Fjree Feather finally sees a full, albeit limited, release after its birth as a self-made CDR by Matt Barnes, a somewhat reclusive figure whose homemade electronica feels worlds away from his home on the Wirral. This EP is a collection of buy viagra soft online demo material, now remastered, from Barnes’s earliest recordings. They’re also amongst his best. There’s a real edge to these recordings, a grit that may have been lost somewhat on his subsequent recordings. The drone guitar intro to ‘Kaibasa Claps’ bristles with aggression as it’s attacked by sharp daggers of noise. ‘Down Steps’ never fails to floor me with its sumptuous sounds: a thudding bassline keeps the track focused while a collage of sound is splattered into life around it. ‘Bones’ crackles with electrical energy, the guitar twisting and convulsing in a fit of discord. With the hype surrounding Barnes’ eventual long-player Dagger Paths, it would be a shame if this got lost; the tracks here offer the chance to hear the birth of an important new voice in British music. What’s even better is that all money raised through this release will go to help the Red Cross’s tsunami recovery efforts in Japan. No excuse not to viagra canadian price shipped pick this up then. (RH)

Forma – Forma (Spectrum Spools)

More retro-synth action on the Spectrum Spools label, but this time with a slightly more exotic flavour: Forma are a trio of Brooklyn musicians, and the inclusion of live percussion makes this something rather unique. There’s the usual nods and winks to the Krautrock forefathers such as Cluster and Kraftwerk, but the heart of the record is one of a more pop persuasion. ’233B’ could be a lost instrumental Stereolab b-side with its jaunty beats and retro-chic. ’199′ is a beautifully sparse but radiant flow of notes that float, feather-like on a gentle breeze seemingly too delicate to even exist. ’197′ could be a LCD Soundsystem if James Murphy embraced his more experimental side, the high-hat cymbals foot-tappingly engaging whilst chunky keyboard chords link in, adding an unexpected solidness to the track as a ghostly spectrum of ethereal noises reverberate in the background. The more mood-driven and experimental pieces sketch vivid images as well. ’247′ could have soundtracked a 70′s British sci-fi series; evoking as the far reaches of space and the surface of the moon. There’s a real menace to closing track ’237B’ where a blend of synth sounds bend and break over a revolving rhythm, oozing a darkness that’s not been explored before. Forma is a impressively varied take on synth-pop: there’s life in the old dog yet. (RH)

Guanaco ± – Ardea Cinerea (Sweat Lodge Guru)

Lex Panayi’s solo project Guanaco ± has a particuarly eldritch and murky take on the folk tradition, favouring deep sonorous and fluid guitar picking above slowly resolving drones and swells of wordless voices. This tape release, drawing on a couple of songs available on last years’ free download Attar of Rose EP, is named after the grey heron and also features hymnals for the lepidoptera family of moths and butterflies, the great crane, recently re-introduced to the British countryside, and the caldenula or pot marigold. The grey heron feels like a perfect avatar for the Guanaco ± sound with its its prehistoric air, its throaty bark and its stately creeping grace - these qualities are here in abundance, alongside an ability to create a sustained gauzy and haunted atmosphere that washes across all four tracks. In terms of influence you’d probably look to the hazier workouts of Ben Chasny, but it really isn’t too much of a leap to hear the damp autumnal melancholy of Bert Jansch in these swirling reveries. This is well worth checking out.  (MP)

Machinefabriek – Sol Sketches (Champion Version)

Another month, and no prescription tramadol us pharmacy as you’d probably have predicted, another Machinefabriek production, albeit another Machinefabriek production whose contents are entirely unpredictable. After his most recent release (I think), the Jazz Standards 5″ vinyl with regular companion Gareth Davis, here he changes direction again, with some piano and electronics-based pieces written for a documentary by filmmaker Chris Teerink. But, here is the twist – so inspired (and typically industrious) was Machinefabriek by the chance to participate in this project, that he had written 40 tracks before the first scene had even been shot. Whittled down to 21, these range from fragments of crystalline drone that vanish before a minute is out, to more lengthier progressions that last upwards of four minutes. Given the materials used, the influence of Alva Noto and Ryuichi Sakamoto is easy to detect, with the resonance of sparse piano notes tangling up with pulsing sine waves, but it feels more spontaneous, less structured – as if some of his recent jazz improvisations have affected his working methods. As a result, these seemingly open plains have hidden depths, cut into by loose trails of quiet logic that require repeated retracing. (SM)

Moonface – Organ Music Not Vibraphone Like I’d Hoped (Jagjaguwar)

Is Spencer Krug the hardest working man in American music? He doesn’t ever seem to stop. Ex-leader of prog-pop group Sunset Rubdown, warbling keyboardist with Wolf Parade, part of supergroup Swan Lake and main protagonist in the indie-rock Frog Eyes. You’d think that would be enough to keep him busy. But no, he’s doing some solo work as well under the moniker of Moonface. No one else is involved, just Krug exploring his first and true love: keyboards, organs and electronics. As the LP title might hint, this recording might not have gone the way it was originally intended, but that’s no bad thing, Krug can coax impressive sounds from anything with keys attached. The album is drenched in the chiming, churping tones of all manner of synthesiser and organ with Krug’s deep warble allowed free reign over everything, released as a stream of consciousness while disjointed phrases and vocal sounds puncture the electronic haze. Without the confines of a band or other voices drowning him out, his left-field creativity is given space to explore every idea to the full. ‘Fast Peter’ is cheap viagra generic an eight-minute warped love song of sorts that drowns in a lake of modular synth beats – it feels as though Krug is exploring just how far he can stretch out a pop song before it ceases to be one. ‘Shit-Hawk in the Snow’ is a krautrock inspired blur – a motorik beat, monotonous in its rhythm, bullies its way through the charged organ chords. Short, sharp and leaving a slightly bitter after-taste, Organ Music proves that Krug is not only one of the most prolific artists working at the moment, he’s also one of the most unique and impressive. (RH)

Reinhold Friedl – Inside Piano (Zeitkratzer)

Zeitkratzer releases have typically looked outwards for inspiration, with albums devoted to Lou Reed, Whitehouse and Terre Thaemlitz, as well as the more “conventional” modern composers like John Cage, Alvin Lucier and Iannis Xenakis. The new album by Zeitkratzer’s artistic director, Reinhold Friedl, as you can tell by its title, turns its eyes very much inwards. Inside Piano is a journey deep into the heart of the piano, an exploration of its sonic possibilities. There is no other instrument on here, although at times it is hard to believe, such is the range of sounds at Friedl’s disposal. At times, most cheapest tramadol as at the beginning of “L’Horizon Des Ballons”, you can hear resonant echoes of Ellen Fullman’s work with her Long Stringed Instrument, but the end of that piece sounds like it is scoring some Lynchian dystopia, all metallic scrapes and strange quasi-choral howls. “La Consequence Des Reves” almost sounds like musique concrete, juxtaposing bird song with violent rupturing with lengthy periods of near-silence. More than just Inside Piano, I feel as if we are getting a glimpse of the internal workings of Friedl’s mind. And as brilliant as he is, I’m scared. (SM)

Conrad Schnitzler – Live ’72 (Further Records)

In the years since Julian Cope’s Krautrocksampler book, the reissuing of seventies German music has come in several waves, with recent focus leaning more towards the electronic end of kosmische. Between all the Cluster and Tangerine Dream-related releases, Conrad Schnitzler seems to have largely slipped through the net, leaving most of his (often self-released) work available only through illicit channels. Huge props go to Seattle’s Further Records then for exhuming this brilliant unheard live set, which perfectly encapsulates Schnitzler’s important role in the ‘movement’ and indeed in the history of electronic music. Far less portentous than the solo outings of order no prescription tramadol online his early TD colleague Klaus Schulze and not as poppy and pastoral as his K/Cluster brethren, Scnitzler’s work is superbly restrained and its vision fully formed. This may be classed as an experimental set but you get the sense he arrived at new technology knowing exactly what to do. The pulsing repetition and encroaching menace in many of the tracks here foreshadows the best Detroit and Berlin techno while also managing to significantly out-manoeuvre most of today’s analogue revivalists. The beautifully packaged double LP is already sold out at the label’s shop, so hurry up! (AB)

Spring – Slides (ILK)

The inner sleeve of this album the Danish quartet Spring features a quote from Ornette Coleman: “music is not a style but an expression”. Coleman was a man with scant regard for norms or boundaries, whether they were of the jazz or classical idioms. For their second release, Spring invited five Danish contemporary classical composers to submit some material which they could rework. The results are suitably unclassifiable. “SlidesTwoSpots” sits somewhere between the scholarly modernism of Steve Lehman and the brutish funk of The Thing. Amongst the lop-sided rhythms, saxophonist Torben Snekkestad even channels the ghost of cialis online prescription another rulebreaker who had a memorable stay in Denmark, the great Albert Ayler, with some chewy vibrato and growling. The superb “3 Zenbuddhistiske Melodier”, the contribution of the maverick Jexper Holmen, contrasts starkly, with long spectral drones creating sparks of harmony and flashes of dissonance. For me, this is easily one of the jazz/classical/whatever albums of the year. (SM)

Temporal Marauder – Temporal Marauder Makes You Feel (Spectrum Spools)

John Elliot’s Spectrum Spools label is really turning the handle on the neu kosmische crank, with a pair of releases, or so it seems, every month. The new LP by Temporal Marauder would be a particularly intriguing one, if only for its purported history as a long-mothballed vanity project by the engineer Jean Logarin, his girlfriend, and a couple of sidekicks of Cluster/Neu/Kraftwerk producer Conny Plank. However the music too is a cut above the rest, drawing as much from Radiophonic experimentation as it does from the pulsating synths of the German music of the era. What makes this really seem like the crucial release in the Spectrum Spools catalogue is that, as much as it looks backwards, it signposts some ways forward, such as via the proto-industrial techno of “Glances Under Glass”, and the Moroder-esque arpeggios of “It All Came Rushing Back”. In fact, parts of this seem so out of time that, much like the Ten Ragas To A Disco Beat record, its mysterious provenance will no doubt be called into question. Temporal Marauder makes me feel like this is all, perhaps, too good to be true. (SM)