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excellent collection of Russian folk music played by a fairly large ensemble of 'dormas, gooslis, Vladimir Shepherd's Horns, and, naturally, balalaikas', the record is noted for its sound quality clarity and large soundstage, the recording which was 'recorded on 35 mm film on three channels.restored in super-audio three-channel digital, the disc sounds more realistic than ever, with the lead balalaika sitting in a chair to the listener's right and the lead goosli sitting in a chair on his/her left', some of the best produced and recorded folk music I've ever heard. gondang is a 'Traditional ensemble in Bataknese traditional music of North Sumatra, taking its name from its leading instrument - a rather unique set of toned drums, These are usually accompanied by an oboe, several gongs, a xylophone and a flute', beautifully melodic informal acoustic music, 'Their folk music features interlocking polyrhythms of percussion instruments and melodies performed on flutes, kecapi (lute), and the double-reed sarune, Songs feature solo sections showcasing the individual instruments, which are introduced in the first track', 20 listeners. two sided sound collage album from our favorite noise punks, 'Original Hotel Ultra' is a hilarious mix of manipulated gay fetish porn audio featuring a disgruntled policeman and his suspect with cheesy lounge rock and miscellaneous sex grunts playing awkwardly ontop, 'Gay Hotel Ultra' opens by continuing the sex theme before being drowned out by various loud and distorted vintage samples and beats that eventually give way to piercing electronic squeals beneath rambling monologues, overall a very playful and interesting release that sounds nothing like some of their more famous releases. Not to be confused with the famous R'n'B star of the same name, Bobby Brown became known to the public for his bizarre self built percussion set which he played with hands and feet creating a very unusual and peculiar rhythm carpet, not to mention his odd vocal style which added to his intriguing musical choice a touch of captivating madness. Although not electronic, his musical take will be particularly enjoyable for who listened to experimental musicians such as Silver Apples, United States Of America, Moondog and Fifty Foot Hose.

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As Alan points out: “'Four Years Earlier' was the debut of the piece; it was in three sections, the latter two of which appear here. The first section was identical to the first section of 'Four Years Later'. I scrapped the second two parts after a couple of subsequent performances and developed it into a six-part piece, and then a seven part piece in this studio version. A Life Is Everywhere' is an ecstatic mix of rhythm, noise, drone, texture and melody. Simultaneously heartfelt and not for the faint hearted. Within their self contained world Cindytalk continue the unique trajectory that has purveyed their career starting in 1982. Throughout the 6 tracks on offer the standard fair of music is run through serious level processes leaving, taking rhythm and sound to extreme limits whilst always retaining trace elements of their core.

Ringing bells are interrupted by artefacts from shredded sound matter, euphoric chords are swamped by chopped rhythms which succumb to an endless storm of electronic bliss. 'Marriage of Metals' is a devastating extension of the harmonic properties found in the instruments of Indonesia.

Menche was granted access to a remarkable Gamelan studio where he was given full privilege to record any and all of these rare and ancient gongs. Most notably the gigantic “Gong Ageng” that’s contains the deepest of deep of acoustic bass. Daniel Menche took the raw source material from this Gamelan gong session and launches into a heavily processed yet surprisingly sympathetic 21st Century take on this unique instrument.

'Marriage of Metals' comprises two side long works where the purity of the sound source exists amongst the entire din. Metallic rhythms bounce alongside synthetic pops swaying from reality to fantasy, from pure acoustic tonality to fuzzed out distorted clatter. A distant feedback squall is teased amongst the foreground creating a clamorous din. Their debut release is a composite of four striking instrumental tracks and four unique collaborations with Gravenhurst, the musical pen-name of Nick Talbot who is known for his dark, folk tinged singer songwriting for Warp records.Love & Devotion displays a love of hazy, dreamy eighties influenced electronic pop shot through with the dynamics and space of modern electronic dance music. The result is an album of tightly coiled melodies cloaked in an insomniac haze, subtle harmonic shifts and strong vocal counter-melodies conveying sweeping sketches of a troubled, neon world. Margaret Chardiet was born and raised in New York City She has been making power electronics/death industrial music under the name Pharmakon for five years. As a founding member of the Red Light District collective in Far Rockaway, NY she has been a figurehead in the underground experimental scene since the age of seventeen.

She points out that the environment there amongst so many other experimental artists (amongst them Yellow Tears & Haflings) inspired her to keep making increasingly challenging work. She describes her drive to make noise music as something akin to an exorcism where she is able to express, her “deep-seated need/drive/urge/possession to reach other people and make them FEEL something specifically in uncomfortable/confrontational ways.” Engineered by Sean Ragon of Cult of Youth at his self-built recording studio Heaven Street, Abandon is Pharmakon’s first proper studio album and also her first widely distributed release. Unlike other experimental projects, Pharmakon does not improvise when performing or recording.

She is concise and exact; each song/movement is linear with a clear trajectory. Ben Billington is a resident Chicago staple and multi-instrumentalist crucial to the Metro area experimental landscape. 'Mayville' is the sophmore LP following his 'Silver Balloons in Clusters' LP on Under the Spire. Being primarily trained as a drummer, various kinds of percussion appear throughout with many rhythmic angles that accent the intricate melodies and structures to make them truly unique.

The opener 'The Many Roads to Mayville' opens with a concrete flutter before doing a complete 180 into a total color storm of melody and syncopated percussion. 'Institutes Innards' flips the mood right away with its deep urgency and melodies that demand introspect. Tracks like 'Bemus Has Wings to Fly' and and 'Closer to Tonawanda' display an ability to thickly layer pieces and parts to make a logical whole while displaying elements of early psychedelic rock and with the knowledge of early private sides in tow. 'Mayville Dream' has a special impact because you hear Billington stretch himself out over every playing style he knows and beyond to create something that's all his own.

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