The Rubber Room column is a weekly look at recent and notable releases that don’t fall into the rubric of traditional reviewed material—namely 7”’s, 12”’s, 3” CDs, EPs, cassette-only, DVDs and MP3-only releases.

Two Lone Swordsmen
Big Silver Shining Motor Of Sin EP
[Warp, 2004]

Brand-new four-tracker from Weatherall and Tenniswood that sees the duo further mining the sound unleashed on their brilliantly filthy From The Double Gone Chapel full-length from earlier this year (and yes, that means Wevvy sings on 'em). The electro-stomping "Showbiz Shotguns" is solid, but the grimy, bass-guitar led "Feast" is the real winner here, adding some much-needed credibility to the term "goth”. The flip features instrumental/dub versions of both tracks. Nothing to change your life here, but a satisfying sidebar to the LP for sure. Track down the promo-only CD version and get the previously released "Sex Beat Remix" tacked on as a bonus.
[Todd Hutlock]

Wooden Wand
Harem of the Sundrum Cassette
[Polyamory, 2004]

Written on vacation in California, Harem of the Sundrum is a smoother ride than usual. It opens with a slow deliberation that recalls the bleakest of Leonard Cohen. The languid repetition of guitar phrases is something that stands out about the tape; James Toth takes his time, content to wait. As the tape wears on it becomes more hopeful. By the final song, Toth is sounding downright seductive. Word has it that some of these songs will be appearing on the upcoming Buck Dharma LP on Time-Lag Records, featuring a whole band of mysterious characters.
[Ian Johnson]

Wolf Eyes
"Droll 17" and "Droll 18" Cassettes
[American Tapes, 2004]

What can be said about another installment in Wolf Eyes' Droll series? Capturing what we assume are the best moments of recent practices, there's some truly killer stuff on here. Moments (literally, seconds) will recall Whitehouse's piercing and deliberate feedback only to mutate into a barrage of delayed horns and circuit-fucked tape decks. Internal feedback is processed into something far more beautiful while it's all grounded out in piles of fuzz.

Volume 18 is the more industrial feeling of the two, settling into a slow heavy rhythm after an initial bout of jumpiness. Don't get the impression this is the sparse coldness of Dread, though; they've moved into much denser territory, and it seems (for better or worse) that they'll never revisit that vibe. Wolf Eyes is all about progress. These tapes aren't intended as anything more than a glimpse into the Wolf Eyes world; they're no grand artistic statement. However, if you're into mountains of dynamic noise, you'll no doubt find something worthwhile.
[Ian Johnson]

Arnoux
"Live" Cassette
[Foreign Lands, ????]

For this set, recorded in Omaha, NE in summer 2002, Arnoux presents a twisted sort of drone-noise carbaret. A welcome change from static and screaming, we're treated to something resembling a homespun, Americanized Shadow Ring. Droning strings and clarinet accompany pleasantly absurd spoken rants and conversations: "I haven't been up to too much, what have you been up to?" At times strangely beautiful, this is quite the treat.
[Ian Johnson]

Various Artists
SMM Vol. 1
[ Ghostly International , 2004]

SMM Vol. 1 showcases Ghostly’s ambient leanings with superb contributions from Twine, Kiln, Kosik, and Mifune. First up is Twine’s “Gliding It On” with poignant ruminations of slide guitar work undercut by pulverized bursts, scatterball beats, and glitchy tears. As marvelously arranged as the tracks on Sunbox, Kiln’s melancholy “Isthmus” contrasts the delicate mournfulness of its chiming guitars with animated beats, while Kosik’s spectral “Signals” floats glowing bass lines over wavering drones. Mifune’s dirge-like “Kiln Remix Suite” is more portentous in mood and overtly experimental in construction compared to the others, yet proves itself their expansive equal. Consider this a lovely sampling of Ghostly’s ambient riches, with Twine’s piece particularly stunning.
[Ron Schepper]

Various Artists
SMM Vol. 2
[ Ghostly International , 2004]

Christopher Willits, Lusine, and Cepia emphasize Ghostly’s experimental side on volume two of the ambient series. Those familiar with Pollen may be surprised by the broader stylistic range of Willits’ sixteen-minute marvel “Breathe (in seven sections)” not to mention the direct incorporation of Robert Fripp’s piercing tone. Elsewhere, Willits spotlights billowing fragments, rapid-fire runs, swaying pulses sweetened by cooing vocals, and even a jaunty (if thoroughly abstracted) episode. Unlike Serial Hodgepodge’s beat-oriented material, static-laden surges and cello bowings dominate Lusine’s ambient “Payne’s Gray” while Cepia’s two pieces include a jittery gamelan workout and deep ambience that expires in a starburst. While more ethereal in spirit than the initial outing, SMM Vol. 2 is equally fine.
[Ron Schepper]