We'll be right back after these messages.

Please take some time to look at Albrecht Dürer's "Rhinoceros." It's a woodcut the artist made in 1515. We are mildly curious about the text above the illustration, but that's a distant second to the detail of the rhino's "armor."

Look at:

Really, look at it. And know that it sold at auction in 2013 for $866,500. LOOK AT IT. You can't put a price tag on that. But someone did and now they have it, hanging somewhere, or in storage. But we can see it here, rendered in ones and zeros.

Free Music: Aleph Null

Heavy metal has more subgenres than any reasonable person can keep up with. Tastes at The Typing Monkey offices skew toward the blues-based stuff from the '70s, the NWOBHM, and the nearly self-explanatory genres: doom, stoner and sludge.

It's within those last three that Düsseldorf, Germany trio Aleph Null operate. The trio can blast out riffs heavier than a bison's balls during mating season -- the classic Black Sabbath devil's chord blooze that's been the cornerstone of metal since the 1970s. And they can pull it all back to fuzzy, lingering drones that build the kind of tension that is a hallmark of doom metal. Throw in the shredded, grunge-style vocals and kids, you've got a winner.

We call your attention to Aleph Null not only because they're a good band with a strong sense of dynamics and mood, but because so far, every recording they've made is offered up for free download via their Bandcamp site. And their new LP Nocturnal is a bruiser.

If you're doom/stoner/sludge-curious, you can't beat free, and Aleph Null isn't a bad place to start. Play "Black Winged Cherub" for a taste:


We admit that Nocturnal didn't bowl us over as immediately as their previous EP Belladonna (2013). The four tracks on that collection sound looser and a little more cosmic to our ears. Check out "Solar Sail" to hear the contrast:


If you like what you hear, Aleph Null says download it, people, for this music is like Jesus' love. It is ours to accept. And if this sort of brain-melting sound pleases you, enjoy your wanderings around the Web to seek out more of the same. Many doom/stoner/sludge metal bands offer "pay what you can" downloads, so do that. And buy a t-shirt.

Stonerobixx and Doommantia, are two great websites dedicated to these subgenres. And we'd be remiss not to mention the late, great Cosmic Hearse blog, our gateway into most of this stuff.

We'll be right back after these messages.

from Sesamstrasze
"Im Garten eines Kraken"

[courtesy derhuebiii]

For the equally delightful English-language version, click here.

His Name Is Wigald

WIGALD BONING
Jet Set Jazz
(Compost)
Boning establishes a strong sense of mystery throughout -- as if his live horns, bass, piano, percussion and electronics are out to turn your weekend trip down the coast into a Hitchcock espionage thriller. Most of the compositions are mid-paced mood pieces, with wordless vocals and breathy reeds set against Latin bass and percussion.

A native of Wildeshausen, Germany, the multi-instrumentalist's career began with the jazz-punk outfit KIXX. But his second career as a comedic performer on a Saturday Night Live-type television show, plus his stated desire with Jet Set to recreate the music he heard on the radio as a child, gives a clear idea of what to expect. Italian cinema soundtracks of the 1960s and '70s, bossa nova, the more accessible West Coast jazz and early synthesizer exotica all pile into his memories.

A theatrical undercurrent of travel-weariness runs beneath most of the record. And given Boning's comedy background, it's easy to imagine his globe-trotting cast of characters putting limp, begloved wrists to their foreheads, overwhelmed by all the trans-continental fun their wealth and freedom allows.

But Boning's sense of humor and use of electronics sometimes works against him. The distorted speech in "Avalanche" feels weird, and the house track "Kobra Dance" crashes when the vocals come in, making it seem even more out of place among the other songs.

His best gag is the cover art, featuring Boning clad in top hat and tails flanked by two blonde stewardess types straight from the Matt Helm casting pool -- but all three are cardboard cut-outs.

Reference material: Anybody familiar with Piero Umiliani or Nicola Conte won't be disappointed with Wigald Boning.

WWDOOSV (Part V)

BURNING BABYLON
Beat Beat Beat
(Sound Shack)
A fifth LP of one-man dub-reggae creations from Slade Anderson, a metal dude gone to seed. It's all solid, if unremarkable, dub and roots music in the vein of Ticklah and McPullish, two more one-man dub plate makers of the modern age. Like other musicians working in definitive genres inexorably linked to the era in which the music was first divined, Anderson's dub can't top the first and second generation dub wizards. That he's doing it well is what matters.
Standouts: "Sproing-a-Dub" and the ska outing "Manuka Skank"
Released: August
myspace.com/burningbabylon

4HERO
... mixing
(Sonar Kollektiv)
Prefab mixes from crate diggers usually offer a new discovery or three that leads to further investigation. And done well, the completed collage can surprise in terms of what a given DJ wants us to hear when their choices are documented this way. But here's something weird. This entry in the Sonar Kollektiv Mixing DJ series, from Dego of the German nu-soul duo 4Hero, bears an eerie resemblance to The Typing Monkey's own record collection. That's not a boast -- just, what are the chances? Our only regret is the promo copy is unmixed and we want to know how Dego transitions between a few of these cuts.
Standouts: Raymond Scott's "Lightworks" and the SA-RA remix of Roy Hargrove's "On the One"
Released: Aug 12
myspace.com/4hero

TITTSWORTH
Twelve Steps
(Plant Music)
A Baltimore DJ/producer who squeezes a tiny bit more from his hometown's brand of dance music, known as "gutter." Tittsworth crafts his own boozy rhythmic repetitions, ending up with an aggressive blend of techno and hip-hop that actually encourages dancing. Pity the MCs and vocalists he enlists don't do much more than the usual calls to getting drunk and copulating. (Not bad goals, mind, but there are more creative ways to state those intentions.) As a consequence, the instrumentals leave a more pleasant aftertaste, and don't remind anyone over the age of 25 that hangover and regret are the ultimate destination the rest of the album is headed toward.
Standouts: "4:21" and "Bumpin'" ... Kid Sister and Paserock do well by "WTF" too.
Released: Aug 12
myspace.com/titts

Bonus review!
TITTSWORTH
The John McCain Mix
(Self-released)
Offered as free download when Twelve Steps was released, McCain Mix won't beat Diplo or Girl Talk at their own 12-bar cut-up game. Tittsworth executes a few actual remixes, versus the common gutter practice of doubling an existing club beat with overdriven drum machines (ahem, Aaron LaCrate). A tweaking of Hall & Oates' "I Can't Go for That" gives the best evidence yet that gutter is a close relative of those high NRG mixes of '80s hits. The closing mash-up of Lil Wayne's embarrassingly unerotic "Lollipop" and the Wham! slow-dance chestnut "Careless Whisper" manages to add a tiny bit of class to the former without disgracing the latter.

Creepshow

TROST
Trust Me
(Minty Fresh)

Annika Line Trost employs classic dance rhythms including waltzes and tangos for a few tracks on her second solo CD. But given the chilly atmosphere of Trust Me, the dancers in these songs fumble through the dark, finding unsure footing amongst the muddy double-bass, shadowy percussion and queasy melodic passages that rise up like the tension building before a cathartic scare that never arrives.

"Man On the Box" is the creepy little sister to Nick Cave's "Red Right Hand." A similar Bad Seeds tenor gives "The Scales and the Score" the lurching pace of a shackled walk to the gallows. (Longtime Bad Seeds drummer Thomas Wydler guests on Trust Me.)

Trost's frequent use of big, reverbed guitar lines recall American slingers such as Duane Eddy and Link Wray. But in her hands, the twang has dried to a husk -- the greasy sleaze sopped up dabbed away by Trost's undeniably German aesthetic.

So we know now which half of Cobra Killer -- Trost's other musical outlet with her musical partner Gina V. D'Orio -- supplies that duo's frequent nods to early rock & roll menace.

To that end, one of the key ingredients to the intimidating appeal of Cobra Killer is the duo's clear, matter-of-fact singing. That effect carries over with Trost. She's not emoting the way a torch singer, or some trip-hop wailer would. Trost finds the notes, hits them and moves on, providing an open, inviting element to Trust Me.

The contrast works to enhance the album's dark mood and hints of unwelcome things lurking out of sight. Trost is both omniscient narrator and active participant in her own thrill ride.

Reference materials: If you know of Trost, you are already a fan of Cobra Killer and a big fan of Gudrun Gut. Right?

Relax Baby Be Cool

STEREO TOTAL
Paris-Berlin
(Kill Rock Stars)
At what would normally be the start of side two of Stereo Total’s 7th LP, the duo delivers a socko double-shot of disco. "Merh Licht" hits the early 1980s style in which house and new wave were slapping a new coat of paint on disco and reselling it to the same audience. The track rests almost entirely on a constant hi-hat, kick drum and spare synthesizers.

Meanwhile "Ta Voix au Telephone" sounds like a well-equipped ABBA cover band not at all trying to disguise the fact that they're lifting from Leo Sayer's "You Make Me Feel Like Dancing" and the blatant pornography of The Andrea True Connection's "More More More."

Find any of that distasteful? Then you should probably stop reading. Otherwise Paris-Berlin finds the painfully self-aware co-ed band finding a keen balance between the smooth electronics of Musique Automatique (2001) and their return noisy pop with Do the Bambi (2005).

At 14 songs, the record isn’t without lows -- particularly the been-there, done-thatness of “Patty Hearst” and the too quiet (and guest-heavy) “Baby Revolution.” But the high points provide enough fun that forgiveness comes quick.

“Komplex mit dem Sex” has Francoise Cactus singing hilarious German lyrics about gender confusion. There’s a silly Shonen Knife sounding number (“Plastic”) and enough icy keyboards and stiff guitar/drum rhythms to burst art student pretensions by playing the game better than any one else.

Appropriately, another stellar moment is when they cover Serge Gainsbourg’s “Relax Baby Be Cool.” Plastic Bertrand swiped this riff and fluffed it up a bit for “Ca Plane Pour Moi” but clearly it works best as a monotone command fit for a bank-heist getaway, or maybe a bad afternoon at the hash pipe.

Reference materials: Stereo Total will appeal to fans of Komeda the ye-ye sound of 1960s Paris.