Imaginations Limitations Through A Telescope [EP]
“War and Peace,” says Felipe D. on track two, “are like Peanut Butter and Jelly.” More concise than Tolstoy, forsooth. I can only imagine war gore is about as sticky — chunky PB, no doubt. And I think peacetime in the woods would be apricot. Felipe also says in his liner note that this is an EP for the winter of 2011. Sounds good to me. It’s a robust EP at that, running at around 30 minutes, full of delayed shimmers and unrestrained vocals. It manages that weird measure between energetic beats but atmospheric harmonies. You’ll drift in and out, which is surely the intent. The liner notes continue to point out that the EP is an incidental project, stumbled upon during the making of DAMEDAS’ second LP, a “gift for the holidays.”
• DAMEDAS: http://www.damedasmusic.com
“A Love So Strong”
If Jake Fogelnest were murdered over the radio waves, listeners would get confused. Now, if it were over the internet, people would contextually connect via video and enjoy its discovery through word of mouth/social networking. Not saying that — um, I’m not saying anything, ever. Jest, there’s (always) a nice disconnect between radio and, like, internet. Sometimes. Whatever. Yo, the Sacred and Profane Love EP is Maria Minerva’s fourth release of 2011. OMG, and she done did a FACTmag mix! So, I get it. Maybe. Bet radio can’t keep up with all them releases #b’pumpit. “A Love So Strong” keeps me faithful. <3 100% Silk; well-dressed jammers. Pick up Sacred and Profane Love EP right quick!
Thee Oh Sees
Look, other than Carrion Crawler/The Dream being vastly superior over Castlemania, all I’m saying is Thee Oh Sees is the American version of Boris. Using “Carrion Crawler” in comparison with “Tokyo Wonderland” to support my accusation. Standard pop-stuff; lyrical melody; sing alongs and brain fogs; that good ol’ steady beat; gutting guitar solos. Boris being all about the noise. Thee Oh Sees being all about the lazy. Hah — America. So, yes. From noise to instrumental to garage to rock, Thee Oh Sees seem to have taken the same business model as Boris. Check out Carrion Crawler/The Dream on In The Red Record, and skip Castlemania #RE:reiterate. I love melts *wink*.
This self-titled cassette debut of Vincent Brunetto’s beats/remixes project was recorded during the producer’s move from Buffalo to New York, and seems to have absorbed the tension of frigid Northeastern winters and the uncertainty of transition. Although the tropical gemstone artwork — goofy font and all — might suggest otherwise, Brunetto says the project was created out of isolation, as perhaps most solo/software music is, even when the attitude is nothing but “I Just Wanna Party.” “Krokodil” hints at more than that with subtly dark chord progressions. This thing is out now on L.A.-based MJMJ (twomichaeljordans) Records.
“To Feel The Night As It Really Is”
Let us all rejoice at the release of a new record by Starving Weirdos member Brian Pyle as Ensemble Economique, who enthralled us all ‘round this time last year with the stunning bag of tricks that was Psychical on Not Not Fun. His new record, Crossing The Pass, By Torchlight, is a step away from the more overt 80s VHS soundtrack explorations of some previous work, but somehow by stitching guitar and keyboard lines to a jumble of synth drum kits, EE manages to scare up a host of evocative moments and cinematic flavors. This would work as the theme to the next James Bond movie. 007 in To Feel The Night As It Really Is! It would be the coldest, most existential, and mysterious Bond movie since, uh, Goldeneye?
It has always been hard to describe the music of Daniel Bachman (formerly known as Sacred Harp) without mentioning a few old Takoma Records folks like John Fahey or Robbie Basho. This time, it is impossible. According to Debacle Records, the title Grey-Black-Green is a reference to Basho’s “Esoteric Doctrine Of Color & Mood.” Sounds pretty rad, right? Right. Basho apparently created a sort of color wheel that coincided with the circle of fifths, and subsequently certain moods and emotions are associated with each key. As Bachman himself puts it, “Grey-Black Green is the most fucked up sounding one.” Basho’s model states that D minor (or frog minor?) is equivalent to grey-black green, that the associated mood is “anguish death, and full sweetness,” and that it is the “most solid model, with tight boundaries.”
When listening to the music that Daniel Bachman makes or that Robbie Basho made (or any of the original American guitar raga guys, for that matter), it is easy to hear it as aimlessly wandering improvisation that is effortlessly streaming out of the musician, when in fact there are some very strict rules being followed. Bachman restrains himself to D minor through the entire album, traveling through grey and black and finally ending in green. As Basho already explained, the journey is dark and full of anguish, yet emits a genuine sweetness throughout.
Listen to “Grey, Take 3” below, a particularly lovely part of Grey-Black-Green, which you can stream entirely on Debacle’s Bandcamp.
• Daniel Bachman: http://debaclerecords.bandcamp.com/album/grey-black-green
• Debacle: http://debaclerecords.com