This was a very pleasant surprise. Virus is, perhaps, not the best choice of band name only because there are so many great bands (including a legendary Austrian one I whose album I was listening to today) who share the monicker, but because it is about as far away from the music as possible.
The music claims to be influenced by bands like Sigur Rós, but I hear elements of New Order, some 80’s funk and pop, and a nearly shoegaze-meets-Gospel music feel.
Quite good!
The first time I remember hearing this was at Aron’s Records, and I couldn’t quite wrap my mind what genre this album was. I suppose Rachel’s could be seen as a precursor to post-rock or a lot of the modern classical music coming from labels like Erased Tapes. This album remains gorgeous listening.
We beg your pardon for the long delay in posting. Dealing with a long and brutal quarantine both in China and now the Inland Empire has worn your scribe out a bit. Thankfully, the music resumes. Enjoy a brutal piece of work by Hüsker Dü this evening.
Ningen Isu (The Human Chair) are a metal band out of Hirosaki, Japan. I got a kick out of these guys for their imagery, their influences (which include Robert Fripp, Tommy Iommi and Judas Priest) and their rather unique costume choices.
Killing Joke, always ahead of the curve…
Ernst Stoltz performs music on the viola da gamba of legendary Irish tunesmith Turlough O’Carolan’s final work. Happy St. Patrick’s Day (yes, celebrated by Orthodox Christians as well) to my friends, and especially to those Patricks, Patricias and every other derivation of the name.
Italy’s finest post-rock and ambient music blog brings us an album I’ve been looking forward to for a long time. Read the review of Christopher Bissonnette’s new opus below:
CHRISTOPHER BISSONNETTE – The Wine Dark Sea (Dronarivm, 2020) Il quinto lavoro sulla lunga distanza di Christopher Bissonnette, che giunge a cinque anni di distanza dal precedente “Pitch, Paper & Foil”, ne prosegue l’evoluzione del profilo in quello di compositore ambientale a tutto tondo. Sfumando ulteriormente le residue irregolarità che ne caratterizzavano l’espressione originaria, l’artista […]
In 1987, I bought two albums which did a number on me. I remember purchasing CD1 and came across this seven-inch which opened a doorway into how wonderfully weird experimental music could be. It hit me so hard that, in the folly of youth, I ended up having the Throbbing Gristle logo tattooed on my right arm.
This was the first properly “Industrial” song that caught my attention, and following Genesis P-Orridge’s musical and personal development, not always a pleasant thing to see, was nevertheless fascinating. He has gone to meet his maker. May he rest in peace.
You can read an obituary here, courtesy of the Los Angeles Times, or find one in your favorite indie magazine.
À Découvrir Absolument is a magazine out of France which covers its country’s best indie music. They have 50 compilations, and #48 was my intro to their label. Worth exploring deeply.
American composer Charles Wuorinen passed away a couple of days ago. Here is a sample of his compositional prowess, along with a rather well-done interview. He won the Pulitzer Prize in 1970 for the purely electronic piece, Time’s Encomium. Rest in peace, Charles.
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