Musique Machine Reviews

From Musique Machine:

Beat Circus – Dreamland
Beat Circus boil up a rather potent mixture of junk band music, demented brass band work-outs, flamboyant and often doomy string work, old time jazz colours that have often quite a Jewish feel, sawing folk and the odd hint of off-kilter pop sensibilities. All to make Dreamland a rather pleasing and heady soundtrack for dreams of American freak shows and amusement park of the past, Victorian tragedies and general dark Americana.

LSD March – Under Milk Wood
Under milk wood sees LSD March return with the most approachable take on their distinctive sound thus far. It finds psyched & blissed-out electric guitar drifts meeting slowed post Velvet Underground riffing. Dabed with wonky and wavering folk and pop sentiments that are all tied together with an quirky and experimental ribbon.

The Antripodean Collective – Funcall
Funcall is the next chapter in improvised jazz four piece The Antripodean Collective’s heady and angler craft. Offering up 5 often lengthy, complex yet at times strangely skeletal and grim pieces.

Angel and Strings of Consciousness – Self Titled

This collaboration between Angel (which features members of Mum and Pan Sonic) and Strings of Consciousness offers up two lengthy 20 minute tracks of drone craft & atmospheric builds/falls

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John Zorn, Lou Reed, Milford Graves & Marc Ribot Live in NY

Lou Reed, Laurie Anderson and John Zorn at the...
Image by wallyg via Flickr

Recent shows by various subsets of these four are reviewed.

One of these two John Zorn gigs cost more to enter than the other. One of them possibly featured a portion of its customers who might just have been hoping that one of its artists would sing, and play some non-improvised material. Lou Reed and John Zorn performed in January of 2008 at the latter’s Lower East Side venue The Stone, with a people-capacity of maybe sixty. In that joint, folks knew to expect the unexpected, but the freshly opened Poisson Rouge club in Greenwich Village has an as-yet untested demographic, even though its booking policy is turning out to be almost as adventurous as The Stone’s, particularly given its much larger size and very accessible location. So, Reed is in a decidedly improvisational mode (even though his roadie periodically seems to place sheets of paper on a music stand: do these contain musical notation, reminders for effects pedal settings, or incoming emails?), but this state should come as little surprise, as he’s been sculpting spontaneous ‘noise’ since the Velvet Underground days.

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