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 » Full Dark, No Stars - Stephen King's new novella questions mankind's ability to trust others.
[02.21.2011 by Bridget Doyle]

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 » The Top 30 Albums of 2010 - Fashionably, fabulously late, our favorite music (and believe me, there was a LOT) of 2010, the year that some have called the best year for music ever. And only some of those fools work here. Plenty of usual suspects, lots of ties and a few surprises that I won't spoil, including our unexpected #1.
[12.24.2010 by The LAS Staff]

MUSIC

 » Live: Surfer Blood/The Drums at Lincoln Hall, Chicago, IL - Remember when Weezer used to put together records that you could sing along to and rock out to? That's what Surfer Blood's show was like!
[11.04.2010 by Cory Tendering]

Music Reviews

Screaming Females - Castle Talk
»Screaming Females
Castle Talk
Don Giovanni
Trent Reznor & Atticus Ross - The Social Network [Original Soundtrack]
»Trent Reznor & Atticus Ross
The Social Network [Original Soundtrack]
The Null Corporation
Deerhunter - Halcyon Digest
»Deerhunter
Halcyon Digest
4AD
No Age - Everything in Between
»No Age
Everything in Between
Sub Pop
Robyn - Body Talk Pt. 1/ Body Talk Pt. 2
»Robyn
Body Talk Pt. 1/ Body Talk Pt. 2
Konichiwa
The Walkmen - Lisbon
»The Walkmen
Lisbon
Fat Possum
Bo Wiget & Luigi Archetti
Low Tide Digitals II
Rune Grammofon

Rating: 7.5/10 ?


June 28, 2005
The mood of these twelve improvised compositions for cello, guitar and electronics is that of seafloor music - alive with clicks and pings, ominous hull knocks and so many pounds of pressure per square inch that your eardrums buckle under the weight. Successive compositions gather together a series of luminous, slow motion and exquisitely fraught pieces which combine sussurating glitches, plangent chimes, tidal sweeps of digital texture and the gentle quiver of cello and guitar into clear, iridescent coherence. As objective observations, they are compelling, what with all of their percolating details and scrabbling textures; crafting contrast, Wiget and Archetti contextualize these sounds next to profoundly ugly electric field disturbances, painfully loud digital explosions and gut-churning low-end frequencies.

The first track, noted as "Stuck 12", owns to the fact that these works are meant to continue where the previous album of the same name left off. Like a swirled scar, raw and ever-changing, both works are beautifully rendered smears of fragmented sound; it is a trait which situates the events of the albums in a twilight neverland mapped by margin walkers such as Taku Sugimoto and Kaffe Matthews. This second effort, however, bears movements more pronounced and articulate, while electronics and organic instruments engage in a communal project.

On the majority of pieces, Wiget melts the source material into a fluttering spray of sine waves that are all but beatless, displaying his characteristic sensibility for miniscule variations in tone. Archetti, meanwhile, whittles material down into a splintered rhythm section, snagging the melodic midrange on its heart-emblazoned sleeve. Now and again, one happens across pieces more straightforward in progression - pieces in which blasts of noise are relatively tempered, while shrill siren gurgles and astringent chords are nursed by someone squeezing lemony textures out of a guitar and fashioning quiet beats from raindrops. That being said, such pieces still rest deep inside the gutted innards and blackened lungs of forms that usually show a rosier face to the world.

Other pieces find quieter dwellings: on "Stuck 21", for instance, every tickle of the guitar rings out as clearly as a bird whistling at night. These pieces sustain a multitude of moods in their flexible forms. At once serene and almost mystical, the next moment one is faced with coarse scrapings and dark drones oozing with the consistency of cold black mud. As the work continues, compositions become shrouded in dread, a sense heightened by a greater reliance upon minimalist techniques.

The album crests with "Stuck 22", in which a whining cello winds away from the screeching electronics and pours out a distressed, stirring lament. On account of this track's lucid emotion, one wishes that the cello might have been afforded more of its own space, but most likely its distinguished color owes to having been previously tied up for so long. Throughout some forty-four minutes, this effort establishes that human emotion can remain quite distinct in quite abstract settings. For this reason, Low Tide Digitals II is made radiant with wraiths of electronic tone, drug-slurred cello and rustic harmonies that twine like smoke.

Reviewed by Max Schaefer
Nocturnal qualms and eyes that brim like lamps betoken slender sketches, poetry and short stories strewn alongside piano playing, a fiddling of knobs and murmured dialogue with a medley of electronic gizmo\'s. A twenty-one year old person lodged within the University of Victoria, Max harvests organic sounds on a sullen sampler, watching water unwind like two broad lengths of ribbon and nursing a book below the canopy of a cheery-tree. Max believes that the world is made present by people\'s presence in it and that art is one such way in which a distinctive disclosure might be crafted.

See other reviews by Max Schaefer

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