Record Reviews: Wounded Knife

Amulets In Flux

In 1923 two Russian explorers set out to find the hollow earth kingdom of Shambhala. While it is open for debate if Nicholas and Helena Roerich discovered the mythical Tibetan kingdom, their expedition across Tibet and India brought various mountain peaks and fauna into Western classification. A discovery of something already known but lacking taxonomy. Randall Taylor’s work under the moniker Amulets has been one of great reaching and striving, treks into territory not so much undiscovered as it is yet to be defined, looping guitar lines and night sky streaking drones as emotional markers and sign posts along the way. On In Flux, these trails are slight wisps of fragmentary guitar-lines circling each other like worried smoke from a signal fire. These tendril-like lines dance around each other in repeating, additive layers under the deep pull of tape manipulation and submerged drone. Other instances, such as on “Counterparts” these lines are drawn together in huge swells of power chord worship under the crackling electric storm of feedback and distortion. One of Amulets’ most challenging and rewarding works today. A welcome addition to the Wounded Knife family.

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Lake Mary & Nathan Wheeler Also

Most well-known for his composition work around acoustic guitar, Lake Mary has found a collaborator in Nathan Wheeler that allows left-turns like this to be incredibly rewarding furrows into emotional pay dirt. Also is comprised of two side long pieces, the first of which, is the output of an acoustic piano, harmonium and computer-generated drones. Chaz Prymek (Lake Mary) opens the track with a steamroller minimalist passage that continues to fan its marathon-length major chord plumage through the 15 minute A-side of the tape. Nathan Wheeler supplies subtle and deft touches of droning omnipresence from harmonium and computer generated signal. It is an astounding piece of work. A lesson in endurance and melting tonal shifts. Side B, “Flamingo Cup” finds the duo exploring mawing drone and the see-saw of Prymek’s bowed guitar. More cicada than city hum. A comforting, giving and empowering listen.

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Nils Quak - einige sehr populäre songs

Drawn to the subterranean pulsations and commanding, chest-rattling drones of the German electronic musician, einige sehr populäre songs is the sound of a tired city filtered through a cheap upper-floor apartment of a high rise built on unsure architecture. Bucolic synth arpeggios seep through corrugated concrete walls, submerged beats clamor like the hooves of subway cars rattling beneath the street and the ouroboros drone is always before us, tonally shifting back on itself and eating its own tail. Sentient drum machine patterns on “Singular Events Framing The Day” slow-decay until they resemble the drip of sulfuric water torture in some dank basement. Conversely, the relatively bright tonal patterns of “The Burden of Dreams” is a pointillist composition made up of a thousand synthesized patterns with a swelling major-chord drone running underneath the entire thing. It is a wonderful send-off for late night writing sessions.

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German ArmyDiego Garcia

I just feel blessed to live in a world where music like German Army exists. For fans of the insanely prolific duo you will know that it is often hard to classify what you are hearing. While German Army has many antecedents: serrated 80’s minimal wave, the inherent spiritualism of komische and the sharp (softened) skronk of no-wave, but as for contemporaries, it is hard to think of too many that match the level of dedication to craft and output across labels and platforms. There is a ritualism to this music, a deep sense of patterned spiritual response to repeating synth arpeggios – a shambolic trance in the far-away vocals and programmed percussion that comes into the auditory field out of another dimension. Anxiety-inducing hard-edits of self-possessed drum patterns are held in tension incredibly blissful tonal center and comfort found in repetition. Named after a fraught island – and possible CIA blacksite and definite site of removal of an entire colony of people – Diego Garcia balances the natural beauty of a pristine tropical island with the nefarious meddling of one colonialist government after another. Great beauty and great dread in one sonic space. One of my favorite tapes of the year.

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Sébastien Branche, Miguel A. García, Wojtek Kurek, Mateusz Wysocki Harigrams

A cloistered electro-acoustic soundscape that bends familiar everyday sounds into disquieting fragments of auditory illusion that slowly form from aleatoric visitations into rhythmic superstructure. A meeting of likeminded experimental artists existing in each other’s sonic space and pushing record. An exercise in extreme frequencies and marathon-level patience on the A-side collaboration and straight from the gate collaborative intensity of the B-Side. Harigrams is the work of French saxophonist Sébastien Branche who can bend and mold his instrument into unrecognizable pretzels of auxiliary breath placement and sustained tones, Basque sound artist Miguel A. García who utilizes electronics and the Jen Brio keyboard to provide auditory shadings ghost-like tonal fragmentation. The two met up with Warsaw-based drummer Wojtek Kurek and field recording artist Mateusz Wysocki to create a 42 minute improvised piece of music that creates worlds inside worlds, sustained electronic droning folding in on itself while every instrument disguises itself into something so far outside of itself it takes a furious reading of the line-up to attempt to understand the sound source. A vital and compelling exploration of collective improvisation and collaborative sound-sculpting.

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Charles Barabé + Roadside Picnic - National House Milk

After having released one of my favorite tapes this year on Orange Milk, the Montreal-based synth and soundscape-based musician returns with the UK based Roadside Picnic to produce what is likely their finest work since their 2014 release Worn Paths in Crown Dust on A Giant Fern. Centered around chopped and digitally fragmented drum machine patterns over and beneath fluttering synth and piano lines, synthesized vocal textures reminiscent of Barabé’s Orange Milk release, washes of scattering static and contact mic stabs, horror movie ambiance and massive amounts of sound shoved through tiny portals until all becomes a giant smeared blur of oscillating floating points. Highly dramatic build ups, tear downs held together in fragmentary stasis ins short song bursts. Stitched together to create a warped tapestry greater than the sum of its parts.

September 21st, 2016