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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]

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 » 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
On
Your Naked Ghost Comes Back At Night
DSA Wave Records

Rating: 6.5/10 ?


June 27, 2005
Sylvain Chauveau's previous efforts sought to strip the piano naked of all but its barest essentials, exposing a thin yet alluring figure in its delicate curves and careful movements. To some surprise, then, Your Naked Ghost Comes Back At Night blurs the body of its source sounds in a fog of heavy processing, emitting chalky plumes of somber throbs and cavernous reverb while diffused guitar and piano patter and swirl in the bustling eddies between the rapids.

This spectral, elusive quality surprises less, however, when one learns that Helge Sten (aka Deathprod) mixed the three hours of tape sent by Chauveau and Hess after having improvised in the quiet of Acme Studios in Chicago. Each piece negotiates between unbound melancholy and a palpable sense of wonder, a predilection that encloses this work in much the same environment as Sten's magnum opus, Morals and Dogma.

Unlike Morals And Dogma, though, like a floating anxiety, this works restlessness has no temporal object, no wall against which to hear its voice bounce off of; tumbling arpeggios and chopping slides of tone wander aimlessly, now and again endeavoring to thrust themselves into one another but failing to form any sort of meaningful relation.

An ensuing random series of sharply defined singularities emerge alongside high frequency tones and tightly manipulated textures, but serve only to suppress or ignore the more recognizable scrapping and picking of conventional instruments. Overcast in a sense of foreboding, these pieces seem an apt articulation of the concerns, haunting the person who was indifferent to contentment - the person who sought to articulate himself without appealing to others and now feels only his bare facility.

Acting as this effort's centerpiece, "The Lonesome Poetry Of Mark Rothko", sees slow chords merge to form a melodic miasma of drifting guitar drone and feedback fug, through which emerges a growling lycanthropic incantation of brooding bells. In the background, seductive percussive events develop together with dry-as-a-bone programmed drumming, while the music lays on a seething bed of eloquent pops and reverbed clicks.

There is a restless and exploratory disposition to the track, an impression reinforced by its ambitious harmonic ideas. Successive pieces move through similar dark passages but don't go anywhere in particular. For this reason, this trio have crafted a brave, questing album, but one that is more admirable than wholly successful.

Contrary to Chauveau's pretty piano vignettes, these swelling, perturbed drones lack a certain idiosyncrasy. Numerous artists inhabit the territory in which these compositions dwell; and, being more familiar with the land, acts such as Stars of the Lid, When I Know You Will Too and William Basinski have already grown crops more ripe and distinctive in taste and appearance. On are distinguished in some sense, nonetheless, by their ability to maintain a mood of spectral elegance, which makes Your Naked Ghost Comes Back At Night a poignant appeal to others.

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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