Chris Dooley! There are legends in western mass about him. Hell, there are legends all over the world about him, for real, whenever I go on tour and tell people I'm from Western Mass they're like "oh yeah, you know chris dooley?"! It's rumored there are multiples, people will see him skateboarding while he's on the radio and working at a flywheel benefit two cities away. He has an absolutely insatiable appetite for making things happen. That manic energy is maybe a little muddy in the tape but you can definitely tell that he's really having a go at it, totally shredding up guitars (and curbs!), screaming with a winter hat pulled over his face into an amp for 45 second before ripping one of the most unusual / intense drum solos ever (though the drums on this tape i believe are played by Andy Kivela).
The title of Bloody Knuckles for this tape is totally apt, there's even a sound clip of Chris saying "oh shit, are you alright, do you need a towel or something." Everything is shredded to pieces and flying, confetti style, in the air as Dooley lets his legendary energy loose on this c31.
Yod Tapes site doesn't seem to be up yet, but check back:
www.yod.com
MARK LORD "Pussy St. Tape" c27 (Nazot)
An absolute tarantula festival. Seeing Mark Lord perform a few times over the last year he has played easily some of my favorite and most captivating sets, one night completely unhinged another almost spartan, actually sitting (sideways!) on a stool adjusting his synth and barely talking into a mic. While live it was captivating, you were focused on the individual performing, whereas on this tape, like the best music, there is almost nobody present, you feel absolutely within the realm of the music and it is a convincing listening environment.
Whereas people are often looking to grab your listening attention with swiftness, unpredictable shifts and unrecognizable manipulations, this tape has an economy and intent too often missing from 'noise tapes' these days. Remarkable for not only its fidelity but (even more so) for its absolutely even arrangements and mixing, slight reverb on the tonal background is not lost amidst the staggering, stammering pulsing in the foreground.
The first side features some vocals that, in their lack of emphasis, find an almost authoritative tone that matches the dark but commanding presence of the synth work.
I can't say enough good about this tape. I really hope it sees a vinyl re-issue.
Highly, highly recommended and of course there's no site listed and nothing I can find on the internet. Good hunting, if you can track it down, it's worth it.
Whereas people are often looking to grab your listening attention with swiftness, unpredictable shifts and unrecognizable manipulations, this tape has an economy and intent too often missing from 'noise tapes' these days. Remarkable for not only its fidelity but (even more so) for its absolutely even arrangements and mixing, slight reverb on the tonal background is not lost amidst the staggering, stammering pulsing in the foreground.
The first side features some vocals that, in their lack of emphasis, find an almost authoritative tone that matches the dark but commanding presence of the synth work.
I can't say enough good about this tape. I really hope it sees a vinyl re-issue.
Highly, highly recommended and of course there's no site listed and nothing I can find on the internet. Good hunting, if you can track it down, it's worth it.
CONTAINER "Container" c30 (I Just Live Here)
At INC this year I bumped into a favorite dude/band/label guy of mine Ren from God Willing / I Just Live Here and asked him how his trip had been so far to which he simply responded "just long drives jammin minimal techno." Then we talked a good bit about the virtues of the genre, I probably made a dick of myself and he probably finished his slice of pizza.
Well, lo and behold, a few months later I set up a show for him in western mass and he hands me a tape by Container and whispers 'it's my new minimal techno project.' Well, if he ain't a man of his word!
The tape starts with what sounds like a creeping synth but very quickly it's apparent the dude was not lying, rhythmic to the core, mostly low end stuttering with the necessary 303 tweaking flourishes and bubbling, burping and percolating weird worlds on top, building and deconstructing the whole way. Slight reverb on the hi hat, heavy envelope effects end up eating the thing alive. Side two is a lot more thumping and has a more thudding 4 on the floor feel with a bit more background "noise" you might expect of a beat tape coming from a noise dude, but i'll be shit on if Ren didn't just deliver two sides of minimal techno for you all!
Always recommended!
I Just Live Here site is giving me some internet grief, but maybe not for you:
http://www.ijustlivehere.net/
and ren's god willing myspace:
http://www.myspace.com/innercarpet
Well, lo and behold, a few months later I set up a show for him in western mass and he hands me a tape by Container and whispers 'it's my new minimal techno project.' Well, if he ain't a man of his word!
The tape starts with what sounds like a creeping synth but very quickly it's apparent the dude was not lying, rhythmic to the core, mostly low end stuttering with the necessary 303 tweaking flourishes and bubbling, burping and percolating weird worlds on top, building and deconstructing the whole way. Slight reverb on the hi hat, heavy envelope effects end up eating the thing alive. Side two is a lot more thumping and has a more thudding 4 on the floor feel with a bit more background "noise" you might expect of a beat tape coming from a noise dude, but i'll be shit on if Ren didn't just deliver two sides of minimal techno for you all!
Always recommended!
I Just Live Here site is giving me some internet grief, but maybe not for you:
http://www.ijustlivehere.net/
and ren's god willing myspace:
http://www.myspace.com/innercarpet
ISRAELI INTELLIGENCE: "Buffalo Hump, Moon Face, Thin Skin" C20 (Grimeology)
Crisp, clear harsh noise on a label that does great mastering to cassette. This is loud and bereft of so much hiss that would ruin the experience.
Aside from such cliched nonsense as "flesh peeled from bone by molten rusted metal" I can say this is well executed and dynamic. Israeli Intelligence wastes none of your time. The a-side is a deftly assembled collage of snippets of everything gross: overblown vomit growling, reverbed out tape scratching, feedback loops and metal abuse. Its all there. In spades. Love it. Everything last long enough to be savored, and cuts to the next serving before there's one iota of boredom sitting in. I wish my recordings came out this good. For real.
The b-side starts out similarily, but rolls along with a slower pace, more psychedelic a molten floe, not violent erruption .
I'm happily sitting in my kitchen flipping this cassette over and over whilst writing. After deluging myself with some downloads of the Japanese harsh masters this week, I'm still finding Buffalo Hump, Moon Face, Thin Skin exciting and inspiring.
Edition of 50
Grimeology.com
QUEEN VICTORIA: "Apocalyptic Field Recordings Vol. 1" C20 (They Live We Sleep)
Wes Anderson should ditch his hipster-defining retro fitted mix tape style soundtracks for this. Breezy, lite summertime music. Eerily nostalgic. 16mm film footage of a girl in a sundress dancing in a field. Like someone's first student film circa 1989. Naively arty, bereft of pretention.
The first side is more song-oriented, a blues riff quickly cut off is replaced by a toy melody Baroquely meandering around someone's reverbed out singing. That soon morphs into a pulsing rythmic electronic groove, which again, cuts deftly into a soft rock crooner by for the neo-hippy set.
The second side rules. Toy keyboards plink away in the foreground, while the other elements, drum machine and singing, are simmered down to a fine atmosphere through reverb, delay and the loss of tape-to-tape generations. Cherubic is a good word to use for Apocalyptic Field Recordings Vol. 1, but the image I used before, of a grainy film documenting lithe youthful innocence may yield a broader understanding of the total vibe presented here.
Theylivewesleep.sitesled.com
**vintage review** LADDERWOE: "Mourning The Late Jennifer" C30 (USAGOLDEXCHANGE, 2006)
Delirious, lo-fi, lilting gothic out-folk from some New Jerseans. I picked this up from a smelly guy on tour a while back and it's shifted from car tape drawer to bed room tape drawer to shoe box under a bureau and back. Housecleaning yields peculiar treasures.
Mourning... is best at being succinct. More than 30 minutes of this would be too much. But two 15 minute slabs of eerie feedback, acoustic guitars and harrowing howls are just right. This appealed well enough to me when I was entrenched in my Neo-Folk fandom, as it does now as I'm starting to finally develop a taste for what some of my friends and I simply refer to as "hippy-drone-noise." I guess that's what I'd file Ladderwoe under. It's too weird to be anything really close to "folk," but there's still too much song structure (especially on the other Ladderwoe recording I've got) to really let this be straight up noise. In my opinion anyway, and I'm the one writing, so, yeah, this is my god damned opinion!
On here there's enough scuzz and hiss to keep anyone's inner experimentalist happy. This could have been recorded room mic style with a couple guys cuing tape players as they moaned about The Late Jennifer and plucked away on a guitar and hit some things resembling percussion. There's even parts where I hear dinner ware clinking. This reeks of a humid coffee house show in late sumer. It's as cozy as it is unnerving.
On here there's enough scuzz and hiss to keep anyone's inner experimentalist happy. This could have been recorded room mic style with a couple guys cuing tape players as they moaned about The Late Jennifer and plucked away on a guitar and hit some things resembling percussion. There's even parts where I hear dinner ware clinking. This reeks of a humid coffee house show in late sumer. It's as cozy as it is unnerving.
TERRORS: “Inequipoise” c30 (Monorail Trespassing)
Don’t let the fact that this is on Jon Borges’ harsh/drone-notorious Monorail Trespassing label fool you, this thing is straight-up pop music. True, there’s a little bit of ambience on the edges of these songs but, for the most part, it’s pretty structured. I don’t actually know who the members of this band are, where they’re from, or anything like that. I can’t even tell with great certainty what instruments were played at specific parts, the production effects make guitars sound like pianos and vice versa, which I believe are the key mainstays (with a couple of additional string appearances). The style is slow and echoic, sparse instrumentation, but a dense sound, with so much reverb that the lyrics blend into one another and the music seems to hold on forever. The liner notes state that it was “recorded in a window” (assumedly the one on the cover), and it’s almost as if you can feel each chord drifting away, out into the night air. Maybe it’s better that the source remains a mystery for the time being, this might even be their first release for all I know. Hell, this could BE Borges’ work for all I know, but take what I don’t know and stuff it in a sack, this tape has a great sound and a lot of replay value, highly recommended.
Ltd. edition of 125
http://www.monorailtrespassing.com/
EARN: “Away” c20 (Ekhein)
Earn is the new(er) identity of Matt Sullivan, also known to many as the hyper-harsh Privy Seals, and it finds him casting a comparatively gentle spell on his six-string to ring loud and ring proud, with a couple of tape samples trailing to boot. After a brief introduction, he delves right into “Wax Man”, which almost reminds me of a crisper Skaters recording as he drums on the guitar, creating a back-beat for his fingers to skip around. This is quickly followed by “Running on Soft Feet”, a super glitter sound that will really lull you into your comfort zone and get your serotonin flowin’, perfect to relax to on a hot summer night. Side B has another quick introduction, then completes with the title track, which (I think) is a general display of his chops, definitely most closely resembles what I saw him do live. The whole thing is a real pleasure to listen to, calming, drifting echoes, but it really hits you differently at the end when it fades into a sort of television static with strange “Poltergeist”-like sounds over it, almost gives what you heard a bit of a twist, leaves a new, eerie disposition in your mouth. Was that a spoiler? My apologies. Anyway, great melodic ambience at a perfect length by a real sweet guy.
I only more recently heard about Sullivan’s Ekhein label, but he’s putting out some really killer stuff by himself and others and, although he doesn’t have a website, his wares are readily available online if you look around.
http://www.discogs.com/label/Ekhein
YEAST CURD: “Barefoot in the Dark” c47 (Excite Bike)
There’s a really surprising subtlety to this tape, a strange and almost hushed production quality that really sneaks up on the listener. Like the feeling you get after shaking hands with someone who has a cold, you walk around thinking “am I sick? I just sneezed, am I sick? Is my throat scratchy? I think my throat feels scratchy...”, and then you go to the movies with friends and halfway through you KNOW you’re sick. Maybe that’s too personal of an interpretation, but that’s the feeling that crept up on me...
Yeast Curd is another one of the endless number of music projects of Eric Frye, proprietor of Scumbag Relations. This one finds him squeaking, squealing, and sputtering sounds generated by what I can’t even imagine. The first side is more beat-based, loops that you can nod along to, while side two is more of the stuttering stereo sound, the radio station you just can’t seem to get to come in, slowly sliding into outer space echoes. A real solid formula from one of the lab’s weirdest (and hardest-working) scientists.
Edition of 70, sold out from the label, still available from all the regular distros.
http://www.scumbagrelations.net/yeastcurd.htm
Yeast Curd is another one of the endless number of music projects of Eric Frye, proprietor of Scumbag Relations. This one finds him squeaking, squealing, and sputtering sounds generated by what I can’t even imagine. The first side is more beat-based, loops that you can nod along to, while side two is more of the stuttering stereo sound, the radio station you just can’t seem to get to come in, slowly sliding into outer space echoes. A real solid formula from one of the lab’s weirdest (and hardest-working) scientists.
Edition of 70, sold out from the label, still available from all the regular distros.
http://www.scumbagrelations.net/yeastcurd.htm
CM "Erotocomatose Lucidity" c30 (Closet Sorcery)
Usually don't like to google people / bands before I review them, it can give people and unfair (dis)advantage depending on what the ol' net serves up and then sometimes it is actually helpful (thereafter i'd go back and adjust my review) this is a great example of both of those cases. I was into this tape and had a fair amount to write about it: it would have been something about mechanical pets- what pets / domesticated animals represent to people and how mechanical reproductions of those externalized needs have an extra eerie air to them because they represent a totally perverted projection of those desires; also something about machine animals purring and maybe hunting instincts...
All that feels a little funny now knowing this is the work of Todd Brooks from the Pendu organization, a group dedicated to all sorts of buccaneering projects including one of my faves, Artists with Cats: http://www.pendugallery.com/artistsandcats/. Reading his page I was also informed his source material are homemade/modified oscillators, synths etc. You see where this is all going? The man has a wholeness of purpose. His manifest interest in occultism, cats, automatons, etc has come to pass on this tape. The first note (yes, i take notes!) I took while listening to this tape was "Animal electronics, calm" and I mention it not to point out my perceptiveness but instead Todd's evocative abilities with his electronics, atmosphere and arrangements. The tape is a great merging of canopied high end swirling and low earthy grumblings changing speed and desity slightly.
One other point worth mentioning, I suppose, is the cover. True to his interest in eroticism CM explores a motif in noise tapes I'm not entirely convinced of- a naked woman emblazoned on the front of the tape. Though she has her face collaged with some form of esoterica to remove it from the 'extreme' nude images that usually grace the cover of harsh noise / power electronics tapes, it feels like a forced version of 'erotic' whereas the suggestive elements of the music had more of an effect of me than anything that brazen. A minor point, but it speaks to the power of the music over the somewhat crass imagery.
Not sure of the label or the edition as my internet fishing turned up an empty hook. Definitely recommend spending some time at the pendu organization website:
http://www.pendu.org
and check CM's (Chaos Majik) blog for more info on the music and to possibly get yr hands on this tape:
http://www.chaosmajik.blogspot.com/
Pick it up if you can.
CAVE BEARS: “Horribble and Useless” c31 (Yod Tapes)
The entity that is the Cave Bears has been around for quite a while now, with a constantly rotating cast and a discography just as equal in variety, ranging from slowed down drone to acoustic boogaloo. This is, by far, my favorite release of theirs to date, and probably the closest representation of their “typical” live show. I put that word in quotes because when you go to see them, you never really know what you’re going to get. I hesitate to use the word “destructive”, but I think I’m okay with the word “messy”. I’ve seen them do everything from smash lightbulbs, pour mud across the floor, wear costumes made out of (operating) electric fans and (full) watering cans, and even bang on buckets while suspended upside-down from a tree while another member threw fireworks. So yeah, they’re a little all over the place, but they also have a general set-up of guitars and drums that they use more regularly, so even when it does lean towards being improvisational, you can usually tell it’s them.There’s actually a surprising amount of differentiating composition on this tape, but it’s entirely cohesive. Cut-ups and samples flow freely and intermingle with original work very suitingly, foreign musicals laced through shrieking howls, guitar warbles, and a variety of squawking brass and harmonica. All of this is even edited at times, chopped & screwed on analog reels, still not upsetting the rhythm. There’s a large section of instrumentation that gets a little too calamitous for a little too long on side two, but that’s barely a beef, like a nuttier No-Neck Blues Band (bear in mind, I’m also notorious for preferring everything ultra-short). A solid starter for anyone looking to get into this band, or to prep them for their upcoming split LP with ID M Theft Able (who we all obviously can’t get enough of around here).
http://cavebears.suchfun.net/
ID M THEFTABLE "id m + jay z" (mangdisc)
I was told when given this that a friend of id m's was sicklyillin and wanted there to be an id m theft able & jay-z concert. It unfortunately could not be arranged so mr. id m provided the next best thing - set up some studio time with jay and made a tape.
best rapper alive, what's up, I told you. turn the music up. woo.
I'm in my zone.
a good 45 minutes (plus) straight of
tiny cuts of jay-z acapella spliced together into quick sputtering rhythms, layered with shout-outs chopped short. everything stuttering and skipping in avalanche form, a few pebbles start it off and then it quickly gathers more, collecting all of jay's syllables and turning them into a crushing rumbling. unrelenting. like Steve Reich's Come Out, after a bit, the words that are recognizable lose their meaning and become pure sound - parts of the rhythm. and/but also, like David Mahler's Hearing Voices , the tiny chopped speech lets us hear every part of a single sound, minuscule moments, isolated, and dissected to their basic parts.
It is also impossible for me to not mention Wobbly's Wild Why , which this tape is most akin to. (This is not a bad thing! I listened to that album with reckless abandon for a good month... mind blowing, if you haven't heard it - please, find a copy right away!) though while Wobbly is throwing fire crackers at your feet from his BMX, id m is in the woods, melting mirrors with a flamethrower.
entrancing and completely consuming.
http://kraag.org/
http://kraag.org/mangdisc/
(and now that I am done writing this very first review of mine, upon putting in the links above, it seems like maybe this isn't an available release! well, keep an eye out all the same...)
TRAVELS "Dripping Down The Walls" c20 (905 Tapes)
For a period of time in my life I was uncharacteristically drawn towards the mythology of warfare and the military. I know for some people the 'dark' side of humanity 'rules' and the order and discipline of enlisted life meshes perfectly with their choices but for me it always had an air of the unreal, something not of this world that didn't mesh with any of my logical choices and as a result I couldn't get enough.
Many of the most famous war movies are also my favorites, Deer Hunter shares the upward realms along with Apocalypse Now, Thin Red Line and Full Metal Jacket among a host of others not necessary to list in order to understand this tape. Of those movies Apocalypse & Thin Red Line each share a certain quiet element to them that is in complete contrast to that which is actually being experienced; how in the world can chaos be so placid? How do you distinguish between detachment and focus?
The scene comes to mind wherein Martin Sheen arrives at the bridge under bombardment, with fireworks and gunfire meshing perfectly the question he keeps asking is "who is your C.O?...Who is in charge? Who is the commanding officer?" To which he gets an "I thought you were" for an answer. This loss of / gaining of control lends itself perfectly to the aforementioned disassociation. At what point are we listening for a lead and do we expect, from the chaos, there to be a distinct (in the case of this tape sonorous) intent. 'Dripping down the walls' imposes one side of aftershock inducing chaos and a second side that relents just enough to expose a skeleton of what's attacking you but never enough to suggest yr going to be able to tell the fireworks from the gunfire.
Full color cover of melting dude (though in a domestic setting) works perfectly with the analogy. Edition of 33, still in print:
http://www.905tapes.com
BIG KIDS/PHASED OUT: “Friends Don’t Die” split c20
To continue with the news from Vermont, although Brattleboro’s Tinderbox, an amazing, central studio and performance space, has sadly closed for good, leaving the city nearly barren of interesting live music, it turns out things are still bubbling behind closed doors. What I’m trying to say is, this tape totally rules, I love it. If there were a best of 2009 list for me to contribute to, this would definitely be on it. Two quartets, fucked as punks, indecipherable lyrics, blowing out doors, and just generally being loud, fast, and full of audio clips from movies about skateboarding.Big Kids have a pretty crisp sound, evenly recorded with killer screeching vocals, while Phased Out went more with the dogshit style of recording that I have a very tender place in my heart for, the way super loud instruments sound to a portable tape recorder placed in the middle of the room. Kind of surprising considering they’ve got some pretty complicated instrumentation executed by simultaneous members of bands like Witch and King Tuff. Nevertheless, it’s duly appreciated.
Xeroxed inserts, edition of 200. Only available by mailorder, and almost out of stock!
http://www.myspace.com/phasedoutloccosonly
http://www.myspace.com/bigkidzz
NERVE CITY: “HELL” c17 (Amateur Depression)
I gotta admit, I was kind of disappointed when I actually looked this up online and realized that the BAND is called Nerve City and the TAPE is called “Hell”, because at first I was like “Damn, this dude has serious balls! How audacious is that to call your band ‘Hell’?” With that misconception in mind, I didn’t know what to expect, but this is a really great, albeit brief, listen. Somewhere between the lonesome drifting of Mammal and the jangly semi-surf pop that’s currently taking New York by storm (i.e. Crystal Stilts, Blank Dogs, etc.) lies Nerve City, where a distant voice from a swinging telephone sings to you from the end of a tunnel over steady gusts of guitar and the occasional drum or organ. With three songs per side, this Richmond, Virginia loner vibe merchant Jason Boyer (who also indentifies himself with the omega symbol, sort of like Prince and his funky ankh) drifts by quickly enough to knock your hat off, but slowly enough to get a good whiff of what’s in the air.Spraypainted, orange-foil tapes with xeroxed inserts.
http://www.myspace.com/nervecity
http://www.myspace.com/amateurdepression
TATERBUG: “Boys of the Feather” c20 (Night People)
The directions that come with this tape instruct the listener to “play loud on weed”. I didn’t actually do either of those things, I just sort of laid on my bed and stared at branches out the window, reels spinning at normal volume, which worked out fine all the same. What first attracted me to this was Shawn Reed’s killer jack-o-skeleton cover art, but on “Boys of the Feather”, Iowa City’s most prominent resident dead head, the Taterbug, creepy crawls his way over a handful of songs of light chimes, Jefferson Airplane tape vacations, and Daniel Johnston-esque balladry. I make the comparison due to it sounding as if it was recorded directly to an old boombox just like Johnston’s early recordings, and when the Taterbug decides to sing, he wails just the same way, especially on the title track as he plucks away at what sounds like a one-string guitar. I’m pretty sure he even sits down at a chord organ at one point. Now, I’m not trying to make a DIRECT comparison between the two here, I know it sounds like I am, but I’m not, I swear (tugs collar). Although the execution is relatable, this really is in a world of it’s own, a world of sunny fields and floppy felt hats, unshaven armpits and really nice dogs. You guessed it, it’s a hippy dream, the kind of psychedelic that just trips out naturally without a million effects pedals and an 18-ft. high TV screen. I want to hug this guy, I want to hang out with this guy. Simplistic songs, bedroom brilliance at it’s best, and a great way to get ready for summer. Also, look out for his upcoming work with Ryan Garbes in the garage-pop band, Dunebuggy.
Comes with silkscreen J-card and xeroxed inserts in an edition of 100.
http://www.raccoo-oo-oon.org/np/
http://www.myspace.com/stayfarout
DANIEL HIGGS: “Devotional Songs of Daniel Higgs” c90 (Open Mouth)
Listening to this made me realize that every time a current folk singer’s songs are described as hymns, that it’s incredibly unfounded. On “Devotional Songs”, Daniel Higgs actually has a song that repeats the word “amen” with the same structure as any you might hear in church. There are really a lot of lyrical concepts covered here, including things like outer space, the universe, and religion, all of which are incredibly deep, none of which I understand, so I won’t attempt to write about them. This isn’t an unappreciated confusion though, it piques the curiosity and creates the desire to interpret, at least for one’s self.
Higgs primarily uses banjo and guitar (and organ on one occasion) and, this is going to sound cliche, I know, but his ululating voice really does act as it’s own instrument, running a gamut of ranges that would never make sense on paper over his lightning fast finger-picking. Incredibly long (well over an hour), and modestly recorded, at one point even talking to the listener as he pauses to open a window, this is basically a wet dream for the Harry Smith of the future. I was never really interested in his previous band, Lungfish, but after hearing this, I think it’s time to visit the back catalog of this modern-day mystic.
Comes with color labels and insert.
http://www.openmouthtapes.com/
GULLWING: s/t c20 (Basement Tapes)
I want to start this by writing about the packaging for this tape. It’s kind of a bummer. It doesn’t stack, it doesn’t shelve, and no one I know has the kind of table space to set aside for items like this. I like handmade stuff as much as the next person, and I appreciate the effort put into this, but not only does it not close, but the tape doesn’t even fit into it properly, hence the copious amounts of string and glue. There’s creative, and then there’s unreasonable.
That being said, the actual music within is a whole different matter. Baltimore’s Bryan Rhodes, half of the Cutest Puppy in the World, creates a very strange listen that I’m not positive about on execution, whether it’s all original work or edited from other sources or both, which I guess is the point as it’s described as “musique concréte”, layering thick clouds of electroacoustic sound. Side A is heavy on the strings and, unable to separate the band name and the music, I couldn’t shake the image of a seagull fighting to maintain stable flight in a coastal wind storm, the same kind of din made by the crashing waves in “Fantasia”. The sound stays pretty consistent throughout, whereas side B is a smooth, gradual change of jazz forms starting with more eclectic, improvisational works and then slowly sliding into an “adult contemporary”, NPR-safe style, while a foundation of upright bass laces it all together. Worth checking out if you already have a series of gallery pedestals or a curio cabinet to keep your folk art in.
http://www.myspace.com/gullwingdoors
http://www.myspace.com/boilerroomemissions
GRASSHOPPER "Kindertotenlieder" c22 (Baked Tapes)
I don't know if you call it serendipity or 'the noise scene being tiny' but just saw these guys played live out here in western mass and really enjoyed it, got a few tapes from Jesse who runs Baked Tapes outta new york and when I got home I said "should listen to some cassette gods jams" and sure enough, top of the damn pile, there's a tape by these guys. Jammed the tape and, though different from their live set, still really enjoyed it.
Grasshopper is a duo both using trumpet and electronics and though brass / wind instruments have been establishing some pretty solid footing in the 'noise' scene the last few years, these guys approach it less from the lineage of free jazz. Well, that's probably not fair at all but they apply a lot less skronk to their palate amd in some parts there are even suggestions of melody or at least the phrasing is consistent enough that you know there's a rhyme to their crime and for me it was a great combination. The timbre of a couple of fucked up inharmonious horns mixed with the 'warmth' of their electronics (which it seemed was often sourced from their horns) was a solid match.
I'm sort of writing interchangeably about their live show and tape because the cumulative effect was similar though it's worth mentioning that the tape is a bit more subdued and the listening is a little more long form. Good stuff both on magnetic tape and in yr face, check em out if possible.
Real nice 'metal' artwork and lettering printed black on vellum.
Not up on the Baked Tapes site yet, but check back or just write to him!
http://www.thebakeryfloor.com/bt/
and their myspace for some sound clips, etc.
www.myspace.com/karlmalonelarrybird
REVERSE MOUTH "Wizard of porks / Garbage Empress" c24 (Deep Fried Tapes)
Remember in thriller when Vincent Price says "Darkness rolls across the land" and the music has been mixed down a bit and tightened up with the bass line carrying the song? He goes on and on about the bugs and dying and everything and it's awesome because it's Vincent Price and Thriller is like the most popular record ever and Michael Jackson is spooning a fuggin TIGER on the cover. Well, what would have ruled more is if Vincent Price said all that stuff and then the music faded away and this tape came on, full focus, right up the noise nose into the listener's mind space and maybe Reverse Mouth could have just illustrated what vincent was saying, people decaying, worms crawling in my eyeballs and all the while this totally tense and not-necessarily jarring, but really really uneasy music just carried the listener back to the zombie dance. That shit woulda been extra scary, and it woulda been dope to be in Reverse Mouth because you could be like "i made the music to the breakdown in thriller, yeah, you know, the really intense and scary part." Also, it'd be dope to be in Reverse Mouth because you'd be in a good band.
Printed in an edition of 50, still available from the label,
which it's worth noting, has a TON of great stuff out.
http://www.deepfriedtapes.org/
THE JAGUAR "Primal Dimension" c30? (Sky Fi Industries)
First off, I have to say that a name like "The Jaguar" for a band is bordering on daring. You remember the trend among avant-indie groups a while back to drop "the" from their animal band name specifically because it got ANNOYING and a million people were doing it, not necessarily because the bands were awesome. That's one reason you notice the conspicuous "The" at the beginning. The article is also significant because it suggest that this dude is THE singular, all powerful, not to be reckoned with Jaguar, unlike any other non-descript jungle animal. This dude is a definite article!
Anyway, this tape is a good listen, though it doesn't stand out like Clint Eastwood does if here were named something like "The Jag." Allusions to Eastwood are probably misleading anyways considering this tape has a definite 'sci-fi' vibe to it. You can totally picture the b-movie 'control panel' flashing and some dude in a spray painted jump suit forcing a frightened "i can't control her!" out. Though not to relegate this tape to the bloopy, semi-synth space station- there's a lot more going on.
The first side has some nice gargled voice moments and a real nice horn section / electronics on opium vibe wraps it up; also notable is what sounds like electronics if you could play them with a bottleneck slide. The second side is a lot thicker and artery clogged, sounds not so much like burning yr bridges as it does letting off a smoke bomb at the baby shower.
Black and white covers on yellow paper, yellow transparent tapes.
Edition of 125, still available from the label:
http://www.skyfi-industries.com/
THE DEAD BARON: “The Great Tape Escape” c20 (Wheaton Records)
The familial bass & drum duo of Stevo and Marcus Lazcano riff out on this single song per side display of headbangerage. And when I say riff, I mean RIFF. These guys entrench themselves into a groove and they stick to it. I’m not exactly saying that it’s a good thing, to be honest, the songs don’t really seem to go anywhere. The assumed vocals are nearly inaudible and the the drums tend to overpower the entire recording. Also, it’s actually only about 16 minutes long, with about four minutes of silence after the first track, and with titles like “Art is Dead” and “Noise on the March”, it tends to give off a sneaking dispostion of being sort of uninspired. I’m not saying that all of these are shortcomings either, I can see this being a really great live show, harkening to the bump’n’thud of something like Olneyville Sound System. I’m uncertain, but I also think this is their first formal release, so although it leaves a little to be desired, they still have plenty of time to develop their sound. We’re already tapping our feet, that’s gotta be half the battle.
Comes with B&W xerox insert, limited edition of 50 copies.
http://wheatonrecords.com/
SHEP & ME/CAETHUA: s/t split
I don’t actually know who put this out, how long it is, or anything like that. Dan Beckman handed it to me and there’s no indentifying marks except for who is on it and on which side, that’s it. Nonetheless, I’m going to try and write about it as cohesively as possible. Both of these artists currently hail from Belfast, Maine and although they both can be described as “experimental folk” (for the sake of putting names on things), there’s definitely enough of a contrast between the two, with Shep’s caterwaul opposite Caethua’s ambience, to make for an interesting listen.Shep and Me is the identity of Matthew Himes and friends, howling balladry over low-volume, fuzzed-out guitars, dogs barking, and electronics rattling. Himes’ voice is gruff yet high-pitched, warm and inviting, like a campfire, you want to be near it, but certainly not in it. This is full-on campfire music, sitting on picnic tables underneath the canopy on a scout trip.
Caethua is Clare Hubbard, who can also be seen in the improv noise band D.B.H. and her own totally fucked rap act, Sports. Although she shows her incredible singer/songwriter chops on both piano and acoustic guitar in this format, she doesn’t leave the noise behind, connecting all of her songs into one long track with garbled organics of birds singing and water boiling (at least that’s what it sounds like).
Comes with a one-color silkscreen insert. I don’t know where you can find it, but I think this might actually be a preview of songs to be put on an LP or something in the future. That’s totally unfounded, but keep your ear to the ground because it’s worth hunting for.
This has in fact been released on LP here in the future world of 2011. check out Himes' label, Lighten Up Sounds - Ed.
http://www.saxwand.com/
http://www.myspace.com/shepandme
http://www.saxwand.com/
http://www.myspace.com/shepandme
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