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The first of the releases is the double-CD Parallel Easters, which collects recordings from their notorious Orthodox Easter shows in NYC (specifically for these recordings, Sakura Park and the rooftop of their Queens loft, called The Hint House). As NNCK are intentionally obscure and reclusive, it's hard to be sure what the source is for a lot of their records, but the liner notes of Letters From the Earth say that it was also recorded on Orthodox Easter, 1996. ...Earth is one of NNCK's more notable records and is part of why these Orthodox Easter shows have gained notoriety. However, the urgent clatter and aggressive minimalism of ...Earth give way to a more individualist and eclectic sound for Parallel Easters, meaning specific personalities within the band are being more distinctly voiced. Michiko's vocal moans and shrieks, Matthew's bass experimentations, and Dave's percussion all seem to be transmitted more clearly. Then again, this is NNCK, so other than Michiko's voice, it's impossible to know if I'm truly hearing what I think I am. In any case, Parallel Easters finds the band as sprawling and hard to pin down as ever. Like a 10-armed monster, they grasp and clutch crazily at their surroundings, getting a fistful of concrete and glass in one hand, and a tree, a garden, and shamanistic musings in another. Hints of chord progressions peek out of the ever-present electric guitar on these recordings, as do spastic synthesizer, percussion, bass (bowed, hammered, plucked and beaten), flute, moans, and on the second disc, a barrier is crossed that I can't recall having been crossed with NNCK. Their records are all unflinchingly obscure. In fact, up until recently, they wouldn't even put their band name on their albums, other than the cryptic "NNCK." Liner notes are scant, and if they're there, they're usually very hard to read. However, during their show at Sakura Park (Disc Two), someone in the band gets their hands on a microphone, and rambles for a minute or so, hollering at passersby. Apparently NNCK is somewhat aware of something other than itself while it's conjuring its otherworldly music. The other two releases are both vinyl-only LPs, with beautifully pasted covers. A huge piece of the NNCK experience is their artwork, and though there's been a dramatic shift in style since Sticks and Stones... it has remained an important element of each release, and they've all been very well done. Despite the pristine and soothing cover, First Kingdom of the Ghost is the more uneasy and off-kilter of the new records. Moans, out-of-tune drones, drunken percussion, and shrieking instruments (and people) all escalate the sense of disorientation. "Move and Stand in Phase" halfway hints at laid back improvisational psyche rock with a repeating guitar part, steady drumming, and Michiko's wailing. Side B is comprised of two tracks, "Trojanova and Nova" and "Trojanever and Ever," which have a bit of echo, which blends the separate sounds a little more, making it sound bigger and more miasmic. The first drones its way into a deep hole, boring deeper and deeper, and while the second gets itself into the same propulsive drone-groove, it brings along some defined percussion to guide its path. The liner notes for Dutch Money tell us that the recordings were taken from the VPRO session the band recorded, presumably while on the European tour they did last summer (where they shared stages with the legendary Trad Gras Och Stenar). It leads off with "Maid of Many Sands," which grooves along to a stumbling percussive rumble and organ skronk. "I See a Popping Slaughter" is a messy and jagged jumble of wails, treated guitar, drums, and bass. "The Festoon Bid" follows with some surprisingly straightforward drumming. However, it's quickly fractured when awkward synthesizer and guitar quietly clang and screech their way all over the mix. It eventually builds to a chaotic, moaning weave of overdriven bass, clean guitar, synthesizer, (what might be a) accordian, and a subtle, tapping percussion. Finally, the track ends with high pitched squeaks and the random hammering of a drum. This is both the longest and most engaging track of the record. Rounding out the album is its strangest track. "Sharing Chalestown With the World" somehow combines references to the classic fazed-and-reverbed guitar tone of the 80's, a hint at a spaghetti western guitar part, free jazz, a deep groove, and Eastern modality. Yeah, those are all things I would have thought were mutually exclusive traits in a single song, but NNCK somehow did it. With these new records, it would be hard not to miss the biggest difference with all of their records after Sticks and Stones..., which is, the recording quality is spectacular. This is very nice, but sometimes I miss the overdriven tumult of their older recordings. But, once the record has begun to play, all worries and any memory of other records is wiped clean, as NNCK never fails to reboot my entire consciousness.
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