For the better part of thirty years, the Swedish duo operating under the name of Carbon Based Lifeforms have produced some of the most rhythmic ambient music of our time.
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Category: Prog
Maybeshewill: No Feeling is Final (2021).
Always great, they have even gained in skill, orchestration, and passion with their latest album.
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Valedictions, Vangelis
It seems to be all a little bit disturbing to write shortly after the death of Klaus Schulze, that one must also put finger to keyboard to comment on the loss of Evángelos Odysséas Papathanassíou, better known as “Vangelis” on May 17th.
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Valedictions, Klaus Schulze
We should reasonably expect that sizeable books will be released in the near future which in themselves will only provide a summary.
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65daysofstatic: replicr (2019).
Dark and morose, ambient and industrial, with occasional contrasts, replicr is an album for particular moods.
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Records: This Frilly Ape (2019), Amelia Arsenic (2020).
Yeah, need more abrasive bleepy shit.
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We Lost The Sea, Howler Bar, Melbourne, 30 November 2019.
The Howler Bar in Brunswick initially looks like a large open-plan bar but has an enclosed back-room which is just the right size for bands with a moderate following, and a brilliant second bar which provides a windowed view to the stage.
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We Lost The Sea: Triumph & Disaster (2019).
The band started off pretty firmly in the metal genre, but transmogrified into something that is a cross between math rock and metal, like a love-child of 65daysofstatic and Dream Theater.
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Records: Nero Bellum, Am I Dead Yet?, O.R.k. (2019).
Mary Byker being precisely the right amount of too clever for his own good is a pleasing surprise when clearing down the review pile.
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Mono: Nowhere Now Here (2019).
Tell you what I love about Steve Albini recordings: the drums.
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Records: Nosound, Trash Deity, a Cabaret Voltaire tribute (2018).
Popular US industrial music has always tended less Throbbing Gristle and more alternative buttrock.
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Links: Windowing is passé, piracy lawyers go to jail, MP3 “restoration,” Damo Suzuki.
I blame the delay on blockchain. Taking a while between confirmations.
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Links: World In Motion, pirates, kids listen to Swans, Irmin Schmidt.
“If there’s one group who can capture the spirit of bitter infighting that typifies being in a World Cup squad …”
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Limb: Saboteurs of the Sun (2018).
Excellent fare for people who really enjoy Tolkein. A supernatural tone and a solid pounding that most anyone who likes heavy prog will appreciate.
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Reviews: Nosound, Porn, Stellarscope (2016, 2017).
Prog, metal and shoegaze from the inbox.
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Links: Holger Czukay RIP, John Foxx, naked skydiving.
That’s three links, not two.
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Reviews: Desert M, Loewenhertz, Elektrostaub (2016, 2017).
Instead of books, let’s talk about industrial, in ambient prog and synthpop flavours.
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Reviews: Hidden By Ivy, The Trapezoids, Miserable (2016, 2017).
Complicated acoustic progressive sounds, and a bit of cheap synth.
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Ocean Mind: Underwater (2016).
Organic prog from Ocean Mind’s 2016 album Underwater.
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Links: 100 years of recorded jazz, Spotify lossless streaming, Dark Side of the Moon desk.
And a picture that’s definitely a trap.
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Synths out: Marcelo Andrea Expreso Maniquí, Maine, Syntheads (2016, 2017).
Bleep your life brighter.
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Reviews: The Pineapple Thief, Trance To The Sun, Scandinavia (2016).
Let’s get the guitars out again.
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The Voices: Oneiric Anthem (2016).
Today’s “what the hell even is that”: a capella experimental prog.
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Industrial reviews: Purple Fog Side, Mari Kattman, Amorphous (2016, 2017).
Recent releases from the bleep side and the noise side.
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Mogwai: Central Belters (2015).
As the year comes to an end there is the realisation that a half-complete text file has been languishing for a triple compilation released in October 2015. What a difference a day makes to being “somewhat late” to being “so old it’s a retrospective”.
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Electronic reviews: Epileptics, VvvV, Shiny Darkness (2016).
Electroclash witch house, electric prog and industrial synthpop.
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65daysofstatic, Barcelona, October 24, 2016
It was pure serendipity that I found myself on the other side of the planet from my usual home at the same time that 65daysofstatic graced Barcelona to promote their new soundtrack album, No Man’s Sky. The venue, Razzmatazz, has a good reputation and deservedly so. It’s rough and ready, but sensibly designed allowing for generous audio and viewing spaces, good ventilation, and even reasonable drink prices.
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Rosebud: Discoballs: A Tribute to Pink Floyd (1977).
Thanks to Paul Haesler for tipping me off to this inspiring work after he saw the Polka Floyd video yesterday.
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65daysofstatic: No Man’s Sky (2016).
Averaging one studio album every three years, the classic math rockers, 65daysofstatic are right on time with their latest release, the official soundtrack to the video game No Man’s Sky.
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