Another not-so-cool confession: although I've probably heard quite a lot of music from the Rune Grammofon label, particularly on Late Junction, I've not always been paying attention and taking notes about labels and stuff. So, for example, it was only when I read the recent review of Rune Grammofon artist, Arve Henriksen's new album that I made the connection with the Nine Horses album on which he played.
Actually that's not entirely true about not paying attention when Rune Grammofon artists come on the radio, because Supersilent tend to defy being ignored. They don't live up to their name. Neither does Deathprod. Thankfully. I'd kind of expect them/him/her to sound like Sunn o))) — which they almost do, except that they're not so aggressively in your face. Checking the Supersilent Wikipedia page reveals that both Henriksen and Deathprod (he's a he) are members — and Deathprod has worked with Biosphere. All very friendly; keeping it in the family.
As with many covermounts from The Wire (you'd guessed that that was how I came by this CD, hadn't you?) there's a lot of intriguing, possibly fascinating, music to explore here. I'm not sure if it's just down to the volume of material, but there's something about The Wire and all who sail in her that I find intimidating.
You get an interestingly novel perspective on the music by listening to it with a 15-week-old baby. The first three tracks passed without incident and almost without recognition of any sound. In track four, by Svalastog, there's a sudden sound not dissimilar to a dentist's drill, and that made the Boy jump nearly out of his skin, even though he has no teeth to fear for. And as Supersilent's eleven minutes wore on, he became increasingly distracted — almost to the point of being put off feeding. But nothing's that distracting.
MusicBrainz entry for this album
Wikipedia entry for this album
Rate Your Music entry for this album
Last.fm's inept (at the time of writing) entry for this album
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