FRKSE "st" c47 (Ihaa)



new ihaa release:

FRKSE - S/T c47 olive tape:
An amateur study in trash reappropriation and the power of gauze devotion, FRKSE stitches together the S/T cassette with garbage compacted drum breaks, soiled bass guitar riffs, synth piety, and rosewater drones to create a secret devotional hymn spanning about 40 minutes. With an early-era Swans like ferocity, the S/T appears on an olive tape anointed with post-religious artwork courtesy of Albane. A wondrous treat for those looking for a way out, the cassette version comes with two bonus tracks. Limited to 250.

Who is FRKSE?:
FRKSE is Rajbot - originally from Reno, NV - transported to Jamaica Plain, MA - FRKSE is a beat producer that is interested in metal/thrash/noise/experimental sounds. FRKSE is from India culturally and his style of musical sound bares distinct influence of India. FRKSE enjoys a good fallalfal from time to time and runs his own imprint "Divergent Series" and writes for UGS Mag.





(to buy/stream album)

HIGH WOLF - "Etoile 3030" c40 (Not Not Fun)


Not Not Fun plays medium to yet another fine release from ritualistic loop-hound High Wolf.Six new tracks of treated analog smoke-outs and digital-drum circles by the name of Etoile 3030.Traveling the same winding, hidden path that the Ascension LP guided us down, High Wolf continues their journey through other-worldly drones and sticky electronic pulses.Flowers of Congo is a lengthy bender of wah-laced guitars that tunnel their way through the piles of synth and organ rubble, gently tiptoeing atop a thin layer of icy drum loops.Bass lines The layers of stumbling synth wash and woozy guitar noodling might bring the mystical space-dub of Sun Araw to mind, as well as other like-minded psych dudes, but High Wolf continues to create their own colorful realms.Their world is one of contrasting themes, a place built on blatant repetition, yet it survives solely on constantly shifting rhythmic patterns and never-ending audible boundaries.Clusters of purple clouds linger above, and a heavy downpour of glittery tones soaks the soil below.As the red sun's neon rays find their way through the clouds, unfamiliar new sounds sprout up from the ground and start to grow wildly.Etoile 3030 is HW's most accessible dream inducer to date, and will hold you over until they drop their new full length this spring.Artwork by L.A. Vamp/Pocahaunted voice Amanda Brown.Limited to 150.

LEFT BEHINDS "Recess at the Psych Ward"
C15 (Tampered Reels)




This is something I'd like to see more often: bands mining the rich and deep vein that perhaps produced the most glowing ore on the Meat Puppets first record and slightly less so on the Sun City Girls "Midnight Cowboys from Ipanema". Frantically destroyed country/surf/punk riffs with muppet vocals. Maybe this band is secretly from Arizona? These songs were all made up on the spot and they've got great titles like "The Emperor's New Record Collection" and "The Tadpole's New Motorized Wheelchair". Web stuff here: http://tamperedreels.tumblr.com/ or you send $3 post paid to Tampered Reels 64 Riverside Dr. Florence, MA if your interested in getting a tape.

PEDRO MAGINA - "Nineteen Hundred and Eighty Five" C35 (NNF)



This kind of sprawling, minimal electronic noodling is pretty much everywhere these days.With some amazing acts like Emeralds, Oneohtrix Point Never and Arp churning out such massive and well received records as of late, most things of this nature get tagged as "ripoffs" and such, and are quickly discounted and pushed aside.But, every so often, something comes along to remind us that big things still come in tiny packages.Such is the case with Pedro Magina's latest cassette, "Nineteen Hundred and Eighty Five".The faded old credit card imagery on the cover doesn't give any real insight to what you will hear, which made this listen all the more worthwhile.Magina shows his love for the 80's at every turn, with a literal slew of synthesizers, electric organs, vibes and analog sounds of future's past.It's not entirely too heavy on futuristic retro junk, or generic nostalgia whatsoever.Instead, Magina's created a focused and full-bodied collection of songs, and each one is more compelling and memorable than the last.His miniature epics are like gentle streams of subtle melodies and bright arpeggios, trickling down into a much larger riverbed of strings and deep chord structures.Nothing repeats itself all that much, but this is far from "jamming".A surprisingly fresh and fun take on a somewhat overexposed genre.Highly Recommended.

Head over to NNF and pick one up.

VAGINA BISON "Saigna Bovin" C30 (Pleasence Records)



Vagina Bison is the Collaborative Project of Toronto's Andrew Zukerman (Gastric Female Reflex) and Montreal's Emilie Mouchous (Gmackrr). Just another fucked up slice of contemporary life: howling, screeching, toys uttering their final death cry, you know, it's what the kids are up to these days...unless you live in California or New Jersey or somehthing. Beautiful printing and cool velcro tab in the Beniffer Editions style, though this is actually the first release on Deirdre O'Sullivan's Pleasence label, though you'd be hard pressed to determine that from the packaging. This is intricate music for dismantling robots, but it's got a funky core similar to the best Gastric Female stuff. Apparently this was recorded over the last few years, but the tape just came out.

Maybe you can find one here: http://andrewzukerman.blogspot.com/2010/09/vagina-bison-first-cassette.html

Here is the facebook group for the label: http://www.facebook.com/group.php?gid=134784393228436&v=wall&ref=ts


I've posted a whole bunch of new stuff to the site, so continue to scroll down...

ANDREW SCOTT YOUNG
"Slophaus Diver" C20 (Catholic Tapes)



This is really one of the best tapes I've heard in a while. 20 minutes of harsh, punishing noise created on an acoustic bass, found percussion, bass strings on metal, electric bass, electric guitar, and cello and recorded extra hot to create an electronic-like soundscape. I don't believe any post production work was done on this stuff and it was surely not needed. Young is the bassist in the esteemable free jazz trio Tiger Hatchery, and I picked this up on his solo tour with Hatchery drummer Ben Baker Billington (wish I'd got one of his tapes, cuz Quicksails his synth set was also through the roof). I'm a really big fan of acoustic noise, but not so much of bass solos, so it is a real testament to the quality of this music that I've played this thing a number of times. This will really hollow out your skull. Who needs all that excess grey matter anyhow?

Andrew's site: http://www.reallyloveto.blogspot.com/
Catholic Tapes: http://catholic-tapes.com/

TRACEY TRANCE "Hangtown USA II" C60
TRACEY TRANCE "S/T" C40 (Eggy Records)



Tracey Trance is just the best, okay? Super sunny, repetitive major pentatonic keyboard scale runs with falsetto vocals in harmony to a march beat. His releases on Night People and Not Not Fun have been nothing short of outstanding, but it's always been his tour only releases that have gotten the most play in my stereo. "Hangtown II" is the sequel to last tour's tape and I've already played it about 8 times. He's on tour right now with The Savage Young Taterbug, so maybe you'll get a chance to pick up one of these soon. This is the kind of music that gradually reveals itself on repeated listens. It's not that Tyler (as Tracey is known in the "real" "world") makes incredibly complex music, but more that he creates a sound-world where his becomes "the only music". I could go on to say that this might be the music of the little green elves that create our reality, but that might throw the authorities onto me. Plus, I think the swirling melodic runs contained herein paint a different picture in every listeners head, similar to the graphic work of Brion Gysin. Oh and this tape has a really great dancehall mix tape at the end of one of the sides.




For those of you who can't catch Tracey Trance on tour. You wouldn't be doing your self a disservice to order this currently available release from the fine Portland, OR imprint Eggy Records (http://eggyrecords.blogspot.com/). The pieces on this tape are shorter than on most of the past releases and have some cool vocals and that great organ work like always. There are also a decidedly larger number of slow jams and mood pieces on this one. Overall another fine outing with great printing by label maestro Raf Spielman

oh and definitely look for the OOP Tracey Trance releases on your finer blogs.

WIZARD AMPS "Ice Guitar" C40 (Baked Tapes)



Great drone from the Grasshopper dudes, Jesse DeRosa and Josh Milrod, plus Slaser Risk shredder Andy Borsz playing what I believe to be heavily processed guitars and keys. They told me this was a "blues" tape, but aside from a moment or two that recalls a half second of a guitar lick on cough syrup, I fail to see the connection. That being said, this is the best "blues" tape I've heard in awhile. If you've ever found it hard to write about drone music then you'll understand why I ain't exactly putting out the adjectives. But trust, this is good. These guys totally wowed me the other weekend with an intensely beauteous trumpet/electronics trio set as Hex Breaker Quartet with Telecut Powers/High School Confidential mastermind Mr. Matthews in tow. Doesn't seem like the Baked Tapes site has been updated of late, but you can contact Mr. Jesse at bakedtapes@gmail to procure this and other fine releases. The new Tiger Hatchery tape is pretty hot too.

THE SHITS "The Best Of The Shits" C30



Another review of a tape you probably won't be able to listen to or find (unless you remember how to pick up the damn phone). Only slightly less preposterous than Byron Coley reviewing a 1/1 edition in Wire that he has the only copy of. The Shits are currently playing out of Western Massachusetts and they keep getting better with every passing week. Basically a garage covers band, but really so much more. Sort of like the Monks on a bad dose of something or other or like the Doug Yule era Velvets, but thrice as drunk. You may know the songs, but the vocals get particularly brutalized on every cut and the band is especially scorched sounding. Songs on their first tape: "Louie Louie", "Now I Wanna", "Positively 4th Street" & "You Really Got Me". These guys and gals only play birthday party's for $50 and case of beer, so give 'em a call if your in New England (413) 689-3026.

EDITH BUNKER'S DEMONIZED VOMIT INSURANCE
"Edith Qberts Squash Insurance: Save An Absurdist, Eat A Rationalist" C30 (Zeikzak)



Brent Field has been making lonely and depraved music under the pseudonym Edith Bunker for the better part of the last two decades. His stuff has consistently been at the bottom of the barrel in terms of quality, availability, fidelity, positivity & accessibility...in the best way possible! Incessantly negative diatribes against humanity, the sound of things breaking, out of tune acoustic guitar, more sounds of things breaking...Field operates in the comfortable space between credibility and retarded savagery. This is most certainly not for you, unless you're me. The tape in question was the first release on Belgian label Zeikzak from about four years back and is probably pretty hard to find, but it's a winner (in a "hey look, I found my teeth in the toilet bowl sort of way"). Pretty much everything I've got from this label has both looked and sounded fantastic (Crown Now tape, Id M Theft Able LP, etc...), keep them on your radar too.

Try to locate any of his recordings in your finer dumpsters or possibly on the internet??? I think Mangdisc might have something available (http://www.kraag.org/mangdisc/), I know that I sold out of all of the six CDR sets on Feeding Tube almost instantly (and mostly to Japan!).

SPILL YOUR GUTS FRIEND comp C60
(RRR/Stomach Ache Records)




This is a tape that came out in the 90's on stomach ache records, home to many depraved and insidious releases. This label may be currently active as Dolor Del Estamago, run by Grux from Caroliner, or that may be a tribute label (you can check out their outstanding CD-R catalog here: http://www.brutalsoundeffects.com/dolordel00.html). Annnyway, that's besides the point, what we have here is a current reissue from Ron Lessard (Lowell, MA) of the old "Spill Your Guts, Friend" compilation which is available super cheap from RRRecords (find it on this page: http://www.rrrecords.com/label-va.php). Relive the days before cassettes with colorful art! Just look at the artists on this thing, and you'll know if you want it or not!

MIRROR TAPES (Malaysia)



I just wanted to give a shout out to one of my favorite new tape labels: Mirror Tapes from Malaysia. The label has quietly been releasing reissues and archival finds of some wonderful experimental tape music, mostly from the 1980s. MB, Conrad Schnitzler, New Blockaders. I think the discography speaks for itself. Buy these all before they go out of print.


MT001 - Brighter Death Now - Primitive Perversions - 3 x tape box set - DELAYED / pre-orders!
MT002 - Thomas Bey William Bailey - Progressive Lycanthropy - C32 + mini-book - 9 Euro
MT003 - Maurizio Bianchi - SFAG - C47 - SOLD OUT
MT004 - Conrad Schnitzler - 10.10.84 - C42 - 8 Euro (last copies)
MT005 - Michael Northam - Solar Night - C40 - 8 Euro
MT006 - Maurizio Bianchi - Technology-X -

C47 + badge - 8.50 Euro
(last copies)
MT007 - The New Blockaders - Live at Morden Tower - reissue - very early March / pre-orders!
MT008 - Conrad Schnitzler / Wolfgang Seidel - CONSEQUENZ 010B - very early March / pre-orders!
MT009 - Maurizio Bianchi - OIRT EMO-DNE - unreleased 1981 private tape - April / pre-orders!
MT010 - Lionel Marchetti - Alpha Z Centauris - compositions from 1988 and 2000 - April / pre-orders!

THE NORTH SEA "Never Stop It" c46 (Hooker Vision)


Brad Rose's output as The North Sea launches at quite a prolific pace. Whether a cassette of his will contain calm transmissions or piercing walls of feedback, it's somewhat difficult to infer what a release will sound like without the aid of an audio sample. Rest assured, though, that Rose's latest tape on the Georgia imprint Hooker Vision would be of the latter persuasion. Side A's "Destroy Her Blue Eyes" manages to keep a 20-minute manipulation of a single tone engrossing throughout; at times, it peaks at a shrill frequency and at others, it rumbles like a seismic abuse.

On the flip side, "Quiet Underneath," Rose's titles really seem to disconcert the listener, because it resembles death-- not the band, I'm just referring to dying; slowly being crushed by the largest boulder conceivable, and screaming for a hero that will never arrive. Physically, it's an awful experience-- but aurally, the saturation is pure ecstasy. Easily, it stands as Never Stop It's most climactic passage, and piques my interest to the point where I feel puzzled as to why I don't own more of Brad Rose's material. Though not as demanding as your average HNW recording, the uncompromising aura brings just as much unease to the senses.

Limited to 100 pro-dubbed chrome cassettes, featuring a nice fold-out j-card by Rachel Evans and a vellum insert.

http://myspace.com/lenorthsea/
http://hookervision.blogspot.com/

ANGEL EYES - "Dire Dish" c36 (Not Not Fun)


Another mysterious and wonderful fruit drops from the colourful and winding tree that is Not Not Fun.Angel Eyes is a one man show, although going by what this tape has to offer audibly, you'd think there were at least 10 musicians playing these songs.This is ultra-layered and carefully pieced together drone magic.The synthesizers seem to go on for an eternity, swirling and swelling up like giant bubbles along the way.Dire Dish starts of slow, with a grainy, slow-as-molasses percussive swagger that could pass for a tattered Sun Araw 45 on 33rpm.Soft synthesizer tones begin to pile high, as he demonstrates some rather clever stereo panning, giving it a rich full sound.Dreamy dub-guitar wails come into play, and slowly get lost in the textured synth arrangements.A bit of calm, slightly delayed chanting rises up from the haze, like a dense smoke floats up from a campfire.The lyrics are pretty incoherent, but it seems that he is utilizing the tone of his subtle voice, and adding it to the vast, slow-burning swells around him.

As Dire Dish echoes on, things actually begin to slow up a bit more with each track, providing a perfect canvas for his distant voice to spill it's lengthy, mumbled words over.It's almost as if you are listening to a single 36 minute movement, with just a few breaks every so often.Usually this means there's a lack of progression and intrigue in a recording, and generally bores me to death, but Angel Eyes knows how to hold your attention, and provides more than enough catchy analog drones and climbing string arrangements.Even his silent lulls are pleasant breaks, somewhat necessary to what he is trying to achieve.Imagine Growing or Belong's ethereal swirling, with Sun Araw's guitar and vocal echoes laid over top, and you're getting the idea.I hear a bit of dub influence at times, with a low, crawling bass lines and dense, percussive clicks and thuds that rest below them.A perfect concoction to back his vocal style, in my opinion.If you have the attention span for things of this nature, you will want to pick this up immediately over @ Not Not Fun.

YORK FACTORY COMPLAINT "Will & Testament" c60 (Robert & Leopold)




Two sides of dense, shrill, mind entombing noise orchestration. This tape, which comes in a nicely designed (simple) j card, presents two sides "will" and "testament" from which they cleverly draw the title.

The first side, "will" is the more 'active' of the sides, with intense mechanical burrowing and swirling metallics forcing their way to the front. Parts were reminiscent of some of my favorite MACRONYMPHA recordings, where it sounds like a street fight with only sheet metal as weapons. Aggressive, dangerous and somewhat restless.

The second side, "testament" had a much slower feel, at least for the first half, suggesting an emptiness or abandon that worked well after the frenetic first side. The space doesn't last for too long, being filled slowly with looping sounds becoming more and more dense and unmovable while not succumbing to the too frequent impulse of creating a blown out wall of noise. They do a good job of letting all the pieces make something larger and grosser than what we've all heard too many times in a blown out over distorted mess.

check their tumblr page for more sound clips and info:
http://yorkfactorycomplaint.tumblr.com/

EARTHEN SEA "WAVES" c40 (Imminent Frequencies)




Two sides of drone.

First side is primarily organ work and develops
and layers and folds and unfolds without creating
too much disruption to the surface of the drone
but enough to keep you rolling with the piece and
not feeling like you're listening to one tone for
20 minutes.

The second side is way more euphoric and the side
I'm partial to, being much warmer and analog feeling
with a distinct refrain/break in the middle.

Boooooooooooooooooth
siiiiiiiiiiiiiiiides
arrrrrrrrrrrrrrrrrre
veeeeeeeeeeeeeeeeery
gooooooooooooooooood

Released by the Imminent Frequencies label and available,
with sound clips!, at the source:
http://imminentfrequencies.blogspot.com/

JUNG BULLS "S/T" c20 (New Visions)




This self titled tape, which feels more like an EP because of the songs and variation, is a compelling piece of magnetic tape and plastic. JUNG BULLS is Jeff Somers who, with small exception, is responsible for everything on the tape.

When the tape opened, I almost immediately shut it off and put back my Chantels LP. More 'hypnagogic' influenced pink-mud pop stuff. Thinking "hasn't this passed already?" Are people still apeing this? But I let it ride, trying to look passed the now cliche phasered/over-revered semi-nasal vague pop sensibility to see what happened. Unfortunately, not a whole lot of the first song. Instead of all of the elements combining into a taped over, sonic dreamscapade, it felt like all of the parts were running into each other, getting in the way of the larger picture, all parts overly effected/affected and consequently ineffective.

The second track was a step back or to the side. A bit more straight pop like 'indie rock' for lack of a better phrase and Jeff is clearly more comfortable and able to float some strong melody to the front while everything else sort of chugs along, playing their supporting role. Nothing outstanding or stuff that is going to get stuck in your head but it's clear there's some agency in this writing, whereas the first track (Growin Split) felt like auto-pilot, this song (Natural Sounds) gives the impression there is a musician in the room.

I see the strengths of slowgaze/hypnagargle, etc in a strong sense of self and the fusing of that identity with decayed, washed out, fused/melted tones creating something singular and expressive. It seems too often people think "phaser" and "plodding drums" with a "VHS aesthetic" will convince people there's some strength to the actual music when there is not much but smoked out mirrors.

JUNG BULLS, especially on the second side shows a lot of promise in bringing an ability to toy around with a lot of styles, the clean guitar and whispy vocals on the first track, the fuzzed out bass and revealing arrangements on the second song and then back to a much lighter version of the phaser/keyboard/muddiness on the last.

Again, though none of them are running through my head, making me replay the tape, I think with some time all of the pieces that make up these songs can begin to interact and stand on their own, separate from the overbearing influence of right now, turning into something very singular and very much a byproduct of the obviously talented mr somers. When that happens, homeboy is gonna drop a real memorable slab of wax.


JUNG BULLS Links:
http://www.myspace.com/jungbulls
http://jungbulls.bandcamp.com/

The Deeep - "Life Light" c40 (Not Not Fun)




NNF is pretty consistent with their artistic output, especially in the last two years or so.Everything they release is sure to be quite inventive, unique, and visually stimulating.When I received this little gold tape a few weeks ago, I wasn't really sure what to expect.The album begins with a song called 'Meadow Dusk', a slow moving, synthesizer-powered escalator up into the black void.Isla Craig's deeply soothing, lush vocal passages soar above the twirling electro pulses, with a range that seems to be kind of never ending.She holds her notes out for a lengthy stretch at times, and uses a bit of a nice, controlled flutter when she want to.Some of these melodies are absolutely stunning.Things tend to drift into more various new and old waves from the last two decades or so, and subtly thump and beep away, just below her beautiful voice patterns.The duo also like to dip into more soft synths and acoustic bouts, if only for a few seconds.Wolfgang Nessel's seemingly unlimited source of electronic warble and keyboard interplay runs rampant throughout these songs, not necessarily keeping time, nor a steady pace, leaving the vocals to glue everything together.

I'd be lying if is said there aren't parts of this that are reminiscent of Lover's Rock era Sade swooning, a bit of Mum's trickling miniature melodies, or Broadcast's more ethereal moments on the recent Focus Group collaboration.But, The Deeep are indeed on their own wave, pulling from plenty of unique influences, but none of them are painfully clear, and it makes for an interesting and mysterious listen, to say the least.Compelling stuff.A fantastic debut.Watch for them in 2011.

DAN GREENWOOD "GUTS:RENDER" (Greenwood Electronics)




















guts:render is a triple cassette audio collage. composed by
Dan Greenwood of diagram a. using material that he collected from Chris Cooper of fat worm of error, Patrick O'neil of skin crime, and Dominick Fernow of prurient, Dan concocts a seamless soup of raw sounds. for good measure he adds material from eight years of home audio experiments of his own. you can't tell what is what with this recording. even if you are a seasoned veteran of the sounds that some of these people have produced. Dan does an adequate job, muffling and chopping the sources at his disposal. that being said, the cherry on top of this release is the addition of some old raw sounds provided by his former accomplice, John Brown. together as proof of the shooting, John and Dan carved a little corner of their own out of the late 1990's harsh noise scene. this release seems to put in motion an epilogue of sorts to the legacy of their body of work together. as vastly underrated and unknown as they were.
i don't see any reason to explain to you here the impact that the work of Chris Cooper, Patrick O'neil, or Dominick Fernow has had on the sub culture of noise and sound art. Dan chooses to include his friends (and influences) here to broaden the spectrum of your listening pleasure. Alicia Renadette does a great job on the art work for this too. a smoky spray paint color collage to trip on while you listen to all three tapes at once.
if you savor the sweet sound of harsh cut up home brew lo-fi audio sweat. then i suggest you get in touch with Dan at : http://greenwoodelectronic.blogspot.com

Coppertone - "Best of the first six months" c23 (Night People)


Sasha Weisman is the brains behind Coppertone.She's spent some time in the downer death-pop act Russian Tsarlag, and has recently left her hometown of Providence, RI., to relocate to sunny Los Angeles, CA.Her work under the Coppertone moniker is tuff to tag with any particular genre, and this tape is more of an audible collage of sorts, rather than a proper album.The songs are well written dirges and swells, relying on heavy synths that seem to gyrate in place, then build and break around her subtle-yet-scathing vocal hymns.Hints of dreamy folk harmonies and cold wave synth-arpeggios crash into each other at times, to create something wholly psychedelic and familiar, yet it's still a fresh and inventive listen, that reminds me of Emeralds or PC Worship somewhat.

"Best.." also has it's fair share of wandering drones and colorful washes of distant guitar tones.At times they are barely audible, and leave plenty of room for her dazzling voice to flourish.Most everything is right where it should be, but can fall completely out of place at the same time.This album is also extremely layered, and some things will go unnoticed until your third listen or so.A charm not found in most other things similar to this.Uniquely familiar, and that is definitely a compliment.Give us more.

YVES/SON/ACE - "Unsung" Casette c52 (Night People)


Finally, a new batch of blankness from these guys.YSA have been pretty bust over the last year or so, with more than a few full lengths and ep's under their belt.If you missed the Cold Showers album, it's worth the hunt, indeed.Sparse electronic washes, coupled with tattered minimalist beats and woozy vocals that lie beneath it all.They aren't an easy act to describe, and they are constantly evolving and changing shape.2009's Parade of Thoughts/Can't Sleep LP was a bit of a leap into more accessible, and almost pop-driven terrain for them, with the addition of more subtle melodies and more structured minimal beats, with some catchy runs that carried along a clear and more tuneful vocal delivery.
They continue their hazy voyage into the myst with Unsung, their first release for the Shawn Reed's Night People label.The songs on this cassette are more "listenable" than ever.They are leaning heavy on the pop vibe, with some ridiculously catchy synth and organ lines rubbing up against one another.The still dish out some super minimal percussion that is similar to that "samba" setting on your old Casio keyboard, but with a bit of delays to keep things interesting and more fleshed out.The vocals are a bit more crisp and clear, with more obvious lyrics than before, and there's even a bit of treated acoustic guitar strumming scattered throughout the songs.A nice touch.
Some of this is similar to more recent Factums, especially their new one for Night People.It's those dub-tinged, delay soaked beats that pull this thing along, and keep it moving.Barely any low end rumbling at all, everything is right in the middle, and they do it almost too well.If you like your waves cold, and outsider bedroom pop, this is made for you.Excellent stuff, as always.

PET MILK "Demo" c20 [Peasant Magik]


It may be 2011 today, but Philly band Pet Milk is still living in 1994. This tape hearkens back to a time when a lot more people were putting out tapes. There are big crunchy guitars, a peppy but still midtempo rhythm section, male/female vocals and the tape was written by a dude named Herbie (save for a MBV cover, who coulda predicted that?)
It's pretty good stuff, not totally my area but I'm sure anyone wishing to relive his/her early 90s college days (or someone wishing he/she had college days in the 90s in the first place) would enjoy this. The final track "Always Knew It Couldn't Stay" is by far the best thing on the cassette; it's an uptempo, minor chord jangler with the best hooks Pet Milk have on display. It's the catchiest cut here and I'm a big, big fan of catchiness.
Very nice looking, pro-dubbed tape as usual from Sal Giorgio's Peasant Magik label, this time breaking out of the psych/drone mold. I dig that cover image a lot too, a hearty handshake goes to whoever can fill me in on which film it's taken from.

FACTUMS - "Guilding The Lilies" C45 (Night People)


Finally!Seattle's Factums bless us with another dose of tortured dub worship and blank, no wave deconstruction, this time in the form of a cassette.If you are still being mesmerized by last year's ultra-inventive "Flowers" LP, as I know I sure am, you will surely fancy this batch of songs just as much, if not more.
Right off the bat, Lilies fills the open spaces with damaged percussive loops, reminiscent of early Suicide and Young Marble Giants' clever minimalist bumps.Every click and rattle are soaked in heavy delays and more than a touch of reverb.Once they have totally hypnotized you with a lengthy clicking drone, they chime in with a creeping synthesizer and those downer vocal slurs that we love them for.These elements all seem to melt together so well for this band, and they continue to belt out something completely different and fresh every time.
The songs on Guilding aren't so similar to what we've been hearing from them recently.There's still a strong presence of Residents-esque no wave weirdness to their music, but things have definitely been toned down in terms of tempo and overall mood.These tunes are fairly laid back and heavy on the dub tip.They tend to drift off into space here and there, but this tape is pretty cohesive in hindsight.Works in fragments just fine, which is how most of their stuff is put together, but I think this album is best listened to in it's entirety.This is a bit of new territory for Factums, if you can imagine that.Fantastic.