Otto's Chemical Lounge - Spillover

Name: Otto's Chemical Lounge
Album: Spillover
Year:1985
Style: Garage Psych Rock
Similar Bands: Husker Du, Meat Puppets, Soul Asylum, MC5, Cows, Butthole Surfers
"One-Word" Review: Freak Out Psych-Sludge Rock
Based Out Of: Minneapolis, MN
Label: Homestead Records, Dutch East India Trading, LSR Records

Cover, Record

Record, Back

Spillover (1985)

1. Masturbation 1:45
2. Spillout 2:32
3. Shine 2:19
4. Shakin' All Over 2:22 (cover Johnny Kidd & the Pirates)/
5. Duquette Stomp 2:21
6. Departure Blues 3:48
7. Slow Death 2:49 (Cover: Flaming Groovies)
8. Me and My Mind 2:14

Album Rating (1-10): 6.5

Members & Other Bands:

• Paul Osby - Writer, Guitar, Vox, Producer (Todlachen, Blue Hippos)
• Dale T Nelson - Lead Vox (Hearsemen, Sheepherders, The Little Ones, Noble Mice)
• Al Schroeter - Bass (Blue Hippos, Junkboat, Patches & Gretchen, Germaine Gemberling)
• John Anglim - Drums (Bludgeon, Halo of Flies, H*O*F, Lydia Lunch, Haze XXL)
• Grant Hart - Producer, Vox (Husker Du, Noble Mice, Nova Mobb, Yanomamos, The Strangemen, Sugar, DYS, Haze XXL, H*O*F, Arsenal, Patti Smith, Melvins, Superdrag)
• Terry Katzman - Producer, Engineer, Percussion, Vox (Cerveza Muscular)
• Steve Fjelstad - Engineer

Unknown-ness: Never heard of them, but the band name reminds me of Ned's Atomic Dustbin, so i was into seeing what this was all about. Looks low budget and maybe a little psych, just from their logo and name. It doesn't look like anyone in the band is names Otto.

Album Review: The songs on here are gritty and dirty, unrefined and raw. A fuzzy noise version of MC5, and early Soul Asylum (fellow Minneapolitans). The vocals feel like an afterthought, and are mixed low in the production. The band continues to play on occasion in the twin cities (2020). Their first single came out on Husker Du's label, Reflex. So Husker Du's Grant Hart was one of the producers for this album, but their Du connection goes back to Osby's earlier band Todlachen, who also recorded with Bob Mould for Reflex Records, but it was never was released.

Stand Out Track: Shine

Links:

Youtube full album

Discogs

Allmusic

first-avenue

facebook

punk vault

band to band

Rate Your Music

MN Punk

83 poster

CoConuts - s/t

Name: CoConuts
Album: s/t
Year: 2010
Style: Noise, Experimental, Psych, Noise
Similar Bands: Liars, Belly
"One-Word" Review: Dark, Echoing Drone + Grating Noise
Based Out Of: Brooklyn NY
Label: No Quarter

 Cover, Record, Download, Liner Notes

Back, Record, Insert Back

CoConuts (2010)

1. Intro 0:57
2. Silver Lights 6:34
3. Lost Bitches 9:33
4. Dark World 6:49
5. When She Smiles 2:51
6. Dean's Blues 6:53

Album Rating (1-10): 5.0

Members & Other Bands:

• Jordan Redaelli - Bass (Bird Blobs, White Hills)
• Tim Evans - Guitar (Bird Blobs, DeGreaser, Flying Phallas, La Scrimmioa, Modra, Mouth, Sea Scouts, Super Glue, NinetyNine, Chris Smith, White Hills)
• Daniel Mitha - Drums (Ones, One/Hands, YKEO, Matt Pond PA, Crank Sturgeon/Paisano)
• Mike Fellow - Recording Mixing
• Paul Gold - Mastering
• Throne Boogie - Images
• Popular Noise - Typeset

Unknown-ness: Never heard of the band. Not much to go on with the cover, name, and lack of year/song titles on the back. So i'm guessing it's something minimal, no wave perhaps?

Album Review: At first listen, the album is all feedback noise and sludgy bass...it took me a couple listens to recall that there were vocals. But with more listens (perhaps just a closer listen), reveals some beauty to the chaos. Labeled as Psych music, most of the reviews label the record as driving, drudging, sludgey, heavy. All agreed. The two friends from Australia and NYC drummer only put out this one record. Part of the Lost Bitches song reminds me of Belly's mystical nightscape songs. Otherwise, I don't have much knowledge of other bands to relate here.

Stand Out Track: Lost Bitches

Links:
Bandcamp
Discogs
when she smiles Pitchfork review
myspace
Impose Mag
forced exposure
rate your music

R.L. Stein - This Cover Was Left Intentionally Blank

Name: R.L. Stein
Album: This Cover Was Left Intentionally Blank
Year: 2004
Style: Improv Noise
Similar Bands: 90's Internet modem log-on sound
"One-Word" Review: Noisey Space Feedback
Based Out Of: Philadelphia, PA
Label: Breathmint

Cover, Insert, Record

Back, Record

This Cover Was Left Intentionally Blank (2004)

1. Untitled A1 3:29
2. Untitled A2 7:09
3. Untitled A3 3:40 / 
4. Untitled B1 6:23
5. Untitled B2 8:37

Album Rating (1-10): 2.0

Members & Other Bands:

• Matt Bacon (Broke Box, Cock E.S.P)
• Sarah Bernat (16 Bitch Pile-Up, Bad News, Work)
• Jared Burak (Distressed Signal, Sanguine Piss, Sanguine Vessel, Seekers of the Claw, The GTC, The Sound of Failure)
• Frank Falestra (Frankenstein Drag Queens from Planet 13, Laundry Room Squelchers, To Live & Shave in LA)
• Carlos Gonzalez
• E.W. (Emil)Hagstrom - Layout (Cock E.S.P, Coward Electronics, Hagony, New port, Origami Genitalia, Origami Republika, Paekong Mae's Integer & Real Fathom Band, The Amputease, Wrong)
• Valerie Martino (Unocorn Hard-On, Salt Swan, Russian Tsarcasm, Leslie Keffer)
• Andy Ortmann - Abstructum, Behold! The Living Corpse, Contradiction, Fashion Dictator, Glass Bath, O/W, Panicsville, Plastic Crimewave Sound, Pound of Flesh)
• Mat Rademan - Guitars, Electronics, Layout (Micronauts, Antler Piss, Chapter 9, Desiccant, FUN, Lotus, Milton, Sanguine Piss, Sanguine Vessel, Seekers of the Claw, Newton)
• Mike Schauwitzer (Mildew, Milton, Peter J Woods Free Jazz Ensemble, Slow Owls, SWWS)
• Ren Schofield - Drums (Dynasty, Form a Log, Gang Wizard, Mercy Light, Pool, Rods of God, Japanese Karaoke Afterlife Experiment, Container)
• Jason Verjagen (Cock E.S.P)
• Steve Albini - Recording
• Chris Pottinger - Drawing
• Ian Lynne - Dedecation

Unknown-ness: Never heard of this band, Breathmints. But it is a beautifully, creative and mysterious product, as there is really no information about the band at all except a few names printed on a clear plastic insert, like you'd use on an overhead projector. The picture disc itself is beautiful, with an insane MTV's The Head looking drawing on the "JAM" side, and the studio tracking/order sheet of this album's recording on the shark/ladybird side. No idea what the content is, since 2004, it could be anything. leaning toward arty indie rock.

Album Review: So this is an orchestrated noise record. Songs had general ideas, and the hired hands played improv-style noise through grit and feedback. They got insanely popular Steve Albini to engineer the album, What's interesting is that most of the tracks are isolated on the album. That is, when a track ends, the record spins in an infinite loop, and a needle re-drop is needed to advance. As the mystery far exceeds the music, I feel it is necessary to copy this anecdote from Mat Rademans hand (on the discogs page): "Approx, spring 2004 plans start being set into motion to record R.L. Stein's 1st LP.  At this point, the band was a duo of Ren Schofield on drums, myself on guitar/electronics & guest players depending on the city we were playing in. So talks between Ren & I began, who was gonna play on it with us? who was gonna record it? should we even really do this? After a few "uhhhs" & "mmmmm's" i basically said "fuck it, let's get Albini to record it, we'll get some rad people to play on it, get it pressed to picture disc, & i'll slave away on overtime at work the next few months & pay for it all!" Ren i believe responded with something like "cool.", delivered in a very monotone voice.So there it began....I had been running my mouth for years about wanting to record a record with Steve Albini. I can honestly remember calling Steve on the phone as far back as when i was in the Mirconauts to set up a session with him. I have been a long time fan of his work, & loved the sound he got on tape. So i got in touch with him and set up a date that worked best for all involved.Next to assemble the additional players, which ended up being a massive group of Breathmint's inner circle & other pals close to the heart.Matt Bacon Sarah Bernat Jared Burak Frank Falestra Carlos Gonzalez E.W. Hagstrom Valerie Martino Andy Ortmann Mike Schauwitzer Jason VerhagenI booked the Newton "Cruel Summer" tour around the session, and off we went.So on August 19th, 2004 A.D., the 12 of us met that for breakfast and i presented the "gameplan", a loose structure of "songs" & a list of who would be playing with Ren & I on what track. Then over to Electrical Audio ( a two-studio complex located in Chicago, Illinois and owned by Steve Albini) to record & mix this LP." - Mat Rademan June 13th, 2008

Stand Out Track:

Links:
Discogs
Breathmints
Steve Albini WIki
Mat Raderman Discogs

Membranes - Songs of Love & Fury

Name: Membranes

Album: Songs of Love And Fury

Year:1986

Style: Punk, Noise

Similar Bands: Dinosaur Jr, Big Black, Sonic Youth, Half Japanese, Clash, Game Theory, Captain Beefheart, 

One Word Review: Chaotic Noise-Stomp Pop

Based Out Of: Blackpool, Lancashire, UK

Label: Homestead Records, Dutch East India Trading, LSR Records

 Songs of Love And Fury - Cover, Liner Notes, Record

Songs of Love And Fury - Back, Liner Notes, Record

Songs of Love And Fury (1986)

1. Big Fun Tonight 3:39
2. Kennedy '63 2:48
3. Postdetergent Vacuum Cleaner Man 3:29
4. Day My Universe Changed 2:48
5. Bang! 1:40
6. Snaffle Flatch! 2:25
7. The Murder of Sister George 3:52 /
8. Spaceships 2:37
9. 1986 3:24
10. Thank Heavens for The Iron Horse 3:16
11. Sleaze Ball 2:12
12. Phoney TV Repair Man 2:55
13. The Elvis I Know Was No Junkie 0:46
14. Everyone's Going Triple Bad Acid, Yeah! 3:11
15. Jaw Cracker Fuzz 4:17

Album Rating (1-10): 8.0

Members & Other Bands:
Jack - Backing Vocals
Nick Brown - Backing Vocals, Guitar, Violin (Alberto Fortis, My Bloody Valentine, )
Keith Curtis - Bass, Guitar (Goldblade, A Witness)
Wallis Tadpole - Bass, Vox
Coofy Sid - Drums, Percussion
Mark Tilton - Guitar, Vacuum Cleaner (Blackpool Sixth From College, Creepers, Black Crack)
Noel Kilbride - Guitar (Bear, AC Temple)
Woody - Guitar
Chris Jones - Keyboards, Sitar, Violin
John Robb - Lead Vox, Guitar (Blackpool Sixth From College, Sportchestra, Therapy, Goldblade, Sarandon, Poly Styrene, Philip Boa & The Voodoo Club, Muscles, Sensurround, Tim Wheater, Cecilia, )
Simon Clegg - Cover Painting
Ted Chippington - Vox
Rollin' Nolan - Poem

Unknown-ness: I've never heard of this band before, but from the looks of the cover, the year 1986, and picture of the band on the back, it looks like this will be a college radio band with an edge. The cluttered sleeve suggests a DIY aesthetic, so it could be an indie college radio band, or it might skew a little more punk. I do enjoy the cover image of the pumpkins running from the jester with a slicer cart.

Album Review: The Membranes were a noise punk band of the late 70’s that rallied against conformist pop songs, melody, fame and popularity. The driving force, singer and writer John Robb was also a budding journalist, writing a Zine while in the band  (Rox), and working in musical journalism. He was the first journalist to interview Nirvana in 1989, and apparently, he was the first to use the word 'Britpop.' They had a bunch of noise albums, very little straightforward Melody, and this release was their biggest one in the states. They are still at it, at least an incarnation of them, today, and have new material slated to be release in the near future (Dark Matter). This album is reportedly more accessible than their past efforts, which makes it one of their best middle ground, and enjoyable records.

“Big Fun Tonight” begins with a jangly guitar and tinny, rhythmic drum. The bass and rhythm guitar parallel themselves without fail. The song is a bit of a charging oscillation between two marching sections. The vocals are not clear, and very percussive. They also have a bit of a rugged, chanting, Clash-ness to them.

“Kennedy '63” has a simple, fast, side to side drum beat to start out the song. The guitar chords are in time, and it reaches the chorus quickly, with a pretty melodic backing guitar hook. The vocals for the chorus are call and response “Kennedy’s says” and “Oh-Oh-Oh”. It even sounds like there is some electronic distortion added to the guitar making it sound like synth keys.

“Postdetergent Vacuum Cleaner Man” enters with a stiff quick drum beat. The heavy bass line and general humming noise is layered in behind. The vocals are monotone and droning, but layered with a higher tonal vocal in the back. The short section of the chorus is downright Vaselines catchy. This is the first song that really drives home the idea of a blistering wall of noise as the last two minutes are just the same brief pattered repeated.

“Day My Universe Changed” begins with dreamy guitar chords and watery rhythm guitar. The vocals are weak and drawn out, added accent this song as a dream pop or shoegazing song. About the 1:45 mark, the guitars begin to add a layer of buzzing, but it is quickly dispersed.

“Bang!” is introduced with a fast and very repetitive 4 chord strum. Deep spoken word vocals are layered overtop, and a general minimal, fuzzy post punk melody supports the speech.

“Snaffle Flatch!” puts jangly college music at the front, with a simple guitar hook. But the bass line has different ideas, and takes it to a much darker and off-key direction vocally.

“The Murder of Sister George” is a loopy guitar based song where again, the bass decides to make it more aggressive. The vocals shift from one two note melody to a higher inversed two-note melody. The chorus is basically just a catchy bass line, reminding me a little of Gang of Four, except a weak and stretched off-key vocal is purposely attained.

“Spaceships” combines catchy guitar & bass melodies in a driving, and shifting song. The chorus has a group sing along saying “Burn this spaceship down,” and at the base, is just a simple and catchy track, almost to the point where it is mesmerizing in an unconscious way.

“1986” breaks the straight forward melody idea with a colder, industrial-yet-organic style song with well out of tune chorus vocals and stress inducing violins. The picture this paints is an anxious, lost person looking for rescue.

“Thank Heavens for The Iron Horse” starts with a warbling, jittery accordion sound, and the song just takes off into a barn dance hoe-down, all based on the knee slapping bass line and driving drum beat. The vocals are barely audiable, and feel like an afterthought, lost in the energy of the bass.

“Sleazeball” the twangyness is not lost, as this song picks up where the last left up with a more head down driving song. Still featuring the note-less vocals, it has a little of a Man-Man atmosphere.

“Phoney TV Repair Man” has a bassline start the song, and follows up with an oscillating alarm effect, but those quickly pushed to the back for a pop song with sloppy vocals, but a catchy tempo.

“The Elvis I Know Was No Junkie” stumbles at first with a jangly guitar sections that blossoms into a dead milkmen like melody with slowly spoken British vocals laid over top.

“Everyone's Going Triple Bad Acid, Yeah!” sounds like a toy guitar at the intro, it is tinny, and fuzzy, and very lo-fi. Like a true punk song, the vocals cruise up and down, supported by the chord changes. The song has a very juvenile feel to it, but the vocals go all in when it gets to the heartfelt or vision-inducing chorus. They use a lot of weird vocal sounds to pepper and enhance the melody.

“Jaw Cracker Fuzz” echos with the tinny guitar and dark melody. The drums are lively, and the music plays along, but it comes from a dark place. The vocals brighten it up a bit, and this does not feel like an album ending song. Based on this, they would still have a lot of energy left for three more tracks. But they must have just run out of room. 

Stand Out Track: Kennedy '63 (live)

Links:
Wiki
Discogs
Allmusic
Robb article w/ BBC
Metro 60 Sec interview
Robb's Website Louder than War
Membranes FB

Wormhole - Chopper

Name: Wormhole (The Wormholes as of 1996)

Album: Chopper (10in EP)

Year: 1995

Style: Alternative

Similar Bands: Nirvana, Dinosaur Jr., Track Star, Pixies, Pavement, My Bloody Valentine

One Word Review: Slacker-Drone-Rock

Based Out Of: Ringsend, Dublin

Label: Roadtrip, Roadrunner

 Chopper - Cover & Record

Chopper - Back & Record

Chopper (1995)

1. Leave the Blanket In 3:31
2. 44 Bulldog 3:35
3. Soul Searching in the Library 2:41
4. Little Miss 3:34
5. New 6:48

Album Rating (1-10): 7.5

Members & Other Bands:
Anto Carroll - Bass, Keys (European Sensoria Band, Memory Cells)
Dave Carroll - Drums, Vox (European Sensoria Band, Phil Alvin, Amygdala)
Graham Blackmore - Guitar
Eamonn Crudden - Recording?, Artwork, Photos
Marc Carolan - Production
Edel - Artwork, Photos
Zak -Artwork, Photos

Unknown-ness: I’ve never heard of the band, but just from the band name logo, I imagine this to be some sort of heavy hardcore bridging on metal. It looks dirty and sloppy by design, so I at least imagine some grungy sludge. Also, the label is a division of Roadrunner, and although not all their bands are metal-core bands, they do tend to run in that direction. Either way, this is a short EP, and should not be too much of a challenge to get through.

Album Review: So there was not much on Wormhole, but then I discovered that they changed their name to The Wormholes, and a bit more information opened up. They even got back together last month (DEC 2014) to close down one of their locally historic pubs in Dublin, and they have been an active band since.

“Leave the Blanket In” begins with a rubberband bass riff, and gently fades up with ambient fuzz, only to rock out at about 45 seconds. Sludgy alternative guitars lay the groundwork for a droning, brooding rock song with not so much chord changes, as tonal pitch changes. The whining, crunching guitars note changes sound very minor below all the dense fog.

“44 Bulldog” has a great sounding guitar, like Track Star, with a bit of echo, but sounding metallic and crisp. The chord loop is short and catchy. The vocals drone over the guitar, but are barely intelligible, and are exhausted in their delivery. At the chorus, extra fuzzy guitars add to the density. This is a very good slacker pop song. Toward the end of the song, the lead guitar takes some liberties and flourishes, unwinding a bit, but it does not detract from the song

“Soul Searching in the Library” is a bass driven, instrumental quiet pop song as it begins, with a similar musical setting as XTC’s Battery Brides. Metal screeching guitar is present in the background, and it reminds me of the Pixies as well.
“Little Miss’s” percussive tempo is laid down with a tambourine/cymbal cadence, which abruptly stops to allow for distortion of noise and vocals, like a poorly transmitted hand held radio signal. Then the Pavement like vocals kick in with the chugging rhythm guitar. The distortion revisits for a break and brings  the music to a stop. This precession repeats, and the Pavement-esq

“New” starts out like a band warming up for practice, with some miscellaneous sounds and a very garage band style guitar check, which is the opposite of the band’s recorded style. Then the droning guitars kick in and the pained, slacker vocals set in. The lead guitar hook is quite loud, piercing and walks a fine line of annoying. The song progresses itself into a wall of screeching sound and never comes back to the melody. It wavers in and out of audible tension, and then the rhythm guitar comes back with the melody, a bit of vocal and then it crashes into a huge wall of sound, My Bloody Valentine style. The stumbling, hand dragging melody repeats, like some of the fuzzier, noisier Imperial Teen songs, and then it just decides to end.

Stand Out Track: 44 Bullfrog

Links:
Discogs
Youtube video
Facebook
The Joinery
Soundcloud two albums
Twitter
Irish Music Data Base

David Moss Dense Band - Live in Europe

Name: David Moss Dense Band

Album: Live In Europe

Year: 1988

Style: Experimental, Avant-Garde

Similar Bands: John Zorn, Brand X, Secret Chiefs 3, Fantomas, Mr. Bungle

"One Word" Review - Schizophrenic Asian Racquetball 

Based Out Of: NYC, NY

Label: Ear-Rational

 Live in Europe - Cover & Record

Live in Europe - Back & Record

Live In Europe (1988)

1. Two to Three to Tango 4:07
2. Re-Shuffle 4:09
3. Day to Climb 4:20
4. Full Step 4:18
5. Glider 3:18 /
6. Neural Sense 4:31
7. Song of the Possible 4:43
8. Slant Lines 5:38
9. Slow Talking 5:17

Album Rating (1-10): 5.5

Members & Other Bands:

David Moss - Drums, Vox (Bill Dixon Ensemble, The Golden Palominos, Denseland, Direct Sound, The Markus Stauss Project, Meltable Snaps It, Paul Brody's Detonation Orchaestra, John Zorn, Uri Cane)

Wayne Horvitz - DX7, DX100, Harmonica (Eugene Chadbourne, John Zorn, Curlew, Naked City, NY Composers Orchestra)

Christian Marclay - Turntables, Records (John Zorn, Kronos Quartet, Elliot Sharp, The Art Bears)

Jon Rose - 18 String Cello, Violin (Eugene Chadbourne, Slawterhouse, Kryonics, Transcendence, Art Bears )

Jean Chaine - Electric Bass (Uberfall, The Markus Stauss Project, Sarah Greene, Gary Lucas)

Francois Dietz - Producer, Mastering

Didier Dalfitto - Engineer, Mixing

Nick Lawrence - Cover Art [The Entymologist]

Tom Cora - Composition (Curlew, John Zorn, Andrea Centazzo, Eugene Chadbourne, Nimal, Third Person)
Fred Frith - Composer (John Zorn, Violent Femmes, Half Japanese, Swans, Residents, Curlew, Material, Brian Eno, Henry Cow, Naked City, Golden Palominos)

Unknown-Ness: I’ve never heard of this band. Looking back, I think I got it because of the clear vinyl. That was just unusual enough to make me pick this out of a thrift store music stack. It surely was not the cover, which makes me think the content will be some sort of modenrist take on classic jazz. I don’t know much about Jazz or enjoy it for that matter, but this blog is for discovery, so I can check this out. I may even be surprised.

Album Review: - So this is a live version (duh, that’s what it is called: Live in Europe) of a travelling line-up of David Moss’s 1985 album Dense Band when they played in Europe; Vandoeuvre, France to be specific, on 5/23/87. The proclaimed stellar line up is made of avent-garde, experimental artists from NYC, who have all made names for themselves individually. It is interesting, and to appreciate in any capacity, you need to pay attention to what is going on. Seeing this live was probably an inspiring event, if not, entertaining at the least.

“Two to Three to Tango” features one off bass notes, chaotic drum spurts, and synth chimes; none of which sound in unison. The vocals are high pitch, and not very melodic, reminding me of a chicken squabbling with Mr Hanky the Christmas Poo. After the first section of vocals, there is an intense section with elements that have been used by John Zorn and Mr. Bungle.

“Re-Shuffle” starts off with a lot of Western cowboy bass energy, and gives the impression of building to something big and possibly chaotic. The driving bass sound is supported by creepy Ghostbuster dripping ooze synth, and other occasional oscillations and about 2:30, some vocal shouts are buried to the back. With balloon deflating squeals, and Mike Patton-like vocals. Or perhaps it should be written that the vocals seem to have inspired Patton.

“Day to Climb” is a nervous jumper looking down over the side of a building. Or perhaps, as the song is named, a climber ascending a mountain, but fearfully checking the ground behind him. It is tense and a bit stressful bass line, which also reminds me of the later, more difficult, Dr. Wily levels in Mega Man in a very basic form. There are some screeching metal synth effects and random chimes to increase the intensity. Toward the end, the bass line is replaced with a singing saw sound, and hauntingly smooth vocals of pain.

“Full Step” is an unsure bass line, a little mysterious like the Pink Panther theme. There are deep, masculinly confident vocals, that have tones of an Asian Announcer but is really French. After those vocals end, a chorus of female vocals is buried down in the background, singing their own melody. The song picks up in a spastic drum and bass racquetball game. The end of the song shows a bit of actual shared melody and could almost be interpreted as a traditional song, if only basic form, and for a very brief time.

“Glider” does exactly as its name sake suggest: Primus-like gliding bass notes and tin pot hitting percussion, and a vocal hoot and holler once in a while. Eerie alarm like chimes are echoing behind, like a faulty security alarm has been disabled. And steel drum bongs dot the song scape.

“Neural Sense” Drum hits and bass plucked notes are timed together, as sawing violins are layered down behind, suggesting urgency that the sporadic bass-drum rhythms seem to ignore completely. The background violins grow in number, like a swarm of violin mosquitos calling their masses together toward these dumb plodding hippo bass notes. Squeaks and squelches of violins are accompanied by vocals that sound like secondary exhales that accompany karate chops.

“Song of the Possible” has a quiet, dark, minimal bass line in the beginning. Background, coming to foreground fast, are turkey gobbler vocals of a neurotic emotion. The vocal sounds still remind me of an avent-garde Asian performance, and I can only imagine what this was like performed live, and I wonder how close these performances are to the originals. The vocals, through a doubling vocoder, sound a bit like the chicken lady from Kids in the Hall.

“Slant Lines” has an unaccompanied, looping bass line that evolves as it repeats in the beginning 1:45. A cymbal simmer introduces the schizophrenic vocals, and the song transitions into a dark, funky march. The march becomes side tracked with crazy percussion and chaotic deep then high vocal sounds.  The song ends with what sounds like an English car siren, played melodically.

“Slow Talking” is very slow, with bass notes paired up in twos. There are some old-internet link-up static sound effects, and a very loungy, deep vocal (slow talking) that is paired with a high, shrew, helium voice (fast talking). The voices take turns as if having a conversation. And the song kind of just slinks away as if it was never there to begin with, like a fever dream.

Stand Out Track: - Re-Shuffle

Links:

Discogs

Official Site

Wiki

Discography

allmusic

NY Times Funk Rock
Last FM
Mutant Sounds
Scaruffi
Downtown Music
Lucky Locus

IDA Sessions - s/t

Name: Ida Sessions
Album: S/T
Year: 1998
Style: Electro Noise
Similar Bands: Sonic Youth, Early Flaming Lips, Braniac, Enon
"One-Word" Review: musical equivilant-to-ghostchild-horror-movies
Based Out Of: Portland, OR
Label: Red Alert Works

Ida Sessions - Cover & Record
Ida Sessions - Back & Record

Ida Sessions (1998)

1. Depth Charger 6:20
2. Dog Race 4:48
3. Give Us The Crystals 4:26/
4. Sick Man Of Asia 11:02
5. Time To Die 4:04

Album Rating (1-10): 5.5

Members & Other Bands:

Summer Mastous - Piano, Organ & Synth (the Fisticuffs Bluff, Octant, Miranda July, Love as Laughter)

Donovan Skirvin - Guitars, Vox, Cover Art & Design (Skurvy Dog Design) (Miranda July)

Tobyn McCormick- Drums & Casio (Kill Me Tomorrow)

Don Godwin - Producer, Recording, Mastering (Red Alert Works record label)

Unknown-ness: I had never heard of these guys. I saw the record in a thrift store, and got it…because…well, I don’t really know exactly why. The design looks cheap and amateurish in a bad way, and there are only 5 songs, all of them over 4 minutes, with one clocking in over 11 minutes: usually not my cup of tea. Plus, all the songs were recorded in 1997, so the genre could be anything from experimental to hard core to new age. I do like the song name “Give Us the Crystals” though. I did not realize until I did a little research that the name Ida Sessions was taken from the movie Chinatown, so not all bad. And in other movie tie-ins, two of the three guys worked with Miranda July, director of "Me You and Everyone We Know" on her album before this release. But it is not a long album, so it can’t be that much of a waste of time if it turns out bad.

Album Review: Reading the reviews, I’ve seen that this is categorized as a theatrical, crackling dark rock and art-punk. Lets see if I can review this without pushing into these specific categories.

“Depth Charger” fades in with some off key evil electronic work, a distant echoing drum beat and electro fuzz. The vocals are begging and shrill at times, like an abducted victim crying for her release. My first thought is Sonic Youth, with the slightly melodic structure buried under fuzz and echoing feed back. The song’s pace is somewhat driving with sudden breaks of form and what sounds like vocals gurgling up from the bottom of a murky lake. The driving fuzz comes back with the whining vocals. The Buzzing and driving music that picks up after it sounds like the song ended remind me a lot of Braniac. Then the tempo changes with help and guidance from a dark, eerie piano base into a wobbling bowling pin: thick and dense and ready to topple. This reminds me a little of when I saw Deerhunter live…except that they sucked and this is a better, more dynamic and way more interesting.
“Dog Race” starts with deep echoing bass sounding like it is played with a bow. A general omnipresent hum is in the background. A pleasant piano is played, giving direction and way to the fast vocals. The fuzz and noise is poured on top of the general piano melodies, which are given the chance to emerge every once in a while. The vocals remind me a lot of Tim Taylor from Braniac and John Schmersal from Enon. There are many little vocal sections just thrown together and overlaid across the piano and fuzz background, which itself, stays pretty consistent.
For the first few seconds, “Give Us The Crystals” displays a happy piano played at a distance, and in echo, but is masked with dark emotions and effects from the self-made music environment. The vocals are an emo-shouting, partly in monotone pitch, but not over-bearing, and occur at a distance too. The music drifts in and out of chaos, with the presence of bass added. The song collapses around 3:15 to a slow-down spiral, with a children’s piano effect brought to the front. Eventually the spiral burns out with a few final crashing instruments, and the ghostly remains of the piano and keyboard.

“Sick Man Of Asia” needs preparation to endure the long 11+ minute track. But as it begins, feedback hum fades up, and tinny metallic guitar echos away. The spooky repetitive keyboard/piano slams home the uncertainty of where you are. Vocals cry and spackle the song, as weeping reminders of spirits once here. It really does evoke a mystical, haunting spirit with the production. The vocals are so out of key, they are almost painful when they sing “It’s all over.” Eventually, you get used to the tone, and it weirdly melds into one complete soundtrack. Again, it sounds like the Enon/Braniac duo, or any new electro vocoder based fuzz bands out there today, in its urgency and vocal style. The second section of vocals is performed at a fun head nodding pace, and takes all the attention away from the swirling background and neurotic piano playing. Around 6 minutes, the building fuzz makes it seem like the track is going to end. But instead, a quieter section begins, with vocals like the stereotypical horror movie’s killer child spirit’s playground chanting. The song changes gears slightly as the piano becomes a crystal like repetitively cycle, and together with the vocals, the song gains something that might resemble hope. And noisy guitar feedback ends the song.
“Time To Die” begins with a gospel chorus chanting angelically. But 22 seconds later, the crashing guitars disturb the peace, and the two fight for the spotlight. A dark, evil sounding piano repeats over and over again, bringing increased stress and edginess to the voices which have triumphed over the guitar for the time being. But the keyboard’s intensity slowly builds, and it feels like the song may come crashing down at any second. Sure enough the metal, electric guitar returns and somewhat of a balance is reached. The guitar, over exerted, shuts down again for a shorter interval and hard core begins to win out over the gospel choir. But it is the chorus that has the last “la la la” on the album.

Stand Out Track: Dog Race

Links:

PDX Underground Art

Summer's WikiaSCUM page

Williamette Week Online 7-8-98

Kill Me Tomorrow review

Donovan: Portland's Best Cobbler

Donovan: Shoe Article

Miranda July's Album on Answers.com

Haberdasher - SONGS ON LOVE nos 48602-48608

Name: Haberdasher
Album: SONGS ON LOVE nos 48602-48608
Year: 1997
Style: Math Rock, Noise Punk
Similar Bands: Oxes, Battles, Sonic Youth, Helmet (a bit)
"One-Word" Review: Calculated-Repeate-Shoegazing-Prog
Based Out Of: Baltimore, MD
Label: Reptillian Records

SONGS ON LOVE nos 48602-48608 - Cover, Record & Reptilian Records Catalogue

SONGS ON LOVE nos 48602-48608 - Back, Record & Reptilian Records Catalogue

SONGS ON LOVE nos 48602-48608 (1997)

1. 48602 5:13
2. 48603 4:43
3. 48604 5:23
4. 48605 2:53
5. 48606 4:06
6. 48607 4:42
7. 48608 9:51

Album Rating (1-10): 7.5

Members & Other Bands:
Adam Cooke - Mixing Engineer
Nate Fowler - Guitar (Oxes)
Emmanuel Nicolaidis - Drums (More Dogs, Thank You)
Michael Bouyoucas - Keys (More Dogs, Thank You)
Steve Santillian - (More Dogs)
Kirk

Unknown-ness: I’ve never heard of these guys, but the name is a perfect name, sounding like an obscure punk/indie band. The simple cover reminds me of Wire, as they have been compared to sonically as well. What is really intriguing is the decision to juxtapose something as emotional as love, with the idea to name the songs about it as concurrent numbers. The spacious grey cover gives room for the names of songs/numbers to be written like on an excel spreadsheet on the back. This record is cool, because it is labeled specially out of 300 copies. As for the content, I can only assume it is going to be some kind of mechanical or highly evolved futuristic music.

Album Review: “48602” starts off with a minimal industrial/mechanical thudding drum beat. It is not timed, and not meant to be on a specific beat until the bass comes in as a quiet hum. Together they both lay down angular and disjointed rhythm, accented by guitar tweaks here and there for 2 minutes. Then the moody space guitar notes quietly play over the groundwork. The song builds, but that actually is the song, a continuous build throughout the track until the last minute. The guitar, slightly off key, gives way to a noisey onslaught of buzzing guitar work, sliding up and down the musical scale. It ends suddenly, with an abrupt stop. “48603” begins with a quiet hum for 30 seconds, and the progressive building drum & bass beat is echoed with the repetitive guitar strumming over top. The guitar production is liquid and murky with the essence of space pop. There are vocals here, but they feel like the singer is barely in the room, and is forced to chant the nasally vocals from across the room. The song continues in a dreamy, head spinning loop, which changes tempo and instrumentation once in a while, but never the swaying rhythm never skips. “48604” begins with creepy sea-swaying guitars & bass, crashing cymbals and minimal chanted, hushed monotone vocals, which are added in bits more as an instrument’s compliment rather than a front piece on display. Danger is afoot, as the guitars crash for a few bars followed up with a Jaws inspired bass effect. It winds down, as if the threat of a tsunami washes away out to sea. “48605” quietly comes onto the sonic map, nearly absent for the first 40 seconds, with light bass. Then a marching drum beat is coupled with a repetitively strummed guitar, but the effect is not as driving as I’d expect.

“48606” finally breaches into noise and feedback guitar work, this is a very urgent and driving song, with a quicker off-beat, angular drum rhythm. It feels video game is, with its changing musical scale and rushed motivational atmosphere. It has little breaks where the buzz rests and the quiet bass fills in. But it picks right back up with the drums starting, and the guitars “talking” to each other. And the guitar onslaught kicks in. Lots of repetition is used in the ending of the song, but it a solid, solid song. “48607” is back to the dreamy, creepy production of showgazing bass over echoy eerie guitars. The elements are brought in, growing in volume, and the progressive drone commences. Yelled vocals are added, but are too high and mixed in the back for their words to have too much meaning. The tempo switched to a marching beat halfway through the song, and the vocals, occasionally used, are more monotone. The guitars come off as a series of repetitive beeps and bops. And the last song, the monstrously repetitive 9 minute epic, repetitively titled “48608” begins slowly with what sounds like the band testing their instruments. It consists of tinkling guitar, drums and bass all seemingly played separate of each other, yet all over top. Then after a minute and 15 sec, the bombastic guitars and drumming take over, and the wall of sound is created, slowly pushing the listener along for a minute, and it relapses into a ringing effect that fades with time, and a random couple of drum fills are added, and the driving sound-wall returns around 3:30. This section of the song tires out around 5 minutes, and the buzzing ring returns louder, with dismal effects randomly entered, like we’re back to the instrument testing. What sounds like a guitar-on-keybaord sample is looped in the background, behind buzz and fuzz, which now picks up the driving momentum of the song. It feels like it loses track here, but I’m sure this is what was planned, down to each note. The drums feel like they are about to pick up as all the instruments gain an intensity and urgency back to their manipulation. But the drums kinda fall to the waist side, and the alarm-like guitar buzzing becomes irritating as it does not morph into anything more. The instruments quiet down as they exit the song in an exhausted style.

Stand Out Track: 48606
Links:
Best new band Baltimore City paper 9/96
Panzan's Blog
Reptilian Records
Lord Baltimore Recording Staff
Balti City Paper - Oxes 6/00
Math & Noise Blog
Balti City Paper - Thank You 6/08
More Dogs Myspace
Oxes - Wikipedia
Discography Grunnen Rocks
T-DT-B Discog
Thank You Myspace

Electro Group - A New Pacifica

Name: Electro Group
Album: A New Pacifica
Year: 2000
Style: Electro-Noise
Similar Bands: My Bloody Valentine, Breeders, Stereolab, Spinanes
"One-Word" Review: Thick-fuzzed-out-mind-drilling-rock
Based Out Of: Sacramento, Cali
Label: Omnibus Records

A New Pacifica - Cover & Record
A New Pacifica - Back & Record

A New Pacifica (2000)

1. Trigger/Repeat/Hold 0:28
2. La Ballena Alegria 3:33
3. If You Could See 4:04
4. Line Of Sight 3:50
5. Cyrna Ruka 2:31
6. Reprise 0:55
7. Continental 5:00/
8. 4,5 and 7 0:29
9. Can't Remember 2:16
10. A New Pacifica 1:27
11. Biped 3:15
12. Last Flight of Fantazma Gordo 4:06
13. 19.5 3:17
14. Manimal...
15. Red Lectroid Orchestra 5:45

Album Rating (1-10): 7.0

Members & Other Bands:
*No Liner Notes Included*
Tim Jacobson - Vox, Guitar
Ian Hernandez - Bass
Matt Hull - Drums

Unknown-ness: I don't think I've heard of this band. It is from 2000, so I'd like to think I've heard of them, but I can't recall anything related to the seemingly generic band name. I really liked the artwork on the album cover and back. It is sparse and symmetrical: bare bones as if they mean business. And with the generic-sounding name, I was drawn into the idea that they must have a strong handle on their music style, and I do like electronic music. I think I was hoping for dancey electro-music, but as for what I’ve read, it is going to be shoe-gazing, dreary music.

Album Review: The first short song, all of :28 seconds on the record is “Trigger/Repeat/Hold.” It is a bouncy orchestral strings arrangement, with an electronic effect used by both Bjork and SFA. It fades in and out, and then “La Ballena Alegria” begins with loud, crunching guitars and vocals mixed so far down that they are just a background instrument, similar to Stereolab. The music is a thick wall of sound with its dense, fuzzed out bass and guitar, but it is very melodic and repetitive. Feedback ends the track, and then a part acoustic, part liquid rhythm guitar begins “If You Could See” the thick bass comes in as do the mixed down vocals, and this song reminds me a lot of the Spinanes, with much more noise. The music is constructed like steps. It feels like you physically have to step up or down with the chord changes, and you can almost see the different platforms of sound as the song progresses. “Line Of Sight” begins with the fuzzed out bass, and the drums come crashing along with the guitar and vocals all at once. There is not much energy in the vocals, similar to the effort given by Ladytron, but that counter balances all the energy in the instrumentation, and actually makes the loud music soothing. “Cyrna Ruka” begins with a liquid flying saucer taking off sound effect. The lead guitar is more pronounced when it plays its hook, and the vocals fill the melodic gaps clearer then before, but as a whole, the noise and feedback is just too great of a presence to not take the song over. The song ends with phantom-echoy sing-song harmonized vocals. “Reprise” is next, another short instrumental, and it revisits the opening track with instrumentation that we’ve been grown used to. It is the same basic song structure, but the strings are replaced with the crunching bass and the electro-effect is replaced with a very similar sounding guitar. “Continental” ends the album with the same familiar relentless pounding sound. At times in the song, the music gives way to segments where the bass stands out for its catchy hook. This really does make me want to listen to the Spinanes…it is almost as if the Spinanes songs are demos for these sound adventures.

Side 2 starts with the short “4,5&7” it fades in with the same orchestral sense that side one uses. “Can’t Remember” is downright acoustic compared to the album. Clear vocals, light tambourine percussion, and a very easy-to-swallow melody. There are small electronic effects in the background and a chorus of ‘Ooohs.’ So this is what the songs sound like if you take them out of their artic home, shed the layers of clothes off, and sunbathe with them by the pool. It’s kinda nice. The title track, “A New Pacifica” fades in with strings and what sounds like brakes politely grinding the rotors of a car. Politely grinding because the sound does not grate on the ears, it should probably be more correctly compared to the warbling of a metal disc finishing its spin. “Biped” picks up with the thickness of music. The guitars are more headbanging-metal in this go around, but the vocals are still light and airy, and there is even a contrasting quiet breakdown where a simplified guitar takes center stage if only for a brief hook. “Last Flight of Fantazma Gordo” slowly builds with rhythmic, repetitive fuzz-guitar strumming, which is the basic structure for the entire song. Rhythm guitars are overlaid in a circular repetitive musical loop. “19.5” fades in with buzz and fuzz. Drums predict the loud, heavy guitars that come a second later. The song feels about as heavy as early Life of Agony, but as with all of electro-group’s songs, there is a certain fluidity in their music, the songs sound as if they are being played and distorted through a pool of water. The song fades out early and quickly into the last track(s) on the album. Two more are listed, but I am challenged to find the break that separates them. “Manimal / Red Lectroid Orchestra” ends the album. The vocals function as just another instrument, but are a little louder than usual, they highlight the melody of the music very well. The song trails off into instrumental full-attack mode for the second half of the song. Although it retains the same melody, perhaps where the words end, the song changes titles too.

This is a good album. It is solid, and it knows where to take the listener as long as they are prepared for noise-gazing rock. This is an album to be in the mood for, as I could not just put it on at any time. But the simplified, stripped down song “Can’t Remember” is like a template to show what you can look for in the rest of the music offerings. I just prefer the simple song to the fuzz and noise that they do very well.

Stand Out Track: Can't Remember

Links:
Electro Group - allmusic
Electro Group - Myspace
Electro Group - Omnibus Records
Electro Group - Last FM
Electro Group - Artilce on Performance 5/22/08
Electro Group - Bohemian Article
Electro Group - Ink 19 review
Electro Group - SF Weekly
Electro Group - Pop Matters

Cows - Cunning Stunts

Name: Cows
Album: Cunning Stunts
Year: 1992
Style: Fuzz/Noise Alternative
Similar Bands: Mudhoney, Butthole Surfers, Jesus Lizard, Melvins, Cop Shoot Cop, Nirvana
"One-Word" Review: Simplistic-Nasal-Grind-Noise
Based Out Of: Minneapolis, Mn
Label: Amphetamine Reptile Records

Cunning Stunts - Cover & Inside

Cunning Stunts (1993)

1. Heave Ho 2:07 (Sample)
2. Walks Alone 2:46 (Sample)
3. Contamination 3:10 (Sample)
4. Mr. Cancelled 4:19 (Sample)
5. Mine 3:30 (Sample)
6. Midnight Cowboy 2:50 (Sample)/
7. Everybody 3:00 (Sample)
8. Two Little Pigs 3:00 (Sample)
9. The Woman Inside 2:33 (Sample)
10. Terrifique 3:14 (Sample)
11. Down Below 4:06 (Sample)
12. Ort 4:22(Sample)

Album Rating (1-10):
7.5

Members & Other Bands:Kevin Rutman - Bass
Shannon Selberg - Vocals (The Heroine Sheiks)
Norm Rodgers - Drums
Thor Eisentrager - Guitar (Teenage Larve)
Daniel Corrigan - Cover Photo
Haze - Cover Design Theft
Iain Burgess - Recording (Gark Studios)
David B. Livingstone - Thanks (Teenage Larve)


Unknown-ness: I had heard of Cows, but I could not where or why. I seemed to remeber hearing about them in a positive light, so I once I saw the tape, and recalled that they were something to listen to, check out, and probably enjoy, I got it. From the way the text is layed out on the cover, and the blurred trumpet image, it looks as if this would be a jazz album. I don't think that is the genre of what I remember them being catagorized by, but that is what the album art reminds me of.


Album Review: So I have read that they are noise. But I've also read that this album is their most musical. I go into this review not knowing their back catalogue, but solely on this album’s content. “Heave Ho” is the first track, starting with a baby crying, then guitar noise, and a trumpet. The angry voice is gruff, similar to early Nirvana. But the music takes form, and it is three chord driving rock, broken up by the frantic trumpet playing. A short guitar hook begins the next song, and then the fast paced driving rhythm is pushed forward by loud bass and drums. The sing/shouting comes in quick pulses, and is very similar to Ween's Stroker Ace. “Walks Alone” relies on the voice as just another musical instrument, where the syllables add to and define the music, rather than being layered overtop. “Contamination” starts off as a drunken, staggering noise beat. When the vocals start, it finds direction, and moves quickly with a thrustful drums keeping time. This song feels like an updated cover of Black Sabbath style metal. The song breaks rhythm twice when it returns to the warbling music from the intro. “Mr. Cancelled” feels like a typical fuzz filled alternative song. The pace is sludggery, and very repetitive. “Mine” too, is very repetitive lyrically and musically. The guitars and bass roll along, up and down like a bumpy ocean voyage. Side A ends with a great, heavy cover of the Midnight Cowboy theme. There must have been something about the movie’s popularity in 1992, because Faith No More also covered the Midnight Cowboy theme on their Angel Dust record. The Cow’s version features “oooh” vocals following the melody up and down the scale.

“Everybody” has a bass hook begin the song, and it continues throughout. Again, the song is very simplistic, sounding very much like Nirvana on this track. With fast driving guitars it is complete with grinding, raspy vocals double layered every time the syllable “Ev” of everybody is sung. There is even some screaming that is most identifiable with Mike Patton mixed in. “Two Little Pigs” shows two distinct personalities behind the vocals. At first it is the Cobain-like nasally aggression, and there is the deeper, concentrated, murmuring grind. From the start of “The Woman Inside,” the guitars and drums propel us into a fast sprint. The vocals are either very quiet, reminding me of Sonic Youth or uniquely screeched, taking turns in the different musical sections. But it all is done at such a quick musical pace that the speed of the song is what really stands out. “Terrifique” starts out with a really catchy carnival-esq guitar and the bass is added, adding to and heightening the creepy carnival sound-scape. The song goes through many style changes of metal, prog and carnival. We hear more of the vocal style made famous by Cobain whenever the title is sung. “Down Below” breaks from the pattern set forth by the rest of the album. It is more structured, and the singing is more melodic, relaxed and concentrated. The music is still simple noise and three-chord structure. But even the repetitive nature of the title lyrics toward the end of the song is very catchy. And the hollow sounding spooky-guitar (almost sounding like the motion detection Halloween ghost decoration that shakes and hoots) is really a nice added element. “Ort” is an exercise in vocal range. He howls, rising his vocals quickly from a gruff rhasp, and then back down. Most of the song is sung at the low end. The repetitive music creates a grooving head nodding metal piece to support the vocal melodies. And there is a great awkward, sudden stop at the end of the song.

Heave Ho, Walks Alone, and Everybody are the stand out tracks. The music is very listenable. Where its simple composition and controlled vocal styles might seem like too little and too much respectively at first listen, they songs are actually very infectious, as repetitive things can be. But the music comes off as being calculate, rather than showing the limit of their abilities as a band.


Stand-Out Track:
Walks Alone

Links:
Cows Wikipedia
Cows Allmusic
Cows Interview Mark Prindle
Cows Myspace fansite
Cows on Trouser Press
CS reviewed
Cows Videos Youtube: Seasofluck
Cows on Rate Your Music
Heroine Sheiks - Myspace