Articles
Ten Questions Eric Quach
Ten Questions :papercutz

Albums
17 Pygmies
Alex B
Alva Noto
Antonymes
Aubry & Montavon
Bonobo
B-Sanders
Martin Buttrich
Ken Camden
Mlle Caro & Garcia
cecilia::eyes
Mathias Delplanque
DMT
d_rradio & Lianne Hall
Drape
Elektro Guzzi
Roman Flügel
Pierre Gerard / Shinkei
Ghost of 29 Megacycles
Tord Gustavsen
Ian Hawgood
Hrdvsion
Ikonika
Indignant Senility
Kingbastard
Loveliescrushing
Lunar Miasma
peterMann
MONO
Ontayso
:papercutz
Pausal
Pjusk
Jonas Reinhardt
Pascal Savy
Thorsten Scheerer
Scuba
Semuin
Sonmi451
Stray Ghost
Nicholas Szczepanik
Thisquietarmy
The Timewriter
Vex'd
Christian Wallumrød

Compilations / Mixes
Duskscape Not Seen

EPs
Orlando B.
Mlle Caro & Garcia
Kirk Degiorgio
Russ Gabriel
Kyle Hall
Junkie Sartre & Hexaquart
Lena
Mike Monday
Adam Pacione
Colin Andrew Sheffield
Shinkei / mise_en_scene
Rick Wade
When The Clouds

Indignant Senility: Plays Wagner
Type Recordings

Under the Indignant Senility name, Portland-based Pat Maherr (who also issues material of varying genre types under the monikers DJ Yo-Yo Dieting, Sisprum Vish, and Moms Who Chop) might ‘play' Wagner but don't expect the familiar strains of the Siegfried Idyll or Prelude and Liebestod to emerge anytime soon once Maherr's finished twisting the original material into its new form. In the CD's eleven tracks (the release combines the limited vinyl editions, parts one and two, onto a single disc), Wagner's music is dragged through a murky swamp until it sounds like drowned music dredged up from a watery grave—the kind of music the small band might have played as the Titanic plunged beneath the ocean's freezing surface. That the project initially appeared as a limited cassette release on Maherr's own label last year is borne out by a lo-fi production style that presents the music as a decomposing corpse (having mastered the material from cassette tape, Type purposefully retained the grime coating the original version in order to capture the original's ‘broken' spirit). Teeming with woozy distortion and soaked in hiss, the tracks crawl through creaky, nightmarish zones where strings melt into liquid sewage and horns become rippling storm clouds. There's little point in discussing individual pieces, as it's the cumulative impression that matters most (a point reinforced by Maherr's decision to leave the tracks untitled), not the minor differences that distinguish one mutation from another. Maherr's Indignant Senility sound inhabits an underworld similar in design to Leyland Kirby's Sadly The Future Is No Longer What It Was , but if anything Plays Wagner plummets even deeper into the abyss. Imagine a roomful of decrepit gramophones playing decades-old classical recordings out of sync with one another and you're on your way to conjuring the entombed world of Plays Wagner.

May 2010