Monday, July 28, 2008


D: Alright, I guess we can do D&D. I don't know if you can tear me away from this Souled American though...
D: Oh, you're getting into it now?
D: Oh man, yes. It has completely clicked. I've been listening to Fe, their first album, and this one, Around the Horn, which is I think their third... I mean, I listened to Fe twice last night, and once tonight.... Around the Horn both nights...
D: This sounds great.
D: Oh, this is one of their very best songs, it's called "Second of All."
D: It's so sweet and sad.
D: Now listen, you have to listen to these albums a couple times at least before you even begin to maybe like it. They are a completely off-putting band at first. And I have to be honest, it was an essay on them in the new Believer mag, the music issue, that turned me around. It wasn't even the greatest essay, I mean it was littered with Believer speak...
D: Like what?
D: Well, let's just pull it off the shelf here and I'll read you an example... are you recording?
D: Why yes I am.
D: Alright, this is all going in. (Thumbs through magazine.) Actually, this is really a fine essay. I can't knock it. I mean, there is a certain post-Dave Eggers preciousness about it... like this stuff: "Using an approximate calculus that accounts for current mood and desired mood, I pick an album. Whatever I decide, I decide this: to listen to Souled American." But really, I can't knock it, it states its case really well. He recognizes the exact things that were bothering me about the band, and articulates them really well, and then explains why the band is great anyway. It really worked.
D: Well, this is sounding great to me right now. I have heard them, like one other time, and yeah, it didn't click.
D: Like I said, you definitely have to listen at least three times before you'll even begin to like it. It may take longer than that - the writer of this essay says he's STILL not even sure if he likes them. Anyway.... I think we can start shuffling. Listen to this bass player though, he is absolutely sick.
D: Yeah, I had noticed him a little bit. Totally strange.
D: Yeah, he's incredibly good though. He kind of just clumsily dances around these songs and keeps them totally fired up and in the moment. Plus he kind of lays these weird chord suspensions down from time to time, in a more jagged Phil Lesh kind of way. He never lets the songs become just country songs. He never lets it be Uncle Tupelo. I don't think they would be anyway, the way the guys sing. I think that's the real acquired taste. But it's actually stopped bothering me. We can start shuffling, though.
D: Alright, here goes...........

D: Speaking of Phil Lesh.
D: Man, why does it always go to the Grateful Dead when we're doing D&D?
D: Because you love them.
D: Yeah, I guess it might be because I have 24 complete shows on here and like 16 album releases. Almost four days worth of back-to-back no-repeat Grateful Dead....
D: That's insane.
D: I'm not even gonna say one word to defend it. Anyway we've got a "Bird Song" here, one of their greatest songs.... not sure yet if this is a great performance... sound is a little distant. I'm guessing this is from....... that's Keith on piano.... how about a '77 show?
D: Looks like '72.
D: Okay, okay... oh, is this that Veneta, Oregon show?
D: Yes it is.
D: Alright, I've been warming up to this show... there's quite a bit of lore about it... it was an outdoor show at like Ken Kesey's cousin's farm in Oregon, I think it was a benefit for something, and they made this crude film of it, their first attempt to make the Grateful Dead Movie, basically... it's called Sunshine Daydream and there's some clips on YouTube. The movie is like 63 minutes long and it's never been released, and looks pretty damn good... good live footage, hippies running around in a field, and some footage of Neil Cassady driving the Merry Pranksters bus, with "I Know You Rider" in the background. Pretty sweet....
D: These are our real American icons.
D: Oh fuck you. Anyway, it was like 100 degrees that day so it was kind of a rough show, not musically rough, but everything else.... also one of the last shows where all members were on acid while playing.
D: I still don't understand how they were able to do that.
D: I think they were just so familiar with their own music, and also familiar with not just how to play it, but how to actually use it as a safety zone while tripping. But yeah, I think they were pretty much over it by '72. But man, this song is such a momentum-kill to start a D&D session with. I mean, this is like 12 minutes long, and it's lovely, and mellow, and now I just want to lay back and listen to this all night. But shuffle on we must.......

Oh lord, this is "The Needle and the Damage Done," the Harvest version even... I mean, couldn't this at least be a version from some weird stoned bootleg? I've got over 1000 albums on this thing, we're here to check out the obscure stuff!
D: You probably don't actually have any obscure stuff. And this sounds awesome.
D: Well of course it does. I was just kidding about the obscure stuff.... nothing's obscure anymore. The only time something is obscure is if nobody wants it.

Okay, this is gamelan music from Music From The Morning Of The World. [Track: "Gamelan Anklung: Margepati"] Still not digging very deep there, Mr. iPod. But, this is one of my favorite albums that I own. One of my first serious 'world music' finds. I wanted some gamelan music just from reading about it, because like John Cage and then the Sun City Girls were into it, and this was the album I found in the world music section, original vinyl, cheap. Turns out to be a real classic of the genre. This was actually the first release on the Nonesuch Explorer label, in like 1968. Such alien music.
D: Yeah, the sense of time and rhythm, the way it speeds up and slows down...
D: Incredible. And of course the sonorities, the harmonies, the way the melodies move... it's almost like science-fiction theremin music rearranged for.... whatever it is they're playing it on... I mean I hear all the bells of course but there are other higher tones that sort of float in between the bell hits, and they don't sound like they have the bell attack... almost like a flute tone or something... you hear what I mean?
D: Oh yeah, I hear it. I just think it's total mystery music.

D: OH GOD, this is good. Oh yeah, this is Velvet Underground, my god.... is this on Loaded, or is this an outtake? "Oh Sweet Nothin".....
D: I think this was the last song on the Loaded LP. It's like 7 or 8 minutes long.
D: It's so good. It's actually making me think of Souled American a little bit, this kind of slow and streched-out country style, but.... this is so much smoother and prettier.
D: While still being just as sweetly sad.
D: I think so. When Lou sang like that it was just so sweet... or god, is this Doug Yule? I'm never sure. Like, that can't be Moe Tucker on drums... too much cymbal and hi-hat.
D: Can't be. Just a second.... [googling] Oh hey, says here, "Moe Tucker was pregnant, and Yule's brother Billy sat in on drums for most of the sessions."
D: I'm pretty sure I knew that. I've known it a few different times.
D: It also says, "Doug Yule ended up recording many of the vocals in the final mix." Let's see... [more surfing].... yep, Wikipedia says that Yule sang on "Oh! Sweet Nuthin'."
D: Well there you go. Bravo, Mr. Yule......

Okay, now we're in 'treated field recording sound collage' land. Immersion style. I don't think this is Sublime Frequencies though.... that bird sound is mad annoying.... it might not be part of the original field recording.... oh shit, it's over! And right into "Chameleon" [by Herbie Hancock]! The iPod is really playing the hits tonight.... so who was that field recording? "Chameleon" is sounding tight as hell, by the way. Who played drums on this album?
D: Was it Lenny White?
D: I don't think so...
D: [Wiki-ing] I guess it was... Harvey Mason.
D: I don't even know who that is. But he is the drummer on the best-selling jazz album of all time!
D: Anyway, back to the lecture at hand, who was that previous track by....
D: Yeah, the field recording thing....
D: Well, it wasn't quite Sublime Frequencies, but it was Sun City Girls! [track plays again]
D: Oh really? Proto-Sublime Frequencies....
D: Title is "Bamboo Gazebo Arousal," and it's from Sumatran Electric Chair.
D: I was gonna guess that. I really like that album. It's one of Alan Bishop's favorites too. And those bird sounds are real, of course.......

Okay, now we're in bootleg land... or maybe this is the Tower Recordings or something.... oh, never mind, this is Alistair Galbraith. From a very recent live thing he put out, obviously a lo-fi recording, sounds good though, he's cutting through just fine. I've never heard him like this, with no overdubs, no 4-track trickery. Oh wow, it's over... I guess that was a trick. The way he truncates his songs on tape, I guess he does it live too.

And this next thing sounds like FREE FOLK. Hmm. Really not sure who it is. Goofy sounds. Old-timey sounds. It's kinda waltzy. [Singing starts.] Oh man, this is really quirky. This is practically Elephant 6. But not quite, there's something a little more laid back about it. Oh, he's singing "I hear a new world calling me..." Is this a Joe Meek song?
D: I don't know...
D: This is probably Magical, Beautiful, covering a Joe Meek song...
D: It is Magical, Beautiful, you are correct.
D: This is pretty impressive. It's got that woozy Magical, Beautiful feeling. The slide guitar and stuff like that. Okay, we've got this damn iPod, time to put it to use... jump to the artist Joe Meek and see if we can hear the original. I know I have it on here.
D: Coming up
D: Oh wow. This is super weird.
D: Insane.
D: Literally! I was just reading about Joe Meek, and I didn't know any of that stuff, how he like, I don't know, killed his neighbor or something?
D: Whoah, I didn't know that.
D: He did, he freaked out and killed some innocent stranger and then killed himself I think.
D: Let's see... [Wiki strikes again].... yep, in 1967, at age 37, he used a shotgun to kill his landlady and then killed himself.
D: Sigh. Well, the Magical, Beautiful version was pretty cool.
D: Yeah, it's actually a more fleshed-out version.
D: Yeah, Meek's version is amazing but it's kind of all sound effects. What's this, just the next song on the Meek album?
D: Yeah, it's called "Orbit Around The Moon."
D: I like the surf stuff.
D: Yeah, well his biggest hit was "Telstar" by The Tornadoes... or was it "Tornado" by The Telstars? [wiki wiki wiki wiki] Okay, it's "Telstar" by The Tornadoes.
D: That's gotta be surf.
D: Yeah, there's a link here on the Wikipedia page for you to listen to a snippet of the song, but I can't get it to work. It's an "ogg" file.
D: Yeah, I don't mess around with those. At least not yet. I finally messed around with a FLAC the other day. That was kinda silly. "CD quality!"
D: I thought CDs were supposed to suck, man....
D: Totally! I love it when I see an album ripped at like 120.... it's like some full-length deluxe CD reissue with bonus tracks, and the whole thing is like 39 megs. Alright, this is pretty rad, but let's get back to shuffle here.... adios, crazy Joe Meek....
D: Yeah, I think "Entry of the Globbots" is a good track to go out on...
D: Wow, listen to those chipmunks chattering....
D: Yeah, I mean.... you know, nothing but respect for the victim and her family, but... [points to speaker] didn't they hear the warning signs??

D: Oh great, you shuffled me to some classical music. I love this stuff at work, or at home with the family, but dammit, NOT FOR D&D! It's like, "Alright Blastitude readers, check out this latest obscure break-out underground artist, his name is.... J.S. Bach!!"
D: Actually this is Chopin.
D: I coulda probably guessed that right. Fred Chopin. Hey, guess what, it's beautiful.
D: For the record, this is one of the Nocturnes. Opus 9, Number 3.
D: Listen to you!
D: I care deeply.
D: Next...

D: Oh, you'll like this.
D: Sounds like the Dead doing "Morning Dew."
D: Ha ha, exactly.
D: It is the Dead?
D: No, but that's why you'll like it.
D: This is really nice. Great singer. This isn't from Chile or Argentina or something, is it?
D: Um, it is from the Southern Hemisphere.
D: Oh, is this..... Amanaz?
D: Yes.
D: Oh god, this is a wonderful album. I think it's gonna ruin all the other 70s African psych reissues for me. I already couldn't get into the Witch album after hearing this first. Are they singing "Sunday Morning"?
D: Yep, that's the title.
D: See, I was just thinking how this sounded a little like Doug Yule-era Velvet Underground, specifically that "New Age" song off Loaded, the one that goes "Can I have your autograph?"
D: "He said to the fat blond actress...."
D: Exactly. I think they might've modeled this song on it a little bit.
D: Well they did name the song after a VU song...
D: Oh wait, do you think they were actually influenced by the Velvet Underground? Like they were listening to the banana album over there?
D: Of course it's possible....
D: Yeah, but on like cassettes or something? Was Verve or Polydor or whoever making cassettes in the early 1970s? I mean, I'm thinking of the Group Doueh story, how he only heard Hendrix via cassettes manufactured in and imported from Spain or something like that....
D: The more I think about it, I don't know.... I think the "Sunday Morning" thing is just a coincidence. I mean, hardly anyone in the USA was listening to VU, how could it have made it to Africa?
D: Well you know what they say, only two people in Africa heard the Velvet Underground, and they both started a band!
D: They were both in Amanaz!
D: Wiki THAT, my man.
D: I bet I won't figure anything out. "No page titled Amanaz."
D: Hm. Google "Amanaz + Velvet Underground."
D: Nothing but "CD Now" ads.

D: This is Kurt Vile, another fantastic dusted ballad from the Constant Hitmaker album. "Everyone that I know/Talks to me way too slow/I lose track of what they say/Before they walk away." Skip Spence worthy, right there. Let's just stop recording and listen to this shit.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Bathory (first six albums, especially The Return... and Hammerheart)
Sex Vid Nests 7" (and live)
Box Elders 7" (best "sent a letter to my baby"/"got a letter from my baby" hook in years)
Hearts of Animals 7" (I was gonna say "dream pop" but there's no genre to describe this music yet - I mean what about that driving drum machine?)
Muslimgauze Jaahgeed Zarb CD (slammin!)
Zbiegnew Karkowsi & Damion Romero 6 Before 6 CD
Helena Espvall & Masaki Batoh s/t CD
Caboladies Body Tides CDR
Warmer Milks Soft Walks CD
The Fun Years Baby It's Cold Inside CD
Vivian Girls LP (great!)
Radio Thailand 2CD
Radio Myanmar CD (all Sublime Frequencies always)
I've got all my Butthole Surfers LPs out again
Fabulous Diamonds LP (one of the very best of all the new Siltbreeze)
These Are Powers Taro Tarot EP (some bold new ground)
the new Grouper LP Dragging a Dead Deer up the Hill is pretty much perfect

Saturday, July 05, 2008

Hey, one more thing, I'm heading to an 'undisclosed location' (code name: grandma's house) where there will be no working computer or cell phone. I won't be back for like 9 days, just in case you check this thing more often than that... some good listening tonight: I pulled out this 12" single I forgot I had on the Skam label and it was great proto-dubstep or something from 1998 - still have no idea how to classify post-90s techno, I just like what I like - after the obligatory 10 minutes of internet research I figured out that the artist is Gescom, which is an umbrella name for about 20 revolving people that work together from time to time, including the guys from Autechre. Then I read a little more and realized that the "remixed by Ae" credit that appears on most of these tracks (such as the great "Viral Rival" remix) is actually Autechre themselves, so I was like, "Oh yeah, this is basically an Autechre 12" from 10 years ago, no wonder it's so good, and no wonder I had it filed where 'Autechre' would be." See, I had figured all this out years ago and completely forgotten it.... A friend gave me a copy of the Christina Carter Bastard Wing LP from a few years back and I finally put it on tonight. It's solo piano and voice recordings from 1995, not released until 2003 because it took so long to find someone who could mix & master the rough tapes into something usable. I can see why they made the effort because the music is kinda something else, soaring solo-void free-form soul music, especially the long track and album centerpiece on side two, "Quiet Love." The B&W Siltbreeze-style graphics give me nostalgia for 1995 too. Also listened to a couple Billy Bao things on the iPod, the Fuck Separation LP (10 tracks clocking in at exactly 3 minutes each) (CORRECTION: I'm talking about the Dialectics of Shit LP on the Parts Unknown label - Fuck Separation is the 10" on S-S Records, now sold out at source) and its companion piece the Accumulation 7" (10 tracks clocking in at exactly 1 minute each). The full-length is one of my favorites of the year so far. They absolutely pummel in a way that made us all realize that the AmRep revival had been there all along, right in front of our faces (see also Z Gun #2), and call me crazy but the hardcore academic rigor applied to the whole thing really works, takes it to another level completely, the timing of the tracks, the rigorously applied pseudo surface noise (watch out if you're listening on headphones), the killer graphics, the dubious but provocative back story, the whole package. People who like punk but don't like noise might be a little frustrated by these records, but if you like both, both are very good (that guy Mattin is behind all this and he's already shown that he knows what he's doing on the noise front). Oh hey, guess what, I've gotta go load up the car, so we'll see ya next week...

Friday, July 04, 2008

Hey, Mikey Milks is having a festival at his house next weekend:

Paranormal Over Time Festival July 11-13 Mulberry Farm Garrison, Kentucke

Featuring music by:
Afternoon Penis
Brother Bell
Child Bride
Eyes and Arms of Smoke
Daniel Higgs
Kraken Fury
Lexie Mountain
Jason Schuler
Warmer Milks

+ more or less tba

This festival is RSVP ONLY. Go to Tombstone Gravy for all information.

The new Warmer Milks album Soft Walks has been in the CD player a lot over the last month but I haven't really figured out what to say about it. A few days ago I did write this: "In a career filled with weird turns and exquisitely gross musical decisions, Warmer Milks have gone and taken one of the grossest weird turns possible with their new album Soft Walks: they've made a lush orchestral southern rock magnum opus. This thing is totally serious, filled with weird but well-written songs that are meticulously arranged and orchestrated and recorded. It's also their first of what looks to be a few releases with Animal Disguise, a good home for them. AD calls WM 'a unique blend of southern rock, improv and modern confusion,' and that description, however succinct, describes the nooks and crannies of this album better than anything I've thought of so far. See what you think."

Tonight I've been listening mostly to Dante's Disneyland Inferno, putting up more lyrics for the Sun City Girls lyrics archive. I'm finally almost done with the Dante's portion - it's only taken me four years. (Thanks again to reader 3dsunglasses for starting things back up.) I've had the album for 12 years now, ever since it was released, and it still sounds amazing. To this very day I'm hearing things in it I had never noticed or thought about before.

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