As we all make our 2009 favorite lists, we started thinking about what label released the most rad music and Captured Tracks would be pretty hard to beat with their amazing onslaught of killer releases this year, from folks like Blank Dogs, Brilliant Colors, Roman Soldiers, Dum Dum Girls, Gary War, Grass Widow, Woods, Thee Oh Sees, The Mayfair Set... God damn! They put out more amazing records in one year then many labels do in a decade! So it's so fitting that in the final days of 2009 we get one more slab of wax from Captured Tracks that we can't seem to stop listening to.
The Girls At Dawn for sure fit into the Captured Tracks aesthetic and would sound right at home on a bill with any of the above mentioned bands, yet they totally have their own unique charm that has made us so smitten with them. The way they infuse a haunting girl group element into their raw garage pop is totally hitting the spot. Makes us think of Grass Widow teaming up with The Sandwitches or a more lo-fi Slumber Party, or maybe Slant 6 / Quixotic doing Phil Spector and Thee Headoatees covers. In other words this is fucking great!
We might have missed out on this reissue from earlier this year had it not been for Mick from Rubber O Cement commenting in the store that recent Slumberland darlings Liechtenstein sounded a lot like Girls At Our Best. Given how much we were smitten by the Liechtenstein and their seductive twee punk melodies, we gave the Girls a shot; and damn if Mick didn't totally nail it. Girls At Our Best are a little more jagged at times (sort of like a brighter version of Scream period Siouxsie & The Banshees in terms of the arrangements) and enjoy some nifty production tricks of vocal multi-tracking to give Jo Evans all sorts of call and response choruses of her lightly melodic then intensely present vocals.
Girls At Our Best was shortlived from the get-go, as the band had already broken up once using the moniker The Butterflies, but took up an offer for half-price sessions at a studio in their hometown of Leeds to record. They recorded four singles, a couple of which ended up on Rough Trade before the tiny indie Happy Birthday offered them a deal to release their first LP Pleasure in 1981. Like any self-respecting punk band of the day, they managed a BBC session though Richard Skinner and not John Peel. All of these aforementioned singles, that LP, and the BBC session fit snugly on this cd compendium of their work. By the time, Girls At Our Best had jumped from the economical single to the full album, they were tinkering around with some whimsical vaudevillian tropes, sarcastic sugar-punk excess, and anthemic vocal acrobatics. And as ramshackledly silly some of these track sound, they were much better on the punchy, dance-punk numbers like "Warm Girls" and "Go For Gold."
We first heard these Irish garage rockers on a split with SF outfit Brilliant Colors, their sound reminding us of big time aQ faves Crystal Stilts, their brand of jangly garage rock similarly haunting, and listening to their full length, we definitely still hear shades of CS, we're imagining it has much to do with the vocals, a deep reverbed croon, that even here reminds us of groups like Celibate Rifles, the Lime Spiders and the Scientists, but the difference is that the Crystal Stilts' SOUND was also similarly gloomy and dour, a sort of garagey jangle pop via brooding post punk, but Girls Names traffic in something much more jangly and poppy, melodic and a little twee, their sound more in line with groups like Black Tambourine, the Pastels, the Shop Assistants, Creation Records and that classic C86 pop sound. And yeah, the deep male vocals do change the feel, in some cases making Girls Names sound like a bit like Felt, and again, sometimes positioning them closer to Crystal Stilts. And while a few of the tracks here do find the band exploring darker sonic territory, with brooding reverby guitars and gloomy minor key melancholia, for the most part, they focus more on dreamy pop jangle, a hazy, super melodic, catchy and sixties garage style pop, but that, when wedded to the deep crooned vocals, the occasional gloomy overtones and some subtly haunting moodiness, make Girls Names something special for sure.
The New Life is the second album from Belfast, Ireland's Girls Names following the triumphantly jangly album Dead To Me. The metaphors in the titles should be noted, as the dream pop elements of the first album (which they emphatically distanced themselves from right after the tapes were in the can, so to speak) has been shed in favor of a post-punk gloominess that was hinted at on the earlier record. Frontman Cathal Cully has long received comparisons to Crystal Stilts' Brad Hargett, both embracing a detached, baritone monochromatic delivery of death-obsessed romanticism. Cully's deep croon fits much better with the skeletal arrangements that take after The Cure's twin records Seventeen Seconds and Faith. "Drawing Lines" really could have been lifted from either of those records as a bass-driven jam driving the propulsive, death-disco rhythms topped with spectral guitar hooks punctuated by Cully's vocals that are awash in leaden gray reverb and delay. "A Second Skin" and "Notion" return to more of the C86 sound with a brightly ringing Johnny Marr guitar vibrato, even as the moods retain a detached swagger. Another fantastic album of dark-eyed pop by way of Slumberland!
Oh wow, this is one of those amazing split 7"s that makes you stop listening to the piles of records you've been meaning to get to, as once you put this one all you wanna do is listen to each side over and over again. This is the first we've heard of Girls Names, who apparently will have their debut full length out early next year and if "I Lose" is any indication it's gonna be a record that'll demand some serious attention. We haven't been quite this smitten with the sounds of a new rock band since we first got floored by Crystal Stilts a few years back. In fact they have a very similar sound to Crystal Stilts, nice warm reverb rushing through their hollow and haunting garage rock.
We were already big fans of San Francisco's Brilliant Colors so it comes as no surprise that their song on the split is another gem of early '80s inspired post-punk/dream-pop garage bliss. Even though we have so much other stuff to listen to right now, we just can't stop flippin' this and playin' it nonstop!
Brand new song from aQ beloved Irish garage poppers Girls Names, teamed up on this split with new to us Weird Dreams. Girls Names unfurls some fuzzy eighties beholden twee pop, laced with new wave synths, and driven by deep, breathy, dramatic vocals. A soaring chorus laced with weird slightly industrial percussion and a woozy psychedelic shimmer, transforms the song into something way weirder (and cooler) that your run of the mill retro pop.
Weird Dreams look back with their sound too, but in their case, back to the sixties for a smokey, sultry torch song style pop ballad, slithery basslines, crooned vox, everything fuzzy and late night ballady, spidery melodies weaving a darkly psychedelic spell, fans of the New Lines and Still Corners will definitely dig.
Pressed on clear purple vinyl!!
Wow! This is one for all of you always seeking out the ultimate mathy heaviness. Girth are a guitar and drums duo from up Seattle way, and they dish out some seriously deranged, detailed, devastating instrumental mayhem here. There's a dozen songs on this 42 minute debut and they're all hella herky and jerky and heavy. Did we just say Hella? Well that'd be one comparison, along with Bozart and Breadwinner, though Girth are way more of a metal-riffed monster that those bands, something of which we totally approve. Girth's spazzy string-strangulation and amazing octopoidal drumming is balanced by their crushing low-end chunk and high-tension rocka rolla, and there's even some nice, calming interludes of post-rockish near melody. It's sorta like Crom-Tech or Orthrelm, but just a bit less maddening, more musical. At times this could be the Melvins, playing Black Flag's Process Of Weeding Out while on a caffine binge, throwing in some Entombed or Eyehategod riffs while they're at it. Or the Fucking Champs and Slayer as possessor demons doing battle for control of the same host body. The most important point is, that as hectic and heavy as this can be, it manages to be super listenable as well, something that we don't always get from the math core crowd. We like it. A lot. An impressive debut for sure, packaged with some suitably beautifully chaotic yet precise Stephen O'Malley designed graphics.
Attention Young Marble Giants Fans!!
If you have worn out your copies of Colossal Youth from repeated listenings, and have always wanted to hear more from that group, this might just be the next best thing. Started as a side project by YMG main songwriter and guitarist, Stuart Moxham, The Gist's first single hit the shelves six weeks before YMG called it a day at the tail end of 1980. Taking time to stretch out from the rigid arrangement process of YMG, Moxham recorded the Gist's only album, Embrace The Herd, with a bit of help from his former bandmates, Alison Statton and Phil Moxham along with guest appearances by Epic Soundtracks, Viv Goldman and members of Essential Logic. Combining Eno-like fourth world instrumentals with an idiosyncratic approach to songwriting, Embrace The Herd is an engaging document of post-punk DIY creativity. Think a dancier and stranger YMG, yet not as loungey as Alison Statton's spin off group, Weekend. While perhaps not as seminal or as focused as Colossal Youth, The Gist sound remarkably refreshing and much less restrained. Plus it's nice to have some new-to-us sounds from this era to worm away in our ears. Includes four bonus tracks. Fans of Antenna, Marine Girls, The Slits, The Raincoats, and leftfield post-punk rhythms of all sorts will find lots to love here. So Recommended!
Those of you who bought the last issue of the fantastic magazine (and AQ fave) Cimarron Weekend, will know all about the Gizmos (probably way too much). This is a collection of all the detritus (demos and such) from Indiana's legendary garage punk weirdos. Featuring rough versions of all their hits: 'Gimme Back My Foreskin', 'Human Garbage Disposal' and of course 'Pumpin' To Playboy'.
First proper full length (after a super limited cd-r), of gorgeously blissed out post rock from this Bay Area ensemble. Lush and textured, rhythmic and hypnotic, slow burning and sprawling, epic and super rocking, these guys take that nineties sound we love so much and make it their own, the songs smolder and pulse, before exploding into dense roiling Godspeed / Mogwai style blowouts. Meandering prettiness, gives way to loping mathy minimalism, chiming guitars, simple spare drumming, looped melodies, a slow build to near metallic crush, the bass throbbing, the guitars tangled up in psychedelic squalls, the drums muscled and propulsive. The sound moody and minor key, cinematic and soundtracky, brooding and intense, heavy and emotional and harrowing. If you dig stuff like Mogwai, Aereogramme, Mono, Pelican, Grails, Explosions In The Sky, Magyar Posse, Red Sparowes, Snowblood, that Temporary Residence instrumental rock sound, that heavy post POST rock, well, Glaciers does it as good if not better than most of your favorites. Not sure how these guys slipped under our radar, since they're from right here in the Bay Area, but it's time to right that wrong, RIGHT NOW.
Pressed on gorgeous ice blue vinyl, comes with a download coupon, and yeah, it's probably limited too...
Latest full length from this Bay Area post rock outfit, whose And The Sea Won The Battle was a huge hit around here. Mirrored Through The Ancients finds the band mining much the same territory but with some extra heft. Opener "Last Rites First Breath" sounds pretty fierce, the production massive, big thick guitars, pounding drums, still beholden to the golden era of post/math rock, but sounding modern enough to have fans of Mogwai, Godspeed and Explosions In The Sky pricking up their ears, cuz these guys do that sound so well, there's really no reason they shouldn't be getting the same love as those other groups.
The whole record displays that new found sonic heft, even on mostly minimal, hushed drifters like "Pierced By The Sun". That track starts off with some near metallic riffing, suspended in a field of swirling effects and rumbling drones, swirling cymbal shimmer and churning psychedelia, only to quickly settle into a serene sprawl of loping, lilting meander, all clean crystalline guitars, some moody twang, skittery drumming, we had just about settled in for some blissed out post rock drift when the song and sound begins to gather momentum, building to something much more fierce and rocking, and then finally exploding into near metallic majesty, epic, soaring, the guitar howling, the drums wild and loose, all before locking into a droned out driving dirgey chug, the whole thing shot through with plenty of melody and texture, giving even the darkest and heaviest moments here a sort of sonic expansiveness, these guys KILL it.
Some of the tracks here get downright psychedelic and stonery (check out the main riff of "Veil Of The Phoenix"), others remain hushed and haunting, brooding and drifting dreamily, and then there's the awesomely titled closer "Southwest Of Heaven", which sadly, isn't nearly as Slayer-y as we hoped, but it is a gorgeous stretch of washed out, twang flecked, druggy, droney post rock moodiness, that again surprises near the end, after fully four minutes of drifting and loping, launching into some seriously noisy progged out heavy psych crush, before once again slipping right back into another stretch of woozy post rock brood.
LIMITED TO 400 COPIES, on smoke colored vinyl!!
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Barbara Manning and Seymour Glass of Bananafish , plus Greg Freeman, various Thinking Fellers, Mayuko Hino, Conrad Capistran (legendary, humorous record buyer at InYourEar), World of Pooh, etc. Recordings of various birthday parties, live shows, kitchen appliances and backyards, spanning 1979 to 1994, are smoothed into an album that truly works as a seamless whole. Seymour has outdone himself this time. Highly recommended.
Seymour Glass's Glands Of External Secretion comes from the weirdo surreal art-punk primordial goo that birthed the likes of the Sun City Girls, Thinking Fellers Union Local 282, Porest / Monopause, irr.app.(ext.), and Caroliner. The Glands loiter in the funhouse of culture, picking and choosing the most bizarre bits to appropriate into strange, nauseous collages and splattered songwriting, and as one could gather from the project's name, scatology is never far away. Reverse Atheism could hardly be called a treatise on anything, despite the multitude of religious, atheistic, and existential themes, as Glass hurls everything at his disposal against the wall with a hard splat and an oozing trail down to the floor. Everything gets treated with the same disregard and clownish pie-tossing attitude. Such was commonplace when Glass published the seminal magazine Bananafish, complete with nonsensical reviews that talked more about rhinoceros foot bacteria (for example) than the merits of some mediocre indie band.
Here on Reverse Atheism, there are reinterpretations of biblical tracts, old gospel hymns, and cult-spawn texts (from Elizabeth Clare Prophet and L. Ron Hubbard, no less) alongside punk-era tirades against God and religion - the latter include mutant covers of XTC's "Dear God," God's Gifts "No God," and The Birthday Party's "Mutiny In Heaven." Glass has long worked with the far more sensible singer-songwriter Barbara Manning, bringing her beautifully languid voice into the warbling, asynchronous, fucked-up loops of various plonks and deconstructed song. He's also employed help from Bruce Russell (Dead C), Alastair Galbraith, and Scott Simmons (Eat Skull) amongst lots of other guests and vagrants. In the calliope of tongue-in-cheek references, Glass uniformly slices apart everything - transcendence, salvation, the end of the world, conspiracy theories, mind control, Darwinism, and any pretty much everything in between. The result is more of a mess of entrails than anything cohesive; of course, that's the way Seymour Glass views the world. A compelling and convoluted album for sure.
We only just started reading this but holy crap is it awesome. An in depth exploration of the UK anarcho punk scene. Which means, for those of you unclear on the concept, groups like Crass, Poison Girls, Flux Of Pink Indians, Rudimentary Peni, Icons Of Filth, Dirt, Subhumans, Conflict, Citizen Fish, Amebix, Chumbawamba (before they sold out!!), Zounds, The Mob, Kukl, Lack Of Knowledge, Disrupters, Flowers In The Dustbin, Antisect, Epileptics, Faction and more more more.
It's a little difficult for us to read this personally, as aQ pal Lance Hahn from J-Church was working on his own Anarcho-crust book when he passed away, but besides that, there's really no reason to not buy this, read up on all these amazing bands, and then buy all their records.
Covering the scene during the years 1980-1984, The Day The Country Died is packed with tons of photos, exclusive interviews, scene histories, discographies, we were 30 pages in when we got to Flux Of Pink Indians, maybe one of our favorite bands from that scene, and we had our Flux records out, reading and listening. And it's not just about the bands, and the records, it's the movement, the politics, pretty inspiring for sure.
Like we said, we only just started it, but we're digging this book BIG TIME, and apparently it's a companion to Glasper's other book, Burning Britain, so we'll probably have to track that one down too!
Johnny Jewel may not be a household name but his music has been on our stereo pretty much non stop for the last several month. The musical mind behind both Chromatics and Glass Candy, it's his sparkling touch that has helped make electronic pop sound exciting again. It's no mistake that Glass Candy had the leadoff track on the After Dark compilation that helped define one of the more exciting scenes to emerge in the last several years. Songs that make you want to dance in clouds as you get lost in that hazy intersection of new wave, spaced out disco and post-punk minimalism.
Much like Chromatics who underwent a very radical and rewarding shift in sound with their latest Night Drive, Jewel has brought that same aesthetic to Glass Candy with equally impressive results. Beatbox travels in such a nice way starting off with seriously sassy momentum on songs like "Beatific" that almost sounds like Lizzy Mercier Descloux covering a track from the first Madonna record and then the later part of the record travels in much moodier cosmic territory recalling French AQ faves Ruth with nods to the brilliant early production of Giorgio Moroder. Glass Candy rang in the new year with a performance here in SF on New Year's Eve and we can't think of much better company to party with. So good!
Glass Candy follow up their Love Love Love album with this 2-song slice o' vinyl, and it's a hottie! The A-side hikes things up a notch with a great new GC original "Bicicleta Emocional" - perhaps one of their best songs to date even - and the B-side is a fiery cover of Roxy Music's "Re-Make / Re-Model".
Ida No whoops and howls affecting her best Debbie Harry "Heart Of Glass" sultriness. Meanwhile Johnny Jewel leans into his electric guitar showing some strategic restraint in the placement of his crunchy riffing. Ginger Peach keeps the propulsive beat and some unknown presence hammers away at a piano lending an added bristling tension to this Portland, OR group's already raw, minimal art-punk sound.
Note: this is the black vinyl Troubleman edition, not the special Spanish pressing which reportedly was pressed on pink vinyl and included a magnet and insert.
While lots of B-side collections end up being mostly throwaway or forgettable tracks, we think we might be loving this collection of odds and ends from Glass Candy even MORE than their latest full length, Beat Box, which we already liked a lot. You can tell they must have been listening to lots of late-night cosmic disco and some great cold/synth-wave when they recorded these tracks as they really nail both of those sounds perfectly.
The combination of Johnny Jewell's great musical chops and Ida No's sizzling, sexy and detached vocal delivery is pretty much ideal. The sound of Deep Gems is pretty similar to Beat Box, even though these are all outtakes and B-sides, which makes it the perfect companion for folks already loving the album proper.
An unlikely contributor, Eyvind Kang, adds his violin and viola playing on a few tracks, but make no mistake this collection is all about slow burners and smoke filled late night dance floor grooves.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
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Hipster glam art punks from Portland, Glass Candy's Ida No (vocals) and Johnny Jewel (bass) never fail to stir things up. Now for a special limited time offer (i.e, this cd-r of brand new demos) they've upped the ante with the addition of a special guest... the illustrious Ms Jesse Eva (aka Jesse Trashed of The Vanishing) on saxophone. Because these are demos we could say that this is Glass Candy 'in the raw', but these six songs are not a whole lot rawer than their usual gritty, lo-fi releases! Ida swoons and squeals her vocals, Jesse's sax follows suit, while Johnny's bass makes friends with the drum machine. There's also glimpses of an increased almost ESG-ish funkiness. Definitely something to tide GC fans over 'til their new mini-lp comes out this fall, but get this while you can (i.e, NOW!) 'cause Jesse's movin' to Berlin really soon, and we're not sure when / if we'll be able to get more!
Awesome new 12" from one of our favorite seductive late night dance floor duos. What makes this 12" extra cool is that it's not just one song and throwaway unessential different versions of the same track, instead the record features two brand new new totally melt worthy tracks, the stand out and weirdest one being "Covered In Bugs" which is a demented paranoid sensual freak out, complete with some sexy screaming from Ida No, and a wonderfully stretched out and hypnotic instrumental ending that gets locked in a smoked out hazy trance. And that ending is kind of a preview for what comes next on the scene-stealing flipside of this 12". "Shine Like Gold & Diamonds" an instrumental track that really shows off how damn talented Johnny Jewel is, the track is like some amazing version of someone like Oneohtrix Point Never covering an instrumental passage from a classic Kraftwerk track. The next two tracks are also mostly instrumental versions of two of the songs from the first side, but totally given a different feel and sound. Beyond suave and seductive. At over 26 minutes of music, this is a total must have for Glass Candy fans, and even those who might not always love the the vocals, as the majority of this wax is about Johnny Jewel's ability to capture such a specific vibe and feeling with the beats and music he creates. So good!
Brand new super sizzling 12" from everyone's favorite sultry and sassy nu-disco duo Glass Candy. With two songs from the cd-only Deep Gems collection, "Geto Boys" and "Animal Imagination", each getting a side of wax for not only the original version, but in true '80s 12" fashion, each song is given multiple reworkings. You get the vocal/drums version of Geto Boys as well as the instrumental. And there is the "Soft Boundaries" version of "Animal Imagination" as well as the instrumental. And those instrumentals really serve to further demonstrate to how damn well Johnny Jewel uses his synths to create such icy and infectious moods and melodies. Always a great thing to have more Glass Candy on wax!
We have to admit that we sorta groaned when we saw that the hipper than hip Portland trio Glass Candy had gone and covered the already-covered-in-the-'80s hit "Iko Iko", but we gotta give 'em props for bringing something new to the song and making it their own. So, we say "cool!" Actually it sounds like they took a little more time and put a little more thought into all of these tracks than they have with most of their past recordings. Within the first few bars of their "Iko" it becomes evident that they're much less about making the immediate flash-pot spectacle this time around. They've also made a few shifts in overall musical direction, applying more funk influences and fewer no wave angularities. We might've also guessed this from the cover photo. Ida No has shed her electro-clash glam-shock stylings in favor of a more groomed, relatively au naturelle pose along the lines of '50s glamour girls, but surprisingly un-pin-up/cheesecake-y. A more grown-up Glass Candy seeking a potentially broader audience? Well, if you found their past appeal to have been their in-your-face sizzle and reckless fireworks, this new persona might take some getting used to. However, if taken on its own this EP is pretty darn fun. An added surprise: although the cd traycard lists only six tracks, you mysteriously get eight. Go figure!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
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Here's a special white label 12" of those Portland nu-no-waver hotties Glass Candy! It features three versions of the title track of their forthcoming album which should be quite a death disco treat if this one song is any indication. Along with the regular ol' album version you'll get them in acapella and instrumental mode -- the creation of which, we'd venture to say, took little to no artistic effort (just the energy it took the recording engineer to push a mute button!), but will provide all you DJs with ample additional material to extend your Glass Candy supa-sets! Limited pressing of 750.
Glass Candy's debut full length sounds not unlike a severely chemically altered collision between the Missing Persons (y'know, the '80s new wave group from L.A. responsible for "Destination Unknown", "Mental Hopscotch" and "Walking In L.A." with squeaky-voiced, hottie chanteuse Dale Bozzio) and Altered Images (remember them? the '80s British pop band with squeaky-voiced, cutie chanteuse Clare Grogan who were responsible for "Happy Birthday" and "See Those Eyes"). However, the music that backs GC vocalist Ida No (who, for the record, has a voice much richer, if no less affected, than the aforementioned ladies) is nothing like that of either of those groups whatsoever. Glass Candy (formerly Glass Candy & the Shattered Theater) push a dark, stripped-down aesthetic of big guitar, streamlined, insistent, pounding drums, and stylized vocals bathed in delay, with the occasional addition of heavy, A Certain Ratio-esque basslines and synths. At their hair-raising best, Glass Candy remind me of an unholy combo of Christian Death ("Romeo's Distress," "Jesus, Where's the Sugar" -- when Christian Death was good, they were amazing, OK?) and the Stooges. Before it was goth, it was death rock, and before that it was just punks wearing a lot of eye make-up-- and Glass Candy embody that tough, raw rock n' roll energy mixed with sexy, theatrical glamour perfectly. It's a tough task to fully capture the insane energy of their live shows (which are well known to be trainwrecks of throbbing, writhing dramatics) on record, but I think "Love Love Love" is to the challenge. An impressive and satisfying debut that situates Glass Candy near the top of a current group of bands (including fellow Portlanders Get Hustle and Baltimore's Love Life) referencing the darker side of post-punk. Includes an appropriately intense, wrenching cover of the Screamers' "I Wanna Hurt."
Following in the wake of the sizzling comp After Dark, which has quickly become a unanimous AQ favorite, comes this 12" featuring one of the Glass Candy tracks from that vintage disco inspired compilation. In true disco spirit the 12" comes in a seductive diecut sleeve with the single on the 'A' side and the instrumental version on the flipside, along with another instrumental cut. Glass Candy have never sounded better, we love the shift in their sound. Glass Candy have always been perfect for late night dance floor listening but now their sensuality and sexuality seem to be shining through in such a sleek and irresistible fashion.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
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Two post-post-punk songs (one of them a Screamers cover!) from this new young trio from Portland, OR. Very seething and tense a la Suicide. Dark propulsive music. Fans of the GSL label / art-punk scene should definitely check this out.
Working the kind of style panache that would make Rudi Gernreich beam with pride, it's Glass Candy And The Shattered Theatre from Portland, OR.
With two well-received 7"s under their belt, Ida No, Johnny Jewel and Avalon Kalin offer up a very raw live one-sided 12" of six songs. Includes a highly unstable rendition of Josie Cotton's "Johnny Are You Queer?" as heard in the movie "Valley Girl". Recorded live at Kimo's right here in SF. Please note: the sound quality is pretty blown out, but it does captures the edgy propulsive freak-out that is Glass Candy. As can be expected from a live performance, this is much more flailing and rocked out of control than the dark seething tension of the "Brittle Women" and "Metal God" singles.
Two of our favorite Denver noise rock / post punk outfits team up for a killer blast of nineties style matched out heaviness. Both bands actually played with Andee when A Minor Forest was on tour recently, and that should definitely give you an idea of where these guys are coming from. Accordion Crimes though deliver something much more sinewy and tense, still channeling the Jesus Lizard and sonically similar outfits, with low slung basslines, chaining angular guitars, sung/spoken vocals, some kick ass drumming, and loads of space, some Shellac going on too, but mostly just that classic nineties Midwestern pigfuck math rocking crunch we can't ever seem to get enough of.
Glass Hits deliver two short, sharp blasts, that definitely traffic in some of the same sonic tropes, the rhythm section locked tight, swinging and swagger, the guitars thick and buzzing, but it's the vocals that steal the show, a raspy, emo caterwaul, that manages to peel the paint, but remain melodic, it's hard not to love it, and hard not to imagine the singer must barely be able to talk after these guys play. We definitely get a Quicksand vibe along with the usual suspects, but if you dig that sort of old school melodic heaviness and post/math/noise rock radness, this single will definitely hit the spot.
LIMITED TO 300 COPIES! Yellow vinyl, two inserts, one a full color lyric sheet, the other liner notes on vellum, all packaged with a thick, screen printed wooden cover. Includes a download code too!
It's no secret that we fell head over heels for Glasser's album Ring from last year, and it's left all of us with an impatient thirst to hear more. This new 12" remixed by Hans-Peter Lindstrom takes us to a space-side disco where Glasser melds moodiness and danciness with such great results. Lindstrom seems to key into the Laurie Anderson side of Glasser as the sounds sort of echo the awesome vibe of Big Science, but given a major modern update. Can't wait for a whole new set of songs from Glasser, but until then we'll be jamming this non-stop!
We missed out on Glasser's debut ep which came out last year and quickly went out of print. But everyone we knew who heard it kept telling us we had to check out Glasser, and with the release of her first full length we can now officially proclaim ourselves bigtime fans, as this is proving to be one of the most satisfying, colorful, swirling and flowing pop records of the year. Glasser reminds us a lot of a more sparkling, bright and rhythmic version of Zola Jesus or Islaja. There is a tinge of darkness in her string tones and electronics but there is also so much life and moving energy in her songs which gives the record such an amazing fluidity. Instead of just mimicking Kate Bush, Bjork and Laurie Anderson, she instead takes cues from different elements of their brilliance in helping to create a sound that is both hypnotic and inviting. While she may soon be tagged under the new 'it' genre of 'witch-house' there is something much more singular and organic happening in these songs that can't be written off as any sort of passing fad. This is a record that we think will definitely stand the test of time.
Over the years, we'd only ever heard a track or two from these UK post punks, a band whose members would eventually go on to play in more high profile groups like Maximum Joy and The Pop Group, which should definitely give you an idea of where the Glaxo Babies were coming from. Local reissue label Superior Viaduct continues their idiosyncratic reissue campaign, which has included Devo, the Solaris soundtrack, 100 Flowers, Factrix, Henry Flynt, Phill Niblock, and now Brigitte Fontaine (reviews coming soon) and these two from the Glaxo Babies. The sound will definitely be familiar to fans of post punk of that era, angular metallic guitars, dubby rhythms grooves, repetitive almost chanted vocals, horns, all locked into cyclical, hypnotic grooves. Some tracks frantic and frenetic, others laid back and dreamily druggy. Both of these records were originally released in 1980. Put Me On The Guest List is a collection of the group's demos, recorded live with no overdubs, never intended to be released, but so glad they were, kinetic, almost power poppy, sinewy basslines and simple solid drumming, all in service of some killer guitar work, crunchy jangly riffs, and angular crunch, not to mention some super dramatic vocals, some tracks slipping into near doominess, others tense and intense, angular and atonal, check out "This Is Your Life", all minor key moodiness and heady post punk brood. A few tracks get all reggae / dubby, others skronky and jazzy, and still others super abstract and experimental, but most of Put Me On The Guest List is just primo UK post punk, and essential listening for fans of the Homosexuals, P.I.L., Gang Of Four, Wire and all the rest�
Nine Months To The Disco was the group's first, and only, proper full length, supposedly recorded in a single day, and it's a monster. How a record like this, and a group like this managed to remain so far under the radar is shocking after listening to Nine Months. It's funky and groovy, tense and wiry, the sound slipping easily from moody post punkiness, to downright dancey punk-funk, to super experimental krautrock style minimalism, "This Is Your Vendetta" is dark and creepy and so sinister, all spaced out and shadowy, laced with wild flurries of spastic drumming, spidery guitar melodies, and distant horn skronk, culminating in a truly harrowing sample over the brooding last minute or so. "Seven Days" is all churning jazz minimalism, sounding like a darker, dronier, post punkier Necks! The title track is all backwards rhythms, backwards basslines, and creepy droned out ambience, while "The Tea Master And The Assassin" is another abstract ambient experiment that evokes a sinister sense of dread. "Shake (The Foundations)" is the Glaxo Babies at their funkiest, a track that was often covered by the Pop Group later on, it's a dead ringer for Parliament! And the awesomely titled "Dinosaur Disco Meets The Swampsstomp" is not the funky jam you might imagine, in fact, it's something way more abstract and trippy. For all the post punk, and punk funk on Nine Months To The Disco, it's remarkable how much of the record is totally far our, psychedelic and experimental. Part of what makes it so essential. Like Put Me On The Guest List, Nine Months To The Disco is most definitely for fans of P.I.L, Wire, the Homosexuals, etc. but it's also the sort of think that might push all your This Heat buttons, plenty of kraut influenced rhythmic mesmer and FX heavy avant bunkurfunk. Needless to say WAY recommended!!
Over the years, we'd only ever heard a track or two from these UK post punks, a band whose members would eventually go on to play in more high profile groups like Maximum Joy and The Pop Group, which should definitely give you an idea of where the Glaxo Babies were coming from. Local reissue label Superior Viaduct continues their idiosyncratic reissue campaign, which has included Devo, the Solaris soundtrack, 100 Flowers, Factrix, Henry Flynt, Phill Niblock, and now Brigitte Fontaine (reviews coming soon) and these two from the Glaxo Babies. The sound will definitely be familiar to fans of post punk of that era, angular metallic guitars, dubby rhythms grooves, repetitive almost chanted vocals, horns, all locked into cyclical, hypnotic grooves. Some tracks frantic and frenetic, others laid back and dreamily druggy. Both of these records were originally released in 1980. Put Me On The Guest List is a collection of the group's demos, recorded live with no overdubs, never intended to be released, but so glad they were, kinetic, almost power poppy, sinewy basslines and simple solid drumming, all in service of some killer guitar work, crunchy jangly riffs, and angular crunch, not to mention some super dramatic vocals, some tracks slipping into near doominess, others tense and intense, angular and atonal, check out "This Is Your Life", all minor key moodiness and heady post punk brood. A few tracks get all reggae / dubby, others skronky and jazzy, and still others super abstract and experimental, but most of Put Me On The Guest List is just primo UK post punk, and essential listening for fans of the Homosexuals, P.I.L., Gang Of Four, Wire and all the rest�
Nine Months To The Disco was the group's first, and only, proper full length, supposedly recorded in a single day, and it's a monster. How a record like this, and a group like this managed to remain so far under the radar is shocking after listening to Nine Months. It's funky and groovy, tense and wiry, the sound slipping easily from moody post punkiness, to downright dancey punk-funk, to super experimental krautrock style minimalism, "This Is Your Vendetta" is dark and creepy and so sinister, all spaced out and shadowy, laced with wild flurries of spastic drumming, spidery guitar melodies, and distant horn skronk, culminating in a truly harrowing sample over the brooding last minute or so. "Seven Days" is all churning jazz minimalism, sounding like a darker, dronier, post punkier Necks! The title track is all backwards rhythms, backwards basslines, and creepy droned out ambience, while "The Tea Master And The Assassin" is another abstract ambient experiment that evokes a sinister sense of dread. "Shake (The Foundations)" is the Glaxo Babies at their funkiest, a track that was often covered by the Pop Group later on, it's a dead ringer for Parliament! And the awesomely titled "Dinosaur Disco Meets The Swampsstomp" is not the funky jam you might imagine, in fact, it's something way more abstract and trippy. For all the post punk, and punk funk on Nine Months To The Disco, it's remarkable how much of the record is totally far our, psychedelic and experimental. Part of what makes it so essential. Like Put Me On The Guest List, Nine Months To The Disco is most definitely for fans of P.I.L, Wire, the Homosexuals, etc. but it's also the sort of think that might push all your This Heat buttons, plenty of kraut influenced rhythmic mesmer and FX heavy avant bunkurfunk. Needless to say WAY recommended!!
Even though he resides right here in the Bay Area we knew very little about this Brian Glaze character when we first got in this new release of his, but oh damn is that about to change, as this is becoming one of those records that we can't seem to stop listening to. Channeling so many eras of warped pop delight, Brian Glaze has made a record that's as fun as it is smart, and as catchy as it is fulfilling. There is for sure a similar aesthetic and delivery to some of our favorite warped popsmiths like John Maus and Ariel Pink, but Green Living totally has its own thing going on. '50s pop colliding with psychedelic rock that's soaked in new wave electronics. We hear a bit of what The Gris Gris might sound like if they began to pull from more varied influences. Psychedelic disco pop? Deconstructed multigenerational pop genius? We're not sure exactly what to call it but we know that we LOVE IT!
When you think of the Constellation label, warm bouncy and sunny aren't usually words that come to mind. Home to the whole Godspeed You Black Emperor family the label is most usually associated with monumental post rock with some dark flair. Glissandro 70 is a much welcome blast of washed out sunshine for the label. Incorporating blissed out melodies, tasteful lo-fi nods to world rhythms, and an overall cohesive laid back approach that quietly sucks you in. There is something about this record that sounds so totally refreshing. We listed the reissue of Brian Eno and David Byrne's My Life In The Bush Of Ghosts elsewhere on this list as well and this can be added as a great example of a future generation getting so right the seeds planted by that influential recording. There's also an avant pop sensibility that will totally hit the spot for fans of Animal Collective's recent outings as well as Broken Social Scene at their most abstract. The sun has finally reappeared here in SF and this has been the perfect record to hang out with while we soak in the rays.
What do two guys from Genghis Tron do when they're not spewing metallic electronic grind pop whatthefuck? Well, they sort of do the same thing they always do. Sort of. But they do mix things up a bit by upping the pop ante, toning down the grind, and thus these Pals have come up with a NINE MINUTE burst of bubbly glistening, sludgy dirge pop that hits the spot in a similar way to the recent sludge pop of Torche. But this isn't sludgy or poppy as much as it's freaked out a furious, a poppier take on that sort of Locust / Horse The Band synthgrind. The thing that sets Glitter Pals apart for us, is a really demented use of clean harmony vocals, a moaning chanting weirdness, that Allan thought sounded like the sample from LL Cool J's "Mama Said Knock You Out". Weird and heavy and catchy and totally fucked. And you know from us that means HIGHLY RECOMMENDED!
We thumbed up the spacey synthy glitter-glam garage retro not-really-metal of this SF band's Siltbreeze 7" a while back, but then somehow skipped over reviewing their subsequent full-length, and are even a little behind the times in getting to this new elope of theirs too, but that's ok 'cause the Glitter Wiz guys are also behind the times, or maybe way out futuristically in front, way out anyway, again using '60s and '70s rock inspirations like Deep Purple, Hawkwind, The Doors, Bloodrock, Black Widow, and Iron Butterfly to help formulate their super groovy, more wizardly-than-thou sound, one that's got lotsa synth, jamming electric organ, some flute and sax. Along with catchy riffs and amusing lyrics, often gleefully unserious ("I don't worship the Devil, the Devil worships me"). Our kind of entertainment!
There's one little hushed-folky-trippy-acoustic number, "Sunlit Wolves", but otherwise most of the trax are swaggering rockers, such as "Wizard Wagon" (about the singer's van, it would seem) which definitely has hit potential, in our world anyway. "Motorider" reminds us of both The Stooges and Steppenwolf, and when they get heavier on the 7+ minute "Space" it sorta sounds like an agitated Om with keyboards. Album-closer "Big Sur" also has that Om/Sleep vibe, due to the chant-like vox and slomo swinging plod. It's another long one, the longest here at close to 9 minutes, and so about half way through stops plodding and starts ripping and rollicking, reminding us more of early early Sabbath, like back when Sabbath covered Crow's "Evil Woman" on their first single. That said, though, mostly Glitter Wizard doesn't even seem all that heavy or metal or even proto-metal. They're retro-proto-proto-metal maybe? Definitely G. Wiz love their '60s sounds but do their own cool new thing with that, rather than going for some kind of Nuggets redux. For fans of Blood Ceremony (minus the female vox and much of the metal) and Danava and Mammatus when they do get heavy-ish.
Vinyl-only, goddamit. Maybe someday they'll realize that compact discs are more glittery and magical.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Heard about this on Tom Lax's Siltblog, which is funny 'cause this band is from right here in our backyard, and are also not exactly shitgaze or whatever other noisy underground rock aesthetic we thought Siltbreeze was all about. Lax mentioned classic heavy psych/metal peeps for the ages like Deep Purple, Hawkwind, and Monster Magnet in his review and yep, all present and accounted for (if inebriated and high as fuck, no surprise) in GW's sound, to some extent. Super stoner retro rockin' here, well with retro sounds but not sounding like any actual old band that's for sure, A-side "Black Lotus" starts off all full of gobblin' space synth soundz, then begins pounding down the riffs like Sleep or something a bit later on, while on the flip, "Witch's Limbo", they keep on rockin', no not like Dokken but more like Danava (w/ all them synths) and Priestess and other current bands creating the past anew. Interestingly, the other tracks we've heard from 'em, on their MySpace, are way more overtly garagey punky, in a ? and the Mysterians, Lyres, mebbe even Stooges style, but here it seems they're heavy metalling it (the magazine and the music) a bit more. So, two cool tunes, and now we're put on notice to go see these glittering wizzes next time they play, we're especially curious to see if they get all glammed up live to go with their name. (AQ staffer Jon has seen 'em and sez they do!)
French black metallers Glorior Belli continue down the lefthand path, moving ever further away from the Deathspell style angular black buzz that defined their early sound toward something that sounds more, well, like Pantera maybe, or Down? Crazy we know, but their last record, The Great Southern Darkness paired the aforementioned black buzz, with some serious rocking, as in Southern rock, as in shit kicking, skull stomping, BIG riff, hard RAWKing heaviness. And c'mon, this new one is called, Gators Rumble, Chaos Unfurls, how can you not expect more of that blackened heavy rock? Which is precisely what you get on opener "Blackpowder Roars", with a killer main riff, totally Sabbathy, spidery stoner rock leads, bellowed vox, that veer dangerously close to Phil Anselmo territory, there's even some total wailing super rock clean vocals, that get a little Alice In Chains, and this is all fucking awesome, imagine those bands but heavier and blacker, and this is IT, and it sounds killer. But maybe it seems like they've yet to commit wholly to this new sound, cuz the second track slips right back into gnarled black metal buzz, and these guys are still masters, the sound fierce and fucked up and furious, fans of DSO, Katharsis, Funeral Mist, this is your shit, oh wait, at least until the swinging kick ass Southern rock breakdown a minute or so in, and then it's right back into more atonal black buzz. What the fuck! So killer. The new sound so much more seemingly integrated into their old sound, the shift between the two, as natural as anything, the songs eminently more headbangable, the grooviness not at all taking away anything from the black fury, if anything, it seriously just makes it that much more ROCKING. And then they go whole hog balls out stoner groove, like on "Ain't No Pit Deep Enough", it's like the heaviest stoner rock EVER. And so it goes for the rest of the record, with the blackness more serving the stoner rock than the other way around, check out "A Hoax, A Croc" - a jam later day Corrosion Of Conformity would have killed for, like a supercharged ultra heavy Allman Brothers blowout, that eventually erupts into something blacker and buzzier, only to slip right back into that main riff. Holy fuck, this is fast becoming our new favorite records. Troo grim hordes be damned, this shit KILLS, so catchy, so heavy, so groovy, stoner metallers who never gave black metal a second glance, this is THEE record that will change your mind. And if you like the idea of blackened groovy stoner metal heaviness, this might be your new favorite too.
Some musical pairings just make perfect sense. Case in point, Siouxsie And The Banshees' Steve Severin and The Cure's Robert Smith. Originally released in 1983, The Glove is getting the same reissue treatment as the early Cure albums which means there is an extra disc which in this case is where the magic is hidden. On the original release there were label/legality issues which kept Smith's voice from appearing on all except two tracks so a last minute singer was needed which ended up being Jeanette Landray, who was the girlfriend of The Banshees drummer Budgie. While her vocals kind of work, it's always been the kind of record that you always pictured with Smith's vintage vocals throughout. And this reissue makes that dream come true as the bonus disc is filled with demo versions on which Smith sings those very song making this reissue even more essential. Robert Smith in 1983 singing with Severin from The Banshees playing, what more could you want?
Swedish shit-kickin' gasoline-fueled rock action, a la slightly-better known peers The Hellacopters. Biff Malibu (yep, they all have dumb pseudonyms) does his singing in a kinda Danzig kinda way, but the music is more like Motor City 70's proto-punk via grunge city. Bonus disc with video and some other songs.
Thee extreme/experimental/industrial metal scene has a potential new ruler here, with the doomic and disturbing debut of Gnaw. If you put this disc in your computer's iTunes, you'll see some joker has categorized their genre as "children's music". Ha, don't think so! Unless you want your kids to grow up to be like Alan Dubin, of OLD/Khanate infamy, who provides the blood curdling vokills here, ranging from throat-shredding yowls to creepy stage whispers. He's joined by former members of doomlords Burning Witch, psychfolk weirdos Enos Slaughter and cold, early '80s NYC post-punk Factory Records band Ike Yard (!) for this new project, which seems to take up where Dubin's previous bands left off, but in a direction much more deviant & eccentric.
The claustrophobic chaos of track one, "Haven Vault", ought to determine pretty quick if this is for you or not. Imagine a sped-up Khanate struggling through a windstorm, Dubin bawling wretchedly amidst the buzzing murk and the splatter of improv percussion... then distant, pretty piano notes fade in eerily, one by one... it's like Khanate meets Hazard meets Supersilent, in a nightmare. Extreme indeed, and all right with us! That leads to the next track, one that's calmer and more song-like, yet perhaps even more sinister-sounding, with Dubin's negative vibe lyrics more intelligible, everything backed by a springy-sprongy electronic rhythm. More of a tribal drumming pattern is exhibited on the deep rumble of the third song.
Each track seems to delve further and further into weirdness and woe, with drone and distortion and feedback given free range of the album. The jittery percussion effects a trance-like vibe at times, perhaps allowing Dubin's words deeper, subliminal access to your subconscious (uh oh). But as big fans of both OLD and Khanate, we're all for it, glad to now have Gnaw to push those same buttons, along with other ones we hadn't expected, like the way the singing on "Watcher" sounds almost like Eugene from Oxbow. Or how it sounds like maybe Dubin & Co. have been into some dubstep lately. Or how Gnaw's crunching head nodding heaviness is cracked like Humpty D. Yep, if you like some strange surprises in your grim glitchtronic avant-metal music, and moreover enjoy the varied vokill stylings of Mr. Dubin, you'll want Gnaw's Your Face at your place.
The Conspiracy label has released this on cd (digipack) and of course LIMITED EDITION gatefold vinyl of various colors (we've got any color you want, as long as it's black). They had to leave 2 tracks off the vinyl version, but it does come with a free mp3 download card so you can get the entire album on your computer.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Just got a handful of this obscure prog cd reissue so we thought we'd list it. Definitely one for anyone who's dug previous AQ prog recommendations. Actually the UK's Gnidrolog kinda combine a lot of our favorite over-the-top prog moves into one elpee. You'll hear some Magma, some Van Der Graaf...King Crimson, Jethro Tull, Shub Niggurath, Osanna...even some Comus. It's crazed and hectic and bombastic, with zany Zappa'd mathematical rock n' roll raveups (complete with harp blowin'), fitted out in extreme prog fashion with cello, sax, oboe, piano, and flute. (Let's not forget the flute!! that's where the Comus and Tull comparisions come in.) From pretty, rustic folk song to unhinged dramatic vocalizations to doomy rock chords and even some super-skronky guitar noise, this 1972 LP was definitely *out there* as far as progressive rock goes. In Spite Of Harry's Toe-Nail was their debut, but this cd version includes as bonus tracks alternate versions of two from their second album Lady Lake, including the epic Wishbone Ash-ish "I Could Never Be A Soldier".
Both albums by this obscure '70s prog rock fave on one disc! We've had these previously on (each more expensive) separate cds, this reissue is a much better deal!
Gnidrolog are definitely for anyone who's dug previous AQ prog recommendations. Actually this English band kinda combined a lot of our favorite over-the-top prog moves into one elpee. You'll hear some Magma, some Van Der Graaf...King Crimson, Jethro Tull, Shub Niggurath, Osanna...even some Comus! It's crazed and hectic and bombastic, with zany Zappa'd mathematical rock n' roll raveups (complete with harp blowin'), fitted out in extreme prog fashion with cello, sax, oboe, piano, and flute. (Let's not forget the flute! that's where the Comus and Tull comparisions come in.) From pretty, rustic folk song to unhinged dramatic vocalizations to doomy rock chords and even some super-skronky guitar noise, Gnidrolog's awesomely-titled 1972 debut lp was definitely *out there* as far as progressive rock goes.
Their second album, Lady Lake, also from 1972, is also fantastic, and we're not just talking about the cover painting (giant disembodied hand menacing a swan rising from a lake). It includes the epic Wishbone Ash-ish "I Could Never Be A Soldier", amongst other they-don't-make-'em-like-they-used-to, dark and twisted prog treats.
The cd booklet includes detailed liner notes pertaining to the band's history, plus lyrics and vintage photos. Only complaint is that they squeezed both album's covers onto the front, we like it twofers better when they put one album cover on the front and one of the back of the booklet, so you can choose.
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PROG ALERT! Here's this eccentric English prog band's second album, from 1972, reissued on 180 gram vinyl. Over-the-top stuff, from a band that reminds us of some of our other prog faves: Van Der Graaf Generator, King Crimson, Jethro Tull (flute!), even Comus. From the fantastical cover painting (a giant disembodied hand menacing a swan rising from a lake) to the fantastical music, this is the sort of ye olde prog we love. Includes the epic, "I Could Never Be A Soldier", which sounds like something off of Wishbone Ash's Argus album, amongst other they-don't-make-'em-like-they-used-to, dark and twisted prog treats.
One of two new singles on this week's list from UK label Trensmat, one by outsider abstract noisescapers Whirling Hall Of Knives, and this one, from UK psychedelic spacekraut collective Gnod, and as always, already sold out at the label, and thus the copies we got are most likely the only ones we'll ever see. Gnod offer up two tracks, the A side, a thick, super distorted dirge, all downtuned riffage wreathed in celestial shimmer, pounding death march drumming and soft swirls of ethereal synths, some serious heavy psychedelic space doom for sure, and easily the heaviest darkest thing we've heard from these guys yet, and it had us definitely wishing this was way longer than just a 7".
The flipside is the 'dub' of the A side, and basically douses the whole thing in delay and a murky lo-fi patina, the sounds a bit blurrier and more washed out, the snares dubbed out and sent careening into the ether, the track laced with more weird samples, the overall vibe surprisingly much more heavy, the guitars gristlier, the drums more industrial, and like the A side, we wish there was a 30 minute extended edit, cuz this is the sort of blissed out psychedelic industrial dubbed out heaviness we never want to end.
Pressed on clear orange vinyl, and includes a link to downloads of both tracks.
