for July, 2006. Page 1.
for July, 2006. Page 1.

I’ve heard this name floating around for a while now, and despite the name’s sheer and overwhelming awesomeness, I had failed to take notice. But I’m doing my best to quickly make up for that.
From what I’ve been reading, these guys are frequently getting pegged as “ripping off” Boards of Canada. It’s a comparison that would occur to anybody, but “ripping off” is a harsh and plain inaccurate way to put it. Still, they are heavily informed by BoC’s hypnotic, break-driven ambiance. And if you amplify these elements with the bombast of M83, and hints of Aavikko and Apparat Organ Quartet, you’ve got a pretty close approximation of BMSR’s sound.
Further information is scarce (not even sure where these guys are from), and they seem to remain intentionally elusive to photographers, so please excuse the brevity of this post.
“Drippy Eye,” “Side 8,” and “Lost” all come from their (rather lengthy) EP of this year on Graveface Records, Lost, Picking Flowers In The Woods.
Holy Shit is a new collaboration between pop savant Sir Ariel Pink and The Push Kings’ Matt Fishbeck. Fishbeck is responsible for most of the vocals, which resemble a more tender, sober version of Pink’s, still gently dramatic and throaty and exaggerated. In fact their debut album, Stranded At Two Harbors, is kind of a sleeker, more sensible version of an Ariel Pink record, though the super duper lo-fi Seventies AM aesthetic is still the order of the day. So for those who’ve kept Pink at arm’s length these past couple years, you’ll really want to give this a shot.
There are some musicians who seem to intentionally stay obscure, only wanting their music to be heard by those who try very hard to find it. Virginia Astley certainly is one of these. Making music from 1983–96, her albums were almost all sold in Japan on very limited vinyl editions. Now it’s almost impossible to find any of her music, and I doubt that she has any objection to people downloading it since almost everything she’s done is out of print or impossible to find without paying crazy prices or getting incredibly lucky in a record store.
I first heard Astley on a mix a friend gave me, and from that one track I was immediately entranced. Astley makes music that feels like a garden on a warm spring day, with beautiful, minimal instrumentation and lush melodies. It awakes a range of emotions, from joy to something so beautiful it’s sad. I only have her debut, From Gardens Where We Feel Secure, but apparently her later stuff is somewhat more synthesized and employs vocal which can be very dark. The debut is instrumental and soothing, and really incredible to listen to. If you can find it online it’s a must download. But for now here a few tracks off that debut… if you have anything else by her PLEASE contact me.