THE
BLASTITUDE
RECORD REVIEW
by
Larry "Fuzz-O" Dolman
ALBUM
OF THE WEEK:
SUN
CITY GIRLS: Djinn Funnel LP (NASHAZPHONE)
Since I truly love every single thing they've ever released,
the SCG have never really been in consideration for the Blastitude
Album of the Week -- it just wouldn't be fair to everyone
else. But this brand new Djinn Funnel album has to
get the honor, because not only do I love it, I'm pretty sure
you will too. Look, I know how it is for some of you folks
out there -- you want to dig the SCG, but every time you try
out a random album, something's not quite right. In fact,
sometimes things are terribly wrong. You just never know if
you're gonna get soundtrack-worthy instrumental elegance or
offensive noise or kooky banjos or demonic theater or someone
messing around with a radio or Tibetan jazz or amuck theory
or spoken-word nonsense or live-to-boombox shit-rock or something
else completely. Me, I love it all, but if any of these things
bother you, let me reassure you that Djinn Funnel
is one thing and one thing only: five long cuts of molten
power trio raga rock, or as the SCG website calls it, "electric
rock psych blues." Track one "Nites of Malta"
is a new classic that sounds like they're retooling Can's
"Mother Sky" into something even weirder and more
thrashing. "Dukun Degeneration" is one of their
finer downtempo raga-bubble meltdowns since at least the Wah
album. Side one closer "Dark Nectar" is a drift-off,
wandering somewhere into a high desert black hole -- and it
sounds great on vinyl. Side two opener "Red Sea Blues"
isn't quite like any improvised jam extension they've yet
tried, hard-edged and uptempo, but the sweet real folk world
blues are in there a little more than usual too. And, the
rec closes with a definitive version of SCG standard "Drifters
of the Grand Trunk." I've been way into this funereal
creeper ever since I first heard it, live at the Empty Bottle
in 2002, and then many, many times after that on the ensuing
crappy but legendary SLSK bootleg of that show. And, it turns
out, there had also been an odd little version of it hiding
out there toward the end of the great 2001 release Sumatran
Electric Chair -- but this Djinn Funnel version
is the best one of all. They never leave the groove, but they
twist it inside out and then back again, and they do it in
so many ways . . . . Djinn Funnel also boasts impressive
color artwork, and lots of beautiful Arabic text, probably
because the label is Egyptian / Algerian. That's right, edition
of 570, import only!
OTHER RAVES:
ALVARIUS
B CD (ABDUCTION)
I've had this album on vinyl for over 10 years and it was
always a nice one, a warm homey/homely collection of go-for-broke
live-to-boombox white-knuckle detuned world-folk "wooden
guitar" solo instrumentals by Alan Bishop of the Sun
City Girls. The album was released in 1994, just as the whole
Fahey/Takoma rediscovery boom was really starting to pick
up, though it definitely predated that trendfest when it was
recorded (from 1981 to 1989), and, while appearing deceptively
simple on the surface, it still touches on more idioms, in
more radical combinations, than almost all of the boomers'
LPs have. The new news is that Alvarius B has now
been reissued on CD, twelve years later, with a different
cover photo (seriously, the cows have moved), some additional
interior photographs, and 4 fine bonus tracks that presumably
just didn't fit on the original vinyl, because they're right
in line with the rest. And the newest new news is that this
thing sounds great on CD, and is jumping out at me all over
again as some fine timeless homespun music. The only thing
missing is those hand-burned inserts ya got with the original
(as described a little bit at the bottom of this
page) . . . .
FEATHERS
LP (FEATHERS FAMILY)
Even
though I've had this LP for the better part of a year, and
have listened to it quite a bit, I haven't been able to write
anything about it. Maybe it has something to do with how this
photogenic group (I mean, look at the cover and the
inside poster) has been keeping a low profile in the lifestyle
mags, when this whole "free(k) folk marketing frenzy"
has surely cast a few well-baited lines their way. Whenever
I try to write something about 'em, it just comes out sounding
like hype, and I feel like I owe it to Feathers to preserve
the mystery for once. Apparently, they've now "signed"
to Devendra Banhart's label Gnomonsong, who are reissuing
this album on CD, and a couple of 'em are playing in a band
with J. Mascis called Witch, so they are kinda getting into
some would-be hyped territory. But really, this LP release
from last year should've been enough to do that, though it
is a hard nut to crack, and it tastes pretty weird once you
do. Woozy ethereal folk stylings, lots of warbling ladies
(male and female), the kind of folk record that always sounds
like something might just be slightly wrong with the turntable
speed, but never is..... and if you know that's a compliment,
I suggest you check 'em out.
K.
SALVATORE: Ashmadai 2LP (FUSETRON)
If
you're like me, you could lay around the house and listen
to people play synths and keyboards and barely noticeable
electric guitar in a spaced-out improvised fashion at least,
oh, seven nights a week. And one recent record that's been
fitting this particular bill around here is the new one from
K. Salvatore called Ashmadai. You might recognize
K. Salvatore as a duo offshoot of the No-Neck Blues Band.
They've put out a record here and a couple records there over
the last few years, with no real sense of consistency or urgency,
and the music itself seems to work the same way, only occasionally
bubbling to the surface of your own reality even when it's
playing all night long. It goes in and out of focus, sometimes
hitting you with a surprising dose of harshness, but more
often hovering somewhere just behind your ear with whispers
of synth-and-guitar mystery that you can always key into if
needed. Don't expect it to 'go anywhere,' because hey, it's
already there. Weird thing about this one, it's a double LP
but it plays at 45 RPM, "wide grooves for maximum impact..."
Swank cover too, featuring a big-ass devil (the album is named
after "the prince of demons in medieval Jewish legend,"
according to some page on the web). Oh, and here's my kid's
summary, while listening to Side B: "A buzzing bee and
a coughing cow and a talking duck!" I don't know man,
I think he's been reading too many children's books . . .
(P.S. Actually, his reviewing skills are improving! Tonight
I was jamming the sprawling blast that is the Double Leopards'
"Draun," as heard on the exemplary CDR compilation
We Didn't Come Here To Make Friends (Warm Freedom
of Tongue), and he said, "It sounds like a helicopter
with guitars in it!!" And then, believe it or not, he
said, "It sounds like a two-guitar helicopter!"
Right on, Li'l Dolman!)
METALUX
& JOHN WIESE: Exoteric CD (LOAD)
It's
9:30 PM on a Tuesday night in May. Windows are open and the
block outside is dark and very quiet. Inside I have one lamp
on and the new CD by Metalux & John Wiese playing at a
medium volume on the stereo. A deep tone like a plane flying
by eases into the fabric of the song, and in fact actually
is a plane flying by. The sound of jumbo jets high in the
sky above fits perfect with this deep-doppler music and its
erosion rhythms. And yes, I did say that these are songs.
Metalux (MV Carbon and Jenny Graf) have always played songs.
Wiese I'm not so sure -- he plays noise -- but either way
he sure blends in good with the eternal deadpan onslaught
that is the Metalux sound. It comes in a nice digipak too.
OM:
Conference of the Birds LP (HOLY
MOUNTAIN)
Yeah,
I read the magazines, and for some reason I always get worried
whenever I read about a new Om album before listening to it.
When the first album came out and I read that they were just
a duo, I worried that I would miss the guitar. Then I heard
the album, and I did not. At all. For this new second Om album,
I was worried because I heard they were playing quieter. Quiet
Om? What's the point? Then I heard it, and um, quiet Om RULES.
THAT'S the point. Check it out: "At Giza," taking
up all of side one. Spooky, restrained, getting heavier and
heavier as it goes but never exploding. A great song. Someone
else said this new album sounded '60s psychedelic. They were
right too. Something about the production, the vocals of Al
Cisneros now dubbed in deep reverb, as opposed to their notoriously
high and dry location in the first album's mix. The second
song "Flight of the Eagle" sounds more like a continuation
of the first album, but the lyrics are getting even further
out, repeating "Traverse Cheopian field / Rides out from
red sun high above" at odd intervals like a chorus, mixed
into long verses that say things like "To send -- the
mainderite candescent wills now merge with red orb of freedom."
Lebanon gets mentioned a few times too, in both songs, and
not politically. Nice quality on this release too, with very
sturdy vinyl and sleeve, the latter featuring a beautiful
photo by one Beatrice
Friedli. Reckless
was out of the CD so I paid $15.99 for the vinyl, and I do
not feel ripped off!
OVO:
Miastenia CD (LOAD)
Remember
when this woman/man duo from Milano (Italia) toured the USA
a couple years back? Everybody on the internet was talking
about Ovo, the wild Italian band with the lady that mic'd
her dreadlocks and played 'em with a violin bow. Now all of
a sudden a couple years later, Load Records has put out a
CD by 'em, the first time I've actually heard 'em instead
of hearing about 'em. And believe me, they really nail . .
. something. There's
only one Diamanda, but this dreadlock-bower Stefania Andretti
is a hell of a singer in the tradition, holding her own and
offering some wild variations. And the instrumental racket
these two make can really be pretty ridiculous, mostly in
a weird-sounding low-ended guitar-and-drums format . . . the
one-sheet calls it "doom," and you know, it is.
But it's weird duo doom, Diamanda doom, cabaret doom, no-doom,
nü-doom, Noh-doom, Italia-prog doom, you know . . . .
. . a pretty gutsy CD.
OVO: No, seriously, this is the band. He plays
"timpano, rulante, piatto, basso, floor tom, snare, ride"
and she plays "voce, chitarra, violincello, pianoforte,
armonica." So, if you like The White Stripes.....
LEXINGTON
RULES
One
of the sweetest spots in the nation these days for weird underground
music is Lexington, Kentucky. The mighty Hair Police hail
from there, and their presence in that town over the last
five or six years seems to have blasted away so many potential
cliches and stumbling blocks that, in their wake, Lex folks
just can't help but make music that is original and beautiful.
Rampart
Tapes is the soul psychedelic noise label that
seems to be the primary headquarters for this stuff right
now, the going concern of Trevor Tremaine, who plays in the
aforementioned Hairs, as well as Eyes and Arms of Smoke, Attempt,
Burning Star Core, Giffoni's Death Unit, and probably a few
dozen more past and future. (For example, he played bass on
Warmer Milks' massive "Penetration Initials" cut.)
Rampart Tapes just put out five new releases, so here's a
look......
Deal-sealer
of 'em all is a plain gorgeous cassette by Ara
called Vacant Vessel. I'm assuming
this is a debut release, because I know nothing about Ara,
though the Rampart website explains this much: "Ara is
a project masterminded by Sara O'Keefe (Eyes & Arms of
Smoke, Auk Theatre)." Masterminded might imply that she
has others helping her, but to me this sounds like the work
of just one person, playing heavy spaced-out melodic saxophone
through supremely weird (though still mostly subtle) electronic
effects. Someone else could be doing the electronic tweaking,
but this is still wide-open solo horn-thought all the way,
broad deep strokes erasing notions of time and connotation,
so that the brave questing melodies and phrases can beam directly
into the soul of the listener (bypassing the head). By the
time things get just a little noisy somewhere on side two,
believe me, I'm ready......
The other
real knockout of the bunch is First Attempt,
the debut CDR by Attempt. I
was already aware of this band, a new ensemble featuring Tremaine
on guitar and vocals, Mikey T of Warmer Milks on drums, along
with a bass player, a second guitarist, and all that normal
rock band kind of stuff, and I had gleaned that they were
playing in some kind of now-rare extended-prog-pop mid-period-SST
style. And yep, that's pretty much it, and even though this
disc is Tremaine solo, playing three snappy progged-out instrumentals
(demo-style with a snappy drum machine backing his extremely
grungy but very cleanly picked practice-amp guitar playing),
from the very instant it breaks out of the gates with the
rippling main riff of opener "Leisure To Explore,"
this is clearly some of the freshest stuff going. I'm amazed
by all that it incorporates -- the intelligent bravery of
chops-metal, the sunny skip of African high-life guitar, and
the sturm und klang of Confusion-era Sonic Youth
(particularly on the 14-minute closer "The External Language"),
just for starters. Now, maybe the second Attempt release will
feature vocals and the full band that has already played at
least a couple live shows. Watch their
MySpace page to find out!
Close
runner-up for third-best is the cassette joint by Coptic
Nausea called Caustic Gnosis.
If that sounds like some kind of weird metal imagery, well,
this is basically a weird metal tape, in a real minimalist
way that is always as weird as it is metal. We start in deep
space, where eventually a zonked-out doom riff happens. So
does noise, the ghost-trail of the riff endlessly reverberating
through the cobwebbed sound chambers of the cosmos. This continues
for a good long time, which is good, because this is a good
zonked-metal riff. On side two we're still going strong, including
when the riff eventually decomposes into an awesome ass-flattening
tunnel-drone. Loses its way a little after the drone devolves
further into wobbling and power-whining electronics, but by
then it's too late for this tape to not be great.
And
shit, this Caves tape ain't too bad either....It
was one of the coolest-looking of the batch, Caves being a
cool name, as is the title Flood Room,
and it's all wrapped up in fine artwork. As for the music,
nothing really hooked first listen, but for the second time
I've turned it up louder and oh yeah, there's plenty going
on here. It does have a long slow start where not much happens,
but five minutes in and some worlds really do start colliding
(at least a little bit, planetary bumps in the night). Still
don't know what to say about this tape, except that it's dark,
weird, and has a lot of strange things happening under the
radar. Another Kentucky head-scratcher.
And the last
tape of the batch is a 30-minute blaster by a combo called
Intense Electric, apparently a duo of Tremaine
and the oddly elusive Walter Carson. This is just a power
electronics homage jam-out, two side-long throwdowns that
probably kept going longer than the side allowed. Really unhinged
and screaming stuff -- if it happens to be near the player
and you need a cobweb-scouring, by all means pop it in. It
might technically be the least interesting release of the
batch, with the obviously least interesting cover (although
the headless mannequins on the inside look pretty good), but
hey, in this company, fifth place is still pretty great......
ARA: Sounds just like it looks!
ATTEMPT: The full band.
LEXINGTON RULES (PART 2)
As
if that wasn't enough Lexington action, how about all the
stuff issued by former/current/forever Rampart Tapes recording
artist Warmer
Milks on its own Ladron Tapes
imprint thus far? It would seem this already weird group is
just getting weirder all the time. Heavier too, and I don't
mean that Southern Lord is going to be signing them up anytime
soon. This is the type of "heavy" that doesn't have
a whole lot to do with distortion pedal settings or amplifier
brands. Blastitude readers might know my own Warmer Milks
saga, how their 29-minute dream-anthem "Penetration Initials"
came from out of nowhere and put me on at least cloud thirteen,
and how I was kept high by their "Rwanda b/w Walken Agoraphobic
Penn (Version)" 7-inch, and how we did an interview
with 'em and all that, and how they're putting out a 'debut
album' this summer for Troubleman Unlimited called Radish
on Light, doing shows with Bonnie Prince Billy, The Magik
Markers, The Howlin' Rain . . . . . but really, any preconceptions
you might have about this band, please just crawl out your
window, and take 'em with you while you do. Even if you've
already heard some or most of their stuff, enough to know
better and expect the unexpected, they will still keep your
ears rattling and your head permanently scratched. Nonetheless,
I will attempt a Ladron rundown thus far......
First
we've got LA001, and even though it doesn't say so anywhere
at all, I'm pretty sure this is Permanent Drool
/ Lucifer's Twins. Two 30-minute tracks, and
the first, which I'm gonna go ahead and think of as "Permanent
Drool," is simply one of the weirdest moves into post-jazz
voice-and-instrument tension in centuries. As the label description
says, "Everyone was told to go 'one at a time' but things
went really wrong." It has crying, whimpering, moaning,
I think clanking chains, and best of all, lots and lots of
silence. Sometimes you think you're suddenly listening to
a killer unaccompanied arco bass solo on side 2 of some self-released
1972 free jazz record (with a B&W paste-on cover) from
St. Louis, but then whatever that was suddenly stops and the
4AM-in-the-torture-chamber moaning starts again. The second
track, "Lucifer's Twins" I presume, is very heavy
too, but in a different way, taking a bunch of old records
and no-speed record-players and turning all minds to mush.
It ain't your grandma's plunderphonics, that's for sure. And
that's the short version of Ladron 001 -- for the long version,
you'll just have to listen to it, learn it, and live it!
LA002 is a messed-up concoction called
True Village. As the WM "Rotted
Family Corpse of God" blog has told us, it documents
two July 2005 tour stops at two record shop venues, True Vine
in Baltimore and Twisted Village in Boston. What we weren't
told is that the two shows are documented here simultaneously,
one right on top of the other. This doesn't always work for
me -- I mean hey, sometimes it just sounds like two shows
are being played at the same time and they're not supposed
to be. I wanna hear 'em separately, but since I wasn't hired
to mix this release, I guess this will have to do. Because
after all, the two shows happened just three days apart, back
in 2005, and if you take a real longview millennial perspective,
happening three days apart basically IS happening at the same
time. And if you take a real longview geographical perspective,
like viewing the Earth from Mars, the cities of Baltimore
and Boston, which are a mere 400 miles apart, basically ARE
in the same place. Right? So really, these two shows basically
DID happen at the same time in the same place. Right?? And
it is pretty sweet to hear, after all, the way one show's
slippery weirdo out-jazz walking bass concurs with another
show's nasty scouring vocals . . . I think. Is that special
guest Lexie Mountain doing the vocal shred? Could be . . .
other guests of note include Ian Nagoski and Angela Sawyer.
As
for LA003 and LA004, the "one at a time" ethos of
Permanent Drool seems to continue -- each is a solo
album by a different member of the group. For 003, a project
and/or album called Pax Titania,
band electronicist Chris Cprek has the conch, and oddly enough,
this is one of the few Warmer Milks recs you can buy to hear
something they played at the show. The opening track is the
super-heavy repeat-melodic crawler they opened with in June
at the Empty Bottle (more on that below) -- it's called "Procession
of Giants," an appropriate title, great to hear this
deep rich tune again -- and the last track, a crude thumper
called "Being the Bigger Man," was also used in
the same set, there incorporated into a freakish song. Here
it runs instrumentally for 5 minutes of weird power, and the
disc ends. In the middle is "Tallest Obelisk," a
surely solid starfleet drifter, though in a less distinguished
style, and at nearly 17 minutes long a weirdly casual album
centerpiece.
Which
brings us to LA004, a project and/or album called Nephalim1,
another solo work, this time by "T/S," which I think
stands for Travis Shelton, who I think is the guitarist of
the group. Either way, his piece is monumental, and I'm beginning
to see a long steady line of monumental Warmer Milks epics
. . . first there was "Penetration Initials" and
then there was "Tendertoe Blues" and then "Permanent
Drool" and "Lucifer's Twin," and now this,
a 45-minute piece that fractures just as hard in an entirely
different way as all the previous have from each other. Now,
be warned -- this is simply Mr. T/S all alone with a Wurlitzer
electric piano, playing very simple lines for the duration.
But he is SO alone, and the lines are so sad, and patient,
and deep, and cold.......this album has been taking over my
life. I hear it all day long, and I can finish its sentences.
Ladron
005 is in the works, but hasn't been released. Mikey told
me some goofiness they were cooking up for it, but I forgot.
And speaking of goofiness, I'm pretty sure he told me that
the Ladron name is going to be retired after 005, to be replaced
by some other label called . . . Juicy Fruit? I don't know,
bar talk. But, while we wait for LA005, we can enjoy another
Warmer Milks CDR release (edition of 100) on the Warm Freedom
of Tongue label. It's called Aja Braun,
although the cover says "Dummes Unkraut" which is
German for . . . . "Stupid Weed"! You know, because
kraut is German for cabbage, so weed is unkraut,
the uncabbage. And certainly Aja Braun is
imbued with the sensibilities of 1970s German krautrock, which
should've been called the Unkraut Rock, if you know
what I mean -- talk about stupid weed! The album starts with
two or three long minutes of weird running water sounds --
sorta like in the middle of Ege Bamyasi by Can! --
and from there about 144 different weirdo sometimes-rock approaches
get slammed up into each other -- sorta like The Faust
Tapes! The wurlitzer piano of Nephalim1 makes
another appearance, as do the moaning and whimpering and graveyard
bone-rattles of Permanent Drool, as do wasted laughter,
wasted humming, extrapolatory electric bass guitar. Is that
"March of the Witch's Castle"? Is that "Louie
Louie"?? Is that Bonnie "Prince" Billy recording
something during a 25-minute salvia trip instead
of a few days later? Nah, it's just the Weirder Milks......
And shit,
just before listening to all of this, I got to see the Weirder
Warmer Milks play a show for the first time (Empty
Bottle, Chicago, 6/10/06) -- in fact, that's where
I got all this epic merch. No, they did not play "Penetration
Initials," and yes, they are just as changeable and unpinnable
on a stage in front of me as they are when they come from
inside my stereo speakers. Their opening song was the opening
song on the Pax Titania CDR, with the Cprektronics
joined by killer compositional cymbal swells by Mikey, while
the band's 'real' drummer sat behind him twiddling on a guitar.
Then came an okay heavy instrumental gtr/drums piece, kinda
half-formed, still interesting, but when Mikey switched to
vocals things really started movin'. Some kind of evil Depeche
Mode riff came out of the electronics (see above, "Being
the Bigger Man"), and Mikey fractured off of that into
some Lex-style Connelly-in-a-firepit shrieking, and what made
it new was that it wasn't over a wall of sound but this weird
stiff-legged electro jam. After that, the set meandered with
genuine WM brilliance through a surprising number of approaches,
not unlike the Aja Braun album -- I swear there was
some 'spoken word' (like you've never heard) in there, and
even a wistful ballad that Mikey sang kinda like 'sensitive'
Darby Crash, and of course the centerpiece was this raging
tune called "Violent Creation" that may have been
a cover but probably wasn't and either way I'm not hip enough
to know. I do know I liked it, and T/S's guitar tone was perfect
(i.e. shitty) and the drummer didn't try to 'kill', he just
played. In the meantime Mikey had the mic clutch/burning stare
down cold-blooded. Is there a recording of this song?
WARMER MILKS: Left to right we've got Mikey
T, then I think T/S, and uh . . . that's all I know. Those
guys with the baseball bats might not even be in the band.
That might be the Cprek guy in the middle, sitting on the
table....not sure....
reviews
by
DANIEL DIMAGGIO
Ones – II
cassette (Palsy)
I
have written about Ones in this publication before, though
not in any informative or decisive way. You see, I had never
heard their music before in any sort of controlled situation.
Now I have and my initial impressions were right, awesome
band. This tape is kind of short, like maybe 15 mins on each
side, which on one hand makes me feel sort of ripped off (this
tape was like 5 dollars or something) but on the other hand
is good cause I’m not trying to listen to any long tapes.
And in any case it doesn’t really matter as both sides
“rule ass”, short and sweet I guess it is. Both
pieces fall into the avant clatter genre of overdubbing antics,
with the first one being a bit more fancy sounding, as it
starts out with some folky guitar and environmental type sounds.
Then it sounds like the dude playing the guitar gets too nervous
or scared to play right and the other sounds get more prominent
and we’re off for a wild safari through the domestic
jungle in the Bkln apartment where this was probably recorded.
The second side is more straight up chains and banging on
pots and pans and gets LOUD, rules. I totally endorse this
cassette.
PS.
I just found out that one of the members of Ones is in the
band Matt Pond P.A., whose picture was in Rolling Stone this
past month. Ones is getting famous! Coming for that number
“ones” spot!!
Niwesqom
Eli Ckuwapok/Penobscot & Passamaquoddy Indian Drum Group
– Spirit Of The Dawn/To All My People
I got this at the church rummage sale up the street
from my house. It has a pink Xeroxed cover, and I was expecting
it to sound bad and new agey. This is ok though, it’s
just like typical Native American drum music I guess, some
guys chanting and a steady unchanging drum beat. Not that
good really, I was hoping there would be more drums and it
would sound like Psychedelic Underground by Amon
Duul, no jk. But this isn’t that good, don’t go
out of your way to get it, like don’t send $12 to the
address in the tape booklet like it says. It also says to
look for Vol. II, TRADITIONAL SONGS coming out Winter of ’95.
Don’t know why this one has so many titles.
Frankenstein
And The All Star Monster Band – s/t (Mystery)
My thesis for this review is that this is the weirdest and
most retarded record I have ever heard. It is definitely a
very multi-faceted album, and thus requires some explanation.
From 1984, this record was written, produced, and directed
by “Doctor Dog,” who is in fact Kim Fowley. This
is not stated anywhere on the record and the Fowley name appears
nowhere in the credits (because of contractual obligations
perhaps?) but I’m pretty much absolutely sure its him;
the picture of Doctor Dog looks exactly like Kim Fowley and
the album’s liner notes (which mention post-Runaways
Fowley protégés Venus And The Razorblades),
monologues, and singing all bear Fowley’s distinctive
stamp.
So this is Kim
Fowley’s Halloween album, a prospect which excited me
greatly. I am an enormous fan of both Halloween and Kim Fowley,
so this album represented an unexpected combination of two
of my favorite things, the like of which had not been seen
since 50 Cent made a song that interpolated “God Rest
Ye Merry Gentlemen” a couple of years ago. (I realize
that this is the second time that I’ve mentioned 50
Cent in Blastitude, which may make me seem like a 50 Cent
fanatic. I’m not though, I only like his earlier work
for the most part. I guess I just think about him a lot.)
The title of this LP suggests a typical kitschy Halloween
album, which would be awesome in of itself, but even a cursory
scan of the record makes it clear that the listener is in
for something more confusing. The cover is made up of six
pictures, two rows of three, one of each member of the “All-Star
Monster Band”. They are as follows, from left to right:
“Jumbo Frog” (dude with werewolf mask and fake
werewolf hands playing violin in purple, pink and yellow sweater
and red cape), “Doctor Dog” (head shot of Fowley
with shiny blue scarf and extremely heavy white pancake makeup),
“Larry Lizard” (dude with half devil/half gorilla
mask, gorilla hands, and yellow captain’s uniform, holding
a guitar), “Video Pig” (dude with partial ugly
man mask and vampire teeth, rope around his neck, and normal
arms, playing bass), “Dorothy Dinosaur” (little
girl in witches hat), and “Empress Of The Underworld”
(kind of hot blonde lady in pretty normal clothes, wearing
one of those handheld masquerade masks).
As one listens
to the record and reads the liners, it sort of becomes clear
that the whole Halloween thing is sort of a cover-up, or maybe
metaphor, for the main theme of the record, specifically that
of the ugly people of the world and how they are treated as
outcasts by society, and also how they find kinship with other
ugly people, though like, frankly, I’m sort of just
going off the first few songs here, as the whole album is
pretty hard to follow. This may make it sound like the album
is like sad or solemn, but this is far from the case. Any
serious emotions caused by the lyrics (none probably) are
offset by retarded monster voices on each song. The voices
are straight up “I vant to suck your blood” monster
accents, but saying weird Fowley shit like:
(Doctor Dog): “Where
did you ever find all that blue mud?” (monster
voice): ”In the classified ads from the canyons
of my mind.”
(Doctor Dog):
“Are you coming tomorrow to the midnight movie?”
(monster voice): “If I’m on the backstage
guestlist.”
(Doctor Dog):
“Who’s that werewolf over there?” (monster
voice): “Jumbo Frog from the fiery garbage can!"
(monster voice):
“I the Sea Wolf, captain of the vampire navy, guarantee
your safety.”
The music is generally
funny/bad 80s synth rocking, similar kind of to Let’s
Dance-era Bowie, and Fowley/Doctor Dog follows suit vocally
on a couple of tracks by turning in very Bowie-esque performances.
It would be misleading tho, to suggest that all of the record’s
tracks follow one uniform style. Each song is pretty distinct,
both stylistically and in terms of subject matter. Appropriately,
Fowley/Doctor Dog provides individual track descriptions,
describing each song’s theme. About the song “What
Happens To People Like You”, he says: “A more
serious subject than one night (sic) expect from
Frankenstein, but quite in line with Doctor Dog’s new
approach to the old boy: What makes us what we are? What makes
us different from one another?”
If I tried to describe
every funny thing about this album I’d be here (the
computer) all day, but I’m gonna go ahead and talk about
some of my favorite cuts. I think the most emotionally affecting
number is the first one, “Midnight Movies,” on
account of it tapping into the same goth loner/loser vibe
as “Science Fiction/Double Feature” from The
Rocky Horror Picture Show. Indeed, Fowley references
the RHPS in the liner notes for this cut. The next track,
“Red Phantoms Of Zombie Island”, is similar, but
has a nautical/pirates theme. And “Looking For Work”
is a businesslike dustbowl-via-Springsteen rocker about looking
for work that is pretty unassuming until:
(Doctor Dog): “I
sold my blood for 15 bucks.” (Dracula voice): “That
was much too cheap, I would have paid twice the price.”
And: (Dracula
voice): “I just got a job in a day care center,
telling ghost stories to shadows on the wall.”
From Fowley’s
notes for this song: “If it’s hard for the
average citizen to find a job, imagine what it’s like
to be a six foot seven, slightly green skinned and sort of
ugly guy like Fankenstein between gigs.”
The reason that the album’s
overall vibe is so weird is that all of these stupid things
I’ve described aren’t presented in an intentionally
funny or outrageous way; it’s more like Fowley assumes
that everything on the album makes sense and expects the listener
to understand it and take it seriously, aside from the obvious
comic relief bits. So yeah, I sort of feel like I’ve
failed to convey how insane this record really is, you really
just have to hear it. Again though, the music itself is quite
bad, so don’t get like too psyched up for it. I don’t
know if it’s rare or whatever, but I can’t imagine
any place selling it for a lot of money, too stupid.
Matt
Weston – Easthampton 2005 3” (7272 Music)
Barn
Owl – My Very First Barn Owl EP 3” (Crank Satori)
I picked
up these little guys when I saw the percussionist Matt Weston
perform a solo set on the Princeton University campus this
past fall. When I first saw him, with a starched white classical-style
shirt, some khakis (?), big lips, and sitting at his kit in
a position suggesting an invisible metal pole welded to his
back, I thought he looked like a real chump and that I was
in for some idiot highbrow nonsense. However, as soon as Weston
began to play, he ferociously hit every piece of his kit in
a cascading manner that suggested thunder(ing) and lightning
(fast) equally. A very exciting set, and Weston made good
use of all of the many cymbals and surfaces he had brought
with him, specifically by hitting them in a way that was somehow
methodical but at the same time quite fast and free.
After the set,
I realized that Weston also seemed like a real nice guy when
this fucking kid that I hate that looks like Ben Folds (that’s
the best thing about him) that was in my music class at college
went up to him and was all gushing, and essentially asked
Weston to teach him about free jazz. Matt Weston threw out
some names, and though the kid had never even heard of Ornette
Coleman, Weston took this in stride and was still very amiable
and kept talking to him about free jazz I think. I hate this
kid, look out for him dying later this year probably.
The first of these
3”s is Matt Weston solo percussion and electronics,
similar to what I saw that night, though perhaps more spare
in parts, according to my memory. It’s also live, this
time at the Flywheel in Easthampton, MA! A lot of these free
improv guys, you think they’re just some guy, and then
they turn out to be all famous (on the internet it says that
Matt Weston has also played with Kevin Drumm, Milford Graves,
Bill Dixon, and Jack Wright, and appeared on VH1, though I
assume not all at the same time). So yeah, each track is very
good; things start out kind of busy with some rolling and
thundering toms framed by what sound like chimes and cymbals,
and progress into more spatial areas, with some scraping stuff,
as the electronics make their appearance on later tracks.
I’m not gonna give you like a play by play here, but
trust me that this is a quite worthwhile release.
Barn Owl is a group
featuring Weston on the skins again, with two guys I’ve
never heard of, Andy Crespo and Chris Cooper, on bass and
guitar respectively. The guys present 9 presumably improvised
miniatures (they call them songs on the CD) in a style that
is a bit more disjointed and “squiggly”, I’ll
say, than on Weston’s solo disc, mostly because of the
increased instrumental palette and the fact that the songs
are short, many under 2 mins, and have choppy sounds. The
same skillfulness of improvising is present though, as each
instrument takes on a non-traditional but defined role for
every piece. The shortness of the tracks combined with the
smallness of the CD and the pictures of a rollerskating rabbit
and worms with little mittens on the artwork land this one
just this side of “cute”, in a good way. Like
nothing cute is really bad, as long as it’s seriously
cute and you’re not just like making fun of it by calling
it that.
Tetuzi
Akiyama – Pre-Existence (Locust)
I figure maybe Larry Doleman might review this one too as
he seems to be all over the Locust releases, but I’d
like to throw in my 2 cents as to what a corker of a solo
guitar album this is. I thing the only other thing by T.A.
that I have heard is the Don’t Forget To Boogie
LP of solo boogie rock guitar and that rules too, so I guess
he’s batting 1000, whatever that means, in my field
of vision. That record is totally different from this one
tho. Pre-Existence is all solo acoustic guitar and
maybe 60 percent of the sounds on it sound like Tetuzi falling
asleep “at the wheel” and his slide falling down
over the strings and making a scraping sound. It is all extremely
artfully performed though, and with exquisite attention to
spacing and small scale sonic events. There are some more
melodic fingerpicking bits, but these sound a member of the
Takoma roster trying to play while under the influence of
some “downer” (I won’t try to bluff my way
through a drug joke here). An entry into Locust’s “Wooden
Guitar” series, and more than enough to make up for
the only other record I’ve heard in the series, the
horrendous Sir Richard Bishop solo guitar album, which was
on the radio once and my friend thought it was the soundtrack
to Brokeback Mountain.
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