Friday, September 15, 2017

Auxiliary Out Radio Programme 2.0: Episode #1

Decided to reboot the Auxiliary Out Radio Programme which retired back in March of 2010. We'll see how it goes. Still trying to figure out the best way to do this, or if it is even really a good idea, so all feedback is welcomed and encouraged (both positive and especially negative!) Excuse the warble during one of the "air breaks," the tape kept jamming on me.

On tonight's episode: Canada, computer music, women on the mic, So Cal beatz, Richmond weirdos, troubadours, belated Load Records eulogy, psychedelic organ ridin', percussion, scuzzcore, jazz & shit. Enjoy!



DOWNLOAD MP3

"Morbid Rhapsody" Man Made Hill Intercourses [Orange Milk, 2012] (CS) REVIEW
"Death" Surveillance Man [Various, 2015] (7")
"H.pelepr" Bret Schneider Model of a Garden Scene with Watering Can [Avant Archive, 2011] (CS) REVIEW
"Nulled Lobe Pachet" Scy1e Body Lag/Craedle Calls [Phinery, 2017] (CS)
"I Wanna be your Stranger" The Marshmallow Staircase Gunfighters [Summersteps, 2012] (CS) REVIEW
*
"Fastblood" Metalux Waiting for Armadillo [Load, 2004] (CD)
"Touch" Svet Gloomy Swamp, Breathless Mud [Rat Tail Tapes, 2017] (CS)
"In the Sound" Freelove Fenner Do Not Affect a Breezy Manner [Fixture, 2013] (CDr)
"Skate Heaven" White Glove White Glove [Field Hymns, 2011] (CS) REVIEW
*
"Untitled" Junior Pande Tape Two [Spring Break Tapes!, 2012] (CS)
"Spaceship_Players Opus/Outro_You're Welcome" Mr. Abstract Butta Fingas Invictus [Bonding Tapes, 2016] (CS) REVIEW
"Transport to Beta Sector/Wild Mchan Spacerider" Igor Amokian Green Tape [zYPHER, 2016] (CS) REVIEW
"Fold Pollination" Bryan Day & Bob Marsh Crumpled Partials [Green Tape, 2013] (CDr)
"Journey to the Center of Something or Other" Angst Hase Pfeffer Nase Split with Bhob Rainey [Sedimental, 2008] (7") REVIEW
*
"Anatomize" Dane Rousay Anatomize [Kendra Steiner Editions, 2017] (CDr) REVIEW
"There You Are" David B. Greenberg You are the Greatest [No Label, 2014] (CS)
"Recluse" Need Need [Crippled Sound, 2013] (CS)
"Hoppaloppa" Apuh! Två [Pälsrobot, 2015] (CS)
"White Out the Blue Monk" Klondike & York Klondike & York [Weird Forest, 2002] (7")

Friday, September 8, 2017

Mr. Abstract Butta Fingas - Invictus [Bonding Tapes] / Igor Amokian/ABF - Green Tape [zYPHER]

Here's a couple of SoCal orgs boogie-in' for a beatdown, Bonding Tapes from San Diego and zYPHER just down the 134 in Pasadena. The common denominator is Mr. Abstract Butta Fingas a.k.a. ABF. The mister rolls solo on the Bonding tape Invictus and teams up with Igor Amokian for Green Tape, another installment in their color-coded cassette series on zYPHER.
Immediately after Invictus's spools get spinning, Mr. Fingas announces, via sample, that he's a "bigshot" on "The Trip_Penance." The album's namesake "invictus," while conjuring unfortunate memories of Matt Damon with a South African accent, is actually a Latin word that translates to "unconquered." So "bigshot," "unconquered," I think we have a theme here. But Fingas embraces the hype and backs it up so it's all good. Now that we've gotten your Latin word of the day out of the way...
The aforementioned "The Trip_Penance" bounces a bunch of synths off of themselves while "Disintegrator_Redeye" relies on a beefy synth-bass line to rule the roost. I find myself leaning toward the tracks that indulge in more classic hip hop impulses like "Bass Loner" and "The Builders," the latter of which marries a killer, heavily processed and panned brass sample with an almost 8-bit burbling synth counter melody. Brief but a killer.
The rubbery groove of "Vampire!" moves at a drunken shuffle, wobbling its way into your heart with an accordion-esque patch coughing up an ersatz wheeze. Mr. F gets a little more crunk on "Dilated" with heavy bass chords and tittering hi-hat. "Spaceship_Player Opus" hits on a nice little looped melody--Primo-esque but with a predilection to keep things off-kilter--that takes the tape to its peak before wrapping things up with the also-bangin' "Outro_You're Welcome".
I haven't been able to nail down whether this series of tapes sees Igor Amokian and Fingas splitting the sides (which the info on bandcamp for the series's first installment Red Tape states) or if they began collaborating as a duo at some point during the series's lifespan. Since the j-card itself doesn't provide any clues one way or the other I will cautiously move forward under the belief that this is the same format as Red Tape with Amokian on the A side and ABF on the flip, although please note the caveat that I may be completely wrong.
(If this is a split then) the two artists are amazingly in sync because Green Tape (no relation to Illinois-based weirdo outpost Green Tape) feels pretty seamless. The first cut "Alien Signal" finds Igor Amokian's rough and tumble electronics pulsing and thumping. A quick bit of google searching on Amokian will lead you to a whole bunch of references to his circuit bending. What's less prominently mentioned is that he can bang too. "A Trillion Stars" settles into a slammin' boom bap style loop after a while, galvanizing the noises around it. "Cellular Cyborg" is majorly repetitive but it totally hooks me with this hi-pitched, nearly percussive melody. Amokian seems to favor more straight ahead time signatures than Fingas and "Cellular Cyborg" and "Ill Electro" are unflinching and relentless in their patterns. "Transport to Beta Sector" is unexpected but entirely welcome as its loping pace and mournful tone would be extremely effective even without the element of surprise. Could easily see it used to score some dystopian sci-fi flick.
While Amokian cuts his side into seven slices, Fingas (here billed as simply ABF) sticks with five cuts as he did on Invictus. "Liqid Chrome Aladdin" is a perfect transition into the ABF universe: languid funky bass, these great swells of a synth with the resonance turned way up and a killer little arpeggiated counter melody that drops in for a bit. The Fingas side is off to a hot start. "Angel Wings" always catches me off guard with its clean-toned lead vibraphone that sits surprisingly well among the drum machines, speedy synth patterns and agitated circuits. Well done. "The Vast Abyss" zags in the opposite direction brewing some tension between a host of melodic parts that aren't quite comfortable sharing a zip code.
"Martian Baggage Check" is the counterpoint to "Transport to Beta Sector" on the Amokian side with a very cinematic vibe. It's less of a fugue with more of an air of mystery and sense of mounting excitement via a chugging bass loop. ABF opens the track up midway through with a confluence of melodies via voice samples and percussive sequenced synth. If this ain't a collabo then Amokian and Fingas must have patch cables running between the CV ins/outs of their brains, Green Tape feels totally of a piece.
Both tapes are real nice, I probably lean a little toward Green Tape because I love how the two artists fuse their sounds whether directly or indirectly, and I always dig that grimy science fiction-inflected sound, but you can't go wrong. Bonding Tapes is wryly slangin' copies of Invictus for (TR-)$6.06 that can be grabbed here. Green Tape is hyper-limited but a few copies remain. Hustle to get those here.

Sunday, September 3, 2017

The Crytearions - I See What it is and I am Scared [No Label]

The opening riff of "A New College Suburbia" very clearly indicates what I See What it is and I am Scared is. A fuzzed up electric guitar and that signature thin, "home-recorded" mix. Hailing from a dude's bedroom in Ireland, The Crytearions are kinda just what you want in this sort of thing, the name rides the fine line between clever and stupid and the sounds feature zero frills.
After the rockabilly-infused "Gross Situation", "Early Retirement Plan" and the instrumental title track close the first side in spectacular fashion. Whether it's the hooky aggression of "Plan" or the wailing of one bleeding note over and over on the title track, the louder the tracks get the better they are. The thick swagger of "Masses" supports this point as well.
"Permanent Vacancy" recalls early-GBV--but with a speedy drum machine grumbling in the background--and seeing as it only lasts 44 seconds the case for GBV-inspiration is that much stronger. "Be a Good Little Girl and Get Your Daddy a Beer" sounds a little like an even more lo-fi Black Orphan, which previously didn't seem all that possible. At 2:36, the finale "FGM" qualifies as the default epic with somewhat unintelligible spoken bits during the verses and killer riffage.
The appeal of The Crytearions is simple: they're catchy, workmanlike and won't waste your fucking time. This tape rocks.
Tape comes packaged in a tobacco pouch which I can't say I've ever seen before, so props for ingenuity boys. Tape is sold out but give the bandcamp a look.

Sunday, August 27, 2017

Dane Rousay - Blip [No Label]/Dane Rousay - Anatomize [Kendra Steiner Editions]

Dane Rousay is a San Antonio, TX-based percussionist who was unfamiliar to me until a month or so ago. I love solo percussion though so I was more than happy to get acquainted with this double dose. The opener "Blade" keeps things relatively conventional (if solo percussion can ever be considered conventional) with a thumping bass pulse and a clanging melody on a bell of some sort. Over the first few tracks, Rousay lulls you into a false sense of security that you're jamming a reasonably consonant drum tape when he drops the harsh clatter two fister "Tusk" and "Clear" like an ice pick to the temple, the bowed cymbals on the latter are particularly nasty. This all leads into Rousay's finest moment; he really kills it with "Most Broad" bowing a drum (or maybe he's got a cello mounted on his kit???) in addition to traditional short attack/short decay percussion sounds. Slowing things down to a crawl before a truly beautiful snap & squelch freakout, you'll be hitting the REW button many times over. Oh, did I mention that Rousay recorded all these jams live? So he's got a bit of octopus DNA in there somewhere.
On the eponymous--and by far the longest--track, Rousay works in a guitar looping pedal into his arsenal, using it, for instance, to keep a bell ever-rattling while he works the toms. The track runs over ten minutes and it's actually kind of great to hear Rousay sprawl over a larger canvas (three of the prior tracks clock in at 71 seconds or less). Nice way to slip out the door and into the empty hiss.
My qualm with the tape is not about the sounds but the old pet peeve of unbalanced side lengths; there's a long stretch of empty tape after Side A's program concludes. Considering the brief lengths of the tracks, grouping more on the A-side would have assuaged some of the bother, and considering Rousay's statement that "these tracks/sides are not required to be listened to consecutively" it seems a track re-sequencing could have solved the issue altogether without sacrificing artistic vision. It's a minor complaint seeing as how the sounds are awesome, but just sayin'.
Moving onto the Anatomize disc on Kendra Steiner, "Systems" focuses heavily on bells/chimes forming a rather pleasant archway to enter into the album. However, Rousay follows it up with "Tissue" which is a bit testier from the get go. Some of Anatomize is made up of compositions for percussion (rather than live improvisations) and "Tissue" appears to be a good example of that side of Rousay as it features stereo sweeps of cymbals and multi-tracked rattling chimes. The latter effect appears on "Bent" as well as Rousay appears to be dueling with himself creating quasi-melodic rim rolls that come at you from both channels. "Interactome" finds Rousay attacking his drum head with just his fingertips and it's sweet fuckin' music to my ears.
Taking a page out of the Hollywood playbook, Rousay reboots "Most Broad" as "Most Broad: For Two" with Svetlana Zwetkof in tow, contributing layers of vocals. The more spartan, abrasive version on Blip gets my vote but it's interesting to it hear it re-worked as a duo piece. "Aloof: Voice, Drum, iPhone" takes a long, goofy detour into a zone of vocal drones, sporadic percussion and a choir of iPhone ringtones including that 'reactor meltdown alarm' one laying down the back beat. The stellar title track closes the disc as Rousay clanks, rattles and rolls into the sunset.
Blip sold out it's initial run but lucky for the world, there's a second pressing (well dubbing) of the cassette. Buy it here. Anatomize dropped last month on Kendra Steiner Editions and can be purchased here. Both get my vote.

Friday, August 25, 2017

Toarch - This is Me [Bill Murray Tapes]

From Dallas, TX label Bill Murray Tapes comes This is Me by Toarch, a brief 3" CDr and zine combo release (8 minutes/24 pages). It features a zine filled with photos of serial killers and occasional text, while the disc is intended to provide a soundtrack while the zine is leafed through.
I'm not up on my serial killers, or at least their faces, so without the label description I may not have known the ugly mugs littering the pages belong to serial murders (other than a couple pages which makes things pretty explicit). The intent of the zine is to contextualize the serial killers differently (from "glorification from Goregrind bands and such") and to reveal their vulnerabilities. Some pages achieve this better than others (namely the text accompanying a face relaying the common everyday enjoyment of listening to the radio and reading newspapers). Though I'm not necessarily familiar with serial killers' portrayals by Goregrind bands, so it's quite possible I am missing the point. That said, your mileage will probably vary based on how interesting you find violent white dudes.
Aurally, This is Me is heavy heavy heavy on the low frequencies. It's hard to make out exactly what's in play, it's likely electronic in origin (perhaps with a filter cutting out all but the bass frequencies). There is a certain texture, however, that seems like it could be a bowed bass (electric or otherwise) perhaps that's the source material before electronic processing. The track isn't particularly dynamic over the course of its 8 minute run time but it does have presence, which was its goal in the first place as it is supposed enhance the readers experience with the zine. But if you're one of those sonic texture hounds like me you'll probably dig it.
If you're interested the disc/zine is available from Bill Murray Tapes

Wednesday, August 23, 2017

The Blues - "Sings the Blues" Vol 5 [No Label]

Who love da sax, baby?
It's amazing how much the concept of the cassette tape has changed in the decade plus since I discovered underground tape music. At one point, a release like "Sings the Blues" Vol 5 used to be what you thought of when you heard "new tape release." A tint of green spray-paint and a hand-cut b&w text printout crammed into the spine. Now the assumption is pro-dubbed, high-quality artwork with a 50/50 chance it's shrink-wrapped. Neither is better than the other and the presence of both makes for a healthy tape culture. Still, it's nice to get a "throwback" once in a while particularly when it's as enjoyable as this.
The Blues is Marissa and Max and they both play saxophone. If you don't like saxophone--and nothing but saxophone--you will not dig this tape. The volume number suggests Marissa and Max have been at this for a while and I think it shows.
I love saxophone but even I am a bit apprehensive when I come across a homedub tape of a saxophone duo. It could be fucking great but it could also be a couple jackasses who can't play, squealing ad in finitum. Thankfully, Max and Marissa can play, and they can play together. Not sure if these are complete improvisations or semi-rehearsed but either way the duo seems to get each other. Sometimes they double each other, sometimes they spiral off in their own directions but they always find their way back. The style is certainly free but they're more Coleman than Ayler, pushing back and forth between consonance and dissonance, rather than basking in sheets of dissonance alone.
One of the unique features of the tape is there are bits conversation left in before or after they play. It's not meant to be funny or weird or ironic--with the exception of the tape's final moments. It's just brief bits of candid conversation, sometimes even about getting set up to record. It's nothing intrusive but adds some warmth and intimacy to the experience. Sounds to me like the material was probably recorded via handheld recorder (you can hear wind blowing by the mic at times) which furthers the sense of sound temporarily occupying an environment. Plus, the first track is titled "Our bodies are the Germs logo." You gotta love that!
Now, the real shame of it is, I have no idea how someone can obtain a copy or otherwise hear this. All my internet searches have proven fruitless and there's no contact info on the insert. This is a really great tape if you have the taste for it, so I recommend you snag it if the opportunity ever arises. If anyone has leads on how to track down a copy, contact me or leave a comment.

Monday, August 21, 2017

The Marshmallow Staircase - Gunfighters [Summersteps]


At the risk of offending one or many of you, I think the name The Marshmallow Staircase kinda, sorta, you know, sucks. (Though it does sound delicious.) I wasn't too sure what a band called The Marshmallow Staircase would actually sound like--the whole Western visual theme only compounded my confusion--my first inclination was cute electronic pop or something like that, then on second thought it seemed more like a psych band that jammed out to Puf 'n Stuf projections. I was wrong on both counts (though the second was closer) and I'm actually happy I was.
This tape is pretty sweet and The Marshmallow Staircase's sound is in the vein of Chrome, Six Finger Satellite and Brainiac, though more lo-fi, more krautrock, more blown out and with way more bass. And to be honest, the world needs a lot more bands with that DNA.
Thick, swaggering basslines rule the day, seemingly mixed higher than the vocals and every other instrument. Unorthodox, but a move that pays off as Gunfighters manages to feel muscular and slick at the same time. While the kraut-y basslines cut through the synth lather on the jams, The Case snakes little instrumental interludes around the songs sans rhythm section, such as the phenomenal organ-led ditty "Creepy Street" which segues into the rollicking blast of "The Diplomat" forming one of the cassette's pinnacles. Gunfighters closes on a high note too; "I Wanna Be Your Stranger," is sort of a Brainiac covering The Stooges or The Animals type of affair. They dial back the heavy fuzz to rock a lean organ-driven, future-60s jam with oscillations drizzled all over the goddamn place.
Sweet tape, I dig this band. Grab it here!

Sunday, August 20, 2017

Mea Culpa

My apologies to the readers and those who sent me music over the past few years. I took a detour into grad school and that didn't leave much time to focus on other things, quite obviously including this blog. I'm not exactly sure how much time I'll be able to dedicate to this endeavor on a regular basis, but the goal will be to achieve regularity even if it is limited. In the good old days, I spent hours and hours working on a single review (not that you could tell) and, unfortunately, that just isn't feasible anymore. Instead, I'm going to work on practicing restraint and keep reviews much shorter in the hope of actually writing more reviews. There is lots of good shit out there (or more specifically, in my apartment) deserving of a few words and my aim is to write a few for as many records as possible. Concision should always be a goal anyhow.
I'm going to start writing when possible, as well as exhuming some unfinished drafts I started years ago, and hopefully have some reviews out in the next week or two.