San Diego four piece, delivers rock solid chunks of chugga
chugga churning music. Vocals gang up on choruses, guitar
effects slang-tune in parts…drums percolate like all
night coffee. “He’s Pissing” has a nice sort of sway to
it…along with some guttural groaning and light blitz
electronis. “Medublah Sedublah” seems to have a seizure
ready to happen, with an indirect Twin Peak reference
perhaps. Again the drums…looks like no sleep for Paul.
“Space for Face” let’s the drummer catnap in parts and
cascades guitar pick-sweeps of the neck over a sorta
Gang of Four bass. The Lady is allll Business.
San Diego four piece, delivers rock solid chunks of chugga
Few things cry passion like a ragged violin and a man’s voice
that flips up into falsetto. “El Llorar” is of staggering
beauty, all tracks demamd your attention…”Oye?” Oh, yeah!
This has as much fervor as the best punk music, and more
whistling than your average Lynyrd Skynyrd album to boot.
For more serious notes, check the fine Smithsonian liners
included herein, but seriously this Huasteca sound spikes
my ears like few other forms can. The violin sounds like it
was recorded in a brittle, slippery bottle…and the guitars
gallop, but the vocals are a great blend of taunting and
haunting. The song titles alone speak of the jagged edges
of love. One of the most blazing releases I’ve heard in a
long time…do not miss. Huasteca to the corazon.
-El Hombre del Hambre
The combination of pizza and hamburger has always been so
promising, but ultimately unsatisfying…until NOW! Riding
the popular documentary craze, we get a snapshot of history
from the upper crust (“popular young President John F Kennedy
counts down the months until his tragic assassination”) to
the downright greasy, Roan O’Laird. To keep things dry if not
droll, there are moments of little misdirection (e.g. “He died
doing what he loved best…he shot himself in the head.”)
Olives the color of grief, sauce the color of blood, and
of course humor the color of a mirror…a broken one. There’s
a kaleidoscope of characters on this release wilting and
wonderful like the three-week old offerings at the salad bar.
But the comedy here is just as tasty as Di Presa’s pizza as
“The food came in contact with love.
Too much love stains on the counter,
wiping rag drenched in love.”
Just as we’ve always suspected! Neil Hambrger *is* the
secret sauce and this is a sure bet, like the 1966 Superbowl.
Dirty moments – #1, #6, #8, #9
PS Is that New Session Person Ken Griffin guesting on organ?
You can take the girl out of the Acid Mother, but you cannot
take the acid out of the girl. Cotton Casino teams up with
Per Gisle Galaen to overdose beautifully on the Velvet
Underground. Listening to “Femme Fatale” one can almost
lealize that Nico actually wanted to sing with a Japanese
accent. The song starts out as wedding dirge march, but
towards the end disto-guitar ripples the skies. Meanwhile
“Here She Comes Now” turns into an early morning mantra
trying to seduce the sun up. Acoustic guitar spirals, oozy
vox and Helge Sten’s patented Deathprod sonic wrapping help
to plant this one deep within your cranium. With backwards
guitar serving like a hook on foxtail to make sure it this
song gets snared there. Very promising advance to the Birds
full-length first-flight! An Important record indeed!
-Thurston Hunger #37
In 1967 the Rome Symphony Orchestra, conducted by Bruno Maderna, recorded four atonal, serial, and/or aleatory works. Ignore the Fresh-Air-esque middlebrow notes on the back of the record sleeve and just drop the fukkin’ needle.
The four pieces:
Kontra-Punkte (Stockhausen, 1952) – It sounds like music being built from the ground up. Tones are clustered into molecules of sound called a ‘group.’ Tone, length, timbre are set against each other to give a feeling of conflict and restlessness. (Name drop! ‘I’m friends with the nephew of Frederic Rzewski, who plays piano on this recording.)
Threnody for the Victims of Hiroshima (Pendercki, 1960) – Originally called 8? 37″, this piece starts off like those annoying THX promos they play before a movie. But then you are softened up with a light pummeling by blocks of string sound. This gives way to a dreadful silence that gradually fills in with ashes and embers of sounds scraped from string instruments. One last whack with a sound block sends you on your way to side B.
Available Forms I (Brown, 1961) – This piece is partially composed by the conductor because he can pick from events on the score in any order. I think this piece is about a big amoeba that keeps eating instruments it can’t digest. Or maybe that’s a book I read to my kids.
Rimes pour differentes sources sonores (Pousseur, 1959) – This is my favorite one. Here we finally get some electronic sounds from our electronic pioneers. Natural sounds are fixed up with electronically processed sounds by a mutual friend and wind up taking a white noise shower together on their first date. The second section, more of a coda really, has two sextets with brass and woodwinds scraping up against each other until they both disappear.
Raleigh, NC core duo Ivan Howard (vocals, guitar) and
Kelly Crisp (keyboards, vocals) front THE ROSEBUDS
(fast & furious on ???We???ve Had Enough???), a act
currently on US tour with TEENAGE FANCLUB. It is
Howard???s touch-of-helium voice & Crisp???s frenetic use of
keyboard coloration that punch their all-original songs
through to Funland; fellow progenitors THE CLOSE (as
in proximity) began in Auburn AL ten years ago, since
relocating to Atlanta and recording several releases for
. Equally hard hitting but more tactile &
austere, front man Brooks Meeks embraces anthems,
analog keyboards (as played by Theresa Marie Fedor),
and lyrical sincerity. Two fine Southeast indie rock tracks
exclusive to new label run by Nathan Jones & Keith
Vogelsong (THE BLUE HOUR).
MITCH August 2005
From Nottingham, England Airport Girl has released a few records since their 2001 debut. This single is from 2004 and sports a jangly pop-rock song on the A-side with male vocals and an almost dubby instrumental track on side B. The pop song reminds me a little of the Cannanes–but it also has rock and fuzz elements to it. Very catchy!
While listening to this I was reminded of Antony, so it’s not surprising that Baby Dee shares a label with Antony & the Johnsons. The feeling is dramatic, like this is the soundtrack to an opera or musical, with themes of love and nature (including bird samples from Baby Dee’s mom’s Cleveland backyard). Baby Dee is a drag performer from NY and on this release (recorded in 2001) utilizes voice, piano, accordian and harp. CD2 is a lengthy track of bird sounds. Limited to 1000 copies, enjoy the beauty and drama of this self-described “circus freak and happy whore.” (added 8-9-2005)
This is the first solo project of Adam Wiltzie of Stars of the Lid, Aix Em Klemm and Windsor for the Derby. Wiltzie calls the music here mini symphonies and the sound IS symphonic, atmospheric, almost classical with piano, strings, guitar and bits and pieces of voice (although subtle). Pop this into a computer to see music videos by Wiltzie and Christina Vantzos. Very pleasant material. (added 8-2-2005)
The Boom Bap Project are MCs Karim (a.k.a Nightclubberlang), Destro Destructo, and DJ Scene. From Seattle, they are part of the Oldominion crew. This 12″ single was released in anticipation of their latest full length entitled Reprogram.
Each side contains a 1-clean, 2-street, 3-instro, and 4-accapella version of a track.
Side A: In Rock The Spot, BBP want you to know (1) that they are here tonight to rock the spot and (2) that they are adept at their hip hop craft and (3) that they are from the Pacific Northwest. It’s energetic hip hop that pays tribute to its roots. Produced by Jake One.
Side B: Wyle Out brings in ringer Gift of Gab from Blackalicious. The beat lopes along, almost comically, punctuated with a hook from a brass section. Mr. Gab lets fly with a stunning barrage of words that somehow rhyme and fit together. I can’t listen as fast as he can rap, so I have no idea what the text means. Check out the acapella version (B4). Produced by Vitamin D. Impressive.
A2, A4, B2, B4 – language
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