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Episode 443: November 24, 2019

Charlotte by Michael in Salt Lake City, UtahEpisode 442 of Brainwashed Radio: The Podcast Edition is live

Curl up with an all new episode that's delicately assembled to warm your soul. This one features new and old music from Fovea Hex, Pita, Bill Fay, Throbbing Gristle, Dome, You've Got Foetus On Your Breath, OOIOO, Cam Deas, Colleen, and Grouper.

photo of Charlotte by Michael in Salt Lake City, Utah

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Forced Exposure New Releases for Week of 11/925/2019

New music is due from Beno?t Pioulard, Andy Stott, Mark McGuire, Gareth Davis and Scanner, and Cam Deas, while old music is due from Roy Montgomery. Yoshio Ojima. and Captain Beefheart & his Magic Bands.

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Sean McCann, "Puck"

cover imageThis latest release from Sean McCann picks up right where 2018's excellent Saccharine Scores left off, striking a lovely balance between stretched, blurred, and fragmented orchestral music and distracted, surreal snatches of spoken word.? In the best way, McCann's recent work feels like eavesdropping on his subconconcious mind (though it is thankfully a subconscious mind with all of the boring bits edited out).? Much like its predecessor, Puck is a series of warmly beautiful reveries swirling with mental detritus that feels meaningful, yet those impressions elude any connections or context that might illuminate what that meaning possibly could be.? As a result, Puck is frequently quite moving in a profoundly ineffable way.? McCann proves himself to be remarkably adept at mimicking how memory works, as we do not get to choose what lingers and what disappears: mundane scenes, fleeting impressions, and legitimately important moments all jumble together in a weird stew and there is no predicting what will bubble up to the surface next (or why).? In lesser hands, an album in this vein would probably feel like a self-conscious attempt to blow my mind with wild surrealist juxtapositions, but McCann largely gets the tone and the execution exactly right: Puck is a beautifully casual, organic, fragile, and intimate album.? It is quite possibly McCann's best as well.

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Michael Vincent Waller, "Moments"

cover imageThis NYC-based poser has long been a bit of a curious enigma to me, as he seems to travel primarily in experimental music circles, yet seems unwaveringly devoted to making very traditional and melodic classical music.? In a quietly subversive way, however, posing simple, elegantly lovely piano pieces in 2019 is a radical act in its own right.? That is where Waller (mostly) arrives on Moments, his third album and most minimal, distilled statement to date.? That approach suits him well, though I am not necessarily sure he needed go more minimal than he did with 2017’s excellent cello/piano album Trajectories (released on Sean McCann’s always interesting Recital Program imprint).? To some degree, Moments feels less like plete statement than its predecessor, resembling instead a kind of expertly curated mixtape of different piano posers unified by a knack for lyrical melodies and a sort of warm, wistful Romanticism.? Some are among the most beautiful pieces that Waller has posed to date though, which makes Moments akin to a strong (if improbable) "singles album" of sorts.? At times, it also feels like the beginnings of a major creative leap forward.

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Ilyas Ahmed, "Behold Killers"

cover imageI have always found Portland’s Ilyas Ahmed to be an elusive and enigmatically unusual artist, though I have recently realized that I am basing much of that opinion on his 2005 debut (Between Two Skies).? That album remains a cult favorite in some circles, as it exists in murkily melancholy and ghostly shadow realm between free folk and drone.? The varied work that Ahmed has released in between that minor classic and this latest cassette has only made it more difficult to pin down his strange and shifting aesthetic, but it also feels as if no time has passed at all: Behold Killers returns once more to the blurry, diffuse gray area where structure, improvisation, drone, and experimentalism precariously coexist and bleed together.? However, while the fluid approach to structure on this release is not a far cry from Ahmed's early days, the execution has improved considerably, as Behold Killers explore far warmer and more nuanced emotional territory than much of his previous work.? I still find some elements of the album perplexing, of course, but it is anchored by a couple of excellent longform pieces.

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Contrastate, "An Exercise in Defascination"

cover imageFunctioning as a preview for a work-in-progress record, the two songs that make up An Exercise in Defascination (which will appear as different mixes on the album proper upon its pletion) herald the theme of deconstructing giallo films that will appear there.? Drawing from film soundtracks, as well as the overall themes of that specific style of horror film, Contrastate distill those very essences into a brief teaser of terror and surrealism perfectly.

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Theodore Cale Schafer, "Patience"

cover imageThe Students of Decay label has had an impressive run of being way ahead of the curve over the years, as Alex Cobb’s imprint was responsible for the first major US releases from artists like Sarah Davachi and Natural Snow Buildings.? The latest artist to be weled into that pantheon is Sante Fe-based poser Theodore Cale Schafer, making his vinyl debut after a handful of cassette releases and a very bizarre spoken word/conceptual album on Spain's Angoisse label.? Cobb describes the album as "diaristic" and prioritizing "spontaneity and ephemerality," which seems as apt a description of Schafer's fragile, hiss-soaked vignettes as any, as the aesthetic of Patience is definitely an elusive and impressionistic one.? When Schafer hits the mark just right, however, the results are strikingly beautiful, achieving a rare balance of simplicity, intimacy, and soft-focus unreality.

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Distance Machine

cover image As Gog, Michael Bjella has developed a rather expansive catalog of bleak, heavy music, largely centered around guitar, noise, and extremely dark moods.? On 2015’s collaborative record with Robert Skrzyński, Black Box Recordings, he shifted his focus to more abstract, noisier fronts.? For his debut release as Distance Machine, he has mixed up the plans a bit more.? Things are still oppressively dark for the most part but in a subtler, ambient context that reference classic works of the style while still showing Bjella’s own spin on it.

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Deathprod, "Occulting Disk"

cover imageIt has been 15 years since Helge Sten's iconic Deathprod project last surfaced with proper new material (aside from a teasing collaboration with Biosphere back in 2015) and he has been missed.? Unsurprisingly, that long hiatus did not result in Sten's characteristically grim vision brightening at all.? In fact, it has only grown darker, as the bulk of Occulting Disk is bleak void of seismic drones and nerve-jangling insectoid dissonance that Sten describes as an "anti-fascist ritual."? I am not particularly optimistic about this album's chances in eradicating fascism any time soon, but the album definitely delivers on the ritualistic part, as this seems like a hell of a great soundtrack for summoning demons.? While I am still on the fence about whether I love the stark, crushing blackness of Occulting Disk quite as much as the slightly wider emotional palette of earlier Deathprod, this album is undeniably an impressively visceral and monolithic artistic statement.? That is more than enough to reaffirm Sten's status as one of the reigning kings of heavy drone, but the album builds towards an explosive climax that ensures that Occulting Disk feels like an exciting new chapter as well.

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Pan?American, "A Son"

cover imageMark Nelson's Pan?American project has been very quiet over the last several years, as he has been focusing instead on his Anjou collaboration with former Labradford bandmate Robert Donne.? With A Son, however, Nelson returns to his solo work in bold and unexpected fashion (by his own quiet and understated standards, at least).? In fact, there is very little that stylistically recalls Nelson's post-rock or smoky ambient-dub past at all here, though his aesthetic generally remains a very moody and slow-moving one.? At the heart of A Son lies a handful of hushed vocal pieces that capture Nelson's vision at its most stripped-down, direct, and intimate.? Those pieces are occasionally quite wonderful, making this release a fitful creative breakthrough of sorts.? The rest of the album is not quite as striking, but the blend of songs, sleepily lovely ambient work, and hammered dulcimer pieces add up to pleasantly gentle and dreamlike whole.

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Keith Rowe/Graham Lambkin, "Making A"

cover imageIf Keith Rowe and Graham Lambkin haven't produced one of the most mind-bending records of 2013, they're at least high in the running. Making A shares its name with one of Cornelius Cardew's Schooltime positions. Written in 1967, these pieces were designed to help musicians and non-musicians develop their own methods of interpretation and music-making. They emphasize process over finished products and personal development over pretty results. Rowe and Lambkin's unusual recording emphasizes process too, but turns the spotlight on the listener. The album changes color and shape with the light. Sometimes improvised, sometimes structured; it constantly reflects its audience and hides its perpetrators. Few other records like it e to mind.


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