Bilvin Black, "Soft Death (Afresimegol)" (Deadly Bomb Arc)
Omni is a science, science fiction, and paranormal magazine that was published from 1978 to 1995. Founded by Penthouse publisher Bob Guccione, the magazine undoubtedly captured the imagination of Blevin Blacktum (aka Bevin Kelly ), a former experimental electronic music producer from Seattle. based in Pointe Arena, California.
As Kelly told me in The Stranger 2018, he was influenced by science fiction writers like Ursula K. Legen, Philip K. Dick and Ray Bradbury and JJ Ballard. Funnily enough, he also played in a Carl Sagan tribute band called Sagan. Thus, the title of his new album OMNII (released July 28 on cassette and digital) expresses his intentions. The results are as scientifically sound as you'd expect from this innovative musician who works full-time in Amazon's consumer robotics division.
From the buzz of OMNII's mystical "Romana" editorial, Blevin Blacktum has taken you to the realms of the supernatural. Vermillion Sandstorm's devastating drift is like a smooth glide over any inky spot, occasionally interrupted by laser beams from a spaceship. If she were alive, Stanley Kubrick would love her. A quasi-gothic doom envelops the eerie "Venus Velvet space (Beyond Nevermind)", whose buzzing organs sound like a distorted homage to the battleship Butterfly's "in-a-jada-da-vida".
The truly haunting "Children's Eternal Choir Celebration of X-Day on Planet X" showcases BB's remarkable skills in manipulating distorted sound. "Nocturne (Planetfall Edit, Psaltriparus Minimus Maximus Mix)" An abstract, introspective glimpse gives way to a low-gravity techno journey reminiscent of the Kraftwerk-era French LSD soundtrack .
However, the highlight of the album is "Soft Death (Afresymegol)", which combines excitement and subtlety in its three minutes and variety. With some of the scariest xylophone melodies you'll ever hear, a self-healing beat, a weirdly propulsive beat, and some of Blevin Blacktum's most energetic beats, this is one of Aphex's best tracks. Twin of all time; In good condition. Don't make a mistake. "Soft Death" is the contest song of the year.
On OMNII , Kelly toned down her more manic tendencies and focused on the softer vocal tones and otherworldly atmospheres of her career. It's a shame that "Cosmos" was broadcast because these titles would have made a perfect soundtrack.
Brigid Maypower, "I Should Be Blind" (Fire Records)
In 2016, Irish singer-songwriter Brigid May Power graced the airwaves with her ultra-stylish folk music. Across five studio albums, Power's voice conveyed deep feelings without being theatrical or overpowering. In that way, it reminds us of emotional misfits like Julie Driscoll (aka Julie Tibbets) and Linda Berhax.
So it makes sense that Bauer would cover Tim Buckley's big hit "I Must Have Been Blind" on his new album Dream from the Deep Well . The original version appears on Father Jeff's Blue Afternoon (1969) and describes the ever-changing folk-jazz code in a simple and fun way, a methodical tone punctuated by subtle vibraphones, brush/hammers and surrounding cymbals. by structural acoustics. guitar beats. Tim's words are full of regret for a relationship that didn't live up to its potential because for some reason ruined it. The song should resonate with anyone who knew Rue Romance.
In Power's performance of "I Must Have Been Blind", piano and violin replace guitar and vibraphone as the main melodic elements, but the star of the performance is the song. We can say that the "power" is closely related to the soft turbulence in the center of the song. Normally I would consider it sacrilege for another artist to attempt one of my favorite Tim Buckley pieces, but Power's rig matches the visceral intensity of Tuberculosis. respect.
"I Should Have Been Blind" is one of many highlights in A Well-Conceived Dream of a Deep Well . Mimicking the catchy beat of Bob Dylan's "Knockin' On Heaven's Door," Descent Down radiates poetry about the struggle of juggling motherhood and a music career. Power honors his heritage with reverential vocals for "I Know Who's Sick" and "Down By Glenside", traditional Irish songs and 1920s Irish Republican standards respectively. "Maybe It's Just Lightning" has the smooth, swirling vocals of the early Mazzy Stars, but Power's voice brings more vocal variety than Hope Sandoval's. 'The Waterford Song' shines with her sweetest, most soulful vocals yet. The groovy "I'll Wait Outside for You" brings smooth slide guitar tones and more authoritative seriousness from Power. But nothing beats "I Should Be Blind" for reinventing traditional folk music for the 21st century.
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