miRthkon - Vehicle (2009)

If you listened the Fun Machine album I posted a few months back, expect something in the same vein. If you haven't, expect the complexity of an early RIO band, the "brutal-prog" approach of Ron Anderson projects, the playfulness of Samla Mammas Manna (or Mr. Bungle, perhaps), and the slight bit of heaviness also seen in Doctor Nerve. Good cheeky "Avant-Prog"

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Kayo Dot - Stained Glass (2010)

Avant-garde post-jazz metal experimentalists Kayo Dot have released their latest EP: a single 20-minute ambient track. It is, as described by the band themselves, "a long, floating, vibraphone-centric distortion cloud representing (musically) a Luciferian journey across colorful windows from left to right in a darkened cathedral." It is a spacey and atmospheric piece that reminds of me of The Pavilion of Dreams by Harold Budd more than anything. Both soothing and hypnotic.

Miriodor - Mekano (2001)

Since their first LP, Rencontres (1985), the Montreal group Miriodor has evolved from a Univers Zero-influenced rock-in-opposition outfit to an exciting, entertaining, and downright clownish avant-prog band. This incarnation of Miriodor is a quartet. Longtime members Pascal Globinsky (keys) and Rémi Leclerc (drums) are joined once again by the fantastic avant-rock guitarist Bernard Falaise and bassist Nicolas Masino. Saxophonist Marie-Chantal Leclair, violinist Marie-Soleil Bélanger, and up-and-coming trumpeter Némo Venba (Fanfare Pourpour, Rouge Ciel) add instrumental touches.

Whacked out prog-rock mapped onto a faux-jazzy sensibility filtered through a Downtownish cabaret/calliope vibe. Miriodor internalize and form their personality out of some of the more challenging aspects of modern progressive music. Incorporating the highly detailed and intricate chops of the Canterbury bands like Hatfield and the North but without the jazzy improvisation; unorthodox chordal phrasing reminiscent of Captian Beefheart but without the atonality, drastic swings in direction and surprising instrumental entrances similar to King Crimson but never taking themselves seriously, yet wholly dedicated to their musical purposes.

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Steaming Coils - Never Creak (1987)

An album that 1queer recommended to me a while back and is still one of my favorite albums. In the world of strange music there is the likes of Captain Beefheart and The Residents, which are responsible for some of the most brilliantly bent music ever created. But be as that may Steaming Coils are are a very creative band that are responsible for musical madness of the same likeness of the above mentioned, but without the mainstream success that they had.

Plus the album cover is awesome.

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Track of the Day, 2010 September 17th day

Henry Cow side-project with Chris Cutler, Lindsey Cooper, Dagmar Krause, and Zeena Parkins.

Robert Wyatt (of Soft Machine, and numerous other works) on vocals here.

News From Babel - Moss

Sotos - Platypus (1999)

I suppose I'll just make this my "obscure avant-prog band of the month". For those that do know, it's mostly because of the connection to the wonderous Bob Drake. The drummer behind such bands as Thinking Plague and 5uu's records this ambitious French quintet in their debut album, Platypus. Named after a syndrome that causes cerebral gigantism, the music gives a similar feeling with dizzying compositions serving as constant reminders of composers such as Bela Bartok or Igor Stravinsky. The chamber sound and jolted strings are something that purveys most of the works of this genre, as well as a frequent need for strong drumming, which is abundant here.

Even with those "restraints" (restraints in much the same way that all thrash bands need a distorted guitar speeding through riffs) this band manages to sneak in more modern interpretations. Some slight use of sampling here and there, some slight noise rock additions, and plenty of riffage, making them sound maybe closer to Doctor Nerve than they do Henry Cow.

It seems that the first seven tracks are combined as a whole to form one continuous track, Malstrøm . Part 2 may stand out as my favorite, but I do admire when they get into some of Magma-esque, fusion grooves, as in Pt. 6. Also, after the first 7 parts, you get the 27+min "Wu" which is more of the same, but not ploddingly so. It frequently feels quite a bit less structured than the previous Malstrøm, however, so it may be a little out of place being on the same record.

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Jyoji Sawada - Base of Fiction (1994)

Blogs been up for a while, so I figured I'd give a special treat of the greatest album of all time.

To start, it's probably important to consider the "state of Japanese independent music" at the time of release. A huge style was the sort of "neo-zeuhl", rio-influenced kind of music largely championed by bands like Bondage Fruit, Koenjihyakkei, and a number of other greats. Heavy use of classical stringed instruments, largely technical music, operatic vocals, and other outrageous sounds highlight the genre. Along side that we had the "noise rockers": Ruins, Ground Zero, High Rise, etc. Anyone vaguely knowledgeable of the sort of "experimental" movements within Japan will know of this style. Thirdly, "Japanoise". Exhibited by Merzbow and Masonna, this brand of free noise has become largely acknowledged as some very "outside" music. And floating in and out of all of that, we have the avant-garde and generally humorous stylings that seem to be present in anything that comes out of Japan.

Enter Jyoji Sawada, a self taught bassist that builds himself off of classical composition, film soundtracks, and even a fair bit of Brazilian and Indonesian influence. After some experience with jazz improv and some work with Choro Club, he set off to combine his large vocabulary of sounds into wild, avant-garde compositions for a solo career. And as wide as influences are, Jyoji seems to want to condense the entire state of Japanese Independent music with his debut, Base of Fiction.

But for this seemingly defining piece, it isn't really a solo project. Although all is settled with Jyoji's vision, he combines his talents with some of the largest figures of Japanese music, including: Yoshida Tatsuya drumming on several tracks, the incomparable Otomo Yoshihide appears a few times, Seiichi Yamamoto lends his guitar, and the album is produced by the God Mountain head, Hoppy Kamiyama. This is almost more of a collaboration of Japanese music as a whole than it is Jyoji's band, although it's execution should be attributed significantly the the man that composed all but the first track.

That execution, you ask? Brilliant. Sonic insanity from the beginning to the end, with those previously mentioned styles all making appearences in one way or another. Largely dominated by Jyoji's obscure atmosphere, created from a mixture of a chambered string section and an overall menacing figure that looms from the noise and ferocity of his more rockish elements, this album takes us in and out of "reality", which Jyoji himself notes in the title for the 9th track (trans.) "Between strangeness and the reality of daily life" [please inform me if this is incorrect]. Schoenberg-esque, "spechstimme" comes in and out from female vocals, strings shift from dense soundscapes to more technical passages, maybe recalling Glass and his use of arpeggio (as in Einstein on the Beach), sampling is frequent and jarring (Jyoji explores the wide range of electronic expression) and even toy instruments make an appearance as we are left either frustrated or impressed (or both) and most certainly confused by the inner workings of Jyoji Sawada's mind.

To dissect this album is futile. At any given second, there is too much to consider, and at the next moment, you're taken to a completely different realm without warning. It's best to let this album wash over you, let it jerk you back in forth between signature changes, let it turn your mind into putty and watch the abstract figures that form as it splatters on the wall.

Buy.... good luck. Out of print. I was able to get a used copy (for a hefty amount that I will not disclose so easily), but it's a tough find, for sure

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official site | Myspace (The samples of music on here recall his more contemporary classical/ soundtrack styles that he explores on his later albums and film scores. Don't expect to find such warmness on this one)

Univers Zero - Clivages (2010)

It's been thirty-two years since the RIO (Rock in Opposition) movement began from the minds of the England-based Henry Cow. Under their festival created for their ideas, they invited 5 other bands from around the continent under the tagline of "5 bands the record labels don't want you to hear", and, among those names, was the 4 year old, Belgian chamber group Univers Zero. Spearheaded by drummer Daniel Denis and influenced by Bela Bartok, Igor Stravinsky as well as jazz and rock bands of the day, Univers Zero led themselves into a unique place as one of the most complex, dark bands with as sound explained as "If Stravinsky had a rock band, it would sound like [Univers Zero]...".

And now, over 30 years later, they're continuing that sound. With Clivages, Daniel and his band take us back to the wild days of RIO while managing to still keep things fresh. The dense sound-scapes are still there, and 57 year old Denis can still crash or dance depending on the mood. As horns float, bass grooves and strings flutter, his drums steady the frantic rhythm, keeping the upbeat sound in tact, and when shredding guitars enter, and those basslines begin to chug as the strings get more and more dense, that steady drum track turns into a flurry of crashes and rolls. This, however, should not be confused for an improvisational cacophony. This group of composers has meticulously planned each and every movement from their competent hands. Nothing is out of place and there are no mis-steps. As all the sounds come together, you get the perfect sense of what this band wants to create, and what they have been creating for 30+ years.

This is consistency at it's highest form. It's a considerable achievement to create an album like this even once. Even as they did in the seventies when they were 20somethings just entering the scene and creating a sound of your own. And it's an achievement to make an album with this ferocity when you're reaching your sixties, ages that they may have seen as passed the age of rock and noise. Univers Zero has done each of those, and everything in between, and this certainly show no signs of a loss of the same opposition they were a part of so long ago.

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official site | myspace | last.fm

Kayo Dot - Choirs of the Eye (2003)

This album, holy shit. Kayo Dot's music stops time and takes you out of your body. Choirs of the Eye is one of my favorite albums of all time and sets the standard for all music. The first track, "Marathon", is one of the best songs ever. The beginning makes this the perfect song to wake up in the morning, and gives that HOLY SHIT feeling right as you put the CD in the player (or right when you press play in Winamp). I won't give an exact moment in the song because almost everything is amazing. The burst at the beginning, the BRUTAWLITY that there is before, and the ambient second part that starts around 4:30 that can freeze time and suddenly everything is in slow motion. Thankfully after this song there is "A Pitch of Summer" so we can recover from the burst of geniousness.

Did I say the next song helped you rest? Lies! What you think is a ballad like song ends building up into a complete monster that may RAPE your ears. Don't come here unprepared. Then there's "The Manifold Curiosity", perhaps the greatest song on this album. I could simply say that the whole song is speechless. I don't know why every little note from this album touches my heart like no other band does. There are many great moments in this song that make me want to close my eyes and just lie on my bed listening to it. The sudden "musical explosion" that would make people jump if they come unprepared (4:40), the subtle background riff at 5:55 that always makes me smile...

But the real standout of this song is the amazing build up until the end that concludes with the most BRUTAWL piece of music ever. If there is one song that makes people shit, it's this. All the second part of this song is either the build up for this climax, or it. I'm never able to move properly when it comes, I feel nervous, like if the world would end in just a few seconds, and when the guitar begins with the crushing riff at 10:25, I already know it's too late. Don't try to talk me there, because I'll be unable to move. Also, check how loud the snare is at the end, holy shit.

Fortunately (or not) "Wayfarer" is all nice and pretty with cool solo but there isn't any holy shit moments (there are, but nothing that deserves begin in the HOLY FUCKING SHIT list). A cool relax after "The Manifold Curiosity". The final track, "The Antique", is less dramatic than in "The Manifold Curiosity", since the song is overall much heavier and doesn't build up like the other does, but it's still really great, especially when the acoustic riffing comes. Brutality paired up with something beautiful make an amazing pair. Also, the ending after that is really something magic, and IMO, the best thing of this song.

Get this album right now. You won't regret it.

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Fun Machine - Sonnenhuhn (2009)

2009 ended up being a smash year for the Avant-prog/RIO(post-RIO?) scene. Releases from Univers Zero, Magma, Alamaailman Vasarat, Present and even some previously-unreleased music from leg-ends Henry Cow dotted the year, as well as some lesser-knowns scoring hits (Jono El Grande, Aranis, Runaway Totem), but even among those, Fun Machine's debut Sonnenhuhn stands out as, at least, one of the more interesting.

We could poke and prod at what makes it avant-prog, because there is enough of it there. Complex rhythms, linear drumming, looping guitar passages, start-and-stop melodies that are now more known for their place within math rock than anything else, as well as the obvious strings, organs, synths and horns will quickly relate this band to the classics. However, even with those common styles, this is without doubt, different.

But it takes a while. The first several minutes of the album mostly involve them noodling through passages with great efficiency, conveying what comes off as an inorganic form of what previously-mentioned bands had worked with. As the album goes along however, things change. The band has more fun and mischief with the music, and things become nearly satirical. Much like Samla Mammas Manna, or Cardiacs, they throw in these somewhat pop-ish passages, with vocal patterns very similar to Cardaics' own Tim Smith. Continuing throughout this happens even more frequently, switching between the rock and "progressive" aspects of their sound faster than one can realize. Couple these wild connections with cheep midis straight from a 16-bit RPG and you have a wild album that without a doubt deserves a mention with some of the heavyweights.

For fans of all progressive rock, or even a fan of a band like Mr. Bungle looking to get closer to the style that they were certainly influenced by.

Well... I guess it's for anyone. This is a fantastic record.

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Ruinzhatova - Close to the RH Kiki (2003)

One of the most strangely obscure bands of the Japanese underground. By names alone, this should be considered a go-to classic for sure. A joint effort from the twisted minds of Ruins (Yoshida Tatsuya (also appears on: nearly every Japanese underground band that requires drumming) and Sasaki Hisashi (one of Ruins' bassists. The most recent and one of the most noted, for sure)) and Omoide-Hatoba(Seiichi Yamamoto (Boredoms (although probably(?) left after Vision Creation Newsun, claiming they have perfected their sound (I won't pretend to understand Boredoms or their history)), ROVO, Novo Tono) and Atsushi Tsuyama (Acid Mothers Temple))* it must certainly be known that this is no amateur effort. Combining some of the most humorous and technical of the Japanese noise rockists, they create a thrill ride.

And it starts with what should be innocence. The first track is a cover of Kraftwerk's piece, Trans Europe Express, although you would hardly be able to tell. Sure, it starts off with the famous repetition of "Trans Europe Express", but, suddenly, as the last of the chants goes off, there is one final "Express", a clang on the drums and then suddenly you're floating in a maze of drums, buzzing guitars and misaligned rhythms, not at all reminiscent of Kraftwerk's synth pop tune. And this sort of comical experimentation happens throughout. Surely one of the highlights is the plainly named, Sex Machine/Larks Tongue in Aspic pt.II. You could notice the names apart, but the complication comes when the song kicks into gear, with one guitar playing the groovy James Brown hit Sex Machine in your right headphone while the other plays the King Crimson classic Larks Tongue in Aspic pt.II on your left. With only the drums and the noticeable feeling that they stop trying to cover songs as quickly they announce it, to blend the tracks, the creation inbound is so strange, so surreal, it's intoxicating.

They do have their original tracks, however. As only Yoshida/Seiichi/Atsushi can, they create their own esoteric noise rock/improvisational mayhem leaving any sort of logical train derailed. Even if the disc is dominated by what they seem to consider cover tracks (the longest and most traditional is their version of the Yes epic, Close to the Edge), it is absurd to think of this album as anything other than originality in it's most pure essence. Hidden rhythms, Yoshida's traditional linear drumming and gibberish vocals, Seiichi and Atsushi's well known, effect-ridden guitars and Sasaki's sound bass along with their collective penchant for inserting personality and humor into this music creates a sound that plays more like a couple of competent musicians jerking around with what they do naturally rather than a band going out and focusing on what they've practiced for ages. By creating this album which feels so unplanned, so effortless, it creates somewhat of a personal connection with the band. You're peering into what these guys do as a hobby, not a job.

*couple of notes on the members. 1. Sorry to namedrop, but for those familiar, it should relate the sound in a more abstract manner. 2. Some places list Sasaki as the bassist and Atsushi another guitarist, some list Atsushi as a bassist and Sasaki on guitar and some list Atsushi on bass and Sasaki not in the band at all. I'm not sure at all on the complete issue, but I don't think it changes much.

Buy (this is just a link to Yoshida's label. I don't think it's available, but you can double check/contact Yoshida to make sure. Sorry to complicate, if I find something easier it'll be in comments)

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