Podcasts and reviews!

Loads of new podcasts with Orca, Attack’s! C.M.S.O. on the deck this past couple of weeks:

And there’s an extremely perceptive track-by-track review of the album up on listencorp (we expect nothing less!). My favorite part:

Reaching an ecclesiastical euphoria of harmonies and echoes, the voice doles out thank you’s from the creators of the course. After which things descend into instrumental chaos with glissando notes filling the soundscape, ending the course on an emphatic and almost ornate note tied off with a twinkling swish of pixellated bells at the very end.

Finally, Farewell, Doomed Planet! is also back on the WTUL charts this week. By my count, that’s now 21 weeks? Amazing.

On The Fringes of Sound Review

Love this reaction to Orca, Attack’s! C.M.S.O. from On The Fringes of Sound:

When I received this one in my inbox, it immediately stood out to me as one of the most interesting concepts for an album. The entire EP is something of an essay being read aloud, except the message comes through… wrong.

I‘m currently four listens in and I‘m quite sure I haven’t learned anything. But I do know that it is also very fun to listen to.

Read the full review over on the website. Thanks Lars et al!

Dream of a review from Underscore

Well, this is the kind of review one dreams about. From Underscore Music Magazine’s new series, The Inbox:

“God, I love this. I love the music and I love the idea, which is one of those you wish you’d thought of yourself and can’t believe it hasn’t been done before…Airy vocals, mangled library music, robotic spoken word and sudden flights of electronic fancy guide the listener through what seems to be a pretty complex academic paper…”

More over on the Underscore website. Thank you!

Reviews and more!

Woke up this morning to quite a few happy notifications. First, Monolith Cocktail has a great write-up of C.M.S.O. This lovely excerpt should get you to want to read the whole thing:

A writer of repute on the failures of tech, communication and self-preservation, Rodriguez (who also files his musical experiments under Alison’s Disapproval) lends a constantly filtered and affected spoken word narration across all six tracks as Kelly swans, touches the ethereal with her diaphanous woos, calls, arias (a merger of Laurie Anderson, cosmic opera and Jane Weaver). Often transmogrified by robotic effects and the slowing and speeding up of that instructive monologue, Rodriguez’s message is constantly warped, broken up: sometimes on the verge of some Max Headroom glitch stutter, or the slurred falling apart speech of HAL.

*Achievement unlocked: Max Headroom comparison!

Max Headroom

We also seem to have successfully stumped Vital Weekly, who write of the album:

The music is mostly a computer treated voice/vocoder style, and along with some electronics playing some weird tune. The six pieces last altogether less than 19 minutes, which is perhaps the best thing for such a little curiosity. Great for confusion and confused to know what to say.

Vital Weekly also put out a podcast highlighting the music they’ve reviewed; be sure to check it out.

Finally, I haven’t been able to find a recording, but thank you to Kat O’Rly for playing “Literature Review” on WLUW’s Destination Unknown last night.