PopMatters home | short takes home | archives

31 October 2005

Khanate, Capture & Release (Hydra Head) Rating: 7
Khanate (pronounced "con-ate") is so slow, it might make one mad at first. This New York band makes Black Sabbath look like speed metal. Imagine three minutes of a Godflesh song dilated over 43 minutes; the two tracks here ("Capture" and "Release") have bowel-churning low end and much space between notes. However, the space isn't empty. A thick sense of menace hovers over this album; one can practically feel the hum of throbbing amps and the wobbling of bass strings. The occasional howling, shrieking vocal only adds to the grimness. But the album is oddly addictive. With a pedigree that includes Old, Scorn, Sunn O))), and Blind Idiot God, this band knows what it's doing. Over time, guitar tones slowly advance and recede in distortion, but with just enough pace to keep one hooked. An entire album of "that sinking feeling" has never been so enjoyable -- just be sure not to have sharp objects around. [Amazon]
      — Cosmo Lee

Frank Martiniq, Little Fluffy Crowds (Boxer Recordings) Rating: 6
Well, I guess it's been long enough since the early days of modern electronic dance music that an ironic title like Little Fluffy crowds actually seems less like a piss-take than an homage. Certainly, Frank Martiniq's music has little to do, on the face of it, with the Orb's classic ambient dub -- tracks like "2" could easily fit on a Kompakt records sampler (but then again, the Orb did contribute a remix for Kompakt's 100 set). Nods to the past aside, there's quite a bit to like about Martiniq's modest approach to modern house: there aren't a lot of bells and whistles, just some deep beats and minimalist melodies very lightly sprinkled over the top, with just enough elaboration added to keep things interesting. "4" plays with the kind of bass you might expect on a Mad Professor record, all the while laying on some very canny layers of acid. "5" goes even deeper into Pole territory, featuring a rising cacophony of clicks and scrpaes that build into a surprisingly optimistic sound. There are even hints of Felix-esque electro punk on "8". A satisfying example of the "new" sound of house music, based on a minimal template that would make Plastikman proud but not afraid to open up with moments of lyrical beauty.
      — Tim O'Neil

The New Rags, Take Jennie to Brooklyn (Silent Stereo) Rating: 5
This six-song EP seems to take the best of The Black Keys, Death From Above 1979 and the White Stripes -- maximizing the best of two musicians (Tom Merrigan and Andrew Pierce) but without much in the way of guitar. Piano and drums is what makes this interesting judging by the groove-riddled "Your Room" that soars on the chorus into a great vibe that hits you in the gut. The only problem might be it stops when it could just get off the ground. "Surf Seven Seas" is a quickie garage pop tune of sorts. When they are light and poppy, as they are during "Hate to Leave You", there's a lot left to be desired. "It's Over" brings the EP back to life and sounds like Peanuts' Schroeder coming down from a brief acid trip. Closing with "Love of My Life", the New Rags are new and, yes, a tad ragged. But in a good way.
      — Jason MacNeil

Gena Rowlands Band, Le Merde et Les Etoiles (Lujo) Rating: 4
This album really didn't have a fighting chance after the first refrain of "Garafalo, C'est Moi." (I'll spare you). Regardless of any intended irony or satire, it fell flat in both its melody and intent. The guitar is mildly intriguing and remains so through out the album. The melodic tone and jazz undertones fall lightly on the ear. In fact, most of the instruments on the album do. Beautifully produced at Washington, DC's Inner Ear studio, songwriter Bob Massey's subtle instrumentation is brought to life and inhabits the songs. Still it doesn't make up for the unforgivable absurdity of songs like "Kong Meets His Maker (A Parable About Dating)". [Amazon]
      — Dave Brecheisen

.: posted by Editor 7:45 AM