Time travel back to November 2nd, 2002…hijack city by
the trinity of heresy and nowsy known as the Sun City
Girls. “Uncle Jim” spills his mic skills all over the
second CD in a three-part Kahnversation. If he’s too hip
on the lip for the hip-hop squad, then it’s their loss.
This here is firewater and every other oxymoron you can
muster. Reconstituted radio and odd rareties including a
Bat-blister TV rendition. It’s not the I-IV-V chords that
gave that theme life, it’s the screaming harmonies! The
Twilight Zone theme gets twangled, Anthony Fremont gets
namechecked, Bison makes a “Dele” and WFMU station ID.
Madness reigns from the tuning wash to Yamantaka chant
at the beginning through to the end wherein Alan Bishop’s
daughter shows that unflinching pinching of the funny
bone is genetic. Laird Henn is egged on by an answering
machine. Insurance blues are rued. Brian Turner offered
his show up like a sacrifice to the gods, but rather than
just a live set, they created this. Life.
Time travel back to November 2nd, 2002…hijack city by
Should file a ballistic report rather than a review. Pounding
noise from 2001 and this Japanese signal processor/exploder.
Beats are detonated, with enough regularity to incite the
brave to dance. Sound is jammed in a bit, making this less
of a headphones-listen than an open-air assault. Blasts come
in sets of waves. Sections like the middle of “Gakai” when
persistent rhythms relax and we get the drift and draft of
static are very welcome, and could have been deployed more
often I feel. “Corrode” delivers a sort of swagger, with
slapping swatches of sound over a heavier noise-funk. The
fury-on-the-fritz of this project though is undeniable.
This is the first of at least two by Shunichi aka Soothwag.
It would be interesting to hear him collaborate with others
perhaps from less infernal realms of sound.
Richard Meltzer in your mind, not in your toilet? I suspect
how much one likes/hates this will depend upon how serious
one thinks Meltzer and the Smegmen take themselves. This is
a regurging of the original full-length and ep for Meltzer
and his Pasadena-to-Portland posse, with some other chunks
coughed up just for this release. One of those ends the CD
with “uh, don’t come in here,” while there is a masturbatory
feel to much here, there’s a lot of flair as well. My guess
it’s all an allergic reaction to Meltzer’s listening to too
many records (he reviewed for Crawdaddy, the Village Voice
and such) and making too much money for Blue Oyster Cult
lyrics. The CD starts with some fairly open free jazz, but
there are tortured tantrums leaking in as well. Frustrated
poet. Well, just plain frustrated. An early use of loops is
evident. There’s a helluva lot of rare beauty in these rough
recordings (#8 and #5 say) By the time the EP breaks wind,
it’s vocal collision/collage where chants meets chance.
What a long, strange triptych it’s been. This collection of
all ne’er before released material was apparently what drove
Steven Joerg to create the fine Aum Fidelity imprint. Reading
the liner notes here reminded me of meeting a group of guys
at college who had all gone to high school together and thus
had their own history, mythologies and even hostilities. But
you like ’em all. The Boat floats to many sonic ports. There’s
definitely an element of riding the rails, banjo tweaking and
hobo vocals. A lot of thin, flecky Stratocaster guitars and
so you get lazy noodling in “The Light Between Your Knees”
but then that has this great odd dischordant progression.
Other times there’s dubwise motion and hell the saxes, the
saxes are the most charged and “Wonderful, Wonderful.” This
is Chicago, must be something in the spit valves there. Ollie
North goes south in “I Can’t Wait, I Cannot” which winds up
being for the birds…but helps to set the dates, ’87 – ’92.
What more can you ask of art students (especially ones with
sax smoking friends) other than to make more music. Perhaps
Joerg is shooting for a Nobel Prize and a new album, in the
meantime this snapshot good cop, Prekop, pre-post rock has
an active feel in composition/capture and out of time
First a masterpiece, then a mess…and now this, a
messterpiece from these Montreal minstrels and their
namesake mastermind, Sam (or Osama) Shalabi. This is
another foray into the field of psychedelic poppies,
aside from a gorgeous ballad on #2 featuring guest
vocalist Elizabeth Anka Vajagic most of this teeters
on the fence between hippy jam and even less focused
sonic noodling. That being said, listened en toto
from end to end this album creates its own landscape
with tabla often as its touchstone. The short tonic
track after the aforementioned ballad serves as an
incredible shadow (with clarinet). The album is
bookended by less organic, more orgonic materials. The
initial cut is a flutey forest shredded by a sampler,
the last cut sort of orbits in space around the turf
that has been traversed earlier. While track #9 does
recall their earlier galactic garden processionals,
really all of this is enjoyable. It just tastes like
it was taken out of the oven a tad too soon. Better
that than too late…
While some will prefer the B-side to this single sided 7″,
the boys cooped up in Sacremento’s “Sexy Prison” probably
wouldn’t mind. Them boys would be vocalist John Pritchard and
de-bassist Robert Pickle, together they may have given birth
to the recently added “Babyhead” comp. Gotta love reproductive
technology these days. Pritchard’s reverby singing is like a
woman with too much mascara, you kinda wonder what it would
look/sound like without it…but you can’t stop staring at it
nonetheless. The second track has a sample at the root that
might be “Funky Cole Medina” or something, it gets briefly
excavated for a spell along with four bars of a Tiki calypso.
These two numbers are as subtle as a drag racing commercial,
fervent with left-over machines from the disco age rebuilt
with illegal parts and maximum squelch. The lyrics are so
warped, I thought they were singing about Boz Scaggs at one
time. Even if they weren’t this is still tremendous.
Possibly the best of use of a cheap drum machine ever. It
fires a machine gun stacatto attack during “Britain is Shit.”
It then has a series of spasms on “Fuck the Poor” that keep
that track off balance. Vocals are more leery on the latter,
which also has a tiny little pachinko synthesizer buried
somewhere in the grooves. “Britain is Shit’s” pressure-cooked
vocals are stringier, longer notes sung lifting up at the
end of each phrase, as if grabbed on the ears by an unstable
constable. Plus when everything drops out, that damned drum
machine gets a chance to just jackhammer away. Selfish Cunt
contains shouter Martin Tomlinson and beater Patrick Constable
within it. Working out of East London, these lads know there
subject matter, even though one of ’em is evidently and old
New Zealot. Both sides dirty as their titles.
Razor sharp, whiplash rock from the now-defunct Scholastic
Deth rockers…though one of the band members evidently still
runs 625 Thrashcore. Songs hit escape velocity pretty quickly,
often leaving with dual feedback whines. But tracks jump on
quickly…so be prepared for life after a Deth track. It’s
just as well, the energy on one side alone can light up the
Central Valley. Songs come out swinging, and occasionally may
end up cold-cocking a friend or themselves. Speaking of
friends…the frenzy here connects back to Spazz per the 625
web site as well as to Capitalist Casualties. More often the
blows land where they are intended, and as all four of the
band are UC grads, it’s nice that they bite the hand that
fed Enron and other dodgy investment schemes. There may be
cursing in the lyric sheets, but sadly people who would be
offended by that, wouldn’t take the effort to stop and listen
to this rock solid 7″. Advanced degrees of ire via their
Evelyn Wood speed thrash edumacation. Repeat multiple times
for multiple credit. Core requirement.
I know this is not for everyone, I just cannot
imagine why. A traditional rock triad at the
core, a hot molten core. Around that Rope has
built a whole planet. The first song tiptoes
like a Star Trek away team, uncertain whether
they can breathe the air. Detonating delay on
guitar and on guest vox Graczyna Auguseik’s
works well. This severs prog rock’s Achilles
tendon, as instead of having a vibe of “Hey,
I can play it backwards in 5/11 time” the
feeling here is that large stretches of these
songs leapt out in inspiration. Volume pedal
tension, slashing dischords, & a non-bloated
Allan Holdsworth ghost are all summoned by
Przemyslaw Chris Drazebca. Blood and spittle
vocals are squeezed out of bassist Robert
Iwomly. Michael Kendrick’s drums are
cymbal-laden and frantic/dormant as needed.
This album delivers the hurt and the solace
all at once.
Bubble-wrapped in dub textures, a dense sound that seems to
exhale and inhale in a variety of ways. In through the
sitar, out through the accordion…in through the electronic
iron lung, out through the trumpet. Time spent in mixing and
maximimizing the inputs of the 16 listed contributors has
muddied the tracks somewhat to a sonic equivalent of brown,
but brownian music may just be this year’s techno black. I
actually dug the spikes and clashes of “Real Hair” more,
but this is a murky, surprisingly beaty album at times with
a lot of hues to it. At its best it approaches a sort of Art
Ensemble of Electronica. The abundance of synthesizers here
is never smart-bomb precise, never cold and calculated, but
warm and more arbitrary. The vocals are more confident and
torchy when they appear, which is not often enough! “Slits
Arandas” is one hell of a journey with prominent hornplay.
“Autotelic” ends just as its seems ready to launch into an
interesting guitar-led phase. I’m unsure how many of the
sweet 16 still live in the same house in Portland, OR but
it must be a comfy place. The more you listen to this, the
more you will feel at home with it.
Horton hears a Hoosier. Indiana idiot savant rock. This
is a follow-up to an album we don’t have…..yet. Yeah,
the vocals are whiny, but the guitars are even whinier!
Spastic tweaky rock, if the first cut doesn’t win you
over (“I Can’t Survive Without My BeatBox”) as it did
me, then move on I guess. But you’ll miss one of the
more engaging 40 seconds of art rock ever wrought on
“Yeah, Right”. Doppler vocals on that are keen. Overall
Mike Anderson’s vocals made me think of “Hong Kong
Phooey” as much as Beefheart or Pere Ubu. I prefer it
when these horses stampede rather than the couple of
cuts that canter…overall good bent guitar, twisted
lyrics and Anderson’s pretzel mouth (often murmured
along with by the others.) Crowd applause at the end
of some tracks seems stapled on? Language on #5.
Wired – Free Improvisation (MYA – Europe)
Legendary free music release on Deutsche Grammophon, recorded between 1970-73. Gtr-org-bs-perc-elec combine spontaneously, transporting you to a destination of sonic bliss. A rather consonant free music exploration of the acoustic analog variety with smart electronics in supporting role. Not afraid of space, the quartet’s delicate communications interchange and disperse with timeless agility. Rare moments of clash mark climax and redirection that is woven into a fabric of sonic wonder. Subtle yet powerful- Dense yet never cluttered. Final recording opens with war sirens to marvelous dramatic effect. Ranta collaborated with Harry Parch, Bottner played in Stockhausen’s ensemble, Lewis studied under Dvorak and Plank is considered among the premier German producers. This document is the work of masters in an offering to the Gods – and the Gods looked down and smiled.
Sixes – Organ Cuts
Not chainsaw stuff ! Soundscapes from the noise quadrant. Reminds of early Merzbow (singles, Rainbow Electronics) bu with more continuity, less dense and less harsh. 2 tracks about 30m each but with 8-10 m passages in each. (1) Noisetronics / sirens, wind, tracers-vapors of notes / merzbow under tuvan influence, note factory stuff. (2) organ treatments, minor key stuff / minimalist handsaw, tronix bikers / galactic awareness through better electronics.
Robert Montoya – Robert M (Accretions)
A dialectical synthesis of drone and beats with timing that is resolute yet spacey and textures that are synthetic yet lush. Anomalous and amorphous soundscapes (like euro-movie soundtracks at the moment of denouement) give a feeling of train travel through a foggy mountainous landscape. Montoya compiles sounds from television and layers them into soundscapes that transcend the medium and consciousness altogether. Tio Mate (5) is a compelling piece of pulsing soundwaves under Burroughs soundbytes. Sinestre (2) is a sonic colossus that attempts to communicate with other forms of intelligence – let them know you get the message- Play the shit out of this !
Ranaldo Licht Krieger DJ Olive Marclay – Text of Light (Table of the Elements)
Drifting, mesmerizing drone traverses the depths of sonic possibilities. Signals, feedback and transmissions pulsate in a collective continuum. Like a beam from a lighthouse, guitars cast in and fade out leaving you to ponder the complex ultra-ambient soundscape. Waves of combined sounds emanate up from the pulses of each artist’s contribution. Two guitars, percussion, turntables and electronics make for dense textures. Masterful timing gives this free improvised offering a stellar compositional quality.
18m=> play the whole damn thing !
Deerhunter – s/t (Stickfigure Records)
Tight and dirty rock sound with standard song structures delivered with undoubtedly above standard, angry and pissed off vocals. Riffs reminiscent of SoCal early 90’s rock (Drive Like Jehu’s 1st, Distorted Pony) are hypercharged by the vocalist’s undying conviction that everything is still fucked – thus the necessity for a refrain of the straight ahead pissed off rock sound. 2 gtr-bs-dr with some other stuff occasionally dubbed on top, this foursome from Atlanta definitely give an urgent sound to otherwise familiar structures in this debut release.
3w: Repenting is Weakness
Se Piagi Se Ridi- Perfect for the next wake party you may be planning. Maybe like a Caroliner pop excursion if it existed. Funeral organ, banjo (?) and drums accompany this eulogy for the pop song. Childlike vocal wanderings call you to the netherworld where pop icons are smothered with makeup buff pads. Slightly disconnected and ethereal but luring nonetheless. A rather mature sound in an unusual space from a quite unusual band. Strawberry Banana- that lost backtrack to the Abba song that Bjorn farted around with for years but never found the right lyrics for- another stake in the false heart of pop music, the jokes on those who thought Deerhoof could never make it as a pop band.
3w: Caroliner on Prozac
This is one of the most memorable releases I’ve heard in awhile. Corrina Repp (her parents named her after a Bob Dylan song) is from Portland, Oregon and has been playing music in various bands for 10 years. This was released in fall 2004. In style it’s similar to Cat Power, with its spare instrumentation and lovely female vocals. Very subtle piano, guitar, and slight electronic moments. This is mystical! (added 2-8-2005)
From 2000. Treatises on love that blend elements of classical, jazz and poetry. It begins with male vocals and classical piano (track one), moves to dramatic strings and piano (track two) to spoken word and operatic (track three) to crazy drama with male throaty vocals that can rival the best metal performer (track four) to jazz-inspired with scat singing (track seven), along with some instrumental tracks glueing it all together. (added 2-8-05)
Sad World is two people: Dr. Atmo – real name Amir Abadi – a DJ/composer/architect and Ramin – full name Ramin Naghachian – both born in Iran and currently living in Frankfurt, Germany. (Fun fact: Dr. Atmo performed at and designed Frankfurt’s XS club.)
This 1996 release combines the first two Sad World CDs, orginially released in 8/1993 and 5/1994. We also have the third and last, Sad World III, in A. All three are on Pete Namlook‘s FAX label, one of the leading purveyors of ambient music.
Sad World is ambient electronica with a strong Middle Eastern influence. The track names evoke a time of greater glory for Muslims with great halls like Apadana, cities like Samarra, which was briefly the capitol of the Muslim world, and Cordoba, the center of Moorish culture in Spain.
The music on these CDs contains some relatively brief tracks of 5 and 10 minutes and one longer tracks of 20, 30, and 40 minutes. They contain synthesizer drones, interesting samples (voices from American broadcasts, choirs, talking, chanting, singing children), instruments like sitar and, I think, a didgeridoo, sometimes there are downtempo drum loops giving the hint of rhythm.
You can actively listen to these tracks and trace their slow development and changing textures, or you can just float along with it and enjoy the ride.
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File