ARTICLES
Ten Questions: Fat Jon
MUTEK 2006

ALBUMS
65daysofstatic
A Cloud Mireya
Ambarchi and Ng
Another Elec. Musician
Derek Bailey
Band Ane
Barzin
Black Gold 360
The Blow
Boduf Songs
Childs
Darc Mind
Dosh
Duopandamix
Fat Jon & Styrofoam
Liam Gillick
Shuta Hasunuma
Tim Hecker
Ilkae
Jack's Son
Richard Jäverling
Jazzkammer
Junior Boys
Last Days
Hanno Leichtmann
Luomo
Mandelbrot Set
Mountaineer
N.Phect & Dizplay
Part Timer
Karsten Pflum
Benoît Pioulard
Plus Device
+/- {Plus/Minus}
Relay
Saroos
Seht
Shedding
So Percussion
Sybarite
Trio Vopá
Marshall Watson
Weather Report
Donato Wharton
Christopher Willits
Xela

COMPILATIONS/MIXES
ESL Remixed
Four Tet
Garnier & Craig
Ginglik Saturdays
Michael Mayer
Henrik Schwarz

3"/7"/10"/12"/EPs
Colleen
Delano and Xpansul
Detritus
Ed Devane
Eskimo
Feathers
Goldmund
Ezekiel Honig/Graphic
Ezekiel Honig
Eliot Lipp
Robert Lippok
Alejandro Lopez
Evan Marc
Porter & Carr
Sebastian Russell
Somone Else
Spaceships & Pings
SplitEP3
Simon Whetham

Donato Wharton: Body Isolations
City Centre Offices

Donato Wharton chose the dance term ‘body isolations' as his latest album's title to create a parallel between a dancer's (and viewer's) concentration on the movement of an isolated body part—leg, foot, arm, hand, head, whatever—and a given track's concentration on a particular mood or expression. True enough: there's no question that each of the disc's nine evocative settings exudes a radically different character, with some generally delicate and others aggressive. The mood is predominantly dour (though not unpleasantly so) and proves most rewarding when broached as ‘headphones' music so that its subtle detailing can be best savored.

The material's understated character is evident the moment “Absentia,” a translucent scrim of tiny ripples and static, appears and the delicate ambiance is maintained by the shuddering meditation “Blue Skied Demon” and the spindly guitar lattices and gentle piano sprinklings of “Transparencies.” Wharton's more extroverted side comes to the fore in “Underwave,” where a steely wave crests alongside droning thistles of electrical hum, and “Puget Sound,” where scuttling noises echo amidst piercing bell tone accents, evoking the grey seascape suggested by the title. Though Body Isolations' material is consistently compelling, the album's strongest pieces emerge during its second half: chopped fragments of drums, bass, and warbling guitars drift through a bluesy, crackle-laden haze in “The End of the American Century” while scalded guitars softy snarl through a desolate landscape in “Deities Stalk the Land,” the song's blurry guitar sound vaguely similar to Robert Fripp's in his extended Eno collabs. The album closes with the seamlessly bridged “Sidereal” and “Wake” which collectively present a particularly heavenly meander of ghostly guitar peals and piano murmurs.

November 2006