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    the new electrical sublime

    Axolotl, who I reviewed a couple of posts back, are featured as the cover story of the SF Weekly this week.

    The journalist who wrote the piece, Justin Farrar, puts his finger almost exactly on what I've been calling the "New Electrical Sublime":

    "Axolotl, you see, is one of literally hundreds, possibly thousands, of super-obscure bands and collectives [which] have sprung forth just within the past five years ... they've spurned traditional song structures in favor of a brand-new electronic-based brand of mind-expanding tones and sounds inspired by '60s minimalism, feedback-packed experimental noise from early-'90s Japan, traditional Indian ragas, the faux world-music jams of the Sun City Girls, post-techno ambient electronics, fiery free jazz, field recordings of African and Asian tribal musicians, and ridiculously rare acid freakout psych-rock from the late '60s and early '70s..."

    Axolotl's Karl Bauer rounds it out:

    "We want to feel the sound in our guts. We want to make huge gorgeous drones ... We do not want to hurt people, but we do want them to feel this expanse of sound. I want to create an incredible physical experience. We really like the idea of the visceral fused to really blessed-out sounds. We really like the way frequencies affect hearing, depth perception, and sense of space. We love powerful tones. We just love that feeling."

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    Thursday, January 27, 2005
    2:15 PM


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