No UFO’s
Mind Controls the Flood [12-inch; Public Information]

It’s always a blessing and a curse when discovering a new sound or artist. The impulse in many of us — collectors or casual listeners — to snatch up the music in its original form becomes so incredibly strong that we are willing to overpay for what we do find. But the music, it speaks to us, and to not have it seems too selfless. Welcome to my conundrum with No UFO’s. Konrad Jandavs’ cut-up Kraut is the sort of delirious deluge that my ears welcome, and likely yours do as well. As busy as Mind Controls the Flood may seem upon initial dissection, nothing could be further from the truth: the album begins with the busy “Flood III,” but it quickly settles down and becomes a focused yet intriguing listen, each tracks growing more hypnotic, more singular with successive listens. Indeed, Jandavs is more composer than one realizes, carefully curating the sounds that comprise his cut-up aesthetic. His pastiche fits together like jigsaw pieces, no hammering required. This spells disaster for one’s bank account, but delight for one’s record stack.

Links: Public Information

Plates Of Cake

“As If the Choice Were Mine” b/w “Transit Trials”

[7-inch; All Hands Electric]

SHIT. Easiest review ever: Plates Of Cake have adorned my table ever since they were spliced together from chunks of old doo-wop classics, Leonard Cohen programs, stained diner menus, post-punk lore, Jonathan Richman’s surrealist slant, and, aww hell, involuntary facial hair. “As If the Choice Were Mine” brings a second vocalist into the mix, a surprise move considering the last record (which I loved maybe a bit too much) was all about lead singer/songwriter Jonathan Byerley. It’s never easy to get used to change when you liked what you started with, so there’s that. Still a nice cut. “Transit Trials,” like seemingly 75% of flips, is even better than the A. Catchier melody, better bridge, ringing riffs — music for winners and losers and those who love and hate them. I hate to rush you guys, but… I want more.

Links: All Hands Electric

Hobo Cubes / J. Hanson

The Self Beyond/Vac Siddha

[CS; Digitalis]

Francesco De Gallo and Josh Hanson together on the same tape — this must be heaven, the one sung about by David Byrne, not the cloudy, spiritual mess praised on a pulpit by bullies and haters. Wait, this isn’t heaven; this is beyond heaven. Not even [insert your spiritual advisor] could commission something this transcendentally great. It must be sent from the cosmos, but little green men would want to anally probe me in exchange for this sort of enlightenment, and my ass ain’t sore. Turns out, it’s from Digitalis — that wellspring in the middle of nothingness that somehow always manages somethingness. Now it all makes sense. As you can clearly fathom by text and title, De Gallo — as Hobo Cubes — takes over the A-side as Hanson is left with the whole of the B-side. Yet the two don’t duel, they combine. Two distinct styles and personalities blend into one harmonious split, therefore eradicating the divide and combining into one: J. Hobo. De Gallo’s work has always maintained a sort of Carl Sagan cosmic glow, and though it’s present, it also eschews it with opener “Exploring Science,” a more meditative and traditional ambient affair. Hanson’s vision is more Kurbrick than Sagan, but the darker tones do lighten up, expanding into the great abyss of the Big Bang; “Ecstasy and Rebellion,” the frantic movement of atoms before exploding into new constellations and gases. Put this on an infinite loop and never let it stop — it is the sound of the heavens, the stars, the beyond. The Hal-Bop has arrived!

Links: Digitalis

Melted Glass

Flourescent Swamp

[CS; Cubic Pyramid]

Straight up: I love everything about Melted Glass’ Flourescent Swamp cassette, from the visual execution right down to the next-level, noise-making-wolfman style of the music. Give it up, homies! This is the type of tape-gunk, junk-trading sprawl that takes a metric ton of trust to swallow whole, and as it turns out, I’d honor their oath till the end. Groups/artists like Babe Terror, Lead Sister ii, Jazzkammer, Buon Giorno Luamada, Eric Copeland, Dead Texan, Nurse With Wound, and many more have a new playmate. Just don’t get too close, as the buzzards swarming ‘round Side B will tax that ass. Drones like this beg the question, Why do we even care about drums? Let’s just hold hands, follow the drip-drips, and drift into the misty foregrounds of heaven.

Links: Cubic Pyramid

Quicksails

A Fantasy In Seasons

[CS; NNA Tapes]

I shared this cassette with my favorite coworker, and she said it reminded her of background music to a glitch-fucked poetry slam competition. My brow was raised by the amount of hand drumming I heard over the synthetic wash-out echoed throughout A Fantasy In Seasons. And what made it exciting for me was the unique structural changes within songs, shifting between mystery and awe, wonder and sensibility, human and human-made. Or, it’s like the feeling after fucking for a while and then changing positions to confuse your parts. And it’s not a sneaking shift either, but more along the lines of a conversation you’ve been involved in for the last 15 minutes, only now you’re listening in. Maybe it’s better compared to watching a creepy movie on a sleepless Saturday night, but come Sunday, you think, “Fuck terror, I need my sleep.” Err — something like that. It ain’t chilly to be willy, but A Fantasy In Seasons certainly falls under the will of chill.

Links: NNA Tapes

Craig Colorusso

Sun Boxes at Martha’s Vineyard

[Object d'art]

“Harnessing the power of the sun” is usually a cheap writer trick to describe some off-the-wall brand of psychedelia when words about bongs and weed fail to produce the correct imagery. But in the case of Craig Colorusso’s mammoth art installation, it’s the most apt description this side of a bad Sunny D commercial. The installation’s 20 solar-powered speakers are an act of artistic attrition, gamely gawkers becoming part of the experiment as they please. Colorusso’s venture into Martha’s Vineyard with his hefty prizes seems an odd fit, but the results proved lovely, the notes fading in and out at syncopated intervals as the ocean waves and peninsular breezes provide atmospheric accompaniment to the Sun Boxes’ singularity, mimicking a high-tech wind chime buzzing with the timidity of nostalgia.

Links: Craig Colorusso

Mothers of Gut

The Inanimate Sermon

[CS; Family Time]

Ooh, indie-rock, eh? Well played, both literally and figuratively. Right when I pop it in the deck, The Inanimate Sermon rocks like that first Food Pyramid tape on Moon Glyph and rolls like Stereolab going downhill in a steroid rush, a crowded-yet-spare mix of guitar pitter-patterns and Harmonia rhythms. It would make my job easier if the motif stayed the same and sorta floated into hyperspace, but the motorik mood is dispelled almost immediately by a squishy ballad, one part “Sphagnum Esplanade,” one part Mystic Chords Of Memory, one part new-age — we’re talkin’ fucking pan flutes here — lazerquest, and all giggity-giggity goodness. The hippy strums continue on the flip. Words are almost a waste when music clicks this naturally; get this thing.

Links: Family Time

These Feathers Have Plumes

All Cats are Grey by Night

[CS; cae-sur-a]

Subtlety is a lost art. So is patience. Andie Brown displays both within All Cats are Grey by Night. Much like the stealthy street cat, Brown creeps up slowly on melody, leaving the carcass untouched by the time his mighty incisors have sunken deep into the avian victim. This is drone from another era, so gentle and disarming yet so vicious and efficient. There is no need for flash; Brown is confident that the work shall speak for itself, that silence is just as effective an instrument as any man-made device. Ideas are allowed to float, the silence not uncomfortable at all. A combination of double bass, field recordings, and the air in the room is all that is needed for communication. We’ve allowed ourselves to be tied to the matrix. Buzzing, bright gadgets with mumbled names compete for our attention, distracting us from the natural world and its gifts. Brown harnesses it with simplicity and grace, even if just for a few fleeting moments.

Links: cae-sur-a

Marcello Magliocchi

Music For Sounding Sculptures In Twenty-Three Movements

[CS; Ultramarine]

I’m not normally one for the science-experiment, lock-me-in-a-room-with-different-noise-instruments-and-I’ll-whip-together-an-album kinda feel. If you truly rip your guts out, however, I can be persuaded to listen. Marcello Magliocchi is a hard-working cat, when it comes right down to it. Far from taking — or should I say, taping — the easy road, Mags scrapes together nearly 60 minutes of improvisations, running the gam(elan)ut from sheet-metal sparklers to… actually, it’s pretty much all metal-related, as Music For Sounding Sculptures in Twenty-Three Movements consists strictly of Maggliocchi manipulating sound sculptures by Andrea Dami (with strings, stones, and gongs mixed in). Again, not my cup of pee-pee, but the man has done his chromework. Truly a savory value, at the paltry price of popping a tape.

Links: Ultramarine

Wume

Distance

[CS; Catholic Tapes]

Forgive me, for I have sinned. It’s been many-a-Cerberus since Catholic Tapes has graced our pages — and how much penance must I pay for making an obviously bad joke? If the punishment is to listen to Wume’s Distance for eternity, I shall most graciously accept it. From the minds of Albert Schatz (Bird Names) and April Camlin (of the Wham City ‘collective’), you’d expect no less than zany, engrossing pop-tinged weirdness. Although your calculations wouldn’t be far off, Wume is also heavy on the carnivalesque madness of 60s and 70s B Cinema with just enough kosmische and kraut to make this one desirable sausage encased in plastic and tape roll. Distance, as cabbage-reeked as it smells, does indeed go to great lengths to be accessible to old and new. It’s a throwback to Germanic touchstones, but Wume’s vision is clearly planted in the future, riffing on modern proto-synthers like Lopatin and Ettinger with some new age twists. But most of all, it’s upbeat and rhythmic. The incorporation of a rhythm section and structure breaks Distance from the pack. There’s nothing sinful about polishing off good music with a bit of pop wax. Wume is catchy, and no matter how many lashings I’ll have to endure for calling it so will never take that away.

Links: Catholic Tapes
  

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.