It’s hard to believe Clipd Beaks have been making ears bleed (in a good way) with their particular brand of psychedelia for a decade. It feels like it was just yesterday we thrilled to the sounds of 2007’s (!) Hoarse Lords and 2010’s excellent To Realize (TMT Review), but it’s true.
So, after self-releasing a couple releases last year, the Oakland-based outfit is back with a release from a proper label. Lost Offerings, the newest release from the band, is now available from Moon Glyph. Available on the delightfully antiquated cassette format, it’s a four-song EP that sees the band shifting their tactics; while known for their blasting, cacophonous sound, Lost Offerings is dense with a stronger emphasis on refined melodies, dynamics, and structure.
To see what I mean, you can check out “All Ways Closer” directly below this sentence:
Lost Offerings tracklist:
01. Womb to Tomb
02. Black Vacuum
03. All Ways Closer
04. Tied Sky
What follows will be a very serious news post. I know I joke around a lot on here. To be honest, I think it’s a defense mechanism. If I could swing it, my heart would be wrapped around in a prickly wall of dick jokes 24/7. My whole life I’ve been coasting, riding high on a spaceship powered by laughter, chortles, and retweets. Probably part of the reason I’ve felt comfortable joking like this is because I’ve never seen the human cost of my tomfoolery. That is, until now.
You might remember that back in April I wrote up a pretty glib little post about a new LP guitarist Steve Gunn was planning to release with Cian Nugent and John Truscinski as Desert Heat. The album is called Cat Mask in Huggie Temple so I did what was natural and made a couple diaper jokes. What’s the harm, right? Well that’s what we all thought, too, right up until the diaper mafia hits started happening.
It was a Friday afternoon. I was about to take a nap, and Steve Gunn was prepping for a little relaxing “time off” when people just started dropping like flies. Friends, families, neighbors, all of them. It turns out that not only is the diaper mafia actually a thing, but they also HATE being misrepresented, and they make “corrections” with a vengeance. There was never any Huggies® sponsorship. It was a dumb joke — I can see that now! That’s why I’m writing this from hiding, and why Steve is leaving for a European tour soon. He’s got to keep moving, and he’s traveling with bodyguards/rhythm section De Stervende Honden, which consists of Erik Heestermans on drums and Tommy De Nys on bass. Steve, I don’t know if you’ll ever read this, but if you do, know that I am so very sorry. If I had any idea that things would turn out this way, I would have never joked about you and about diapers. I would’ve kept my mouth shut. Things would’ve been different.
10.12.13 - Barreiro, Portugal - Outfest #
10.15.13 - Vigo, Spain - Sinsal +
10.16.13 - Barcelona, Spain - Miscelanea +
10.18.13 - Paris, France - Espace en Cours *
10.20.13 - Amsterdam, Netherlands - OCCII *
10.21.13 - Ghent, Belgium - 019 *
10.22.13 - Brussels, Belgium - Ateliers Claus *
10.23.13 - Köln, Germany - King Gerog*
10.24.13 - Zurich, Switzerland - Elmo Delmo *
10.25.13 - Lausanne, Switzerland - Le Bourg *
10.26.13 - Torino, Italy - Blah Blah *
10.27.13 - Geneva, Switzerland - Cave12 *
10.28.13 - Bologna, Italy - Modo Infoshop +
10.29.13 - Rimini, Italy - Neon Club +
10.30.13 - Warsaw, Poland - Pardon To Tu +
10.31.13 - Copenhagen, Denmark - Din Nye Ven +
11.01.13 - Gothenburg, Sweden - Koloni +
11.02.13 - Moscow, Russia - Oldich Dress & Drink +
# duo show w/ Mike Cooper
+ solo show
* w/ De Stervende Honden rhythm section
Chris Douglas invites you to stretch out your freakishly long calves with his new Dalglish full-length on PAN
Are you just sick to death of not having any legroom when you listen to music? It’s about as cramped as flying coach on an airplane, right? And don’t even get me started on the food! It’s despicable! Should be totally banned! Doesn’t even count as food if you ask me. Anyhow, I just flew in and my arms are totally exhausted, so I’ll get right to the point: I’ve got a solution to your no legroom conundrum in contemporary electronic music. It’s a brand-new release from Chris Douglas (a.k.a. O.S.T.) as Dalglish. Out on PAN November 8, it’s called Niaiw Ot Vile, which, according to Google Translate, is an old Swahili proverb meaning “such ot niaiw.”
Using the last 20 years of legroom technology combined with years of experience putting on his own ambient techno shows and getting all chummy with folks like James Stinson (Drexciya), Mike Banks (Underground Resistance), and Autechre, Douglas has finally perfected making a record big enough for even those of us with pathologically long calves. This will be Douglas’ first release with those legroom-jockeys over at PAN, and they’ve described it as “cavernous,” with “clangorous landscapes,” and “expanses even Leonid Stadnyk would be totally down with.” Niaiw Ot Vile is dedicated to Douglas’ late friend Wai Cheng, founder of Isolate Records. The artwork comes from Bill Kouligas (PAN label head) and Kathryn Politis, with mastering by… can you guess? You are correct: Rashad Becker.
Niaiw Ot Vile tracklisting:
07. Seit Nuin
Migrations in Rust announces Two Shadows LP for NNA Tapes, whilst dreaming of a cushy life in the Andromeda galaxy
Jesse Allen’s Migrations in Rust project — one of several (Hollow Seed, Goldeater, current performer in Cowards, former member of Cathode Terror Secretion), though this one has been given the most attention — stays true to the “migratory” bit if you contrast his previous, sometimes purely ambient work with the brand new track below, and presumably the album on which it appears, Two Shadows, due out October 29 on NNA Tapes.
Likewise, there’s a certain textural quality to the music that belies straightforwardness in favor of varied sources and element interspersion. When a press release describes this complexity as a diverse (if not necessarily conscious) draw from “noise, ambient, hip hop, musique concréte, and sci-fi R&B,” I can personally confirm that there isn’t a single exaggeration here, even if “sci-fi R&B” has yet to receive coinage among any particular musically inclined group. Would humanity open up to the idea of spontaneous probings if R. Kelly simply romanticized the idea a bit in his lyrics? Doesn’t the possibility of a violent machine uprising otherwise get the blood flowing to those alluring, candle-lit nether regions? Regardless, the soulful Holy Other comes to mind.
And it’s an aspect that really shouldn’t be underemphasized. Two Shadows, the creation of which coincided with Allen’s physical migration from NYC to Western MA, seems to be a release that avoids stasis but is nonetheless consistent in its emotion, as well as its fluid multifariousness. Probably a difficult thing to pull off in practice, but have a listen for yourself, and be convinced of its feasibility:
Two Shadows tracklisting:
01. Had We Left / Doors Between
02. Two Shadows Cast
03. Canticle for Melting Gold
04. Cradled Under Fern
05. Behind My Skin
07. Drawing Down the Moon
Far-Out Fangtooth announce new album Borrowed Time, still won’t return the black lights you lent them
Oh, neat! An opportunity to write about a semi-brand new (c. 2009) psych outfit hailing from Philadelphia. Preceding the inclination to draw some sort of parallel between their moniker and the Hanna-Barbera character (initially named Snaggletooth), I decided to google “fangtooth” under the prediction that maybe it was the name of a rebellious, but lesser known older brother. Instead, I happened upon this monstrosity, the existence of which I can only explain by the overlordship of some evil deity of the underwater. What’s “far out” about a fangtooth, and why shouldn’t we harbor ill will towards the band for misleading us into revisiting nature’s “scurry”-ness, and then forcing us into home isolation for weeks on end?
Because their music is fucking trippy, maaaaan, as you’ll for sure realize if you take the time to listen to the tracks below (assuming their previous work hasn’t already met your acquaintance). Said previous work includes a self-titled 7-inch released in 2010, and their debut LP Pure & Disinterested released the following year, also on Siltbreeze. “Also” is in reference to their just-announced sophomore album Borrowed Time due out October 29.
A previously half-varying cast seems to have stopped its rotations, as the quartet of Vincent Alvaré, Nicholas Kulp, Joseph Kusy, and Tania Mesterhazy remain firmly in place for this second amalgam of fuzzy guitars and gloomy undertones. It’s certainly intriguing to hear a bass line reminiscent of post-punk as it joins noisy sequences, and vocals that at least sound like a harkening back to 60s-era activism. But don’t let me ruin it for you:
Borrowed Time tracklisting:
01. Bow Your Head
02. Mother Nature Fetish
03. Beyond Your Bones
04. Green Hands
05. Get Around
06. Admit It
08. Girl (Like You)
The Velvet Underground (or whomever) announce 45th anniversary edition of White Light/White Heat, now with more superness!
When it comes to anniversaries beyond the 10th, few things stand the test of time. High school reunions cease being worthwhile by virtue of being high school reunions, and tragic events like 9/11 fade from significance as if by rule, as the 10th anniversary comes and goes. Obviously this isn’t the case for everyone or everything in a particular context. There’s wedding anniversaries, the later of which start to become compulsions for third parties to wonder, “Hm, do they still… ?,” but are nonetheless seemingly more prized as time goes on. And then there’s The Velvet Underground, who were famously unknown during their period of most activity, but have more recently been hailed as legendary and superlatively influential.
Such facts allow for a rarely justified 45th anniversary release, that of their first post-fruit album, White Light/White Heat. Universal Music will be doing the sponsoring here, as December 3 will coincide with White Light/White Heat 45th Anniversary Super Deluxe Edition, comprised of three discs: remastered versions of the album in mono and stereo, and bonus material consisting of alternate versions, as well as new mixes. Additionally, and of particular note, it’ll come with a previously unreleased live set recorded at The Gymnasium in New York on April 30, 1967. Non-WL/WH songs like “I’m Waiting for the Man” and “Run Run Run” reportedly garnish the setlist.
Thank Lou Reed and John Cale for the content, as they helped out with the curative duties on this rather unprecedented collection.
• Universal: http://www.universalmusic.com
Sub Pop to reissue Soundgarden’s Screaming Life / Fopp EP; must be time for them to pay the cable bill!
Lean times for the music industry, boys and girls. Even the indies gotta start repackaging their veterans. Case in point: on November 26, Sub Pop is reissuing its late-80s Soundgarden stuff — including their first record, Screaming Life, plus “bonus tracks from the Fopp EP and Sub Pop 200 compilation” — all rolled into one convenient package on CD, double LP, and digital. Hey, doesn’t that sound… like a thing to you?
All tracks have been remastered by Screaming Life producer Jack Endino, who had this to say about it:
I already knew Soundgarden pretty well, since they and Skin Yard had shared the stage many times in Seattle’s tiny club scene circa 1985-1986. Soon after opening Reciprocal Recording in July 1986, there I was with Soundgarden, trying to make the most of our eight tracks. Somehow, we found room for all of Matt Cameron’s “bonus tubs,” Hiro’s primordial Fender bass, and a whopping four tracks to share between Kim Thayil’s mad guitar psychedelia and Chris Cornell’s still-expanding voice. “Nothing To Say” was the song that made us all look at each other and go, “uh, holy crap, how did we do this?”
Sure, no one really likes Soundgarden anymore, but you could be a pal and help that pretty cool label (and maybe Kim Thayil too) keep the lights on at home and preorder the thing over at the Sub Pop site. I think it’s probably tax-deductible.
Screaming Life / Fopp EP tracklisting:
01. Hunted Down
03. Tears to Forget
04. Nothing to Say
05. Little Joe
06. Hand of God
07. Sub Pop Rock City
09. Fopp (Fucked Up Heavy Dub Mix)
10. Kingdom of Come
11. Swallow My Pride
Arca to present &&&&& at Pitchfork-sponsored multimedia event in hopes that Pitchfork will then review &&&&&
Arca released &&&&& (TMT [Eureka!] Review) a few months ago as a free mixtape:
Visual artist Jesse Kanda made a grotesque moving image to accompany it:
Now Arca and Jesse Kanda are collaborating to turn &&&&& into a full-on grotesque multimedia experience, centered around a film that visually interprets a nice gooey chunk of the album. Just yesterday they made “the most beautiful mistake of all time”:
Said grotesque experience will be taking place this Sunday, October 6, from 4-7 PM in the VW Performance Dome at MoMA PS1 in Queens. The event was put together by FORMS (Pitchfork’s “multimedia initiative”) and Absolut (Pitchfork’s vodka of choice after their FORMS Festival didn’t happen). Along with the featured film, a vocal ensemble led by Abby Fischer will perform even-more-abstracted versions of Arca’s music, with Thunderhorse Ent. providing the light show. You can buy tickets for the event here.
King Khan is back! He wasn’t gone, but he’s back. While King Khan himself remained a relatively prominent presence over the past few years, it was a full six years of silence from his group, King Khan and the Shrines, until last month when King Khan was like “Oh yeah” and decided to put out a new record on Merge, called Idle No More. To prove this happened, here’s a song from that album by the title of “Born to Die” (very popular title):
If you’re still not convinced that King Khan is back, well, what’s your problem? What’s a man got to do to convince you he’s back? Go on an extensive tour of North America through October and November? Deal. King Khan and the Shrines are going on that very tour. If you go to those shows and you see them and you’re still not convinced that King Khan is back, then I don’t know what to tell you, buddy.
King Khan and the Shrines dates:
10.11.13 - San Diego, CA - Casbah
10.12.13 - Los Angeles, CA - Culture Collide Festival
10.13.13 - San Francisco, CA - Slims
10.14.13 - Portland, OR - Dantes
10.15.13 - Vancouver, BC - The Rickshaw Theatre
10.16.13 - Seattle, WA - Neumos
10.17.13 - Boise, ID - Neurolux
10.18.13 - Salt Lake City, UT - Urban Lounge
10.19.13 - Denver, CO - Larimer Lounge
10.20.13 - Kansas City, KS - The Record Bar
10.21.13 - St. Paul, MN - Turf Club
10.22.13 - Madison, WI - High Noon Saloon
10.23.13 - Chicago, IL - Bottom Lounge
10.24.13 - Cleveland Heights, OH - Grog Shop
10.25.13 - Detroit, MI - Magic Stick
10.26.13 - Toronto, ON - Legendary Horseshoe Tavern
10.27.13 - Montreal, QC - La Tulipe
10.29.13 - Boston, MA - Brighton Music Hall
10.30.13 - New York, NY - Webster Hall
10.31.13 - Philadelphia, PA - Union Transfer
11.01.13 - Washington, DC - Black Cat
11.02.13 - Durham, NC - Motorco Music Hall
11.04.13 - Atlanta, GA - Terminal West
11.05.13 - Birmingham, AL - Bottletree
11.06.13 - New Orleans, LA - Siberia
11.12.13 - El Paso, TX - Tricky Falls
11.13.13 - Phoenix, AZ - The Crescent Ballroom
The Flaming Lips finally quit goofing around, release one EP inspired by a sci-fi movie and another EP of Tame Impala covers. Never mind, definitely still goofing around!
Yeah, the Lips seemed to get a little serious on us for a minute or two this past spring when they put away the animal costumes and shit and savagely dropped some terrifyingly terrifying terror on us. But I think they maybe just needed to eat a Snickers bar or something, because now they’re back to doing what elder statesmen of psych-rock should be doing with their time and given status: recording EPs of vanity-style covers and incidental movie music for films they think are cool!
As Consequence of Sound tells it, Coyne and co.’s first forthcoming EP, entitled Peace Sword, was “inspired by” the forthcoming Hollywood movie Ender’s Game. It comes out on November 26 and features a healthy six (Dave Fridmann-produced) jams with such Flaming-Lips-title-esque titles as “Think Like a Machine, Not a Boy,” “Wolf Children,” and “Assassin Beetle/The Dream Is Ending.” In discussing the project with the Huffington Post back in August, Coyne remarked that he and the band “really ended up liking (the movie)” and that “Steven [Drozd] and I both remarked, ‘Man, I’d like to do some more music associated with this,’ and we think they’re going to let us… I think it could work out.” Sounds like it must have? (BTW: Coyne is all-too-aware of Ender’s Game creator Orson Scott Card’s recent controversial remarks about same-sex marriage and made sure to let everyone know via Instagram that “we try to do cool things with cool people that, obviously benefit us and the cool people we doing stuff with… occasionally these benefits extend to abstractly connected people who are NOT so cool… So we try to choose…” And they’re also planning on etching “Hey Orson Scott Card You Are Wrong” and “Gay People Are Cool” on both respective sides of the EP’s vinyl edition. So, yeah, chillax.)
In addition to that EP, though, there’s also another casual offering of goofy goodness in the works: A split EP with kindred psych spirits Tame Impala. The two bands will be crossing paths a few times on tour next month, and attendees at those shows (and probably all shows) will be able to pick up an “exclusive tour-only vinyl featuring a pair of covers from each band.” For their part, Coyne and the boys are tackling Tame Impala’s “Elephant” and “Runway, Houses, City, Clouds”, while Tame Impala will impossibly attempt to further-psychify the Lips tunes “Are You a Hypnotist?” and “Silver Trembling Hands.” Check out some footage of the Lips tracking “Elephant” below. Or don’t if you don’t like your Flaming Lips doing fun stuff. Cuz this seems pretty fun.