Zapoppin’

Ugly Musick

[CS; Damnsonic]

I lost my soul. I lost a sole. I lost the sol. I’m lost.

It’s a manic episode that attacks Ugly Musick, which is neither ugly nor sick despite the oddness of Zapoppin’. Truth is, the frantic speed and topsy-turvy nature of this latest disasterpiece from the noise-pop outfit is exactly the deconstructed regurgitation of all things mainstream needed to truly appreciate where we’ve been and where we’re going. No pretentiousness, unafraid of making the obvious lyrical flourish, Ugly Musick transforms you into something unrecognizable for only a moment, but it’s the sort of pigbelly mindless tramps oopsy-daisy tallywacker that upsets the rhythm of….look, a bluejay!

Soul is lost. Sole is last. Sol is bueno. Am I lost?

Links: Damnsonic

Guerilla Toss / Sediment Club

Kicked Back Into the Crypt

[LP; Feeding Tube / Sophomore Lounge]

I’ve been hearing about Guerilla Toss but I didn’t know they roll like that. This is absolute madness, ordained by some of best and brightest of the experimental elite, from Sleetmute Nightmute to Gay Beast to Ruins to Arab On Radar to Aa to PRE to Landed. Could this band be from Rhode Island? Nope, Boston, thank you very much. But keep Providence in mind when you slip this LP on because it’s sure as SHIT on mine. I must admit though, Guerilla Toss, at least on Kicked Back Into the Crypt, transcend a lot of the influences cited above. They’re on a new level, like Danielson fronting latter-period Daughters and sticking the landing like a goddamn gymnast. It’s not simply a matter of traditional no-wave tropes either, though they’re definitely in there somewhere. What drives GT’s engine is no less than the full support each member lends to the other, every one endeavoring to rise above rock’s cliches (and sub-sub-cliches) and present a fresh way of thinkin’ about things. The Sediment Club have their work cut out for them; in fact I was thinking before even spinning their side of this split platter that I couldn’t imagine how they would match their counterparts. What an aching pleasure it is to be so wrong. Sediment Club gash open the ear and sprinkle sand in the audio wound, coming from a much more woozy place yet rocking pretty damn dedicatedly all the same and, when the time is right, absolutely SCREAM-SHANKING their message home with a double-dagger shriek. There are sections that almost swing, too, tom-toms blingin’ all over the place and drum sticks clickin’ like finger-snaps. I’m enamored with some of the Boston Hassle stuff but I had no idea they partied like this in Beantown; take me with you?

Links: Feeding Tube / Sophomore Lounge

Car Phyte

Fail

[CS; Brain Plan]

I just read a review of this tape wherein you could tell the writer listened to the first few minutes then put down his pen after jotting down a few sentences mentioning Brooklyn and that though it wasn’t to his tastes there likely is a scene for Fail, by Car Phyte. Don’t make the same mistake. Give this ambitious act a try and you’ll be surprised at their generosity spanning several influences and generations, from Sonic Youth to lofi soul to jagged mutant dance to bedroom 4-track tapes. Some might even have dubbed this chillwave a few years back. The trick: Instead of merely whirling a few styles together, the mixture feels organic, a term many musicians aspire to use when describing their wares that so rarely applies. I’m feeling love for Car Phyte right now, and the fact that their experiments might be a chore for some of you to sit through is all the more reason to give them a try and expand yr mind, man.

Links: Brain Plan

Black Unicorn

Traced Landscapes

[CS; Field Hymns]

How many ingenious synth people must we have, people, really? The answer to my not-rhetorical question is this: at least one more. There’s room for the Black Unicorn, even if there wasn’t on old Noah’s boat. So alongside works by Bastian Void, Panabrite, Andreas Brandal, Guenter Schlienz and others Traced Landscapes shall get its own little typed card in the catalog of my mental musical-weirdo library, providing a compelling chapter to history’s Big Book of Modified Electronics. Both A and B are split with short, eye-crossing scrambles of scribbling tones somewhere on the middle, and on either side of those, Curt Brown (as friends and familiars call him otherwise) pitches rolling planes of tone that stretch deep into sub-space. Sometimes there’s softly throbbing motorik synth loops that balance themselves like a spinning gyroscope, and sometimes seismic waves of sounds gently breathe an icy breath into the tape’s majestic life force. It’s pretty and twinkling and expansive and cosmic and celestial – all those things that make the great synthesists great these days while retaining its own unique stamp on things that should give it a calling card of sorts for future releases (as all the great ones have). Here’s hoping and looking forward to what becomes of the mythical beast and its beatific beauty.

Links: Field Hymns

Sara Lee / Giving Up

split

[CS; Sophomore Lounge]

Both sides of this split cassette from the reliable Sophomore Lounge label hold intrigue, but I find myself returning to the Sara Lee side more reliably. I just happened to look up The No Nos on Spotify last week and maybe that’s the reason I’m equating luscious Mrs. Lee to that classic Pac-Northwest band, but my ample gut’s telling me there’s a similar lilt to the vocals and riffs. Love the fuzz that clings to the guitars like pollin to a windowpane, and I wouldn’t want to scrape it off if I could. Giving Up pack a more explosive sound and will likely appease a higher percentage of the masses. Jesus, I’m at a loss here. Superdrag? Shit this is pretty poppy and powerful and ppplayful in its own way, and a lot louder too, the bass rumbling my record room, if you play one side then the other, as I just did. And will again. Find this, listen to it once like you’ve never listened before, then bury it for 20 years, dig it up, and listen to it again in your antique Walkman and FREAK THE FUCK OUT. Or not; just sounded like a cool gesture there for a second… Truly one of those rare split-tape couplings that seems ordained by heaven.

Links: Sophomore Lounge

The Skywriters

Skywriter Blue (1998-2000)

[CS; Lost Sound]

My name is Justin and I am stuck in the 90s. Pay no mind to my obligations to this sub-section of Tiny Mix Tapes, where I toil neck deep in all sorts of belches, screams, and telepathic microwaves. It’s all a front. Sure, my flannels are a bit more tailored, my jeans nowhere as baggy, and my hair much more tame but I still spend waking hours in front of a computer living out a 9-to-5 fantasy propped up by a lengthy (and ever-growing) playlist of 90s alterna-hits and has-beens. And it’s a fight that I hope someday warrants Gumball or Drop Nineteens a 10 cent royalty after 1,000 plays. It’s not a pay-it-forward I can pass onto defunct Philadelphia outfit The Skywriters, who find themselves out of place and time with the retrospective cassette, Skywriter Blue. But so what? I still have a stash of mid-90s CMJ mix CDs and I can’t help but think fondly of how well The Skywriters would have snuggled up next to Sun 60 or Jen Trynin. But the look back of this cassette is between 1998 and 2000, a two year stretch that signaled the decline of the always cloudy grunge forecast for bubblegum droplets and blooming foliage. And though the attitude of the late 90s pop scene is reflected throughout, The Skywriters were a few years too late to be anything more than a footnote. But considering we stand 15 years removed from that rose-colored decade, it was for the best. Hearing Skywriter Blue now is a much needed reminder that there was something left unsaid at the end of the 90s. The asteroid crash that killed off grunge all-too-soon meant a different species emerged, even if it’s taken too long for us to notice.

Links: Lost Sound

The Charles Ives Singers

The Unbuilt

[CS; Alberts Basement]

I had to pick one last 2013 tape to review out of a pile of Albert’s Basement goodies and came up with this convincingly caffeinated, ‘caw’ing cassette of cacophany and mind-crags. The Charles Ives Singers (please let that be a nod to Burl Ives, the singing-snowman guy) blow like Smegma, layer like Avarus, and can even synth-up a bit in a fashion I’m not used to hearing. It’s all fun and/or games until the two sets of keys open disparate doors and wander off on their own, never to be retrieved. Then the horns come in again and we’re in skronk territory, which, when applied directly to a wound… will cause the wound to bleed more. That’s GOOd. That’s SIck but GOOd. Now, break out that auctioneer’s cap and start breakin’ out some numbers; that’s it, boy. From here you already know if you’re gonna head this way or not so I’ll spare you the shenanigans. Kiwi-for-life, bitches.

Ninni Morgia / Silvia Kastel / Ultrillo Kushner

Live at Hemlock, San Francisco

[CS; Ultramarine]

Live at Hemlock, San Francisco might be the best release yet from Ultramarine, a well-respected label that sticks with its artists rather than releasing one-offs from raw-doggin’ randoms. Ninni Morgia and Silvia Kastel are longtime label staples, while Ultrillo Kushner used to drum for Cerberus-approved Comets On Fire. Obviously the stakes were high on this one and the trio catch fire relatively quicky in a manner resembling Mystical Weapons fronted by Yoko Ono in screech mode (and I’m not talkin’ about fuckin’ Dustin Diamond here) and mellowed out by bouts of solo guitar and improv-noise tangents. Sounds real nice for a cassette of a live recording, all three members coming through crystal clear. The squiggle session that erupts at the beginning of Side B is exemplary if you still value Feeding Tube-style nowave that can’t be contained by time signatures or melody. I’ve been tempted all review to mention AIDS Wolf and even Aa, so please allow me to do so without judging me. Sixty hand-numbered reasons to live, not die.

Links: Ultramarine

Jeremy Bible

Collisions

[CS; False]

New high bar set here with Jeremy Bible’s physical issues of his once digital-only Collisions album; both the cassette version (which I have on hand), and the CD version of this release are top-notch. Look at that! Mirror-metallic print on a glossy box with bellyband? Shit, seriously good. Sonically, Bible’s never sounded more in control, precise, and sharp than on this one. A friend of mine likened it to birds, and the frantic, fast-paced and high-pitched nature of that animal fits this record’s trajectory quite well. You can also just hear what sound like genuine field recordings of them throughout the length of the recording – the flapping of wings, their worm-wanting chirps, etc., all of it pieced together with synths and tape samples, and whatever all else you won’t be able to place in your imagination. Instead of approaching a noise-collagist’s oft-used technique of mashing textures together, smearing things into a pasty pastiche of blended “harsh,” Bible puts things together with a care that almost feels obsessive, giving each and every individual sound he creates edges that are refined and defined. It is designed music. Bible adds and subtracts elements as if building a sculpture out of Jenga blocks, and while the architecture is built to feel like it should be teetering on the brink of collapse at any moment with sounds swooping in and crashing into one another with blind and aggressive accents, wavering on unsteady waves of dynamic shifts, Bible’s foundations are still strong enough to keep the sound remarkably sturdy. And though he can also be tender, finding the softer side of his instrumental array as the album makes its way toward the end, even his quietest moments (completely dead, negative spaces) are used in ways that could leave many white-knuckled and squeamish. Also this: Album of the year.

Links: Jeremy Bible - False

Orange Claw Hammer

untitled

[CS; Ambivalent Soap]

Teleportation technology has come. As I step inside the cassette from Orange Claw Hammer, I’m whisked away to the time of steely, droned strings plucked from their earthen bridge with wanton skill. The axis recoils with the historical ragas of yore. I see epochs pass on the crest of a reverberation. Orange Claw Hammer may not possess the engineering skill to transport my physical being to the past but the transcendental echoes herein recall a passing musical world where guitar playing was an organic, cosmic experience where heaven and hell joined into a metaphysical realm where we questioned when dinosaurs evolved and man devolved. Of course, it’s just a good two-sided jam that also reminds us all that good music still has a place in modern society free from commercial goals and critical expectations. Which is why we listen and allow ourselves the freedom of imagination to go where the music takes us – be it the physical or spiritual plane.

Links: Ambivalent Soap
  

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Cerberus seeks to document the spate of home recorders and backyard labels pressing limited-run LPs, 7-inches, cassettes, and objet d'art with unique packaging and unknown sound. We love everything about the overlooked or unappreciated. If you feel you fit such a category, email us here.