Steve Gunn & Mike Gangloff
Tong a few logs onto the fire and switch on the turntable. If either of the names GUNN or GANG(-LOFF) on the album art above strike a gong in your musical memory, you know what to expect from the very first note of their collaborative recordings: pristine phrases plucked from an acoustic guitar, bowed from a fiddle, and pounded out of percussion; “songs” that wind through the underbrush, achieve moments of meditation, and double back to return home; a holy amalgam of performance strategies culled from the American Primitive, Indian classical, and contemporary drone/minimalist traditions. Steve Gunn and Mike Gangloff deepened their already bottomless catalogs in 2013 with the solo full-lengths Time Off and Poplar Hollow, funneling ideas and tones they’ve explored in Kurt Vile’s live band and Pelt, respectively, into more concise compositions. As much as these albums testify to their strengths as songwriters and bandleaders, both men perform as comfortably outside of set rhythms and chord structures as within them, with results no less sublime.
Melodies for a Savage Fix finds the duo stranding themselves in a secluded cabin sanctuary and making music to strand oneself in a secluded cabin sanctuary to. The album’s five sessions range from a country-fried raga exploration led by Gangloff’s sighing fiddle, to a banjo/guitar bluegrass jugalbandi, to a slide guitar in conversation with cavernous gong hits. But the seventeen minutes of “Topeka AM,” streaming below, fill most of the B-side with the LP’s most expansive improvisation, exuding enough heat to stay warm through the subzero season(s). Snow gathers in the windowsills while Gunn’s right hand conjures a busy stream of twelve-string sixteenth notes that treads the tonal line between ecstasy and reverence. Panes frost over as Gangloff responds to Gunn’s shifting harmonies with whatever instrument he deems appropriate at the moment (harmonium, bells, shakers, drums). The few rays of sunlight cast across the floorboards recede as the tempo picks up before the climax.
Melodies for a Savage Fix is available now from Important Records.
Jeff Barsky is getting into a really bad [Editor note: ….or good? ;)] habit of putting stuff out under the INSECT FACTORY moniker with no information attached. Even getting a physical copy of his work might not yield much in the way of specifically who was involved, what was involved, when or why was involved. On Lights all we got was a little, “some tracks from 2013 - happy holidays…” message on Facebook. But hey, this is our job or something, right?
Here’s the information, from what I can gather: Jeff Barsky makes music in a crazy heavy-psych/noise band called The Plums and also blows my mind with his guitar, pedals and amp as INSECT FACTORY. He’s from the DC area and Lights seems to represent itself as an extras reel of disjointed tracks he produced during the 2013 calendar year. But the collection manages to shine just about as bright as anything I’ve heard from him before – densely layered loops, planes of static standing tall like a gigantic back-scratcher of audio, improvised melodies clamoring over drones like they’re peaks in a mountain range… It’s lovely, monolithic, moving, fluid and entirely lovely. And it costs whatever you want. Happy holidays indeed… this was the gift that’s just kept on giving. And now, dear readers, we re-gift it unto you. Got to (UH!UH!) pass it on!
• Insect Factory: http://www.insectfields.org/home.html
There are 14 albums posted on the PARTY TRASH Bandcamp page between the last thing I heard, roses back in August of 2012, and this new one, entitled scrapped. This one is collection number four of previously unreleased beats, and the tracklist runs 30 deep, which is to say, 30 formed ideas that didn’t fit among the 170 other tracks comprising those 14 albums between August of 2012 and now.
Our very own Birkut, in opening the review for last year’s excellent Deep Magic release Reflections of Most Forgotten Love, raised the question: “At a time when musicians can work just as productively in the comfort of their kitchen as they can in the studio, why might some listeners find prolificacy objectionable?”
Am I more likely to listen to a band whose Bandcamp release list only runs two or three deep, than one who has averaged a release a month for the past couple of years? And how do I compare the unspoken release of a beat tape to Bandcamp after enduring the hype of an otherwise “bigger” album, to find a physical copy in some record store somewhere, likely listening to it less than a name-your-price Bandcamp release, considering the limitations of records that don’t come stuffed with a download code.
All that aside, I’d be hard-pressed to find one beat on scrapped that doesn’t stand up to the nearly canonized style of cosmic shredding built up by PARTY TRASH throughout the last couple of years.
• PARTY TRASH: http://partytrash.bandcamp.com
Chocolate Grinder Mix 98
The New Fatali$m
This mix seeks to trace the language of the most universal particle, that one from which we derive our human souls in retrospect and follow around the globe in relentless pursuit, coaxing it out from the ether with love poems, devotionals, and prayer. Hail: the new fatalism with its totem, the stack, the band; with its diety, the gwop; with its native tongue of guapenese. First, a few words from our poets:
“Money’s universal/ That’s the only language.”
“I’m in love with the gwop.”
“We all slaves to corporations.”
Stream below, and subscribe to our podcast here.
[00:00] Emptyset - “Origin”
[00:24] James Ferraro - “Intro”
[01:04] Lil Durk - “Don’t Understand Me”
[04:19] Lil Herb - “4 Minutes Of Hell”
[07:35] RondoNumbaNine - “Hang Wit Me”
[10:40] Night Park - “DETECTIVE”
[12:00] BONES - “JonathanTaylorThomas”
[14:02] Fat Trel - “Niggaz Dying”
[16:35] Emptyset - “Origin”
[18:57] Traxman - “Killing Fields”
[21:13] BOY FROOT - “INTRO/CHOCOLATE MILK”
[22:33] Capo - “Come Wit Dis”
[24:19] Money Don’t Sleep (Rizzla + Blk.Adonis Remix) - “Lisa Hyper”
[26:50] My Money ft. Lil Chris - “I.L WIll”
[27:35] Ahnnu - “Violator”
[28:25] The Holy Karon - “Life’s Grim”
[30:35] Traxman - “Killing Fields”
[31:18] Sicko Mobb f- Lil Durk - “Maserati”
[34:17] Chief Keef - “In Love With The Gwop”
[36:05] Mavado - “Box Of Money”
[36:45] Ahnnu - “Violator”
[37:35] James Ferraro - “Intro”
From the upcoming LukeWyatt 12-inch Songs From Bad Kid School, out soon on Valcrond Video, roars in the searing electronics of “Saline Flats.” Setting aside his nom de plume Torn Hawk, LukeWyatt rips into the exploration of sound across a plane of sterility in water. Sitting back. Into the beyond. Watching a universal gaze. Prevailing in imagination. His own creativity. The psyche of listener’s mind magic. Encapsulating the feel of angular manipulation. So get JUICED off the first track on side-b of Songs From Bad Kid School by LukeWyatt via Valcrond Video, streaming below.
ALSO: catch LukeWyatt gaming at TRANS-PECOS (GPS: 915 Wyckoff Ave. Brooklyn, NY) with Bryce Hackford, Lorna Dune, Policy, and DJ Brian Traister this Saturday hosted by Words+Dreams. 285 is already sold out. Todd P reopened the old Silent Barn space as TRANS-PECOS. Give him business at the “new” spot ASAP!
New Electric Ride
“Bring What You Expect to Get”
The year 2013 – yeah, that one – saw the emergence of two disparate forms of psychedelic rock. The Flaming Lips divided fans with their appropriately titled album The Terror (TMT Review), the tour for which abandoned their cosmic-scale Project X parties for something much creepier. At the same time, psych revivalists Allah Las, Tame Impala, Jagwar Ma and others all tried their very hardest to make a 50-year old music genre relevant again. There’s even a Berlin Psych Fest opening this year.
I wasn’t alive during the 1960s. Had I been, I would probably be writing this post for Rolling Stone with a little bit more patronizing sarcasm and a little less cultural awareness. Because I wasn’t alive during the 1960s, I appreciate the psych revivalists because #vintage, but also because a lot of these songs are damn good. London’s New Electric Ride is busy preparing their debut LP Balloon Age, and they recently shared their single “Bring What You Expect to Get,” with great appreciation for acid-era Beatles and tasty-tasty licks. The mixing on this recording is especially good, and although New Electric Ride aren’t exactly preaching the gospel of a new age (not even sure what I just wrote means), they’re worth a mouse click for making a catchy tune that is smooth as freshly pressed wax.