Music Reviews

Zdrastvootie “” 33 rpm [self]

Thurston Hunger   9/7/2004   7-inch, A Library, Format

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”

Orinoka Crash Suite “Two” [Narnack]

Thurston Hunger   9/1/2004   A Library, CD, Format

OCS is John Dwyer…or at least one of an army of John Dwyers
as seen in the Coachwhips, Pink and Brown, Zeigenbock Kopf
and grandma’s fave, “Dig That Body Up It’s Alive.” Prolific
is too weak a word. On Sesame Street, this is the album that
is not like the others…acoustic, subdued, tape-hissed,
vocally-hushed numbers. “Killed Yourself” sounds like the
singer drowned himself in a cute little aquarium, with one
of those fancy tiny castles. Guided by Voices managed to
get just the right type of poor recording on their earlier
stuff, I’d venture that here Dwyer has done as good a job.
The splotchy reverb and warble of the recordings just adds
stacks of unassuming ambience to these strumbly numbers.
The ending number drives home the point, it’s a true “home”
recording, old-school style…a child recounting Goldylox
and the three “beers?” “Intermission” serves up a fit of
fury… Usually it is the sounds, voices, tweaky guitar
on top of the acoustic underbelly that make these songlets
compelling. I find this a lot more bluesy than the most
recent Clarence Gatemouth Brown album. Half-cooked and
home-cocked. Don’t miss the Bisbees.

Zoffy “Thou Shall Not Mess with Zoffy” [Acid Mothers Temple]

Thurston Hunger   8/25/2004   A Library

Acid knights of the mother temple, guitar god Makoto Kawabata
and madman-genius Atsushi Tsuyama turn psychedelic pranksters
with another Zoffy piece o’ musical taffy. Stretching the
limits of cover songs at the beginning and end, and digging
deep beneath the folk basement. Zoffy deliver ultra-tweaked
gypsy songs cloaked in reverb, humor, birdcalls. A heady
sonic homebrew, that is deceptively ramshackled. (Check
out the headphone tabla bounce on #10, it defies the lo-fi
nature of much of this.) Atsushi is just a radiant being.
All tracks might be covers for what I know, but the further
out the better…the opening/closing numbers pale in
comparison to the gaunt beauty of #2, or the hypnowheel
spin of #7 with crazed keening vocals. While the kids
may dig “Cookie Monster” vocals these days, I sure like
Atsushi’s “Grover” vox on #9. Meanwhile his phrasing on
that tabla-turner #10 sound like a sideways take on Pete
Seeger. With the ney nose-flute, and dueling bouzouki
action, how can you not love this? -Thurston Hunger
Seven seconds of abrupt silence at the end of #13

Zelienople “Sleeper Coach” [Loose Thread]

Thurston Hunger   8/10/2004   A Library, CD, Format

No sophomore slump, just a deeper drop into the coma for this
Chicago quartet. Stonergaze with stacks of sonic blankets.
It opens in a wind tunnel, and most following tracks ride on
solar winds. Guitars can whoosh…especially when washed out.
Vox are pulled into to the vacuum by way of an anglo(?) accent
almost forcing a comparison to Slowdive. Although rarely does
the Z aim for catchiness, happier to just glide. Each lyric
seems to evaporate before the next, leaving little residue.
Which is okay, as the band more steadfastly pursues reverbic
resonance. The sound from beginning to end is consistent.
Evidently Mike Weis is the drummer, and possibly narcoleptic.
The mark of a good drummer is to not play certain notes,
but Mike is able to do so for entire songs. Brian Harding
not only blows cumulus keyboards but even breathes deep on
clarinet. Neil Jendon joined the group last, but I think it
is his puddles of guitar that help Zelienople (named after
somewhere in PA) find a nice region between drone and pop.
“Don’t Be Lonely” hits the high-water mark for me, but it
all stays afloat. As Richard Nixon once Grimble Grumbled,
“It is indeed a windy city!”

Workshop “Yog Sothoth” [Sonig]

Thurston Hunger   7/27/2004   A Library

Germans Kai Althoff und Stephan Abry have been Workshop for a
number of years, this is their seventh release. Althoff is
also an artist (canvases) and thus this by defintion is art
rock, but it’s also damned diverse. His singing is often
on-the-fly pitched and glitched, but it’s still singing. This
release plays like a band, men more than Matmos. (Although
the mysterious Rath may be a woman.) Workshop looks to its
electronics without overlooking more human elements. Like
beats dropped in at less than precise moments, and good
punch-drunk guitars on #2. They list a lot of collaborators,
depending on which track/door you come in, this album will
look like an entirely different house. Beat palace, prog
cubicles, broken pop stand, reggae shack. The processed vox
at times crack me up (not that I understand the German) but
that zippling effect has been used in really cheezy R&B in
the past. There’s Fodder for the whole Family here, all
LoveCrafted.

L.A. Drugs s/t [Twisted Village]

Thurston Hunger   7/13/2004   12-inch, A Library, Format

Three piece suits themselves to the pleasure of panic attacks
and heavy doses of teenage sexual frustration (the lyrics
are copped from singer Sandra’s diary.) Tinny but not tiny
punk with sloppy joe guitar from Ryan, who just as he starts
to master the six-string halfway through this one-sided
monomaniacal hormone-laced vinyl release dumps the guitar
for his true love, synthesizers that make Quintron sound
like Lawrence Welk. And oh yeah, that’s Paul drumming at gun
point…and just as sure-handed as you would expect. This
album screams for attention, but it also just screams for
the sake of screaming. Fiesty fits of songs get bored with
the listener before vice-versa…repetition of lyrics keeps
the insistence levels high, the insolence meanwhile is
bubbling out of your pancreas as these L.A. Drugs detune
out, turn on you and drop their drawers. Music to scratch
scabs to…not necessarily your own. Purely puerile!
PS A locked groove to *start* and *end* this…

Molasses “Trouble at Jinx Hotel” [Alien8]

Thurston Hunger   6/17/2004   A Library, CD, Format

Fourth serving of this Montreal mixture, chiefly stirred and
slurred by Scott Chernoff. Molasses is a material known for
its being dark, thick and slow…those qualities ooze forth
on this release as well. Of course, lower case molasses is
the reduction of sweet sugar cane, while Molasses is the
reduction of the more sour aspects of life. “Jinx” is almost
spiritually devoted to despondency, and distilled with tiny
drones too. Prayers are tossed on the slowburn of the lyrics
fairly often, sunshine threatens at times to break thru but
Chernoff’s heavy-to-the-point-of-herniated vocals prevent
any gravity-defying or even the robbing of grave feelings.
His broken spoken words get ghosted by Jennifer Menard
and others. The songs are usually set in the hazy strum of
a guitar chord or three, augmented nicely by harrowing
haloes of GodSped guitars. Add in stretchy acoustic bass,
a most morose marimba, slow-bowed saws…all keeping the
pace and outlook bleak. This CD is a rustic rocking chair
on a porch somewhere mossy, but its runners are rusted
so it can’t move too much. Still well carved.

Joanna Newsom “Milk-Eyed Mender” [Drag City]

Thurston Hunger   6/17/2004   12-inch, A Library, Format

Guileless yet wily comes Joanna Newsom. A recent adoptee of
the Bay Area, has touched notes and hearts with the Pleased
and Nervous Cop, this album is nearly 100% her and her alone.
Pluckier than her harp strings and luckier than the stars
above, her soothing songs connect ancient Greek minstrels to
Vulcan folk songs. Her harp is such a mammoth instrument,
its menacing stature belieing its lamb-like nature. Newsom’s
voice exists outside of time, she likely sang this way when
she was 8, and still will when she’s 80. At her shriller
moments, she may prove too much the harpy for some. For me,
I’m completely enchanted…having seen her live next to
her harp enhanced the childlike nature of the performance.
She does play some other instruments here as well, including
harpsichord adding to the anachronistic pull of this LP.
It’s a cozy album, in package and in play. Her lyrical
wool-gathering kept me enrapt, others may find it too
bramble and briar. For me, it’s just plum peachy!

Mirah “C’mon Miracle” [K Records]

Thurston Hunger   4/29/2004   A Library

Mirah, Mirah on the wall, whose Cat has the most Power of them
all? Acoustic guitar, triple espresso, librarian loosening up,
songcraft here won’t disappoint the K Recs kognoscenti. Mirah
is Mirah Yom Tov Zeitlyn, she has spent time in the Microphones
and Phil Elvrum is on board here to engineer. Indeed “Look Up!”
gets the M’s squelchy drum trademark sound. Splatch splatch.
The percussion here is often painted pinpoint perfect to expand
the plaintiff songs at their centers. Other peculiar touches
are added (although nothing quite as cinematic results as the
lush treatment found on the recent “Cold, Cold Water 7”.) But
this is nowhere near overproduced, indeed great restraint is
used more often than not, “You’ve Gone Away Enough” has these
nice breathy verses a la Kate Bush’s illegitimate daughter.
Really this is more power folk, than pop…while the songs are
short they canter, never gallop. Horse Power? Even the album
title sounds like a shout to show at the sweeepstakes.

Kyriakides, Yannis “a conSPIracy cantata” [Unsounds]

Thurston Hunger   4/28/2004   A Library, CD, Format

The premise is promising to me at least, searching for a
connection between Conet style transmissions and the Delphic
Oracle. Something about a human voice, or in this case two,
that tends to make the more difficult music at KFJC a little
more readily received. The piano on here is sharp, and notes
are dropped on what feel like curves plotted algorithmically.
Static blurts and morse meanderings add signal strength to the
sparse “symphony.” Tracks #4 and #5 stood out for me. #6 adds
a Latin air to the proceedings. The two other compositions
feature a slow gyroscopic drone (#7) and the last track is a
new sort of insect killer, it lures them out onto a dancefloor
of sorts where they tiptoe between spiked heels and bopping
boots. Bravo Echo Bravo!

Motor “Freeze ” [Kuroneko]

Thurston Hunger   4/1/2004   A Library, CD, Format

I’ve always been one to prefer waves to beats, and this
album laps at your ears. It’s as if the tips of more
abrasive noises and rhythms were snipped off, and this
slides in under the barbed wire surrounding the dance
floor. At times, a liquid ebb and flow ala the tides
and timings of Basic Channel works its way in. Other
than that here you are placed in a desolate factory,
hearing the hum and whirr of machines behind closed
doors. One item of note, evidently the man behind the
wheels and knobs of Motor is working out of Moscow?’
Or maybe not, more mystery to add to the metal mist.

Magic is Kuntmaster “Night Songs for Ugly Children” [Nihilist Records]

Thurston Hunger   4/1/2004   A Library, CD, Format

Camilla Ha is the woman behind the Magic. Working out
of Chicago these days and coming in with a sound that
has sort of the reverb-drenched vocal stylings of the
Ventricle label blended with digital depth charges.
I think she plays a midi-bass with a maxipad. This CD
is sonically dense…although the instrumentation is
sparse. Her singing is more whispery muttering, like
Julee Cruise singing to you through pipes after being
abducted and kept in an underground reservoir. It’s not
as colorful as its packaging, more fashionably drab. I
dig this in an urban decay and dismay way. “Sea Squid”
and the “Lullaby” are made of less heavy mettle, more
bubbles in those. If you’ve heard of bands “Foamula”
and “My Name is Rar Rar” then you are already familiar
with Ms. Ha, so why are you reading this? Depress play.
Let the music be your Kuntmaster…

Verdure “Cross and Satellite Station” [Lexicon Devil]

Thurston Hunger   3/31/2004   A Library, CD, Format

Wordy-gurdy poem-ramble drift-rock. Second generation
hippy, Donovan Quinn is up Walnut Creek without a
sandalwood incense stick. Laconic, ironic vocals over
strumbly guitar gets to the heart of most of these songs.
Occasionally something spikes that heart, like electric
spiders that string out on #3 and #5! Track #7 adds
piano treacles and melodica trickles then ends with
heavy breathing accidental beatbox. On #9, guitar drops
some wah-wah while violin delay skitters and then those
spiders return with a vengeance! Kudos for unapologetic
use of falsetto on several songs. This is a rerelease
of his initial album. From what we find here and with
connections to the Jeweled Antler Collective (Quinn
is in the Skygreen Leopards), I’m curious where his
trajectory takes him. While lyrics arrange mirrors and
vultures, this is not necessarily music to watch your
own death by?

Boris “Akuma No Uta” [Fangs Anal Satan]

Daryl Licht   3/6/2004   A Library

Although they are not as well known as such Japanese underground
heavyweights as Fushitsusha or High Rise, Boris (yes, the name was
inspired by the Melvins? song) have been producing high quality heavy
psych/rock/doom/drone for more than a decade. The highlights of the
album are the lengthy tracks that begin each side. ‘Introduction? (on
the A-side, naturally) is an incredible, heavy feedback drenched, doom
droner. The B-side’s, ‘Naki Kyoku? is a heavy psych epic that features
some awesome guitarwork. The remaining four, shorter tracks are all
heavy rockers, with some being in the slow grind vein and others
being more punkish, up tempo scorchers. Stylistically, this is certainly
their most varied release to date and, perhaps, their best, as well. Play!
DL

Fursaxa – “Madrigals in Duos ” – [Time-Lag]

Daryl Licht   2/23/2004   12-inch, A Library

Fursaxa is the (mostly) solo project of Tara Burke, a Philadelphia resident
who has been intriguing us for years now with her efforts in a number of
groups, most notably, Un. On ‘Madrigals In Duos? , her third full-length
release, she displays all the required skills to earn her ‘acid folk? merit
badge. Some tracks are more straightforward, in a lo-fi folk-psych vein,
featuring mainly acoustic guitar and vocals. Other tracks shoot straight
for the heart of that 3AM vibe, combining cosmic organ drones with
ghostly, wailing vocals. Finally, there are a couple of noisier tracks, with
dissonant electric guitars and repetitive, driving, hand percussion.
Beautiful and otherworldly music. Mandatory for play on late night shows. DL

Trans Am – “Liberation ” – [Thrill Jockey Records]

Daryl Licht   2/23/2004   12-inch, A Library

‘Liberation?, the 7th full-length release from Washington D. C.’s, Trans Am, finds
the band continuing to feature a familar mix of sonic elements – Krautrock, 80’s
Synthpop, Electro-Ambience, Punk, and Post Rock. Despite its similarity to their
previous work, however, this album represents a new pinnacle of acheivement
for the band. On ‘Liberation?, which features a strong theme of opposition to the
policies of the Bush Administration, the band has a acheived a nearly perfect
synthesis of cover art, ‘lyrical? content, and music. The cuts on this album (most
of which track) flow almost seamlessly from synth-driven Krautrock grooves to
danceable synthpop to late-night, electro-ambient pieces and driving rockers.
The combination of political soundbites/synthesized vocals and ominous
analogue sounds works perfectly to convey their damning indictment of Bush’s
war in Iraq and evoke fear of Big Brother’s ever intrusive gaze/grasp. A beautiful
record – sonically diverse and conceptually complete. Highly recommended! DL

Parts & Labor “Groundswell” [JMZ Records]

Thurston Hunger   2/18/2004   A Library, CD, Format

Brooklyn trio tapping into that Lightning Bolt voltage.
Whip-ass drummer Jim Sykes (ultimately replaced by
Joel Saladino) and buzzneck bassist BJ Warshaw create
furious instro flurries. What helps these stand out from
other Bolt babies is keyboardist Dan Friel, he adds a
sense of *disobedient* electronics. Notes pitch-flip up
octaves at a time, wires get crossed, no glissando
all blitzando. Actually all members are credited with
electronics, so it could well be a group effort. The
key is that sense of abandon over both monolithic and
manic rhythm cores. Track #4 features something like
a theremin in desperate need of ritalin. This is their
debut from Feb 2003, since then they’ve evidently
braved vocals. It would be cool to hear them hook up
with a Alan Vega lyric-droner…or maybe lace some
NYC saxaholic in their melee.

NOTE: Last track ends at 3:32 (then a slow drone that
ultimately reprises #1’s short wash for “closure”)

Mahjongg “Machine Gong” [Cold Crush]

Thurston Hunger   2/11/2004   A Library, CD, Format

A long time ago in a galaxy far away, before teenravers
ruled the technomatic dancefloor in e-induced dehydration,
kids used to dance to rock music. This clumsy collection
of five freaks recall that time and stumble to the beat
on this dance rock set of songs. I dig the 8-bit eq on
the first three “songs” (track one is something like a
cassette recording of an airplane?). Most of the songs
feature some sort of choppiness to an instrument or
voice or Atari console in the mix… Yeah if Guided by
Voices had been raised on a strict diet of the Bush
Tetras then your Mom and Dad would never have met and
so forth. I think this band will prove to be more
wonderfully fucked up over time, allegedly they are
a tri-state affair from Chicago, Missouri and Oregon.
This release does not cover nearly as much territory.
Percussion percolated to your taste.

New Circle Five “Dreaming Wide Awake” [Deep Listening]

Thurston Hunger   2/4/2004   A Library, CD, Format

Wonder women Pauline Oliveros and Susie Ibarra create a
five-pointed circle rounded out with vocalista Kristin
Norderval, Rosi Hertlein on violin (some voice too) and
Monique Buzzarte on various deeper winds. Operatic scat
will leap out at your ears somewhat but Norderval and
Hertlein are grounded in the texts they are breathing
life into. Ibarra is subtle but strong, opening beaded
percussion doors into songs…high chimes, soft cymbals,
distant thundertom rumbles. Oliveros’ accordion sets
up plenty of sonic fields, droney vortices, but she is
also suprisingly nimble in other parts. This is on
Oliveros’ Deep Listening label (and way of life); true
to form the performers do listen deeply, the sound is
both light with space between players/singers and
heavy with tension from drones augmented by Buzzarte’s
clouds of thick trombone, and from Hertlein’s anxiety
violin attack. Polyglot sotto vices.

Clearlake – “Cedars ” – [Domino Records]

mitch   1/16/2004   A Library, CD

Bleak and despairing sophomore release from Sussex coast
quartet articulately explores a personal inventory of
madness, death, loss, self-loathing and resilient honor
arrived at via lacerating wit. A document of heartbreak
and the sensibilities of vulnerability amid drizzle-filled
days of assumed and inevitable failure and self-depreciation
(aided greatly by producer Simon Raymonde of COCTEAU TWINS) as
confessed by frontman Jason Pegg, who elicits beauty in melan-
choly and melancholy behind beauty from stalwart members Sam
Hewitt (keyboards), David Woodward (bass), and James Butcher
(drums)???..???The last thing you???re expecting when you???re
looking for a window / is to see it look so grey??????
[???Wonder if the Snow???] Strings drive tracks like ???The Mind is
Evil??? with a harmonic tension, while a simplistic basic piano
line fuels ???Keep Smiling???, giving to maleficent desire ???I???d Like
to Hurt You??? and a soul-searching mitigation ???Trees in the City???.
The juxtaposition of uplifting and wonderful arrangement with the
coal-colored sentiment places Pegg???s alto to a reverent self-drama,
competing with murals of feedback, keyboards and chanting
(especially ???Come into the Darkness???) in a see-saw battle of
greenery vs. metropolis (sample the inverted Golden Rule of selfish
motivation inside ???Treat Yourself with Kindness???,,,,??????Do unto
yourself as you might wish thy will be done by someone else??????)
Melodic and majestic to the drenching limit (with superb use of
minor keys throughout)and conceived by the band in France and
Brighton, the edge here is lyrical atop a bed of raw and evocative
sonics ??? gorgeous melodics in support of forensic observations.
MITCH January 2004