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Forced Exposure New Releases for the Week of 11/28/2022

Newer music is due from Anthony Moore, Julia Sabra and Fadi Tabbal, and Ibrahim
Alfa Jnr, while older music is due from The Sun Ra Arkestra, Alva Noto and
Ryuichi Sakamoto, and Tod Dockstader.

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Episode 601: November 6, 2022
Brainwashed Radio: The Podcast Edition

In loving memory of Mimi Parker.

New music from Thank You Lord For Satan, Taylor E. Burch, CS + Kreme, Maral, Ami
Dang, and Scanner and Modelbau, plus some vault music and classics from Pete
Namlook and Tetsu Inuoe, Coil, Patrick Cowley, and of course, Low.

Photo of Mimi Parker by Jon.

Get involved: subscribe, review, rate, share with your friends, send images!



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SPIRAL WAVE NOMADS, "MAGNETIC SKY"

Sunday, 20 November 2022
Creaig Dunton
Music

Prolific artists on their own, the duo of Eric Hardiman
(guitar/bass/electronics) and Michael Kiefer (drums/keyboards) have still
managed to put out their third album in four years as Spiral Wave Nomads. The
spacey, psychedelic tinged guitar/bass/drum excursions are of course expected by
now, but the inclusion of additional electronic instrumentation makes Magnetic
Sky even greater.

Twin Lakes/Feeding Tube

With six songs spread across two sides of vinyl, the duo keeps their
performances somewhat succinct, given the improvisational approach. Dynamic
drumming and long guitar passages tend to be the focus, but there is so much
more going on in the layers beneath. Both Kiefer and Hardiman contribute
electronics/synths this time around, and the watery sounds that open “Dissolving
into Shape” nicely flesh out the restrained drumming and commanding lead guitar.
“Under a Magnetic Sky” is also bathed in soft electronics, covering the
outstretched guitar, prominent bass, and taut drumming like a warm, fuzzy
blanket. “Carrier Signals” features them leaning a bit more into jazz territory,
punctuated with pseudo-Eastern melodies, unconventional drumming, and sitar-like
drones.

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JULIA SABRA AND FADI TABBAL, "SNAKESKIN"

Sunday, 06 November 2022
Anthony D'Amico
Music

This is the first full-length collaboration between Sabra and Tabbal, but it is
apparently also the sixth collaborative release between Portland's Beacon Sound
and Lebanon's Ruptured Records (which was co-founded by Tabbal). While Tabbal's
solo work has been a very enjoyable recent discovery for me, this is my first
encounter with Julia Sabra, who is normally one-third of the excellent
Beirut-based dreampop trio Postcards. The pair do have a history of working
together, as Tabbal has co-produced several Postcards releases, but their
creative union only began to take shape in the aftermath of Beirut's massive
2020 port explosion (which destroyed Sabra's home, badly injured her
partner/bandmate Pascal Semerdjian, and displaced a whopping 300,000 people).
Unsurprisingly, one of the primary themes of Snakeskin is the precarious concept
of "home" and the "the disappearance of life as we know it" in a volatile and
oft-violent world. Those are admittedly more urgent themes in Tabbal and Sabra's
neck of the woods than some others (the album was also inspired by the 2021
Palestinian and the invasion of Armenia), but loss and uncertainty eventually
come for us all and they make a universally poignant emotional core for an
album. And, of course, great art can sometimes emerge from deeply felt tragedies
and Tabbal and Sabra are a match made in heaven for that challenge, as Julia's
sensuous, floating vocals are the perfect complement to Tabbal's gnarled and
heaving soundscapes.

Beacon Sound/Ruptured

The first piece that Sabra and Tabbal wrote together was "Roots," which surfaced
last year on Ruptured's The Drone Sessions Vol. 1 compilation. That piece is
reprised here as the sublimely beautiful closer, which was a great idea as it is
one of the strongest songs on the album. However, it also illustrates how this
collaboration has evolved and transformed, as "Roots" has the feel of a dreamy,
bittersweet synth masterpiece nicely enhanced with hazy, sensuous vocals.
Execution-wise, it is damn hard to top, but the duo's more recent work feels
like a creative breakthrough that is greater than the sum of its parts. Put more
simply, the pair previously merged their two styles in an expected way to great
effect, but then they started organically blurring into a single shared style
and the results turned into something more memorable and transcendent. The first
major highlight is "All The Birds," which calls to mind a collision between the
murky, submerged dub of loscil and what I imagine a bossa nova album by Julee
Cruise might have sounded like. As cool as all that sounds, however, the reality
is even better due to the muscular, snaking synth undercurrent and surprise
snare-roll groove.

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ANGELO HARMSWORTH, "SINGE"

Sunday, 06 November 2022
Anthony D'Amico
Music

I was a bit later to the Angelo Harmsworth party than I would have liked, but
the Berlin-based American composer has been fitfully releasing very distinctive
blown-out "ambient" albums for about a decade now on an array of hip and
discriminating small labels (Opal Tapes, Vaagner, enmossed, Psychic Liberation,
etc.). Harmsworth's latest is his first for Students of Decay and marks a rare
vinyl outing, as most of his previous physical releases have been limited to
cassette. According to the label, Singe "may be the high water mark" of
Harmsworth's career to date, which does feel like a completely plausible claim,
but one that is very hard to confidently echo given how many killer Harmsworth
pieces already exist. Even if Singe fails to conclusively eclipse all of
Harmsworth's past triumphs, however, it does seem to be one of his most
consistently strong releases and an ideal starting point for the curious.
Notably, describing Harmsworth's vision as "ambient" or even "power ambient"
feels cruelly reductionist, which is probably why he amusingly titled a 2020
release Fully Automated Luxury Ambient. That imaginary subgenre feels much
closer to the mark, as the intensity and textural inventiveness that Angelo
brings to these compositions shares far more common ground with artists like Tim
Hecker or Fennesz (or collapsing power lines during a live volcano) than it does
with anyone trafficking in droning, meditative loops.

Students of Decay

Those craving the aforementioned "collapsing power lines" vibe will have a
mercifully short wait, as the opening "Igniting the Periphery" calls to mind
buzzing high tension wires swayed by a deep seismic shudder as the surrounding
buildings collapse in slow motion. There are some other elements as well, like
fragments of twinkling piano and warm waves of frayed drones, but the viscerally
heaving, buzzing, and gnarled wreckage at the heart of the piece is the
showstopper—everything else is just there to color the mood. That balance holds
true for the rest of the album as well, as the Singe experience feels akin to
wandering through six cataclysmic yet weirdly beautiful natural disasters. For
example, the crackling and hissing "Frothed" evokes slow jets of magma breaking
through a buckling, blasted landscape, while "Drip Motion" has the feel of a
storm slowly forming and then slowly dissipating. In short, Harmsworth harnesses
the proverbial "force of nature" and wields it beautifully. That said, "Drip
Motion" is an album highlight for more conventionally musical reasons as well,
as it resembles the burning and heaving wreckage of a killer Porter Ricks cut
fading in and out of focus. "A Twofold Excess" then ends the album's first half
with yet another gem, as it feels like slowed-down footage of a tornado ripping
apart a sawmill before dissolving into a sublime coda of sputtering static,
tender piano, and warbling, whimpering streaks of psychedelia.

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DAVE CLARKSON,"A POCKET GUIDE TO DREAMLAND: FADED FAIRGROUNDS AND COASTAL GHOST
TOWNS OF THE BRITISH ISLES"

Sunday, 06 November 2022
Duncan Edwards
Music

Dave Clarkson is a gem who has flown under my—far from infallible—radar for
about 30 years. There are upwards of 40 releases emanating in his impressive
catalog, from the Cavendish House studio, including many of these Guides which
have focused on everything from beaches, caves, forests, and lighthouses, with
tangents to rain, ghost stories and illness. That another of his albums, For
Horselover Fat by Eye In The Sky has a bash at honoring the concerns and
creativity of the astonishing Philip K. Dick is right up my alley.

Cavendish House

I love everything about A Pocket Guide To Dreamland: the concept and how it
sounds of course, but equally the perfect anorak-fetishistic packaging of the
physical release with badges, a transparent orange cassette, postcards, and its
cover label paying homage to Ordnance Survey maps above images depicting the
almost psychedelic childlike thrill of a seaside funfair along with a gritty
high rise apartment block tower. I almost expected some recreated cut-out
coupons from The Eagle * comic for a day at Butlins Holiday Camp (Admit Family
of 4 to unglamorous Skegness location).

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BROTHERTIGER

Sunday, 06 November 2022
Eve McGivern
Music

As John Jagos sings "Save me from the grip of the modern age" early on in
"Tangerine," the opening track of the latest from his alter-ego Brothertiger,
three words spring to mind: sparkling, honest, and nostalgic. Indeed, the music
hearkens back to the ilk of carefully crafted new wave sounds in the vein of ABC
and Spandau Ballet, minus any flamboyance and serving up no pretentiousness.
What remains is perfectly composed chill electronic pop, melody at the
forefront. With sounds like summer wafting wistfully through headphones as I
write, this is music perfect for road trips in the middle of nowhere, lounging
on a beach recliner while the waves roll in, or simply snuggling under a blanket
with the music present like a good friend.

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LUCRECIA DALT, "¡AY!"

Sunday, 30 October 2022
Anthony D'Amico
Music

I was caught completely off guard by this latest opus from Dalt, as much of it
sounds more like a three-way collaboration between Astrud Gilberto, Perez Prado,
and Walter Wanderley than anything resembling the warped and stark electronic
pop mutations that the Colombian composer has become synonymous with. After my
initial disbelief subsided, however, I quickly decided that ¡Ay! may very well
be the strongest album of Dalt's career to date. I suspect Dalt herself would
probably agree, as it would be fair to say that her vision remains as compelling
and innovative as ever, but she has merely kicked her self-imposed artistic
restraints to the curb and embraced the warmer, more sensuous, and melodic
sounds that she grew up around. Or, as the album description colorfully puts it,
"through the spiraling tendencies of time and topography, Lucrecia has arrived
where she began." In any case, the end result is a wonderfully sultry and
evocative collection of seductive vocals and tropical rhythms beautifully
enhanced with a host of psychotropic and industrial-damaged touches. And she
somehow makes it sound like the most natural thing in the world. I definitely
did not expect Dalt to secretly be a tropical pop genius at all, which makes her
previous albums all the more fascinating now that I know that they were made
while pointedly suppressing some of her greatest strengths.

RVNG Intl.

The opening "No Tiempo" initially evokes a "late-night cable" fever dream vibe
in which a Bela Lugosi vampire movie blurs into an organ-happy televangelist,
but it quickly transforms into swaying tropical bliss once the flutes and the
lazily sultry groove make the scene. It has the feel of a Wanderley/Gilberto
collaboration that has been punched up (and sexed up) for contemporary ears by
an intrepid DJ (though I was still startled by the brass finale). It is a great
piece, but it is immediately eclipsed by the following "El Galatzó," which
masterfully combines hushed, confessional-sounding vocals with bass strums,
trilling flutes, cooing backing vox, swelling strings, industrial scrapes,
strangled feedback, and killer hand-percussion to cast a sustained spell of
noir-ish, cinematic seduction. While "El Galatzó" would be my personal pick for
the album's reigning highlight, the album is not hurting for other hot
contenders for that honor. In "Contenida," for example, a hallucinatory fog and
a jazzy double bass motif cohere into some kind of humid and dubby bossa nova
mindfuck, which then beautifully erupts in a viscerally clattering metal
percussion frenzy. If the whole album sustained a similarly perfect balance of
ambitious dub/industrial production brilliance and sultry songcraft, I would
have no hesitation at all about proclaiming ¡Ay! to be the album of the year.

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HALEIWA, "HALLWAY WAVERIDER”

Sunday, 30 October 2022
Duncan Edwards
Music

This is Mikko Singh's best and most consistent record yet as Haleiwa. Both his
first full length releases Pura Vida dude and Palm Trees Of The Subarctic were
light and dreamy, while his third Cloud Formations accelerated Haleiwa onto
another level, driven by good tunes and several great moments, not least the
plunge through synthesizers into warm bass driven melody on the opener "HKI-97,"
and the digital blips of "Foggy" which (perhaps unconsciously) resembles Brian
Wilson frantically transposing part of "California Girls" into morse code. That
third record heralded a deeper sound, perhaps because Singh switched to analog
cassette and reel-to-reel tape recording, and it also included more variety
although for no clear reason. Hallway Waverider avoids that pitfall by finding a
sweet spot and then showing little or no desire to move very far away.

Morr Music

Of course there is variety here, but it is subsumed beneath a definite creative
vision; a vision which looks backwards. Dedicated to his mother who passed away
in 2015, and inspired by his own earlier self spending winter months
skateboarding in his bedroom while listening to music. The overall sound is of
music for surfing, but surfing on air, memory, and metaphor, back to the halcyon
days of carefreeness and family love. If there is any slight hint of original
Dick Dale surf guitar twang (or even Psychocandy style surfing on polluted
Glaswegian effluent) it has died peacefully and gone to heaven in a sonic
envelope of featherlight fuzz.

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RAPHAEL LOHER, "KEEMUUN"

Sunday, 30 October 2022
Anthony D'Amico
Music

This may be Swiss pianist/composer Raphael Loher's first solo album, but he has
crossed my path before with his Baumschule trio (featuring Julian Sartorius and
Manuel Troller). I am much less familiar with Loher's other trio (KALI), but the
importance is that he has spent time improvising with inspiring musicians and
has accumulated some very intriguing compositional ideas along the way.
Interestingly, Keemuun is itself a bit of an improvisatory collaboration with
inspiring (if unwitting) musicians, as Loher often played along with albums by
other artists while experimenting with his rapid-fire piano patterns (Beatrice
Dillon's rhythmically adventurous Workaround was a particularly central
touchstone). In fact, just about everything about this album's evolution feels
like fertile grist for a "galaxy brain" meme: a prepared piano album…limited to
only ten notes spanning two octaves…improvised against cutting edge techno
rhythms…but with all of those foundational rhythms totally excised from the
final recording. Needless to say, all of those factors make for a very cool
album concept in theory, but I am pleased to report that Loher's brilliant
execution has made this a killer album in reality as well.

three:four records

The album consists of four numbered pieces, the first of which is considerably
more subdued and minimal than the others (and shorter too). To my ears, the
opener lies somewhere between bleary Morton Feldman-style dissonance and a
dying, slightly out-of-tune music box performing its own elegy. It makes a
perfectly fine (if understated) introduction, but I doubt I would be writing
about Keemuun if it did not catch fire with the second piece and sustain that
white-hot level of inspiration for the remainder of the album.

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COSEY FANNI TUTTI, "DELIA DERBYSHIRE: THE MYTHS AND THE LEGENDARY TAPES"

Sunday, 23 October 2022
Anthony D'Amico
Music

We seem to be in the midst of a long-overdue Delia Derbyshire renaissance at the
moment due to the efforts of filmmaker Caroline Catz, Cosey Fanni Tutti, BBC
Radiophonic Workshop's Mark Ayres, and others. Fittingly, this unusual and
inspired album was commissioned back in 2018 as a score for Catz's similarly
unconventional feature-length documentary. Sadly, it seems damn near impossible
to see Catz's film at the moment (outside the UK, at least), but this soundtrack
was released earlier this year to coincide with Cosey's own foray into telling
Derbyshire's story (Re-Sisters: The Lives and Recordings of Delia Derbyshire,
Margery Kempe and Cosey Fanni Tutti). The book, film, and album were all
inspired by research into Derbyshire's archive and the voluminous recordings and
writings that became available after the visionary electronic artist's passing
in 2001. Apparently, copyright issues are preventing much of Derbyshire's
unearthed work from seeing an official release (there are some great unofficial
ones like Inventions For Radio/The Dreams out there), but this album is a
compelling consolation prize: using Derbyshire's notes on her compositions and
techniques, Cosey has achieved a sort of posthumous homage/collaboration in
which her own aesthetic is co-mingled with Derbyshire's singular and
groundbreaking techniques and sounds.

Conspiracy International

While Delia Derbyshire is far from a household name, it is something of a
miracle that she ever managed to be revered at all, as her musical career only
spanned 15 years and took place at a time when neither women nor electronic
music were taken particularly seriously. On top of that, she also had an
eccentric personality, a tendency towards alcoholism, and an employer (the BBC)
who did not consider her work to be "music" enough for her to be credited as a
composer. Fortunately, she was both motivated and fucking brilliant, so she
still managed to make a profound impact on the evolution of music despite those
incredibly long odds. And it did not hurt that she was responsible for the
Doctor Who theme, which made a sizable cultural dent of its own. It is hard to
say whether or not there would have been a Throbbing Gristle had Derbyshire and
her Radiophonic Workshop colleagues not forced weird electronic music into the
mainstream, but I do think Derbyshire might have traumatized the general
populace to a Gristle-y degree in the early '60s if her gear had been more
portable. Obviously, bloody-minded persistence in the face of disrespect and
hostility is a relatable theme for Cosey as well, so it is hard to think of
another artist who could be more naturally suited for a project such as this. In
short, Catz needed appropriately "Derbyshire" music for her film, but there were
very few usable Derbyshire recordings available. Introduce Cosey Fanni Tutti,
who immersed herself in the archive's collection (267 reel-to-reel tapes found
in cereal boxes, I believe) and Derbyshire's notes and set about casting a
Delia-esque spell in her own way on her own gear (though Delia's actual voice
does make some appearances). As an aside, this is not Cosey's first homage to
Derbyshire, as Carter Tutti's "Coolicon" took its name and inspiration from a
metal lampshade that Delia regularly used to make sounds.

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THE SOFT PINK TRUTH, "IS IT GOING TO GET ANY DEEPER THAN THIS?"

Sunday, 23 October 2022
Anthony D'Amico
Music

When I first heard the thumping house/disco EP Was It Ever Real?, I had a very
hard time believing that it could possibly be a teaser for something more
substantial, as much of that EP felt like top-tier Soft Pink Truth that leaves
very little room for improvement. If those songs did not make the cut for the
full-length, I felt the album surely had to be either absolutely brilliant or
absolutely wrong-headed with no possible middle ground. As it turns out, I was
at least right about the "little room for improvement" bit, as Is It Going To
Get Any Deeper Than This? is not noticeably stronger than the preceding EP.
Instead, it feels more like a lateral move, taking Drew Daniel's star-studded
house party in a more kaleidoscopically arty and eccentric direction.
Unsurprisingly, Deeper features roughly the same international cast of talented
guests as the EP, but there are some noteworthy new additions as well, such as
Nate Wooley, Wye Oak's Jenn Wasner, and Jaime Stewart (Xiu Xiu). The result is a
bit less "all killer, no filler" this time around, but the trade-off is that
Deeper is an appropriately deeper and more immersive plunge into Daniel's
psyche, touching upon everything from Barry White to George Bataille to
krautrock while still managing to be functional, forward-thinking, and archly
fun dance music.

Thrill Jockey

The album kicks off in style with its first certified banger, "Deeper," which
deceptively fades in with bleary drones before launching into a straight up
classic disco groove with all the requisite hand claps and funky guitars. There
is enough subtle dissonance to give it a somewhat delirious and unreal feeling
right from the jump, but things do not get truly art-damaged until an unexpected
church bell passage subsides. While the groove remains unswervingly propulsive
for a bit longer, the insistent sexy thump is increasingly mingled with generous
helpings of kitschy string stabs, tropical-sounding guitars, hazy flutes, and a
host of other inspired psych touches before it all dissolves into smeary
abstraction. I suppose the extended running time and ambient comedown preclude
"Deeper" from being a hot single, but several of the pieces that immediately
follow gamely rekindle the dancefloor fire. "La Joie Devant La Mort" is one of
the album's more "perverse pop moments," as Jaime Stewart sings a George
Bataille line about being in search of joy before death over an endearingly
weird groove that calls to mind Coil's Love's Secret Domain album colliding with
"A Fifth of Beethoven" and a chorus of tiny frogs. Wasner then takes the mic for
the breezily sensuous "Wanna Know," which milks the album title's question for
all its worth over a groove that could have been plucked from a Love Unlimited
Orchestra album. The following "Trocadero" then pays homage to the "sleaze"
disco subgenre synonymous with the titular SF club before "Mood Swing" ends the
first half with a killer slow-building disco fusion of spiritual jazz, gurgling
psychedelia, and Reich-ian piano patterns.

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