full albums

Shoppers

 

Shoppers are a couple ladies and a guy out of Syracuse, NY that have apparently spent a lot of time spinning records from past wall of noise aficionados in the not so distant NYC. And I mean that in the best of way, as their debut record Silver Year is a rubble reducing blast of incredibly dense noise-rock/punk. The syrupy thick doses of max effort distortion on the record greatly remind me of the under appreciated noise making unit Dustdevils who on many of their records created a very similar atonal type of sound while also working hints of melody that was audible at different levels/times throughout their records. Shoppers maintain this approach for all of the eight of the tracks, not letting up for even a second. To some this may sound like it would wear thin on their patience, but Shoppers play it smart and keep the songs strictly to the rock side of things and at a pace that leaves little time grow tired, although I have a feeling I wouldn’t anyway. They also do well by not acting out in a free noise type of way in that earlier Sonic Youth would with the nearly same style of music. I’m selling this short though probably, as this is some killer stuff. Do check it out.

Shoppers – VII

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Last february, Shoppers released a split 7″ with Panzram, and then they drew apart. Yes. It’s absolutely outrageous and we hope they’ll start new musical projects soon.

Shoppers – I

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Shoppers – II

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Their label, Feeble Minds, lets us download and share the music they release. They’ve put Shoppers records on Mediafire, so you can get the LP here and the split 7″ here.

You can buy the Shoppers LP here (just twenty left !) and the 7″ here (less than ten left…).

Feeble Minds also recently released the excellent BROWN SUGAR “Sings of Birds and Racism” LP.

ascetic class

I’m almost glad that I’ve never had the opportunity to listen to Ryan Kirk‘s Microtonal Waves at dawn, on high quality loudspeakers, laying still and on the verge of taking an important decision [...] because it would have probably ushered me in startling areas of my psyche. Microtonal Waves is a five-track EP, it’s barren, poignant and beautiful like a prehistoric landscape dinosaurs have not yet set foot on.

Ryan Kirk – Flowers

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Ryan Kirk – weekends

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It used to be downloadable for a limited period of time on the freewave page of Divorce Records, but you can now get it here : Ryan Kirk – Microtonal Freewaves (EP).

Bones, Drums & Bass: Crawl Is 1-Man Texas Doom

 Crawl is a one-man experimental sludge project from San Antonio. With his vocal mic shrouded in a parastacoidean mask, Emperor Crawl plays drum with one hand while controlling a bass string instrument made out of actual bones. He likes to build things, he says, and to run this sound through a wall of amps. The result is eloquently blackened doom with nods to Khanate’s Things Viral and Sunn O)))’s Black One.

Crawl

 I was fortunate to witness Crawl’s incredible live performance at Sux by SuxWest, Austin’s second-annual anti-sxsw noise festival. I’d originally biked to way out Bernadette’s for Rat Bastard and the supremely funky Olneyville Sound System, who were at the top of their game in duo form. Crawl’s set was an unexpected highlight of my time in Austin, and left the entire room stunned. After our applause faded into an uncomfortable silence (yo where’s the DJ?), Emperor Crawl removed his mask to let us know that he does not have any merch— but! There is this demo recorded in 2010 that you can download for free on bandcamp. After the show ended, I asked where to find it, and learned that Crawl is a bit of a free music advocate. Even once he gets to doing physical releases, we’ll always be able to download and share Crawl mp3s. His Demo is online under a CC Music Sharing license. Go forth and spread the word of Crawl!

Crawl's bass string instrument (Photos from March Creative Commons by Jason Sigal)

Crawl – “I”

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Crawl – “II”

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Crawl – “III”

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Crawl – “IV”

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Crawl – “V”

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Get the whole album in one single file.

Canada Ottawa Kanata Blake Smart Noise Paint Wax Tape Ice Filth Luv Universe Internet Florida Gay Genius Art Blind 10 Peace

Some words about Blake Hargreaves, his record label Fluorescent Friends, his musical projects and his festival Cool Fest.

I first heard about Blake Hargreaves through his duo, Cousins of Reggae . It was  2005 and I’d ordered their  Summa Slamma / Bowlcano  12″ LP from Ohnono to my parents house in Orlando . From the first spin I was in love with that bad-as-ass noise rock it gaveth me. The art had screen printings on old cardboard , a graph paper insert with an image of the band and some inky information and charts . This was my proof of the beautiful possibilities at the front lines of DIY and I did covet that audio-info-aesthetic overload. It quickly became clear that this band and their wanderings were important for me and my journey. The internet led me to Blake’s label Fluorescent Friends, based out of Montreal and Ottawa, Canada. The label is the headquarters of the home-cooked visual art and music that he surrounds himself with.

At some point I “befriended” Cousins of Reggae on Myspace. Within a few days Blake had written us to say that he thought our jams were cool and tasty, which had us giddy. He was digging our project  Buttsavage from faraway lands, and wanted to hear more. Elated goofs that we are we sent Blake some material and within a month or two he was releasing a Buttsavage cassette on Fluorescent Friends. We still had not met this dude, and had hardly talked, except for a few polite but casual emails.

Within the year my younger brother Andy found himself headed to Montreal to live and study. Intent on continuing his pursuit of music as that top path of passions, we connected with Blake to infer about a trusted path. He welcomed Andy and our associated Orlando ramblings and styles into a righteous community of intensely creative artists in Montreal, particularly through the first edition of Fluorescent Friends’ annual live opus, Cool Fest . In that festival’s second year, Tonstartssbandht were lucky enough to play a closing set at 4 am singing with wireless headset mics and breakdancing in our underwear to a crowd of a few bewildered friends, and future friends! I might even call that set our coming out debutante set before Montreal’s discerning night eye. Pink limos and caverns of cold hard cash have chased us ever since. Cool Fest has even defied numerology and jumped to it’s 10th edition within 4 years because few  outsiders were even counting from the starting line. Extra precious bands play every year with anonymous ferocity including Steve JR , Les Momies des Palermes , Twig Harper , Hammond Ri , The Pederast , Yomul Yuk , and oceans of mega supa stars. He runs them fests with groovy support from CKUT and of course Ample , keepers of La Brique, the most cherished dwelling in all Montreal. Cool Fest is the oil-can bum fire event that keeps Montreal warm, happy and weird throughout the cleansing Quebec winter — missing it is stooge-minded.

Alas, what began on the web sector of the Internet became a blossoming inferno of tsunami joy. Blake was spreading the love, throwin’ our noise onto clear plastic lathe-cuts splattered with Fluorescent screen paints and meaty tape art, all the while showing us that our creations were worth the world’s time and ears. Dude did a major personal favor to us by planting some legend seeds deep into the Montreal art brain in preparation for an imminent Tonstartssbandht landing. We came with “sunshine vibes” and Blake was the shy hype man. 

The label’s output has ebbed and flowed over time, but it remains one of the most important recent canons and collections of self-released incredible jams, sights and experiences available in the entire world.

Do yourself an extra fucking major favor and check out his 2010 solo project Clinton Machine LP “Gettin’ Personal” (joint release between Fluorescent Friends and INYRDISK ). 

Look Blake is the most legendary Ottawan since forever. So pls get your facts straight, get bent, go out more, and explode all over the places and make faces show me tha braces.

Go to Fluorescent Friends website or blogspot. And download Cool Fest 07 Compilation - Two days, 30cm of snow, 31 performances, one COOL FEST, or get it  here.

Tonstartssbandht is Edwin and Andy.
Their ultimate goal is to wake up the inner idiot laying in each one of us. They scatter themselves between wild pop, grubby pshychedelism, scrawny dub, Tahitian music, punk… Sometimes they use samplers, mics and open throats and sound like Animal Collective’s crusty brothers. Sometimes they grab a guitar and drum kit and sound like a heavy psych-band. Most of the time it’s a mixture of everything.

wild pop facet – Tonstartssbandht – Preston “Great Ass” Imfat

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tahiti facet – Tonstartssbandht – Tahiti Nui

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whatever facet – Tonstartssbandht – Shot To La Parc

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They are touring accross the US right now and will invade Europe next May.
Maybe you’ll catch them at a regular show. Maybe they’ll come into your kitchen and act as if they were a drunk, human version of Chip & Dale, singing christmas songs in the basement of a psychiatric ward.

Alex Tedesco – Pretty Lies

Alex Tedesco sent us this message the day Amour & Discipline webzine launched :

“Hey there, I was hoping you might post my album on your site. I got my start making noise/drone/sound collage type stuff but over the past few years moved more into songwriting. The songs on this album however, are not “typical” in any way shape or form. Imagine a folk-based break up album torn apart and put together completely wrong, as overseen by members of This Heat. Or something. Anyhow, the album is called Pretty Lies and you can hear it here“.

His description is quite accurate.

Download Alex Tedesco – Pretty-Lies

This album is released under a Creative Commons BY-NC-SA licence.

The Beast Without A Name

Rhinocervs is a mysterious little tape label that has split off from the Black Twilight Circle but still seems to have some ties with it. Within the circle are presumably Tukaaria and Absum/Glossolalia and some unnamed other zealots, but what is for certain is that their untitled releases that are simply known around internet circles by their recording label ID (RH-01, RH-02, etc). I probably broke a little anonymity telling you two of the people involved, but oh well, you get what you get. The result here is a blending of worlds that has started as a sort of stomping and grateful mix between the aforementioned bands with some no-frills orthodox and a casual mixture of Black Twilight strangeness with French melancholia. Later tapes have gotten more and more arcane and winding, creating fresh and wonderful black magic metal at its finest. That the members are not certain and the concepts here are totally left to intrepretation lets these sigils resound in their own unique howls, charged powerfully and resonanting deep into the subconscious. Highly fucking recommended. Thank you to SVN OKKLT for specifically two of these rips.

All those tapes are out of print, but you can check Rhinocervs available releases here.

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  RH-01 / RH-02 Compilation             RH-07

 

 

 RH-11                                                   RH-12

The Kurws, The Whors, Les Puts

It seems that if you’ve been around musicians for long enough, organizing concerts, curating events and generally being at the epicenter of a certain music scene, starting to make music by yourself is only a matter of time – it’s simply going to happen, sooner or later. Such was the case with the free-jazz-noise-math-rock unit The Kurws, hailing from Wrocław, one of the major Polish metropolises, located conveniently close to German and Czech borders, a city that mixed various peoples, cultures and customs in their turbulent history. This eclectic mix, as well as Wrocław’s openness to new cultures and experiences explains why it was in this city that one of the most ecletic and energetic bands was formed. The Kurws is four curators and all-around music scene activists: Dawid Bargenda (drums and vocals), Kuba Majchrzak (bass guitar, clarinet, vocals), Hubert Kostkiewicz (electric guitar, vocals) and Tokar Tokarski (saxophone, clarinet).

What sets them apart from most other experimental jazz units is their twisted (juvenile, even) sense of humor and their rowdy, somewhat uncaring attitude. Even the name of the band is carefully constructed to appear offensive to Polish language speakers (which can be translated as “The Whors”, with the last vowel purposefully removed), as if the very core of their work was blocking any chance of gaining mainstream attention (can you really imagine TV executives inviting a band with the name like “The Whors” to play during daytime on national television?), restraining their music to a close-knit underground community of energetic music lovers. There is not a mention of the word “jazz” in their official biography, and they cite punk rock as the major influence before all other genres. “The Kurws is punk”, their bio states. But punk is just one element of this dangerous cocktail: among others, they also cite krautrock, late 70’s NYC no wave scene, 60’s surf/garage rock and post-punk. The Kurws are punk in their central idea of playing without any proper musicianship, for themselves only, being indifferent to criticism and the risk of embarrassment or discredit. They are jazz in their penchant for improvisation, and creating songs in a spontaneous, non-songwriting way. But what else can you expect from a band that was suddenly formed in 2008 during a ping-pong session?

Despite using big words like “postmodernism” or “deconstruction” when describing their music, The Kurws are far from the academic stiffness or pretentiousness (another big word that springs to mind when seeing a band throw academic terms around). When listening to their sounds, one can imagine a wasted guy in torn jeans and dirty t-shirt thrashing his head and trying to finish his 9th beer rather than a row of silent jazz aficionados sitting in carefully studied poses. Their debut release, entitled Dziura w Getcie (which translates to “A Hole in the Ghetto”), is just as tongue-in-cheek and consciously immature as the band itself: the cassette version especially, with hilarious artwork by Polish illustrator Janek Koza, famed for his lopsided, misshapen drawings of people, satirizing the ideals of beauty and style conveyed in endless advertisements. The cassette’s cover (pictured above) is no exception, bearing the depiction of a woman with a microphone (probably yet another cookie cutter pop singer) and a pig. The inside cover expands on the ideas of satire and ruthless parody, showing a stereotypical house party (complete with a couple kissing, girls smoking cigarettes and a guy puking) and a hilariously un-alluring women in alluring poses – which reminds me of the last time I’ve tried to write a porn story. Thankfully I stopped at “he inserted his throbbing obelisk into her meat vault”. But the cassette is not the only format on which Dziura w Getcie was released – in fact, it was released on pretty much every mainstream format: vinyl, cassette, CD and, of course, digital download. Looks like the guys from The Kurws put the contacts they’ve amassed over the years while organizing concerts and events to a good use, releasing on many labels at once.

The music on Dziura w Getcie is the document of applying deconstruction to both jazz and punk rock. The elements of genres are shifted, separated and put together again in a completely different order, bringing sudden rhythm changes, stops and starts and unexpected guitar solos which bring The Kurws closer to the world of math rock than punk, often bringing to mind New York based experimentalists from Zs. The band’s sense of humor is reflected both in the track titles, like “The Kurws Dzieciom” (“The Kurws for the children”) and the music itself, like the deadpan collective moan at the very opening of “Ani Lepiej Ani Gorzej” (“Neither better nor worse”). What is definitely a head-turner here (or maybe “an ear-turner” would be a better expression) is how incredibly tightly the bass lines are constructed around the precise, mathematical drumming. The jangly guitar changes its role between being merely a tool for creating corresponding melodies and becoming a freewhelin’ tool of sonic destruction. The stripped down, minimalist sound of The Kurws and the satirical, black humor-tinged approach to the creative process might bring the back-to-the-roots rock of Shellac, but while Shellac were often bitter and pissed off in a serious, destructive way, The Kurws come through as lighthearted and even whimsical. They love to make a lot of racket, but they’re not trying to bury anyone in this racket. Dziura w Getcie goes through mesmerizing rhythmical changes, like the album’s highlight, “Tanz Mit Kommune 1”, where the slow, lethargic main theme gradually turns into Neu! on amphetamines.

What’s to come for The Kurws? According to their website, after they’ve gained underground cult status in Poland, they’re ready for the world. American label Bat Shit Records is about to release their debut album, mainly Dziura w Getcie, on vinyl in spring or summer of 2012. It’s a great chance to open American (and international) listeners to the sound of this Wrocław-based unit. Apart from that, they’re preparing to record a 7” split with “some known band”, in their own words. The single’s going to be recorded “before the snow thaws” (their own words again), which means they will be entering the studio any day now.

Dziura w Getcie” / “A hole in the ghetto” is licensed on a Creative Commons license (CC BY-NC-SA 3.0). In short it means that you can copy, distribute, transmit and adapt the work. You can download it here :

The Kurws – “Dziura w Getcie” / “A hole in the ghetto  (right click/ save as)

You can also buy it on MP3/FLAC for a free donation on their Bandcamp, or get a physical version on their website.

asian women on the telephone : “russian men prefer to say – je t’aime”

I first got to know Asian Women On The Telephone thanks to Toni Cutrone, boss of NO=FI Recordings label (Rome) and involved with projects such as Hiroshima Rocks Around and Trouble VS Glue, owner of the best venue in Rome, Dal Verme, who’s got across AWOTT while touring Russia. Then, last may, I had the chance to see their performance at S.K.I.F., amazing festival that takes place each year in St. Petersburg, Russia. Among all the bands that played at the festival (Swans, The Ex, Killl from Norway, amazing as well…) AWOTT performance was impressive, my heartbeat and jaw kept on trying to follow their rare beats for all their set, my eyes were going from player to player, hypnotized both from their fairy scary masks as well for the rituality of the sounds produced by each instruments.

Something between a ritual and a play taken from a old greek tragedy, they filled the room with their own attitude and atmospheres, going slowly and then even slower, drones and beats, a belly dancer with a huge hairy belly, the long hall as a perfect echoing machine for all the people who gathered there. Their outfits weren’t impossible to define, as you couldn’t loose time in nameing things, because you had to focus on what was going on. Here i find myself in need to find better words to describe them… Maybe this live at WMFU will help :

Besides the clip above, this guy’s words could be the kind of help I was looking for. David MacFadyen of Far From Moscow, talking about them, wrote “… A comparison might be possible between AWOTT and Edinburgh’s Fire Engines, who played in a similarly hopeless vein, punctuating scratchy guitar work with the occasional yelp or funky drum break. All of which makes the Moscow collective very important. Music scenes without this kind of lo-fi, shambolic corrective are simply not healthy.”

And what I found to be the press sheet from their label (RAIG from Moscow) gave me some more clues to go back thinking of that show: “Their trademark sound – almost exclusively instrumental – is a form of stripped-down, maximally lo-fi grunge full of background hiss. Frequently played at a very slow tempo, the swamp-like growl of these tracks sometimes slides into pure feedback or industrial drone, since individual notes are so drawn out. This is a very confrontational style, revelling in its sulky contrariness, yet at times – especially when the tempo increases sufficiently to banish thoughts of large animals – a hedonistic amateurism comes to the fore. Their artistic approach draws inspiration from the early Soviet-era Russian Futurism and Dadaism, and echoes a view of society as rigid, absurd, and schematic. They produce the strangest kind of music, with their own idiosyncratic, sarcastic vision. No overdubbing, no analog mixing or mastering… This is lo-fi music for a low-grade world. In fact, AWOTT have never stressed their musical content, regarding music just as an accompaniment to freaky costume-and-masked performances they set. Being banned periodically from Moscow club-venues due to rumored connection to “a mystical ritualistic sect”

I then sent them over few questions, to which they replied in, let’s say, 1 hour? And they Continue reading

DP Dummer – Dumb In This World

I have been excited about  the bedroom project DP DUMMER since first hearing its creation through the Vessel EP from this past summer of 2011. As the singer and bassist of Providence, RI product (via Orlando, NYC, and Philadelphia) Cool World, Doug Poole has come into his own side project that explores a unique pop framework with intimately glazed vocals and heavily weighted instrumentals. DP DUMMER is powered by Garageband glory, binged on the basics of pretty melody and an overall heavenly drone.

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Dumb In This World, his debut full length album, is available for free digital download on his bandcamp.

It will be available shortly on cassette via Funn Tapes.

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Video from Too Young EP