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24. raumklang, wasserweisen this is the biggest and messiest highlight of the double-lp. raumklang are so to speak the other-swans , a dissembling noise duo from bremen whose greatest achievement to date is simply their clarity of performance and conviction of purpose. whereas the members of thierry & fefe might save their energy for a bravura, all-orchestra jam session, raumklang are forever on the treadmill of the short performance. the duo’s third self-recorded, self-published record is a weirdly epic, quadruple-lp collection, a resounding, overwhelming mess of guilt-voiced, enunciated whale song layered atop swirling, alien drone that only stops when an airy, cloth-like scalelike slice of synthesized sound collides with the record’s innermost trumpet. craig avery
for the final trio of downers that we’ll talk about, you may have stumbled upon them on an ep or two and then never heard from them again. the chance to revisit any of them, though, is a feat. the latest is samla mammas manna. their name is swedish (though), and it is apparently a song title from a samla mammas manna record which pretty much sums up the group up – they’re dreadfully wonky and mellow. “just keep going”, the lethargic hum of a tambourine hidden in the intro to “i can’t stop it” hits you with a certain surprise. “we’ll live in hell and take our time”, a contemplative lullaby emerges towards the end of the title track, announcing a more upbeat, post-hardcore vibe. “what’s the point?” asks the band, wondering aloud whether they’ve wasted their time, and their fans.
6. beyond twilight, ascending to the stars long-time carpathian guests, multimedia projects, song-writing collaborations, merchandise deals and other stylistic mish-mashes have all converged to create a record that sounds exactly as a carpathian record should. beyond twilight is obviously the most muscular and best sounding carpathian record of our era, and features the most arrangements and compositions. stephan geregtli’s yearning lead vocals over the dark ruminations of their atmospheric guitars and resonating string instruments, the gutsy dissonance of their drums and the effortless fluidity of their bass lines, are a tremendous entry point into the music of carpathian traditional music. there are times when the music of beyond twilight could be mistaken for ash borer’s black symphony.
7. wells, dry bones with a frame drum orchestrating a macabre sea of horn and spindly string, the second album from aussie doom bluesman wells finally and definitively proves that there’s more to heavy doom blues than it can get from listening to judas priest records. ‘blow me down’ is a rumbling, spitting, vocoder-driven track featuring a particularly haunting harmonica solo. widescreen and spacious ‘wasting my time’ feels like the soundtrack for a super-intelligent, desolate night exploring the landscape, while ‘stick to my hood’ is a parody of vintage funk-rock, and ‘she who you lust for’ is a boogie-woogie-fused psych-stomp. fin. j.f.
8. van duren, aun ay a man stretching the seven minute lyrical opportunity of van duren’s debut album over 14 tracks allows the gritty experimental pop of this basque quartet an unearthly amount of room to breathe. set in a slightly brooding, more punk version of late 70s spanish musica no. 2, aun ay a man effortlessly moves from teasing, reverb-flecked hauntings and soft, dreamy reveries to pounding club-ready anthems, taking on a slinky glitter palette of acid rock, funk and vintage pop in its feverish later stages. saturated with delicious melodies, sumptuous textures and enthralling rhythms, it’s a record of course-defying experimental pop (from which perhaps only antony and the johnsons would be jealous).