Handsome Furs – Sound Kapital
Opener “When I Get Back” has Boeckner returning to his native land a changed man, for better or for worse, as Perry’s left hand punches out deep grooves and her right hits an almost bubbly synth melody. “Memories of the Future” sees Boeckner disparaging the nostalgia that, arguably, drives this entire project and its wanderlust—“I throw my hands to the sky / I let my memories go.” The track proves that he and Perry can turn a forward-looking outlook into just as much of a jam as a backward-looking one. “Serve the People” could be an indictment of Russian oligarchs and American corporatists alike, and it will get fists in the air in both countries. Early single “What About Us” turns the record’s most club-ready and retro banger into a New Order-esque heart-on-sleeve coda, with Boeckner singing, “Let’s stay in this evil little world / Break my heart” over and over again to somehow comforting, ethereal results. Read the full review on Pop Matters

Fucked Up – David Comes To Life
More than any single Fucked Up record, David Comes to Life is thick with walls of noisy melody. It’s hard to get a handle on just how many guitar tracks are on a given song, and Shane Stoneback deserves a medal for mixing the sheer bulk of the sound into something so clear. But for all the shoegazey textures and blistering sonic assault, David Comes to Life is also direct and immediate. Hooks are piled on top of hooks, bursting through torrents of spacey noise (“I Was There”) and peppy rhythms (“The Recursive Girl”) alike. At points, the primal appeal of the blunt and effective riffing even brings to mind the bar-band rock of the Hold Steady. Read the full Review

Brian Eno & Rick Holland – Drums Between The Bells
A track on Drums Between The Bells like “cloud 4″, with Eno’s multilayered voice modulating between intonation and generous song to deliver gently optimistic, contemplative lyrics over legato organ lines and softly arpeggiated synths, finds itself speaking to Another Day on Earth and the semi-titular track “Just Another Day.” This cluster itself speaks to the instrumental (I dare not say ‘voiceless’) meditations “The Big Ship,” “Sombre Reptiles,” and “Another Green World” that nestle at the center of 1975′s Another Green World. It’s a testament to his maturity and prescience that Eno can maintain a conversation with his past achievements, giving an impression of a sustained meditation on an eclectic bundle of decades-long vibrating strings, and that he remains as happy creating “three-dimensional instantiations” of poetry as he is setting poetry to music, and finding time between to promulgate as many permutations as can be mustered or set in motion. Read the full review

In early 2007, my stepfather Peter and I were sitting next to his wood stove drinking coffee and talking about music. I mentioned that I was thinking about starting a vinyl collection. I had flirted with records back in the late ‘90s after receiving a cheap Sony turntable as a present. But I had donated it and my fledgling collection to a friend before a cross-country move.

As we talked, I told him that there had been a lot of press about LPs lately, signs that lots of folks were buying records, and labels and bands were pressing vinyl and pairing it with mp3 downloads. Obviously amused that another old thing had become new again, he told me there were at least a few boxes of records out in one of his barns. Curious, I suggested we check them out.

His memory served us both: We found four heavy, sealed cardboard boxes and hauled them back into the house, one by one. As the old dry tape gave way and I opened each box, that distinct dusty smell of moldy record sleeves wafted out.

I saw both early promise and amusing red flags: I recognized the sleeve for Talking Heads’ Fear of Music not from my recent music memory, but from our living room when I was a kid. Likewise with Madonna, Rod Stewart, and The Pointer Sisters. But then I saw a Brian Eno record. Discreet Music. I wasn’t expecting that. And an ancient Muddy Waters LP. Then there was a huge stash of classical, which, I’ll admit, meant nearly nothing to me. Names went on and on: Pharoah Sanders, Eric Satie, Bob Marley, and, of course, the Beatles.

I asked if I could borrow the boxes, and he agreed on the spot. After all, the reminded me, they had lived in various barns for at least 20 years.

Later that day I realized that, from classical through to folk and blues, then ‘60s rock ‘n’ roll, ‘70s experimental music and reggae, then the cocaine-gloss of all the ‘80s pop, this was Peter’s musical history in several chapters. In fact, it occurred to me that one could tell the story of Baby Boomers largely through their record collections.

I’ve now decided to pull one record at a time from the stacks. It may be random; it may be something I’ve been listening to for a while. I’ll listen to it, write about my impressions, and then do a little research to find out what the album’s story is. And occasionally, I’ll check in with Peter and find out, for example, why the hell he bought Tubular Bells or The Selecter’s Celebrate the Bullet.

I’m calling this series After the Gold Rush because that’s what I consider this stash of plastic: a lucky strike of memories, music, and a classic format that was abandoned long before its time. It has its ups and downs, sure, but there’s gold in them there boxes—and I’m determined to find it.

Matt Bushlow is a freelance writer living in Burlington, Vt.

MGMT – Congratulations
“It’s Working” leads off Congratulations as a fairly lighthearted track with a understated post-punk bass line. “Song For Dan Treacy” follows as a mod-rock throwback infused with an electric organ and a series of effects. “Someone’s Missing” quietly introduces itself through Andrew Van Wyngarden’s echo-heavy vocals, but just as soon as it begins to pick up speed a gentle funk fades the track out. The ire-raising “Flash Delirium” and “I Found A Whistle” round out the first half of Congratulations, though each honestly fails at revealing much more than par-for-the-course psych-rock.

If any song were to polarize listeners it’s likely to be “Siberian Breaks,” a multi-part ballad that sweeps up pseudo-flower power, a curious spoken word transition, and spacey keys into a convenient 12 minute package. Its kaleidoscope effect does little to offer a contrast to the rest of the record but it could very well be the straw that breaks the MGMT fan’s back; the 12 minute, oddly erratic straw. Rounding out the record is the garage rock-revival sounding “Brian Eno,” “Lady Dada’s Nightmare”—which could have more suitably accompanied the terribly uncomfortable “Kids” video—and the slow freak-folk of Congratulations‘ title track. Read the full review

Coheed & Cambria – Year of the Black Rainbow
Coheed And Cambria has always been remarkable for the extended science-fiction tale that runs through its albums, one that’s also manifested as the comic-book series The Amory Wars (written by Coheed’s leader, Claudio Sanchez). But the band’s fifth full-length, Year Of The Black Rainbow, has higher aspirations: cinematic ones. The disc kicks off with “One,” an eerie, soundtrack-like instrumental that would feel right at home in a J-horror film. Read the full review

Khaki King – Junior
Katherine aka Kaki King may have only just reached the ripe old age of thirty, yet she has already clocked up a succession of accolades from other well-respected musicians – Dave Grohl and Robert Smith being two that spring to mind – not to mention consistent levels of critical acclaim bestowed upon each record she’s put her name to since her debut long player ‘Everybody Loves You’ back in 2003.

Now onto album number five, ‘Junior’ is possibly her most gut-wrenching statement of intent yet, following on from its predecessor, 2008′s ‘Dreaming Of Revenge’ in every way possible right down to the sentimental desire for retribution shown previously on ditties like ‘So Much For So Little’. While the lyrical theme throughout ‘Junior’ seems to revolve around Ms King’s obvious dislike for a former lover, it’s the sublime levels of instrumentation that really come to the fore here, particularly bearing in mind her exquisite guitar playing and subtle arrangements that take in fury and melancholy in equally disparaging measures. Read the full review

Murs & 9th Wonder – Fornever
Gunning for the title of “hardest-working man in hip-hop,” Murs has released 30-plus albums and EPs over the last 15 years, including collaborations with Slug of Atmosphere and his own crews 3 Melancholy Gypsys and Living Legends. Yet arguably his most memorable moments have arrived in tandem with the North Carolina producer 9th Wonder.

“Fornever,” the duo’s fourth collaboration and the first of 10 albums that Murs plans to release in 2010, does little to expand upon an already established template. As consistent as the Southern California climate and equally affable, 9th Wonder’s soulful, sun-kissed beats blend like barbecues and backyards with Murs’ relatable raps about subjects as varied as his affinity for Asian girls and the perils of cigarette addiction and dating porn stars (“Vikki Veil”). Read the full review

Ok, we’re back with the second installment of “The Top 10 Reissues of 2009″.  Seeing as all such lists are completely subjective and as such subject to the whims of their imperfect, ego-driven, sex-god authors (well, at least this list is), you can expect to see a few albums you may not agree with, or maybe never even heard of.  Yes, I’m that cool—I listen to albums you’ve never even heard of.  Sometimes albums that haven’t even been written yet.  Albums that only exist in my own warped, feeble mind.  MUWHAHAHAHAHAHAHAHA! Yes, I lead a sad life.

Anyhoo, I chose the albums that I did not in the hopes of being esoteric and cool (I’m thirty, work a corporate job and have a double chin and a bad haircut; I gave up on pursuing “cool” a while ago) but because I really, truly love these albums.  They are my “desert island” albums, my shoulder to cry on when I’ve had a bad day, or a friend to dance with when I need to celebrate.  I know I could find real people to fill these roles, but it’s easier to buy things.  Plus most of the people I know don’t make very good music.  Herb for example.  (Just kidding Herb.)

So here’s #6-4 of my favorite reissues of the year.  If you haven’t heard them, pick up a copy at Pure Pop (or have them order you a copy if it’s not in stock).  If you end up loving the album, buy me a beer.  If you hate it, kick me in nuts and demand your money back.  Or just leave a comment in the field below.  Enjoy!

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6) Marble Sky – “The Sad Return”

Underground cassette culture can be a curse or a blessing.  While it can be truly amazing to discover the next great noise god on your coveted, handmade uber-limited release C-20, it can also be incredibly frustrating when (because you were too broke or not in the know enough to purchase it) the album everyone is talking about goes out-of-print.

This was the case with “The Sad Return”, the first album by Marble Sky (side project of Impregnable/Secret Abuse/Roman Torment/etc. etc.’s Jeff Witscher). Released originally in a run of only 15 cassette copies on Callow God in 2007, “The Sad Return” became one of the most talked about underground albums of that year.  The lo-fi, blissful synthesizer drones on the album recalled everything from Brian Eno’s “Apollo…” to Eliane Radigue’s Arp works to New Age pioneers like Steven Halpern or Laraaji, yet had a unique, decayed beauty that was distinctly its own.

While low-quality mp3 rips of the album existed online, for the fans clamoring for a physical copy it seemed like a proper reissue would never come.  Finally, nearly two years after the initial release, the wonderful Students of Decay label released a gorgeous, remastered version of “The Sad Return” on CD, with sophisticated and evocative artwork pro-printed on a standard digipak.  This time, they did a run of 500 copies, so this one should stay in print for a little while….but I wouldn’t sit on it.

5) Klaus Schulze – “X”/”Mirage”

2009 was a big year for reviving 70s progressive synth and Berlin School electronic music.  While new artists like Oneohtrix Point Never paid homage with bliss riffage that owed heavily to the period, the nostalgia kick was also fueled by vinyl and CD reissues of some classic albums from two of the original masters, Klaus Schulze and Kraftwerk

Klaus Schulze started his career as a drummer for prog ambient legends Tangerine Dream and later was a founding member of Ash Ra Tempel.  However, he is probably best remembered for his solo works, which constituted some of the first true “ambient” music.  “Mirage” and “X” were two of his greatest works from what is arguable his greatest working period, the late 1970s.

“Mirage”, first released in 1977, is easily the darker of the two albums, with an abundance of minor keys and heavy, brooding oscillations.  The album starts off with the haunting and lovely “Velvet Voyage” sounds just as its name implies, moving gentle from one theme to the next and blending lovely synthesized vocal and string choruses with sequenced rhythms and burning riffage.  The simple chiming, xylophone-esque sequence that starts off the second track, “Crystal Lake”, could easily be mistaken for an early John Carpenter movie soundtrack.  However, the track quickly moves along to introduce increasingly complex polyphony as sequence builds upon sequence, then fading out to a beautiful, droning New Age bliss-out.  The final track, “In Cosa Crede Chi Non Crede?”, is the shortest piece on the album (it still has an epic 19-minute+ runtime) but provides a nice gentle, jingling comedown from the heaviness of the previous two 1/2 hour epics.

“X” was Schulze’s 1978 follow-up to “Mirage” and despite the short amount of time between releases, it shows a tremendous amount of growth.  The compositions are more complex and allow for much less subtle displays of technical skill and mastery of dynamics.  Compared to the relative sedateness of “Mirage”, “X” simply rocks out. From the proggy riffage of “Friedrich Nietzsche” that could put Rick Wakeman to shame through to driving motorik of “Frank Herbert”, “X” is in many ways a more confident and arguably more commercial Schulze release that foreshadows his work in the 1980s, while still retaining some of the Berlin School elements that make his 1970s work so powerful.

4) Kraftwerk, “The Catalog”

Everybody knows Kraftwerk.  Even people who told listen to electronic music (hell, even your mom) will recognize the main riff from “Autobahn” or recognize a picture of the group from their heyday.  Whether it’s the kitschy, commercial quality of their later work or the famous “man-machine” robotic quality of their stage presence/marketing persona, Kraftwerk somehow became an ubiquitous part of our modern cultural zeitgeist.

So  Kraftwerk is the most famous German electronic group of the 1970s…..but how many people do you know who own their albums?  They’re one of those bands that everyone has heard of, but not that many listen to.  A big part of the reason is that their sound is frozen in time, encased in early electronic music kitschy-ness that can turn some people off.  But a bigger reason is availability and quality of the existing recordings.  The original vinyl releases have become increasingly rare and expensive for good quality copies, and the original CD releases suffered from poor mastering.

This year, all that changed when Kraftwerk reissued eight of their best-known albums individually and as a boxed set called “The Catalog” (the name is a bit misleading, as it doesn’t include Kraftwerk’s more experimental, krautrock inspired early work) on both CD and vinyl formats.   Finally, you get to hear Kraftwerk as they were meant to be heard, and if there was ever a band whose albums demanded the ultimate in pristine quality, it is Kraftwerk.  While they wrote some melodies and vocal harmonies that rival The Beatles and The Beach Boys (well, at least their lesser works….) the real star of the Kraftwerk show are the synthesizers.  Hearing these albums remastered makes you realize just how powerful it must have been to hear these machines live for the first time, the completely inorganic zippering highs and gut-thumping low end.

An analog synthesizer is a beautiful thing, and Kraftwerk’s songs were nothing more than an ode to the machines they loved, just like a e.e. cummings love poem is as much an ode to the words themselves as to any human object.  It’s no accident that Kraftwerk called one of their best albums “The Man-Machine”.  They wanted to be robots; they wanted to be nothing more than passive operators of this wonderful equipment, the ultimate “gear heads”.  As a result, it makes Kraftwerk’s rise to popular success even more impressive.

More than anything though, these are just fun songs that provide a nice historical look at the origins of modern electronic dance music.  If you’re a Kraftwerk initiate, I recommend picking up “Computer World” or “The Man-Machine” and going from there.  Just don’t be surprised if you develop an overwhelming desire to become a robot.

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Ok, that’s it for Part 2.  Join us next week for Part 3, featuring the three best reissues of 2009!

Hey y’all, I’m Josh.  I worked at Pure Pop a couple of years back, right around the time Sue Norton was packing up for NYC.  As was the case with Sue and Casey, the time I spent in that dingy basement broadened and refined my musical knowledge more than I ever would’ve expected.  It seemed like I was constantly discovering some new, mind-blowing album through one of my co-workers or a Pure Pop patron, and I’ve got nothing but love for the place because of it.

These days I’m involved in a few different music projects, which are all tied to Aether Everywhere, the experimental label and online resource I help to run with Pure Pop lifer, Tanner McCuin, and the drumtastic leader of The Le Duo, JB Ledoux.  Feel free to check out the website, which has been lovingly constructed by Tanner, and join the discussion forums for music updates and general shenanigans.  www.aethereverywhere.com

I’ve been asked to write about a few ambient and drone albums I feel deserve some recognition.  If you’re reading this, then you’re probably already familiar with the highlights of these genres, like Brian Eno’s ambient releases, Aphex Twin’s Selected Ambient Works, Vol II, Biosphere’s Substrata, and Stars of the Lid’s The Tired Sounds… (and if you’re not, get on ‘em!), so I’m providing a chronological list of seven albums you may not be aware of, but are definitely worthy of your attention.

1) Klaus Schulze – Irrlicht

(Ohr; 1972)

Cosmic drones from Ash Ra Tempel and Tangerine Dream ex-member, Klaus Schulze.  Using an organ, electronic effects, and a heavily-processed orchestra, Schulz created three colossal monsters that catapult you into the deepest recesses of space.  Sharing many attributes with Tangerine Dream’s masterstroke, Zeit, any lover of early ‘70s German music has a gaping hole in his/her album collection without this one.

2) Tetsu Inoue – Ambiant Otaku

(Fax; 1994)

Relatively unknown, but highly touted by hardcore ambient fans, Inoue has been producing a steady stream of quality albums over the past couple of decades.  One of his biggest fans, John Zorn, has released several of his servings on the awesome Tzadik label. Ambiant Otaku is most often cited as Inoue’s masterpiece, as well as one of the genre’s landmarks, and for good reason.   Equally delicate and heady (which isn’t easy to pull off), you could easily spend weeks with this and his slightly darker offering, Organic Cloud, which was released a year later.

3) Pete Namlook – Air II

(Instinct Record; 1994)

Despite the fact that he’s released more than 100 albums, founded the venerable German ambient label, Fax, and collaborated with the likes of Klaus Schulze, Bill Laswell, Biosphere, Richie Hawtin, and Higher Intelligence Agency (to name a few), not many people seem to know much about Pete Namlook.  I haven’t even begun to put a dent in his massive discography, but from what I’ve heard so far, Air II stands above the rest. Namlook deftly mixed shimmering synth pads, a barrage of exotic instruments, and plenty of interesting rhythms to create 11 pieces that work wonderfully as a unified whole, and take on almost a gothy feel in some spots. It remains one of those albums that always seems to find its way back to my ears before too long, and it’s usually one of the first to spring to mind when I’m asked to recommend an awesome album.

4) Thomas Koner – Nuuk:

(Big Cat Records; 1997)

Dark ambient really doesn’t get any better than this.  Koner, who’s one half of Chain Reaction alum Porter Ricks, created a stunning album that perpetually evokes the barren, frozen landscapes of Greenland.  Here’s a link to the Dusted review of Nuuk’s 2004 reissue, seeing as how it was penned by another Ghost of Pure Pop Past and all.

5) Hazard – Wind

(Ash International; 2001)

B.J. Nilsen, aka Hazard, hit a roadblock while trying to effectively capture the sounds of the wind, so he did one better by borrowing sound clips from field recording maestro Chris Watson.  He then subjected these recordings to extensive digital processing and came out the other side with drones harrowing enough to recall Eno’s On Land. Highly textural and trippy as hell, this one’s not nearly as academic as it sounds on paper.

6) Christopher Bissonnette – Periphery

(Kranky; 2005)

For Periphery, sound artist Christopher Bissonnette weaved together snippets of piano and orchestral samples and stretched them into the unrecognizable, leaving only a ghostly blur where the source material once was. Bissonnette’s skillful patchwork summoned the sounds of barnacle-encrusted pianos and violins sighing from the recesses of an arctic sea, getting swept up by the currents, and gently floating back down to the ocean floor.

7) Lusine ICL – Language Barrier:

(Hymen; 2007)

I can’t stress enough that you should give this one at least five loud headphone spins before you make any decisions.  All of the parts that initially sound elementary become deeply resonant and flat-out gorgeous with each subsequent play.  Ambient or not, this is the perfect album to cue up when you’re taking a mellow drive on a sunny autumn day.  Or to put it another way, if you’ve ever wondered what it’d be like to hear The Field’s Sublime sounds on a morphine drip, skip right to track 3 and press play.