Built on a Weak Spot

I guess it’s probably a good idea that I go ahead and say that Republic of Sadness is the first album from Gate in over ten years. It’s an interesting record to get to talk about just for that reason alone really, as it’s been awhile since I’ve busted out a Gate record. Since it’s been some time between records, this may very well be the first Gate record some hear. So to get some background information out of the way, Gate is in fact the alias/side project for Dead C member Michael Morley. On older Gate records it was a bit safe to assume you were going to get some similar Dead C style noise improvisations but with Republic of Sadness things apparently change over ten plus years.

From the start Republic of Sadness presents itself to be a much heavier electronic based album than ever before. The white noise effect of guitar drone/distortion is almost nonexistent or completely gone for that matter in favor big electronic beats and trance like ambient flavorings. The first two tracks “Forever” and “All” are very much in this style and do a rather nice job building upon the given loops. The rather jolting element to these songs though are Morley’s vocals, which to some may either take you out of the trance-like state at which these songs seem to be driving the listener towards or his voice simply becomes part of the rather unique textures of sound at play here. Granted, Morley’s vocals work on variations of abrasiveness, occasionally making them almost the complete focal point of the song. Other times it sounds as if he’s trying to talk into a mic that’s submerged in the bottom of a fish tank. It’s easy to become a bit out of sync with what is going on within the songs when Morley’s vocals kick in, depending on exactly how much of them are going to be heard. What I enjoy about it though is that it does create a sound to a degree that seems out of motion. As if everything in the world is surrounding Morley in a manner that is much quicker than his reaction…not phased but resigned to the rush of it all. It’s an interesting characteristic of the songs throughout the album. However, things change a bit about midway through the record with “Desert”, at least in terms to the more electronic textures. Suddenly things become a bit “dance” oriented with a looping beat that maybe encapsulates exactly what I mentioned previously. Again, it’s an approach that very well could divide listeners and long time fans. The second half of the album sort of trends towards some of the harsher elements that past Gate records are more commonly known for, however it’s the forceful manipulation of electronics here on a track like “Freak” rather than rumbling distortion.

After ten years, Morley has released something that I doubt could have been foreseen by many of his followers. It’s not necessarily drastically different, however it certainly is a change of pace for what has been come to be known of Gate. Is it Gate’s pop record? Possibly, but it’s a pop record that only Michael Morley would put together and that should be enough for people to check this out. If that’s not enough, well…you’re missing out on a rather good album.

Gate – Forever (stream)

For those wishing to pick up Republic of Sadness you can do so by heading over to Ba Da Bing! Records. Enjoy!

It appears that Flowers of the Moon is the official debut for Jeff Suthers’ project Moonspeed, which has been around in some form or another since 2003 or so. I remember hearing songs the Flight Approved website from way back that were pretty interesting and made appearances on a couple fairly limited run discs. This however is the full-fledged album from the band and it’s a welcome addition to the already lengthy number of solid records I’ve heard this year. Suthers along with Shannon Stein have both worked together for a number of years, originally hitting the ground running with the more shoegaze angled Volplane in the mid 90’s then moving on to the incredible but sadly departed Bright Channel throughout a good portion of the 00’s. The next logical step for them was to focus their attention on Moonspeed, which takes a lot of the great traits from both of those bands fleshes them out further by enlisting a much larger cast of musicians. There is eleven to be exact, counting both Suthers and Stein.

What has kept me coming back all the years to the work created by Suthers and his collaborators is their ability to make music that really develops and works within a certain mood. There are few that have done it better than them if you ask me. Bright Channel had a very unsettling coldness to the music that was greatly contrasted by the volume, however with Moonspeed much is subdued and the music paints more of a picture of isolation with the numerous airy melodies that make up the nine tracks on Flowers of the Moon. Whether this ends up being up the release from the band or not, the tracks record of the members involved will be more than enough to follow them to wherever they may end up. It’s worked thus far and Flowers of the Moon leaves me no reason to believe it won’t last.

Moonspeed – Harvest [MP3]

For those interested in picking up Flowers of the Moon, the band has it available through eCrater or CD Baby. No matter, pick this up if you like what you hear and be sure to check out any of the other acts on the Flight Approved roster while you’re at it.

Been looking forward to the second solo outing from Keith Canisius for a couple months now, or at least since I found out it was coming out. Canisius, as some may remember, is part of the amazing Danish dream-pop/shoegaze group Rumskib. In fact their album was just recently featured in my top albums of the decade post, so to say these solo outings come with great expectations is an understatement.

Canisius’ first effort Ferris Wheel Makeout definitely didn’t disappoint when it was released last year, delivering more of the otherworldly dream-pop sounds and melodies that hooked me from the very beginning. Now, just a year later, he has returned with his latest album Waves once again through Quince Records. The record sees Canisius continue in the direction of heavy Cocteau Twins influence, but inching away from some of the more extreme twist and turns melodically while offering up a softer ambient side of things that dominates a number of tracks throughout the album. It’s great to be able to hear him take the already distinct sound that has graced the Rumskib album and his previous solo effort and continue to build upon it. The added textures give it a much smoother feel while still allowing Canisius to interject some of the more extravagant passages that has by this point become sort of a calling card and a mighty good one at that.

While my coverage of such music has certainly waned over the past year or so, and really I have no explanation why, Waves is the sort of album that continually reminds me with each track as to why I fell in love with this sort of music in the first place. Once again, Mr. Canisius has delivered another solid effort.

Keith Canisius – Waves [MP3]

For those interested in picking this up in the USA, it’s available through Tonevendor or Darla. If you’re in the UK Norman Records has you covered. If you like what you hear above, there is much more of it to be found on the album, so definitely pick it up if you’re enjoying it.

Pretty much anything that features former members of U.S. Maple is going to get my attention and thus since catching wind about Miracle Condition a couple years ago I’ve been waiting to hear some material from the trio, which features Mark Shippy (guitar) and Pat Samson (drums) of the aforementioned U.S. Maple along with Matt Carson (vocals & guitar). Just recently however, the band released the 68 Degrees mini-album through the Tizona label and it features four fresh cuts from the band that was quickly snatched up by these eager ears.

Moving away some from the experimental rough and tumble noise mongering that were attributes of the members’ previous band(s), Miracle Condition takes aim at the dreamy and trance inducing soundscapes of space/psych/shoegaze all sort of rolled onto one nice blue piece of wax. I guess the band sums it up nicely in their own bio applying it with the name of “spacegaze”, which sits just fine with me as I certainly can’t come up with anything better to call it and who would I be to argue with that anyway? As to be expected the experimental/avant background that the members all share never leaves and works its way into Miracle Condition’s music throughout much of the record but acting as sort of a different beast for each members musical proficiencies to be put on display. 68 Degrees is a rewarding sampling of the band and a soothing one at that. Definitely give the track below a listen.

Miracle Condition – Classified Re-Entry Part I [MP3]

For those interested in picking up 68 Degrees then head on over to Chicago Independent where it’s currently available. I don’t know if it’s advertised anywhere, but mine came with a code with an option for an MP3/Lossless download of the album. Be on the lookout of the bands first full-length album on November 24th, which I think is also coming out on Tizona and will likely again be available through Chicago Independent. Keep checking and enjoy!

Morsel was an interesting band that came out of the Ann Arbor, Michigan area during the mid nineties. Essentially always the core of singer/flautist Miriam Cabrera, bassist/drummer Be Hussey, and later in the bands life electronics specialist John Vorus, they went through a number of other members that probably helped shape the darker/moody characteristics of the band. However, with a core such as that it still allowed the band to constantly evolve their sound from their more basic yet still unconventional beginnings. The band started out as mostly a straight up indie-rock/noise-rock outfit with their debut cassette EP G.I.B.L.E.T in 1992 and their first album Noise Floor through the defunct Choke label in 1994. Morsel kind of drew in some early attention due in part to Cabrera’s interesting vocal approach in that she sang directly into a blow hole of a flute that produced this weird and often unsettling shriek.

The band recorded a follow up EP that was Self-Titled in 1995 that was supposed to be released on Choke again, but by that time the label had folded and the band moved to Small Stone. The EP began to show glimpses of Morsel’s move into a more textured and progressive sound that would later dominate their last two albums I’m a Wreck and Para Siempre released in 1997 and 2001 respectively. The addition of Vorus likely played a large role into shaping what these albums sounded like.

Personally I find their second album I’m a Wreck to be the most accomplished and well balanced of their two clashing styles approach. It’s not as ambient and electro heavy as Para Siempre, which is a decent album as well, however may not satisfy those who want something with a bit more substance and force.

Noise Floor:
Morsel – Spark Knock [MP3]

Morsel EP:
Morsel – Ocho [MP3]

I’m a Wreck:
Morsel – Didge [MP3]

Para Siempre:
Morsel – Red Red Red [MP3]

For those interested in picking up any of the bands releases, practically every single one of them are still available on Amazon for a couple bucks or less and some shipping. Or I think most of their discography is available digitally through iTunes and the likes. Give it a go if you’re enjoying what you hear.

Back again this year is Eric Quach with another fantastic edition in the thisquietarmy catalog titled Blackhaunter. Some may remember me writing a few words about the projects debut Unconquered earlier this year, which I fully recommend to pick up. Focusing on Blackhaunter though, this mini album of sorts takes on a bit of a different feel than it predecessor. Where Unconquered used layered fuzzy tones and loops to create a bit of warmth here and there, Blackhaunter does the complete opposite. As the title might suggest, this is a darker and much colder vision from Quach that at times reaches unsettling hair raising atmospherics. In my opinion it seems like a fantastic way to follow up a record such as Unconquered and displays Quach’s ability to achieve such contrasting moods through his skillful guitar tone manipulations.

All I can really think about through Blackhaunter, especially during the first couple of tracks, is being outside lost in the dark surrounded by nothing but snow covered terrain with only the moonlight reflecting off of it providing any sort of light. Blackhaunter manages to capture that sort of gloom and hopelessness in expert fashion. Tracks like “Vampyr” and “Taming the Beast” are especially enjoyable to listen to as you can slowly hear various layers fall into place that eventually contribute to each tracks monumental ending full of melted distortion and warped melodies. I won’t say “Hunting Demons” is the most uplifting piece from the album; however it strays away from the impending doom for a few moments and opts for a more weighty melancholic set of melodies that spans almost the entire eight minutes of the track.

thisquietarmy – Vampyr [MP3]

For those interested in picking up Blackhaunter then head on over to Elevation Recordings. It’s limited 1000 copies and once their gone they will be gone for good. However if you’re into the digital thing these days, then there is always MP3’s available for purchase at Emusic, etc. Enjoy!

I’ll admit I wasn’t quite sure what to expect from Mothlite and their debut The Flax of Reverie. It seemed like an album that could be almost too grandiose and far reaching for its own good. And a lot of times there is nothing worse than an album that reaches for the sky but inevitably falls flat on its face…I mean if albums had faces that is. However from the opening moments of the track “Riverside” and the sinister sound of fluttering guitar notes gently resting in the background I had a good feeling for what the rest of The Flax of Reverie had in store.

For those not familiar with Mothlite, it is essentially the duo of London, England based multi-instrumentalist Daniel O’Sullivan (Guapo, Miasma & the Carousel of Headless Horses) and Finnish produce/engineer Antti Uusimaki. The two of them have come together on The Flax of Reverie to create a beautifully composed album full of cinematic atmospherics and sounds that is something of a rollercoaster ride through darkness and light. There is definitely a noticeable balance between the two that come and go throughout each song that is handled by O’Sullivan/Uusimaki impressively, creating a shift in moods that should have the listener firmly gripped. While the album could certainly be all gloom and doom, the duo lets enough light creep in to loosen things up and break away from the uneasiness/unsettling aspects of it. The music itself that makes up the fifty minute album is full of intricately placed strings, percussion, and winds that leaves no doubt that both O’Sullivan and Uusimaki have a crystal clear idea as to what they are doing, erasing any doubts I might have had for the album.

Mothlite – Riverside [MP3]

The Flax of Reverie is currently available from Southern Records for anyone that enjoys what they hear and is interested in picking up the album. Enjoy!

I didn’t even realize it until I sat down to type this, but this will be the second time I’ve written about a solo artist from a notable shoegaze band in just barely over a week. This time we get an album from Air Formation singer/guitarist Matt Bartram titled Arundel, which was released this past May on the Drifting Falling label.

For Bartram, and many others that take on a solo record, it’s a chance to expand and freely experiment with a certain sound. In Bartram’s case, the Flying Saucer Attack influence that was occasionally hinted upon within his work in Air Formation is let loose here on Arundel. This is a much more ambient and hazier affair for sure, taking on some psychier elements in the area of Spacemen 3 or Medicine but not to the same extremes of either. Like FSA, Bartram’s work here on Arundel often functions heavily with a pulsating rhythm underneath multiple layers of feedback and fuzz that inevitably sucks the listener into its warm and cozy wrappings. That it has such an effect says plenty about Arundel as a whole. Helped along by Bartram’s soothing vocals, which are surprisingly not completely buried in the mix of things, is a nice touch and a wise choice for someone that generally has such a quality to their voice. Fans of Air Formation should find this release intriguing and anyone interested in a lulling more ambient focused shoegaze sound should definitely check out Arundel.

Matt Bartram – Leave by Nine [MP3]

For those looking up to pick up Arundel, it can be had over at Tonevendor. Definitely pick it up if you’re digging the tune above, much more where that came from. It’s a solid album.

Just recently released at the end of this past March was the debut from Thisquietarmy titled Unconquered out on Foreshadow Records. Some may already be familiar with Thisquietarmy and that the man behind the moniker, Eric Quach, is also a guitarist for the fantastic post-rock/shoegaze group Destroyalldreamers. Taking his love for fuzz and ambiance further (which is already hinted at in the space defiant band names), Quach has turned to his solo project for an outlet and the results of it certainly speak for itself.

Unconquered is a record that takes on a few different shapes and sounds as it progresses through the eight tracks that make up the album. The opener “Immobilization” is a fantastic joint effort between Quach and guest collaborator Aidan Baker. To little surprise it resembles Baker’s work on his past textural/ambient albums and it’s obvious that the two teamed together create a fairly captivating creative force. However, one of the things that makes Unconquered such a strong debut is that Quach doesn’t try to mimic these results for the rest of the album and the structure and mood shifts considerably after the first track. It follows up on the next couple tracks with a semi-abrasive wash of rising and falling distortion. “Battlefield Arkestrah” is a notable punishing piece of work, which is featured further below. One of my favorite tracks off the album is easily “The Great Escapist”, which features vocals from female singer Meryem Yildiz. The implementation of vocals is a fantastic addition and although it may be one of the more structured tracks on the album, it still fits right along with the rest of the album.

While Unconquered may not be something completely new to drone/ambient fans, it’s surely something that should and likely will be enjoyed by fans of the genre. Quach’s execution and unique approach to the genre is certainly worth checking out.

Thisquietarmy – Battlefield Arkestrah [MP3]

For those looking to pick up Unconquered, it is currently available through Tonevendor. Fans of this sort of music should definitely give it a chance. Also, for anyone that is looking for some more sampling of Thisquietarmy’s music, then definitely download the internet only single that features the excellent non-album track “Dronewars”. In order to do that, just head on over here. Enjoy!

Back in 2006 NYC’s Soundpool completely came out of nowhere with their excellent debut On High, which was some sort of masterfully executed danceable shoegaze…at least that’s what I suppose it could be called. Wasting hardly any time the band have returned here in ’08 with their follow up Dichotomies & Dreamland released this past March through Aloft Records here in the US and through Quince in Japan.

While it’s hard to determine whether Dichotomies & Dreamland will change the minds of anyone that disliked the first record, I can say that fans of it will notice a few favorable changes here. The songs have been scaled back a bit from the full bore bouncy pop rhythms that were fluent throughout On High. Instead here we receive a much more ambient and mood driven version of Soundpool, loaded with textures, guitar effects, and a number of songs that are dictated by slow burning crumbles of feedback. Jumping between variations of the two easily works in their favor. The electronic side of the band has also taken on a greater importance, giving them a sound that resembles at times a sped up Bowery Electric or a fuzzier Boards of Canada or Broadcast.

Fans may not fully embrace Dichotomies & Dreamland at first, as it’s not as instantly catchy as their previous effort. However, it’s definitely a further advanced and accomplished album in that it doesn’t lean too heavily on one aspect of the groups sound. With multiple listens it easily proves to be the clear winner between the two in the end.

Soundpool – Do What You Love [MP3]
Soundpool – Lush (What Becomes You) [MP3]

For those looking to pick up Dichotomies & Dreamland then head on over to Tonevendor and pick up this fine addition to the expanding list of fine 2008 releases. Soundpool are one of the bright spots amongst the rapidly growing shoegaze resurgence.