It’s a bit perplexing to think that Bryn Jones (a.k.a. Muslimgauze) has been dead for 20 years, and yet continues to ‘release’ music. He must have been far more prolific than anyone could ever have imagined. Thankfully, the quality of a good deal of this archival music has been excellent. Not everything holds up, but this release gives the fans of the man what they want – experimental beats with a techno sensibility, made for dancing with heavy boots, I suppose.
By now, you probably know this album’s story: avant-garde collective Laibach go to North Korea in 2015 and become the first Western band to play there ever since the country split in two. What they play is a variation on their regular praxis: The Sound of Music, the soundtrack of a movie which is apparently […]
Though late period SPK went into a horrible period of commercial dance music which was, to be frank, an atrocity, they managed to safe a great deal of face with their final works.
I suppose some would call this The Swans’ ‘Joy Division’ phase. The album, The Burning World, showed a marked change in direction from a band who had previously sounded like the equivalent of a drunken brontosaurus stumbling into his cave after a healthy drinking binge (and yes, that’s a good thing). Since they reformed, their sound continues to adapt and grow. They are as vital a band now as they were in the beginning.
SPK had an incredible beginning as one of the brutal first wave of Industrial Music, then dissolved into a dance mess with a couple of utterly forgettable albums. Their swansong, however, is about as sublime as Dead Can Dance was at their best. Zamia Lehmanni: Songs of Byzantine Flowers would be a bridgeway for Graeme Revell to go into soundtrack music, which he is still doing to this day.