Creationists
Holy Wisdom [LP; Super Secret]

How many bands these days are truly influenced by Fugazi and possibly Hot Water Music? Not many that come across my desk, so Creationists have that going for them out of the gate, though they hew closer to pure punk than either and flirt with trumpet more than you’d expect. Holy Wisdom is full of uptempo rock with a production haze like early morning fog. The high-register, chiming guitars, when allowed to roam, might be their best asset, but they’re a well-rounded crew of noisemakers, and with the many options available today it all comes down to preference; in fact, at this point you already know if this is your bag or not, so why do I bother to go on? I say give Creationists a chance, particularly if they hit up your town, as the rumbles of Holy Wisdom seem ideally suited to a live situation. Plus they really stretch out on Side B with some Cramps mannerisms and more of those guitar assaults. Pressing of 300 that just won’t quit.

Links: Super Secret

The Bloody Mess

Early Period

[CS; Self-Released]

The cross-contamination of Apache Dropout, Thee Open Sex and now the duo known as The Bloody Mess (appropriately named for members Sonny Bloody and Rachel Weidner aka Miss Mess) does little to quell antiquated coastal beliefs that the Midwest is the breeding ground of incest. In this case we’ll look the other way, not because the bands in question are family by blood–though they may argue otherwise–but because Sonny and the Miss don’t fall on typical duo tropes. Flashes of [REMOVED BECAUSE DON’T EVEN THINK OF THEM] will destroy your interpretation of Early Period. This is raucous, unclean and without gimmick. Miss Mess can actually play AND sing and Sonny’s penchant for hot rod rhythms and cutting to the chase is charming on its own merit. Early Period saves its best moments for the unexpected: the cute howls of “Two Ghosts,” the psychedelic take down of “Bloody Fingers,” the explicit impudence of “Squirt Gun.” The twosome save the best for last, “Balloon Song” the past tense of pop once reserved for Richard Swift (and still under-represented) now the plaything of Indiana’s up and comers–a subset these two are well anchored in. As the tape fades with Miss Mess’ authentic giggles, it’s only then you realize the good times are just starting. Follow the subliminal packaging’s message, open a can, and do it again!

Links: The Bloody Mess

La Luz

Call Me in the Day / Easy Baby

[7-inch; Water Wing]

Man, it would really suck to run a label, have an artist slap down a few tunes like “Call Me in the Day” and “Easy Baby,” and have to decide between paying rent and putting out a 7-inch on 45RPMs. I say this because, personally, I’d have to let the landlord sit tight for another month. La Luz demand to be propagated on the strength of “Easy Baby” alone. This is what The Concretes were doing before that chick left and sang on that whistling song. This is what Phil Spector did with the Teddy Bears 50 years or so before he became an afro’d murderer. This is pure, post-Leslie Gore rock ‘n’ roll glory, pressed to wax in hopes a few dance hall operators might take notice. I fucking hope they do. “Call Me in the Day,” a pleasant enough track, is so much like Fresh & Onlys’ “I’m a Thief” I’ll need clearance before I can even go beyond mentioning it. La Luzzzzzzz…

Links: La Luz - Water Wing

BeNe GeSSeRiT

MuLTiLiNGuaL SaD SoNGS, WeiRD JoKeS aND eXPeRiMeNTaL STuFF FoR uSe By GRoWN-uP CHiLDReN

[LP; Feeding Tube]

On the Discogs page for this release: “Disapproved edition by the artists because of the bad pressing. They want the full edition to be destroyed and repressed.”

So… I must respectfully disagree with this summation, if it is indeed genuine (which I doubt). I keep close tabs on the Feeding Tube label, and this darling, limited-to-300 LP might be my favorite release of theirs yet. BeNe GeSSeRiT (or Bene Gesserit; either way you’re not going to pronounce it right anyway), active on the underground tape scenes of Germany and France in the early 1980s, have popped up anew like fresh mushies, with an LP on Ultramarine last year and now this wizardly spiral of wax. And let me tell you: No one outside of possibly Ten In The Swear Jar can get more mileage out of accordion drones. But there’s so much more: This is noise art of the highest order, dealing in surreal, half-clucked vocal overtures, synth patches that multiply like cockroaches in the South, skips and hiccups, pitch-mangled asides, operatic exclamations of weirdness, and so much more I wish you would just listen to this fucking thing so I can SHUT THE FUH CUP already. Like an electric ball of energy; Jeff Keen, Spires In The Sunset Rise, a homeless, snarling version of Coco Rosie, Mama Baer, the aforementioned Ultramarine crowd; what’s not to like? Pressed on especially heavy, sleek vinyl.

Links: BeNe GeSSeRiT - Feeding Tube

Grapefruit

Blurred Tunnels

[CS; Golden Cloud Tapes]

Since the music on it is so full of precise, staccato notes, all of it built with such a lucidity, it’s hard to reconcile this tape’s title “Blurred Tunnels” with what I’m hearing – nay – experiencing. The “tunnels” part I get, the Portland-based synth-scaper an architect of a long and winding celestial conduit, complete with little flashing lights whizzing by your eardrums. The sheer pacing of the notes, those rapid-firing arpeggios and octave-oscillations is enough to define the walls and their elegant curvatures. But this stuff is far from blurry, at least on the surface. Dig your way past the blinks of tone, let the resulting swathe envelope your mind, and dream-like qualities do make their way into your world. Still, those conjured images come with a certain vitality and vibrant clarity that’s tough to ignore. Grapefruit doubles-down on the effort here by veering into some sweet ballad-esque material in addition to the quicker-paced stuff described in my previous sentences, giving his sound (which was well introduced on a brilliant debut tape via Field Hymns sometime last year) a whole new space to roam around in. Some of the pieces end too abruptly, though, as if a blood cell is getting caught in a clot after speeding its way through an otherwise totally open vain. Those moments aren’t nearly enough to detract from the undeniable greatness that is Grapefruit, though, but it is evidence that this guy has yet to create something that resembles a defining statement. That must be just around the corner, but in the meantime, Blurred Tunnels gets whatever job I needed doing in the retro-futuristic synth realm (occupied by others like Event Cloak, Belarisk, Brain Fruit, Ou Où, et. al.) done nicely.

Links: Grapefruit - Golden Cloud Tapes

Food Pyramid

Creation Beat

[12-inch; These Are Not Records]

I remember checking in on these guys via their cassette on Moon Glyph and getting more of a Stereolab vibe; hey, maybe Creation Beat is the Emperor Tomato Ketchup phase. Or something like that. Quite a modern mish-mash, to be sure. Those with the glow sticks and old rave memorabilia will want to thrust their hips into the title track. “Cross Hatch” has that nervous EDM tension, flecked with post-disco and a busy, dance-y version of a motorik beat. If you’re looking to fuck shit up on the glossy floor, visit “Hatch.” If you’re searching for something a little more down to earth, peep the Corey Haim synths and soothing sound-mist spray of “My House,” though it’s arguable whether the vocals add anything to what is an intriguing composition in its own right. Edition of 300, ready to meet its maker.

Links: These Are Not Records

Cody Yantis

Starvation Winter

[CS; Sunshine Ltd.]

A very real discussion is taking place. One must face the truth: our guitars heroes will not live forever in the flesh. Though their message will carry on in medium, it will cease to grow and mature by decay. Who will take the mantle when they part our green Earth? I doubt Cody Yantis raises his hands for he is humble–a string of steadily improving and empowering work proves as much–but it seems he too has contemplated such sad fates. Starvation Winter bristles with solitary thoughts, sparse in its arrangements but powerful in its testaments. The oddly numbered tracks (“Seven” is track one, “Three” is track four and so on) proclaim Yantis’ isolated attempts at capturing a mood or thought, leaving it vaguely named, and giving it onto the collective community for further examination. In other words, doing what a new guitar hero should be doing. Playing tricks by playing no tricks at all but those we make up as the audience. For we too find ourselves alone; in our cars, our homes, our mind, to contemplate the worst and hope for the best. Here we have both, but only 50 copies’ worth of sanctity and uplifting are offered to the worthy.

Links: Cody Yantis - Sunshine Ltd.

Better Psychics

What is Rule

[CS; OSR Tapes]

If Blanche Blanche Blanche are the Devo of this generation, Better Psychics are the Lemon Kittens of today, engaging in an engrossing sound spectacle that seems to have no conscience, much less rhyme or reason. What is Rule, like anything Zach Phillips touches, could have come from no other source. It’s got the most mischievous attitude imaginable, pulling changes and moves designed to infuriate and intrigue in equal measure. I, of course, find it to be more of the latter. There’s no precedent for this that I can hear; it’s all joyous brushstrokes and playful patter, mostly guitars and some keys dipped in Drano. It’s dangerous to start getting into Animal Collective comparisons, yet that’s just what I’m compelled to do, as Better Psychics possess that same sense of utter freedom. “We can do it before / we can do it again” … well, yeah, but that’s the exact opposite of what I’ve come to expect from this camp. Never a repeat, cult-classic-never-best-seller, bitches.

Links: OSR Tapes

Ron Berry

Where Dark Forces Meet

[CS; Sanity Muffin]

Ron Berry spent a good chunk of the 80s designing and building analogue synths, drum machines and speakers in the UK, and as luck would have it he was also spending a good chunk of that chunk composing music on said equipment and recording it. So here we have the first of his first two albums, which were both recently reissued by Oakland’s Sanity Muffin imprint, and it’s a real retro-lectric odyssey. With the sheer volume of great komische/kraut minimal synth music happening in Germany (see: Tangerine Dream, Kraftwerk, et. al.) and Italy too, really (Moroder), it’s a bit of a surprise to hear this coming out of Manchester, relatively around the same time period, and also sounding so well executed. Berry’s music slides gracefully through a number of moods and styles, from smooth ambient soundscapes to prickly psuedo-noise tracks and then a couple of up-tempo rollicks that give a pretty strong Atari and NES video game soundtracks nostalgia vibe. Throughout, there’s a multitude of textures that, though related to one another as pitches on a scale, give each track a nice depth with layers allowing for music that might be stereotyped as planar a three-dimensional architecture. It’s a silicon landscape you’re free to roam, walk around in, take a nap or just stare up into twinkling abyss of ones and zeros.

Links: Ron Berry - Sanity Muffin

Tashi Dorji

Tashi Dorji

[CS; Headway]

Guitar skill is tough to judge. Some covet Eddie Van Halen, others Sandy Bull, most droll work from The Edge or those guys in all the bands that sound happily alike. Tashi Dorji wants it all and none of it. His self-titled cassette is a menagerie of different guitar explorations: broken fragments of bored plucks; sporadic noodling across the fret board; patient smacks of steel. All of it very good and worth many listens, to pick and choose with section of which song is worth memorizing. And you’ll want the ability to recall these melodies through the day in an effort to replace the dull sounds of our boxed-in world. Noises to make elevator dings more delightful, door bells more tolerable, and life a bit brighter. A nice tide to wash away the cynicism and crud.

Links: Headway

News

  • Recent
  • Popular

In this ever-expanding musical world, there's a wealth of 7-inches, cassettes, CD-Rs, and objet d'art being released that, due to their limited quantities and adventurous sonics, go unnoticed by the public at large. Cerberus seeks to document the aesthetic of these home recorders and backyard labels. Email us here.