Well blow me away if this guy’s voice doesn’t remind me of The Bee Gees! This reissue of a 1981 single and the flipside were part of an album called “Harvest of Dreams.” The voices of the “kidds” at the very start of Side 1 is endearing, but don’t expect peppiness from this little 7″. Brooding lovesongs are what they are. You can almost see the skies melting above Trimble’s head as he mourns plaintively.
folk punk devotionals from these california suburbanites. homegrown instrumentation: gathering together the instruments their parents bought them when they were 12 years old that they never quite learned to play to sing songs about modern society’s highs and woes: online media apathy and self-medicating social alienation. garage band in the literal sense with friendly songs your kid neighbor plays on weekends. despite the swearing they’re really nice boys.
So I call this angry garage. The band is from Cincinnati, and the lyrics are printed on the vinyl sleeve. It’s fast, it’s fun, and yes, they sound like they are mildly bummed out.
This band features a unique combination of strings, vibes, and theremin. There are vox as well on “Someone Get Rid of The King,” and overall the sound could be characterized as folk rock.
UFUX list their genre as dustcore. Bandcamp lists them as Chicago punk. I’d call it a melange of punk, metal, and grunge. Each track has a good beat with competently played instruments. The vocals are harsh but not screechy. Trash Walk is downright dancy.
No FCCs detected.
Tokyo guitarist who can scorch in the Mainliner red, fuzz
busting out solos, but sets up songs with looping acoustic
and electric guitar lines and hand-percussion sidling along
with them. His voice, mutter-sung and multi-tracked, adds to
the hypnotic trippy trance effect. The songs invite you in
with a gentle psych vibe but then he just rips with the
electric fret fire. In a way this re-ignited my fondness for
Slapp Happy Humphrey, wth that similar combustive combination.
KFJC has an album from Doronco Gumo, connecting Fukuda-san
back to the Japanese underground giants like Les Rallizes
Denudes. This definitely keeps that tradition alive and
well. We got our copy down from the mighty Holy Mountain
and these two songs will resonate in your Six Organ chakras,
“Dump” spins like a prayer wheel, seven minutes of excellence.
“Don’t Worry Be Slow” begins with an acoustic coal-mining
kind of riff, but right away the guitar magma is struck.
When the guitar cools down, his echoey vocals water-drop
into your consciousness, I guess they’re in Japanese, but you
could tell me they were in some ancient forgotten language,
and I’d believe you.
perhaps an unlikely pick for Seattle’s Iron Lung label, not manic hardcore thrash or noisy sludge laden, but San Francisco’s Flesh World lack not the viciousness of other bands on the roster: rough post-punk riffage with lingering feedback and urgent spiking rhythms. an ominous, almost gothic death rock feel. excellent echoing production. dismal indeed
Experiential music; the expression of absorption, both Guan (observe) and Ding (stabilize).
Definitely a mix of insular melodies of (J)game soundtrack music and auteur pop rock, with
fleeting moments of melodies reminiscent of those explored by popular Japanese music more
broadly. A) Has the whole band. Chiptune or synth-y instrumentation plus dirty guitar,
bass, and drums. Everything reminds me of Virginia Dare, this included. Just a few jammy
parts, no fake ass “movements”. B) No improv/exploration, solo composition of electro-pop
by Pedro Silva. Not strings, not -well it is synth- but tries to be more like a rhythm
machine. Although the record is 45, play this 33 for the nine melodies of Earthbound.
Definitely can alienate a crowd, listen alone, for the over arrangement is quite
embellished. Out of LA, 2nd release. -Dada Diogenes
This punk/garage band from Boston offers three solid, fun songs. Although the lyrics aren’t easy to understand, they are enjoyable to listen to, just as is the fast-paced music. My favorite is “Sticking,” although each of the three tracks offers something.
Grindcore from Costa Rica. Intro is a pleasant acoustic guitar solo. This limited edition album came out last year. Vocals are in Spanish and are translated in the liner notes. Songs are between fifteen seconds and one minute.
Billie Joe Tolliver
Solo waveform electronics. Italy’s Stefano’s cinematic short library cuts to set mood, a capsule of scenes, A side, protasis or epitasis movements, while B side, definitely catastrophe, settled yet empty, durations, and tholing tears. 1) conga fills, kit, metal percussion, and a model synth timbre for painting with oils and brush, or on stage, for laser lights and smoke machine 2) the melody, laidback, but becomes more elaborate, the song structure grounded in repetition of a few parts without variations really. static cymbol, and leading bass line, brings to mind the Konami sound, and something like Contra. 3) tension or freedom at the heart of the machine, distanciation or otherwise known as contemplation. 4) a music box, with high frequency blurring or peaking and might vibrate even but definitely strident. where doth the melody reside? from the heart cometh and to the heart goeth. wonders the dada diogenes.
old style hardcore out of SF pissed off at the world and themselves for not caring enough. garage rock hipsters jaded to the point of aggression, fed up with the piss soaked junkies on the street and the privileged liberal elite that walk blindly by them claiming to care in the name of counter-culture. fuck the system, fuck the culture it breeds, and fuck me for doing nothing to change it.
native Los Angelanos Very Be Careful have been hitting the streets with Colombian vallenato-style cumbia since 1998, recording several albums and bringing their party all over the world. traditional styles with a sun-scorched urban countryside flair, this is dazed and sweaty warehouse party music to keep you dancing till 2AM; the B-side is more of a light-hearted celebration while the B-side is more brooding, misterioso y peligroso. tenga cuidado es muy caliente
Do you believe in miracles? Then listen to Side B for a blast from the past. Or skip it altogether and just revel in Side A, a track from the upcoming Boys album from San Diego-based band Crocodiles. Crybaby Demon is a throwback to Tommy James and the Shondells, in the best possible way. Say it’s shoegaze, say it’s psych, or just say it’s great.
The Gooch Palms is one Leroy Macqueen and his partner in crime, Kat Friend, both from Newcastle, Australia. Kooks in a good way, The Gooch Palms revel in playful power punk and pop, sounding like the Ramones and Sparks, yet holding their own with some raucous musicianship. He plays guitar. She plays drums. They both sing. Songs of quirkiness, tales of the outsider making it in the world, talking about being out in the sun. Fitting snippets of life experience that we all can relate to. Rock on.
Seven inch split from two metal artists. Hexis from Denmark is doomy with muddy cookie monster vocals. This side chugs along like a march of war. This Gift is a Curse from Copenhagen starts with a quiet noise opening. Super fast guitar and drums with pukey vocals. False ending. No FCCs.
-Billie Joe Tolliver
unforgiving, unrelenting, and inhuman Unexamine is drummer Charlie Mumma, co-organizer of the Pure Harsh Noise Worship Festival in Portland and Danny Costa of l’Acephale. Unexamine has the same lineup as Rohit (a release titled Judge from our cassette library.)
Two sides of excruciating noise, side A claims to have two tracks, but it looks and sounds like one to me. A lot going on, multi-layered electronics blasting out the stereo into your broken, bleeding eardrums. Favored by the unfavorable..
Really excellent 7″ in sound and packaging as well should be
noted. Four freaky chicas from Brazil with a deep, booming
rock sound. The guitar has that flanged shadows from your
old goth-palace days, and it couples nicely with the tribal vox
and bass/drums poundage. Synthesizer veers in with the
black keys soaked in mascara…the flip side, “Serpente”
showcases their jammy shamanic side even more so, and
checking them out on youtube, I think 15 minute riff
sceances and reverb-screams are their happy place. That
being said, the tigheting up for the title seven inch
really works well, the pace is quickened, and the impact
almost makes you want to dance. But you know they are
watching, and the Rakta ladies will destroy you if you
try and bust a move. This is as serious as passing
out in an alley, the second side slows down and you
wait for an ambulance, nice guitar (and maybe other
electronic tweakage…I think a theremin is used live)
Keep on your toes, these ladies will be back to finish
us off soon enough I expect, never mind the Hindu
influence of the band name. No mercy, and excellent
dark post-punk punishment.
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File