ARTICLES
2006 Top 10s and 20s
2006 Artist Picks

ALBUMS
17 Pictures
Angina P
Ateleia
Benni Hemm Hemm
The Boats
Cappablack
Celer
Dead Letters Dead Words
Deceptikon
Deerhunter
Denzel + Huhn
Displayaz
Dollboy
Drone
Eluvium
Emanuele Errante
The Eternals
Fear Falls Burning
Marcus Fjellström
Fonoda
Funkstörung
Goldfrapp
Gyroscope
Robert Henke
James Holden
The Idealist
Anders Ilar
Landing
LCD Soundsystem
Library Tapes
L Pierre
Lullatone
Tor Lundvall
Mad EP
Mahogany
Melodium
Mem1
Daisuke Miyatani
Mole Harness
Momus
Monoceros
Mormo
Mothboy
Original Hamster
Pierson & Horton
Prince Valium
Radical Face
Retail Sectors / Yaporigami
Rylander & Elggren
Scott Solter Plays PIM
Sideshow
Silicone Soul
Skream
Splinters
Mark Templeton
Thread Pulls
T. Raumschmiere
Tycho
Ultre
Virculum
Xela

COMPILATIONS/MIXES
AudioArt 03
Cumulous
Dubstep Allstars Vol. 4
Eriksen / Toft / Utarm
Katapult VA Vol. 3
Let's Lazertag Sometime
Mr Geoffrey & JD Franzke
Skagen / Halvorsen / Toft
Tectonic Plates

3"/7"/10"/12"/EPs
Gabriel Ananda
Robert Bardini
DAT Politics
Dead Letters / R. Sundin
Dogmixer
Benjamin Fehr
Fenin
HL
I Make This Sound
Zoë Irvine
Kyriakides and Moor
Lamont & 2tall
Ljud. & Piloten / Kama Aina
Jacob London
Sam Mcqueen
Miskate
Ryo Miyashita & Hiiragi_
[nara]
New Faces
Of / Greg Davis
Charlemagne Palestine
Phon.o vs Litwinenko
Portable
PostPrior
Samarah
Nicholas Sauser & Ditch
Someone Else
Hannes Teichmann
Tractile
Andy Vaz

IMAGES
F.S. Blumm

Dax Pierson & Robert Horton: Pablo Feldman Sun Riley
AA/Nosordo

Pablo Feldman Sun Riley came about rather serendipitously when Robert Horton met Dax Pierson (Subtle, 13&God) at Amoeba Music, a major record store in Berkeley, California where the two discovered a shared affection for Augustus Pablo and Morton Feldman. Naturally enough, the collaborative outgrowth of that encounter pays homage to those artists as well as Sun Ra and Terry Riley. The album's seven pieces (five in the ten minute or longer range) are explorative meditations that honour the four figures by not merely aping them in some crudely imitative form but by invoking them in spirit.

The remarkable opener “Winterlong” is both mobile and static; it's the kind of spacious music-making where every note is, so the cliché goes, pregnant with meaning. Dominated by the slow interplay between Pierson's shuddering melodica, Horton's church organ-like khaen (a free-reed bamboo mouth-organ from Laos and Northeast Thailand), Alexander Kort's cello plucks and bowings, and occasional vocal growls by Lon Huber, the piece stops time for its full ten minutes and wholly arrests one's attention in the process (Horton describes the piece as representative of the ‘Pablo Feldman' part of the album). Though the range of instrumentation is as provocative as the music itself (bowed guitar, Dr. Sample SP-202, synthesizer, sine wave, tape guitar, and ‘boot,' a four-stringed homemade device), the artists use that sonic potential to shape the material into multi-dimensional form. The material defies easy pigeonholing, but one could classify Pablo Feldman Sun Riley as experimental dronescaping of a particularly rich kind, especially when it ascends the mesmerizing peak of the penultimate “Offguard”; one might also describe it as a quintessential kranky recording that, in this case, happens to be issued on AA/Nosordo.

January 2007