16 space themed songs from some guys who dress up like the Flintstones. Band members include Eddie Angel and Pete Curry from Los Straight Jackets. Also, Johnny Rabb on vocals. Primitive garage surf that rocks. David Bowie, John Lennon, Sheb Wooley covers.
Motrik is a four piece band from Portland, Oregon. Droney, repetitive and colorful extended jams, accented by Motriks. A motrik is a beat in 4/4 time punctuated with cymbal crashes at the beginning bar of a chrous or verse. Motrik takes on a vibe simulator to Kraftwerk, Faust, Neu! and other kraut rock bands.
Koreykojinn is a power trio.The drummer is Yoshida Tatuya, leader of the Ruins. The guitarist is Kido Natsuki and the bass player is Nasuno Mitsuru. This is prog rock meets prog jazz. Their sound is reminiscent of the band “yes”. Koreykojinn translates to “This Giant”.
There are four tracks on this album. Jams that seem to go on forever with swirling guitars, lots of twists and turns. A very busy production. If you’re a fan of F/I, Marble Sheep or White Heaven then you’re in for a treat. The tracks are lengthy and very cool sounding. Outstanding production work.
Samara Lubelski composed this release of psychedelic pop with an array of analog instruments. Beautifully performed compositions that are cathy and poppy. Layers of sound that have depth.
Psychedelic, garage, psych prog and a little bit of soul. Night beats deliver a vintage sound with lots of fuzz and reverb. This Seattle Washington based trio are veterans of the Austin Psych festival. This is their second album, recorded in a warehouse.
Formed in Melbourne Australia in 2003. My disco is a collaboration between Liam Andrews (bass), Ben Andrews (guitar), Rohan Rebeiro (drums). The emphasis is on minimalism and alternating guitar chords, hypnotic drums. Their music has been classified as minimalist, indie rock.
Spoken word over music chronicling The Koolaid Acid test, the novel written by Tom Wolfe, the counter culture, the summer of love, the meaning of life and the Viet Nam war. A sample storm featuring Allen Ginsberg, Ralph Malph, Art Linkletter and Doctor Leary. Hypnotic and mesmerizing beats. Awesome surf sitars.
Minus story is an indie pop band that is not afraid to take chances. Their sound is in the same vein as Black Ice or The Starvations. Dark catchy songs that are intriguing and clever. Full of punk rock sensibilities .
Korean, acid folk, soothing acoustic guitar accented by an unusual voice vibrato. Mellow sad songs about the human condition. Kim Doo Soo sings in his native language, rounded out by cello, trumpet, synthesizer and piano and piano. Very folky and peaceful.
This is the third release from duo Dan Cross on guitar and effects and Andy Pyne on drums. Fourteen tracks of noise art improv. Thundering drums and primal jamming to prog-punk guitar attacks. Elements of doom and psych. reminiscent of Acid Mothers Temple.
David Ireland turned his house at 500 Capp Street in San Francisco into a work of art by uncovering its bones and human experiences. (See https://500cappstreet.org for more information.) Phillip Greenlief went through the house responding to its space by playing his saxophone. Reedy, strange, eerie improvisations.
Lo-fi garage punk mixed with psych, blazing guitar solos and frantic vocals. Boundless energy, raw and gritty. Prefab messiahs were formed in Worcester, Ma in 1981. This is 1980’s garage at its best. Lots to pick from.
Four minutes that careen between noise and grindcore. Side A, by World Peace, brings electronics, a raw, buzzy bass tone, maxed out levels, and pummeling drums. There are apparently 4 tracks found in these two minutes, but it seems reasonable to just play it through. Side B, from Limbs Bin, is a collage of some goofy samples and the noise/grindcore akin to Side A. Digitization is in the works, but I recommend just playing the cassette on the tape deck. It’s the easiest cassette you’ll ever cue up.
whngr 7/8/2019 A Library
Slightly spooky, mellow, and sparse with some noisy elements. Long tracks for snacks, graves, and small seizures.
Ingrid is confused and upset
chirps and spectral swells
tape player in need of repair or being repaired
electronic drones and singing bowls
strings made blessed/cursed cat-gut
carousel is fueled by the dreams of imprisoned children
rusty bridges bowed by coast-giants
white noise, organ, and pulses of static
bells are distant or hallucinatory
melancholy guitar picking
monumental sub-oceanic ancient gears in their final movements.
sizzle-zaps and zings
rumbles and sounds of industry from a subterranean demi-god foundry
Very little information on this local project though member A.C. Way has been active in several projects in the Bay Area including Sutekh Hexen and most recently as Thoabath both of which are represented heavily in our library. Bruce Anderson performed guitars and other [etc.], and James Kaiser handled tape and other [etc.] as well as running the label Petit Mal Music (which this cdr was released on), before ultimately passing from this realm in 2017 at the age of 46.
Medusa of Troy 7/3/2019 A Library
Amrita Kaur Dang, who goes by Ami Dang, integrated noise, pop, Northern Indian classical and EDM into her debut album, Hukam. A sitar player since her early teens, this album was made back in 2010, when she was “stuck” getting a music degree at Oberlin College. There are songs in English and an Indian language (Hindi? unsure). Lots of wailing and vocal arpeggios but with a voice a little rougher than the sweet high tones one hears in traditional Indian music. Cacophonous and droning tracks are punctuated with sitar loops. Is rhythmic noise a contradiction? Because it happens here. Strong drumwork organizes the sounds into danceable beats “Treasure” – could be a traditional song from some part of northern India, but the staccato looping makes it feel more western. “A Strange Community” is perhaps my fave – tabla drum beats and sitar accents add to wailing chats and circular electronic riffs.
Some tracks stop abruptly and the subsequent songs will continue the old beat for a while.(1/2, 6/7). A noise fan might not consider this real noise, but if this were filed accidentally in the International section of a record (Ami is Indian-American from Baltimore), it would cause a ruckus.
Frontwoman Nicole Laurenne claims that this album marks the first time the band has actually recorded in the same room together, previous records done via e-mailing tracks back and forth. Whether she’s having us on, the album does have a certain tightness and subtlety that supports her claim. 12 uptempo tracks that only disappoint when they’re over. The sound of the album is well though out, heavy on the fuzz, with strong psychedelic elements. Though The Darts sound is often referred to as garage punk, to me it’s more reminiscent of the early Yardbirds, with strong bass-doubling riffs, a good example being the title track (possibly my favorite). Love U 2 Death (my other favorite) takes the concept even further, at time doubling between bass and vocals; bass and guitar; guitar and vocals; tripling bass, guitar and vocals.
A heavy, heavy sound, strengthened by the fact that the band members don’t appear to take themselves too seriously, and are just having fun. The songs all seem to center about relationships (but then again, don’t they all?), with quick solos popping up here and there (organ, bass, guitar). The songs range from 2:03 (Japan) to 4:37 (Love U 2 Death) and are economically arranged. Short enough to make their way onto any playlist. Many of the tracks have interesting endings (e.g. Where’s the Rain, with a 50-second fade into feedback and rain), so you may want to do a quick scan of the endings to figure out how best to connect with your next song.
The Mermen from Santa Cruz call their work “psychedelic instrumental ocean music”. Embraced by surf music fans as well as others. Fine playing from Jim Thomas on guitar, Martyn Jones on drums and Jennifer Burnes on bass. Good energy on some tracks like (1), others are more easy going and relaxed. An especially good album from a long excellent band – all killer, no filler.
Well-preserved Welsh jams from the late 70’s. So stoked to see this reissue after having a taste courtesy of a couple of songs off Messthetic collections. Reptile Ranch were tied to a Cardiff scene that included the Young Marble Giants, booklet includes their manifesto for busting out Z Block Records. Songs are poppy catchy in a certain light, but with a twitchiness that distinguishes them over the decades. “Waterhole” has a warped entrance, some orchestral moves in the dork, before a peppy bassline locks in, with those shimmery seventies keyboards sounding like a siren. Many tracks work in those sensible but simple synths from Simon Smith, who also sings and adds some guitar. Spike aka Alun Mark Williams, provides the snakey guitar work that cuts nicely. Phil John apparently was both halves of the rhythm section, bass and percussion. The LP includes some raw live club cuts on side A, for those who want the “you were there vibe” but the studio sounds bristle with youthful thistles. “W.T.B” (White Tyger Burning) marches and the guitars burble, “Lifeguard” has a tiny splash of early Roxy as the keyboards push and pull the track in little circles; similar keys on “Saying Goodbye” the album closer. “Lifeguard” even floats in some wood flute. Powered by dour outlooks (hello “Young Executives”) quite a nice bit all these years later, kudos to Stefan Christensen and however he made a Connecticut connection to the Ranch hands.
Hey, lookin’ up Chuck Warner (Messthetics/etc) old site, found this
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File