Retrospectively one of my favourite releases from last year, 10 Days Butterfly is another ethereal creation from Korean "acid" (sorry) folk artist Kim Doo Soo. Painfully heartfelt; such stark emotion shall cause an ascension into another world.

For fans of: meditating and crying and spiritual journeys from the sanctuary of your headphones.
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The Cherry Point, aka Phil Blankenship, author of at least one thousand and six noise releases so far, stands out from his wall noise peers with carefully articulated floods of bottom heavy roars and synth screams, seemingly deciding to give a shit about what his gear is doing.
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This is the latest stellar EAI release from Toshimaru Nakamura, here paired with English. Nakamura has been working with many, many good people, my most recent favorite being his duo with Keith Rowe on 'Between.' Here, especially towards the end of each of the three long pieces, you get a strong sense of composition. Nakamura has been one of the more maximalist of the Japanese EAI (onkyo) scene, if you can be maximalist with a no-input mixer.
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I'm just going to say that having only ever heard other NWW releases in the vein of Homotopy To Marie and Thunder Perfect Mind, this is not at all what I expected. I do believe, however, that the version of "All of Me" that closes the record proves that jazz bands have always had the wrong idea when playing this song. "No guys! It's not supposed to be flirty, it's supposed to be creepy as fuck!" Perfect.
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This twenty minute set was recorded on a toaster oven (wtf?) during Harry Pussy's final tour. The crowd screams along with Adris while the band pukes up fractured squalls of noise for about thirty seconds at a time. The banter between songs is priceless. This is vintage HP, finally released after ten years, and not to be missed.
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One of the latest Sunn 0))) incarnations goes by the name of Pentemple - an unholy alliance between the usual Sunn 0))) boys (Stephen O'Malley and Greg Anderson), ambient artist Oren Ambarchi, and black metal visionaries Attila Csihar and Sin Nanna (AKA Striborg). The Southern Lord website called the limited CD, an improvised live collaboration in Melbourne, Australia, a “blackened low-end psychedelic war,” the record that i've been dying to get a copy.
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During my troll through the '80s, one of the more odd albums that I came across is this. Parts industrial, new wave, and avant rock, we are looking at some weird place were Meredith Monk, Deerhoof, the Art Bears and Diamanda Galas hang out, get twisted on helium balloons, Robitussin and French flicks while mainlining Richard Pinhas. Oh yeah, these kids are Belgian to boot (WTF?).
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Here, at last, is the promised Tony Conrad post. I decided since Paul had already written a gorgeous review of Joan of Arc that it would be best to just post that, as it is the best summary of the piece I've read.

"Like Phill Niblock, Tony Conrad has flown under my radar as a pioneering minimalist, an artist that, unbeknownst to me, laid the foundation for much of the music I have recently been into.
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For those of you that are enterprising youths that want to give your boss the distinct impression that you are a full on fascist, check out this, then leave it lying around your desk blasting out of your iPod. Those buds will be iPod buds of death. EG 01 appeals to you in the way Throbbing Gristle and Cabaret Voltaire do, at the same time. That is, at first you'll think this is '80s industrial with good taste.
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This shit is earthy in just about every sense of the word. Here Michael Morley takes a break from his usual noise rawk shtick to crank out some dirty and suffocated drone tracks. The music is complimented by Jandekesque half spoken, half sung vocals and a good dose of fuzz. I'd go ahead and assume this was recorded in the decaying shack featured on the album cover.
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