German post-techno duo Mouse on Mars is among a growing number of electronic music groups dabbling in complex, heavily hybridized forms that include everything from ambient, techno, and dub to rock, jazz, and jungle. The combined efforts of Andi Toma and Jan St. Werner (of Köln and Düsseldorf, respectively), Mouse on Mars formed in 1993,... [+] Read More

German post-techno duo Mouse on Mars is among a growing number of electronic music groups dabbling in complex, heavily hybridized forms that include everything from ambient, techno, and dub to rock, jazz, and jungle. The combined efforts of Andi Toma and Jan St. Werner (of Köln and Düsseldorf, respectively), Mouse on Mars formed in 1993, reportedly when Werner and Toma met either at a death metal concert or a health food store. Working from Werner's studio, the pair fused an admiration for the early experiments of Krautrock outfits like Can, Neu!, Kluster, and Kraftwerk into an offbeat update including influences from the burgeoning German techno and ambient scenes. A demo of material found its way to London-based guitar-ambient group Seefeel, who passed it on to the offices of their label, Too Pure.

MOM's first single, "Frosch," was released by the label soon after and was also included on the debut album, Vulvaland. Immediately hailed for its beguiling, inventive edge that seemed to resist all efforts at easy "schublade" (an even less flattering approximation of the English "pigeonhole"), Vulvaland was reissued in 1995 by (oddly) Rick Rubin's American Recordings label, which also released their follow-up, Iaora Tahiti, soon after. More upbeat and varied than their debut, the album made some inroads into the American marketplace, but the group's somewhat challenging complexity and steadfast refusal to pander make widespread popularity unlikely. They returned in 1997 with three different releases -- the EP Cache Coeur Naif, the LP Autoditacker, and the vinyl-only Instrumentals. Another vinyl-only release (Glam) appeared in 1998, and was followed a year later by the "official" follow-up to Autoditacker, Niun Niggung.

Although remixes are rare, Mouse on Mars began appearing with increasing frequency on compilations of experimental electronic music, including Volume's popular Trance Europe Express series. They were also prominently featured on a pair of tribute albums -- Folds and Rhizomes and In Memoriam -- dedicated to French poststructuralist philosopher Gilles Deleuze. Idiology, which introduced percussionist/collaborator Dodo Nkishi into the fold, followed in 2000 on Thrill Jockey. In 2004, the duo celebrated a decade's worth of work with the release of Radical Connector and a global tour, which was captured by 2005's concert album Live04. The following year's hard-hitting Varcharz was released by Ipecac. St. Werner also has recorded as half of the duo Microstoria (with Oval's Markus Popp) and solo as Lithops. ~ Sean Cooper, All Music Guide [-] Hide

Melancholy instrumental trio Dirty Three formed in Melbourne, Australia in 1992, led by classically-trained violinist Warren Ellis, who began writing and performing music for art openings and plays and also tenured in the groups Blackeyed Susans, Paranoid and the Nursing Mothers. After enlisting Blackeyed Susans' guitarist Mick Turner and... [+] Read More

Melancholy instrumental trio Dirty Three formed in Melbourne, Australia in 1992, led by classically-trained violinist Warren Ellis, who began writing and performing music for art openings and plays and also tenured in the groups Blackeyed Susans, Paranoid and the Nursing Mothers. After enlisting Blackeyed Susans' guitarist Mick Turner and drummer Jim White -- veterans of Melbourne bands including the Sick Things, the Moodists, Fungus Brain and Venom P. Stinger -- Ellis formed the Dirty Three; at the group's debut performance, he used a rubber band to attach a guitar pickup to his violin, giving the instrument a distorted, feedback-drenched feel far removed from its original sound. Recorded as a demo, the trio's debut Sad & Dangerous appeared in 1994; subsequent tours in support of Pavement, Sonic Youth and John Cale helped win the Dirty Three a deal with the Touch & Go label, which issued a 1995 eponymous effort and 1996's acclaimed Horse Stories. In 1998, the Dirty Three resurfaced with Ocean Songs; Whatever You Love, You Are followed two years later. That February, the Dirty Three celebrated their 10th anniversary and headed back into the studio. Initially, the trio had recorded songs for a follow-up to Whatever You Love, You Are in early 2001, however the songs were scrapped. White went on to tour with Smog and Will Oldham. Turner founded his own label, King Crab Records, and worked with Marquis de Tren. Ellis joined his fellow mates Nick Cave & the Bad Seeds for a monumental world tour in spring 2002. Somewhere in there, the Dirty Three reconvened with producer Fabrice Lor. Lor is chief of Prohibited Records and recorded part of the soundtrack to Amelie. Together, he and the Dirty Three arrived with the enigmatic, dark album She Has No Strings Apollo in February 2003. Cinder, which features appearances

by Cat Power's Chan Marshall and Sally Timms from the Mekons, followed two years later. ~ Jason Ankeny, All Music Guide [-] Hide

Formed in Bristol, England in 1993, the elusive avant-noise project Flying Saucer Attack primarily comprised the duo of singers/guitarists David Pearce and Rachel Brook, refugees from the group Lynda's Strange Vacation who formed FSA as an outlet for their interest in home-recording experimentation. Drawing influence from Krautrock, folk, and... [+] Read More

Formed in Bristol, England in 1993, the elusive avant-noise project Flying Saucer Attack primarily comprised the duo of singers/guitarists David Pearce and Rachel Brook, refugees from the group Lynda's Strange Vacation who formed FSA as an outlet for their interest in home-recording experimentation. Drawing influence from Krautrock, folk, and dream pop, they bowed with the single "Soaring High," followed by an eponymously-titled 1993 debut LP which buried the group's narcoleptic vocals and amorphous songs under dense, organic sheets of feedback.

After 1994's Distance, a collection of atmospheric singles and unreleased material, FSA emerged in 1995 with Further, a remarkably evocative work which transported the group's hypnotic guitar wash into a uniquely pastoral setting. Chorus, another singles compilation, followed later in the year, and with it came a declaration of the end of the group's initial phase, setting the stage for Flying Saucer Attack's continued evolution as one of the decade's most innovative and ambitious groups. 1997's New Lands was the first fruit of this new FSA, now a Pearce solo project exploring the possibilities of sampling; Brook, meanwhile, focused on her side group Movietone, a similarly blissed-out excursion into sound. FSA followed up New Lands three years later with Mirror ~ Jason Ankeny, All Music Guide [-] Hide

American post-classical composer Jim O'Rourke has been a key component in the increasing overlap of the American and European experimental music avant-garde, working in everything from jazz and rock to ambient and electro-acoustic and building many a bridge in between. A Chicago native, his work has found equal luck with experimental jazz and... [+] Read More

American post-classical composer Jim O'Rourke has been a key component in the increasing overlap of the American and European experimental music avant-garde, working in everything from jazz and rock to ambient and electro-acoustic and building many a bridge in between. A Chicago native, his work has found equal luck with experimental jazz and noise fanatics, chill room denizens, and bedroom experimentalists, and has had the resultant effect of cross-pollinating many otherwise isolated compositional communities. Dealing most often with prepared guitar in improvisational group settings, O'Rourke has also released a fair bit of material as a soloist, although more often in the electro-acoustic/musique concrète vein. He's collaborated with such contemporary improv heroes as Derek Bailey, Henry Kaiser, Eddie Prevost and Keith Rowe (of English improv group AMM), KK Null, David Jackman (Organum), and early Krautrock experimentalists Faust. O'Rourke is also engaged in an ongoing exploration of experimental rock as a member of Gastr del Sol, who've released albums through the Teen Beat and Table of the Elements labels.

Beginning with guitar at the age of 6, it wasn't until his collegiate career at DePaul University that O'Rourke's interest in the less obvious possibilities of the instrument led him through the early catalogs of the post-classical and electro-acoustic traditions. While at DePaul, O'Rourke completed much of the work that would constitute his first few releases. He also had the opportunity to meet up with noted improvisational guitarist Derek Bailey, whose invitation to O'Rourke to play at the British improv festival Company Week led to further collaborative projects with Bailey, Henry Kaiser, Eddie Prevost, and David Jackman. O'Rourke began working with Dan Burke's Illusion of Safety project in the early '90s, releasing three albums through Staalplaat and Tesco, before moving on to form experimental "rock" group Gastr Del Sol with David Grubbs. Although focusing more on collaboration after a string of solo releases in the early '90s, O'Rourke has shifted back to solo work of late, releasing Terminal Pharmacy through John Zorn's Tzadik label and completing commissioned pieces for the Kronos Quartet and the Rova Saxophone Quartet. In 1995, O'Rourke was invited by German experimental electronic label Mille Plateaux (Oval, Steel, Microstoria) to conduct an extended remix of their entire back catalog. He also produced and co-wrote a good portion of innovative German outfit Faust's Table of the Elements release, Rien. Subsequent releases include 1997's acclaimed Bad Timing and its equally brilliant follow-up, 1999's Eureka. ~ Sean Cooper, All Music Guide [-] Hide

Gastr del Sol was the most prominent vehicle of indie-rock stalwart David Grubbs, a former member of Squirrel Bait, Slint, and Bastro. With Gastr del Sol, the Louisville, KY-born vocalist/guitarist/pianist's evolution from conventional rock music into more intricate and sophisticated tone patterns became complete; debuting with the 1993 EP The... [+] Read More

Gastr del Sol was the most prominent vehicle of indie-rock stalwart David Grubbs, a former member of Squirrel Bait, Slint, and Bastro. With Gastr del Sol, the Louisville, KY-born vocalist/guitarist/pianist's evolution from conventional rock music into more intricate and sophisticated tone patterns became complete; debuting with the 1993 EP The Serpentine Similar, the group -- a shifting aggregate of talents which initially inclued bassist Bundy K. Brown and drummer John McEntire -- began exploring their new approach, taking off from often improvisational performances to embark on highly idiosyncratic sonic adventures. With the single "20 Songs Less," guitarist, composer, and tape manipulator Jim O'Rourke signed on, and following the departure of Brown, and with the decreased involvement of McEntire, Gastr del Sol became a kind of catchall tag for Grubbs and O'Rourke's many eclectic projects; the acoustic Crookt, Crackt, or Fly followed in 1994, as did the EP Mirror Repair. With 1995's The Harp Factory on Lake Street, Grubbs and O'Rourke composed a single 17-minute orchestral piece, while with 1996's Upgrade and Afterlife they returned to more more traditional dynamics to create their most beautiful and intriguing work to date. O'Rourke left Gastr del Sol in 1997, shortly after completing work on Camoufleur, which was released in Janurary 1998. ~ Jason Ankeny, All Music Guide [-] Hide

The Sea and Cake's buoyant debut is a breath of fresh air, an utterly distinctive and innovative work that expands the scope of frontman Sam Prekop's work in the great Shrimp Boat to incorporate a new fascination with Afro-Caribbean rhythms and textures. Recorded by Brad Wood, the album simply glows -- Prekop's dry vocals and free-associative... [+] Read More

The Sea and Cake's buoyant debut is a breath of fresh air, an utterly distinctive and innovative work that expands the scope of frontman Sam Prekop's work in the great Shrimp Boat to incorporate a new fascination with Afro-Caribbean rhythms and textures. Recorded by Brad Wood, the album simply glows -- Prekop's dry vocals and free-associative lyrics skip along a shimmering and lushly pastoral backdrop that nimbly fuses pop, soul, jazz, and even prog rock; tracks like "Jacking the Ball," "Flat Lay the Water," and "Showboat Angel" are as seductive as they are elusive. ~ Jason Ankeny, All Music Guide [-] Hide

The product of an uncharacteristically long two-year layoff, The Fawn is the Sea and Cake's most experimental effort to date; the influence which the electronica movement exerts over the record is substantial -- drum machines, sequencer tones, and synths are dominant throughout, and the group even dabbles in dub textures and sampling techniques.... [+] Read More

The product of an uncharacteristically long two-year layoff, The Fawn is the Sea and Cake's most experimental effort to date; the influence which the electronica movement exerts over the record is substantial -- drum machines, sequencer tones, and synths are dominant throughout, and the group even dabbles in dub textures and sampling techniques. What's remarkable about songs like "Sporting Life" and "The Argument," however, is that the addition of electronics never upsets the music's delicate chemistry -- as is again proven here, the Sea and Cake's greatest gift is their ability to assimilate the breadth of their inspirations, no matter how far afield, to emerge with something new and distinctive each time out; impressive in scope and rich in detail, The Fawn is as seamless and sophisticated as ever. ~ Jason Ankeny, All Music Guide [-] Hide

More known for its frequent name-checks than its actual music, Spiderland remains one of the most essential and chilling releases in the mumbling post-rock arena. Even casual listeners will be able to witness an experimental power-base that the American underground has come to treasure. Indeed, the lumbering quiet-loud motif has been lifted by... [+] Read More

More known for its frequent name-checks than its actual music, Spiderland remains one of the most essential and chilling releases in the mumbling post-rock arena. Even casual listeners will be able to witness an experimental power-base that the American underground has come to treasure. Indeed, the lumbering quiet-loud motif has been lifted by everybody from Lou Barlow to Mogwai, the album's emotional gelidity has done more to move away from prog-rock mistakes than almost any of the band's subsequent disciples, and it's easy to hear how the term "Slint dynamics" has become an indie categorization of its own. Most interestingly, however, is how even a seething angularity to songs like "Nosferatu Man" (disquieting, vampirish stop-starts) or "Good Morning, Captain" (a murmuring nod to "The Rime of the Ancient Mariner") certainly signaled the beginning of the end for the band. Recording was intense, traumatic, and one more piece of evidence supporting the theory that band members had to be periodically institutionalized during the completion of the album. Spiderland remains, though, not quite the insurmountable masterpiece its reputation may suggest. Brian McMahan softly speaks/screams his way through the asphyxiated music and too often evokes strangled pity instead of outright empathy. Which probably speaks more about the potential dangers of pretentious post-rock than the frigid musical climate of the album itself. Surely, years later, Spiderland is still a strong, slightly overrated, compelling piece of investigational despair that is a worthy asset to most any experimentalist's record collection. ~ Dean Carlson, All Music Guide [-] Hide

With Bad Timing, O'Rourke attempts a return to the organic atmosphere of acoustic guitar from his explorations in electronica. The album consists of four songs clocking in at roughly ten minutes each, and is characterized by O'Rourke's ambient acoustic exploration. Three of the tracks enlist various instruments from cello to trumpet and even... [+] Read More

With Bad Timing, O'Rourke attempts a return to the organic atmosphere of acoustic guitar from his explorations in electronica. The album consists of four songs clocking in at roughly ten minutes each, and is characterized by O'Rourke's ambient acoustic exploration. Three of the tracks enlist various instruments from cello to trumpet and even drums. The songs are highly textured and require patience, as they slowly evolve from abstract riffs into clear melodies. The album encompasses a rich dynamic range despite the seeming limitations that acoustic guitar could impose. There is a fair amount of splicing and mixing, which attests to the fact that O'Rourke has not completely dispensed with his passion for electronic music, but these interludes often provide a unique perspective. The highlight of the album is the final track, "Happy Trails," which begins with distorted acoustic noise, followed by an upbeat country rhythm provided by Tortoise's John McEntire. In sum, Bad Timing is a consistent effort and well worth a listen, especially during the mellow early morning hours. ~ Marc Gilman, All Music Guide [-] Hide

Beginning and almost ending with an interpretation of the title track, a lesser known collaboration from the mid-century musical figures Victor Young and Harold Adamson, China Gate, edited down from one lengthy recording session, finds Cul de Sac fully coming into its own. Smack-dab in the middle of a post-rock craze which the band itself had no... [+] Read More

Beginning and almost ending with an interpretation of the title track, a lesser known collaboration from the mid-century musical figures Victor Young and Harold Adamson, China Gate, edited down from one lengthy recording session, finds Cul de Sac fully coming into its own. Smack-dab in the middle of a post-rock craze which the band itself had no real part in or immediate affinity for, the quartet's combination of artistic inspirations from around the world into an at-once dreamy and energetic series of compositions won it long-due attention. Each of the members' specific talents get a chance to shine, all without seeming like a series of solo spots or showboating on their part. "Sakhalin" is one excellent example, with Jones and Amos trading off guitar and synth pieces in the best jazz tradition as Fujiwara and Proudman lay down a steady, swinging rhythm. Top that off with a bit of studio chatter after the song ends about the meaning of the title, and the feeling is of a band at once serious and relaxed about what they do -- a good balance that continues throughout. Everything from queasily disturbing synth and electronic lines from Amos to unaccompanied drumming from Proudman goes into the mix, the feeling being like an open-ended journey through a mystic mental landscape. One sign of the band's abilities lies in how it can tackle both loud and soft material with the same evocative grasp, as the quiet but never evanescent "James Coburn" demonstrates, building up just enough, but no more, for its ending. Other high points include Jones' chiming, almost rollicking guitar work on "Doldrums," Fujiwara's lovely bass on "Hemispheric Events Command," which stays just enough to the fore as the rest of the band kicks in, and the lengthy explorations of "The Fourth Eye." ~ Ned Raggett, All Music Guide [-] Hide