Articles
Colleen
Take and Glen Porter

Albums
Aquarelle
Victor Bermon
Bogenschutzer
Boy in Static
Celer
Colleen
Copy
Damiak
Dan Deacon
Matthew Dear
Decomposure
Elegi
Brian Ellis
The Fields of Hay
Formication
The Fun Years
Guthrie & Budd
Tobias Hellkvist
J Dilla
Library Tapes
Maps
Maserati
Mokira
Ontayso
Morgan Packard
Glen Porter
Proem
Radical Fashion
Rain-cloud
Retina.IT
Run_Return
Ulrich Schnauss
Signalform + Tachikoma
Someone Else
Take
Jedediah White
Wiley
Wolf Eyes
Yard
Zelienople

Compilations / Mixes
Ellen Allien
Famous When Dead 5
A Private Shade of Green
Speicher 3
Telefon Tel Aviv

3"/ 7"/ 10"/ 12"/ EPs
Apples & Milk
Canson / Styro2000
Chrom
Claro Intelecto
Dartriix
Death is Nothing to Fear 2
Deepchord : Echospace
Ditch
Easy Changes
Monsieur Black
Brian James
Koljah
Liviu Groza
mha
Andy Stott
Vektormusik

DVD
Packard / Ott

Zelienople: His/Hers
Type

On its fifth album and Type debut, His/Hers, Chicago trio Zelienople migrates towards the hazy psychedelic-folk-blues climes inhabited by Charalambides. The album's five long tracks offer ample room for guitarist-vocalist Matt Christensen, percussionist Mike Weis, and guitarist-clarinetist Brian Harding to explore gradual shifts in mood and dynamics, with the material ranging between lonely, desolate balladry and ferocious caterwaul. “Family Beast” sets the tone immediately as swampy guitars shudder and twang while Christensen's high-pitched drawl drifts like a snakebit man heard during his last moments. The even more submersive “Moss Man” starts out as a slow-core, somnambulant lullaby and then gathers force, turning hazier and denser, until the detonation occurs halfway through, transforming the tune into a cacophonous freakout of lacerating guitar shredding and drum clatter. With most tracks in the eight- to nine-minute range, multiple changes in character occur during a given piece's duration. “Parts Are Lost,” for example, is initially lively, with Christensen's soft vocal prodded by jingling sleigh bells, but then segues into a darker episode of hazy folk ambiance. Similarly, in its first half, “Forced March” presents a bruising cyclone of raw guitar fuzz, funereal percussion, and drowned vocals; in its second, the tempo slows for a dreamy tremolo guitar workout. While the album isn't such a radical stylistic departure for Zelienople, His/Hers clearly offers evidence of Type's expansion from its original predominantly electronic emphasis to a catalogue that also accommodates the trippy excursions favoured by Zelienople and The North Sea.

July 2007