Another Top 10 regular: MONO (#5 of 2006, #4 of 2009, #7 Live of 2009, #10 Live of 2010). Their 2nd record, but the oldest I'll probably have once we've moved backwards beyond their 2001 debut, Under the Pipal Tree.
Emotive Japanese post-rock in the cinematic GY!BE vein - if that means anything to ya: quiets & louds. Unfortunately, I missed their recent Houston appearance and still don't have the new one.
"COM(?)" from One Step More and You Die (2003)
After a few minutes of floaty intro track, you get one of the best, early, typical Mono tunes. It doesn't wallow excessively in the heartstrings, modulates the intensity rather than just straight-up lowering the boom, acknowledges its debt to Pink Floyd. Plus, like 16 minutes! (Okay, they do somewhat drop the hammer once, but whaddya gonna do?? It is what it is.)
"Sabbath" from One Step More and You Die (2003)
I believe this one has been the longest-running of live staples in the Mono roadshow. You gotta have an occastional break from all the crescendo freak-outs sometime. The next song could almost be a cover of The Caretaker... This aspect presents an early classical experimental composer path that they really didn't pursue later (at least on the albums I've got).
"Halo" from One Step More and You Die (2003)
Not gonna post each & every. Here's the last full-on track (before a backwards-mask coda piece), and another quality composition from Mono. What can I say that listening to the music won't tell you? Dynamics this, interplay that, a little cello there, some strings here, Floydian drift, Sonick noise-drop, instrumental mood-music post-rock, whoop!
Look, I found the full album streaming over here! And of course the new thing is to put entire album's up on YouTube...
This one definitely has the most clean, least-BM vocals I've heard from them - and probably as much of the electronic beats as any other. Although it might be the most "accessible" chapter, I've held my distance more than before. Kinda sounds like they might go into a new phase soon, and I'm unsure whether that would be to my liking (a sad refrain from me).
"Epitome XVI" from 777: Cosmosophy (2012)
The other one slipped past me, and I haven't yet found it with reasonable shipping. Back in July, What Once Was... Liber II was released - in a "fake leather rigid gatefold cover with gold hot foil print." (Liber I was #16, 2010.) Of course, I can't find any streaming of it - we'll have to see if it's good enough for the year-end lists.
So instead I will leave you with what appears to be the BAN song with the highest view count on YouTube:
"Procession of the Dead Clowns" from The Work Which Transforms God (2003)
Looks like Emeralds (#2, 2010) have a new one upcoming as well... Straight outta Cleveland!
It will be called Just to Feel Anything, out November 5th on Editions Mego.
"Just to Feel Anything" from Just to Feel Anything (2012)
So there's the title track - sounds pretty good. I'm thinking that something must've leaked out, because I'm not seeing any talk of preview tracks. But no-one leaked anything to me.
"Adrenochrome" from Just to Feel Anything (2012)
Oops. I'm, uh, not too sure about that. Editions Mego calls it "a fast-paced excursion into new territory for the band."
Might have to wait on this one to see how much new territory will be covered, and/or how good that might sound. Or whether I'll have to wrap my mind around yet another band moving on from where I liked them...
Emeralds live at ATP, Pier 36, NYC, 9/22/2012
There I was, about to hit "Publish"... when I noticed that Emeralds played All Tomorrow's Parties in New York just last month. BAM! The other couple of videos are longer and closer: here & there.
This seems like something I would have heard of before now... but I just saw it at the bookstore today!
Beyond the Black Rainbow trailer (2010)
Set in a brave new '83, even more oppressive and dystopian than the real thing.
With a soundtrack from Jeremy Schmidt - the keyboardist of Black Mountain (#10, 2008), who is also Sinoia Caves (co-#8, 2006), cover artist for them and Zombi (the last couple)...
Music from Beyond the Black Rainbow by Jeremy Schmidt (2010)
Okay, okay. I don't know much about the director or others, but I think I'm gonna have to pick this one up. You?
Here's some Austin Psych Fest alumni & related updates...
From what I've read on e-mail notices and the APF website, the band announcements for next year will begin in November, and tickets will go on sale "in early December 2012."
"I Can See" - live at Rudyard's, Houston, TX - 10/12/2012
Awhile back, we went and caught Moon Duo here at the friendly neighborhood pub. Unfortunately, we happened to miss local openers Hamamatsu Tom. So far, I'm digging the newest Moon Duo album Circles (2012). There's an official video for "Sleepwalker".
"Secret sound 5" from Secret Sounds (2012)
I mentioned the latest Cult of Dom Keller release right here. So they've made that new video for track #5. Aha, I just noticed that they'd recently put up one for for "secret sound no.6." So peep that one next!
"Eva Cherie" from PEEL IT (2012)
Houston's own Psych Fest regulars Indian Jewelry have a new one coming out on Reverberation Appreciation Society, the in-house label from the Austin Psych Fest people. Here's where I heard the news.
O yeah, and they're even offering that preview track as a free download!
Some quick hit-and-run action on the hauntological newsbeat!
Newsflash!
Announced: Another two new Study Series 7"s!! (01-04: #9 of 2010, and 05-07: #19 of 2011). There's also been #08 since then. From The Belbury Parish Mag item: "One will be a collaboration between Belbury Poly and Brighton's remarkable cabaret-folk-automata-electronics performers, Spacedog. The other is from Listening Center, the work of New York based composer, David Mason. This single will also feature a Listening Centre remix by Pye Corner Audio."
Speaking of Pye Corner Audio, they've just recently released a full-length album on Ghost Box, Sleep Games (2012). Pye had these two songs on Autumnal Activities: Ghost Box Study Series 07 (2011)... "Cloud Control" and "November Sequence."
No full previews, but here's a series of clips from the Ghost Box SoundCloud:
And what would a Ghost Box post be without these guys??
"Unforgotten Path" from As the Crow Flies (2011)
I think the most recent Advisory Circle album hit me quicker than than latest Belbury Poly. They were released somewhat close together, and each is the project of a Ghost Box co-founder - so comparisons are... Actually, I think I just bought them together, which isn't the same thing at all.
"Goat Foot" from Belbury Tales (2012)
But I continue to find precious gems whenever I go back to Belbury. That's the jam!
Skip played drums for Jefferson Airplane on their debut album, and then got one of his songs on Surrealistic Pillow (1967) - without even appearing on it.
"Omaha" from Moby Grape (1967)
As many drummers do, Spence decided to be a guitarist... one of three in Moby Grape, a terrific late-'60s SF psych-pop rock band. He only wrote a couple of tunes on their debut, but one was the band's most famous song, "Omaha." His other song was "Indifference."
"Just like Gene Autry: A Foxtrot" from Wow/Grape Jam (1968)
Skip Spence contributed more to their next record. Some of his songs were more rockin', more dramatic, or more country... but none was as weird as "Gene Autry."
As explained on that YouTube:
"Just Like Gene Autry: A Foxtrot" is a 1920's-era sounding dance number complete with a cameo spoken introduction by Arthur Godfrey himself, who also happens to play ukelele and banjo on the number. As if this tune isn't odd enough, the original vinyl on Columbia mastered this one track at 78 rpm rather than the typical 33-1/3 rpm as the rest of the album is pressed at. An announcement precedes the track "reminding everyone to kindly get up and change your turntable to 78, thank you!" after which there is a lock-groove that stops the needle from playing any further until you pick it up and place it on the next track.
During the making of the album, Spence freaked out on acid and apparently chopped down a hotel door of another band member.
"Save me" indeed.
"War in Peace" from Oar (1969)
After Skip got out of the psych ward (not psychedelic), he took his ideas, bought a motorcycle with his record advance, drove down to Nashville, and recorded Oar all by himself. It's a harrowing but incredible minimalist doom-folk album. For some reason, "Little Hands" seems to pull the most attention, but pretty much the whole album's excellent.
"Grey/Afro" from Oar (1969)
The unprecendented final jam. And other than some re-issues and compilations, I kinda thought that's where it ended. But I happened to notice that Skip had actually participated in some later Moby Grape output down the years.
"Chinese Song" from 20 Granite Creek (1971)
So that's a Skip Spence song on a Grape album that Skip actually played on. Looks like he also played on 1978's Live Grape, where they included 1 total Spence tune (and it wasn't "Omaha" either).
It's too bad how things worked out for Skip, but he made some fine music during his burning-bright youth.
I'm gonna have to hurry to finish last year's Top 10 before this year's gets posted!
Woods's previous album was #6 of 2010, and they've already put out the next one - pretty good as well. Before the films last month, I had posted the Woods Story So Far history.
I don't think I'll discuss all 12 tracks from Sun and Shade here. Lots of good songs, but I think you'll get the idea without complete overkill.
"Pushing Onlys" from Sun and Shade (2011)
I thought this was the designated 'big hit,' but there's no official video? (Not a Woods specialty to be sure...) Catchy, jangly, sunny folk-rock - well, I like it plenty. They do throw in a twinge of weird, some sonic warble, but not enough to be disturbing... which can be enough.
"Any Other Day" from Sun and Shade (2011)
But the second song gets that video? Kinda odd stylistically though, seems to me.
"Out of the Eye" from Sun and Shade (2011)
Most of the tunes are shorter like those first couple, and then you get a couple of extended jams. Like the kraut-y, Neu!esque "Out of the Eye" (still available on the free APF5 mixtape) - and also an Español-language semi-'title' track: the spaghetti-western sprawl of "Sol y Sombra."
"To Have in the Home" from Sun and Shade (2011)
I'm just throwing out a couple more. I think I picked that one just based on the visual effort from the videographer.
No secret messages!
"Who Do I Think I Am?" from Sun and Shade (2011)
I do like that song especially - with the melody & rhythm & the really nice vibe. But who do I think I am anyway?
Well, the new Maserati record finally got here. Haven't had much of a chance to spin it, but that will change on the open road this weekend. The natural habitat of Maserati's high-speed, gear-shiftin'... okay, okay.
I'm not going to post the original preview track "The Eliminator" because: (1) I already did, and (2) you can stream it over at this new Maserati internet mixtape. Deep cuts!
"Abracadabracab" from Maserati VII (2012)
Despite being almost 11 minutes long, that one seems be getting a lotta love over the internets. Maybe it's the Genesis reference? (Another long tune that got a lotta love...)
Maserati have an all new website design. And new tour info - under "Tour." But not coming to Texas at all?
"Earth-Like" from Maserati VII (2012)
A topical song for the times - or as topical as an instrumental track can be. This was the 2nd preview track for this album, pretty hefty for them.
So far, the whole album sounds pretty good. There is one early tune that does kinda sound like disjointed mix-and-match with random Maserati sonic components. (Basically what I'd imagine Maserati sounds like to someone who doesn't dig it.) I think it might have been this one.
The geometric shapes on the cover are glossy and embossy on both the CD and the sweet double-dipped vinyl (clear with color blob). New full-time drummer fits well. You can order it here.
I'll try to post something other than recent or upcoming new releases over the weekend. Wish me luck!!
Whoa, I can't believe this wasn't my first post back in the music!
I mean a 3-way reunion of Trance Syndicate alumni? That's really big news. Two of these bands were very central to my regional tastes in the late-'80s & early-'90s (the salad days), and the third was peripheral but definitely there. Let's start at the top...
"Pleasures of the Flesh" from Born in Blood (1990)
In case you didn't click that historical Trance Syndicate link, that was King Coffey's independent record label. And King Coffey was drummer for Butthole Surfers (#1 of 1988, #2 of 1987, #8 of 1993, #3 Live of 2010, #11 Live of 2011) - and his label was really good. Pain Teens ruled the roost in certain Houston circles during that heyday, taking it to the next level.
Discogs: The Pain Teens were formed in Houston, Texas by Bliss Blood and Scott Ayers in 1985 although it took them two years to get around to gigging and putting out an album. Originally a punk band with metal leanings aligned with Houston's punk scene, they soon mutated into something else altogether -- a chaotic and sinister hybrid of punk, noise, tape loops, found sound, samples, exotic instrumentation, and pure unbridled creepiness.
Pain Teens are also gonna be playing the night before, as part of The Axiom 25th Anniversary parties:
Fitzgerald's, Houston, 11/23, tickets @ $10!!
Wiki: The band emerged from the music scene based in and around the Dong Huong, a Vietnamese restaurant-turned-punk club whose proprietor Phong encouraged and hosted loud, obnoxious bands too raw and/or unknown for established clubs. The Dong scene was documented on a cassette compilation called The Polyp Explodes (see Crust), which ultimately brought Ed Hall to the attention of Boner Records owner Tom Flynn and to the unwanted attention of Jim Adler (The Texas Hammer) when a class action lawsuit was filed for loss of hearing and mental anguish of many of the band's fans.
As mentioned above, Crust was instrumental in documenting the emergence of a new generation (post-BHS) of Austin weirdos. I'd say they leaned more abstract on the rock-weird spectrum, but who's to say anymore?
Okay, what else do we have here? How about...
Six Organs of Admittance (#10, 2009), back together with Comets on Fire. Which means a bit more rockin' out! But still plenty of psych-folk-drone guitar stylings as well.
Whoa. That's some riffs - like definitely more than usual. If I had to explain it in terms of the cover art, I would say the opening track is kicking up the dust behind bio-suitcase spaceman. Or is that the Earth after this tune has scorched it down?
Of course, the mellow space-outs come too. The restraint shown not to paint Saturn up in there...
"One Thousand Birds" from Ascent (2012)
That one's a self-cover of previous acoustic version from Dark Noontide (2002). I don't go back that far, though.
Goat are a collective who hail from a small and very remote village called Korpolombolo in deepest darkest Sweden. Legend has it that for centuries, the inhabitants of the village of Korpolombolo were dedicated to the worship and practices of Voodoo. This strange and seemingly unlikely activity was apparently introduced into the area after a travelling witch doctor and a handful of her disciples were led to Korpolombolo by following a cipher hidden within their most sacred of ancient scriptures. The reason it led them there is unknown, but their Voodoo influence quickly took hold over the whole village and so they made it their home - there, they were able to practice their craft unnoticed and unbothered for several centuries. This was until their non-Christian ways were discovered by the Church and they were burned out by the crusaders, the survivors cursing the village over their shoulders as they fled. To this day, the now picturesque village of Korpolombolo is still haunted by this Voodoo curse; the power of the curse can be felt throughout the grooves of the Goat records.
"Goatlord" (live in the Temple during the september rituals, 2012)
If you're in England, check this out!
Goat UK tour October! Fisrt EVER shows on these shores! Be quick if you want to see them, its looking increasingly difficult to get a ticket anywhere!
