CD/Digital releases

Ghosts drowning in supreme thunder: Nine Inch Nails – Ghosts I–IV

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i was surprised to find, yesterday, that since 1 January, i had listened to 99 albums. It seemed all too fortunate then, that my 100th album of the year should be a brand new release from one of my favourite artists and, in my opinion, one of the very greatest creative minds in music today, Nine Inch Nails (the mind belongs to Trent Reznor, of course). Having been loosed from his record label bonds late last year, Reznor is leading the way in a new kind of thinking, in terms of music distribution. In interviews, and in the way his collaboration with Saul Williams was released last autumn, Reznor is clearly enthusiastic about new ways of delivering music to the fans.

His new album, released 2 days ago, is Ghosts I–IV [Halo 26], which comprises four 9-track EPs, each filled entirely with instrumental music. There’s a variety of ways in which the music can be obtained: the first EP, Ghosts I, can be downloaded free of charge; all four can be downloaded for $5 (barely £2.50 at today’s rates); a 2CD edition is available for $10; and, for the really keen, there are “deluxe” and “ultra deluxe” editions, with additional accoutrements. i opted for the 2CD edition which, since it isn’t released until April, entitled me to an immediate download in any format i chose—unsurprisingly, i opted for FLAC—which includes a large number of wallpapers and other graphics, plus a PDF file of the accompanying 40-page book (each track has its own, very beautiful, artwork). It’s not the first time i’ve encountered an artist including a digital download in the purchase of a CD (Björk began doing it recently), but it seems an idea that will probably catch on, since it both allows one to listen immediately, as well as providing the listener who wants it with a physical object. Read more

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Floating back to happiness: Goldfrapp – Seventh Tree

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Good music likes company, it seems, as three CDs came through my letterbox this morning, Autechre‘s Quaristice—strange, as it’s not released until Saturday—and Gantz Graf (which i’ve loved for years, but only now got round to buying), plus Goldfrapp‘s new album Seventh Tree, released yesterday. i therefore took time off from my compositional/Autechre duties this morning, to hear finally what Goldfrapp has been up to. i have the deluxe edition, which is quite a package, coming in a small box…

…with the CD, …

…an accompanying DVD, …

…four postcards, …

…a small book of lyrics, all hand-written (just two of the spreads are shown below)…


…and a poster—which is too big to scan. Read more

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The (very welcome) shock of the new: Autechre – Quaristice

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The closest i’ve come to a solitary road trip was last year, when i drove from the cosy shelter of the Cotswolds to the exposed shelf of the east coast. Knowing that, even if i treated the speed limit with my usual agnosticism, the drive would still take at least four hours, preparation was needed in terms of music for the journey. i’ve often noticed how the music one takes on any kind of trip or trek becomes etched into the experience, as an integral part of the memories. On this occasion, i opted for a single artist: Autechre. For once, i brought nothing else for contrast, so depending on your perspective, setting off with only Amber, Draft 7.30, LP5 and Untilted for company was either foolhardy and masochistic or courageous and exciting. Actually, i think it was all of those; and it was wonderful, consolidating my love for their work.

Their new album, Quaristice (released on 3 March, but made available on bleep.com a couple of days ago), achieves the remarkable feat of sounding at once familiar and yet also alien and strange. i admit to having read the review in the latest The Wire, but—like most reviewers these days—little was given away, so i felt pleasantly able to throw myself in at the deep end. My most immediate reaction, as one track passed to the next, was of disorientation; gone are the lengthy pieces from Untilted that evolve and judder into new contortions and patterns, replaced here with a kaleidoscope of short studies that seem to capture their essence in a less expansive, but perhaps more concentrated way (stat alert: Untilted: 8 tracks, average length 8:43; Quaristice: 20 tracks, average length 3:40). If anything, this accentuates one of their strongest attributes: the ability to surprise. There’s the impression that these are mere sound “glimpses”, yet the familiar sense of evolution persists. What is most new here are the soft-edged washes of sound that appear almost nonchalantly amidst all of the bleeps and glitches. Nothing like this has featured in their work since their earliest releases (such as “Aut Riche” on Incunabula and “Nine” on Amber), but there’s not even a trace of the banal ambient electronica sound-world; this is “grown up” ambient, of a kind Richard James would be proud. Read more

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Merzbow and h³o

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Yesterday’s listening was confined to a single album, Merzbow‘s Door Open at 8am. Annoyingly, i felt distracted while listening, so i don’t feel i’ve engaged with it adequately; i’ll try again soon, perhaps as part of my journey into Masami Akita’s work. This morning i spent time with OM Electrique, the first of his 50-disc “Merzbox”, and it was a fascinating experience. i’m quite fond of journeying through an artist’s work chronologically, and beginning with this album, from 1979, i was aware it would be screaming “analogue” at me, and i’m sure this contributed to how abrasive was the start of the opening track. Fortunately, i’m made of sterner stuff, and after the (admittedly rather discomiting) first 10 minutes, the noise opened out into other areas. i’m already fascinated with the way that rhythmic pulses move in and out and evolve within Merzbow’s work; here, it seemed to be one of just a few layers of noise that dropped in and out at intervals; but when a layer drops out, it gives a startling new way of hearing the remaining layers. The four tracks are related in pairs, and the album’s a bit disjointed as a result; early days though.

Noise of a very different order this afternoon: The Hafler Trio‘s Hljóðmynd. How Andrew McKenzie creates his soundscapes i have no idea. It’s going to be an interesting week, since BBC4 is showing a number of programmes this week exploring aspects of popular music. Highlights: Monday has histories of The Old Grey Whistle Test and Top of the Pops, Tuesday a review by Paul Morley (a genius, and one of my heroes) about the role of music on culture/identity, and on Wednesday Charles Hazlewood is exploring “How Pop Songs Work”…

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From the ridiculous (via noise) to the sublime

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When any series comes to an end, it’s an emotional experience, and so it was yesterday when the last two CDs in Andrew Liles‘ 12-CD Vortex Vault series dropped through my letterbox. Black Pool and Black End mark the conclusion of an amazingly prodigious cycle of discs, released once a month, beginning at the end of 2006. Andrew Liles’ music was one of my biggest discoveries from last year, recommended to me by the equally remarkable Matt Waldron (irr. app. (ext.)). There’s a fascinating mix of both the beautiful and the disturbing in his music, with highly evocative (and sometimes, very funny) titles, including “Bamboo Sheep”, “An Unspoken Narrative Regarding Institutional Abuse”, “Ghost Breath – A Lament For A Bear Cub Called Медвежонок”, “Taking Bumblebee to France for the Afternoon”, “36-23-33½” and “Matthew Doesn’t Like Bananas in his Ice Cream”. These titles are often frivolous, but sometimes rather more deliberate: “The Jean Michel and Vangelis Taboo Liaison”, for example, explores the kinds of sounds beloved of those two “composers”. He’s capable of real gravitas too, though, and the final piece on Black End is like an electroacoustic/symphonic finale to the series (quixotically broken up into 94 tracks!). Read more

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