archived brainwashed reviews
William Basinski, “On Time Out of Time” (Temporary Residence, 2019)
This latest release is more of a diversion than a fresh addition to the canon of William Basinski masterworks, as it was originally composed for a pair of installations for […]
Cosey Fanni Tutti, “Tutti” (Conspiracy International, 2019)
It would be misleading to say that Cosey Fanni Tutti has been a singularly unprolific solo artist, as her oeuvre has never been constrained to simply music, but it is […]
Akira Rabelais, “CXVI” (Boomkat Editions, 2019)
It took me an embarrassingly long time to realize it, but Akira Rabelais has quietly been one of the most unique and intriguing figures in experimental music for the last […]
Maria Somerville, “All My People” (Self-Released, 2019)
It is quite a rare and improbable event for a self-released debut to amass so much buzz and acclaim upon its release, but All My People is quite a deserving […]
Ellen Fullman and Okkyung Lee, “The Air Around Her” (1703 Skivbolaget, 2019)
As Ellen Fullman can likely attest, one of the downsides to inventing your own instrument with 100-foot-long strings is that it definitely limits the number of possible venues for your […]
Robert Ashley, “Private Parts” (Lovely Music, 1978)
I am hesitant to state that Private Parts is one of the most unique and weirdly beautiful albums of the 20th century, as that will likely sound like overheated hyperbole […]
Dolphin Midwives, “Liminal Garden” (Beacon Sound/Sounds et al, 2019)
This is arguably the formal debut album from Portland harpist Sage Fisher, though she previously surfaced with a fine cassette (Orchid Fire) back in 2016. Liminal Garden is on a […]
Richard Skelton, “Another Hand” and “A Great Body Rising and Falling” (Aeolian, 2019)
Hot on the heels of the seismic sine-wave experimentation of Front Variations, this pair of EPs rounds out Richard Skelton’s prolific winter with a welcome return to more familiar territory. […]