An Eclectronic (a new word?) Sampler. Behold the inaugural CD release from
Ovenguard Music. Whacked, spaced-out, tape loops, ambient situations, found
sounds, turntables, sound collage, great use of stereo effects, well thought out noise,
deeep basss and insanity all put together in this collection of avant oven guarde
music produced by an troupe of DIY scientists. Wobbly – provides the instantly
catchy insanity. Seattle based Bran Flakes inject humor into the collection by
providing looped beats with the humorous assistance of Charles Grodin, the Beatles
and Mr. Rogers. Known in Bakersfield – simple tryyped out electronic collages and
loops. Space Mesa – takes you on a paranoid tryp to their own world and back
(includes guide, Charleton Heston as Moses). Liar Ball ?’? Involution – an East Bay
outfit checks in with deep bass influenced noise. The Involution tracks were my
favorites. All are great. I believe this CD is one out of 200. It’ll Piss listeners off
because they’re gonna love it but they’ll never be able to find it.
Great for headphones. Experiment.
An Eclectronic (a new word?) Sampler. Behold the inaugural CD release from
Going strong since 1990, this is the Turks’ 4th full length allbum with tons of
7″s and comps. in between. Keeping with the theme of their last outting “Scared
Straight”, they’ve got horns and piano embedded in several selections; of course,
the whole thing rocks like hell. At times, I thought I was listening to odd
combinations of KISS, the Stones and the Who. Songs are short blasts of adrenaline
that are rooted in hardcore punk as much as hardcore R&B. Oh yeah, six out of
the thirteen rippin’ tracks have language. . Classic ass kickers. Attitude abounds.
So here’s the deal, two guys, Steve Buchanan and Ron Anderson, on multiple instr
uments with some heavy-duty percussionists (Moe! Staiano, Gino Robair, Thomas Sc
andura) sittin’ in to create infectious blasts of symptoms such as: blurred twitters,
contaminated feedback, inflamed scronks, severe rumbles, toxic general noodlings,
damaged scanned materials, dehydrated clicks, and other sonic spores. Definite
jazz roots here. The concept is disease. Black Death, Yellow Fever, Rabies, you get
the picture? I wouldn’t be surprised if the CDC wasn’t after these cats for posing
a serious health risk to the general public. An ounce of prevention ain’t worth
shit here. My suggestion, embrace the virus; vaccinations are futile. Otherwise,
boil for at least 12 minutes before ingestion.
Full length release number 5 from the industrious multi-talented quartet based in
Seattle (each release comes with a comic penned by the Huffers themselves – also
known as the Del Lagunas – surf band). This is their third and best release on
Epitaph, and, fortunately, they do not sound like an Epitaph band! This a more
mature Huffer, ranging from great quick little pop punk tunes to slower ballady
stuff to even a little du-wop work at the end. Produced by Phil Ek whose produced
some amazing stuff from bands such as Built to Spill. Live, the Huffer play fast
and loud; it’s easy to tell these songs are scorchers when played live.
This record is really good. These guys love to play and this release tells it
all. Fill your can and get a rag.
Art Huckman, Neil’s mother fucking manager has decided that Neil needs to get wi
th the goddamn times; spice up his fucking act so to speak, so, what better way
to season up an act than to do a RAW album. At first thing’s don’t go so goddam
n mother fucking right, but as soon as the cock sucking sound man gets his head
out of his ass, Neilllll motherfucking Hammmburgerrrrr gets rolling. Neil moves
from tame G/PG rated humor to full on ass reaming rated R shit. No holds barre
d, no punches pulled. No one is safe around this raunchy madman. This is an ass
kicking record (literally, actually, Neil gets his ass kicked by a pissed off patron)
Neil doesn’t know when to fucking stop on this one. Language galore here. For
you music lovers, there’s even a little song tacked onto the end of the album
about a urine filled vegetable garden. Listen to this album a couple of times
and you’ll be reminded of the genesis that is Neil Hambuger. Perfect for late
nights. Bottom line, this shit is fuckin’ funny as hell, so get your head out of your
ass and play this record mother scratcher.
Power Scare trio outta Olympia, Washington, where “it’s the water” translates in
to some serious rock. Heavy, rhythmic, angry, combative sounds emanate from both
sides of the white vinyl UP Records supplies. Supposedly creating sensory overload
when taken live; this 7″ caputures the vibe well. Wounds that won’t heal are the
result of Side A, and Side B applies sandpaper to those same festering, oozing sores. Unmerciful,crushing, massive release.
apanese drunk rockers, Gasoline, tear the shit out of this slab o’ vinyl. Produced
and assisted by Tim Kerr (Lord High Fixers, Jack O’Fire, Poison 13) and Michael
Maker (Makers), this trio’s debut feedback infused release on Estrus never lets up. Evidently, the singer, Gan, graduated with honors from the Captain Jack and
Scully school of microphone techniques so that the profanity and other vox are
barely intelligible. That being stated, Estrus releases always seem to kick
superior ass, and this is no exception. 14 high-octane incendiary tracks of sloppy,
RockNRoll. No foolin, this ripps!
Earth Crisis, the vegan straightedge band out of Syracuse NY, the epitome of sXe
bands, sets up 12 live massive hardcore tunes that spoil everything in their path.
Total sonic annhilation of anything in their path appears to be be the goal – and
they, without a doubt, exceed all objectives. Check out the first track, Cream’s
“Sunshine Of Your Love”. I’m guessing Eric Clapton never expected this. This is
their first live album; it is a benefit for the father of one of the guys in
the band. Pure, punishing power. Vox are practically indistinguishable; one
track, 11, has a somewhat noticible FUCK. Even if you’re not into their whole
politics/veganism/living drug, alcohol, smoke free, and everything else associated
with sXe, give it a spin. Oppressors beware.
Practically lost recordings of punk, powerpop, melody punk and sometimes banned
materials revived for your true punk listening pleasure. Inside, find a fantastic
collection of rare 7″s from punk bands around the world (Sweden, Italy, Germany,
USA, UK, Canada, Norway, more) spanning the dates of 1978 to ’82. Peter P (the
Germany based mastermind behind this comp.) hooks up with friends around the
world to put the collection together. All records are limited editions, one of
the releases were limited to 100 copies. There is some truly great material here
from the likes of Snuky Tate, Dayglo Abortions (the cover of this coll. is borrowed
from one of their jackets), Haerverk, and Xtraverts. Every song is a winner,
you will not go wrong. Excellent liner notes include little stories/history
about the band/particular song, pix from the original sleaves and inner label art.
Top shelf comp.
jack soil 3/6/2005 A Library
7 intriguing untitled tracks exploring blips, drones, and severe electronic soun
ds. Local artist, Clif Cunningham, provides the soundscape from another plane –
the socket plane. My interpretation is that he managed to insert microphones into
the wiring system of a house undergoing renovation. The old wiring and the
new wiring don’t get along so well and what has been captured here are the trials
and tribulations of distressed wire, and of course at times everything is copacetic.
On this chunk of homemade silicon are harsh, noisy, precision layered loops,
repeating patterns, and electronic chaos that will potentially put you somewhere
other than where you are right now. Chance it, friend.
Oliveros completed these two compositions during her year as First Director of the
Tape Music Center at Mills College in 1966 & 1967 (seriously out there for the
time frame) utilizing the original Buchla Box 100 series and her tape delay system
(no accordions on this one). Alien Bog was inspired by a frog pond and its inhabitants located outside of Pauline’s office on the Mills College Campus. The pond is gone now,
but the sounds are here for you to enjoy. Beautiful Soop is a bizarre Alice in Wonderland
narrative accompanied by Ms. Oliveros. What a ride! The sounds are absolutely
beautiful and will put you at one with whatever it is you are near. 2 very long tracks
that are over way too soon.
Slightly inebriated twangin’ garagy rock sounds from The Vendettas. They borrow
from whatever they can get their filthy mitts on – electric blues, RnB, crazed
rockabilly. Singer/rhythm guitarist, Buffi Aguero hails from the Subsonics (as
the drummer) along with Clay Reed, producing (also from the Subsonics). Sporting
two chix and two dudes, they sound like a Cramps-meets the-Makers-meets the-insert
some other trash rawk band effort. In fact, singer Johnny Vignault could probably
step in for the Makers any time ( given that he changes his hair doo and agrees to
tour in a hearse). Good stuff through and through, occasionally snotty, occasionally
crazed, occasionally demented and always rockin, guaranteed by a solid pedigree. In
other words, it’s a solid good time. Obviously shaken like they meant it to be.
jack soil 3/6/2005 A Library
4 live frenetic tracks by the crazed Brother JT and Vibrolux taken from tapes of
various concerts and even a live mic at WFMU in Orange, NJ. The source recordings
are a bit dirty sounding, but don’t give that a second thought. This is an amazing
70 + minute chaotic psycho-delic freakout that has the tangental Brother JT
rambling (in between extensive psychedelic jams) about riding the bus, witnessing
the butchering of a deer as a young child, and the value of an education. A
fantastic release from the musical and sometimes maniacal genius that is the
heavily dosed and confused Brother JT and Vibrolux. Ingest often and liberally
– can also be used as a topical cream.
With a name derived from an extremely powerful motor produced in motor city for
Oldsmobile in the early 70’s, it isn’t much of a stretch to figure out that Rock
et 455 tip their hat to the MC5 and Iggy Pop in a major way. Fast forward 25 ye
ars and not much has changed in terms of music stylings -this is a good thing.
You get 6 fast paced rockin tunes carved into this little 10″ gem. This is their
3rd release after two self-released 7″s. Rip roarin, full blown Detroit punk rock
with serious attitude and plenty of energy. Line these guys and gal up with
the likes of Duradelinquent and Lucky Thirteens for a dangerous evening. Sure,
there are alotta imitators out there, but few come as close to sounding like th
e real thing as Rocket 455. Fun and over wayyy tooo soon.
Electronica from the duo of Ed Handley and Andy Turner. Two-third’s of the trio making up the techno group The Black Dog, Handley and Turner’s association pre-dated Black Dog, and after the trio split up they returned as Plaid, where they offer a more approachable sound.
Lighter than your average club music, the beats are reminiscent of the emerging 80’s electro-techno but with a complexity stemming from modern house music. For a harder edge, try track 7. For a techno-pop sound of the more mainstream there are some guest vocal tracks (T6 Nicolette, T9 Mara and Benet T9 Bjork T12 Leila Arab). Yes, the Bjork, but I liked Nicolette’s offering more. My favourite tracks were the three shortest (T 5, 11, 13). They give you that danceable repetitive beat but by keeping it short don’t bore you.
Mac 3/5/2005 A Library
Led by Stephen Perkins, formerly of Jane’s Addiction, this indie-pop is too jazzy for rock and too rocky for jazz. Meeting somewhere in the middle, Perkins (drummer), Mike Watt (bass), Willie Waldman (trumpet) and Nels Cline (guitar) cover as much ground as the Indian fig tree the band is named after. They’ll shift things to high gear on tracks #1 & #7 with hard driving rock/pop, then slow things down to the smooth soft sounds of tracks like #3 and #8. Playing to genre stereotypes, the faster songs sound more like rock and the slower songs fall more into the jazz groove. Elements of both are still found on every track. Though the album says Live on the cover, a few studio effects have found their way onto the recording. Final note: the last track, Fun House, is a Stooges cover.
Disc 1 -Issachar
Disc 2 – Zevulun
The alter cockers (old Jewish folk) will be saying oy
gevalt! This Zorn fellow, what a fershtinkiner, he
thinks he can take sacred klezmer musical tradition
and turn it into ongepotchket shmutzik (dirt slapped
together without form). What do those schmucks know?
Gornisht (Nothing), that’s what. Zorn’s shtick is to
blend modern jazz with traditional Jewish melodies.
He went about composing over 200 of these Jewish
fusion tunes, calling them collectively the Masada
song book. What a mechaiyeh (joy) they are to listen
Originally written for the Masada quartet (violin,
bass, cello, sax) the double CD in your hands switches
up the arrangements.
The Issachar side has some serious zetz (a stong blow
or punch). Featuring the Masada String Trio (the old
quartet sans Zorn’s sax), you find zwinging zets with
zimple melodies and that special Jewish flavour.
Zevulum has a more haimish (down-to-earth) quality.
Not overly schmaltzy, there’s some fine playing here
by the Bar Kokhba Sextet (the Masada Trio + guitar,
percussion, & drums). More laid back than disc 1, the
zound is shtill zeiseh (sweet).
That Zorn fellow, what a mensch he is.
Retrospective minimalist collection from German label Raster-Nolten from ’97 to ’04. Many years, many styles of minimalism. All tracks new or previously unreleased. Varied track times. Minimalist review for minimalist music: 1) intro 2) drone 3) ambient 4) clicks n? pops 5) drone w/ beat + vocal 6) drone 7) clicky drone w/ light beat 8) staticy beat 9) pain 10) zips n? pops 11) click drone 12) zips n? clicks 13) minimal pop 14) click drone 15) drone
Indie-pop/rock project out of Boston put together by Kent Randell. The album is more compilation than single band. Though all the songs were written by Randell, the styles vary greatly. The first four tracks are your standard pop/rock tracks, with #1 being more upbeat and the other three much moodier. Those are fine songs, but the real fun starts on track 5. It’s still a mopey pop song, but it begins with a chorus of barking dogs and later falls into a piano solo. #6 is a neat, quick instrumental piece featuring guitar. #7 goes back to the soft-rock, but instead of lead guitar there’s a lead harmonica. #8 really breaks the mold with some haunting female vocals. #9 is a fun tune that’s a little too silly sounding to be a serious tune, which is probably the point. It’s mostly guitar and lead singer with a guy clapping in sync with the intro. #10 features nothing you haven’t heard before, with hard playing college rock, though the end dissolves into white noise. Same things happens to an even more extreme degree on #11, but this time the noise craze happens in the middle. #12’s is a less polished and less focused song with vocals inspired by the movie Nostalghia by Tarkovsky. The liner notes for track 12 are: ‘Today in the mail I received a glockenspiel.’ An amazing track centered around the glockenspiel (a cousin of the xylophone), this instrumental piece (there’s a faint bit of human vocals, but not singing) is a truly beautiful and totally unexpected from a pop/rock album.
Fun note: God is in the liner notes, having contributed thunder and rain to track 11.
The band takes its name from the Australian version of Bigfoot. It might also be the sound one utters when first hearing the band play. Working in the math rock mold one finds two warbley guitars and a drum having seizures as they fly all over the place in fast paced and aggressive style that produced tuneless tunefulness. All the tracks are composed out of this sonic chaos, so if you’ve heard one Yowie track you’ve heard ’em all, but as an album running just under a half-hour it makes for a short sweet debut.
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