will be hearing more from.
Health are one of those bands where it feels like the right time and place. Their usual sound is extremely loud and chaotic and harks back to bands that seem to be back in favor such as Sonic Youth, My Bloody Valentine. They also come from that L.A. Scene that is grabbing a lot of attention, being lumped in with bands like No Age and Abe Vigoda is certainly no bad thing at the moment. But Health push the boundaries further than the aggressive, energetic take shoegaze that they are known for, take 'Health // Disco' for example, is a whole remix album comprising of remixes of most songs from their debut album. This is a bold move for any band let alone one that is so new to the scene, but it has paid off because not only are there some great songs on the album, it has opened Health up to a whole new market. Featuring remixes by people such as Crystal Castles, Acid Girls, Pink Skull and Curses! each track has a very unique feel to it and feels more electro and dance than anything you would expect which I never thought would be possible. Highlights are the Pictureplane remix of Lost Time and the Nactrax remix of 'Heaven.'
This is a great listen for any fan of electro, dance or shoegaze (something I never thought I would be writing.)
All Tomorrow’s Parties has been known for many years its random collection of musical acts and this year was no exception. The first weekend of ATP saw the return of the fans getting to vote for whoever they wanted to play, this making up half the line-up and the other curated by the folks at ATP themselves.It was because of this half voting, half curated system that gave us quite a random selection of acts from stoner doom metal to synth-pop to folk and plenty more in between.
Friday had LA noise rockers HEALTH deafen the audience with tracks from their debut album whilst they thrash around on stage to the tune of artfully crafted noise built from synths, guitars, distortion and tribal sounding drums (which by the way did get a thorough beating) definitely one the best of the weekend if not the best. Don’t forget to check their new album Get Color later in the year!
Headliners on the first night had cult 80’s art-rockers Devo back wearing their trademark jumpsuit and Bill and Ben-esque headwear. Armed with a box full of quirky rock songs the middle-aged flower pot men gave the people what they wanted, a damn good rock show! The band played through 90 minutes of all their hits including Secret Agent Man, Satisfaction, Freedom of Choice and Whip It, all guaranteed to make you dance like your back in the 80’s.
Later on that night had hip-hop legends Anti-pop Consortium take to the stage to see if they could stand each other for long enough to complete their set and it turns out they can…..just. After some stage storm offs, on-stage rap battles and instrumental improvs they proved why they are so highly regarded. Despite being the only hip-hop artist on the bill that weekend they defended their corner and won over some new fans in the process.
After the first night of drinking, debauchery and tomfoolery it was time to have a relaxing start to Saturday, enter the Cave Singers. The Seattle trio opened the main stage and filled the vast space of Butlins indoor pavilion with their brand of folk music which sounds like it belongs back in 60’s which seems like an odd departure from former Pretty Girls Make Graves guitarist (now Cave Singers guitarist) Derek Fudesco. Beautiful, calming, charming and if it can fill Butlins it can fill your ears and heart.
Later on that day saw the first of two Don’t Look Back gigs that weekend, this one coming from influential indie-minimalists Young Marble Giants performing their first, last and only album Colossal Youth. Seeing them live is like stepping back in time as it was exactly like how it was on the record, but then again how hard can it be messing up they supremely minimalist sound. It apparently wasn’t hard messing up the sound but it hard keeping everything in tune as they had to stop after every song to tune up again. However, that was a minor inconvenience for getting to hear Alison Stratton fragile voice sing you off to a far off beautiful place.
Grizzly Bear swooned the crowd on the main stage with their smooth mix of alt-indie-country style music which featured guest appearance by Nico Muhly (who also played earlier on that day) and sublime cover of Carol King’s ‘He Hit Me (And it Felt Like a Kiss).
New York guitar mistress Marnie Stern finger tapped her way through her rather raunchy set. Despite having some technical difficulties at the end the crowd were kept entertained by the bass player’s anecdotes of the life of Marnie. As far as jaunty guitar rock goes she is fine example of it definitely a girl to check out live in your area.
The final day of this three day tomfoolery has come to bring us some more mixing of the genres featuring goth-rock, indie-disco, pop-punk, shoe-gazing and much more.
Welsh rockers Future of the Left ripped into the crowd with quirky songs and with their jibes at bearded, checked shirt wearing crowd members, I did feel sorry for the guy in the multi coloured hoodie who got it quite badly but that’s what you get for an sartorial mistakes at their gigs but I digress. They were another highlight from the weekend playing tracks from their upcoming album and plenty from their debut album ‘Curses’ my personal highlight of the set was the simple riff greatness of ‘Small Bones Small Bodies’ and watching bass player Kelson Mathias crowd surfing despite not really being enough people but you have admire that kind of determination.
Later on we had the disappointment of having experimental rock band Parts and Labor performing on the main stage and despite having produced one of the finest album in recent times they just can’t seem to pull it off live. Just thinking about makes me sad so I’m going to stop writing about them now. Disappointing.
Cosmic indie legends Spiritualized took the headline slot on the main stage to complete the line up on that stage for the weekend. Opening with their version of the hymn ‘Amazing Grace’ set the tone for the rest of the set. Watching them felt like a spiritual experience but that could be due to them having gospel singers as backing vocalists. Packing the set with songs from the critically acclaimed ‘Ladies and Gentlemen We’re Floating in Space’ and plenty more from the back catalogue they really delved into all their past albums to show the crowd what they’re made of spaced out, cosmic, shogazing, indie wonder. Beautiful.
Grunge veterans The Jesus Lizard showed the kids how its done as singer David Yow whipped his top off and snaked round the stage (almost like a lizard, coincidence?) and his voice cracking slightly on some of the songs but they could be down to overdoing on they performance the previous night. Playing tracks from all their albums to give everyone the benefit of their experience and proving the older bands can still keep up the youth of today and show them a thing or two!
Final act of the weekend we had stoner rock pioneers Sleep who reformed just the festival for a one off never to be repeated show of the cult album Holy Mountain and selections from the epic Dopesmoker. They might not have been the happiest of bands that weekend but they certainly were the loudest I had to retreat to the bathroom to stuff my ears with tissue paper to make it bearable. Proving themselves as being the legends they are they put on one of the best shows of the weekend with crunching, distorted guitars and bass and pounding drums, watching them was like being kicked the face by Satan himself. Dark, moody, evil but consistently brilliant and showing why they are the legends they are and why Holy Mountain has lasted this long and is still influencing bands today.
Leaving ATP always fills you sadness but you can always take comfort in knowing that it won’t be long until the next one at Christmas curated by noise rock band My Bloody Valentine. See you at Christmas.
Friday, 22 May 2009
Wednesday, 20 May 2009
As usual, we at Middle Boop are going ATP mad. Here is the second review in as many weeks for The Breeders atp.
My unwavering adulation for atp had taken a bit of a stutter in the past few months. First off the tickets for atp NY went on sale before even the curator was announced and then the poster for atp vs the fans part two was unleashed. I still have nightmares about the awfulness of the design concept for that title and artwork. A Star Wars reference? Had I really underestimated the artistic sensibilities of the average atpendee so? On top of my fears that the festival bigwigs had gone a bit off-message, when I arrived at Minehead for the Breeders-curated weekend there was a noticeable chunk of me that couldn’t help thinking I’d picked the wrong weekend, and I whinged to myself about not getting to see M83 or the Retribution Gospel Choir. Or Casiotone or Beirut or Future of the Left. And our four person chalet only had three plates. As the festival started the perennial criticism of Minehead not being as good as Camber reared its head when Giant Sand and then Throwing Muses were lost and drowned by the shit, shit, shit Pavilion stage. And the Centre stage stank of hot dogs. Fetid, fetid hot dogs.
It was seven forty-five on the Friday evening and I was beginning to feel like any fun to be had over the weekend was going to be in spite of atp rather than because of it. Of course I was wrong and it took Yann Tiersen to show me for why. The beauty of atp is the treasure hunting, the panning for gold. I had never heard of Yann Tiersen before but halfway through the set I was ready to quit my job and follow him around the World. The six person harmonies, theremin and fiddle lushness was marred only by the knowledge that they wouldn’t sound this good on record, and that to recreate the experience I would have to kidnap the whole band. A plan I seriously considered implementing.
So I was back on track. Bon Iver proved that it wasn’t the Pavilion Stage’s fault that Giant Sand were boring or that the Throwing Muses’ back catalogue is so samey by filling the space admirably, with a much more involved live sound than I was expecting.
Saturday’s highlights were Shellac, whose nine-hour rendition of End of Radio was phenomenal, and Tricky. Yes, Tricky. Possibly as a result of skewed expectations, Tricky felt surprisingly relevant to a 2009 audience. He performed with a fluid, shirtless and snake-hipped-bordering-on-scoliotic devotion to his craft that I couldn’t help wondering why he has fallen so far out of fashion. The Breeders headlined the Saturday night, opening with No Aloha which had been stuck in my head since the day I’d paid for my ticket. Kim and Kelley looked a good yard mummsier than the last time I saw them play together (at atp a full seven years earlier), and that was no bad thing. They looked like a band doing something they love, who had outgrown any affectations that may come from playing in a rock band. Being, as it is, the perfectest indie pop song of all time, Cannonball can’t quite live up to its own legend when played live. That didn’t matter though as the Deal sisters had more than enough other gems to cement together a great set in front of the sort of appreciative audience that any atp curator can expect to receive.
On Sunday Melt Banana served as my own personal cobweb extractor, Kimya Dawson twee’d herself inside out and the Foals held my attention. The last act of the festival was my second big discovery of the weekend. tUnE-yArDs (aka Merrill Garbus) was, infernal capitalisation to one side, a looping, drumming, ukulele-ing, yodelhouse of a one-woman show whom it was impossible not to believe when she told the audience that she was having the best show of her life, and the audience, clearly all loved her nearly as much as I did.
Tuesday, 19 May 2009
Britain has not produced a decent rock band for far too long now, there is certainly a gap in the market and Future of The Left fill that gap very well. 'Travels With Myself And Another,' is 33 minutes of fuzzed up bass lines, distorted guitars and heavy drums.
Lyrically its all very tongue in cheek, each track is cleverly written, lyrics like 'you let your manatee down and then you drowned,' show these guys have an awesome sense of humour. In fact live they are hilarious.
Their sound is an evolution of just what can be achieved with a guitar, bass and drums, with each track brutal yet hinting at something much more.
The stand out track is 'You Need Satan More Than He Needs You' changing the guitar for a distorted synth, creating a song I haven't stopped listening to since I got the album, with some more brilliant lyrics thrown in such as
'yeah sure Satan rules, but that doesn't mean I can't be practical,'
It is very apparent after listening to 'Travels With Myself And Another' that Britain needs a band like Future of The Left.
Monday, 18 May 2009
Boston based Passion Pit are contenders for top spot on a lot of people's summer album lists this year, much in the same way as MGMT was last year. Just looking at their gig listings will give you some idea of the amount of growth Passion Pit are already going through, playing small clubs like Heaven the first time round in England and then already booked in for a headline show at Koko in October, quite a big step. Their cheery, dreamy take on electro pop will be enough to make any hardened music nerd get up and dance. With an album full of gems, like the singles Sleepyhead and The Reeling, that are sure to be staple listening in indie clubs throughout the country, Passion Pit are certainly a name you will be hearing more and more, which is not a bad thing because these guys are really cool.
What better way to get over the post ATP blues then go to an ATP showcase gig? After missing Sleepy Sun at the festival I was keen to check them out, especially after hearing great things from people who had seen them that weekend. The Luminaire, the perfect venue for showcasing some amazing acts. First up was Alexander Tucker, a man who certainly lived up to the hype. Creating sounds that just haven't been made by anyone else using an acoustic guitar, hooking it up to a ridiculous amount of pedals creating some pretty unique music. The crowd were mostly sitting down which I found a bit surreal but it worked quite well with his sound. On to the headliners of the night, Sleepy Sun, opening with the brilliant track 'Sleepy Son' it was always going to be a good gig. Sleepy Sun's spacey, bluesy rock is certainly not a new sound but their music was played to perfection and executed so well the whole gig was a bit of a blur and to be fair there hasn't been a band playing music like this so well for a very long time. The venue was a little undersold, probably because it was literally the day after the festival so I should imagine most people (including myself) were completely worn out. It was a really cool gig and their encore, the best cover of Fleetwood Mac's 'The Chain' you will ever hear went down a treat. The highlight was the guitarist propping up a copy of Middle Boop volume three on his amp and keeping it there for the entirety of the show. Good work.
Middle Boop's favourite festival has outdone itself yet again. The weekend featured some of the best music you will ever hear. The lineup was as diverse as ever with a crazy mix of some of the heaviest bands you will ever hear to shoegazey electronica and folk. The weekend started on an absolute high with Health being the first band I saw and boy, did they set the bar. Having only heard their remix album I was expecting extreme indie electro but what we got was one of the most frantic, loud and aggressive sets I have ever seen. Imagine Sonic Youth turning it up and necking a pack of Red Bull, the general consensus was that they were the band of the day, if not one of the weekend. They have to be seen to be believed. Next up was M83, probably the best way to get over the craziness of Health, playing a great set of atmospheric pop showing what indeed the fuss has been all about. The headliners on the Friday were Devo, who crammed their set full of all of the classics dancing around the stage proving they have definitely still got it. Friday drew to a close with two of the most minimal, heavy and atmospheric bands possibly ever, Jesu and Fuck Buttons. Jesu, a band I have literally been waiting around five years to see live did not disappoint, tacky backgrounds aside the noise those two made was astonishing and the same with Fuck Buttons, drawing one of the biggest crowds of the night, and deservedly so, playing most of their debut album 'Street Horrsing' and messing about with a few of the classics they showcased exactly why ATP signed them up. Saturday saw host to some exceptional talent, Sian Alice Group, mixing in bits of free jazz, modern classical and soul amazed me, as well as the wonderful Grizzly Bear and Cave Singers who both played charming, happy, brilliantly executed folk. This also provided a respite before the almighty Jesus Lizard. Back after a ten year hiatus, within 30 seconds of the opening number lead singer David Yow had ripped his shirt off and dived into the crowd, by the end of the song he had managed to crawl his way to the back of the venue he is an absolute nutter, both sets they played were genius. An amazing return to form. Sunday saw a few fairly uninspiring sets from Parts and Labor who probably shouldn't have played the main stage, musically they are pretty cool but their live sound was awful. I was also a little disappointed with Killing Joke, playing to a small crowd of extreme fans and a few onlookers. Their performances were entirely overshadowed by Future of The Left whose ironic brand of heavy, fast rock was surprisingly refreshing, they were also hilarious to watch, ripping into various people in the crowd, it was great to watch. Now on to the last two bands of the weekend. School of Seven Bells and This Will Destroy You. School of Seven Bells up first played one of the most emotional and breathtaking gigs I have seen since Sigur Ros. I get the feeling they will be having a big year. This Will Destroy You, a band I knew nothing about closed ATP with a band, playing the smallest stage they stunned the packed crowd playing Explosions In The Sky esq post rock, before they came on I wondered why they had been put on last but as soon as the first song had ended I knew why. Epic. ATP is without a doubt the best festival that exists, long may it continue.
Saturday, 16 May 2009
Organized to raise funds for their degree show, the design students of Ravensbourne College created a very unique and ambitious event whereby random objects such as teapots, clocks, skateboards, etc were sent to some of their favourite designers who were then asked to customize the objects. Held at the very prestigious Vibe Bar in Brick Lane each piece was put to a silent auction. They managed to get on board the talents of a humongous amount of design talent ranging from Ken Garland, Jonathan Barnbrook, David Carson, Airside and Milton Glaser to Si Scott, Kate Moross and Non Format. Not to mention Boop friend Andy Miller. It was a great night and all involved should be proud as this sort of event obviousely took a lot of work and careful planning.
The Phantom Band are one of the many acts coming out of Scotland recently that seem to ignore any of the usual boundaries set by others. There really is no way to categorize their unique sound into one genre or, for that matter a number of sub genres. I think Checkmate Savage is raising the stakes for bands, it's an album full of songs that fascinate me for totally differnt reasons. The mildly upbeat almost electro opener (and latest single) 'The Howling' is only the beginning of an album full of gems, with each track going in completely different ways, songs such as 'Burial Sounds' with an eerie folk feel and the brilliant 'Left Hand Wave' which makes me nod my head every time I hear it.
Checkmate Savage is by far my album of last month and a highlight of my collection so far this year.
Wednesday, 13 May 2009
Au are a band that I have gone on about a fair bit recently and with good reason. They are brilliant. My first surprise was that the Lexington was hideously undersold for a band as good as these guys, my second surprise was that there were only two of them. Listening to albums such as their latest delight 'Verbs' you wonder how on earth they can pull it off. Well I tell you what, they really can with some exceptional multi-instrumentalist work from the main man Luke Wyland revolving around a massive synthesizer with loads of effects and some brilliant drumming, they left the 70 or 80 strong crowd stunned, pulling out with tracks from Verbs such as Are Animals and Summerheat played to perfection. I hope we see more of these guys because they just have to be heard.
In honour of the occasion Middle Boop created a signed and numbered limited edition print for the gig, it was printed on A3 180 gsm uncoated stock and looks awesome. We still have a few copies left if any Boop readers would like one give me a shout.
Thursday, 7 May 2009
Wednesday, 6 May 2009
The New Zine has been featured on the Type Neu Website:
Our first Zine has been featured on the Zine Swap Website:
Our first Zine has been featured on the Zine Swap Website:
Repo is the fifth album to come from this incredibly unique band. Black Dice are a band that need time, a bit of effort on the listeners part just to get your head around the diversities of their sound. Recorded in Brooklyn's Rare Book Room, Repo could very well be their best album to date, with the band taking a seemingly more DIY approach to the production of this album. I just find it crazy that amongst all the bizarre samples, glitches and loops there is still that little pop hook in almost each track which really draws you in. After starting out as an early eighties inspired thrash and noise trio, their sound now beckons more minimal, electronic, psychedelic and hip hop. Amongst all of this they also mix in sounds and images from the radio, tv and internet, for example I had to play back one track to hear a remixing of the Pingu soundtrack.
Black Dice just seem to be doing things differently to anyone else and it works.
Highlights are 'Glazin' and Earnings Plus Interest' played loud.
Tuesday, 5 May 2009
Try getting your head around this one. Nareah, Israel M's first album is minimalism at its best. The fifteen minute track 'Mitah' gives you a good representation of what sound artist Israel Martinez is all about. Dark and glitchy effects building up around very raw and organic sounds. The whole album merges into one as it transcribes a journey through a deeply introspective sonic desert. Once you give this a listen or two you start to realize the intricacies of the production and the combination of the analogue and digital recording that would be vacant upon first listen. For Martinez it doesn't just stop with this album either, his biography alone tells of contributing some form of sound art to festivals, exhibitions and commissions all over the world.
Nareah is well worth the time of day as it is not something you hear everyday
Sunday, 3 May 2009
Just a shout to say Middle Boop has an article showcasing a number of pieces including the one above in this month's Digital Arts mag. With the cover designed by the awesome Jing Zhang and a huge feature on mr Alex Trochut, its a bit of an honor.