We were honoured that Round At Milligan's chose Pointy Bird as their featured label on their very last show. Dave played some of the latest tracks from Super Distortion, Man In Formaldehyde, Automaton X and Art Giraffefungal. This show and all the other wonderful shows that R@M's produced can be found at.. roundatmilligans.webs.com
Well, our title track for the evening, ''Mastermind'' comes from a very good horror film that I haven't seen yet. There's synth yawing and yearning and alien bleeps to hold hands n glands with ghost vocal keening n sheening, but the wistful piano is the star and the track has, cutely enough, the feel of a sumptuous filler, something to set a scene rather than steal it and it is undeniably excellent while totally lacking the catchiness or urgency of material you'd usually pick as single.
Naturally enough, we favour one of the b-sides above all else, ''Pan Galactic Gargle Blaster'' not only captures James Last in a net of gilded irony, but it soothes and squiggles a respectful way through every cheesy listening cliche known to man, beast and frilly shirt wearer, it is a masterclass in mood music making.
IS IT ANY GOOD? He may be a man in unpleasant liquid, but 'Mastermind' is what he is. Investigation is recommended. www.unpeeled.net
Many thanks to Stuart for playing Pan-Galactic Gargle Blaster on the Freak Zone. Man In Formaldehyde shared the bill with, amongst others, The Residents, Frank Zappa, and Aphex Twin/Philip Glass. BBC Radio 6 Music
Many thanks to Molly for playing tracks from our latest Man In Formaldehyde offering. Scrubradio.com
Thank you Dave and Josie Jo. Round At Milligan's
We sent them a promo years and years ago for Ultraviolet Overdrive. Then, out of the blue they play it. Thank you Fiona Talkington. Late Junction, Thu 20 Jun 2013
Played it. Gawd bless 'em . Round At Milligan's
Many thanks to Scrub for playing Do A Dance. Scrubradio.com
Many thanks for the plays! Scrubradio.com
Thanks for featuring "Smiles" from the Sun Power single on Hamilton Radio. Hamiltonradio.net
Thanks for the plays Sparky. Scrubradio.com
Thank you to Round At Miligan's, Tony In Charge, Molly The K and Scrub Johanson. Scrubradio.com
Thanks for the plays on WDIY WDIY
Our Rating: 8/10
The new download single from Super Distortion is a feel good summer affair.
Acoustic guitar, clappy drums, flutey keys, bright and airy. And it comes clearly labelled, a song for a consumerist world. An alias of Pete Bradley, Super Distortion's latest album was very favourably reviewed by W+H and it's hard not to view Nothing's Free in the same light. It's a very catchy song but also lyrically smart although "we're not that clever", apparently.
It has sentiment but thankfully not too much, "some people smile and some never. Some give folk the stink-eye and nobody knows why". Walking in the park is often not the walk in the park it should be. There is a genuine love of the natural world at play here and a keen awareness of our place in it. "Just nuts and nettles in our tummies. But despite the stings and spikes, there's no malice or dislike. Just like we're in a world with no money".
There is also a sense of fun and play that comes across, perhaps best exemplified by the change in pronunciation of some words, away from the proverbial. And yet this song is in some ways a light hearted proverb.
In summary then, this is a song in the classic British pop tradition. It's quirky, it's whimsical and it's catchy. A band that springs to mind is Belle and Sebastian but as Super Distortion is the work of one man I am much more enamoured of the Syd Barrett comparison. And one final thing. This is my four year old's favourite song and that tells you something about its childlike innocence.
Played our tunes even when nobody else would. Will be sadly missed. Round At Milligan's
Plays from Round At Milligan's and Scrub Johansen Scrubradio.com
Our Rating: 9/10
Yes folks, Pete Bradley, the man who goes under the name of SUPER DISTORTION is back, and back in a big way! Last year I reviewed 'Autocue/Super Bug' and then I stated "if Pete Bradley continues to turn out songs as clever and tuneful as this, then I think he will become very well known". Well, he has certainly developed beyond that single with this album. Using his own studio and playing all his own instruments, this long player is a testament to Pete's inventiveness and innovation.
There are ten tracks on the album, which opens with the superheavy fuzz of 'Beautiful Life': a track that the publicity blurb states was 'inspired by the tracks Down by the River and Cowgirl in the sand by Neil Young'. To my ears, it seems a bit more akin to Young's 'Like a Hurricane' in the way the guitar line circles and builds. The lyrics are concerned with displacement, both of people and of art itself, and with the chorus of: - "We led a beautiful life." This is a track which at over seven minutes long, you can immerse and lose yourself in.
'Think Only Good Things' which follows takes a different slant, folky, whimsical and uniquely English it has a real 1960s feel to it: - "Think only good things, of chocolate éclair things, no not sad things, or bad things/ Only good things and maybe it could bring good things to you." I liked the way the lyrics flowed on this one and the clever rhymes - "Think only young things, of curranty bun things", which brought a smile to my lips. This was reminiscent of The Kinks' Village Green Preservation Society, and showed a different side to Pete's work.
'Mr Spock' is a sort of fuzz classic, sounding very early 1970s prog psyche, and with some brilliant rhymes on TV and cartoon characters: "Do you know Mr. Spock? If you do Join the flock" and "Do you know Elmer Fudd? If you do, join the club/ Shooting at anything that moves, blowing a hole in his shoes." However, the one that most tickled me was: - "Do you know Dick Dastardly? He's setting traps for you and me."
Other tracks that really shook me were 'Can You See The Patterns?' with its disturbing, distorted intro before crashing into something that isn't a million miles away from The Move, when they were at their best: - "Maybe we're just cogs in a green machine/ We think we're clever cogs, but beneath the sheen, We're running round and round with no plan to be seen."
Highlight of the album is 'Living Thing' which is a perfect example of garage rock, featuring organ, fuzz guitar and drums, this track is just perfect and so fits the garage genre, that were it to be added into either one of the Nuggets or pebbles compilations without anyone's knowledge, then I'd challenge anyone to spot the difference. It is that good.
In short this is a must have album. Whilst we are only just into March, this for me is without doubt album of the year so far.
Review by Christian Watson
SUPER DISTORTION ''UTOPIA INTERNATIONAL'' (POINTY BIRD RECORDS)
RELEASED? Out now.
SOUNDS LIKE? Kind of like Syd Barrett if he was on less acid and hung out round T-Rex's chalet- you know, the one they have down at the Butlins in Bognor) and George Harrison popped around to borrow some change for the arcades where Radish are playing Skeeball with one third of Len Price 3 and a couple of roadies from Led Zepplin's 1973 tour of North America.
IS IT ANY GOOD? I like it. That's my opinion today. There is a massive difference between being a knowing twat who likes to show their musical inspirations in some kind of post-modern, aren't-I-intelligent, ball sucking* kind of way, and someone who makes good music that would be able to compete with the bastards who were having a go at it back when everything didn't give you cancer.
Super Distortion are not knowing or ironic. Utopia International moves through various styles that are very firmly rooted in the late sixties and early seventies, but at no time does it feel like a simple pastiche. This isn't a nostalgia trip, a love letter ode to the past dripping in rose tinted crotch saliva. Neither is it a parody or simple reproduction of past hits regurgitated for want of an imagination as each song feels authentic and unique. Listen to it. If you like new shit that sounds like old shit then this is the shit for you. It's like old shit if it was done today by people today doing the same shit they were doing back in the day and knowing what has happened yesterday and all days preceeding until that day back when the old shit was new shit. This is new shit, but mature like the old shit aged nicely. What you should do is buy this record and an old record- or bring them both up in different tabs using youtube- whatever's easier, and play them both to a friend and ask him to pick out the old shit. Your friend would have trouble. He'd be saying, "They both sound old as shit, how am I supposed to decide?" Your friend would have to decide. You would make him decide, by force if necessary. When he finally decides, under threat of baseball bat, he will choose the old shit. You know why? Well, let him tell you, "Yeah, I'll tell you, just put the bat away. Yeah, well, it was because they both sounded old as shit, but the one I chose sounder older than the other shit, not by much, maybe a year or two, I don't know how it works. Anyway, they both sound old as shit, just that one sounds less older than that shit right there." And there we have it. An expert witness.
*not that I dislike having my balls sucked, I'm not disparaging ball sucking in any kind of way. Though it can be argued some people are better at it than others- where most use teeth, I'm feeling the wet suction of Super Distortion- so there- favouritism)
De bandnaam Super Distortion slaat op het gitaarspel en dat betekent dat fans van Neil Youngs gitaargeros als hij samen met zijn begeleidingsband Crazy Horse
speelt, helemaal goed zitten. Opener Beautiful Life had zomaar Like A Hurricane, part II kunnen heten en dit soort gitaarspel komt in de overige negen tracks
iO Pages coverook nog geregeld terug.
Beautiful Life is met zeven minuten en met de meerstemmige zang die lekker retro klinkt, meteen de beste track. Het is net Crosby, Stills & Nash die prog zingen. De korte track Think Only Good Things is zuiver Eels met dat lekkere tamboerijntje met 'Ringo Starr' die de achtergrondvocalen verzorgt. Mr. Spock is retrorock gespeeld door Black Sabbath die een bandlid mist. Het moge duidelijk zijn dat Utopia International een gevarieerd en lekker cd'tje is, maar waarom bespreken we dit album in iO Pages? Nou, omdat er wel degelijk psychedelische muziek op staat, zoals The Golden Rule dat klinkt als een akoestische Hawkwind uit midden jaren zeventig, terwijl Can You See The Patterns? een volleerde Hawkwind-song is, maar wel met Neil Young als gastgitarist. Kortom, Utopia International is een ratjetoe van schaamteloze retro, maar als die zó goed wordt uitgevoerd, mag dat best wel eens.
Thanks to Kerry, Paul, Angela and Nadia for this translation...
The band name Super Distortion refers to the guitar sounds and that means that fans of Neil Young's rough jamming style like he did with Crazy Horse will be wholly contented. The opening song "Beautiful Life" could just as easily have been called "Like A Hurricane, part II' and this kind of guitar-playing frequently returns in the other nine tracks. "Beautiful Life" is, with its seven minutes, harmonised singing and nice retro sound, immediately the best track. It's like Crosby, Stills and Nash singing prog.
The short track "Think Only Good Things" is untainted Eels with some nice tambourine and [what sounds like] "Ringo Starr" taking care of the backing vocals. "Mr. Spock" is retro rock played by Black Sabbath with a missing group member. It should go without saying that Utopia International happens to be a varied and nice little CD but why are we discussing this album in iO Pages? Well, because it certainly includes psychedelic music, like "The Golden Rule" that sounds like an acoustic Hawkwind from the mid-1970's, whilst "Can You See The Patterns?" is a total Hawkwind song, but with Neil Young as 'guest guitarist'. In short, Utopia International is a huge blend of shameless retro but, if it's done this well, it's allowed.
Named after an old fuzz pedal, Super Distortion is one of the solo project of Pete Bradley and this album that will be released at the end of this month includes excellent, melodic and psychedelic pop/rock music that has the spirit of the good old times. Pete's influences can be found from the 60's all the way to this day (The Beatles, Neil Young, Frank Zappa, Black Sabbath, Caravan, Gong, Syd Barrett, The Brian Jonestown Massacre, Tame Impala ,Acid Mothers Temple.) and the album's ten tracks vary from soft pop to pretty heavy rocking. Pete is mainly a guitarist but he also has a great voice and can handle other instruments very well too. He also knows how to write great tunes!
The album begins with the seven-minute, beautiful, touching and slow "Beautiful Life" that also has some acoustic guitar and could well be taken from some The Bevis Frond album. Even the guitar solos remind me of Nick Saloman. The acoustic "Think Only Good Things" is a positive, short piece and the following number "Mr- Spock" is one of the albums heaviest songs and rocks hard bringing to mind Blue Öyster Cult a bit. "The Golden Rule" is again lighter, acoustic and pop-like stuff. The more psychedelic "Can You See the Patterns?" is one of my favorites and in the beginning it gets quite close to Hawkwind. This is proper psychedelic rock! "Mind King" is a slower, marvelous and atmospheric Neil Young styled song that also has some twanging acoustic guitar in the mix. The harder rocking and a bit faster "Walking Down the Street" would again fit perfectly for some The Bevis Frond album and also includes organ (like many other songs here). A great song with an interesting, sort of Irish styled ending! "Living Thing" is a simple, three-minute 60's styled number that brings to mind The Beatles or The Kinks. The album's more psychedelic side is presented again with the superb "Open" that has some mystical, Eastern vibes. Great! Finally we've got "Captain Impossible" with its heavy fuzz guitars and this one rocks in a bit garage rock/punk vein. This is a very good and enjoyable album in all aspects so check it out!
16.02.12 by Dj Astro
Pete Bradley is Super Distortion; he's also Man In Formaldehyde, Art Giraffefungal, half of Cephalapod and a quarter of ddjomp - but that's beside the point. This particular project was named after a favourite fuzzbox pedal and was originally an instrumental venture. The "Into Space/The Mystery Prize" single introduced a songwriting and lyrical element, and subsequent support (and airplay) from Stuart Maconie on his BBC6 Music Freakzone show indicates the change of direction was well judged.
There's been a tradition in the UK of spacey psychedelic rock with a distinct pop edge since the late '60s when The Stones released "Satanic Majesties" and Syd Barrett's Floyd took it to another level. Hawkwind consolidated and Nick Saloman's Bevis Frond picked up the baton, and has yet to stop running. It seems inevitable that Super Distortion should be added to the list. Songs like "Beautiful Life", with its heavy Neil Young-esque guitar and "Mr Spock", which riffs like early Black Sabbath fronted by Julian Cope, can cope happily with the association. Not that Bradley concentrates wholly on the louder end of the genre. Folkier material like "The Golden Rule" sits easily among the heaviness, and "Can You See the Patterns?" with its spoken word introduction, pulsing rhythm and space-pop chorus might be my current favourite. If any of this sounds vaguely appealing, I can only recommend you investigate further, without delay.
SUPER DISTORTION is just one of many projects of Pete Bradley, who was completely unknown to me until I received this promo disc from Pointy Bird Records. But he seems to be a very creative musician with a wide array of different styles ranging from electronica and experimental stuff to psychedelica. SUPER DISTORTION can be assigned to the latter genre, even though there is still more to discover. There are songs like 'Living Thing' that are deeply rooted in the 1960's and remind of all the countless garage bands of that decade - only with the difference that it has a modern approach.
'The Golden Rule' is another 1960's-infected tune with acoustic guitars and West Coast-esque vocal harmonies. With 'Beautiful Life' and 'Mind King', Pete Bradley goes in another direction, primarily because of the guitar tone that is strongly suggestive of Neil Young. The smooth vocal lines in 'Beautiful Life', on the other hand, evoke memories of mid-1970's Pink Floyd, which shows that not each track is easy to classify. Pete Bradley takes up different influences to develop his own sonic style without being on a complete retro-trip. 'Mr Spock', for example, has a modern feel to it due to the heaviness of the riffs, but Bradley's vocals sound typically English and remind me of The Beatles. Here, we have the same kind of pop sensibilities that we know from the Fab Four.
In contrast to this, 'Can You See The Patterns?' has much in common with Robert Calvert-era Hawkwind, proving once more that this album is packed full of good surprises. But for my taste, 'Utopia International' is too feeble in certain moments and I would like to hear more emotion in Pete Bradley's voice. However, there is plenty of variety in the included 10 songs to keep the album exciting, so it doesn't really bother me. Only sometimes. 'Utopia International' is an eccentric and individual piece of work that won't please everyone, but if you have a weakness for an updated version of 1960's-inspired psych pop/rock then it's no mistake to check out SUPER DISTORTION.
Thanks to CMJ Music www.cmj.com for including Living Thing on their monthly Freeplay compilation and featuring Mr Spock as a "Download This" track.
Thank you for spinning some Super Distortion on BBC Radio 2 Mark Radcliffe's Music Club
We are also very grateful for the many plays on Scrub Radio's Round at Milligan's.
Very professionally put together and very entertaining. With full archives of shows.
SUPER DISTORTION is the name taken by Pete Bradley, who uses his own studio, plays all his own instruments, and along with his wife, Andrea, runs Pointy Bird Records. This is the sort of one man band effort that I really like to hear. The tag of Super Distortion runs to his compositions of lo-fi fuzz pop and psychedelic jams, and this single firmly falls within this category.
'Autocue' is a brilliant track of extreme heavy psychedelia, with a start and finish of dark radio station static, as if the set was not tuned in. Guitar, organ and vocals are all mashed through the fuzz box creating the sort of brilliant noise that you get on tracks like The Fall's 'Solicitor in Studio'. The lyrics concerning a beautiful girl who appears on the TV set who issues propaganda: - "She walks and the universe expands. Her thoughts shine like lights in Disneyland/ She talks like a girl from space command, but beware they're the words of the Man."
This is excellent and thunders along at a great pace. Besides, who else could come up with the rhyming couplet "Angels are falling down from heaven to bless her/ Her breath smells like an aerosol air freshener"!
The other track on this double A side is 'Super Bug' a slice of mellower psychedelic guitar pop. The tone of the lyrics is very Syd Barrett, although the subject matter is not: - "Super Bug lives on your skin, biding his time, waiting, to get in." After other pestilences are mentioned such as Portuguese Man O' War, floods, quakes and acts of God, Pete then goes on to tell how equilibrium restores itself, leading to vaccines: - "Super Bug mending your cells, floating about, wishing you well."
Overall, I really enjoyed this and if Pete Bradley continues to turn out songs as clever and tuneful as this, then I think he will become very well known.
Author: Nick Browne www.whisperinandhollerin.com
Now I'll admit that there's been - shall we say - something of a stomping of feet and banging of cups and mugs in the losing today cafeteria since we found out that we'd missed this lots debut effort 'resonating world' which aside being hailed as something of a minor classic was described in passing by blue 6 cadet Mark Radcliffe as a 'psychedelic 'iron man'. welcome then the psyche / glam persona of Peter Bradley trading under the pseudonym of Super Distortion (by all accounts he also tweaks with 'strange melodic electronics' as Man in Formaldehyde and 'stranger still experimental stuff' as Art Giraffefungal - no prizes for guessing as to whom the pun relates to here - spotters badge for those who mutter Kevin Ayers - we have to hear more I suspect).
'Autocue' - what can we say - its like finding yourself dozing off and waking up in the middle of some weird Christmas '73 edition of Top of the Pops wherein through the haze of dry ice a glitter glammed stew rears into earshot belching the kind of bliss kissed touch the sky pout that you'd imagine an assembled crowd of motley suspects of the day - Wizzard, Bolan and various attendees from the Sabbath ranks - to make by way of some stage sharing seasonal end of year shindig - all head expanding fuzziness, big bearded riffage and weirdly wonky wooziness that in the 70's would probably have sounded like the future while in that future sounds strangely like the - er - well - 70's as it happens, bit like the near cancelled 'second coming' Stone Roses spiked by a playing nice Dandy Warhols and a youthful Brian Jonestown Massacre.
And while 'autocue' will no doubt grab the radio play plaudits by our reckoning it's the flip side that should be warranting the attention for 'super bug' is one of those most rare of gems that regales in the crookedness of English psychedelia's eccentricity - kind of 'laughing gnome' without the irritating cartoon chuckles and as magical as a wood chipped sprite playing tic tac toe in the twilight haze to a woozily hallowed assortment of trippy tuneage featuring the likes of traffic, freed unit, bevis frond and tomorrow - quite frankly if those terrascope dudes hear this they'll be shitting lysergic bricks for weeks to come - oh yea and features the best floaty flute / pipe sounds to have graced grooves of wax since Flowered Up's ridiculously catchy 'it's on' - how can you resist we wonder.
SUPERDISTORTION "AUTOCUE" (POINTY BIRD)
RELEASED? 27th June
SOUNDS LIKE? Okay, if there is nothing new under the sun, then I'd prefer that the past is rearranged with some style and imagination. Which brings us neatly to the new Superdistortion single.It sounds like a death squad machine gunning the 'too heroin for release' McCartney stuff. Dirty riffs roam around a mix littered with crisp, imperative percussion while synths beeble and wheep out a smashed up morse code. If the right people had the courage to release and playlist "Autocue" then us plebs would buy it. Oh, the flip sweet stitches Peter Sarstedt into World Party, they're just showing off now.
IS IT ANY GOOD? Probably the best single we'll get until they release another one.
How can you fail to warm to the music of Pete Bradley, a man whose' other nom de plumes include 'Man in Formaldehyde' and 'Art Giraffefungal'? Autocue is fully played out through a fuzz box which gives the bass a lovely gruff sound but still doesn't end up sounding too muddy. It's a touch proggy, a touch shoe-gaze. But talk about a contrast, the B-side 'Superbug' sees Bradley in more reflective move with a nice jangly folky song which more than occasionally veers off into 70s druid rock. It's certainly not mainstream. 7/10 - SB
Is this hippy nonsense resonating in a world gone orange and blue, or is it a glorious piece of 70's retro alive with a Stylophone solo in the middle of an old-school guitar pop stomp and the flutes and the bits of ELO and a touch of didgeridoo! Preposterous or preposterously good?
Eight minutes of psychedelic freak-out pop rock: Jethro Tull meets a Lighting Seeds take on psychedelic Beatles. Excellent no messing 'proper' guitar sound that leads almost immediately to a Seventies stomp and a Tull flute or maybe a touch of some Mike Oldfield. All good then? The psychedelic folk rock of the hurdy gurdy man comes singing songs of joy. Steve Hillage meets Roy Wood meets some strange TV advert with a car full of sunshine, jelly beans and Dalmatian dogs are running around. Sounds like a guilty pleasure of a classic 70's one-off single. "Pete strives to provide some contrast to current trends." reads the press release as he sings about how maybe he should just run away and live in a wood. Actually, this is a preposterously good slice of 70's pop rock.
SOUNDS LIKE? When you marry menace, feedback and flute you get some kind of slithering, pictures of matchstick men take on the previously undiscovered Black Sabbath / Jethro Tull fusion. I mean, if you took everything that was vile out of Primal Scream and Chemical Brothers, I'd lend you a match and the goodness left gleaming in the ashes would be this.
IS IT ANY GOOD? It's what we top reviewers call fucking perfect. Droning, spitting, fuzzing, banging, echoes that have echoes, a mix that sends the guitars circling between speakers like dinosaurs with lasers and there's a didgeridoo, but why, as their label ask, read waffle when you can just listen? Right, off you fuck then.
"We both really liked this one" - Stuart
"Sounds like a sort of psychedelic Iron Man by Black Sabbath" - Mark
"Yes and there's all sorts of things going on in there - far out!" - Stuart
Radcliffe and Maconie
"Here's a single I'm absolutely loving" - Stuart Maconie (he played all 8.39 minutes! - Thanks Stuart)
And how about this for a really bad review! (The weird thing is, Icky Thump happens to be Pete's favorite White Stripes track by far!)...
Hmm. I've heard a good few confusing records in my time. Enter Shikari's debut, Icky Thump by The White Stripes, anything by Dillinger Escape Plan, but this. occupies a space entirely on it's own when it comes to oddness, because what it seems to be is a standard rock song stuffed with an enormous amount of other stuff, namely, a recorder playing its main hook, a guitar solo that goes on for a good three minutes, a stylophone bursting into the track after the second chorus like a startled duck, and then a didgeridoo shows up, basically unaccompanied, for the last minute and a half of the track. Seriously, you can't make this shit up. But the oddest thing is that this baffling experimentation is stuck on to a relatively straightforward, Dessert Sessions meets Dandy Warhols three chord stomp. Which gives an odd sense of familiarity to the proceedings, which in turn, makes it all the more weird. It's a vicious cycle of strange that entirely distracts from the song itself which, I'm sad to say, is probably for the best.
Once you get past the "what the shiny hell is that!" novelty factor of the track, there is a pretty uninspiring song underneath it all, it plods along, singer Pete Bradley never particularly exerting himself all that much, which gives the songs eccentricities a nagging feeling that they're not much more than gimmicks. So in all, listen once for the sheer, batshit lunacy of it all, perhaps twice if you really can't get your head around it, but then avoid.
Author: Will Howard
Big thanks to all the radio folk who played our Resonating World promo, including...
www.totallyradio.com - The Daily Show
We are pleased to have had some very nice reviews of Black Porridge Kaleidoscope. Here is a selection of reviews and quotes, including a very entertaining 1/5 review from Musique Machine. When you read this review keep in mind that Art built/programmed almost all the software instruments from scratch and that this was explained in the press release. The vast majority of musicians buy instruments ready-made and never attempt to write custom software.
"Der Schauplatz ist nicht mehr Pepperland, sondern die Propaganda-blase und das Radioloch, in dem die Gegenwart schimmelt, die Waffenicht Pop, sondern Antiporridge und ein elektonisches Antimykotikum."
Art Giraffefungal provides an intriguing array of short electronic experimental noise-bursts and static attacks on Black Porridge Kaleidoscope (POINTY BIRD RECORDS PBIRD007). Little is known about this cunning abstract-a-thon loner genius, although he comes across as an advanced form of successful bedroom-cassette music. His use of filters has a sickening ingenuity, although my preference is for those moments when he keeps affairs as simple as possible and we have to deal with unadulterated portions of nasty electronic sludge. Not exactly a noise record, this twisted little gnarlamoon occupies a narrow stretch of its own choosing and adorns its odd gestural swopes with titular references to outer space, radios, minerals, geometry, and so forth. The evil twin of Ian Helliwell at work!
Larsen, bruit, électroniques sales, approchées d'une manière presque rythmique, presque mélodique aussi. Une version pop de Merzbow? Pas tout à fait. Une musique sombre, viscérale, un peu naïve mais assez réussie. On sent la tentation d'un formalisme à la Frank Rothkamm, mais aussi un élan animal qui rappelle Merzbow. Pas mal.
Feedback, noise, dirty electronics, shaped into something almost rhythmical, even melodic at times. A pop take on Merzbow? Not quite. Dark, visceral music, slightly naive but artistically successful. There's a temptation toward formalism a la Frank Rothkamm, counterbalanced by the animalism of Merzbow. Not bad at all.
'Black Porridge Kaleidoscope' offers up a selection of thick, juddering, slightly noise bound and darkly crude beat-less synth scapes that at first start out vaguely atmospheric and marginally intriguing, but soon becomes more than a little repetitive, bland and samey when spread out over a full albums length. The albums made up of sixteen tracks in all that all hit around the just over the two minute mark to nearly the three minute mark a picec. And each track consists of a series of wavering, juddering and at times very badly played synthesizer textures that's sometimes are fed through effects peddles for slight more noise or lo-grade dark psychedelic texturing. Mostly the tracks seem to judder, move and fall along in quite a random and unstructured manner with ever so often more harmonic or atmospheric elements appearing; but these are quickly replaced with for more lo- grade and amateurish button pressing, ham-fisted experimentation and general uninspired synth dwell. The press release openly admits the strangle named Art Giraffefungal has "limited computer and synthesizer skills" I think this is more than a little bit of an under statement as most of this album sounds like it's been made by a bored teenage who's touched a keyboard maybe once or twice in his life and has being let lose in a studio for an afternoon with a synthesizer, a computer and some peddles. Later on in the albums life there are attempts to slow down and stretch out the tracks pace but it still comes across as bland, amateurish and ultimate very dull Really a very low grade synthesizer and computer compositions album that's flawed in concept, execution and has little or no talent attached to it. This kind of thing gives other synth and computer based composer a bad name and shows clearly when technology is doing all the work with an uninspired direction and lack of ideas. 1/5 Roger Batty www.musiquemachine.com
DÉLIRE MUSICAL on CFLX
Radio Nacional de España
RNE 3 Sismógrafo www.rtve.es/radio
France Musique - Electromania
par David Jisse, Christian Zanési & Christophe Bourseiller
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