In Rotation #7

This post got lost somewhere in the internet void cause I went to this show back in May I think or was it April?

Just caught a killer show put together by Gift Tapes/DRAFT Records main man, Jason E. Anderson, showcasing the talents of Matt Carlson (Golden Retriever) and RM Francis in his debut performance. Two cool sets by guys approaching synthesizer music from opposite ends of the spectrum; Carlson delivering a highly maximal set of analog modular patch-cordery and Francis delivering a killer trip (as in cerebral traveling rather than "trippiness") exploring the dynamics and imperfections of time-stretched digital synthesis. I'm always a little wary of computer music (I'm an analog guy, what can I say?) but I was totally sold on Francis's work. Apparently he's got a tape on the way via DRAFT.

Anyway, while I was there I picked up a ton of tapes. After being amazed by one of Anderson's sets as Harpoon Pole Vault a couple weeks ago, I nabbed the HPV tape Outside This Area on Jugular Forest. While his live set was hyperactive and wild, the tape is much more mellowed but Anderson produced equally excellent results in both. Spacey analog synth-ery with a purpose; there are a lot great melodies that drive the cassette. The Eagle Vision cassette on Aguirre by Brother Raven, Anderson's duo with Jamie Potter, is similarly excellent. Form and melody play an even greater role here. It's a hard choice between the two as I love the looseness of Outside This Area but the deeply relaxing melodic forms of Eagle Vision are hard to resist. I'll choose later. Even as impeccable as those tapes are, and I do mean impeccable, Spare Death Icon may be my favorite of Anderson's projects because it's so damn badass. The recent Gift Tape, Survival channels John Carpenter, et al. making for an inspired album of pseudo-movie synth music. The last track is even called "Credits". Anderson also dropped a side-long anti-relaxation synth piece on a Stunned split (pictured) with Brad Rose's fantastic Charlatan project, who by contrast delivers highly relaxing synth music. It's a smart pairing of two of today's top synth aficionados; one of the best in Stunned's recent split series as well.

The one non-Anderson-involved tape was by Carlson called Gecko Dream Levels. A loopy, forty minute brain-mash. It makes me think what if an early 20th c. avant-garde composer (someone with a sense of humor like Charles Ives) created soundtracks for early video games. Carlson basically just lets himself run wild all over the tape, discharging a wealth of ideas. Among the most "composed" pieces on the tape, "Infinity Canyons" is phenomenal.

What attracts me to Anderson's and his cabal's work is instead of there being a passiveness of sounds which is characteristic of a lot of this new new age of synth music, their sounds are very much active. I don't mean in a quantifiable sense, just that there are dynamics in the music that often lack in the work of others. Despite the highly (or should I say completely) synthetic nature of the recordings they feel and sound certifiably organic. Stellar stuff all around.

In Rotation #6

Has it ever happened to you where you buy some records or tapes that you're excited about and then grab another out of sheer curiosity and the curio ends up being the one you listen to all the time?? I feel that happens to me pretty often.

Last time I was in Exiled Records (best record store on the West Coast, at least!) I grabbed new tapes from Golden Retriever and Indignant Senility and then for the hell of it I grabbed the new Terror Bird Human Culture LP on Night People because I liked a song I heard on Free Form Freakout. [...time lapse...] Hot damn! I've been playing the shit out of this Terror Bird LP. Gothwave piano pop from Vancouver, B.C. and this shit is tops. At first, even though I liked the record from the get-go, I was worried the gothy piano-pop sound might wear thin at some point, after repeated listens; I mean, Zola Jesus didn't go wrong until she started putting out records that lasted more than 7 minutes (Terror Bird doesn't really sound like Zola Jesus but they have similar influences.) Well anyway, that worry was stupid. This thing just gets better and better; I've owned it for 5 days now and already lost count of how many times I've listened to it. It really is a case where if you put on any one of the 13 songs I will be equally happy. Some might stick in my head a little more but then others offer a modestly symphonic quality to them that I love. The songs don't all hit you in the same way but they each hit you hard; they all sound good and they all sound good together. The record sounds lo-fi (I'm guessing it was made on a 4-track with a couple keyboards, drum machine and microphone) but it doesn't sound scuzzy. It sounds clean but thin which sustains an atmosphere over the course of the record.

When it really comes down to it though, the sound is not why the record is so addictive. It's because every fucking song is fucking great! High fucking art when it comes to pop craftsmanship. Fuck.

The other tapes I got are cool but have been a little neglected in light of all of the brainwashing the Terror Bird has been doing to me. The analog synth/clarinet duo of Golden Retriever dropped a nice tape for NNA Tapes called Emergent Layer. I can't compare this to other releases since I've only heard a comp track but Matt Carlson, the synth, works some heavy disorientation via hyperactivity in the stereo spectrum. Jonathan Sielaff, the bass clarinet, humanizes the whole ordeal with his organic though copiously effected reeds, providing thoughtful melodic counterpoints to Carlson's wild-man-on-campus vibe. Synth/clarinet is definitely an odd combo (can you name others?) but these guys manage to not only subvert expectations but also effortlessly create a natural chemistry between their instruments. Very cool band.

Indignant Senility is one of many projects by Glamorous Pat Yo-Yo Dieting and considering how much I've been loving his work on Bubblethug and a DJ Yo-Yo Dieting c-90 I picked up, I wanted to see what his classical music plunderphonic project was like. Apparently he did a record of all Wagner which I haven't heard and this j-card offers no guess as to what source material is used. No matter, Blemished Breasts (pictured) on Cherried-Out Merch is definitely dense and at 100 minutes, it's a certified behemoth. I really haven't spent enough time with it to give any insight, but the source material here is much more obscured than with Yo-Yo Dieting. There's the occasional, fleeting instant where a lovely melody materializes and evaporates just as quickly, but mostly Pat just produces this stoic, oppressive force that keeps you under its thumb. I'll keep listening to this one.

In Rotation #5 (Seattle edition)

It's never a bad idea to shine a light on cool things going down in your community considering I just a nabbed a couple releases the other weekend that fit very snugly into that category.

My pal Adam Svenson (Dull Knife, Du Hexen Hase, Little Claw) has finally realized his life-long dream to put out vinyl records with the release (A) Story of Rats's debut LP Thought Forms on the newly christened Eiderdown Records. Svenson is no stranger to the weirdo label biz (he ran a label in the 90s called Squirrel Energy Now! putting out tapes by Charlie McAllister among others) and you can tell. This record looks awesome! Killer gold and black screenprinting of artwork by Mr. of Rats himself, Garek Druss, and beautiful blue-grey marbled vinyl. Real classy, grade A. The sounds themselves are signature Rats--the first side drops you into heavy, heavy atmosphere. It's the flip side though that really takes the cake. Druss brings in the forms; trippy organ calls along with mists of vocals and guitar and subtle creeping electronics. The record drops officially on May 11th, Story of Rats is playing a record release show on that date, weirdly its at El Corazon.

I also heard an upcoming CD-r of Svenson's solo project Karnak Temples to be released by Seattle-based Debacle Records. It's 40 minutes of minimal, classically psych'd guitar drones where each track is better than the last. Very nice. I will be happy to see some of Svenson's solo work (which rarely makes live appearances unfortunately) finally see the light of day.

I also did my good deed and nabbed a copy of Seattle's DRAFT Records compilation Pacific Support (pictured,) a benefit for post-Tsunami Japan, curated by Jason E. Anderson of the Gift Tapes/DRAFT labels and known musically as Harpoon Pole Vault, Spare Death Icon and half of Brother Raven. You get the full story here but the skinny of it is all labor and product was donated to the effort so whatever you pay goes straight to the Red Cross. The artists involved had a week to submit their material, National Audio Company not only fast-tracked the process but generously donated the 300 cassette run as well, Anderson organized the whole shebang and then the various distros stocking it paid face value for the cassettes so it's a pretty awesome collaborative effort. And you don't have to be an altruist to get behind this; the tape rules. Everyone knows comps can be hit or miss but this thing is solid as a rock. Some standouts are Rene Hell's fantastic opener, tracks by Seattle synth-heads Brother Raven and Panabrite and tracks by Portland-based Matt Carlson and his synth/clarinet duo Golden Retriever with Jonathan Sielaff but really it's a totally cohesive effort despite all the minds contributing. I'd never heard GR or Carlson's solo work previously but each delivers on this tape. The c75 is rounded out by Flower Man and Carl Calm (of Caboladies) who each contribute tracks, The North Sea, Keith Fullerton Whitman,Temporal Marauder, Pulse Emitter, Make a New Memory (new duo of Geoff Mullen and Sakiko Mori) and Greg Davis. Can I expect a Southern Support comp looming in the future to help out the tornado and flood-ravaged parts of the US? Hope so. So many reasons to pick this up.

I've also been jamming Paintings for Animals's 3" CD-r on Kimberly Dawn recently. It's a great long form piece, really beautiful, recorded somewhere in Seattle called Minor Tower. Through some google-mapping I found a spot across the water from Gasworks park which I am guessing is the "Minor Tower" in question. Considering the release is called Whale Hunter, being in close vicinity to water makes a hell of a lot of sense. Frank Baugh's term of "deep environment" in his label description totally applies to this sucker. Why have I not heard of this project before?

In Rotation #4

Got the first six tapes from Cory Card's new Cae-sur-a label. It's a varied bunch and there sure are some winners. Definitely the MPC (most played cassette) of the package is Tone Arm by Steve Baczkowski, saxophonist and motherfuckin' musical MacGyver. Baczkowski did a record with Bill Nace which I sadly haven't heard, and now that I've heard Baczkowski's work here I really bet that record was stellar. The tape is a year-old live recording in which Mr. Baczkowski takes on turntables, prepared records, tone arm, bells, implements, flutes, vibratube and baritone sax and improvises the shit out of them. Seriously though, the work here is remarkable, particularly on the second side where Baczkowski has a built a legitimately melodic composition out of his ragtag troupe. There is a killer video of Baczkowski demonstrating his DJ skills embedded below.

Cae-sur-a also dropped a tape recently by Velvet Elvis who draws heavily on 70s Hard Rock via late 80s grunginess. It's a swingin' little EP with a nearly a capella cover of "Nobody's Fool" at the end. York Factory Complaint wasted no time jumping down my throat again after the wreckage left in the wake of their House of Alchemy tape. Their cassette We Call it Prayer is another prickly envelope containing the nastiest poison pen letter seen round these parts in some time. They throw a curve though, at one point they approach melody. Though their "approach" is more akin to the way a stalker is tempted to break his restraining order and approach his victim. As if that isn't enough, later on they actually go all the way! There's a melody amidst all the rage! And that's just the first side. Sweet tape. Will hit up the other Cae-sur-a tapes at a future rotation.
Speaking of York Factory Complaint, Robert & Leopold sent over a couple tapes. Demons and Dances by Pipeline Alpha is thoroughly slammin'. I have a PA tape on DNT from a few years ago, and while I haven't listened to it in a while, I do not remember this guy covering this much territory. It is well known to some that I can be finicky when a release runs longer than 45 minutes but Mr. Alpha kept me engaged for a full 60 without breaking a sweat. The tape runs the gamut of psychedelic and experimental styles along with perfectly placed plunderphonic gems. Love it! Adam Richards's (House of Alchemy) Chapels project also delivers a great cassette with That Incorrigible Death's-Head (pictured). It seems like there's slightly more clarity here than is usual for a Chapels release, so my confusion stems from the bizarre display and not just general unintelligibility. There's still plenty o' murk but less fuzz. I'm all for it as I can hear all the strange intricacies of Richards's work much better now. I think this is probably the best Chapels tape I've heard since the one he dropped on Stunned a few years back.

Check out DJ Baczkowski:

In Rotation #3

Tired Trails sent over a big fatty of a package containing 7 tapes, all in handmade fabric enclosures. The first tape I popped in was The Mind of Christ by Odawas because it was a soundtrack for a short film that played Cannes Independent Film Festival last year. Not sure if it's associated with the regular old Cannes Festival or not but it is actually in Cannes so that's pretty cool. My favorite track on the tape is "Mariner's Hymn" as it's full of epic spaciness, you could throw it on as an alternate soundtrack for For All Mankind if you wanted. The aforementioned film, Kill Yr TV by Neil Blakemore is embedded below. Elsewhere in the package is a noisy tape by Endometrium Cuntplow (what in the fuck is an endometrium cuntplow?) and On Growth in Form by Endless Endless Endless which delivers some really nice grooving, synth-drones. Besides, who could dislike anyone who looks as friendly as these guys do. I'm halfway through the Tired Trails stack and I gotta say the gorgeous warbles emanating from The Death of Kung Fu by The Diamond Family Archive (pictured) is absolutely top of the pile at this point. It's a lo-fi backwoods folk trip on the first side gradually morphing into some beautiful droning compositions on the second side. Wonderful stuff. I'll finish the rest of the pile in the next rotation.

The other night, I saw Davy from Weird Forest play in his killer guitar/sax/synth combo with Matt Kretzmann, eloquently christened Garrincha & the Stolen Elk, recently reviewed by yours truly. (By the way, that Stunned tape is the entirety of available recordings of the former 4-man line-up so I suggest you hop on that while you can.) Anyway, Davy, incredibly kind gent that he is bestowed upon me 3 double LPs Weird Forest dropped last year.

I'm obsessed with this incredible head scratcher, Rain in England by Berkeley-based, recently death-threatened emcee Lil B. Relentlessly serene, the the double LP features B rapping in free verse over drifting new-age synth pads. It's hip hop without beats, without hooks just set adrift. His voice sounds like a combo of Lil Wayne, Sensational and Prince; his flow is harder to pin down but it has the elasticity of Vast Aire on the The Cold Vein. This really is a record. Each track sounds more or less like the last but as a whole, it's entirely engaging, perhaps even a little addictive, over all four sides. I am gonna be doing a lot more listening to this. DJ Yo-Yo Dieting (Portlander Pat Maher a.k.a. Glamorous Pat, Sisprum Vish, Indignant Senility et al.) billed even more awesomely here as Expressway Yo-Yo Dieting also decimates hip hop convention in an entirely different way on Bubblethug. Unlike the Lil B record this one is bristling with groovin' beats. The bad ass abstraction at play here comes from the seriously complex chopping and screwing going down. The best thing about this record is it still is a hip-hop/DJ record at its core; you scrape away all the cough syrup residue and aural vomit and you have some sickass catchy beats and melodies throbbing underneath. I get up multiple times to dance over the course of the thing. It's incredible that Maher retained the essence of the source material while rendering it completely unrecognizable. Still not sure how he pulled it off, will listen more for clues. Damn fine work, damn fine.

The last of the three records is a 10th Anniversary gatefold reissue of Afternoon Tea (which I'd never heard until now) by the one-off supergroup of Oren Ambarchi and Keith Rowe on guitar, and Christian Fennesz, Peter Rehberg and Paul Gough a.k.a. Pimmon on computer. Over the course of the incredibly dynamic recording guitars clank, rumble and drone processed by digital tones, oscillations and plenty o' crackle. Perhaps the most attractive quality of the record to m is it delves masterfully into deep, deep zones but the quintet keeps everything rough; the set is fluid but most definitely not a smooth ride. So much of the time music created with heavy use of computer ends up devoid of texture--this is an instance where the absolute opposite is true. Though since this album employs software circa 2000, maybe them computers back in the day were a lot more raw and instinctual.

In addition to the original afternoon Tea recordings, there is a second LP with a fairly short remix Fennesz did and two live recordings from the What is Music? festival, performed on the evening of the Afternoon Tea sessions. The "evening tea" sessions are pretty much just as essential so it's great to have them included here. Heavy and hardy recommendations to each of these records, each one tickles a different fancy but they are equally stellar.

Kill Yr TV from Neil Blakemore on Vimeo.

In Rotation #2

Man, I have to tell you about this Demons cassette (pictured) that Green Tape sent over recently. I posted the picture so you can judge for yourself, does that not look like something that would contain some vile harsh noise or black metal? I mean the fuckin' thing's called Beheading and isn't Demons also the name of a Zac Davis-related (or was it Nate Young?) noise thang? Not in this case, it's the duo of Chicagoans Sam Cholke and Paul Kim. Anyhow, so I popped this thing in the first time and it turns out it's basically a DJ tape. And it's awesome! This is the funkiest thing I've heard in ages and it's only like 12 minutes so I'm infinitely flipping it over in my Walkman when I'm at work. I think probably a good portion of it is sample-based; if you're into Endtroducing...-era DJ Shadow then I'm sure you'd be vibin' to this in no time. I suggest grabbing a copy from Green Tape while they're still available. It'd make a great double date with that Tad cassingle on DNT; coincidentally they both share their names with other, less cool bands.

I saw Caldera Lakes play a couple weeks ago and it was AMAZING. They gave me a copy of what was apparently their first tape from way back in '08 on Bill Hutson's Accidie label and I also picked up their tour CD-r. Man, there's really great shit on it (I am really loving "Up with the Birds.") It's not the most abrasive or loudest of their releases but it seems the "noisiest." There's usually a good amount of static in play thanks to Eva and I continue to be impressed with Brittany's voice (it's just as fantastic live too.) The duo have such great chemistry together (they seemed almost telepathically linked during their set) and they pretty much carved out their own unique niche from day one. Not many bands you can say that about. Make sure to see 'em if they roll through your town.

Galtta Media out in Philadelphia has sent over their first 6 releases and there's quite an interesting array of material on display. The most striking thing to me about the label was that everything is jazz, and not necessarily free jazz either. The brand new tape En Nuestros Viajes by the guitar/Rhodes duo of Matt Davis and Javier Resendiz is incredibly pleasant (perhaps a little too pleasant for it's own good at times.) Rewind collects some of the work of bassist Mike Boone and it's a super solid record but pretty traditional jazz quartet stuff. Not what I initially expect to hear on a limited-run cassette but I will take it! Cassette is such a fantastic medium I'm always happy to hear it spreading back into to the more "normal" music realms. That said, Galtta isn't exactly Blue Note. Symbiosis Syndicate regularly use EVI and synths alongside their trumpet/piano/percussion line-up taking jazz into a pretty interesting direction on their self-titled tape (a track is named after Silver Apples FYI.) Labelhead David Lackner (along with frequent collaborator John Swana) probably delivers the most interesting stuff to my ears. Jazz is definitely at the core of what he's doing but it's often cross-polinated with a range of other genres or may serve as the seed of what grows into a much different tree. Lackner's music is texturally complex but always finds a place for melody. His split with Swana and his new tape My Leader, the Baby is Dead (which also comes with a cool little handbound artbook by Gabrielle Muller) are both recommended.

Barcelona's Circuit Torcat label just put out a tape by Toronto/Barcelona by-mail duo Kamtchtka. The tape is super minimal, not something that you'd expect to be a product of more than one person let alone a by-mail collaboration. As is the case with pretty much all Circuit Torcat releases, I found the tape to be a rather pleasant experience but it's definitely not for diehard fans of volume, both spacial and aural.

I continue to listen Jours Avec Jennie by Zach Phillips (under the guise of GDC) as it is possibly the best tape of last year. Midwestern label Alchemist Records wisely took my advice and reissued this instant-classic so there are (thankfully) a 100 more copies of it in existence. The new pro-dubbed tapes sound good and they're yellow so A+ on that front. If you do not have a copy, I highly recommend you remedy the situation. Alchemist has also put out a couple other fine tapes this year by Local Winds and BAnanas Symphony. The Local Winds cassette is another example of Alchemist's bread and butter: easy, breezy feelin'-nice-right-now vibes and BAnanas Symphony, while the tape is perhaps a touch uneven as a whole, delivers many bangin' pop tunes vaguely 60s-inspired but realized in a variety of different ways--looking forward to listening to it some more.

In Rotation #1

I'd been wanting to check out Chicago's Catholic Tapes imprint for a quite a while so last November I took the plunge and ordered a chunk of new releases. Through a big ol' nasty fiasco (or perhaps a series of them) I didn't get my order until a couple days ago. That was lame but the contents of the package have certainly made the wait worth it. There's a pair of gnarly ass synth tapes, Section 1 from Alex Barnett's ever growing Section series and The Pylori Program by Elon Katz, a name I was previously unfamiliar with. Barnett's cassette is as solid as ever and features the first "epic" I've heard from him, the side-long "Soldier" which even gets a reprise on side B. I don't know if the tape was recorded before sections 2-4 or how the chronology matches up to the numerology but they're all great tapes so I just plan keep collecting each Section. The Katz ain't too shabby either and features the totally rippin' hit single "Ode to John Connor." I don't even like The Terminator (I will eat my shoe the day James Cameron makes a good movie--fuck that hack) but this shit is bangin' in every aspect. For Terminator and non-Terminator fans alike.
Also in the package was a very drone-ish tape from Michael Vallera, Don't Call This Home. The first side "Leaving at Night" is a moody piece of what sounds like piano and guitar. There's enough fog to obscure pretty everything but it's beautiful none the same. "Safe" on B-side is more percussive and pretty cool as well. Solid.
My two favorites though, are vastly different but each totally bitchin'. Andrew Scott Young (of Tiger Hatchery) delivers a gnarled as all fuck cassette called Slophaus Diver, full of upright bass scrape and clatter--totally up my alley. Tactile, dark, claustrophobic, just killer really. I can't wait to listen to it more. Severely cool. The other stand-out is the 45rpm 7 inch split between Running and Loose Dudes, released by Catholic Male (Catholic Tapes + Priority Male). Running's full-length from earlier in the year was getting hyped (shit, I need to pick that up now that I've heard this single) and this track "Right Lane Leaning" makes good on the hype. Total neo-Jesus Lizard/Big Black savagery, very fucking awesome and very fucking Chicago. After being wrecked by the first side, I was totally blind-sided by the Loose Dudes side which is even better. They're less feral and more melodic than Running but, man, just as good. "Black Preacher" shot to the top of my singles chart within the first 20 seconds. Motherfucker, it is just the most goddam catchy thing I've heard in a while. Killer riffs, killer solo and killer chorus (I've been singing "Black preacher, you have my devotion" all week). The singer might be slightly tone-deaf but dude makes up for it infinitely with his showmanship. "Father's Day" their other song is another good one too. Fast and ragin' just how I like 'em. This record rules, can't recommend it highly enough. I gotta hear more of both these bands.
Also in today's rotation is a really bizarre thing I've been wanting to get a few words up about. It comes from Lighten Up Sounds and it's called Hands by Mole (pictured). It's a VHS release of "Live improvisation for 16mm, 8mm/Super 8mm, magnetic tape, AM radio, adapted machines, electric guitar, amplifier and electronics. Documented directly to VHS." Mole dropped this simultaneously with a mammoth c90 (also on Lighten Up Sounds) so this mysterious drifter has a ton weird shit up his/her sleeve. The majority of this runtime is dedicated to three overlapping frames, one is a white frame that continuously flickers, there's an out of focused video of something (sometimes it seems like it could be a western, a battlefield or people launching their canoes) and another frame that's very dark and there appears to be something crawling around in it. Needless to say I'm very perplexed watching it. The video has a cool feel, very lo-fi and the aural accompaniment is surprisingly melodic. There's some garbled speech in there and it seems like the majority of the sound sources are manipulated loops of samples. It sort of feels a little like a MF Doom or Wu-Tang Clan interlude minus all traces of hip-hop and zonked beyond recognition. A weird (even in this day and age) but enjoyable experience. Edition of 25.

MOLE "Hands" VHS (excerpt) from M.H.H. on Vimeo.