Elegy For The Victors [CS; Posh Isolation]
Ennui has always been fashionable to one degree or another, but boy is strong right now. Internationzale is one of a handful of bands whose modus operandi is a kind of semi-tumescent, electronic-based industrial that lends itself well to extended afternoon moping sessions. Those grey, endless hours of waiting for night to roll around and clubs to open need a soundtrack too, so bring it on.
Here is the pattern: very limited cassette run, artwork that heavily uses images of opulence (jewelry, pools, statues), combined with naked fashion models, text clipped from other sources (magazines, porn, advertisements) and track titles that make Trent Reznor get a litigious itch. Put that in a blender with half a pack of cigarettes and the remnants of last night’s string of over-priced gin and tonics and one of these depressive-episode-via-cassette gems will pop into existence.
I love all of that. It captures the feeling of a hung-over goth with bed-head, leaning against a graffiti covered wall, sweating through their black t-shirt as the sun heats the late afternoon air. It should be ridiculous to anyone over 17 but dammit we all have part of us tucked away that this speaks right to.Links: Posh Isolation
Sister Nature [CS; Noumenal Loom]
Look, not gonna lie, I’ve been sitting on this one a little too long. Sorry and everything, but hey, we are dealing with really good music here, not something I can take lightly for these scant little bursts of thought-splurge/ego-splays I get with the old Cerberus. Moreover, Sumbu Dunia did not make my job especially easy – Sister Nature is an album that slips and slides its way through so many different styles, samples, and sections, it’s tough to remember what happened just a minute ago, and thus, relate those experiences to you, dear reader. Maybe it’s best to start with the big picture rather than the millions of micro-minutae details we’re dealt with: This is new music from the Joana Francisco, who did Lace Bows, which was among Hooker Vision’s best output in the olden tape times (which was, uh…, like, three years ago). Here as Sumbu Dunia, she’s in a mode that’s as impatient as it is a dose of smooth, relaxing refreshment. A collage-composition that’s swift in its shifts but steady as she lands softly into each section, defined by finite mixes of textures both sampled and performed (to the best my ears can discern - I could be way off, who the hell knows how this really comes together ultimately). The results have both the manic feel of Seth Graham’s dizzying mind-scrables, and the humbling meditative medians of stasis that Ahnnu consistently displays. So Sister Nature is both a constant brain-teaser while also being an open window, a site of sheer reflection and relaxation. Glittery synths sink into sands of color, bask in rays of sunshine peeking through the webbed shadows of tree branches, or bob along a 1/2-step Celtic stomp in stupifying stereo. Disparate sounds come together into hymnal prayers, as much about their spiritual efficacy as they are exquisite examples of textural balance, timbral diversity, and harmonic complexity. Both sides split the difference between simmering swathes of moody ambience, indigenous-alien shaman chant circles, and liquid jazz, and the album’s marked unpredictability makes each spin a series of subtle surprises that nonetheless keeps the listener in a familiar place.Links: Sumbu Dunia - Noumenal Loom
Les Sorciers du Theil
Polyte Deshaies [12-inch; Tamed]
The repetition of psychedelia has long been the keystone to modern interpretations. It’s how repetition is achieved and to what end that separates pretenders from contenders. The second release from Les Sorciers du Theil is all heavyweight. Nothing is overwrought or overstays its welcome. These are four sleek emotes of psychedelic fervor that do not shy away from breaking away from the norm. Odd instruments and bombastic drums dot the melodies, providing an almost heavy metal sheen. Yet there is a lot of hippie and cult-like mystery surrounding the music, teasing something more sinister than just an appearance. The EP takes its name from the band’s namesake home (Le Theil) and though Jimmy Page is a bit jealous at the lengths Les Sorciers go to embrace their own wizard lore, it’s authentic in sound and stage. A robust exploration of repetition, as if a magic spell is being cast to bring back Deshaies. LOOK BEHIND YOU!Links: Tamed
Laundromat [CS; Summersteps]
If ever a label was appropriately named.
Summersteps brings back those comforting sounds of youthful summers, where there is nothing to do but boredom rarely sets in. Days spent riding bikes, playing video games and staying up late to watch absolutely nothing. The summer heat means nothing except the ability to wear shorts and swim whenever a pool is available. Laundromat from Cold Coffee fits snug into the summertime routine and Summersteps vibe. A bit of roguish rock and roll from our immediate past and the future we hope to pass onto a new generation of reckless youth. It’s the sort of loose and fun rock and roll that follows you throughout your day. Maybe you hear some people starting their own garage band or banging to the classics, but that summer music follows you wherever you go. Not the manufactured radio hits, just the vibes of the season that naturally occur. This is Laundromat. It’s just a good time and we’re all in need of it, whether it’s for a nostalgic pick-me-up or a new soundtrack to the changing weather.Links: Summersteps
Decadence and Paranoids [CS; Faux-Pas]
NYC trio Arklight is one of those bands you didn’t know you needed until you already had them. And actually, it may even taken a little longer than that – the band’s bowlegged footing and shy delivery doesn’t exactly pull you by the hair. But after some time and about a billion listens (or something like that, I lost count), these serpentine songs start to slither their way through the twisting patterns of your brain matter, infiltrating and filling up all those little canyons and caves with wondrous music. None of this is meant as a dig at them, because to be honest, Decadence and Paranoids is easily one of my favorite pop records of the year so far. It’s just that the molecular makeup here – a lot of guitar/bass/drums/vocals arrangements with the occasional synth inflection – seems pretty straight forward at face-value, and the music is executed with the flair of a not-quite-beginner, definitely-not-prodigious group of players. So disguised as a middle of the road indie rock band, Arklight really sneaks up on you with its writing, which is quite interesting from a lyrical, structural, melodic and harmonic standpoint. It’s the total package, poetic words arranged in hypnotizing cycles, informing melodic paths to the heavens as minstrel guitar strums tether the listener to the ground, a style perfectly encapsulated on the beautiful A-side closer “A Rebellious Angel”. A lot of the record takes me back to my early days with Guided By Voices’ Bee Thousand, and as an overall aesthetic I think that works as a starting point for getting into their sound. But Arklight is also so much darker, brooding, has a bit of a Country twang, and is sort of goth about the way it handles its songs. A bummed-out bounty that’s not actually as much of a bummer as you might think it should be. Shoulders drooped, pale-skinned, a sad smirk haunting its face, Arklight paradoxically casts a bright beacon on the dim ballads of lamenting vampires.Links: Faux-Pas
Only Bangers [CS; Hanged Man]
More #tits. Of course I giggle because as an older gentleman, my mind still resides in the same filthy gutter it did when I was 15. And 25. I mean, men are the dirt worst and the stork brought me a girl as a clear sign to mind my P’s and Q’s. I’m mature now, though I do laugh along with the kid when she makes a fart in the bathtub.
But then there is #tits, whose BFFs put me – and a large swatch of adolescents in adult’s clothing – in our place. No more snickering when Kate and Rachel put the lash to their guitars. No more belly full of jellies when bubbles permeate the bath water’s surface. And though I’ve been to plenty of concerts where women who wail on guitars immediately become sexpots no matter the desired emotion from the music, somehow #tits moves past it by putting it directly in our face. There I go again with this bout of stupid giggles (my maturity comes and goes). But that’s the point, to make us giggle so much that eventually it becomes normal to see two proficient and clever women doing something that society (see: noise blogs and our patriarchal society) have told us for so long was the plaything of men. #tits aren’t standing on a soap box with Only Bangers, largely because they are breaking it, smashing it, destroying it relentlessly over the course of two sides of this cassette. When “Be Prepared to Defend Yourself” hits its high pitched caterwaul, you know you’ve lost your battle. I’m no longer laughing, but that’s because my jaw had to be picked up off the ground. Thankfully I have a daughter who can do that and much more. Thankfully the parents of Rachel and Kate had them, because – and I promise I’m not even smiling as I type this – I want more #tits. I want them to continue to prove all of us wrong, even those of us somehow hiding behind a sly truth. But most of all, I want this sort of guttural guitar noise that is both melodic and prophetic.Links: #tits - Hanged Man
Odessey & Oracle
The Odessey & Oracle and The Casiotone Orchestra [LP; Carton]
The distilling of olden psychedelia through other countries and cultures is a study in modern ethnomusicology. What is often credited as the genre born of Haight and Ashbury has been found out as a movement of music with roots 100 years deep, stretching across multiple genres and generations. French trio Odessey and Oracle, on the surface, seem to pay homage to one of psychedelia’s most prized releases from The Zombies, but the LP version of their latest only does so in its vintage production and packaging. Otherwise, the music within – while taking its cues from the technicolor genre – is far more orchestral and less trippy. Conforming more to Baroque pop or chanson, …And the Casiotone Orchestra is a deeper delve into how France has combined its musical roots with those of a darker time in the United States and Britain. Ultimately, the end result is too bright to be considered psychedelic on the surface. But keep listening and the layered electronics and playful vocals begin to bend and warp, and with them so do the pop melodies. It never ventures toward Manson, but it does go half-Dennis Wilson.Links: Odessey & Oracle - Carton
Dead September [LP; Rural Isolation Project]
The eternally unspellable Quttinirpaaq (think I got it now tho) also are eternally insatiable when it comes to HOW MUCH CHAOS IS ENOUGH? Every time one of their songs grows what resembles a limb or crag to hold onto, they chainsaw it off and either add more blood-mist spray, a power tool, or another rhythmic element to make you forget what you’re hearing. It’s almost like they’ve co-opted The Melvin’s “HOW –++–” and based an album around it (a great idea, btw; one of Honky’s overlooked gems), Dead September be thy name. But no it’s never that simple, is it? Life isn’t that easy. ‘Paaq pack a lot of corroded crust into their jams, reminding these ears of everyone from Throbbing Gristle to, surprisingly, JAMC. If you had that gimp guitarist from Mad Max rifling through some riffs at a construction site with a drum machine and noisiest providing the backing that might explain Dead September best; then again I’m not sure if what I’m hearing is actually riff-based or not. There could be a six-stringer going to town under the audio junkyard, but much like that poor sax player from Puffy Areolas, it’s all a mystery unless you’ve seen the band live. I thought the Quttinirpaaq boys were from the Pacific Northwest for some reason (educated guess), but they’re just up the road in Austin so maybe I’ll get the chance to shimmy up there and tell you about their concerts myself. A man can dream. Until then, busy yourself with sounds from the deadest month of them all…Links: Quttinirpaaq - Rural Isolation Project
Visions in Flame [CS; Already Dead Tapes / Diamond Wave Press]
From the lungs, fingers, and heart of David Spalvieri-Kruse comes a new collection of tunes on a co-release with the ridiculously prolific Already Dead label. For those of you with big old question marks hanging over your heads right now, he’s the guy who mailed me a scarf, a bag of tea, and (oh yeah) a vinyl record with some synth-folk tunes some two years ago. And they were nice synth-folk tunes at that. Maybe a little rough around the edges here and there with that unmistakably shy warble of a voice Kruse has and all (still on full display for these new songs). But this time around he sent a very nicely crafted 8 x 8 photo booklet with stitched binding and some pretty pictures. The music he’s making these days is more focused on guitar, strumming out songs that are geared toward sunshine-streaked indie rather than the wint’ry ballads of the aforementioned self-titled effort. The addition of drums is something I noticed right off the bat, giving his heart-beating anthems a real tangible heartbeat. Although the arrangements are obviously more lush, Vision in Flame finds them remaining the squeaky-clean Deep Waters I’d come to know and love, not a single guitar effect to be found and hardly any treatments of the vocals (maybe some slight delay on the backing vox here and there) gives these songs a super-natural feel to them, Kruse’s tremolo-heavy tone flapping out in the band’s open-air breeze. Vision in Flame is a short work that for sure moves the group in a new direction, although it’s one I’d probably call a lateral move rather than a sharp uptick for them. Heck, they’re young, have an obvious knack for a pretty tune, and can place those pretty tunes in a variety of settings, so I wouldn’t be surprised if this isn’t the last evolution of Deep Waters’ equally deep imagination.Links: Already Dead Tapes / Diamond Wave Press
Untitled No. 3 [CS; Cabin Floor Esoterica]
The works of John Cage often encouraged the audience to explore the non-music; the space which exists between the cacophony of the stage and the din of the crowd. It’s still a fantastic device, be it the airy distance in works from Loren Connor to the distractions of the uninterested as portrayed by Food Court. Troy Schafer will have none of it, filling up every piece of available real estate with some sort of concentrated noise and idea – the moments of silence merely a quick rest stop before another aural assault. Untitled No. 3 takes the opposite approach of Cage’s endpoint though the journey to get there still seems in line with the experimental composer. Schafer deconstructs the idea of sound artistry on each side of this cassette, blending violin with electronic caterwaul to produce a disturbing portrait of what happens when senses are overwhelmed. This isn’t about distractions taking away from art, but rather distractions as art. This has been out since March and it has taken me this long to really digest Schafer’s latest, because much like my admiration for modernist composers, I have a need to place such work on a pedestal. The breakthrough discovered upon listen after listen of Untitled No. 3 is to destroy that school of thought. If Schafer is beholden to any previous generational philosophy, it is buried beneath the rubble of this explosive set. Cage may have caught the sounds of a living city, but Schafer has captured its death rattle.Links: Cabin Floor Esoterica