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A swirling tempest of pop inflected psychedelic scourge from one of SF’s up ‘n comers. Side A takes no time to grab hold and launch into a sonic romp of repetitious forging melody and rhythmic clatter as flaring guitar weaves throughout the constant driving pulse. Side B opens with a tuneful psych-pop number with hyper-tensive keys and infectiously memorable stretched out hooks harkening back to the Spacemen 3 sound. Closing track shows an experimental drone side with recurring pulsation through oscillating electronics, spoken word and feedback loops. An all too brief voyage through this limited edition.
Succumb to the acid wash female vocals coated in a sticky static ectoplasm of numbing amphetamine psychedelic noise overdrive with an underlying pop element deeply embedded in melody that lodges and lingers in the mind long after it fades from the ear.’ Essentially the duo of Floridian couple Max Soren (guitars) and Leslie Soren (vocals) and a host of percussionists Brendan Grubb (trks 1 & 3), Paul Leroy (trk 2) and Adel Souto (trks 4-8) with additional guitar by Neddal Ayad (trks 5 & 7). ‘Produced by James Plotkin. -AFremont? ?
Strotter Inst.-Schlepper (self release)
Jazkamer-”Metal Music Machine” (Ass Piss Records)
2004 recording from Norwegian experi-metal maniacs previously known mostly for their electronic free noise output. This time around they employ notorious Enslaved vocalist Ivar Bjornson to signify the change. Each track discerns from the other from start to finish while holding true to the darkness: Side 1=TRK 1-Strikes quickly with a stunning fury of repetitive annihilating napalm firestorm riffs and super heavy shrapnel percussion set on rapid-fire. TRK 2-Suddenly relents into slow erupting molten lava flow sustained chords.
The latest from Chicago’s low profile folk-infused drone driven four piece conjuring up phantom images fading in and out of hovering hazy strings, harmonium, and organ. Flowing as one continuous piece, tracks 1, 6 and 8 are the ghostly vocal “song” structured parts of the whole held together by stretches of chilling acoustic and electric feedback. The longest stretch between tracks 2 and 6 can be connected interchangeably or as separate sections faded down or worked in as lead in or out-ro connectors to the aforementioned vocal tracks. Track 7 is the more intense instrumental that can stand on its own with a blaring electric feedback element. Recorded in only two days during the spring of ’05, the result is an unpretentious immediacy with indelible staying power. -AFremont
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