Club 8 "Western hospitality"

Club 8 "Western hospitality" from Labrador Records.

"Western Hospitality" (Pallers Remix) mp3

They're from Sweden!

Matmos & So Percussion collaborate on Treasue State

Treasure State, the forthcoming collaboration between Brooklyn-based percussion quartet, aptly called So Percussion, and Baltimore masters of musiq concrete and experimental electronic pop Matmos is being released into the digital world Sat., June 15, and to the physical wold on Tues., July 13 via Cantaloupe Music.

This week the label released "Treasure," the first look at this strange merger of modern classical and the electronic avant-garde.

"Treasure" mp3

"Treasure" is the opening number from the album, and is a sparkling introduction to what these two camps are capable of concocting together. The variety of percussive sounds on the record give a baroque a feel to Matmos' stylistically squiggling and formless warble, making it one of the best things Matmos has released since A Chance To cut Is A Chance To Cure came out way back in 2001. Who knew that a dose of marvelous percussion would go so far with Matmos' sound.

(Photo courtesy Cantaloupe Music)

Why I don’t like (Trent Reznor’s) How to Destroy Angels (so far)

Having come of age in the '90s I can't help but be a Nine Inch Nails fan to a degree. Everything before and including The Downward Spiral is genius. Everything after is only mediocre, bordering on washed-up, sometimes to the point of embarrassment, with the exception of The Slip which was a brilliant return to form that brought NIN to a close on a high note.

Take a poll and 99% of the civilized world will say that Pretty Hate Machine is their favorite NIN album. It's a good one, but I can't really agree. Regardless, Pretty Hate Machine is the one that most folks will admit to still owning and even loving. So be it. I was 15 years old when that record tape came out and I was definitely feeling Trent's angst. What made it such an amazing album was that he channeled all of his sexual anxieties into the catchiest, darkest industrial dance pop songs that the world had ever witnessed, and with unapologetic gusto. Skinny Puppy, Front 242, RevCo et. al. were good, but Trent had the hooks.

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