Portland, Oregon duo – guitarist Jason Buehler
and percussionist Mark Shirazi. Kitchen sync
and sample stampede over drums that touch on
tangents to dub. Guitar bubbles served over
some piledriver basslines in other parts.
Tweaked and twiddled transmissions.
Portland, Oregon duo – guitarist Jason Buehler
Further fruits from the cross-pollination of Hood with the
cLOUDDEAD heads. We get more solid drifting vortex pop from
Birmingham’s Hood…a constant state of exhallation. Breathe
out…breathe out again. Repeat until you pass out blissfully.
Themselves (aka Dose One along with Jel and Dax) then take
that track as inspiration and P.U.S.H. it up with their tiny
trademark martian vocals and their own sped up swirl of
sound. Only seven inches, but seventy layers of sonic veils
wrap this little picture disc gem.
Streamy dreams of subconciousness.
Ida No yelps and screams with the best of
them. Glam slammed rock…she’s traded in
her Bowie bent this time for a Bryan Ferry
fix. Her voice still has a unique frenzied
whorl to it. Johnny Jewel’s guitar is a
leather clad shark swimming around the
tank. More anachronism than anarchy…but
pure fun nonethelees. The Roxy Music cover
slips down through some tar pits to a drum
solo finish. Retro and active.
Breakneck, breakface punk rock out of Toronto and a group
that was allegedly started as a joke, but a clever one at
that. Realizing that all bands ultimately lead towards
horrible fights, the idea here was to put a bunch of people
together who were already primed to go at each other. By
the sound of this, it was a complete success. Aggravation
fuels this 7″, with quick fisty drums, and good sawing
guitar. Basically we get a siamese twin of a song split into
two with different lyrics, but a shared chomping whole lotta
riff. The lyrics are punctuated by spittle, for “The Public”
the band meanders into some clarinet and sax spirals. All
in all a damn fine outing, as much fun if not more than the
photo inside. Double dirty ditties, take a grave shift just
so you can play this!
This is not actually ‘Tubby The Tuba? but more of a copyright skirting song ABOUT the song ‘Tubby the Tuba.’ A 1960 release by kiddie music rip-off artists Michael Reed and the internationally infamous Peter Pan Orchestra. A bit scuffed and scratchy, but fun/stupid. Flip side is not much better… The REAL ‘Tubby? was written by George Kleinsinger in 1946 with lyrics by Paul Tripp – first of 4 different Tubby episodes (Circus Band, Jazz Band and Further Adventures of Tubby – with a marching band!) and has been performed by such greats as Danny Kaye, Annette, Julia Child – and all four were done recently by The Manhattan Transfer.
Tuba players do this at gunpoint (or for big piles of money) but it has stereotyped the instrument worse than any other song I can think of! *review by David Richoux
Funkminsta Fulla 11/3/2004 7-inch
melt-banana / big d and the kids table split 7″ (33rpm) – [fork in hand records]
melt-banana – high octane Japanese noise-core cover of Toots and the Maytals’ “Monkey Man” complete with aye-yae-yae’s and yo-yo guitars segues to “Operation 3rd Attack”: wildlife noises then mad scratchin’ and finally full-on noise + feedback + drum bludgeoning, albeit brief.
big d et al. – this is ska-core from Boston, Mass. hard-core riffin’ w/ skankin’ horns. first track is a rockin’ cover of Ministry’s “Thieves” (despite the label’s reversed track ordering), tr2 is original “Apologies” – solid youthful angst w/ decidedly DC sensibility coupled with great primal tom playing finally capitulates w/ almost Morphine-esque closure.
Two bands from Missoula, Montana release a split 7″ on a label based in Missoula, Montana. Coincidence? You decide.
Volumen take the A side with the song Lady Cop. It’s 3:42 of funky fun with fuzz guitar and synthesizer. For some reason I was reminded of Urge Overkill circa The Kids Are Insane. Let’s hope this isn’t the last we hear from Volumen for a while – according to their website one member just got married and another is expecting a baby. Let’s all hope for a long winter with lots of studio time.
No-Fi Soul Rebellion is essentially one guy, Mark Heimer, who wanted to perform in a band but didn’t want the hassle with bandmates. His solution? He invented the “Soul System,” a bass guitar with the strings removed and a mini-disc player embedded inside. On stage, his wife dances around wearing the Soul System while the husband karaokes to his own songs. They’re like a post-modern Partridge Family.
Anyway the B side, Ch*rch, is a more mechanical, synthesized funk than the A side. It’s the kind of music that Morris Day and Devo could have made if only they had put their petty jealousies aside. Oh, and NFSR lose points for rhyming “lurch” and “jerks” with “church.”
Ms. Jones is not happy with the foreign and domestic policies of the current administration. So she rounded up the Dap Kings, house band for the Daptone label, and put her feelings into what she describes as an “anthem of discontent.”
The first song asks the musical question “What If We All Stopped Paying Taxes?” It’s the sort of blistering retro-soul that we’ve come to expect from Ms. Jones & co. Sharon’s pissed, and as the song goes on you can feel the band absorbing her anger and reflecting it back to us as heat. Bush and Iraq aren’t mentioned explicitly, so this song will work just as well for the next country we invade.
The B side is a slow but impossibly funky version of the public domain song “This Land Is Your Land.” Woodie Guthrie is dancing in his grave somewhere. The song is great from the horn section’s sour Yankee Doodle opening to the fade out, but the highlight for me is the way the trumpet solo enters.
If you can listen to either song without shaking your ass you are probably Ralph Nader.
Hauling sprawl free-rock from four Santa Cruzers nourished on
Beefhearts. A-side has a definite Lucas film on the fingers
of the guitar. Songs sort of explore, bump in the dark. Like
stairs built by hallucinating carpenters. A-side after its
Lucas leap settles into a walking rhythm then drops through
some trapdoor chords before striking the anthem ore for a
few measures then drizzles out softly to black inner groove.
B-side explodes out of the gate, drums alternating between
pacemaker ticks and heart attack thwacks. Then song comes
to a twang bar in the middle of the road, up the fretboard
go fretting fingers things get chittery for awhile, then
in comes the secret stair mantra. Whenever a rare chord is
struck, it’s heavy with ninths, flats, sharps, and other
accouterments. Quiet comes in (like a second track) and
it’s a race up a mountain to the finish (where it almost
sounds like a live gig). Flustery…in a good way. -Hunger
PS name is hello in russian, “zzz-draw-stvee-cheh”
The mandala mandate continues. It may have started out as a crash hash course, but at this point one assumes the Girl’s devotion pure. “Borungku Si Derita” is one of them thar A-minory ballads which, despite achingly anthemic vocals, tastes like Middle-Eastern Meatloaf to me. “Abydos” however is a fine Hindu-Flamenco Locomotive Surf instro and “Carousel Tapsel” spins a Ferris prayer wheel of vocals chasing guitar melody chasing percussion slaps of the acoustic melody. Hello Dalai Lama.
A concept 7″ exploring the vast reaches of sci-fi B Movies – mixing
levitation and levity with just enough fi, detuned guitar and detoxed
vox. “Comrade Cosmonaut” parallels the former Soviet Union with a
former red giant star flamed out into a flickering white dwarf. “Bad Aliens”
takes an eastern scale and sketches worst possible scenarios for
close encounters. “Galactic Living Family” is like the anthem for an
inter-species, outer-space equivalent of the Indian Guides. Complete
with too many words stuffed into the hilarious couplets…and ocarina too!
The truth ain’t out there, it’s right here.
12345 S. El Monte Road Los Altos Hills, California 94022
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