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Drekka — No Tracks In The Snow

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<p><em><a href=No Tracks In The Snow — A collection of early ambient and experimental works from prolific American artist Mkl Anderson (lovesliescrushing, 4K, Bluesanct Records). Album includes 8 tracks recorded between ‘96-’02, for fans of Current 93, Nurse With Wound, Loscil, Halfer Trio, and Flying Saucer Attack…

For over twenty years, Mkl Anderson has curated a vast archive of recorded material for his cinematic ritual ambient industrial project, Drekka.  He works with memory not only as a subject but also as a healing process, continually delving into this personal world of sound; examining, revisiting, and repurposing recordings in an attempt to recall a past which sings from the darkness surrounding the tenuous provinces of memory and dreams – the real ghosts of time and sound.

“No Tracks in the Snow” is a collection of tracks from the early days of Drekka’s history; the third offering for Dais Records and an appendix between the second and third parts of the ‘Tarwestraat’ trilogy of LPs for the label.

Recorded between 1996 and 2002, the album showcases Drekka’s early
exploratory development across a variety of styles. And yet it is also
Drekka in the present moment; culled, curated, and assembled with care. Not unlike Borges’ “A Personal Anthology” – or indeed any of Drekka’s own recent work – this recording can be understood as a cohesive narrative more than as a simple compilation.

As Drekka moved from its Bristol UK influenced space folk beginnings,
backwards towards Anderson’s earlier UK industrial tape culture
foundation, his predilection for reworking pieces over time was emerging; recontextualizing narratives to bring out new truths from one’s own history. This process would become a cornerstone of Anderson’s work for the decades to follow.

Wagner Odegard — Om Domedag och de Femton Jartekn

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Wagner Odegard takes a break from experimental folk / ambient to unleash a raw blast of Swedish heathen black metal.

“Still brimming with the inspiration of Germanic Heathenism, Wagner Odegard seems to be unable to quench the bottomless wellspring from which he drinks. Unlike other releases under the WO moniker, however, this is a proper black metal album with fitting instrumentation, songs, and lyrics. It plays much like a Wulkanaz release, albeit a bit looser, a bit more free flowing and with some of the markings of other genres flowing into the black metal framework which defines the typical Wulkanaz sound. To these ears you have all the same influences present: Burzum (esp. Belus), (the early Scandinavian mysticism of) Arckanum, (the ramshackle quality of) Furze, (the odd folk stylings of) Lugubrum, and a vigorous and intense energy that can only be prescribed to Wagner Odegard.”

Strange Birds

The Wooks — Glory Bound

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Sitting firmly on a bluegrass and roots music foundation, Glory Bound, the sophomore project from the Kentucky-based band also embraces the clear influence that rock ‘n’ roll, jam, and singer-songwriter music have had on the group. Buy Now!

Drilling For Blasting — Fingers Are The Best Eyes

Jesse Gannon — S/T

Medicine Bows — All Inclusive / These Kids

The Dip — The Dip Delivers

The Dip Delivers is the second full length LP from Seattle soul outfit The Dip, described by KEXP as “one of the most exciting and joyous acts to emerge in recent years”. Vintage rhythm-and-blues combines with classic pop storytelling for an album that is simultaneously raw and polished, and perpetually danceable.

Guided By Voices — Zeppelin Over China

Headroom — New Heaven

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In just a few short years, KRYSSYI BATTALENE, the mastermind behind HEADROOM, has moved mountains and crossed oceans with her epic guitar-playing. In addition to MOUNTAIN MOVERS, her Headroom project enables Kryssi to further explore the outer reaches of her hypnotic state (some folks call it Connecticut). Following Head In The Clouds, last year’s triumphant debut on Trouble In Mind, Headroom’s new 12” EP on Ever/Never Records is just the front-lobe massage you didn’t even know you were craving.

While recalling the towering grace of Bardo Pond, Headroom carve out their own space within the fertile crescent of modern American psychedelic rock. “New Heaven” opens the proceedings, and you’d be forgiven for imagining the title an oblique reference to Headroom’s HQ—New Haven, Conn. As guitars arc towards the sky, Battalene’s voice gets the chopped-and-screwed treatment, as if to remind you that we are always on the precipice of something new, something unpredictable. “City Lights” is an earthbound meditationwith lovely, reverb-soaked vocals and on-the-verge-of-feedback guitars that echo Les Rallizes Denudes, a key influence on Battalene and her cohorts (which include notable artists like Stefan Christensen). But they manage to maintain their cool, extending the ache until it turns into the sublime.

Side Two of New Heaven is devoted to “Skyliner,” a patiently building exercise in sustained psych mode as guitars, synths and voice ride the rhythm section to the outer limits. This is definitely a slow ride, but maybe don’t take it so easy. On New Heaven, Headroom continues to probe the boundaries and report back with their thrilling discoveries.

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