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LP
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STAUB 081LP
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Released on CD in March of 2008 on Kranky, Uneasy Flowers is the second album by New Zealand's Autistic Daughters, the intercontinental trio of Dean Roberts (guitar, vocals), Martin Brandlmayr (percussion, computer) and Werner Dafeldecker (guitar, bass). It is also the fourth in a series of records in which Roberts, having begun in more abstract territory in New Zealand's mid-1990s "free noise" ferment, has embraced song, lyric and voice as vessels for topographic and psychoanalytic tracings of the impacts of territory and nomadism on the subject. This is reflected by the shape-shifting nature of the outfit: while Autistic Daughters (whose name comes from a lyric from their first record Jealousy And Diamond) are resolutely a trio, they also work in cinematic format, with ancillary players behind the trio's complex, worm-turning arrangements: in this instance, Chris Abrahams of The Necks, Martin Siewert and Valerio Tricoli. With Uneasy Flowers, Roberts traces the internal and external workings of one protagonist: or, rather, a protagonist who "contains multitudes," a Whitmanian figure that dissolves the unified self. Rather, this character, "Rehana," embodies multiplicity and fragmentation in order to both a) address loss and b) aim toward transfiguration, transcendence. There are traces in the lyrics -- traces of addiction and desire, myth and transformation -- that are obliquely reflected in the music's structure, its uneasy tension between the pop song (the "moment") and experiment (the "process"). In some ways, it reminds of the structural, loop-based cinema of figures like Malcolm LeGrice: taking one moment and stretching it, the better to capture its nuances and to draw out all the repressed material caught in the mise-en-scène, the hidden, cloaked content that erupts when your world spirals out of your control and gets caught in webs of interpersonal politic. The move from intimacy to the capture of the "greater picture" enacted by both lyric and music here resembles a camera dollying out, a shift of perspective unsettling for its vertigo-inducing qualities. Experimental deconstructionism within a pop framework that is contemplative, well-crafted, and gracefully unsettling.
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CD
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KRANK 115CD
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"Uneasy Flowers is the second album by Autistic Daughters, the intercontinental trio of Dean Roberts (guitar, vocals), Martin Brandlmayr (percussion, computer) and Werner Dafeldecker (guitar, bass). It is also the fourth in a series of records in which Roberts, having begun in more abstract territory in New Zealand's mid-1990s 'free noise' ferment, has embraced song, lyric and voice as vessels for topographic and psychoanalytic tracings of the impacts of territory and nomadism on the subject. This is reflected by the shapeshifting nature of the outfit: while Autistic Daughters, whose name comes from a lyric from their first record Jealousy And Diamond, are resolutely a trio, they also work in cinematic format, with ancillary players -- in this instance, Chris Abrahams of The Necks, Martin Siewert and Valerio Tricoli -- as part of both cast and crew, foley artists behind the trio's complex, worm-turning arrangements. With Uneasy Flowers, Roberts traces the internal and external workings of one protagonist: or, rather, a protagonist who 'contains multitudes,' a figure that dissolves the unified self. Rather, this character, Rehana, embodies multiplicity and fragmentation in order to both a) address loss and b) aim toward transfiguration, transcendence. There are traces in the lyrics -- traces of addiction and desire, myth and transformation -- that are obliquely reflected in the music's structure, its uneasy tension between the pop song (the 'moment') and experiment (the 'process'). In some ways, it reminds of the structural, loop-based cinema of figures like Malcolm LeGrice: taking one moment and stretching it, the better to capture its nuances and to draw out all the repressed material caught in the mise-en-scène, the hidden, cloaked content that erupts when your world spirals out of your own control and gets caught in webs of interpersonal politic. The move from intimacy to capture of the 'greater picture' enacted by both lyric and music here resembles a camera dollying out, a shift of perspective unsettling for its vertigo-inducing qualities." --Jon Dale
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LP
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STAUB 056LP
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"The Autistic Daughters is the trio of New Zealander Dean Roberts and the Viennese Martin Brandlmayr (Radian, Trapist) and Werner Dafeldecker (Polwechsel). Jealousy and Diamond is the group's first statement. The CD version of this album is released by the American Kranky label. Dean Roberts plays guitar, vocals, harmonica, harmonium and percussion, Martin Brandlmayr plays drums, vibraphone and electronics and Werner Dafeldecker plays electric bass and contra bass. Guest musicians were Valerio Tricoli (Loops, Handclaps, Campanelli, B-Vocals) and Anthony Guerra (Guitar, Palermo Hand-Clappers Union). Beginning with the post punk rock trio Thela and moving through White Winged Moth and into his solo recordings, Dean Roberts has marked himself as a guitarist of unique talents. His latest album, Be Mine Tonight, has been released on Kranky in 2003. Austrian drummer Martin Brandlmayr is well known as a member of free rock trios Radian and Trapist who currently release for the Thrill Jockey label. Werner Dafeldecker is a freelance musician, composer and producer, concentrating on improvisation, electronic music and cross-over projects. A longtime sound research, pure acoustic research and the creation of a personal sound archive are the basis for his work."
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CD
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KRANK 076CD
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"Recorded at Amann studios in Vienna with bassist Werner Dafeldecker and drummer Martin Brandlmayer (who also plays in Trapist and Radian), Jealousy and Diamond marks the return of Dean Roberts to the band format. The name ot the band is Autistic Daughters. As Roberts told dB magazine in Australia in early 2004, 'Our capabilities instrumentally and compositionally, in engineering and production match, and moreover our friendship keeps it all together. We are able to say and do what we want and the vision is entirely collective.' Created by live performance and processed and enhanced in the studio, Jealousy and Diamond builds to higher volume levels than Be Mine Tonight, and turns on a more assertive rhythm section."
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