Father Finger

Father Finger

[CS; Not Not Fun]

Father Finger are redolent of a lot of viciously bad acts, yet fall victim to none of the pitfalls of the gal-and-a-beat-machine rigamarole. Their self-titled cassette on Not Not Fizzie is so bright and ambitious you could argue FF belong on a different platform altogether, like Sir Dougeth Hauser MD or Blanche Blanche Blanche. Sure that’s a beat machine pumpin’ out the ace base, but it’s high-octane and gallops like a steed over the audio mountaintop. Sure you’ve heard a lot of synths lately, but these are more neon-green than what you’re used to, and you’ll get lost in the layers besides. Think video-game composers, house/disco, Labrador Recs, glow sticks, your boombox melting into the hot sidewalk, and an electronickz club you may or may not have snipped some rug at in the late 1990s. Hot.

Links: Not Not Fun

Anwar Sadat


[CS; Sophomore Lounge]

You may look at Mutilation and wonder many things. Its appearance in paper packaging is meager and minimalist. The black tape inside has no markings. The band’s choice to use the name of former Egyptian President Anwar Sadat is ironic yet strong symbolism to the recent Arab Spring and its quiet Western aftermath. But if you don’t give a fuck about rebellion — doing what is right in the face of awful odds — than Mutilation isn’t going to sit well with you. This black tape is but two songs (one per side). It messes your day, because you have to keep flipping the tape over, and these songs are but gnat length. It’s barely five minutes of music, but you’ll keep changing sides just as you keep swatting away the flies, just as you kept watch over Twitter when Egyptians recalled the peaceful side of Sadat in the face of Mubarak’s iron rule. Maybe you just need some hard-hitting punk and have OCD that this tape will placate.

Links: Sophomore Lounge

drcarlsonalbion and The Hackney Lass

Modern English Folklore Volume One: Hackney

[2x7-inch; Wormhole]

Listening to Modern English Folklore Volume One: Hackney and looking at its packaging epidermis, I realize I don’t have enough gatefold 2x7-inches; I also, frankly, don’t have enough Earth records (and I have both the infamous Bible 2xLP and the two most-recent double albums), considering how towering a presence Dylan Carlson has been all these years, particularly in the Pacific Northwest (land of the eternal cloud, former home to one Gumshoe). He’s gone Heavy, he’s gone Mystical, he’s gone climax-free post-rock, and now, he’s gone straight English, providing a supple bed for readings of folk tales by… why, a comely-voiced lass, that’s who! Releases such as this aren’t your typical listening experience. You’re not going to pop this in while you and your buddies prefunk or whatever; Modern English is better imbibed during a weekend morning on the back porch, when turns like “The blade slipping in the blood” can be reflected upon without the distractions of life to burden them. I question whether metal freaks will have time for this, but those well-versed in Earth’s last few releases shouldn’t have any qualms. More of a flowing, float-y ferry ride this time around, guitars making light impressions while the fog provides the bulk of the experience, save, obviously, the lass, whose tales surpass a book-on-tape slog by dint of the lyrical thrust of the material. At this point, Carlson would have to foul up pretty badly to lose my absolute trust, and yet appreciation of his work is never obligatory. He earns it, as he does here and did then and will up there.

Links: drcarlsonalbion and The Hackney Lass - Wormhole



[CS; Watery Starve]

Nature vs. Nurture. It’s all I can think about when listening to Lynn Fister’s Aloonaluna project. Am I a product of my environment or a product of the ebb and flow of the world? It’s even in the name — loon(ey) and luna(r); the magnetic push and pull of French philosophers and dead Greeks. Tomes of knowledge condensed into the poppy drone of Mythologies. Fister doing more than pulling off clever flicks of her musical wrist. Where does nature end and nurture begin? Hillary Clinton is whispering “It takes a village” with the Billboard enthrall of an Oprah audience coming down. It’s a gleeful argument played out on tape, Fister’s imagination and wherewithal too cunning for but one splotch of blocked critique. So I close my eyes and decide to settle the debate. I hear familiar themes, not just those of the existential, but those of long-gone Nickelodeon and PBS children’s programming. “Canyon” is a sad man who’s one poorly-conceived-spacesuit away from being Secret City, “Horse Tentacles and Coral” a strange new beat mashing up Pinwheel and Ghostwriter. With this, I’m taken back to summer nights in a sardine can known as a trailer, the delights of playing 8-bit games lit by the headlights of a car through the slit windows of the basement. I dream of running through thickets of weeds and tall grass, being chased by angry hornets after stumbling upon their discarded nest. I am no closer than I was before Aloonaluna. Guess I best flip it over and start from the beginning.

Links: Aloonaluna - Watery Starve

Woodpecker Wooliams and Golden Cup meet Love Cult

In Russia

[CS; Full of Nothing]

If I’d have known this year was going to be so blessed, I would have baked a cake. (Baked a cake; baked a cake.) Not sure how these folks — Woodpecker Wooliams and Golden Cup meet Love Cult — came together and whether this actually occurred In Russia (crowd noise tells me it happened live SOMEwhere), but it’s like CVLTS birthed a chosen one with a mind full of choppy ambitions and liquid courage, a.k.a. FUCKING ROWDY. So many of these tapists don’t understand, but when they do, and there’s nearly a half-hour to stretch out in, it’s one of life’s great pleasures. Woodpecker Wooliams, nee Gemma, is in demand right now on several fronts (new record out on Robot Elephant, yadda yadda), and should be. She is the Julianna Barwick of think-drone, a multi-talented soundstress whose early explorations have struck a chord with people who want to take more away from this “drone” thing than mere slow shifts and buzzkill. Not sure how long In Russia will be around, if at all, so ground floor, get in on, you, why don’t?

Links: Full of Nothing

Dead Luke

God Takes LSD

[CS; Moon Glyph]

I remember the excitement of firing up “Marijuana Vietnam” from Lotion in the summer of 95, believing my mission toward modern psychedelia was beginning. How disappointed to find an alterna-pop joint rather than the napalm haze of the next Mazzy Star. It’s been nearly two decades, and a lot has changed: retroactive discovery, generations of cassette labels and dazed bands tapped into the cosmic Zen of fearless distortion and long drags. Which is where we find Dead Luke. But that isn’t to say Dead Luke couldn’t also have been found hidden deep in Lotion circa 95. God Takes LSD is an adventurous and accessible romp of psych, drone, and pop. It begins heavy, weighed down to the couch by fog. But as the stoner drops the sheet, the tape takes a magnificent turn through the spectrum of sound. I’m invaded by the spirit of post-synth; spaceship God descending not for the Rapture, but for the stage show. Suddenly, I find myself in the backroom with Anton Newcombe and Peter Hayes reconciling over jangly guitars and smoky harmonies. But it all comes back to the bong and the afterglow, the room reverberating. Eyes shoot open and here we are, on the edge of the bed, and “Marijuana Vietnam” is silently skipping on the turntable. Justin dies at the end.

Links: Moon Glyph

Various Artists

Goldrush Companion Tape

[CS; http://goldrushmusicfest.com/]

Trudging through the muck and stuck now: boots left behind, and feet can turn raw for this personal need. Need for that rush. Every single event on stage, through sound of speakers with wires and giving that live acoustic echo. The experience is overwhelming and all that is stable is a business card-sized program. The people surrounding the area are the same in silence, but different in nod. It feels like fun if fact was alive and living was intensely accentuated through performance. And performance of something so fucking familiar, but very distant, still sustaining that live crunch. Reeling through it all, bodies sway as though they’re damp and washing cars, shining from the sound that provides warmth through the cracks. There is where it’s found. Again in that sound. Perpetuating something more than just paper/coin. It’s brilliant yet sullen, only polished when necessary, and brings life to faces in strife. On rings on bands on wrapping around ears, hanging while poised. It’s jewelry of the mind. Shuffled through ages of mistake and “Nah, I ain’t into it that much, yo.” But at that moment, when it’s found and has dusted away the webs in your head, you’ve found what you’re looking for: sheer sound surrounding sifted sight shining through.

[Full disclosure: TMT writer Strauss is the co-founder of Goldrush]

Links: http://goldrushmusicfest.com/

Ross Major

Horatio Hymns

[12-inch; Haute Magie]

Haute Magie, mystery label — not because I don’t know who they are, but because I never know what to expect from them — dropped Horatio Hymns on us in a year packed with gimmicks and hyper-programmed, mega-digital constructions less human than a Terminator. Ross Major, along the lines of Mason Lindhal, John Fahey, Six Organs, and Jack Rose, spaces out on his six-string somethin’ fierce in an intensely personal way. Parts of Horatio Hymns also make room for Jarboe/Earth, along with rare but appreciated exploratory voyages into the black hole of noise that many of today’s long-form guitar virtuosos fail to trespass. This phylum of Major’s work is all about Nels Cline and giving heed to outsized soundclouds (yep, it’s a word too). Then there’s also this other side of him that reminds me most of obscure Bay Area act Pregnant, sampled voices atop hazy pickin’. Side B yields the first sign of Ross Major: Singer, and he does a yeoman’s job, bare-backing his voice atop thoughtful, isolated leads. When the pan flute rears its death’s head, you get ready to hide in the bushes, but no need: This is “folk” in the best sense of the word, psychedelic at times even, though neither tag do Horatio Hymns ultimate justice. There are too many other forces at work here, as the almost black-metal “Magus” attests. Best leave the labelin’ up to yo’ brain, young blood! The gods approve.

Links: Haute Magie


Second Species

[CS; Constellation Tatsu]

It’s the night after the parade. Pieces of ticker tape and distressed newspaper gently sweep the streets, the city workers tasked to clean up the mess long gone after hours of hopelessly chasing these remaining tatters. It’s just turning to dusk, so the small town’s five downtown buildings are just beginning to glow above the purple horizon. After the ecstasy of celebration, the rural people have retired to their homes. Vandals and ne’er-do-wells will be out soon, says the old folk. But it’s really just kids looking to capture their own magic, to escape Saturday afternoons full of tradition no one’s dared to tie them into. So they make their own, soundtracked by seasonal winds, sneaked booze, and someone’s beat-up car. The city has nothing to offer this evening, at least nothing worthwhile for those operating outside societal protocol. All that remains is Prayer. Hands are folded, not to the heavens, but to the worship of another; the object of desire. This will all be nostalgic rambling in a decade, but for now, it’s your own parade. As still as the night is, it’s alive with want. You make of this evening what you want from it. Prayer has given you this opportunity; don’t forsake it for a dalliance with an unyielding god or reprimanding adults long out of touch with these feelings. You know this sound without a word.

Links: Constellation Tatsu

Xander Harris / Dylan Ettinger

The Driver / Tipoff

[7-inch; Moon Glyph]

Anyone who’s ever driven a 1983 Toyota Tercel hatchback and, for some reason, bumped the soundtrack to Beverly Hills Cop will know the feeling of take-off that accompanies “The Driver,” a smooth electronic-dance composition that explores the limits of this whole post-0PN thing with reckless abandon. I like the way Xander Harris programs his synths, and his side of this 7-inch flies by so quickly you’ll reload thrice before you even consider venturing over to the other side. Checkmate? Not quite. Dylan Ettinger, who is everywhere, bequeaths a ridiculous, special-edition synthster in line with Bruce Hart and the other boyz stuck in the keybo muck. Not a drum beat here as much as an ongoing throb, and the vocals are hunted to extinction, but “Tipoff” is a busy-ass piece of work whose overall effect somehow calms the nerves (maybe I’ve been listening to too much Matta Gawa?). Why can’t I go to a kids movie with my daughter and hear music like this soundtracking it?

Links: Moon Glyph

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.