Tribal rhythms, fuzz guitar and psychedelic sounds? A band dressed in masks and tribal attire to bring this enchanting psychedelic sound to you? It must be Sweden’s own Goat. “Commune” is Goat’s second studio release out on Sub Pop Records from 2014 and remains a gem nearly a decade later. For those that know Goat, you can bask in the warmth and love of this sophomore release . For those of you who are unfamiliar with this fantastic Swedish psychedelic experience, sit back, relax, and let your noggin get carried away in the hypnotic rhythms and fuzz heavy guitar driven divineness that underlies the enchanting and energetic vocals of the two female lead singers. “Commune” is guaranteed to scratch that psychedelic itch in your ear and transport your mind to another world.
This being a collab between Silent Servant (John Juan Mendez) and Svreca (Enrique Mena). The first track opens like a foreshadowing into a nightmarish dream. A dark, guitar drone ala Sun O))). Then the struggle in your dreams begin. The next track brings a bass heavy techno beat, that runs repeatedly through your head as you run through the fog filled forests at midnight, escaping what lurks in the shadows. Side B has that foreboding drone feel again, as if you’ve been stopped cold in your tracks…something is whispering your name, pulling at your soul, but you can’t see it. The final track – you race like hell to find shelter and hope that your sweat drenched smell doesn’t attract the steaming behemoths that stalk.
Copy is Marius Libman from Portland, OR (who now lives in SF). This is his most recent musical release from 2016 on stylish silver vinyl. His style is playful and retro sounding with a very analog synth sound as if he’s trying to create 8 bit computer music. Each track is an instrumental gem. Some tracks are lusher sounding, others more glitchy – each one has its own unique personality. You can’t dance to it but it’s definitely worth a play! AArbor
Looking at the album cover you would think that this record is a bit on the dark side, but not very dark. The film is from 1966 and that explains the sound which is very enjoyable but not too challenging: mostly jazz, with some surf, a bit latin and rock. The composer is Jaime Delgado-Aparicio of Lima, Peru – a graduate of the Berklee School in Boston. Just enjoy this – it’s a guilty pleasure. AArbor
MXLX is Mathew Loveridge, Bristol, England and “At Time Temple” is an explorations of the perversion of several genres including Black Metal, Ritual Psychedelia, Noise, Punk, Folk, Hymnal, and perhaps the inception of several other genres that fall between the cracks of extant categories. At times meditative and serene (Zone Away), elsewhere tortured and vehement (Disastrchasr), the composition and performances appear to provide a vehicle for personal expression above any other motive.
Layers of drone and squealing guitar, buried percussion, white noise modulation, emphatic wails, deep string bends, cacophonic scrambles of electronics and guitar, thunderous double-kick, quiet spaces of single picked acoustic guitar, lilting choral passages filled with lamentation yet devoid of meaning…
Pulling from a broad spectrum of influences and subverting them all, indeed,, there is an utter lack of convention in almost every aspect of this release, especially the spit in the eye of high-minded grandiloquence. He produces (heavily) as a byproduct of a diagnosis that he credits as a motivator.and states, “I happen to be autistic, The ridiculous pumping out of mediocre jams is sort of a by-product.” But this apparent self-depravation has a note of humility to it. The art and packaging of this release is raw and unrifined, mirroring aspects of the sounds contained within, especially a sense of immediacy, or urgency, of capturing a moment or a feeling before it slips away giving the album an ephemeral feel. Having excised this ghost he will move on to other compositions, other demons to slay. with no allusion to deeper meaning or value. He does it because he must. Internal incentive being the crux of his motivation while we, the listener, are an unnecessary mote, a passive witness to his expression.
“Loveridge’s vocals are typically obscured or non-verbal (see 2015’s I Aim To Understand Nothing). While he dismisses questions on his lyrics, claiming they are as obligatory and “completely unconsidered”…”-Alastair Shuttleworth, The Quietus 2020 https://thequietus.com/articles/28115-matthew-loveridge-mxlx-interview
Loveridge of Bristol, England whose mental health apparently provide the impetus for a staggering amount of output under several different monikers (Knife Library, Fairhorns, Speed the Plough, Gnar Hest, et al.) encompassing a vast amount of influences without derivation. Something wickedly pure amid a turgid ocean of clamoring whore-hounds.
Conniffe, Brian & Walsh, Suzanne & MacDiarmada, Diarmuid – “Landslide” – [Lumberton Trading Company]
Three musicians from Dublin, Ireland explore quiet space with enchanting ambiance on this release from Poland’s Lumberton Records, 2013.
Mellifluous, feminine vocals interwoven with shimmering chimes and bells, juxtaposed against strange nocturnal abstractions. Squeaking trapdoors? Frog chirps? Thumps, aerophone, and synthesizer swells create a slightly spooky backdrop for the delicate singing of Suzanne Walsh.
What are your musings fragile spirits, there in the shadows, eyes aglow against the inky blackness just beyond our reckoning? Might you be coaxed out, to dance with us around the fire? Or are you too shy, too reticent, and too many secrets held to mingle with humanity? Join us in our mourning song , to heal our wounded hearts opened by the loss of our fallen companions so that we might sleep deeply, come ere the dawn.
Landslide is dedicated to the memory of John Balance (Coil) and Peter Christopherson (Throbbing Gristle)
Foreboding dreamscapes of cinematic majesty.Gorgeous sweeps of strings and synthesizer. Tension, terror, and psychological torpor.It’s a good series with an excellent soundtrack by Australian/Icelandic composer, Ben Frost who is both well represented in our library and an absolutely stunning example of masculine beauty. Every element of this album works perfectly to instill a disturbing aural environment to accompany the imagery and performances. The cadence is impressively somber. Themes to a nightmarish journey through mysterious other-worldly confusion. A masterpiece in my esteem.
Dark is a beautiful science-fiction series from Deutschland that on paper should tick all my boxes but sadly due to its pace, plot, and perspective has a tendency to put this miserable volunteer to sleep. I will not relent however, though I have attempted to watch the sixth episode six times now, I will tenaciously repeat until satisfied… perhaps another six attempts will suffice. I have come to believe that this soundtrack and its visual accompaniment is, in fact, a diabolical spell devised for deep sleep with disturbing dreams. Whose opening stanzas weave a nearly narcoleptic incantation propelling the listener/viewer into a fathomless cavernous repose.
From 1998 this is a 3-track record with jazzy grooves, dubbed out hip-hop beats, and ethnic rhythms. You’ll hear classic jazz breakbeats, live instruments and even some spoken word. It was their first release and only release together. Boom Bip went on to record many more records, Osiris only a few. AArbor
From 2014, five fine tracks from Tamar Osborn and her colleagues in Collocutor. There’s a magical blend of influences here. As Osborn says: “I’ve always been interested in music from other places, of what happens when humans from different cultures interact, seeing which ideas stick and how it comes together to create something new and redefining. And, hopefully, that comes through in the music,” The music sounds both old and new, and it has roots in different parts of the world. New London Jazz at its finest. AArbor
A duo of Matthew Riley and Aaron Diko. For their debut release, they’ve used a collection of classic and reissued analog equipment: Juno 60, Prodigy, Mono/Poly, Minimoog, SH-01A, MS20, Minilogue, Volcakeys, & a TR-08. It’s a fantastical journey through the cosmos, with an edge on the rainbow crystallized comets and colorful oil hues of the horizons. Happy and optimistic. Definitely has a Kraftwerk vibe. Synth-tastic!
Delicious beats and saxophone samples galore in this 2010 project from SF producer and DJ Mophono. A perfect mix of great sampling and driving beats, this Mophono project is sure to keep your head glued to the hypnotic pulses and over samples that would make Quantic blush. Released on Bastard Jazz this is the perfect recipe to keep your head bobbing and the rhythm flowing. The flip side to this EP is remixed by “Sinicism” in a wicked beat down of percussive sound that is sure to enhance that bluntish beat in all of you.
Dreamy, spaced out, psychedelic saxophone and FX float over driving, trance inducing, rhythmic percussions on this 2019 freshman release from Paisiel. Hailing from Porto, Portugal, the duo of Julius Gabriel (saxophone & fx) and Joao Pais Filipe (percussion) create an atmosphere filled with tabla inspired Afro-Caribbean beats and mind melting melodies of saxophone and fx that is other worldly. The duo met in 2014 while Joao was working in a record store and Julius was a customer. In 2017 they decided to start collaborating and this self titled, release is just the beginning of that partnership. Get your refreshments ready, sit back, and enjoy the stimulating dreaminess pressed onto this luscious translucent blue vinyl.
Forest Sirens call from a hauntingly, dreamy musical atmosphere of piano, organ, trombone, guitar, and fx. This 2018 Feeding Tube Records release from France’s Delphine Dora and Yorkshire’s Sophie Cooper is sure to satisfy the soundtrack cravings of your near nocturnal state of mind. Brilliantly composed as a two part suite of music, side A takes you from the beginning of a journey filled with ominous underpinnings to a side B that is redemptive and speaks to rebirth. Relax, rest your weary head and let Delphine and Sophie invite you in to their musical dreamscape.
Slow pulse droneage from Vincent Presley (Those Poor Bastards, Zebras). Quarantine apparently had him going mad, and he ended up expanding on his vintage synthesizer collection, creating this lovely hazed out release. The A side brings low ambient drones, giving you the feeling of waking up on an unknown alien desert, the sun so bright it blurs your vision. Side B’s first track has a more lighter essence to it, still low but also hopeful. The final track takes you straight into Blade Runner, with that sci-fi score vibe. Love it. Only 100 copies made on vinyl!
Two sidelongs each from Wolf Eyes and Blank Hellscape. Sludgy, dark, ominous, dirgy, muddy and ghostly. The Wolves sound like a sad horn trying to make its way through an industrial damp warehouse, stuck in a mucky mess. Pulsing sets in about halfway through, before the horn is devoured under the lava and words arise from the molten. But alas, the horn returns. Blank Hellscape brings has more of a sizzling rhythmic cacophony of sound. Effected vox lay inbetween layers and twisted wires, also pulsing with disastrous intentions.
Robert Graves (1895-1985) was a British poet, historical novelist, critic and classicist. He wrote more than 140 works, a few of which are presented here. The White Goddess, his study of poetic inspiration has apparently never been out of print. To listen to him with his very posh British way of speaking you would think he was wealthy or an aristocrat – certainly that he went to the “right” schools. He was actually from a middle class family – but did go to the “right” schools. Play this and get the education that you didn’t get at school. AArbor
Andrea Borghi (Italiano!) graduated from the National Academy of Fine Arts in Carrara and studied electronic music, piano and composition at the Giacomo Puccini Music Conservatory in La Spezia. His work focuses on creating sound from inanimate things such as sculptural objects, installations, obsolete media and electronics. This album consists of audio recordings that were produced through an open VHS Recorder using manipulated videotapes. Most of the sounds you hear were taken from background parts, edited from old tapes of obscure and underground cinema. It’s scratchy, creepy, noisy, static-y, weird, strange and very analog in sound. Looking at the album art, I can image watching this & other ideas he’s created, performed live would be so intriguing – a totally unique auditory sensation. Mastered by Giuseppe Ielasi, limited to 100 copies on LP!
A live recording of sorts from home and Los Angeles radio station Dublab. This round, Smegma consists of Ace Farren Ford, Dennis Duck, Ju Suk Reet Meate, John Wiese and Rock N Roll Jackie, among a few others. Sissy Spacek is coming from both John Wiese (og member) & Charlia Mumma, a member since 2008. Two side longs of twisted sound collage. Effected guitars, pedals, wires, strings, crashing cymbals, random vox pop up like a groundhog in Spring. Rolling, crunching industrial noises. Spazzzzstic & skittering. Sounds akin to a Teleki-NotoMotors Noisehaus improv sesh!
Some great noisy, fuzzy, distorted punk-improve from Tempe, AZ’s own Soft Shoulder. With James Fella at the helm, this 2020 release “Not the New One” out on Gilgonggo Records is a collection of unreleased material recorded between 2015-2019 with various line ups. Sure to appease any and all noisy itches in your ear canal. Ranging from hard driving, rocking punk noise (think The Fall) to noisy improve, “Not the New One” will leave your ear drums ringing as you bathe in the beautiful insanity.
This is the soundtrack to a 1966 Eurospy comedy film. It was shot in Italy and released in an English version and an Italian version which are notably different plot-wise. Vincent Price is the mad scientist (Dr. Goldfoot) who is working with the Chinese government to use exploding female robots to disrupt a scheduled NATO war-game by blowing up the various generals involved in the exercise (one of whom looks exactly like Goldfoot, and whom Goldfoot later impersonates). Fabian is the hero who works to thwart the plot, that is, when he is not busy chasing women. The film ends with an extended frantic chase through the streets of Rome, and Goldfoot attempting to start World War III between Russia and the United States by dropping a nuclear bomb on Moscow. The music is 1960s pop music by a variety of artists you’ve probably never heard of, but it’s fun. AArbor
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File