12-inch, A Library
3LP box set release from 2015 offers six sides to explore full of psych skronk ecstatic noise rock improvisation. Not sure where to drop in? Select Side D. (A breakdown of each side follows below.) On the whole, it’s fun to listen to this genre of music getting made in real time, and with a frenetic, jangled, anxious energy as opposed to happier, tranquil, figure-it-out-eventually, meandering psych jam sessions. Laddio Bolocko go full out on many tracks, exhibiting notable stamina as they work through ideas while keeping their collective foot pegged to the floorboard, tempo- and intensity-wise. They also exhibit a chameleon-like interest in trying out different genres and textures. The best stuff on this collection is more raw and unhinged than the band’s studio releases, and points to the next evolutionary step, notably the Psychic Paramount, the reckless experimental outfit that absorbed half of Laddio Bolocko after its dissolution. Be sure to check out the liner notes printed on each disc sleeve if you’re interested in learning how the musicians lived in New York (both in Brooklyn and upstate), toured, and made these recordings along the way.
Side A: a side-long excerpt from an extended jam made shortly before the saxophone player joined the band. The keyboards featured prominently over a driving drum line give this track the most conventional psych jam feel in the collection. That is, until the end, when the jam devolves into some Casio-keyboard mayhem. Made in the band’s living/rehearsal space in Brooklyn.
Side B: recorded at a house in the Catskills where the band lived for a while, during the same year Laddio Bolocko appeared in the KFJC Pit. B1: an assemblage of multiple sessions/ideas. amorphous noises and drones rise and fall. piano and determined munching of potato chips or similar snack gives way to some strange western saloon crossed with a science experiment. eerie scifi vibes. B2: noodlings and wanderings, particularly on sax. B3: percussion-driven composition with other noisy and sax-induced parts.
Side C: more from the Catskills sessions. C1: a bit more smoothed-out sibling to B3, driving percussion with minimalist keyboard element. C2: starts out mellow; drums, bass, and sax. it’s mellow but there’s always some tension brooding under the surface. C3: recorded audio detritus lends some interesting sonic textures. C4: the elusive guitar resurfaces in this amalgamation of attempts and explorations. bass and drums tend to keep things held down while other sounds flit about. C5: sharp, high-pitched machine whine with some sort of drum machine going in the background. C6: ritualistic drums, twisted carnival organ, redlining sax squawk.
Side D: return to Brooklyn. D1: brief, cool-sounding bass line with drums and sax. D2: probably the standout track on the collection. The guitar establishes a driving rhythm and the band begins to build structures around it. The drummer, bassist, and sax player had heard the guitar part for a few minutes before laying this track down, so the spontaneous ignition happening here is pretty amazing. Mesmerizing result. D3: Part B to the previous track’s Part A. Adds synth to the mix, guitar soars, and plays like a sinister doppelgänger to the pt. A’s beauty. Super rad, down to the moody dissolution to close it out.
Sides E and F were recorded live in Slovenia. These are driving, straight-ahead, full-throttled tracks that should fit in a variety of sets. A couple tracks are live versions of tracks found on the studio album “As If In Real Time”. E2 is a quick shot of adrenaline. E3 provides a glimpse into the band’s ability to play with dynamic range and respond to each other in a live context. Tension built and released. F1: another version of the track included in the Live From the Devil’s Triangle v1 compilation. The end of this track bleeds right into the F2, where they get into a live jam. F3 closes out the collection with a melding of the eccentricity of the Catskills jams and the intensity of their live improvisations. Breakdowns amidst the freakouts allow the sound of the audience to come through.