Music Reviews

Keith, Rodd – “Ecstacy to Frenzy” – [Tzadik]

Max Level   1/7/2006   A Library, CD

Two lengthy keyboard/vocal improvisations and three short pop-type numbers. 75 minutes of strange, crazy music. Rodney Keith Eskelin, who died in 1974, was a talented but eccentric musician/arranger. In the 1960-70s, he worked for various record companies, setting lyrics by amateur songwriters to music for possible pop hits. Amusing jazz/rock/pop mini-masterpieces ensued; Tracks 2, 3, and 4 here are typical examples. In addition to the day job, he made his own odd music in the studio at night: Track 1 is 33+ minutes of weird organ/piano patterns and nonsense vocals (counting, burping noises, yelps, etc) with the right channel backwards on the tape for some reason. Nobody knows whether the left and right channels were intended as two separate pieces, or as one piece containing both a forward and backward track. To confound us further, Track 5 is that same long piece reversed, each channel now playing in the opposite direction for a different listening perspective.

Lost Sounds – “” – [Holy Cobra Society]

Max Level   1/7/2006   7-inch, A Library

Memphis TN’s contribution to the “blackwave” school of music, Lost Sounds are sort of a goth-y rock and roll synth punk conglomeration. There’s a compelling air of desperation to Lost Sounds, as if there’s nothing else these people can possibly do except to make this music with this band. Side A is a frenzied guitar/keyboard rocker that ends with a more restrained piano-driven section. Side B has an excellent cover of Joy Division’s “Ice Age”, and also a Joy Division-ish original.

Barnes, Jamie – “Fallen Acrobat, the” – [Silber Records]

Max Level   1/7/2006   A Library, CD

While in general I’m perhaps not the world’s biggest appreciator of singer/songwriters, there’s no denying the talent this young man from Kentucky displays here on his debut release. For one thing, he plays all instruments himself (acoustic and electric guitars, banjo, piano, percussion, glockenspiel, toy piano, etc.). Also, his lyrics are first-rate; observant, ironic, and hopeful are just a few words that come to mind. I like the way his voice stays near the top of his vocal range, which fits the feel of the music very well. This record makes a nice enough first impression, then grows more impressive with each listen.

Bomis Prendin – “Test/Phantom Limb” – [Self Released]

Max Level   1/7/2006   A Library, CD

A digitally-cleaned-up reissue of low-budget recordings (originally released on two flexidisks between 1979-80) from this Washington DC-area sound collective. Rave reviews in the underground music press encouraged them to keep making their weird combination of bedroom pop, tape collage, fuzzed-out instrumentals, bizarre spoken word, and experimental composition, and so they did, armed with guitars, keyboards, toys, primitive electronics, anything that made an interesting noise. Recordings were made super cheaply at home with cassette-to-cassette overdubbing and such. I like this stuff because it’s fascinatingly odd bedroom material even by today’s standards, and even more likable for having originated over 25 years ago. The band’s discography shows a handful of limited-run cassettes and flexidisks coming out between 1979-86. Apparently they’re still at it; brand new material came out on CD in 2001 and 2004.

Daugherty, Michael – “Philadelphia Stories / U F O” – [Naxos World]

Thurston Hunger   1/7/2006   A Library, CD

A rather rich sound summoned on these two works, perhaps too
rich for the ragged and ripped aural palette of some KFJCers?
Still some of the sweeping sections in “Philadelphia Stories”
are nicely dizzying, in a way that certain soundtracks can
be. The opening track bounces between two worlds, one where
a sun rises in cascading string tones as opposed to a bouncy
guitar and flock of flutes coming up out of the rushes. Then
we find ourselves in something like a Western, those clicks
of woodblocks like horseclops. This ain’t Sun Ra’s Philly, but
it ain’t a big ol’ soft pile of cream cheese either. On the
“Tell-Tale Harp” things are pretty feathery, and feathered
prettily. I guess that has a blunted Herman Blount vibe to it,
but it could more easily double as stock soundtrack to a Chris
Columbus movie. Evidently Daugherty’s shock to the overground
tux and pearls audiences is that he listens and incorporates
popular music and ideas. Heck I just kinda enjoy this alright,
it’s not Xenakkis shock and awe, but we do get a plenitude of
percussion on the UFO suite, led by Evelyn Glennie. In fact,
in contrast to the KFJC noise of matter being ripped apart
electron by electron, this highly ordered music feels a
tad refreshing. Some of the vibe-work on UFO could fit in
with Gregg Bendian and Tortoise, nice aquatic tinges on the
slower movements to UFO (#5, #6). On “Objects” Daugherty
unveils the alien as a taiko orchestra. Nice! -Hunger

Jan Dukes De Grey – “Mice and Rats in the Loft” – [Breathless Records]

Thurston Hunger   1/7/2006   A Library, CD

Re-release of the second release from this UK trio. Unlike
too much prog, this at times allows for the possibility of
skipping down a sunny hillside, there are carefree vibes in
each of the 3 lengthy, intricate songs including passages of
strong tune-worthiness (including a sort of brief quote
from Three Blind Mice on “Call of the Wild”). But beneath
that sunshiney vibe, the lyrics here talk of guillotines
and ripping hearts right out of the flesh (years before
Indiana Jones turned such an act into a theme park). The
deft mix of instruments: sax, mandolin, trumpet, flute and
more not only showcases the proficiency of the band, but
makes for a very full-sound for a three-piece. Derek Noy
is a very imaginative guitarist, his work on the initial
“Sun Symphonica” propels that through its early phases
until it hits a quaint English tea-time interlude around
5 minutes in. But shortly afterwards he gets some 12-string
fury (or is that the “Zelda Chord”) charging the song up
again. Another energizer is the glissando growling voice
of Noy (rising up like a siren, an effect duplicated by
both keyboard and an actual siren on this album.) Each of
these songs is just plain brilliant in scope and sound.
-Thurston Hunger

Dj Female Convict Scorpion – “Patience Cleveland” – [Self Release]

Thurston Hunger   1/7/2006   A Library, CD

At some point in time I will no longer find the name of this
project funny, but even after the date; far, far into the
future…I’ll still enjoy the creative collision of samples
strung together on this. DJ FCS is none other than Josh
Pollock, billionaire playboy by day and pilot of the Six
Eye Columbia by night. He mixes things like a drummer, which
in my mind is the highest compliment. Non-drummers when they
stack up tracks often just wind up with an overcluttered,
crossfighting much. Even before we get the Doomsday catalogue
of Billboard beezlebubs (that release on its lonesome still
spooks what little bejesus is left in me), but even before that
which in its short excerption gets treated with no less than a
deftly aimed space laser, than a jolt of Muslimgaue, and even a
Hanna Barbera jack-in-the-box sproing, BUT even before that the
opening drift and slow jazz feels like Supersilent in a test tube.
Later there are elements of what sound like Popol Vuh, and well
tons of other stuff that strikes you as recongnizable, but it is so
deftly mixed that you don’t feel like spending time trainspotting,
just digging this fine concoction. With whisps of theremin worked
in on top too!! Gotta love the interview between a children’s record
and what sounds like an earthquake. For me, this is the sort of
hamburger helper that hip hop needs today. Yo, MC’s step to the
mic on the Scorpion’s tail!

Baiyon – 22.Nes that Sounds Like School R 22 – 5BBaiyon5D

Thurston Hunger   1/7/2006   A Library, CD

I can guess that the title refers to having a cheap speaker
in an acoustically active hardfloor school cafeteria fritzing
out and in doing so transforming whatever sound is pumped
through it into its own unique otherworldly transmission. If
that is what experimental creator/artist Baiyon intended, he
achieved mightily. You hear the sound straining to get through,
as if there’s a tiny homunculus inside your speaker/headphones
pressing his back up against all the electronic notes that
he then forces out into your air/head. It ends up sounding
like some distant relative of Hans Edler/Gershon Kingsley/
Morton Subotnick/Robert Moog (the last of whom Baiyon
contributed music to the recent film about). The results here
never feel laboratory-boring synthesized, they feel as
real as a kid at a playground, and have the same sort of
infectious cute virus as well. Right off the bat, I knew
this album would make me happy…the first track, with its
sputter start and choppy whips then in comes a reversed angel
singing a theme song to an imaginary cartoon. Divine! I’d
like to see Baiyon load these as ringtones in 50 cellphones,
and then record them as a chorus called simultaneously.

Subtonix – “Tarantism” – [Troubleman Unlimited]

Max Level   1/6/2006   12-inch, A Library

Local quartet. This is one band that sounds exactly like it looks. I’d say they’ve cornered the market on beat-up goth-punk-feminist-horror-noise-pop. The sound: harpies wailing on top of loud keyboards, loud bass, loud sax, loud drums. Interestingly, no guitars. Musically, they fall about halfway between playing their instruments well and still figuring them out. A fine place to be, by the way. But they play like they mean it: speedy, jumpy, and in your face. Lyrics are provocative; themes of death, sex, pills, stained sheets, ripped-up dolls… enjoy it but don’t turn your back. The final track is a cover of a song by the Screamers, another band that was weird, pissed-off, and didn’t need guitars.

Teengenerate – “No Time” – [Dog Meat]

Max Level   1/6/2006   7-inch, A Library

Maximum trash punk rock from this now-defunct Japanese quartet. Australia’s Dog Meat label brings us this limited re-pressing of 1995 material. Pick your poison. 4 tracks, each of them around 2 minutes long. Meters in the red and who gives a damn? Howling guitars and a straight-out-of-the-garage rhythm section. Slapping you around are Fink and Fifi on guitars/vocals, Sammy on bass, Shoe on drums.

Zolar X – “Timeless” – [Alternative Tentacles]

Max Level   1/6/2006   A Library, CD

Incredible stuff! Zolar X were a mid-70s – early 80s LA band who bridged the gap between Ziggy-era Bowie (they lived, breathed, and sang about outer space) and classic punk-pop (check the energy). Their music back in the day, compiled on this CD, was aggressive hard rock with ambitious arrangements. The band is a total ass-kicker, especially Flying-V lead guitarist Ygarr Ygarrist who can shred with the best. Vocals are up in the higher registers, sometimes so high I suspect helium may be involved. Songs are mostly short, with the exception of a few “suites” (#10, 19, & 20) that stretch out and cover a lot of territory. The band was never hugely successful; their story seems to be one of setbacks, missed opportunities, and never fitting in with any scene. However, this CD is a revelation. I was aware of this band when they were around the first time, but had no idea they were this good. I’m happy to note that they’re playing together again, and appear to be as strong as ever. Play this, you rockers!

Orthrelm – “Asristir Vieldriox” – [Troubleman Unlimited]

Max Level   1/6/2006   12-inch, A Library

Guitar/drums duo from the Washington DC area serves up 99 tracks in just under 12 minutes, each one a chaotic burst that lasts anywhere from 1 to maybe 8 seconds. Guitarist Mick Barr fires off chopped-up speedmetal licks, and drummer Josh Blair stays with him note for note, beat for beat. How do they write this stuff anyway? The tracks all run together with maybe a second or two of rest in between. For me it works sort of like the halftone dots in a newspaper photo: you won’t get much by looking closely at each individual dot, but stand back a bit and you’ll see the big picture. My recommendation is to play a big chunk of this (all of it!) and call it one long track. Completely over the top and amazing. Devotees of avant-garde, and/or metal, don’t miss this! A one-sided 12″ with an etching by guitarist Barr on Side B.

Cakekitchen, the – “How Can You Be So Blind?” – [Haus Musik]

Max Level   1/6/2006   12-inch, A Library

Singer-guitarist Graeme Jefferies (a big part of the ’80s underground scene in New Zealand) has been the only constant in the ever-changing Cakekitchen lineup. I think it’s been several years since the band’s last effort, but they’re back now and in excellent form. This new LP is acoustic guitar-based, with electronics thickening the sound just the way I like it. Things get off to a jaunty start with “You Know I Really?”, and then a nice melancholy groove sets in for the rest of the LP. Jefferies’ romantic, downhearted lyrics are delivered in his low and intimate style. Cello and string bass touches show up at just the right times. As usual, I prefer the longer tracks, the ones heavier on atmosphere, but everything here is lovely.

Bianchi, Maurizio – “Antarctic Mosaic” – [Ees’t]

Max Level   1/6/2006   A Library, CD

Bianchi was busy during the ’70s-’80s with his industrial, musique concrete, turntable manipulation, and electronic sound projects. In his more recent works, he’s been using what he calls a “fragmented” approach. This CD contains two huge compositions (36 & 38 minutes), comprised of innumerable short bursts of orchestral music, electronics, and mysterious noises. Maybe he created these compositions by jumping a stylus around on various LPs; maybe recordings were cut up digitally after the fact. Hard to tell exactly what’s going on. At any rate, the results are surprisingly enjoyable. A new musical genre: Attention-Deficit-Ambient. Something I for one can relate to.

Hominid – “All Accidental, All the Time” – [Hominid]

Max Level   1/6/2006   A Library, CD

Singer Arone Dyer fronts this edgy NY quartet, cutting through the hard rock din with her childlike wail. Sharing center stage with Ms. Dyer is a guitarist injecting loud, unpredictable coloration. Fascinating tension here: vocals clash with guitar parts, notes clash with chord structures, then they all kiss and make up, only to start disagreeing again in the same song. Underneath, the bass/drums combo provides a satisfying pummel that recalls LedZep at times. The vocals are mixed with an upfront claustrophobic sound, adding an element of pleasant discomfort. My fave track is #6, which starts off as a cool saunter, keeps upshifting the gears, and ends up at a thrashing climax. #7 departs from the formula, with clinking percussion and whispered vocals.

Samartzis, Philip – “Soft and Loud” – [Plates of Sound]

Krzton Drda   1/6/2006   12-inch, A Library

Environmentally derived composition from Tokyo December 1999 to Melborne August 2003. Music concrete evoking the spirit of urban Japan.

A side: crackle, clang, pulse, gaps, water, sizzle, clunk, hum, hiss, ploink, pause, whir, chant

B side: flute, fries, static, birds, 2001, temple, machines, voices, ring, shoot, hai!

Phon.O – “Burn Down the Town” – [TIGERBEAT6]

Krzton Drda   1/6/2006   A Library, CD

Techno and trip hop mixed with machine stamped fuzz textures on the sequencer samples and some clever but edgy raps.
Track 5: “Bitches and Hoes”
Track 9: “Hoes over Bros”
Track 10: “Kill”
Translations of French titles on CD labels.

Jgrzinich / Nehil, Seth – “Confluence” – [Intransitive]

Krzton Drda   1/6/2006   A Library, CD

Summarizes the progressions of a sound arts team with three tracks each havng different character. Track one scrapes the bottom of the barrel–literally with bonking noises and such. Track two starts to get distant and droney, and track three gets very far away with rumble and hum and heavy depth of texture. Follow the sound artists to find out where they go!

Doublends Vert – “Doublends Vert” – [Present Sounds Recordings]

Krzton Drda   1/6/2006   A Library, CD

Accoustic instrumental dronings, no drums. Spaces of energy are invoked, passed around a room of musicians as trance absorbs all. Not gassy or low cloud ceiling like some ambient, nor mechanical sounding. Very human and personal with reeds, strings, and winds coming through very crisp and clear. Like an intense sunny day when looking around and a flash of sun makes your eyes water. Has potential crossover appeal as drones go: Kind of like jazz stripped down, slowed down, trapped in sap, and over many years preserved in amber.

Touch 00 [coll] – [Touch]

Krzton Drda   1/6/2006   A Library, CD

Collection of sounds feels like a modern soundtrack. Includes techno ambient, trip hop, music concrete, tones and pulse, glitch. Several tracks are short filler transitions that are not as good as the core material.

Some notable tracks:
Track 1: signals from Matrix by Ryoji Ikeda (this full piece is in the library, but the selection is quite choice)
Track 3: haunting chant layers with calls to prayer as memorial for a murder in Morocco
Track 4: Sailsbury Cathedral tour
Track 11: space reverb mix, flaming marshmellows
Track 12: glitchy lounge recorded at KZSU 14 Sept 1999 with People Like Us, Jet Black Hair People, and Wobbly
Track 15: Moscow air traffic control over Siberia Oct 1990
Track 17: Village crier
Track 20: blippy bloop from Tobias Frere-Jones with extensive but seemingly incoherent notes in CD jacket