In the annals of the "early heavy", the Sir Lord Baltimore (from Brooklyn) is up there with the likes of Dust, Bang, and yes Blue Cheer. Too bad their two albums have been pretty much out of print for ages, the last official cd reissue, a two-fer, was back in the early '90s. But, proto-metal fans rejoice, 'cause now both SLB records are back in action, individually, on vinyl! 1970's Kingdom Come and the self-titled 1971 sequel, both of 'em essential slabs of heavy hard rockin' from this seminal band in heavy metal history.
The debut, with the spooky trippy "ghost ship" painting on the cover, alone justifies SLB's cult status. Very few bands in 1970 were this heavy (though, it must be said, Black Sabbath were on an other level entirely). Aside from the primly pretty, baroque ballad "Lake Isle Of Innersfree", this whole record is pretty much a frenzied fuzz blaster par excellance. And when we say fuzz, we mean FUZZ! Just check out the title track, a majestic six and half minutes mixing tripped out lyrics with savage bursts of ultra distorted guitar. There's definitely a sixties vibe to the proceedings; you can imagine bikers totally digging it. And it's as energetic as the proto-punk coming out of Detroit at the time, too.
The follow-up album is a little fancier, more diverse, and dramatic, the band expanded from a trio to a quartet, with extra instrumentation (acoustic guitar, organ). There's a 10+ minute prog epic called "Man From Manhattan" (which still gets heavy!), but also ragin' rockers like "Woman Tamer". And you get to hear SLB kicking out the jams in concert on the live track "Where Are We Going".
What's not to love about this band? They're a Sir, they're a Lord, they even have a singing drummer! So if you haven't yet been flattened by SLB's fuzz, time to add these to your collection, especially if said collection already includes the likes of High Tide, Tiger B. Smith, Highway Robbery, Leaf Hound, Toad, etc.
In the annals of the "early heavy", the Sir Lord Baltimore (from Brooklyn) is up there with the likes of Dust, Bang, and yes Blue Cheer. Too bad their two albums have been pretty much out of print for ages, the last official cd reissue, a two-fer, was back in the early '90s. But, proto-metal fans rejoice, 'cause now both SLB records are back in action, individually, on vinyl! 1970's Kingdom Come and the self-titled 1971 sequel, both of 'em essential slabs of heavy hard rockin' from this seminal band in heavy metal history.
The debut, with the spooky trippy "ghost ship" painting on the cover, alone justifies SLB's cult status. Very few bands in 1970 were this heavy (though, it must be said, Black Sabbath were on an other level entirely). Aside from the primly pretty, baroque ballad "Lake Isle Of Innersfree", this whole record is pretty much a frenzied fuzz blaster par excellance. And when we say fuzz, we mean FUZZ! Just check out the title track, a majestic six and half minutes mixing tripped out lyrics with savage bursts of ultra distorted guitar. There's definitely a sixties vibe to the proceedings; you can imagine bikers totally digging it. And it's as energetic as the proto-punk coming out of Detroit at the time, too.
The follow-up album is a little fancier, more diverse, and dramatic, the band expanded from a trio to a quartet, with extra instrumentation (acoustic guitar, organ). There's a 10+ minute prog epic called "Man From Manhattan" (which still gets heavy!), but also ragin' rockers like "Woman Tamer". And you get to hear SLB kicking out the jams in concert on the live track "Where Are We Going".
What's not to love about this band? They're a Sir, they're a Lord, they even have a singing drummer! So if you haven't yet been flattened by SLB's fuzz, time to add these to your collection, especially if said collection already includes the likes of High Tide, Tiger B. Smith, Highway Robbery, Leaf Hound, Toad, etc.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Sun City Girl Rick Bishop's debut solo release on John Fahey's wonderful Revenant label. Pretty tunes (about knighthood apparently) that sound very "old world," like quaint italian restaurant music played on guitar instead of mandolin.
It's been a while since we've heard anything from the Fflint camp, our favorite source for brilliant, damaged outsider avant electronic weirdness. But this week we've got not one, but two missives from the mysterious world of Fflint Central. And while Terminal Machine is not technically -ON- Fflint, Pendro does just happen to be half of the mighty Fflint duo soit most definitely count. Here he's teamed up with Japanese writer / musician / sound artist Kenji Siratori, who we heard from recently on the mind blowing Hypergenome666 4cd set with Nordvargr and Beyond Sensory Experience.
And like on Hypergenome666, Siratori is a man of words, literally. His texts are dense and bizarre, strange and so fascinating. For Terminal Machine, Siratori sent recordings of himself reading some of his works and gave Pendro the go ahead to transform those words into abstract sound.
The opening track features Siratori's voice gradually twisted into strange shapes as more and more effects are added, becoming more brittle and metallic, until the words almost sound like the plucking and scraping of steel strings. Later, the words are chopped and reshaped into some lurching post-Autechre IDM skitter, a smear of distorted melody and chittering rhythm, elsewhere the text becomes some droning sci-fi soundscape of processed vocals and FX drenched drones, another track finds the vocals obliterated, the only traces left a skittering, squelchy, splattery soundscape of Fflinty buzz and crumble. The final track is a dark, drifting dronescape, distant metallic buzz, bursts of microscopic grit, bits of high end glimmer and little upper register trills, all drenched in a thick patina of murk and mumble. The human voice twisted and tangled up into some seriously inhuman sounds. Pretty amazing stuff.
Packaged in a slimline case with some seriously disturbing 'meat-y' artwork...
Another blast of sinister grimness from this local tape label (who in the past have brought us Sunchariot, Surt, Uruk Hai and more), this time in the form of this two way split, featuring two bands who are not so much black metal as blacknoize, two strains of mutant death industrial. Sirius are up first, unfurling a caustic crawl of power electronics thrum, and noise drenched rumble, all blurred and glitched out, shot through with fragmented melodies, and swirling textures, as well as buried churning rhythms, over which a strange voice, doused in effects and heavily processed, delivers some arcane incantations, the sound roiling and blackened, dense and intense, caustic and corrosive, but also muted and murky, making it more listenable than a full on noise record, with the sound constantly shifting, and often settling into tripped out psychedelic drifts and sprawls of primitive lo-fi electronics, all whirling grey noise and burbling gurgling glitches, dark cascades of woozy melody, tumbling into gnarled black tangles of sound, one sound in particular sounding like that horn they always blow at sporting events, but here slowed waay down, and heavily processed into a creepy atonal bleat. The sound continues to unfurl, and unravel, detuned pianos, over warbly loops, and bowed buzzing metals, darkly hypnotic, and seriously warped and woozy, with most of Sirius's side of the tape tending toward creepy ambience and atmospheric mumbled mesmer.
Cosmic Breath begin with a serious of reverbed cosmic concussions, ringing out over a field of caustic crunch, before abruptly cutting out, and slipping into a haunting bit of atmospheric drift, all tinkling melodies, and moaning drones, of swirling synths, all woven into a gently undulating sprawl of glimmering psychedelia, and woozy droned out dirft. Minor key melodies seeming to melt over a dirge like churn, while the sky above is filled with high end streaks and shimmering sine wave like overtones, the sound transforming into stately synth marches, all wistful and melancholy, but paired with sick, raspy demonic vokills, that changes the cinematic synthiness into something much more menacing, the juxtaposition truly warped and bizarre, and it continues like that, creepy lo-fi Carpenter / Goblin style synthscapery, drifting and slithering and creeping beneath those monstrous shrieks, occasionally slipping into something much darker, wreathed in feedback, droning ominously, a super tripped out collection of grim black-synth cosmic ambience that definitely has us wanting to hear more!
Most well known to most as the leader of the Revolutionary Ensemble in the 70's, Sirone was also a sideman for such jazz legends as Cecil Taylor, Albert Ayler, Archie Shepp, Charles Gayle, Ornette Coleman, Roswell Rudd, Clifford Thornton, Sonny Sharrock, Pharoah Sanders, Sun Ra and more. But he was way more than just a sideman, an amazing composer in his own right and a completely orignal and creative bass player. For this live set, recorded in 1991, Sirone teamed up with Dennis Charles on drums and Claude Lawrence on alto sax, and the results are sublime. The performance starts off with a long piece for solo flute. A dense squall of tweets and trills and twitters and flitterings, like strange and haunting bird calls. After that it's all about the bass, as Sirone stretches out and slides smoothly all over the fretboard with two tracks of almost nothing but bass (one track gets a smattering of free jazz rhythmic splatter), it's dark and deliriously languorous, warm and thick and totally dreamy. When the rest of the trio does join in, it's dense and focused and intense, with Sirone and Charles locked in tight but somehow still wild and loose and free, while Lawrence skips gingerly atop a squirming tangle of shuffling rhythms and throbbing pulsing low end. So good.
Everybody loves the Pixies, and while a lot of us lean toward Surfer Rosa as our favorite, Doolittle is the one that pushed the Pixies squarely into the mainstream. And the cool thing is, they didn't have to change their sound one bit to do it. Read all about the adventures of Black Francis and his gang as they record a record that will go on to shape all of indie rock to come.
Sissy Spacek are the face-melting noisecore duo of John Wiese and Charlie Mumma, who've recruited various guests to shred their vocals in the live context, including Sara Taylor of Youth Code and Aaron Hemphill of The Liars. The job entails staccato screaming at the top of one's lungs whilst rampaging through the audience as Wiese and Mumma create an insanely explosive, hyper-reductive form of punk and grindcore. These are not so much songs as unrestrained nuclear detonations of exhilarating fury that lasts maybe 30 seconds at the most, stopping abruptly and moving onto the next violation of music through bass, drums, voice, and a hell of a lot of feedback. If you've never seen Sissy Spacek, you fucking should. If not, this cd comes damn close. Gate collects two previous releases, an eponymous ep and one aptly titled "Incomprehensible Dehumanization" along with a deliciously shitty live recording as a bonus track.
Album number two from John (Bastard Noise) Wiese's cut 'n' paste, plundercore grind project Sissy Spacek. Short and sweet blasts of feedback and throat clearing kinda like Masonna crossed with the Locust. Like the spine says: "SISSISSPSSKSSISSRS".
John Wiese (Bastard Noise) and his pal Cory Ronnau deliver what is probably the world's first plunderphonic grindcore record. Although in this case all of the plundering is self inflicted and self directed as the two record their own two piece (guitar and
Can you handle some noize? The French trio Sister Iodine have apparently been around in the underground for some years now. Jim here recalls that their early stuff was more akin to no-wave, angular rock music (and was quite curious about them having a disc out on Mego). The rest of us here hadn't heard 'em before... but really dig this, which is definitely much more in the noiserock vein of, say, Wolf Eyes, than DNA-ish no-wave. Yep, noiserock a la Wolf Eyes, Shit & Shine, Cadaver In Drag, Hair Police, heck even Hijokaidan. Total distortion overload, the very first track coming off like an exploding minefield of noise, shit blowing up all around. But at the same time, it's not JUST noise, there's enough rhythmic structure to qualify this as rock music, made with guitar, drums, Korg PS3010 synth, and little regard for common standards of musical practice, like, say, melody, or even, really, riffs. Instead these 12 "songs" are all about interesting varieties of throb and rumble, flangey FX and feedback. Further keeping us entranced are the ponderously heavy drum hits, making things almost Khanate-like in parts, run through some sort of monster Merzbowian filter, as on the slumping slomping sizzling trudge of "Terminal Pain".
It's all instrumental (or at least, we can't HEAR any human vocals amidst everything else) but the song titles perhaps give some sense of Sister Iodine's mood: "Lava Junkie", "Black Trauma Delice", "Napalmee", "You Burned", etc. are all in keeping with their general sonic demeanor. Yeah, kind of a negative vibe, yet paradoxically gleeful as the cathartic impact of noisemaking with such abandon takes effect as well. This is the type of noise rock action we find most satisfying, and it even works at low volumes, as gritty textural drone, but turn it up (if you dare) to be fully cleansed in the controlled crinkum-crankum chaos of their howling rocket launching saucer landing skree!
This album was originally released a while ago on vinyl (limited and long gone presumably), and is now reissued on cd with 2 bonus tracks by Editions Mego, in nice, slightly oversized folder packaging like they like to do. Limited to 500 copies, and quite recommended.
Sister Loolomie is yet another project from Sergey Suhovik, the Muscovite mood engineer who has graced us with luminous drones via his other pseudonyms / projects Five Elements Music and Exit In Grey. Signals is our first exposure to Sister Loolomie, which appears to be hedging more toward a '60s computer music / radiophonic feel. Compositionally, Sergey maintains the cyclical patterns of shimmer and drone found in those other projects we've long championed; but the tools, instruments, and sounds seem to be of another origin. Several of the tracks add a ring modulated / sawtoothed grit to his source material, which immediately leads to the impression that Sergey has dug up some obsolete piece of telemetry / signaling technology from the cold war era, extracting a warm, fizzing, pixelated graininess from this imagined piece of equipment. And at other times, he posits warmer tones of bitcrushed suspension, rasping half-melodies, and sunblind mirages which has us thinking of those latter day Lovesliescrushing recapitulations of lost-then-found tapes. Super limited pressing of just 100 discs, of which we have the last copies.
Most rare groove fiends fell in love with The Sisters Love after hearing the 80's extended remix of their song "Give Me Your Love" which had disco aficionados like Larry Levan and Nicky Siano in seventh heaven. What's amazing is that the track was actually recorded in 1973, predating disco and demonstrating that if one dug a little deeper, one might discover that not only were The Sisters Love way ahead of their time but were also not merely a one hit wonder. Thankfully, as they have so many times in the past, Soul Jazz have come to the rescue putting together a totally stunning collection of the SL's deep hitting soul/funk recorded between 1969-1973. A vocal delivery with that perfect gospel influence that cuts right to the heart of the matter, and the sort of perfect production and orchestration that keeps the songs moving and practically begs to be sampled by the entire Stones Throw roster. Always such a pleasure to get a full helping of a group we only had heard in dribs and drabs before. After listening to this over and over we can safely say The Sisters Love have won a special place in our soul collection, alongside the likes of early Betty Wright, Ike & Tina and Candi Staton. Highly recommended!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
This NON-cd-r release from the outsider electronica label Phthalo is the work of Vladislav Delay, recording here as Sistol. After his exemplary Chain Reaction releases, this Finnish technician tightens up his techno minimalism to terse glitchy noises within rigid beats, certainly for fans of Thomas Brinkmann.
We had thought that Sistol was more or less a one-off project for Sasu Ripatti, the Finnish electronic producer better known as Vladislav Delay. The pioneering label Phthalo released an eponymous album back in 1999 as one of the first properly replicated discs after a slew of hand-duplicated cd-r releases. But for whatever reason, Sistol has resurfaced with this reissue of that 1999 album, buttressed by a second disc of remixes. Where Vladislav Delay's work has been a rather painterly smear of granular abstractions dotted upon a loose definition of the Chain Reaction rhythmic sensibility, Sistol has all of its sprockets engineered for a finely tuned precision. It's a very skeletal techno sound here, with a 909 kick drum pulse driving every track without much use for snares or hi-hats. Within this monophunk pulsation, Ripatti scatters small patterns of wooden electrical clacks and pings that again eschew most everything that could be construed as a melody. The insistence of the rhythm and the accretion of the pixel points settles into some curiously infectious grooves, although we'd be hard pressed to find this working on a dancefloor given how incredibly minimal this stuff is. The more austere moments of Thomas Brinkmann definitely come to mind as do the Wolfgang Voigt productions as Studio One, recorded about the same time as these cuts.
The bonus disc of remixes features John Tejada, Mike Huckaby, DMX Krew, Sutekh, Alva Noto, and like-minded techno types fleshing out Sistol's hyperminimal tracks with smooth Detroit / Berlin syncopations and darkened cybernetics. Given how minimal Sistol's work was, adding anything else completely changes the complexion of the original. Nevertheless, there are some mighty fine techno cuts to be found here. The noted exception to the techno offerings can be found in the remix from Ike Yard (yes, the recently reformed bleak No New York band with zombified leanings towards Cabaret Voltaire sounding very much like an updated version of themselves).
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
We first heard Sitaar Tah!, Tokyo's amazing 22-piece all-sitar "orchestra", a couple years back on another limited (and now out of print) aRCHIVE release, the sprawling, droning two cd set Animamima on which they collaborated with Japanese dark psych lord Keiji Haino! And we've been eager to hear more from 'em ever since. Now aRCHIVE presents a Semimimimimin, a 43-minute studio recording from the group. Sitars are GO!
So.... You like dense drone. You like exotic, Eastern raga-like stuff. You like psychedelic, pulsing, shimmering beauty. You like ghostly Phillip Jeck-like lo-fi surface hiss. Well what more need we say? You're gonna like this!
One long, trance-inducing track that weaves the sound so many massed sitars into complex patterns of rhythm and melody, modulating and building to more abstract and organic, swarm-of-insects levels... absolutely as soothingly nice as you could imagine.
Beautifully presented in the aRCHIVE tradition, in their usual oversized format, with art by SUNNO)))'s Stephen O'Malley, 4-color silkscreened cover, LIMITED TO 700 COPIES ONLY!
First we've heard from this Indiana crew, but the name definitely had us intrigued, and the fact that it was released on Auris Apothecary, one of our favorite labels going right now, whose packaging is consistently mind blowing, this one's no different. Each one comes wrapped in a sunflower leaf, and tied with twine, inside is a packet of "magical sunflower seeds" and a sunshine yellow tape housed in an eco-friendly brown paper sleeve, all housed in a stickered NON eco-friendly ziplock plastic bag. Sonically, this might be one of our favorites in the AA catalog, sitar and acoustic guitar, which means plenty of mesmerizing steel string buzz. The A side is an awesome psychedelic version of "The Rites Of Spring", that immediately recognizable melody stretched out into a gorgeous and languorous sprawl of hypnotic buzz. The flipside is a much darker proposition, whipping that guitar and sitar buzz into a brooding psychedelic squall, thick pulsing swells, ominous and haunting, distorted and darkly threatening. Both sides are amazing, and WAY too short. definitely excited to hear more from these guys.
LIMITED TO 90 COPIES!!
We had never heard of this Pagan Russian black metal, until we got a few copies from local label Brotherhood Of Light (Sunchariot, Domus Mactibilus, Llyr, Haar, Sirius, Cosmic Breath, Surt, Svetovid, Uruk Hai, Worldscape:18), and we were pretty blown away. The gorgeous opening intro is all sampled birdsong, folky guitar, and simple minimal percussion, lilting and melancholy, which is why when the record proper kicks in, it threw us for a loop, some seriously fierce, and blown out black buzz, the sound massive, and thick, and dense and heavy as fuck, and it's not just the sound that was a surprise, the arrangement, epic and complex, and then when weird shredding guitar surfaces, the song becomes a weird mathed out black prog, before exploding into furious buzzing blackness, the vocals are insane too, hysterical shrieking demonic howls, the perfect match for Sivyi Yar's dense black sonic tangles, and don't worry, it gets weirder. About halfway through, the song lurches to a halt, transformed into a chugging doom, laced with what sounds like xylophone, a sweet tinkling melody over this churning metallic crush, it's strange, but weirdly effective, eventually building back to a blasting black buzz, the shredding guitars return, and the sound becomes impossibly epic. And that's just the first song. The rest of the record is just as twisted and majestic and complex and heavy, the second track opening with a sprawl of droned out rumbles, and mysterious chanted female vox, before again, exploding into some of the fiercest blackness we've heard in a while, the song relentless and brutal, at least until the last few minutes, when it becomes a super melodic almost dreamy sounding dirge, the drums still wildly blasting, and the guitars still super distorted, but soaring and melodic and downright pretty.
There's one more black buzz epic, before finishing off with two strange tracks, the first, beginning with the sound of rainfall and sinister synths, giving way to some seriously abject ultra blackened dooooooom, augmented by JAW HARP, it sounds weird and it is, but somehow, it's also extremely cool. The closer winds things up with another bit of mysterious ambience, all shimmering synths and more of those chanted vocals, booming distant percussion, all hazy and washed out, a gorgeously haunting finish to what might be our new favorite black metal record. WAY recommended!!!
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We had never heard of this Pagan Russian black metal, until we got a few copies from local label Brotherhood Of Light (Sunchariot, Domus Mactibilus, Llyr, Haar, Sirius, Cosmic Breath, Surt, Svetovid, Uruk Hai, Worldscape:18), and we were pretty blown away. The gorgeous opening intro is all sampled birdsong, folky guitar, and simple minimal percussion, lilting and melancholy, which is why when the record proper kicks in, it threw us for a loop, some seriously fierce, and blown out black buzz, the sound massive, and thick, and dense and heavy as fuck, and it's not just the sound that was a surprise, the arrangement, epic and complex, and then when weird shredding guitar surfaces, the song becomes a weird mathed out black prog, before exploding into furious buzzing blackness, the vocals are insane too, hysterical shrieking demonic howls, the perfect match for Sivyi Yar's dense black sonic tangles, and don't worry, it gets weirder. About halfway through, the song lurches to a halt, transformed into a chugging doom, laced with what sounds like xylophone, a sweet tinkling melody over this churning metallic crush, it's strange, but weirdly effective, eventually building back to a blasting black buzz, the shredding guitars return, and the sound becomes impossibly epic. And that's just the first song. The rest of the record is just as twisted and majestic and complex and heavy, the second track opening with a sprawl of droned out rumbles, and mysterious chanted female vox, before again, exploding into some of the fiercest blackness we've heard in a while, the song relentless and brutal, at least until the last few minutes, when it becomes a super melodic almost dreamy sounding dirge, the drums still wildly blasting, and the guitars still super distorted, but soaring and melodic and downright pretty.
There's one more black buzz epic, before finishing off with two strange tracks, the first, beginning with the sound of rainfall and sinister synths, giving way to some seriously abject ultra blackened dooooooom, augmented by JAW HARP, it sounds weird and it is, but somehow, it's also extremely cool. The closer winds things up with another bit of mysterious ambience, all shimmering synths and more of those chanted vocals, booming distant percussion, all hazy and washed out, a gorgeously haunting finish to what might be our new favorite black metal record. WAY recommended!!!
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Strong songwriting dominates this debut release from the local rock group Six Eye Columbia. In addition to guitar and vocals, bandleader / all-around nice guy Josh Pollock also wields the banjo, xylophone, piano, and assorted toys. An array of guests offer pedal steel, cello, sax, trumpet etc. The effects-laden vocal delivery is similar to Guided By Voices' Robert Pollard -- tinny, staticky as if thru a bullhorn. Doleful male harmonies bring to mind Mark Eitzel's solo work, as does the simmering tension and midtempo pace throughout. Forlorn and depressing in a good way.
AQ pal Josh Pollock, musical man about town and accomplished stage actor (having performed in a play based on the life of Rodd Keith, where the audience turned in poems at the beginning of the performance, and Pollack then wrote songs to go with the poems live on stage, a la Keith's legendary song poems) returns with his second release from Six Eye Columbia, his rock outfit, mostly Pollock's doing but with some occasional helping hands. Very Guided By Voices-ish pop, melodic and melancholy with some lengthy prog flourishes (he does after all play with David Aellen in the new Gong) and even the occasional Coldplay-esque lilting vocals. A bit more mainstream and polished than the last 6EC, with a lot more production polish and studio as instrument tinkering.
2009 has been quite a year for noise rock legends Six Finger Satellite. First, long lost recordings from 2001 surfaced as the album Half Control. Now, a few months later, the recently reformed band has returned with its first new studio record, and goddamn it's good to have them back. Sad to say though, but the general response (EXCLUDING this one, of course) seems to be overwhelmingly lukewarm, and even all out negative in some cases. Even around here, the first thing people mention is how this doesn't sound like the Six Finger Satellite of old. Perhaps there is some truth to that claim (though why should it necessarily matter?), but repeated listens really dispel it. It's just that current 6FS is a little less focused on experimental noisiness and more into full on rocking, something they've always done well. It's funny how A Good Year For Hardness is pretty damn bluesy. Maybe some folks just don't dig it, but the big 6FS fans around these parts are definitely pleased. After all, it's not like this shit sounds like typical white boy blues rock that you hear at the county fair. Far from it. This is coked out mutant blues being beamed in from outer space. Mean, depraved blues made by guys who are old enough to step into this territory without embarrassment or any desire to be seen as cool in the eyes of today's indie rockers, who they probably don't even acknowledge. This band has always been ridiculously tight, and the new lineup is no exception. The songs exude a grooving, almost classic rock vibe with warm bass, cool backbeats, and muscular riffage. But then there is singer J. Ryan's trademark vocals, all pissed off and pretty scary, every once in a while punctuated by crazy distorted James Brown-styled screams. And yes, the synths are there, they are just used a bit more sparingly, but to awesome effect. Rarely is the band "quirky" here, but every once in a while, the synths just make everything really weird and almost funny if they weren't within such disturbing songs. A lot of the songs venture into dark, brooding psychedelic territory, almost like some jagged post-punk Doors (some may disagree with this, but whatever). This is probably best demonstrated on closing number "Rise," driven by a warm bass throb and a steady beat with occasional bursts of heavily vibratoed guitar chords. Throughout it, the creepy synths pop up here and there as the barely controlled intensity of non-sceaming J. Ryan scares you just a little more. Awesome.
So far this sonuvabitch is available as an lp only, but the turntable deprived can rejoice over the inclusion of a free download card.
In the '90s, there were two bands on the Sub Pop roster that, to anyone looking for their grunge or indie fix, made absolutely zero sense. One of those bands was the mighty Earth, who in the past few years have thankfully been reevaluated and recognized as the pioneers they were and are. Then there was Six Finger Satellite, spoken of with godlike reverence by their small but rabid fanbase, but still unjustly neglected by the majority of the human population. The big question here: WHY?!?! Six Finger Satellite was one of the great nihilistic rock bands of the '90s, the strange and unholy union of the Stooges, the Birthday Party, and Kraftwerk that turned into something else entirely. Their sound was hateful, tense, and disturbingly druggy, but most of all, they fucking ROCKED. While the synthesizer at this point in indie history seemed relegated to making cute little bleeping noises, 6FS wielded their Moogs like weapons of mass chaos, releasing 4 ESSENTIAL full lengths and a slew of equally awesome eps and singles before vanishing. Their provocative themes included a sinister but smartass referencing of, shall we say, "recent" German history, primates, and a Kraftwerkian synthesis of man and machine tailored to better suit a bunch of guys from Rhode Island. Their history is long, confusing, and even tragic (original bassist Kurt Niemand died of a drug overdose), eventually culminating in the departure of guitarist John Maclean - along with the band's synth arsenal - and his transformation into electro-dance act the Juan Maclean. Though they apparently soldiered on after their final full length, Law Of Ruins, that was pretty much it for Six Finger Satellite...
UNTIL NOW!!!
While the band has reconvened on a few occasions and are currently active, Half Control actually dates back to 2001. Surprisingly, the band's unstoppable drummer Rick Pelletier switched to bass for the reformed 6FS (and now he's playing guitar!), while the rhythm section was reconstituted from members of fellow Rhode Island noise rockers Landed. The resultant sound emphasizes the group's more pissed off, punkish edge - try to imagine the four-headed bastard offspring of Black Flag and the Jesus Lizard beating the shit out of itself - while downplaying their more meditative (relatively speaking for this band, of course) electro-kraut influences. For this reason, the initial reaction of many aQ staffers was that Half Control doesn't really sound like the Six Finger Satellite we all knew - remember that part about John Maclean and the band's collection of vintage synthesizers? Closer inspection, however, reveals otherwise, at least to the nerds in possession of the band's entire discography. While synths were and continue to remain integral to the 6FS sound, many people tend to overlook how guitar-centric they always were. Slashing and densely hypnotic riffing, throbbing basslines, and ridiculously tight drumming were just as important as their quirky but ominous synthlines. Singer/Moogist J. Ryan's feral vocals are as mean-spirited and distorted as they always were and the band still throbs and pulsates like a merciless machine that refuses to shut down. 6FS's sound was frantic but controlled, often verging on complete chaos, yet they managed to keep things together in a way only they could. With that in mind, it's clear to see that things are really just as great as they always were. The reality is that little has changed, it's just pretty mindblowing to think that we are hearing new sounds from a band that sadly *seemed* to drop off the map.
It should go without saying for anyone familiar with this fantastic band, that Load Records (who released their obscure but awe inspiring Clone Theory ep waaaaay back), is a much better home for them. It's not coincidental that much of that label's lineup and a great deal of the current noise rock scene is heavily indebted to 6FS, and while some of today's indie rockers may have unknowingly tapped into what these guys were about in the form of other bands, Six Finger Satellite has yet to be surpassed in ferocity, dark humor, and overall rockingness. Longtime fans should find plenty of reasons to rejoice, while newbies will freak out and have to accept mp3 versions of their out of print Sub Pop albums. To the rest of the world: WAKE THE FUCK UP. Six Finger Satellite is immortal, and even if this is their final statement (we sure hope not), it's more than we could have ever hoped for.
Rhode Island's not so favorite sons perfect their blend of Stooges sludge rock and moog powered space-out-kraut grooves. Internal debates have drawn blood over whether this is the best Six Finger Satellite record... regardless of the outcome, this is a great record and shouldn't be missed! Also comes in very attractive packaging (the vinyl is clear in a clear cover).
Did not see this one coming... but GODDAMN are we happy about it. Originally released by the band themselves in 1994 as, you guessed it, a companion cassette to the band's mighty Machine Cuisine 10", this little bastard has been out of print for years, attaining somewhat of a mythic status and fetching some pretty hefty prices the one or two times it ever ended up on eBay. Now, with 6FS operating once again, they saw it fit to reissue this cassette for the hungry masses in 2010, complete with a digital download card tucked inside.
A polarizing band if there ever was one, Six Finger Satellite was one of the few groups in the '90s to utilize synthesizers to their full potential, which they integrated into a traditional rock band setup for some heavy, hateful, and totally rocking results. While the Machine Cuisine ep itself found 6FS sans guitars, sounding a bit like a smart ass Kraftwerk meeting up with Chrome, the cassette rocks furiously, with the band's trademark demented vocals, machine like drumming and some razor sharp riffage. It's unfortunate that these guys never gained more than a cult following, but not really that surprising either. Listening to this stuff now, it's clear that they were not only completely out of step with much of the "indie rock" scene of the '90s, but also WAY ahead of their time. This may be a bold statement, but we imagine time will vindicate Six Finger Satellite and eventually find them mentioned along with all the other great, nihilistic drug bands like the Stooges and the Birthday Party. Highest recommendation imaginable, and we would imagine quite limited.
For fans of Chrome and Kraftwerk.
If you still think of Ben Chasny's Six Organs Of Admittance as being primarily a folky, Fahey/Basho/Takoma style acoustic enterprise, then please note the blurb on the sticker on this new album's cover, where it says in time-honored rock n' roll tradition: "Play This Record Loudly". And you should, 'cause while it's not like Six Organs haven't rocked before (they have) but Chasny sure is getting his ya-yas out here, big time. As we said when we recently reviewed the non-album single, Parsons' Blues, that immediately preceded this full-length, this stuff sounds like "Six Organs Of Comets On Fire", and the lineup here backs up that assertion. That lineup features Ethan Miller, Ben Flashman, Utrillo Kushner, and Noel Von Harmonson, all from Comets, of whom Chasny himself has also been a member. Plus producer Tim Green contributes some guitar, too. Thus (?) it's the loud psychedelic freakout side of things (a la Comets) that dominates, on a majority of the cuts here, at least.
The album opens with an energetic, kickass quasi-instrumental (there's some voices but no words) called "Waswasa", and then on track two, "Close To The Sky", it really sounds like Chasny & Co. have slapped on their sunglasses-at-night and are channelling total Tokyo Flashback action, a la LSD-March, Up-Tight, High Rise, and goddamn godfathers Les Rallizes. Headnodding psych-noodling, all right! That's followed by the ritual ceremony of "They Called You Near", and for a while we're back to acid folk, not acid rock, territory. Track four, "Solar Ascent", is even mellower and lovelier, but the next one, "One Thousand Birds" rocks out quite a bit more, bringing back that psych skronk guitar over a steady rhythmic pulsebeat. And so it goes, this album both dreamy and driving, providing songs that focus on Ben's gentle hushed voice and melodies, along with distortodelic romps full of amped-up, Rallizes-esque throb that also ought to appeal to fans of Wooden Shjips and Crazy Horse.
If you liked what Chasny has conjured on other recent sets like Asleep On The Floodplain and Luminous Night, this is equally expansive and ambitious - but with a bit more Comets-y sonic violence n' volume overall.
The compact disc version comes packaged in a nice cardboard miniature lp jacket, and we like how the "cd booklet" in fact consists of a folded up dot matrix printout (or rather, what looks like one).
And lo, after several changes of the seasons, once again the musical mystic comes down from the mountain to play for the people his olden instrument of wood and wires. Meandering through meadows, pausing to serenade both man and beast, rock and flower with hushed blessings and blissful hummings. It's record number, what, 12 or 13 from Ben Chasny aka Six Organs Of Admittance. And the dust still chimes. This is the even brighter dawn after the luminous night.
Chasny is one of our very favorite practitioners of psych folk descended from the fringes of the Takoma tradition, American primitive meets Eastern acid, a la Basho and Bishop - Sir Richard being one of Chasny's compadres in Rangda, the fierce improv yang to this album's (mostly) gentle folky yin.
As befits its title, Asleep On The Floodplain is indeed a dreamy one, tickling with sweet tangles of strings (such as the acoustic guitar solo "Poppies"), shimmering with lovely drones (the harmonium laden "Brilliant Blue Sea Between Us"). With some tracks, like the album's intense side two epic "S/word And Leviathan" (over twelve minutes long) bringing all that together and more. It's esoteric, poetic in both inspiration and realization (there's post-graduate work to be done delving into the lyrical/conceptual side of these songs, instrumentals excluded, or not). Without such analysis, we know it's at least interesting, and more importantly emotive and evocative, whether Chasny is gently singing, or just caressing the strings. As always with Six Organs, we can surely say by now, recommended!!
Eureka, California based young'un Ben Chasny was the hands down big hit at this year's Terrastock IV festival of peace, love and psychedelic drugs, held in Seattle (where, by the way, we were excited to visit the Experience Music Project museum -- $20, and worth every penny!). At the festival, Ben's airy yet dark psychedelia was augmented with the talents of other bandmates specially put together for the occasion, but on "Dust & Chimes", his first album just now reissued on cd for the first time, he's working mostly alone. Concocting lush laments from acoustic guitar, chimes, and subtle distortion effects, Six Organs of Admittance bespeak a love for psych-folk not of the fey British variety, but more akin to the ethereal otherworldliness of Japan's Ghost. Fahey fans will also find much to appreciate. Every sound is carefully placed and joyfully played -- and this attention to detail came across live in spades, where the youthful energy of this band reminded me of the Olivia Tremor Control, giving it their all. On record, this energy is rather more dark and mysterious than any Olivias comparison would suggest. Very nice.
Two sides of instrumental transcendence from AQ faves Six Organs Of Admittance. Recorded late at night, on a four track, these songs exude late nights, twinkling stars, crackling fires, rustling woods, broken hearts and burnished spirit. Side one is a series of soft and sweetly finger picked nylon string guitar pieces with the occasional haunting ethereal vocal and suhimmering, tinkling bells. Side two is a side long steel string rumination, mellow and melancholy, minor key and meditative. Psychedelic folk stripped to it's essence. So gorgeous. THICK 180 gram vinyl, in a gorgeous letter pressed sleeve, with a letter pressed insert and numbered (limted to 500).
Uh, woah, WTF?! Ben Chasny, you rule! His Six Organs Of Admittance manifestation goes of the deep end here, big time, with a blown-out noise rock album borne of a truly esoteric methodology, a system (The Hexadic System) of chance operation and combinatorial choice, using a normal deck of playing cards, that presents the user with possible notes to play, the duration of those notes, and in some instances "intensity factors" regarding the performance of those notes. (In fact, Drag City will be releasing a specially illustrated Six Organs deck of cards specially configured to be used with this system, as well as for playing poker or whatever.)
It's a kind of compositional indeterminacy strategy a la John Cage & the I Ching, but specifically inspired by the works of Gaston Bachelard - also Heinrich Cornelius Agrippa and Ramon Llull. We don't pretend to more than vaguely understand it, but we know Ben would be happy to discuss the Hexadic System in detail with any interested parties - also he provides much more info about it on his blog at sixorgans.com, delve on in! But first, you wanna delve into this album, which means cranking it up and standing back, 'cuz it's a doozy. Apparently, Chasny used the system to write 30 songs, the nine most 'rock' of which he selected for this record, as realized by Chasny alongside a band consisting of equally open minded experimentalists Noel Von Harmonson (Comets On Fire) on drums, Rob Fisk (Common Eider, King Eider) on bass and Charlie Saufley (Assemble Head In Sunburst Sound) on bass. By 'rock' Ben means loud heavy and distorted; this is mostly super noisy and improv-like, some crazy shit that reminds us of the likes of Rudolph Grey's Blue Humans and Keiji Haino/Fushitsusha, which we're sure are big sonic inspirations here, as significant as the writings of Bachelard et. al. The group Chasny's in with Sir Richard Bishop, Rangda, would be another good reference point.
There ARE a few delicate, dark, spacious numbers on the record too, including opener "The Ram", lovely interludes interspersed amidst the amped-up overdrive. Presumably the "intensity factors" of the cards drawn for those pieces were lower than on the rest of the album, making for some moodiness to go with the mayhem.
So, the conceptual aspect of how these pieces were composed is intellectually interesting (this album needs footnotes and a bibliography), but academics aside, a more visceral response is guaranteed as well, it's powerful, confusional SOUND that can't be denied. Avant out-rock awesomeness from a guy who, while also an excellent acoustic fingerpicker in the Takoma tradition, certainly has his weirdass heavy-duty psych rock side, as (once again) displayed here.
Guitarist Ben Chasny and his deck of cards are back with another "Hexadic" release from Six Organs, Chasny utilizing the esoteric, chance-based compositional system he has devised, that previously resulted in an awesome heavy-duty noise-psych ensemble outing earlier this year. This time 'round, the cards he dealt have him playing in a solo, acoustic mode, crafting nine tracks of drifty, spacious drone folk, full of steel string resonance, soft voiced singing, and stark, dark, lonely atmosphere. Real nice, with hush and hum and strum and some Jandekian tanglings, for fans of Richard Youngs, Bill Orcutt, and of course the man himself, Ben Chasny - who graced us with a great instore just this week! (For some reason, vinyl and tape only, no cd version for Hexadic II, sad face.)
An abundance of Six Organs this week! Ben Chasny not only has this great new album out, but there's also a vinyl-only split 12" with Azul (aka his old pal L) on the Japanese psych label PSF we're reviewing too. The full-length record at hand, Luminous Night, is indeed a stunner, and more or less what we've come to expect from the reliable Mr. Chasny.
It opens with the orchestrated, slightly precious folk-prog of "Actaeon's Fall (Against The Hounds)", an all-instrumental intro to this delicate and dusty album, a track that's sad yet hopeful, with a Morricone-esque arrangement. The next song "Anesthesia" brings in Ben's hushed but strong singing, and that's how it goes here, folkish balladry (like ferinstance on "The Ballad Of Charley Harper", though there's plenty of drone n' distortion layered o'er that one, and elsewhere) interwoven with moody instrumentals, all of it with a Western Gothic meets Eastern Psych vibe. Next up, "Bar-Nasha" leans towards the Eastern side of the equation, a tapestry of fingerpicking, flute, and hand percussion, but Ben's vocals have all the melancholic solemnity of apocalyptic alt-country act Woven Hand, in fact, his deeper voiced singing here, as on this track, reminds us weirdly enough of someone from another Xtian band, vocalist Eric Wagner from classic doom metallers Trouble. (Who can be psychedelic sometimes, but not like this!).
Regarding the instrumentals, the longest track here, "The River Of Heaven", is a ritualistic ceremony like Japan's Ghost getting mopey, and "Cover Your Wounds With The Sky" is a lovely dense drone piece, sounding a lot like something from Steven R. Smith's latest record, Cities (yet to be reviewed by us, but really good, by the way).
We've mentioned almost all the tracks here, and rest assured that the others are quite nice too, making for a haunting Six Organs Of Admittance album that should satisfy his fans old and new. We figure most of you fall into the former camp, but anyone yet to experience this artist should give Luminous Night a listen and likely you'll become one of the latter.
Heck yeah, a 2nd pressing! Got a bunch, but sold a bunch too before this list so right now we only have a mere handful, so act quick if you missed it before 'cause we're pretty sure we won't be able to get it again. (Although, also fyi, Ben tells us that there probably will be a compact disc edition someday too.)
Mariakapel was a special tour only lp from Six Organs Of Admittance, aka Ben Chasny, originally released to coincide with a 2011 European tour. We got a couple dozen of the first pressing on Pavilion (ltd. to 500 copies) direct from Ben back then, but those went pretty quick as you may recall. And no surprise, cuz this is really really great. Compiled from two live performances in 2010 and 2011, the opening and closing tracks were recorded earlier in 2011 in Massachusetts, the opener is all wheezing harmonium, a gorgeous stretch of psychedelic mesmer, swirling and shimmery, laced with bits of acoustic guitar, very hypnotic and raga-like, gradually growing more lush and textured as the track progresses, extra layers, tangled melodies, all just beneath that glorious harmonium hum. The closer sort of bookends the record with a similarly droney sound, but this time with what sounds like organ, still very raga like, all long layered tones, and constantly shifting overtones. Gorgeous and intense.
But between those two drones, are a handful of recordings from 2010, recorded live in Tilburg, Holland, a fantastic collection of spare, sparse minimal Appalachia, in the background you can hear feet shuffling, people moving about, but nothing can distract from Chasny's darkly meditative guitarscapes, which include some of Chansy's most intense playing, super percussive and buzzy, downtuned and intense, sounds like he's getting a little Orcutt on some of these jams, but it definitely suites him, and even at his most aggressive, he manages to make the tracks lush and lovely and still impossibly melodic. Fantastic stuff as always.
LIMITED THIS TIME TO 250 COPIES, via Dutch label Whipping Post.
Another gorgeous and limited 12" from Six Organs Of Admittance. The material on this 12" was originally released in 1999 as a limited lathe cut 12", only thirty copies were made and each was personally sent to it's owner. Finally reissued, Nightly Trembling is possibly the best seventies psych folk record not actually made in the seventies. Big praise, but wait until you hear this! The Wicker Man, Comus, Incredible String Band, all filtered through Ben Chasney's Six Organs. Acoustic guitar, Chasney's creepy growl, throbbing shimmering pagan ambience, angelic and haunting choir-like vocals all set in extended raga-like song structures. So good. On HEAVY 180 gram vinyl. In a letter pressed sleeve with insert and numbered (limited to 500).
A two song teaser for the upcoming Six Organs album features a strangely familiar lineup, a quick glance at the names on the back of the sleeve has us convinced this is in fact a Six Organs Of Comets On Fire 7", and it sounds like it too, this five man band kick out two instrumental psych jams, the A side is distorted and dirgey and blown out, seriously psychedelic, but weirdly minimal too, with a haunting apocalyptic folk undercurrent, the vibe tranced out and cyclical, a sort of churning hypnorock workout that is a gloriously mesmerizing chunk of psychedelic heaviness.
As is the B side, a bit more spaced out, abstract and drifty, but the guitars are still gnarled and buzzy, the drums loose and free, the sound a freeform psych drift blowout that explodes in the second half with some seriously killer guitar shred. Wowee. Can't wait for the full length!
Here at aQ we get the pleasure of watching bands grow and change over the years. Sure, some bands head off the deep end never to be heard from again, but others mature and grow into something even beyond what we could've ever imagined. Ben Chasny is the perfect example of the latter. After releasing well over a dozen albums, we've watched Chasny evolve into one of the most prominent music makers of our time. Don't get us wrong, there are plenty of other super talented and super awesome downer psych folk yogis, BUT none even come close to matching the mind bending artistry that Chasny has perfected.
We cant even tell you how many people have come into the shop only to proclaim, "What?! A new Six Organs record!?! I'll take it!" And this isn't even exactly a new record, although this material is new to most of us, as Drag City has reissued a bunch of older, more obscure and hard to find Six Organs tracks.
While "Punish the Chasm with Wings" is the only completely unheard track on RTZ, the rest of these songs are taken from various cd splits, limited pressed cdrs, compilations and a 12" split with Charlambidies, highly anticipated early work straight from the dusty vaults of Mr. Chasny. Named after a button on his beloved four-track recorder, RTZ is an acronym for Return to Zero, a highly appropriate title for an album that revisits the early beginnings of his prolific career.
In some ways, RTZ is more of the same gorgeous woodsy, somber guitar work from Chasny, but what makes RTZ one of our favorite Six Organs records is the sheer epicness of every track. Beautifully composed with close attention to detail, the majority of the songs span well over the ten minute mark, most almost reaching 20 minutes! Every track carries the weight of an entire album, each taking the listener on a different path through the overgrown reaches of some forested wonderland. Hypnotic guitar pluckings hovering over vocal mantras that shapeshift into quiet soundscapes, rhythmic tambourine and flute passages sway with the hanging branches as plumes of smoke rise magnificently into the air. Chasny's guitar playing is completely spot on, sincere and dimly lit, we can just picture him with eyes closed, hunched over in the corner of some candlelit run-down cabin, channeling the words and songs of spirits lost in the woods. Complete with a cool lookin' black metal-esque Six Organs logo on the cover, RTZ is a must have, especially for fans of anything Six Organs (or anything remotely similar for that matter)!!
AQ-fave underground psych-folk troubadour Ben Chasny hits the "big time" with this Drag City debut. Ok, Drag City's not a major label but it's a popular indie. If this was the '70s, he'd have been flown out to a rented mansion in LA by the label, where he'd have spent months recording in drug-fuelled debauchery. It being just boring old now, we're sure that didn't happen. Despite that, Ben still steps up and delivers with this new Six Organs opus of his. Not that he's ever disappointed, but this could be one of his best. And it is in fact his first ever actual studio-recorded release. The Basho/Fahey guitar pickin', the pagan folk, the cosmic mystic vibes... all shining through. And with School Of The Flower he reveals his obsession with the music of one Gary Higgins, an obscure '70s singer-songwriter who did a now much-talked-of-in-certain-circles LP entitled Red Hash. Until someone tracks him down (according to the liner notes, Drag City is trying), the closest you'll probably get to hearing it is the cover of his "Thicker Than A Smokey" that appears here!
FYI: the music on track five ("Home") is basically the bass line for Rod Stewart's "Ooh La La" played on acoustic guitar!
The first two tracks on Shelter From The Ash pretty much illustrate the two complementary sides to Mr. Six Organs Ben Chasny's usual modus operandi. The first cut, "Alone With The Alone", is droning and dense, building into tripped out, fairly fierce electric guitar solo, while the second, "Strangled Road", is a much mellower, subdued folk-ish number, with hushed vocals and lonely guitar strum... Together, you've got a recipe for the morose, bleak beauty that this album cooks up, with songs sung about war, loss and survival amidst yearning instrumentals, including one dedicated to the Sun City Girls.
Shelter From The Ash is record number ten (at least!) from Six Organs of Admittance and it's another winner, much like its predecessors in having a basis in Chasny's facility with Faheyesque steel-string fingerpicking while heading off into the wilder reaches of heavy psych, and almost country-rockish moodiness. He's helped out here by members of Comets On Fire and Magick Markers, though it's the rough hewn, intimate hum and buzz of just Ben and his guitar that works the most magic for us.
What once was an one-sided, etched vinyl 12" ep (released in 1999 on BaDaBing) has been transformated into a one-sided (as they all are) cd reissued by Strange Attractors Audio House. And although Six Organs fans who missed the original vinyl would be greatful enough to get The Manifestation on cd with no extras, the Six Organs' Ben Chasny has been kind enough to provide TWICE as much music on this cd reissue, via a track entitled "The Six Stations" which features none other than Current 93's David Tibet intoning lyrics on a good portion of the piece. And whatever you think of the mystical mumjo jumbo this music is couched in, it's more of that excellent Six Organs acid-folk acoustic guitar for which Mr. Chasny is rightly lauded. Some record crackle is added to the mix, and while it doesn't really succeed in making this sound like an authentic scratchy old 78 it's still nice. Kinda like Jeck meets Fahey...meets C93. Meanwhile the original Manifestation could be a twilit pagan hippy jam from ages past.
It's such a nice day out and we'd really rather just sit in the sun and listen to this disc than review it, so why don't we just say: another great Six Organs album! and leave it at that, ok? Not ok? You want more from us than that? Well it IS another great album from this Ben Chasny fellow, whom for us is definitely tops among all the current crop of psychedelic guitar-pickin' folkies. Whether he's lending his weary voice to some lovely acoustic pop balladry, or blissing out on the fretboard in Fahey/Basho rustic raga mode, or harking to the spaghetti western soundtrack sound of Bjorn Olsson, or channeling krautrock spirits for a heavy duty distorted electric guitar jam, Chasny -- with a little help from his friends -- shines on this album. Maybe his best yet! Gorgeous, moody, yes indeed.
Of course, sitting in the sun listening to this might not be the idea. The Sun Awakens this is called, but it's more likely that the music on here will generate grey clouds to blot out the sun, casting shadows from some other time and place of pagan worship. Particularly when you get to the droning darkness of the mysterious, moaning, album-closing "River Of Transfiguration", an extended 24 minute ceremony of a song featuring the bass playing of Al Cisneros of Om and Sleep fame. Oh yeah. Recommended.
Several years ago, while listening to excellent Bay Area college radio station KFJC, a particular track of hypnotic, droning psych caught my ear -- buzzing, repetitive acoustic guitar and organ and a mysterious voice intoning "prayer for the su-unnnn..." over and over, all building into a loose, dirgey trance. Gorgeous. Further listening revealed the mysterious voice as belonging to Ben Chasny, aka Six Organs of Admittance. Soon thereafter, my ever thoughtful roommates returned from a John Fahey show, at which Six Organs had been the opener, bearing an LP on which I was excited to find the track I loved. A bit of time passed, and lamentably, so did John Fahey; Six Organs has gone on to make two great albums as well as lending a considerable hand to Comets On Fire on their awesome "Field Recordings from the Sun." This here is a long-awaited cd reissue of that first Six Organs LP, with the addition of 2 tracks from a limited 8" lathe-cut disc. While Chasny seems to be getting better and better, as evidenced by his best and most recent record "Dark Noontide," the darkly psychedelic 4-track ramblings on this disc find his signature sound fully in place-- an immediately recognizable way of attacking an acoustic guitar into a state of humming, reverbrating submission, that resonant baritone, and detours into percussive experimentation, all ritualistic and, I'll say it again, thoroughly hypnotic. So Nice.
MPEG Download: "Sum of All Heaven" [/audio/sixorganssumofallheaven.mp3]
MPEG Stream: "Sum of All Heaven" [/audio/sixorganssumofallheaven.m3u]
One of two new records this list from long time aQ fave Ben Chasny, aka Six Organs Of Admittance. This one is super limited, maybe the first vinyl release we've gotten on godhead Japanese label PSF, and features one super dense abstract sidelong jam from Six Organs on one side, and a whole batch of groovy shimmery soft psych folk grooves on the B-side from a Japanese group called Azul. For those of you, who like us, had never hear of Azul, it's the new project of Hiroyuki Usui, who long time aQ list readers might remember as one half of the August Born, an earlier collaboration with Chasny, as well as being the man behind legendary folk psych outfit L, whose Holy Letters album was a past aQ Record Of The Week!
So here they are, Chasny and Usui, together again, each doing their own thing on their own side of this lp. Chasny's jam is a weird one. A sprawling slow burning drone, all crunchy and warm and gristly, over which muted guitar scrabble scrapes and skitters, melodies surface here and there, but they're minimal and murky, the whole sound is distant and abstract, a droney almost-raga, shot through with little tangles of fragmented Appalachia, eventually growing into something much more epic and cinematic, with what sounds like strings, Eastern sounding melodies, before a heavy psych coda, chunky super distorted riffs, weary, haunting double tracked vocals, all over a sea of swirls and squiggles, finally giving way to a weird warped riffy outro. Really cool.
The Azul side is WAY more laid back. Groovy, woozy, super sixties sounding, psychedelic, but soft and hazy and a little stoned sounding, hits of that classic Summer Of Love sound, a little Santana, lots of hand drums, warm tinkling vibes, soulful vocals, lazy late afternoon vocals, breezy and a little blissy, a few of the tracks inject a little jazziness, some skronky horns, fluttery flutes, shimmering gongs, but for the most part, it's all steel string guitars, draped over sun dappled arrangements and wreathed in fuzzy clouds of soft focus psych.
Gorgeous packaging. Blue and yellow psychedelic drawings on the sleeve, bizarre characters and warped shapes, lots of texture and detail, wrapped in a printed vellum Japanese style obi. And as you might have guessed. EXTREMELY LIMITED.
The second in this limited edition vinyl series dedicated to the works of cosmic krautrockers Popul Vuh offers the hypno-drone psychedelia both of Northern California's wonderful Six Organs Of Admittance and the stalwart Texan ensemble Charlamabides. Again,
Charalambides -- now whittled down to the duo of Tom and Christina Carter -- create a similarly swirling sound, but from the mournful chords of intertwining guitar and bass reverberations. Both pieces are some of the best work from either of these two artists. As we say, limited, and we only have a few. We also still have just a few of the equally excellent first volume in the "Songs From The Entopic Garden" series, the Drona Parva / Ultrasound split LP (reviewed on list #128).
Music for airports, music for sleeping, music for film...it's about time someone made music for reading! For his brand new novel Empty The Sun, writer Joseph Mattson called upon the talents of Ben Chasney (Six Organs Of Admittance) to create a musical accompaniment to his novel. What a fantastic idea, especially consideringChasney has shown over the years an ability to create mood and atmosphere with a subtlety and undeniable authenticity that rings with such undeniable truth.
Centered around Chasney's mesmerizing guitar playing as well as wonderful accompaniment by Steve Ruecker on pedal steel, rattlers and bowls, Empty The Sun really is the sound we would want playing as we lose ourselves in a good book. Similar in mood and disposition to the great soundtrack to Mister Lonely that J. Spaceman & Sun City Girls created last year, this is one of those records that flows with a pastoral bliss that could, and we find ourselves wishing WOULD, go on forever and ever. Mostly instrumental, there are a few tracks with really nice subdued vocals including some of the most warm and intoxicating vocals we've heard from Elisa Ambrogio (Magik Markers).
The music of Six Organs Of Admittance really does speak to the soul, so evocative and creative and original, yet still warm and familiar, a rare beast that is as much a fan favorite as an artist's artist, so it's no surprise that Mattson was compelled to bring Six Organs into his world of words, just as film makers like Cam Archer have turned to Six Organs for music in his films, and just about every painter or visual artist we know has copies of Six Organs records in their studio. The sounds Chasney creates seem to be the perfect accompaniment for creation and exploration. And what also makes Chasney's music so amazing is the way it evokes a feeling of comfort, and a gloriously soporific dazem even while you're just sitting on a bus watching your surroundings blur by...
We haven't had a chance to dive into the actual book yet but with a quick skim we're anxious to ring in the new year laying on the couch with Six Organs playing as we dive into what looks to be a compelling novel.
Gorgeously packaged as well, both the cd and lp, each with a slightly different sized novel, to fit the format...
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Bellingham via Ohio twangy post rock slowcore. Beautiful and hypnotic. Recommended.
Awesome slab of instrumental outer space ur-drone raga folk from a sometime collaborator of The Sun City Girls, Dredd Foole and others. Slide guitar, tabla, sitar, violin, organ, frame drums, metal bowls and a whole mess of other instrument we've never heard of deftly smoothed into a some sort of sprawling tribal drone ritual, think Sunburned Hand meets Muslimgauze meets Angus Maclise meets Jack Rose, but with more Hawkwindy swirl, and druggy din. Simple hypnotic rhythms beneath abstract Eastern percussion, lots of buzz and drift and shimmer, wrapped in thick sheets of reverb and fuzzy FX. Gorgeous stuff. Fans of any of the above mentioned bands, as well as any of the new weird America or modern freak folk will flip for this.
Super limited vinyl reissue of a way out of print cd-r. Green and black hand screened sleeves and printed insert.
