Latest (though last year's) release from this band, in stock for the first time. Escapade are an almost-all-instrumental American band that falls into the amorphous space/prog/trance/post/psych/synth rock category. Some of that stort of stuff done by modern day bands can get kinda cheesy and wanky, but these guys thankfully stay on the more acceptable side of the genre, so if you're heavily into, say, Circle and Subarachnoid Space you'll probably like Escapade. (Sporting a ponytail might not hurt either...just kidding.) The opening track "A Symphony Of Sirens", a nearly twenty minute epic of slow moving menace, pretty much tells you all you need to know. Thudding bass, cavernous drums, meandering electric guitar leads, dubby effects...sleepy and droney and repetitive. It's a bit like Pharaoh Overlord's latest I suppose. And if that doesn't tell you enough about 'em, they follow that up with a largely-improvised take on the Pink Floyd classic "Interstellar Overdrive"! This comes to us via the label that just brought us the new F/i (see elsewhere this list), and prior to that the "Flourescent Tunnelvision" spacerock compilation we gave the thumbs up to a while back -- you'll find an Escapade track on there too.
Rarities discs from most bands usually seem superfluous or at the very least only for their most obsessed fans, but when it comes to ESG, we'll gladly take any kind of extra material we can get!
If you don't already own the first volume of A South Bronx Story we hereby demand that you stop reading this and get it right away! It's an all time AQ favorite that you can still hear blasting in the store all the time, and it's one of those records that just about everyone we've ever played it for has totally fallen head over heels for. Volume 2 features lots of alternative mixes, b-sides and unreleased tracks, from their early days all the way up until their more present incarnation. The day this arrived we of course immediately threw it on and every single person in the store at one point or another made their way up to the counter to find out what was playing. It was so cool because they were all folks who don't normally gravitate toward dance minded music, but their ears obviously knew that this was the real deal, and no matter what your regular sonic inclinations may be, it's pretty much impossible not to be swept up by the wholly unique sounds of ESG. Highly recommended!
With a brand new record released earlier this year and their first ever live show here in SF, it's for sure been nonstop ESG fever here at AQ. We could probably write the longest most glowing review ever of that live show but suffice to say it was a mind blowing experience which we aren't soon going to forget.
When ESG were on tour last year in Japan they realized that people were spending hundreds of dollars to get their hands on their rare second album called Come Away With ESG, so they asked Soul Jazz to reissue it and now here it is, all gussied up and at a nice price. Originally released in 1983 on 99 Records, the great NY underground label that also put out records by folks like Glen Branca, Bush Tetras, Liquid Liquid, etc. While the bulk of these songs can be found on the great A South Bronx Story collection it's still so thrilling and a little mind blowing to understand how an entire album can actually sound like the best greatest hits album you've ever heard. Pretty much hands down the best dance music made in this quarter century. ESG have been sampled on countless hip-hop records, helping to inspire an entire generation of forward minded dance/punk/dub/funk artists, and have thus continued to keep their vision alive and well. For those who already have A South Bronx story there are a few absolute gems on here not included on that collection. And for those who don't have any ESG yet in their collection, get this right away!!!
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Esmerine is yet another offering from the Constellation camp, best known for Godspeed You Black Emperor, A Silver Mt. Zion, and Set Fire To Flames. Unlike those groups with their massive ensembles, Esmerine pairs the sound down to two performers Bruce Cawdron and Beckie Foon, who happen to be members of all three of those aforementioned projects. This reduced membership personalizes all of the instrumentation, allowing for greater room for interplay between the instrumentation than the necessarily controlled orchestrations from the majority of the Constellation crew; yet, Esmerine does maintain that signature of emotionally isolated expansiveness. With just strings, marimba, drums, and a sparse use of electronics, Esmerine's debut album is an evocative collection of sparsely composed, neo-classical duets that mine the same Eastern European sensibilities of the much lauded Kopernik album although there are spots when Cawdron and Foon pick up the pace considerably for some 'heavy' moments that resemble the Metallica covering chamber ensemble Apocalyptica. Nice.
MPEG Stream: "Majestic Whispers..." [/audio/esmerinemajestic.m3u]
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After several cassettes, etc., the debut cd of "quiet songs" by the duo of Warren DeFevere of (His Name Is Alive, Princess Dragon-Mom) and Ian Masters (Pale Saints).
When Warn Defever is not busy leading the His Name Is Alive troops or running Time Stereo, it seems he should be taking a breather, but no! He's got many more irons in the fire. This is the re-mastered re-ssue of the originally cassette only release from one of his many side projects. A lo-fi experimental mish-mash of chopped up jams and samples.
The mystical and romantic decay of powers past is a prevalent theme on Espers second full length outing. With titles like "Dead King, Dead Queen", "Widow's Weed" and "Children of Stone", the thwarting of innocence and nature are met by a beautifully ruinous demise. While the past Espers releases have been mostly acoustic affairs using dulcimers, autoharps and harpsichords, on II, we hear a more heavily spacious psychedelic sound underpinning the acoustic arrangements while still maintaining their traditional mostly female acid folk vocal styles. Like Pentangle by way of Blue Oyster Cult (they covered BOC's Flaming Telepaths on their last EP, the Weed Tree), this new release shows Espers in top form worthy of many repeated listenings. Recommended!
It's been over three years since we've heard from this awesome Philadelphia collective, but that doesn't mean they haven't been busy. What with scoring and touring the Valerie Project (the re-imagined soundtrack to Jaromil Jires' Valerie And Her Week of Wonders), solo projects and collaborations from members Meg Baird and Helena Espvall, and focussing on Greg Weeks' psych-folk label, Language of Stone, it's amazing the band found any time to record. But they have and what's even more amazing is how great it sounds, releasing perhaps our favorite of their records. While the last record, II expanded upon the acid folk of their debut into a gauzy nocturnal medieval acid-psych, the songs on III return to sun-dappled realms, without losing any of their dark majesty. There's still a heavy British folk vibe, and Week's soaring guitar lines have lost none of their power, but the mood is more relaxed and warmer, allowing moments of seventies west-coast psych to seep through and mellow the proceedings a bit. But that doesn't mean there aren't any shadows, as Espers know how to work those magically dark undercurrents into even the brightest of songs. This is the band at the height of their power, lets hope it keeps going higher!
This new 37 minute release from psychedelic Philly folksters Espers isn't exactly their eagerly-awaited second album proper (which remains tantalizingly on the horizon). Instead, with The Weed Tree they offer up a sort of "teaser" disc that consists almost entirely of cover songs, with the only Espers original being the the grand and morose "Dead King" that closes the album. The covers include a couple of traditional tunes ("Rosemary Tree" and "Black Is The Color") alongside an eclectic but in the end utterly appropriate mix of material from the likes of the Durutti Column, Nico, Michael Hurley, and even Blue Oyster Cult. Although that might seem like a diverse bunch, in the hands of Espers these songs all do seem to belong together in one natural organism, the roots and branches and leaves of this Weed Tree. Echoing '70s artists like the Incredible String Band, Linda Perhacs and Vashti Bunyan, Espers' music (or here, their take on other people's music) is delicate and dreamy, sad but lovely acoustic folk with a lurking psych presence coming from the humming organ drones and acid guitar flashes... and these songs all lean heavily upon the band's sweet female vocals and harmonies.
Their folky, vaguely madrigal-like take on BOC's "Flaming Telepaths" builds into a freaked-out (but far from hard rock) climax, sounding the most of anything here like something from Espers member Greg Weeks' Awake Like Sleep album (beloved here at AQ). As are Espers themselves! Really nice. If you haven't heard Espers before, but like the other current acid-folk stuff happening such as Josephine Foster and Six Organs and Vetiver and P.G. Six and so forth, this would be a fine place to start! And of course fans will be pleased, as this helps tide us over until the true full-length follow up to their debut appears.
Usually, when a friend of yours slowly begins to sink into a druggy oblivion, you do everything in your power to help them, and keep them from that fate. But when that druggy oblivion is musical and that friend is Greg Weeks, you wait anxiously for the descent to bear musical fruit. Thus we have the Espers. A modern classic of shimmery psychedelia and seventies inspired pagan folk (and the drugs are sonic, not narcotic, so fear not Mr. and Mrs. Weeks). Sweet and melodic, but with a subtly dark and utterly creepy underbelly. The sound is heavy on the Incredible String Band, Pentangle, Fairport Convention and hippy folk of that era, but with elements of the sweet pop ballad and with a dash of Comus, that's right, Comus! And we don't invoke the name of Comus lightly. But don't let all this talk of folk and prog put you off. Espers beautifully tread paths of indie rock shimmer just as deftly, offering much to love for fans of Windy And Carl, Landing, and all things Ptolemaic Terrascope. Sweetly angelic female vocals float and hover alongside Weeks' warm sweet croon, over spare lilting folk, woven from delicately plucked steel string guitars, haunting violins and cellos, sweet swirling flutes, and the distinctive zing of dulcimers. Occasionally distorted guitar leaps wildly from the haze (two members are credited with "acid leads" after all!) lending the whole thing an acid soaked vibe. Weeks' last full length solo record was an AQ Record of the Week way back in 2001 with its mournful introspection, fuzzed out melodies and dreamy cloudy ambience. Espers follow a similar path, a lonely, meandering, path through the ancient forest, sunlight filtering faintly through the canopy. Travelling minstrels sing sadly, softly, offering sweet sounds to seek safety in those darkened, timeless glades.
First time available on vinyl, Sheik Aljama has long been heralded as one of the finer albums from the long-running Spanish industrial project Esplendor Geometrico. The recordings here began as early as 1986, but the album didn't see completion until 1991. Sheikh Alkama is laced with Arabic samples, percussion, and radio broadcasts, and given the entire catalogue from Muslimgauze who genetically fused Arabic modalities within an industrial agenda, Shiekh Aljama will now and forever be compared to Muslimgauze. There's plenty to separate Shiekh Aljama from Muslimgauze though, but context is key to understanding this album. Cabaret Voltaire may have been the earliest to use Arabic samples within a bleak form of proto-electronica; and these eerie dislocations of Arabic sounds from "the other" came as an anti-colonial diatribe against what the philosopher Edward Said described as Orientalism. Both Muslimgauze and Esplendor Geometrico took those ideas much further than Cabaret Voltaire's appetite for sensuality. For Muslimgauze, the noise and Arabic rhythms were in response to very specific contemporary political events taking place in the Middle East; but for Esplendor Geometrico, the album cites the fall of the Republic of Cordoba in the 11th Century with Arabic and Islamic culture being driven out of the Iberian peninsula. Esplendor Geometrico's mesmerizing rhythms sizzle with corrosive noise and metal-bashed clamor; and the sampled chants seem positioned more as subliminals than as overt citations. "Medinati" looks back to EG's pioneering industrial work in the early '80s, more in keeping with the direct-action pummel of Test Dept; but immediately following this is the disorienting yet hypnotizing dervish of "Descontrol" with its spasmodic dromedary rhythms and shrouded megaphone barking. Like Muslimgauze, Esplendor Geometrico builds a didactic framework and allows the aesthetics of their rhythm and noise to flourish within. It's a great album to have back in print; and very strange to think this has never been on vinyl until now.
For those of you, like us, who may only know the Swedish cellist Helena Espvall from her work with the recent crop of neo-psych folk artists like Espers, Fursaxa, and Samara Lubelski, as well as being a member of Vashti Bunyan's touring band, you may be surprised, like we were, at the avant-garde leanings on her solo debut Nimis & Arx. However, after learning that Espvall has played with numerous free improv, dance and theater groups as well as with 20th century avant luminaries Pauline Oliveros and Eugene Chadbourne, we shouldn't really be surprised at all. With production and electronics provided by George Korein of Infidel?/Castro!, Nimis & Arx is a free improv maelstrom of cello, recorder, guitar and voice that is equal parts beautiful, difficult, tense and transcendent. Even the late, great Arthur Russell had not dragged his cello this far out into uncharted waters and that's saying something!
This mystical new collaboration from Helena Espvall of Espers and Masaki Batoh of Ghost comes beautifully packaged, adorned with elusive scribblings of various mushrooms and flora, torn out pages from the field journal of a botanist. The album sings with a pastoral nostalgia for a time when tilling the land and preparing for winter were the bread and butter of folk music. Haunting melodies recall deep rooted traditions with a modern sincerity that longs for the simplicity and innocence of rural living. Something about the album invokes the feeling of waking up at the crack of dawn to an endless horizon.
The record is evenly weighted between the two soft winded minstrels, and both have distinct stylings that are easily recognizable. Masaki's songs stand out as a bit more angular and dimly lit while Espvall's songs are distinctly lush and serene. The two make a solid team. On the album's second track, "Kristallen Den Fina", Masaki's steel stringed embellishments align perfectly with the gentle vocal whispers of Helen Espvall. "Death Letter", a melancholy Southern hymn, features Masaki on vocals while Aspvall offers serene accompaniment, long-winded orchestral swells of bellowing cello.
Together the pair sculpt a gracefully simple, traditionally arranged collection of folk songs. Highly recommended for fans of Vashti Bunyan, Sibylle Baier, or Ghost.
Over the course of Essential Logic's brief existence, this seminal UK post-punk ensemble led by Lora Logic traversed a mightily broad spectrum from sax-laced, herky-jerk propulsion to angelic dream pop. We're pleased to report that the "Fanfare In The Garden" 2cd anthology captures the Essential Logic oeuvre quite wonderfully and also features four previously unreleased songs!
Essential Logic came to be in 1978 after Lora Logic, who'd spent some time playing sax for the X-Ray Spex and The Stranglers, decided to assemble her own challengingly, off-kilter punk band. Throughout Essential Logic's history, Lora Logic surrounded herself with some extrordinary members of the UK post-punk / art-rock community, including a young guitarist named William Bennett who later went on to form the confrontationalist power electronics outfit Whitehouse, Charles Hayward of This Heat, and DNA / Pere Ubu bassist Tim Wright.
Yet throughout the constant turnover of members, Essential Logic always centered around Lora Logic's vocals which jumped about erratically from howls to shouts to throaty croons. Confrontational, outspoken, and energetic, Essential Logic is one of the cornerstones of the female vision of punk, bringing to mind the likes of the Raincoats, X-Ray Spex, Liliput / Kleenex, and even Yoko Ono.
The Essex Green sail along on this Cannibal Sea fueled by candy colored musical treats. Really folks, this is pop with a capital P. Some other P-words that apply here are 'pretty', 'polished', 'perky' and 'poignant'. If you've even a passing penchant for retro-y indie pop, you'll surely be tickled pink (another P-word!) by each and every song on this album. A shake of a tambourine here, a simple keyboard line there, crunchy guitars and vanilla-frosting vocals everywhere. The trio have really pulled up their kneesocks for this one. Cannibal Sea is their most composed, craftily arranged and produced release to date. Think Belle & Sebastian having a tea party with the Beatles with an occasional detour into some very Stereolab territory ("Cardinal Points") and then into the deep woods for a beautiful somber folk tune ("Rabbit"). Singers Sasha Bell and Christopher Ziter deliver the dreamiest goods in the boy/girl harmony department. Absolutely scrumptious!
Second disc from these genre-hopping, Mr. Bungle-loving kids from Santa Cruz. Musically, they're obviously talented and are fearless in their pursuit of creating new, unusual sounds. Unfortunately, to these ears, "Buck Fever" falls a bit short in
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It's understood that fans of Mr. Bungle/Secret Chiefs 3 will lap up this wacky, wanky band up. A crazy Mr. Bungley hodge podge, sounding remarkably like some sort of evil Klezmer band. Yep, a disc of crazed instrumental virtuosity and ridiculousness, released on the Secret Chiefs' own label. Violin, trumpet, guitar, banjo, sax, pennywhistle, bass, drums, kitchen sink...dadaist rock referencing everything from boy bands to black metal, video games to soap opera.
"Live from the Estradasphere archives", a cd AND a dvd of this Mr. Bungle-approved band of wacky hotshots showing off their chops!
1971 strikes again. Holy moly, the planets must have been extra-aligned that year. Here's a krautrock classic from '71 that kinda fell through the cracks (though not the cracks in the cosmic egg). Well, it's certainly been lauded by some but we'd never heard it before now, anyway. In fact, this is its first time on cd, apparently, and we're glad to have it! Wild stuff here, a trip indeed, starting off with a serious dose of crazed, freakout action for synth and drums entitled "Thursday Morning Sunrise". Seriously psychedelic jamming jazz weirdness, like Sun Ra gone heavy. The synth squiggles and squeaks, growls and grumbles, and drums tumble and splatter, for almost 12 minutes. Some sunrise! But if you think that this is gonna be an album of improvised, uh, "drug jazz" (which it is, in part), you'll be surprised by what's to come on this disc... lovely acoustic guitar melodies ("Mellodrama Nr. 2 A"), faux-Eastern bliss-out vibes ("Raga"), and spoken word beat poetry set amidst angelic vocal arrangements ("Lady Blue")... like we said, a trip! But then again, all this eclectic awesomeness - from moody jazz to ethnic groove to fuzzy acid rock instrumentals - isn't all that unexpected in a krautrock band, especially one featuring members of Embryo and Exmagma, as well as mastermind Wolfgang Dauner (of The Oimels fame). They deliver the goods with a great deal of groove and gusto, making music both beautiful and bizarre... it could be the soundtrack to some avantgarde psychedelic art film from the '70s, like a Jodorowsky epic. Despite the not-so-cheap import price, this is a recommended reissue, done right. Snazzy, colorful cover, remastered sound (from original masters), 3 lengthy & quite excellent bonus tracks, liner notes... the works!
God Damn You Black Side Projects!!! No longer can we simply go by the somewhat telling label Constellation Records to raise the Godspeed You Black Emperor antennae. No, now Alexandre St-Onge and Roger Tellier-Craig (of Godspeed! You Black Emperor and Fly Pan
Electro-acoustic psych-ups. Members of Le Fly Pan Am GY!BE and Silver Mt. Zion.
2nd album of controlled chaos from this French heavy guitar/bass/drums improv rock trio. Yes, I said French, but even Caspar Brotzmann's Massaker couldn't fade some of this.
Can't really tell you much about Etat Brut, other than the limited information provided by Sub Rosa. EB were an obscure industrial duo from Belgium operating between 1978 and 1983, with connections to the transgressive collective Club Moral and the Cabs-inspired Pseudo Code. Supposedly, both of the individuals in Etat Brut were named Phillipe and went on to become science teachers after leaving all of this junk, noise, and squalid rhythm behind. But that's all the information we could dig up, which is a bit disappointing, as we'd love to know more about these guys, we imagine Club Moral must have published something about the group in their Force Mental zine. Anyway, for those keen on the more brutal / guttural / abject side of industrial culture (e.g. TG's Second Annual Report, Factrix' Sheintot, or SPK's Leichenshrei), this is a very compelling document of primitive sound-demolition with an equally primitive approach to deconstructing music into its rawest elements - noise, rhythm, screams, more noise, and plenty of aggro / provocateur antics. The post-punk monochord basslines and drum machine anti-groove of "Homme Nus" is a compellingly bleak track of Frankensteinian proportions, where "Crash" conveys a dehumanized atmosphere through grim blorping electronics, musique concrete techniques, and cut-up dialogue that could very well allude to JG Ballard if only we understood French. Crumbling tape machinations, rhythms looped from shortwave radio beacons, fucked-up noise, and guttural vocalizations fill in the blanks, very prescient of what Atelecine is attempting to recreate nowadays and holding up very well against the better known projects we listed earlier.
The cd comes with two bonus tracks not found on the vinyl, btw.
When we ordered this Japanese import, we were like, a split release between Japanese psychedelic stoner/doom rockers Eternal Elysium and San Francisco's own metalcore two-piece Black Cobra? Gotta get that! When it showed up, we were surprised to discover that the entire Black Cobra half had exactly the same tracks as those found on their recent full-length Feather And Stone, which we've already reviewed and raved about. Whoops. So... some of you already have that. However, if you want to get it again, you'll also get 23 minutes of Eternal Elysium material that only appears here. More likely, this is a good call for those who haven't yet picked up the Black Cobra album and also like (or think they might like) EE. Or simply for EE fans who don't mind getting the Black Cobra stuff as well (why would you?) as a bonus. Even at the import price, it's still 2 for the price of 2 (or 1.5 more like it) on one handy disc, not too shabby of a deal, really. So, let's say somethin' about the music for those ignorant of EE and/or BC:
Eternal Elysium always has us a little confused. Strange band. Sometimes they're straight up Sabbath-meets-grunge complete with vocals hinting at Alice In Chains or Soundgarden... and then there's the NWOBHM influences... and the groovy retro-sixties stuff... that's all here, plus of course random weirdness like the brief track "Golden Seaweed", with sped-up chipmunk voices. They try hard to make a stoner drug thing you wouldn't understand, but certainly something that fans of Boris, Solar Anus, and Church Of Misery should check into, to rock out to.
As to the BC half, here's what we said about Feathers And Stone before: Two man heavy riff-machine Black Cobra return with another pummeling release... Picking up right where Bestial left off, Feather And Stone shreds from the start. Brutally punishing circular riffs, heavy as all hell doomy moments, throat ripping screams, and incredibly hard hitting and precise drums. The fact that this massive sound comes from two fellas is pretty damn amazing. The album has all kinds of peaks and valleys. Amidst the constant time signature shifting, and brain-burning riff heavitude, there are a couple of beautifully dark intros and outros thrown in, giving the album a very balanced feeling. But it's mostly just crushingly heavy and ripping. If you can imagine a heavier, much more misanthropic Karp, that's kind of what they remind us of. Feather And Stone is a must for anybody needing a little taste of thrashing triumphant, sometimes doomy and dark, sometimes fast and techy, but always heavy and punk as fuck ROCK music... For fans of Cavity, Karp, Floor, Torche, and things that kill shit! (Note though that unlike the domestic edition of the BC album, there's no cd-rom live footage included.)
We may have mentioned it before, but it seems like Thrill Jockey is quickly establishing itself as an indie powerhouse. Not that they weren't already, but recently, they've been taking on band after amazing band, loads of aQ faves (heck, this week's Record Of The Week from Golden Void is also on TJ!), and broadening their scope to include, well, anything really, from the twisted experimental plunderphonic electronica of Matmos, to the brooding mesmer of Barn Owl, not to mention all the various strains of modern psychedelia, including a particularly virulent version practiced by long time aQ faves Eternal Tapestry, who in the past have been know to create records from hours of tapes, multiple jams melted down into one single slab of head heaviness, but apparently, A World Out Of Time finds the band going old school, and recording essentially live, single takes, the band locking into endless grooves, and blissed out kosmische freakouts. And all of the usual E-Tap radness is present, but there are definitely some surprises, like the 12+ minute opener, which is of course rife with thick whirls of drone and bleary shimmer, but is also laced with sax, and is driven primarily by some groovy classic rock guitar, it's like the Grateful Dead or the Allmann Brothers, but WAY more tripped out, imagine some obscure psych rock festival in the late sixties, early seventies, everyone, wasted and weary, and this is the band that goes on last, playing for HOURS, continuing to rock out as the sun begins to rise. It has that sort of wasted, endless psych vibe, and it definitely suits em, and of course it gets even more tripped out and drowsily squiggly near the end, although the end here feels pretty arbitrary, as if the track could have played on forever.
And weirdly, that retro vibe continues over the rest of the record, the sound slipping from dizzying mini-ragas, laced with bloopy electronics and loads of sitar like buzz, to full on fuzz rock proto metal, heart of the sun space rock, to loping tribal minimalism that sounds like No Neck Blues Band or Avarus, to straight up druggy psychedelic folk, replete with Donovan like vox, low end horn blurt, and swirling backwards fuzz guitar, and check out the purloined opening riff on "Apocalypse Troll"! There are some moments, where the band go for it, and deliver some blistering blown out heavy psych, and for the most part, the sound manages to not be that far removed from the Eternal Tapestry we know and love, but simply recasts it, the various influences brazenly displayed, old school Fillmore psychedelic classic rock transformed into modern space psych bliss!
While they last, the record is accompanied by a super limited cd-r, called Prometheus Rising, a killer collection of previously unheard/unreleased material handpicked by the band, ranging from droned out hypno-kraut grooves to full on wild psychedelic squall blowouts to hazy loping, brooding FX drenched drifts, to super spare kosmische ambience, even a couple blast of surprisingly rocking melodic fuzz-rock freakouts! We're the only store in the States to have this bonus cd-r, but they won't last long.
Latest from these Portland psych rockers, their first for new label Thrill jockey, which is where they now call home, alongside their pals, SF dronerockers Barn Owl.
For Beyond The 4th Door, these guys haven't really changed their MO all that much, but then as they say, why fix what ain't broke? The opener is a sprawling smoldering psychedelic drift, all minimal stripped down drums, effected guitar, processed vox, deep low end buzz, and helicopter like thrum, the sound twangy and sun baked, almost like they're taking a page from label mates Barn Owl, the same sort of deserty drift, but ET augment their drift with strange effects, whirring synths, culminating in a thick buzzing denouement, before slipping right back into a slowly fading outro.
That track bleeds right into the next, another chunk of psychedelic smolder, this time the guitars more distorted, a sound that reminds us of Flower Travellin' Band actually, like those wailing vox could swoop in at any second. Instead, the song unfurls, a mesmerizing chunk of hypo psychedelia, which again blurs right into the next track, a hazy slow burner, all tangled psych guitars, and shuffling skeletal rhythms, and finally on this one, the band get heavy (not crazy heavy, but heaviER), there's some sax here too, but it almost sounds just like another guitar, the band unleashing loose softly chaotic squalls of dueling guitars/sax, the whole thing hazy and druggy and pretty excellent, the sort of modern shit that should moss definitely appeal to all the Japrock obsessives who worship at the alter of Les Rallizes.
The record finishes with two sprawling epics, "Reflections In A Mirage", a droney, twangy, stretch of minimal, spacious shuffle, vocals return, to chant, and moan ominously, while the guitars warble and buzz, all tangled an spidery, draped over swirls of shimmery drone, the song never explodes or climaxes, which only makes it cooler, the instruments gradually blurring together and finally coalescing into a closing stretch of layered drone. The comes "Time Winds Through A Glass, Clearly", topping out at 12 minutes, beginning like some strange sort of country jam, loping low slung bass, and twangy reverbed guitars, soon sizzling clouds of cymbal shimmer drift overhead, the saxophone returns and skronks off in the distance, the song drifts and lopes and meanders, slowly picking up steam, but staying mostly restrained, until the last few minutes, where the band do let loose again, the drums pounding, the guitars distorted, wild streaks of psychedelic leads everywhere, a serious sonic squall, but only briefly, before things quickly settle back down and the track unwinds in a soft psychedelic haze. Great stuff. And refreshing that they managed to avoid the ubiquitous soft/loud, slow build, explosive ending thing that seems to be the way most bands do psychedelic space rock, instead, each song was a expansive sprawling epics that were both hypnotic and heavy, mesmerizing and mysterious�
Latest (vinyl-only) blast of psychedelic heaviness from these Portland space rockers, and much like the last record, the awesome Beyond The Fourth Door, Dawn In 2 Dimensions finds the band stretching way out, unfurling hazy, druggy, psych-drone epics, with pounding caveman drums anchoring clouds of white hot guitar squall, and horns too, the band don't even bother with the slow build or an intro or anything, they just launch right into "Wholeodrome" and start jamming, and we're immediately struck by how much fans of bands like White Hills and Carlton Melton and the Heads and all those outfits, should be flipping out over these guys as well, it's some fantastically heady stuff, heart of the sun sort of lysergic heaviness, rife with chanted vocals, lush layered riffing, and those tangled guitar melodies, a laid back psychedelic shredding drifting atop the groups churning spaciness. The opener is the perfect introduction, and surprisingly short at 4:33 considering it could have easily stretched out and filled up the whole side, and we're guessing live it probably does get even more blown/stretched out.
And while the label touts this as the band trying to capture the energy of their "blistering live shows", there's still plenty of super laid back stoned out psych, in fact "Bread Of Dreams" spends most of its nearly seven minutes in a dirgey effects heavy haze, only exploding into some fierce heaviness near the end, only to transform into a bit of pastoral acoustic folk, wrapped in some weirdly tweaked (and heavily panned) birdsong. "Marrow Of The Wand" offers up something similar, a bit more krautrocky and propulsive maybe, but still super laid back, and almost Grateful Dead sounding (albeit a much more spaced out and druggy version), that again does devolve into a wild psych squall freakout right at the very end.
It's the B side that really seems to display the band at their rawest and heaviest, a sidelong 3 part epic, that spends a good chunk brooding ominously, slowly building, all spidery melodies and stripped down rhythmic shuffle, before slipping into some Stooges-y swagger, some buzz drenched heavy rock crunch, the middle portion being downright headbangable, before the final kraut-psych stretch, that finds the band locking into a woozy mesmeric groove, that again, could probably go on forever, pounding through a cloud of swirling psychguitar, before finally stumbling to a halt.
Heavy psych heads and psychedelic space rockers should really already be hip to these guys, but if for some reason that's not the case, get his now, and clear a space on your shelf next to Wooden Shjips, Moon Duo, White Hills, Carlton Melton, etc...
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
So when the Eternal Tapestry guys ripped through town last month, they dropped off a few cdrs, needless to say, they were gone in no time. We even had to keep bugging them to send more down to the shop because so many of you loyal psych heads couldn't get enough of ETAP's cosmic fury!! Well, we are pleased to present the latest full length lp from Portland's heaviest psych sludge trio, Palace of The Night Skies! The good people at Three Lobed bring us this tripped out, fuzzed out psychedelic masterpiece, golden shimmering riffs plodding on into infinity, wailing fuzz from the depths of a swirling acid trip, all anchored to Earth by Jed Bindeman's (Heavy Winged) in the pocket, solid as rock drumming. Prism Light Traveler, Side A, kicks things off with a krauty, stoned-out riff, repetitive and hypnotic, Nick Bindeman (JOMF, Tunnels) and Dewey Mahood sacrifice their guitars at the psychedelic altar of kraut riffage. Layers of wailing feedback, endless washes of blaring tones burn a hole right through the speakers, the gates of infinity are opened and all trippers are welcome inside. Side B, titled The Hidden Void, begins with the slowest riff we've heard these guys unleash. Soooo slooow and trudging, like someone falling asleep while playing, kinda reminds us of listening to a Les Rallizes Denudes lp at half speed. Other layers of wailing guitar and distant drones slowly creep into the mix as the slow paced, stonerific trudge plods on. We love how heeeeavy and loud the record sounds, so raw and fucked up, just they type of low-fi warmth we love with our psych. Palace of The Night Skies is essential, especially for fans of Bong, Wooden Shjips, Parson Sound, Loop or anything remotely psychedelic. Limited to 730 copies, each lp comes with a cd (cd also includes one bonus track!) and is housed in a beautifully prinited, cosmic cover. Don't be left in the dust on this heavy-kraut gem!!
It's unreal how much awesome, trippy music is coming out of Portland these days. Either there's something funky in the water up there, or Portlanders just know how to keep it real. Real fucked up and tripped out that is. Either way, we couldn't be more happy about all the amazing things happening in Portland lately. And Eternal Tapestry is no exception. These dudes just rolled through town on a short West Coast tour, and they made sure to drop off a nice stack of goodies. This is their brand spankin' new tape on the Digitalis Ltd. label and we're super into it. Krauty, spaced-out, bluesy improv that hits hard. For those of you who don't know, Eternal Tapestry features the famed Bindeman brothers, Jed (Heavy Winged!) on drums and Nick (Jackie-o! and Tunnels) sharing guitar duties with Dewey Mahood. In the same vein as Parson Sound or Can, these guys have really nailed the art of weaving improv in and out of catchy riffs, really sweet. Sadly, this one's already sold out on the label's end and we only got 10 copies! So act now before it's too late!
So when these guys came into the shop to drop off their newest tour cd-r, we expected to hear more of the usual E-Tap free bluesy psych jamming. And psych-heads be assured there is a fine amount of freak-out guitar and hypnotic, driving drums here, but the Bindemen brothers and their third, Dewey Mahood have reached an all-time best with this one. They seem to have taken a more gritty and punk influenced direction here, instead of bluesy, the riffs are gritty and damaged in a Black Flag meets Wooden Shjips kinda way. Still very cosmic and sprawling, this shit is waaay darker and waaay more heavy then any other E-Tap stuff we've heard to date. There's even some totally unexpected riffs that are borderline stoner doom! Yes! With apathetic, mumbled Dead C type vocals over turning riffage that bleeds with feedback and gnarled fuuuuuzzzzzzz, we're really diggin' this new direction these dudes are headin' in, totally recommended!
Another slab of spaced out kosmiche kraut riffage from these psychedelic warlords, their sound all Loop-ed guitars, propulsive in the pocket drumming, buried weary vox, all manner of lysergic effects, hazy distorted all over the place, locked into mesmerizingly repetitive grooves, sounds good huh? Anyone into Wooden Shjips, White Hills, Spacemen 3, if you haven't discovered these guys, you need to turn in your garage rock space drone trip out card RIGHT NOW.
But it's not too late, grab one one of these, dim the lights, fire up the hookah, rev up the magic carpet, and let this shit send you straight into the heart of the sun.
Unlike those other bands we mentioned, Eternal Tapestry is a bit more loose, on the verge of chaos, a drugged-out, raw as heck, punk kraut space rock, like locking Black Flag and Parson Sound in a basement full of wah and fuzz pedals and waiting for the destruction to begin. Their shit just keeps getting better and better. Invisible Landscapes picks up where their first Not Not Fun LP, Mystic Induction, left off, only this time the boys seem to have polished their sound. Don't get us wrong, E Tap still brings that raw, blown out tube amp destruction, but the trio seem more solid, more graceful about balancing their rawness with in the pocket rhythms and more clear cut song structures. The sound is a bit more unhinged and abstract, the songs slipping into some mathiness here and there, some free psych freakouts now and again, but always finding their way back to THE GROOVE.
It's Hawkwind worship of the highest order for sure, but filtered through a more modern drone-psych vibe. The A-side is absolute acid fried space jam bliss, any one into any of the above bands who lays their ears on this, will immediately have a new obsession. The flipside is much more soulful and laid back, the drumming super minimal, the guitars chiming and glistening, tons of wah wah (of course), killer hooks too, all over the place... Invisible Landscapes also touches on some new territory for the group, at times veering into a fast paced, hypnotic, machine-like plod, kind of like the Stooges covering a Suicide song, pretty damn sweet.�Nick Bindeman and Dewey Mahood send hazy vocals and blissed out guitar solos into the grey sky while Jed Bindeman pounds away on his kit like a lawless locomotive with his sights on the horizon. Heavy hitting, blistering psych-punk that will keep you head banging 'til the early morn, and then there's the closer, a total classic space pop ur-jam, dipped in fuzzy crunch and shoegaze shimmer. NICE!
Latest tripped out missive from these Northwestern psychedelic jammers, this latest their most epic yet, a sprawling double lp that finds the band expanding their already spacious sound into some sort of abstract drone-dub space jam. Most of the tracks clocking in at 10+ minutes (with three over 15!), the opener is a surprisingly brief bit of hazy, druggy minimalism, a serious dub vibe throughout, programmed rhythms, vocals washed out reverby but drifting further up in the mix than we remember from past ET outings (although on the last record we did compare them to both the Grateful Dead AND the Allman Brothers), but here, the opening jam quickly dissolves into a trippy swirl of abstract percussion and vocal drones, of wheezing organs and clouds of cymbal shimmer, an ultra abstract and extremely hypnotic avant raga / drone, that could easily have filled up the whole rest of the record. Instead the band settle into some darkly dreamlike hypno-rock mesmer, organ drenched motorik minimalism, the guitars eventually not so minimal, more restless and scrabbling above a field of layered tones and loping grooves. sometimes getting almost jazzy, hazy slow jams, that at times sound like some weird alien jazz-fusion, and at others, like pure kosmische bliss out (tracks like "Maidenhair Spleenwort" definitely drift into Spacemen 3 territory).
The second half of the record seems to shift gears dramatically, jettisoning much of the 'rock' elements, beginning with the glimmering harmonic guitar fields of "Lace Fern", a softly swirling cloudscape of Michael Rother like glittery, new age dreaminess, continuing on into the tangled trippiness of "Pale-Green Sedge", a roiling space-blues avant Appalachia of organ drones and slippery guitar melodies, which bleed directly into the 15+ minute closer "White Adder's Tongue", the first few minutes of which unfold in soft swells of wordless vox, softly proggy organs, pulsating drones, a minimal drumbeat slowly surfacing, the sounds coalescing into a very sixties sounding psych jam, which gradually grows more and more manic and unhinged, the main riff locked into some dizzying loop, reminding us of Terry Riley's tripped out tape experiment "You're No Good", but here presented in a much more raw, lo-fi, and psychedelically space rocking incarnation. Supposedly Wild Strawberries was recorded over some Phish Bootleg tapes, which whether true or not, makes us dig it even more.
While they last, both the cd and the lp version will include a bonus disc (a real cd, not a cd-r), featuring 40+ minutes of exclusive and unreleased material. Five more tracks of organ drenched bliss out, psychedelic shimmer, dubby droned out minimalism, fuzzy psych pop jangle and swoonsome space-kraut drift!
Recorded live in 2010 at South By Southwest, in Austin Texas, in a large empty TV studio and then broadcast on the radio, this psychedelic summit matched up long time pals Sun Araw (aka Cameron Stallones) and Eternal Tapestry for a single improvised performance, 45 minutes of dreamy psychedelic drift, spaced out krautrock, and full on freaked out heaviness! Presented here as played, without overdubs, the only edits being those that separate the jam into 4 tracks. The ET&SA band quickly settle into a lysergic drift, a whirling shimmery haze, laced with fluttery flute, cymbal shimmer, and spidery guitars, a slow build to some seriously explosive spacerock swirl, a chaotic cacophonous crescendo, before settling back down into another stretch of hushed drift, this time heavy on the whirring organ, and still laced with plenty of flute, a little bit jazzy, a lot free and drifty, leading directly into the second movement.
Movement two finds the band immediately locking into some krautpsych hypnorock, some saxophone audible for the first time, the multiple guitars all tangled up in constantly shifting harmonies, the sound mesmerizing and hypnotic, simultaneously ramping up, but also blissing out, vocals swoop in, wreathed in echo and delay, eventually everything fading out but the whirring synths, the shuffling drums, the sax, and some wailing vocals buried in the mix. The third movement is the shortest of the four, and is another slow build, but this time as the sound blossoms it also gradually grows more minimal, the arrangement more spacious and spare, the guitars and sax drifting in an expanse of shimmery thrum and muted horns, washed out and dreamlike.
Finally, the band unfurl the 14+ minute final movement, a swirling shimmering expanse of warm layered keyboards, subtle guitar shadings, and even more subtle sax, the bass offering up deep pulses, everything hazy and crystalline, the drums finally kick in and the band launch into a woozy lumbering space-drone groove, the guitars getting more crunchy, the effects thicker, never truly exploding, instead just cranked up a notch, letting the guitars howl and wail, a druggy dirgey chunk of psychedelic kraut-drone blooz. Nice.
Vinyl version includes a download coupon, fyi.
Ether's "Music For Air Raids" could easily be an open letter to Caspar Brotzmann, asking him to consider that Ether be the new backing band for his guitar pyrotechnics. This six piece ensemble fits all of the Caspar Brotzmann Massaker requirements -- big tribal rhythms, plodding basslines, interesting production tricks, and an overall masculinity that propels Ether's sound. A sound that's complete in itself, without the added Brotzmann guitar that we find ourselves fantasizing about.
We've never reviewed anything by Ethernet before, but now upon the release of ambient composer Tim Gray's third album under the moniker and second for the Kranky label, we wonder to ourselves why it took us so long. Opus 2 is cut from the same cloth as many ambient drone composers we've loved so much in the past: Aphex Twin, Tim Hecker, Gas, White Rainbow, Boards of Canada, etc. In fact it reminds us some of BoC's polygonal musical forms, but pulled apart under layers of the kind of warm propulsive chill often explored in the Kompakt label's Ambient Pop series. Largely composed in a process of self-hypnotic improvisation, the resulting pieces are culled of overtly compositional elements, so instead we hear layers of polished down melodic forms and rhythmic pulsations under a brilliant haze of wondrous sonic drift. Beginning gently with waves of airy exploratory melodies that soon become overwhelmed by an embryonic vastness of sound that is both pastoral and bleak, the sun-dappled vibrancy soon mired in weathered earthy textures and slow windswept turbulence that gradually darken in gorgeous decay. Quite lovely!
Dylan Ettinger's New Age Outlaws lp was a big hit around here, a sprawling collection of retro futuristic psychedelic synthwave that we described as Expo 70 covering Zombi. On this follow up single, some of that stuff is still present, but Ettinger has definitely taken his sound in a new direction. The core sound is still a murky sort of retro cold wave, but it's the execution, and the constituent parts, primitive programmed beats, swirling soaring synths, and most notably, ethereal echo drenched vox that slip from falsetto to more dramatic croon and back again, there's even some melodica, which helps create the weirdly dubbed out vibe, the tangles of melody disappearing in a sea of deem thrum and blissed out beats, sounding a bit like Gary Numan at 16rpm.
The flipside begins with a stripped down rhythm, pulsing and throbbing within clouds of bleep and bloop, of buzz and glitch, a downtempo cold wave, muddy and smeary, the vocals buried this time around, reminding us of Tricky teaming up with some modern synth outfit, the results are dreamily druggy...
Originally released on cassette, this chunk of psychedelic atmospheric synth-fi futurism has been gussied up, the original tracks, remixed and/or re-recorded with more parts, more music, subtle alterations here and there, not so subtle changes as well, but since we missed out on the cassette completely, it hardly matters, and according to the label, this is indeed the definitive version.
So who the heck is Dylan Ettinger? We have no idea, but what we do know, is that New Age Outlaws is a fantastic collection of synth driven sc-fi new age/wave atmospherics. Fans of Majeure, Zombi, Umberto and similarly minded retro futurists will definitely dig.
Just check out the sprawling nearly 12 minute opener, "City Lights, City Streets", that ends up sounding like Expo 70 covering Zombi, droned out and mesmerizing, thick layered synths, slowly unfurling melodies, a simple robotic rhythm, bits of psychedelic wah guitar, thick swells of rumbling crumbling low end, a slow burning epic, that only really shifts gears _ of the way through, when some of the low end drops out leaving the high end to shimmer and soar and glisten, infused with some swirling minor key melodies, only to build to a Sunroof!-like climax, with synth melodies that sound weirdly like sun baked steel drums, everything hazy and washed out and gorgeously blissy.
The rest of the record explores similarly spacey and psychedelic territory, the sound raw and buzzy, "Rico's Pawn Shop" loops a strange stuttery bit of melody, beneath warm whirring chords, and some rubbery synth bass, that man loop never letting up, while the various other synths tangle and intertwine. "Gordon's Theme" is more mellow, more muted and minimal, but again, anchored to a simple synth loop that entrances while the various surrounding sounds paint in the rest of the picture, adding warm lustrous ambience, deep layered textures, a gorgeous hazy sonic drift.
Imagine James Ferraro trying his hand at this sort of Carpenter/Goblin style synth wave, primitive loops, strange hypnogogic melodies, not sleek and polished, more home brewed, which is precisely what makes New Age Outlaws so unique, so strange and so good.
LIMITED TO 490 COPIES!!
Our friends in Finland are a prolific lot. From the label that just brought us that wonderful Magyar Posse album, comes another band, this time with some familiar faces -- it features members of Circle, Ektroverde, Pharaoh Overlord, Kirvasto and Keuhkot. Eturivi, however, have their own weird sound. Creaking, creepy stuff, with droning science fictional tool shop electronics and glitchy rhythms. Electric organ, rattling percussion, plinking guitars all make for a mysterious background to the equally mysterious voices you'll hear. This has what seems like a bit of a theatrical aspect, with dramatic vocals declaiming something in Finnish (we presume) over the junkyard folk music. It's kinda quiet (in a noisy way though), until the next to last track, "Lian Jaljilla", when chugging guitars kick in and Eturivi fully reveals their Circle lineage, dealing out distorted stabs of motorik spacerock. The prevalence of spoken foreign-language vocals might not make this as accessible as some of Jussi & co.'s other projects -- you do feel like you're missing something by not understanding the words -- but it's still one that lots of fans will want to add to their shelf-ful of Finnish weirdness.
MPEG Download: "Saavutus" [/audio/eturivisaavutus.mp3]
MPEG Stream: "Saavutus" [/audio/eturivisaavutus.m3u]
You might not recognize these two names, but you probably recognize the bands they call home, all big time AQ faves. Bryan Eubanks is the man behind GOD, whose last disc on Jyrk we raved about a while back, and J.P. Jenkins is a member of Portland outfit Ghosting (as well as the Portland Bike Ensemble).
Two sidelong tracks, both lovely, and neither are all that far removed from these guys' actual bands. Eubanks side is a never ending (well, almost) wall of grinding low level hum, a relentless buzz, warm and layered and slowly shifting, sounding like a lo-fi Phill Niblock, blissful and meditative, the sort of track that when it stops, your ears almost pop, so suddenly deprived of the drone that was filling them moments earlier. Sometimes the simplest sounds are the most pleasing, and this sort of fuzzy hum is the sort of thing we could listen to forever (and we listened to it with the record reverser, which we also sell, and it sounded even cooler backwards! But then again, what doesn't?!)
Jenkins side sounds like it could have come straight off a Ghosting record, which is not at all a bad thing. A cloudy expanse of simple finger picked guitar nestled amidst soft focus billows of reverberating metallic hum. Eventually the hum dissipates, and what's left is some haunting alien Appalachia, with various notes hurled skyward and stretched into long peals of moaning high end drift. So nice.
LIMITED TO 300 COPIES!! Each one stamped on the lp label, housed in hand assembled and hand screened sleeves with a printed insert, two different color sleeves: gold on black cover or blue on white.
If you ever wondered what the Vaselines might have sounded like, if they were a bit darker, and heavier and a little more shoegazey, well, look no further. Eugenius, the post Vaselines project of Eugene Kelly, briefly called Captain America before they were sued, and featuring members of Teenage Fanclub and BMX Bandits, is that band, taking the classic Glasgow pop sound and roughing it up a bit, adding a little Loop and Spacemen 3 and Swervedriver to the mix. Or according to Kelly it was actually Big Star, The Byrds and Neil Young And Crazy Horse, but same difference. Don't believe us? Go listen to "Flame On", then maybe "Oomalama", we'll wait...
What'd we tell you? Big fuzzed out heavy guitars, crashing drums, soaring choruses, wild psychedelic leads, all wrapped around classic Vaselines style pop, it might sound like a weird mix, but once you get into it, you kind of wish more bands sounded like that. And while some did attempt a similar melding of pop and power, in a distinctly NOT power pop fashion, these guys were just super special, due in a big way to Kelly's incredible songwriting. In fact it's pretty easy to imagine any of your favorite Vaselines tunes, redone Eugenius style, which is essentially what Eugenius was, a super charged grungier shoegazier Vaselines, and if that doesn't sound awesome, then go ahead and listen to those sound samples again, and if it still doesn't sound amazing, then we just give up.
Pretty much all the songs here are killer. "Flame On" might be our favorite, but "Breakfast" is jangly perfect pop, "One's Too Many" almost sounds like old punker Lemonheads, "Hot Dog" is a gorgeous string laden mix tape breakup jam if there ever was one, "Buttermilk" is fuzzy and distorted and catchy as hell and totally sounds like it could have / should have been a Vaselines tune, a bunch of the songs sound like Teenage Fanclub, which makes sense, but again, Kelly's songs are just magical. The music is incredible, but the lyrics too, funny, clever, sincere, goofy, this record still ranks up there as one of our all time pop faves. If you've never heard it you're in for a HUGE treat.
This reissue tacks on two old Captain America tracks, including a fantastic cover of Beat Happening's "Indian Summer", which sounds like it could be a Eugenius original, and there's also a bonus disc of acoustic radio sessions, which features stripped down versions of three Eugenius songs, two Vaselines songs, and "Indian Summer" again...
So so so so so great!!!
A band with the complex rhythms and left-of-centre melodies with the post-rock/pseudo-jazz sound of Tortoise, and produced by Casey Rice no less.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Guitarist Euroboy of Turbonegro (Sweden's most shockin' and punk rockin' cross between the MC5 and the Village People) steps out with a new band, playing a surprising combination of flared-trouser '70s retro-rawk and similarly '70s lava-lamp lounge kitsch. Way groovy and certainly unusual for Man's Ruin. An AQ party fave (well, that's projecting into a future AQ party scenario)!
