Biota / Mnemonists

Thank you, sleeve! This is awesome and much appreciated.

should get that box just for the notes. whenever I go back to one of them I usually go through all of them. been listening to 'Awry' a lot recently, that's like a punk EP, 2-3 minute songs

Invisible Map grew on me, especially the last third, but for whatever reason, while I was taking them home new between 2-3 year pauses, that was the one that seemed like a falter. and Flyaway I didn't mind simply because the last direction I was ever expecting them to go was straight up Judy Collins

this band!

I've got "Rackabones" but all my vinyl is in storage and haven't heard it in years.

Almost Never / Invisible Map / Half A True Day / Funnel To A Thread yesterday after sleeve's post (alternating with Roland Kayn 2001-2003)

started with two lesser travelled ones. Almost Never is a little more ambitiously symphonic, and some parts do flow right past you, but that bagpipe part sleeve talks about is second-by-second so etched in my brain that I knew I needed to hear it again, and the 160bpm scramblecore ending is up there too

it's a beautiful thing to hear Invisible Map described as the band's peak, this band is vast enough. this one is not symphonic, it's constant little songs. I remember in 1989 being flummoxed by those first two Throwing Muses records until Hunkpapa baked it down to only one or two riffs per song. well there are a lot more than two riffs per song on Map but it's still like the one where they're leaving the gate open and the food they're serving looks like food you've actually eaten before

Half A True Day might be my favorite one. I might even tell people to start here before Tumble. Every section is perfect and every part is connected to every other part, perfect flow, no down time. the songs would be beautiful played acoustically, and the processing's been reinvented just enough; new sounds blending in but still more forest than machine.

Funnel's good. Last two have been beautiful though the post-Flyaway trajectory is increasingly vaporous, they could open up. Leaving Half A True Day out for the rest of the week but probably have to go through the others too

https://legendarypinkdots1.bandcamp.com/album/see-it-alone

“Sorry For Laughing” is the solo project of Gordon Whitlow, who has been part of the Biota collective for four decades. I followed his work since the beginning, so when he approached me to collaborate on a project involving dusty old hammond organs, a wheezy old accordion and various string driven things, I had no hesitation in shouting a loud “YES!!” As the project progressed , the idea arose of inviting Martyn Bates (Eyeless In Gaza) to join, who is another artist I’ve admired on a creative and personal level since the dawn of the Dots.
When violinist extraordinaire, Patrick Q.Wright is added to the mix, as well as interjections from Kiyoharu Kuwayama, Janet Feder and Nigel Whitlow, then a thing of serious beauty became inevitable.
The wonderful Klanggalerie released this small wonder as an immaculately packaged cd over here: www.klanggalerie.com/gg358
-EK

almost time for a new one maybe? any updates from the wilds of Fort Collins?

(this revive prompted by me finally getting Bellowing Room on LP)