Review: Up until his death in 2003, Hiroshi Yoshimura spent decades offering up immaculate albums that blurred the boundaries between ambient, new age and minimalism. For those not versed in the Japanese ambient pioneer's vast catalogue, 1986's "Green" - which is here reissued by Light In The Attic - remains one of his most impressive works. Created using a minimal number of instruments (mostly synthesizers and electric pianos), the set is as quietly jazzy as it is relaxing. Highlights include the meditative, Terry Riley influenced bliss of "Feel", the pulsing organ stabs and blissful electronics of "Sheep", the garden-ready musical hug that is "Green" and the swelling opener "Creek".
Review: Just when you thought all hope was lost along come The Strokes to fulfil the promises they made way, way back with their startling debut 'Is This It'. That was 17 years ago, and while the outfit have made plenty worthy of note in the years between then and now, we'd be surprised if we're the only ones thinking this latest is their best effort since that inaugural outing. Confident but also hungry, rather than bloated and lazy, there's plenty here that you won't be able to get away from in a hurry. 'Brooklyn Bridge To Chorus' might define the package best, delivering some powerful pop energy in an all-round homage to and critique of the 1980s, an era revisited again on 'Bad Decisions', which owes plenty to Billy Idol's Generation X classic, 'Dancing With Myself', with tracks like 'Why Are Sundays So Depressing' diverting to a synthdom route and 'Not The Same Anymore' throwing crooner styles into the mix. Exceptional stuff.
Review: Minimal Wave is proud to present The Sound of Indifference, a rare cassette released in 1981 by Aural Indifference. Aural Indifference was a post-punk studio collective from Sydney, Australia. The two principal members were Brian Spencer Hall (the M Squared in house producer) and Kevin Purdy. The cassette album, The Sound of Indifference, was released in 1981, featuring tracks such as "Theme", "Park, and "Man Am I Progressive". Their sound ranges from minimal synth, to post-punk to quirky guitar-driven electronic folk music, some of it resembling John Maus. "Theme" appeared as the closing track on The Minimal Wave Tapes: Volume Two compilation and "Park" appeared on The Bedroom Tapes compilation. Here for the first time, we are offering a reissue of the original cassette, remastered from the master tapes and complete with original artwork, limited to 300 copies.
Review: 'Melatonia' is the seventh album from drone duo Pausal, known for their releases on labels such as Barge Recordings, Students of Decay, Own Records, Dronarivm and Infraction. Individually, Alex has released numerous works under his Olan Mill alias and Simon has released on Hibernate Records.
Review: Ryan Kattner fronts a Man Man album for the first time in seven years, and there's a lot going on. Within the first two tracks alone, 'Dreamers' and 'Cloud Nein', we've had a sultry evening's jazz warm up and a rollocking, boozy, piano rock stomper of the early-Cold War Kids variety. Off we go. 'Goat' is a curious epic that has more than a shade of gypsy funeral punk to it, long brass notes somewhere between exoticism and blues, chorus rooted in folk song. Eyes grow more like saucers when 'Unsweet Meat' unfurls its seductive and increasingly frantic groove, erupting into stepping rhythm and closing chant. Elsewhere, 'Inner Iggy' is a jangling rock 'n' roll classic, and 'Swan' is a broken and honest but sweet piano solo. The point being, you won't hear much like this again for a while.
Review: When is a psychedelic rock album not a psychedelic rock album? Anyone who has quickly scrawled answer-on-postcard reads "when it's Temples" can go straight to the top of the class. Evidently you have been paying attention over the course of the British three piece's last two full length records. It's not that things don't sound pretty out there and trippy. All the elements to achieve that are here, but the accessibility is ramped up to the level of a pop album, with arrangements owing more to traditional song craft than anything particularly experimental. Don't read that as criticism, though. Tracks like "Not Quite The Same" are huge, proud, instantly catchy but far from obvious numbers. "You're Either On Something" thumps and lunges through its various permutations, "Atomise" pares everything back, luring us in, before opening up into a frantic, grunge-metal guitar line. We can only imagine the fun they had recording it.
Review: "At the center of 'Long Formations +4' are the two longest pieces I've recorded. Although recorded and released at different times, these pieces always felt like they were two sides of the same coin and I'd hoped to have them collected on a physical release one day. Both use layers of guitar as the source material and the pieces ebb and flow between the original guitar recordings and variations on them - manipulations in playback speed and EQ with additional textures and melodies fading into the mixes. The additional pieces were all recorded in late 2019 and are significantly shorter pieces, but feel very connected to the long formations in tone and in mood so it seemed fitting that these all be compiled together. These pieces are also predominantly guitar based with the addition of strings in "Soft Spoken" and onde magnetique in 'Street Lights'."