JK Tapes Cassette Round-Up

In an effort to pour one out for my homie, I’m borrowing Outer Space Gamelan’s convenient “round-up” style review for this handful of newish and oldish JK Tapes, which unfortunately are all in varying states of sold out and long gone-ness. Still want to give props where props are due though.
Tape numero uno, is perpetrated by none other than Arbor label head Mike Pollard. His Treetops project is in the preliminary stages of blowing up into mega-stardom it seems, with releases on Ecstatic Peace!, Blackest Rainbow, DNT and Jelle Crama’s Zeikzak, as well as splits with Villa Valley and the Sick Llama-related Cygnus. Anyhow this tape is called Serene Dream and it begins with not quite droney guitar ruminations and a second guitar track that comes in sounding like a weird primitive flute. Pollard establishes a pretty strong sense of rhythm even before the entry percussive instruments. The rhythmic vibe is fleshed out with a drum smattering, coming in for a brief bout as the guitar is put on a second long infinite loop. The A-side ends there, setting up the main elements of the piece, guitar, drums and vocals. The bummer is the end click/tape flip kills the momentum. Once you get the spools turning on the B-side the sweetness returns though. Distant, distorted Skaters-style vocals take over and lead the track for a spell as free drumming returns. The final minutes of the tape feature drumkit/vocal interplay in the classic crescendo/decrescendo style. My favorite part of the tape is the comedown after the climax; this is the point were Pollard really locks into some magical zombie ritual sounds. My biggest complaint is that the single piece is split onto two sides. I much would have preferred a one-sided c-20 but whateva, ain’t my decision to make. This tape has piqued my interest a bit, not mindblowing as a whole but has some great moments. I’ll have to pay closer attention to this project, cause I could see it blossoming into something really great down the road (maybe it already has and I just haven’t heard it yet).
Moving on, we have Nataraja, a Warmer Milks side project of sorts. To be totally honest I’ve never dug the Warmer Milks style but I like this cassette. The name of the tape is Venetian Blinds, as is the 15 minute track on side A. Nataraja is the work of two people both playing double duty, Travis Shelton on guitar/electronics and Thad Watson on bass/percussion. A sustaining guitar dominates the audiosphere, sounding almost like an organ, as faraway cymbals clatter. This intro segment lasts for a few minutes until the guitar and percussion get a little more interactive. They roll along in a sort of half-climax mode, where they constantly sound like they’re on the verge of lashing out. I like the mellow outro, bringing to mind a bit simplified Gown just a tad in the style of playing. The guys have an odd sound because it’s somewhat based in the psych-improv style but really doesn’t sound psychedelic, the aesthetic is much more akin to drone. This makes it difficult to pinpoint the sound exactly, but I’d say something along the lines of guitar/drums improv’d drone minus the possible noisy connotations. The B-side has two tracks, the first of which is “Reservoir”. This piece is relatively mellow drone, with the guitar again front and center. There is bass (I think) and a nice chiming loop circulating that drifts in and out of the mix depending on the intensity/volume of the guitar. That’s only real problem I found; when the guitar gets too loud, it overwhelms and drowns out the other elements of the track. The second piece “Circadian Rhythm” is, as alluded to, quite rhythmic. The arrangement is pretty simple drums and percussive uses of the guitar, sometimes resulting in distorted feedback swells. Both guys sound like they’re trapped in a giant reverb tank which I like. The track is strange because it doesn’t change too much in demeanor but still transforms soundwise; it stays active consistently building in intensity to point that individual hits are indiscernible, just clattering clouds of feedback. I’m not sure if the project is a one-off or not but the tape is pretty nice and I’d say there is definite potential to develop the project further.
Exhibit C, is a split from Portland based sound manipulators, Acre and Honed Bastion. Never heard either before this tape, though I heard of Acre, who has had releases on Yarnlazer, DNT and others; Honed Bastion I know nothing about other than the dude also goes by the name Dead/Bird. There aren’t any markings on the sparkly silver sprayed tape but I think Acre takes the A-side. I’m having some trouble writing about it. The piece has a strangely soothing but mechanical nature, based on a low throbbing drone and static ping-ponging across the left and right channels. The trouble comes with the fact that the piece never really changes too much. If I really listen hard I can detect some subtle movement/manipulation of the repeated loops. It’s a piece that to really get something out of it I had to put on the headphones. I’ve liked the piece a bit more each time I’ve listened but I’m still not feeling it 100%. I’ve never really been able to get lost in it, though all these soft machine pulsations are still doing a hypnotic number on my brain. On the flip, Honed Bastion shows his stuff. The piece is much more arrhythmic than the previous side, built around stuttering distorted tones, feedback and other kinds of effect wizardry. The track is very textured; lots of very jagged, bristly sounds. I wish the stuttery-ness was toned down a bit though the track but it drops out after a while so no problem. The placid “breakdown” actually ends up sounding a little like Warmth to me, with washes of digital noise, using silence as a weapon. Somewhere down the line, there are a few singular swells of elektronotes and a keyboard sample or something slides in at the very end. There is a pause and then a heavy and heavily auto-panned bout of noise rules yr ears. There is no info on the insert so I don’t know if it’s part of the first track or a new one or what. Either way it’s pretty satisfying to have a more composed bit of roughnecking after the previous fragmentation.
Our grand finale is Lazy Rivers by the Horse Head-related, Tan Dollar. I’m not sure what the title refers to, but my guess is those “rivers” at waterparks you can float on in those big colorful intertubes. Weren’t those called lazy rivers? Anyway, it’s weird to name yr album after a waterpark attraction but I wouldn’t put it past these guys. This is total weirdo music. The first part of Side A is full of hollow drum hits and a way too phased/modulated guitar. They just jam and groove along sloppily as two dudes do mildly annoying stream of conscious rants a la Elisa from Magik Markers, but intentionally goofy. Things get more frantic for the next two “songs”, raucous pounding and weird effected vocals. The vocal effect thing continues on for the next part against more jumbled guitar (bass?), drums, wind chimes and occasionally fingersnaps. The vocal fx actually are a plus because you can’t discern what the dude is saying, he just has a weird echoey presence in the track. Side B has more of the same, sloppy drum/guitar riffage and annoying vocals by whomever that dude is. Seriously, these guys are way too in love with this chorus/flanger whatever it this pedal of theirs is. It sounds like the guys only have one and the vocalist and guitar trade it back and forth. Anyway, the second track on the B side is one of the best songs on here with excellent music and even the vocals aren’t too bad except for that damn modulation pedal he’s singing through. Track 3(?) is just creepy detuned vocal slurs. They bust out the bass for the next track, giving the track a grooving back bone as someone sounds like they’re playing the kitchen sink and the “singer dude” is telling some story through a delayed microphone. The next track is actually pretty sweet, rumbling free drums and wisely wordless vocals circling round. That is until “lyrics” come back and it’s ended with an utterly stupid monologue (which you can read here). The vocals range from (nearly) unbearable to just another element of weirdness from Tan Dollar, understandably the songs that fit into the latter category are the stronger ones. I don’t know, it’s a little bit like Horse Head, but like a version that only knows how to fuck around. The musical part of the crew turns out some cool parts which makes me wish all the more the vocalist would ditch the mic and do something else (preferably play an instrument).
So there you have it, all tapes as I mentioned are sold out from JK Tapes but some are still available at distros (like here). It’s fun to see the evolution of the JK art style from the black & white printed inserts to the current ‘Heavy/Fuck It tapes filtered through MS Paint’ aesthetic. Can’t wait to see what Peter rolls out with next.

Warmth – Warmth [Arbor]

Warmth is a project I’ve been a little on the fence about. I’ve heard a handful of releases and while I found them intriguing none of them really stuck. Until now that is. Warmth is an LP reissue/remixed/edited version of a self-titled(?) CD-r on the now deceased X Died Enroute Y label. The CD-r featured a rare duo formation, consisting of Warmth main man Steev Thompson and Branden Diven of Quilts and a bunch of other cool things. So anyhow, let’s get this review poppin’
Side A starts out quietly with a submerged glistening something. There is a rhythmic crackle that I can’t figure out if it’s part of the music or a skuf on the LP. Intentional or not, it adds a steady forward movement that works out real nicely. That submerged glistening synth or whatever it is rises in volume and drops. The volume swelling and tapering becomes a motif throughout the side. What sounds like a heavily reverbed guitar comes in with other kinds of looped electronics and subsides. A lush synth swell emerges for maybe fifteen seconds and abruptly fades. Then the guitar comes back for a moment and then the synth with a more fleshed out, ethereal, echoing ice caverns bit which wanes revealing a gusty whining wind type sound. After comes one of my favorite parts a brief bit of thick, almost shuffling looped two note synth melody. Low in the mix, there is something that sounds like a faraway church choir, while static white noise and mild mannered feedback dance and crawl over top. The piece is incredibly hard to pin down. Every time a beautiful loop or melody materializes it slinks away almost immediately, leaving the quiet base warble. There is a crescendo at the end which is really fantastic, and much more extended than any other the other parts. It builds into a gorgeous cacophony, ultimately receding back into the ether while a lone guitar feeds back and a synth wobbles on its last legs until the end groove. The piece is strangely composed, the continuous rising and falling of a slew of sonic fragments. It reminds me a bit of those old haunted house rides; not in the sense that its “scary” or “ghoulish”, but rather that you are taken on a ride through a bunch of short-lived events that together assemble a unified experience, but without direct transition between them. Sometimes fragmentation or holding onto an idea too briefly before moving on can be frustrating to listen to. Somehow though, Warmth makes it compelling. Maybe it’s because you want keep revisiting it and take the ride again or perhaps it’s just because the fragments all sound so good. It’s probably both and more. A very cool side.
The B side has a rhythmic crackle as well, which makes me wonder if it’s intentional or if my stylus is messed up (hope not). It begins with a slow burning drone as some Medroxy Progesterone Acetate-esque rustling white noise enters. The piece moves in a style not unlike the first side, but a bit more subtly. There is a strange alien transmission halfway through, though most of the time the track glides along on glacial tones. That is until some shrieking echoing guitar or synth comes roaring onto the scene. The placid atmosphere is shattered by a downpour of exploding feedback which sticks around for a bit until fading into looped organ tones. Which, of course, fade too, as swirling jet streams and moaning guitar swells take the track to its final conclusion. As mentioned, the piece works in a similar way as the first but a bit sparser and more subtly, I prefer the first I think but Side B is a cool little number in itself. One note though, my bass speaker is pretty much to the point of coughing up blood, so I can’t discern much of the low end business that’s going on, it sounds like it would be pretty cool though if I could hear it.
So Warmth remains as enigmatic as ever. This is a really great release and makes me want to hear more of/revisit their other stuff. I’ve yet to come across anything quite like the project, which, at the very least, makes it worth delving deeper into their discography. I say this every time but the LP comes packaged in Arbor’s trademark classy and capable aesthetic, with a printed/screen-printed cover by Roy Tatum and Mike Pollard and also a 8.5x11 insert by Steev. The crowning achievement/sweetness/whatever is the cool citrus-y creamsicle vinyl and a-shade-darker-than-lime green screen-printed labels. It’s a total package and still available from Arbor but limited to 300, so get it already.

Black Monk – Flowstone [Arbor/Not Not Fun]

Black Monk was a duo consisting of Roy Tatum (Changeling, Quintana Roo, the Buried Valley label) and someone else whose name I cannot ascertain. They kept a pretty low profile only releasing two cassettes over their lifetime, one on Buried Valley and one on Maim & Disfigure. But now the crew is given the “box set” treatment. While Flowstone is an LP, it collects the out of print tapes and offers unreleased material just like those expensive box sets in the locked glass cases, but way more affordable and with 100% more analog sweetness.
Side A consists of the previously released material. It starts with “Murmur” which apparently collects the entire cassette of the same name. Black Monk establish their sound right from the get-go. Heavy, low-end drones and free/tribal drumming. There are no credits, but the drones sound like they're coming from guitar. Not e-bow style though, slow singe strums letting the drone swell and taper based around a few chords. While the guitarwork is pretty simple and repetitive, it’s effective. It also balances the hyperactivity of the drumming, which is a constant, though varied, barrage. Whoever the drummer is does a good job of not falling into the standard role of drone drummer (i.e. basic, measured drum hits) or the role of rock drummer sitting in on a drone session, which always ends terribly. I don’t know very much about (describing) drumming, but the guy moves from frantic to emphatic rather easily. The drums are mixed pretty low in comparison to the dronemaker, which gives the whole track a really odd disembodied vibe. The audible but utterly indecipherable “background” noises going on certainly help that cause as well.
The second half of side A is an untitled track originally released on the V cassette on Buried Valley. Immediately, it establishes a totally haunted, wobbly seasick vibe. Unlike “Murmur”, the guys are working entirely in unison on this one; forming like Voltron to create some of the most effortlessly eerie, pulsating drone I’ve come across. It’s much harder to pick up on individual elements than in the previous track. There is a main loop that sounds to me almost like a slowed down locomotive whistle. That loop is surrounded my heavy fuzz fog, and various subtle changes occur throughout. There isn't much (any?) drum presence that I can hear, sometimes it sounds like there might be some buried under the miles of murk and other times it sounds like there is none at all. Maybe you can tell me. Sweet track though.
The B side is the previously unreleased title jam. “Flowstone”, in some ways, is a marriage of the two styles on the other side. The drums are pushed to the fore-front. Showing off some serious free jazz chops. There is expansive, low-end smog that coats the rest of the track, providing a subtle, groaning bed for the drummer to shred some heads. The dynamic between the two elements is interesting because the drone is pretty much unchanging; however, depending what the drums are doing, it kind of takes on those characteristics. I'm not sure, I think there might be two guys jamming on the drums. There is no way a mere mortal could pull this stuff off all by himself. Maybe it’s possible, but there is frenzied cymbal bashing and intense tribal tom-tom torture at the same time that I just can’t fathom coming from one set of hands. I really dig how the fiery, primal percussive assaults offset the cyclical drone cloud. You get the best of both worlds, the raw, physical high of witnessing someone just kick the shit out of their instrument and the buzzing, hypnosis of looped fuzz infinity.
The LP is pretty well organized, in that each successive piece takes it up a notch (there I go sounding like Emeril again). They all have the same DNA, but each takes a separate sonic approach. It’s a bummer Black Monk is done for, but maybe the release of Flowstone will warrant a reunion tour, any takers?
The LP comes in typical classy Arbor/Not Not Fun fashion. A stark design lay out, a fold out crazed-scribble poster by Black Monk and black labels on a black LP, which is the coolest black vinyl has ever looked. It’s like a twelve inch black hole. It’s sold out on the Not Not Fun end, but Arbor still has copies. You know what to do.

Lanterns – Lughnasadh [Peasant Magik]

Lanterns, for those who don’t know, are a trio of UK basement dwellers. They seem to operate with one foot in the serene drone bucket and the other in a jangling free-folk bucket (what kind of lame analogy is that?). This CD-r on Philadelphia’s Peasant Magik label is, if I’m not mistaken, the group’s first stateside release after tapes and CD-rs on Sloow Tapes, Blackest Rainbow, First Person and other European buddies.
So anyhow, Lugnasadh has 3 tracks just like Lanterns got members. The first is the awesomely titled “Inectoplasmic Blues”. I dig the ragged arrangement on this one; there are a bunch of elements on this: a couple guitars, various percussion (drums, cymbals, shakers), flute and some vocal coos and moans. Aesthetically, the track is similar to the ilk of 6majik9 or Brothers of the Occult Sisterhood, but with a slightly muffled quality. While retaining that fragmented aesthetic though, the group keeps everything moving in a surprisingly focused direction. Also, at certain points different elements appear at the forefront, as if they all rotated, taking turns standing closest to the microphone. I’m not sure how they did that (mixing maybe?) but it’s a cool little effect.
“Suma” follows and skews to the more dronier side of things. Beginning with a single high-pitched whine and incorporating, bit by bit, other sustained tones, a garbled vocal sample, subtle additions on guitar, a simple, muted drum pattern and something that sounds bowed but it may just be a keyboard or something. The whole ordeal is pretty placid and hypnotic, and floats along on the fluttery sustain of organ tones. Really easy to get lost in. Especially the insanely brief and insanely beautiful guitar outro. Come on Lanterns! The track could have run for at least another three minutes on that little baby alone and you gave me about 20 seconds worth. So other than the track ending much too soon, it’s a real nice piece.
The final track, “Mong” is a good deal longer than the previous two. It begins similarly to “Suma” but focuses more on low frequency guitar sustain and vague, disembodied vocals. There are strange almost squelching type sounds poking through in the background as well. Lanterns create a very pleasant fog, almost like the time at night when your body is getting tired and ready for bed and you feel peaceful in your submission to sleep. Maybe that’s not how nights are for other people, but, for me, “Mong” has that same restless calm. The track builds gradually as hushed cymbal clatter tiptoes in. I’m wondering if the squelching sounds from the beginning are actually heavily effected cymbals. Eventually a more formal drumbeat is composed taking the track to its final fadeout. All in all, it’s a nice trance maybe a bit like a less acoustic GHQ or the most singularly sloshed (VxPxC) moments.
Lugnasadh is still available from Peasant Magik and comes in a slimline snapcase with wraparound artwork by Mel (Crowley?) from Ashtray Navigations and a pasted-on insert inside. Limited to 100 so make you’re move.

Auxiliary Out Radio Programme #5 (11/4/07)

”Side B” Shepherds Bush Babies (7”) [DNT, 2007]

”Moctezuma River” Quetzolcoatl Vast Eternity Bridges (CS) [Abandon Ship, 2007]

“Bristlang Delph” John Clyde Evans The Smell of the Burning Empire (CS one-sided) [Sloow Tapes, 2007]

”Flowstone” Black Monk Flowstone (LP) [Arbor/Not Not Fun, 2007]

”Ruin Hill” Droughter Beast Growth (CD-r) [Cut Hands, 2007]

”In One Room” Foot Foot JK Tapes compilation (2xCS) [JK Tapes, 2007]

”Peoples Parties” Peoples Parties Peoples Parties (CD-r) [Cut Hands, 2007]

”Doper” Homostupids The Intern (LP) [Parts Unknown, 2007]

”Side A” Warmth Warmth (LP) [Arbor, 2007]

”Suma” Lanterns Lughnasadh (CD-r) [Peasant Magik, 2007]

”Vision of Land/Journey to Land/Dawn Vision/Earth, Sun” Dolphins of East Belgium Split with Edgar Wappenhalter (CS) [Cauliflower Dreams, 2007]

”Speaker” Shearing Pinx JK Tapes compilation (2xCS) [JK Tapes, 2007]

”The Feel of It” Child Pornography JK Tapes compilation (2xCS) [JK Tapes, 2007]

mp3: Part 1 Part 2

Maggoted – 1000 Shut Downs [Cut Hands]/Yellow Swans & Ashtray Navigations – Psychedelic Used Car Lot Blues [Memoirs of an Aesthete]

Here’s a pair of Yellow Swans related 3” CD-rs, the first by Maggoted on the Netherlands’ Cut Hands label and the second is a live collaboration by Yellow Swans and Phil Todd’s Ashtray Navigations project and is released by Todd’s Memoirs of an Aesthete imprint.
Cutting right to the chase, Maggoted is a duo of Pete Swanson and Robert Mayson (of Australia’s Grey Daturas) and 1000 Shut Downs is their second release as far as I know. And it’s gooood. Swanson’s non-Swans projects are always pretty sweet but I think Maggoted might be my favorite. The single track on this 3” is dense and heavy but thoughtfully, sometimes even delicately, composed. Similar to the YS track from the Goslings split, but even more monolithic and black hole collapsing. The track begins rather subtly with static, a muffled percussive loop and other drones. It creeps like death for a little while and gradually builds. It is hard to fully discern everything that is going on, but there is lots of it. At one point the track just explodes with Mayson’s guitar (I think) and manipulated mixer feedback. They ride the viscous waves to glory, somehow creating an abstractly rhythmic pulse as everything crumbles around them. A total sonic batholith, and totally rapturous. I wish the release was a bit longer but it is a 3incher and the dudes totally have “main” bands and roll in different hemispheres; so I can excuse the lack material and appreciate stuff they have made, especially when it’s this good. And sorry for overdoing that whole italics thing too.
The awesomely titled Psychedelic Used Car Lot Blues, features Pete Swanson and GMS along with “Skipper Todd” and Mad Mel Crowley on clarinet. It’s a live recording from Sheffield dating back almost two years ago. It begins with feedback and some electronically manipulated drums courtesy of Todd. The clattering of the drums and the electronic drones work well together but, unfortunately guitar is overly prevalent in the mix and it kinda works against the rest of the arrangement. I’m not sure who’s playing it but it’s a little too traditionally “psych-rock” to fit the style that’s going down. After a little while it wises up and there is a just beautiful cacophony of sound. Electric frequencies coming from every which way, drums being obliterated and strangled gasps of clarinet. A relentless beat emerges first coming from the drums and then joined by the electronic muck. It’s very rare that you hear Yellow Swans with live drums but it works pretty well here. Some drummers kill noise/drone sessions, but here it’s definitely a positive, adding some visceral urgency. Around two thirds through the track the drums drop out, and the track turns into a free-drone guitar session. That sounds real nice too, and the track simmers marvelously as some manipulated percussive noises creep back in. It’s a weird, half gradual, half skronk comedown that the track ends on as the dudes are met with applause and cheers and some guy asking “That was a good jam, huh?” Indeed, very much so. I tend to be a Yellow Swans purist (i.e. I’d rather hear them in non-collabo mode), but this little disc is making me question that a bit. It actually sounds pretty close to what you’d imagine the artists would sound like together, Ashtray Navigation’s psyche freakout run through the Yellow Swans’ figurative whatever-it-is-that-sounds-so-fucking-good-every-single-time pedal.
Both 3inchers come totally recommended. 1000 Shut Downs is limited to 80 and still available from Cut Hands and various American distros (try here). Psychedelic Used Car Lot Blues is limited to 100, though I’m not sure as to the availability (I got it at a Yellow Swans show), you can probably dig it up somewhere if you look hard enough.

Theo Angell & the Tabernacle Hillside Singers – Auraplinth [Digitalis]

This is the first time I’ve gotten a real advance promo copy of something, so I made sure to get a review done by the day it came out. Rather than mess it up, by finally getting around to writing a review in three months or something. So anyway, this Theo Angell record comes out today, on Halloween man. It seems like on odd day to release Auraplinth on because it’s not really spooky or ghostly at all. But maybe it’s here to cheer us up during the dreary upcoming Thanksgiving season.
The record begins with “In About a Half Hour”, built around autoharp, tambourine/rattles, acoustic guitar and hand drums. And of course Angell’s voice as well. It’s a nicely off kilter folk ditty with a few choice melodic flourishes, pretty characteristic of the rest of the record. The only thing I’m not digging on the track, is some not so subtle use of effects namely autopan, it distracts from the song a tad and feels superfluous among the all-acoustic arrangement. “Crows Landing” follows focusing on Angell’s vocals. His voice’s only accompaniment is a repetitive, unchanging pattern on a banjo (I think). Had the vocals been dull, the track would have easily floundered, but Theo does a hell of a job carrying the song and being the central source of melody on the track. “On the Willow” returns to a bit larger arrangement this time rattle, electric and acoustic guitar, glockenspiel and a (wooden) flute. But again, Angell is the main melodic presence, and leads the band to strange but beautiful places, with subtle additions by the various instruments. Both “Stuttgart Summertime” and “Bountfling” are short tracks based around acoustic guitar and vocal, they are both nice enough but don’t leave a particularly strong impression after they’re done. When I listened to this album the first time, the first track that really grabbed me was “Have U Seen the Birds Lately”. Angell moves back and forth between a stronger deeper voice and a witchy falsetto. Though his voice leads the track, the simple accompaniment sounds determined and effective. Basically, just a rapidly plucked guitar, a couple insertions of a slide guitar and some nice subtle backing vox as well. It’s hard to say exactly what about it works so well, but it does nonetheless. “Written With the Word” is a brief acoustic ditty, a little reminiscent of Devendra Banhart before he started making really shitty records. However, it’s the next track that everyone is/will/should be talking about/listening to.
”Apparently Someone Tried To” is one of the best rock songs I have heard in a long time. From the first to the zillionth time I’ve listened to it, the track is always absolutely incredible. It’s kind of funny, that when conventional rock elements (i.e. drum kit, electric guitar) are introduced, Theo Angell creates his most sublime work. The whole track is just a little askew, the guitars are melodic but not in a predictable way, drums are steady but not repetitive. And like many other places on the record the song is taken to unexpected, though fitting, places. One of my favorite aspects is there is a guest vocalist (maybe one of the Hillside singers) that just fucking rules! He has a great, cunning Bill Callahan-esque voice and navigates his way through the track with a strange sing-speak that, somehow, just totally works. I’m not actually sure what he’s talking about, but it sounds so cool just by the way he delivers the lyrics. Props to Theo for, being chill enough, to let another guy sing lead on his album. By the way, Angell provides backing vocals and sings the chorus and his voice blends beautifully with the voice of the mystery guest. Seriously this track is just fantastic, and I don’t feel like I am adequately describing it which frustrates me but whatever, take my word—you know I’m good for it. I keep drawing this paragraph out just so I can listen to the song again. If I ever made some ‘Sweet Stuff From Double Oh Seven’ mixtape, “Apparently Someone Tried To” would be there, without a doubt. I’d have to put it first too, so it’d be easy find for all the times I’d want to play it again. I might not actually end up listening to the rest of the tape if I did that though.
So after the profound, momentous “Apparently Someone Tried To”, come the albums three weakest tracks. “Flurdrid Mourning” is a pseudo-drone type track with a single looped drum hit and weird alien-through-a-wahwah vocals. I don’t mean to sound like a jerk, but I don’t understand how the track made the cut. It would be one thing if it was a one minute interlude or something, but it gets very tiresome after its relatively unchanging five plus minutes. “Is the Worst Ever Best?” works a little better, though it isn’t a strong track in itself. It is a vocal and tambourine duet, and it does what it does and moves on quickly. “The Golden Hour” certainly has some pretty moments but on the whole feels aimless and adrift, not quite cohering as well the stuff on the first half of the record. Footing is regained for the next tracks though. “Gardenfull” is similar to “Written With the Word” but with some really nice backing vocals which add a lot of dynamics to the track. There is also a great change-up towards the end, taking the track out on a high note. The title track features first-rate flute accompaniment and a strange sinister/beautiful vibe. “She King”, the album’s longest track, has kind of a Wooden Wand backed by a super-subtle Family Underground type sound, which is something I never thought I’d hear but it sounds good. The finale, “Forward With the Veil”, sounds similar to something off the most recent Justin Shay record on Foxglove, not one of the strongest tracks but gives the record a low-key finish.
All in all, Auraplinth is a pretty good record with many magnificent moments that will delight anyone into folk-pop oddity. I hate to tell someone else how to make their art, but to my ears, the album would have been stronger if it had been cut down to eleven maybe twelve tracks, but that’s just me. Angell has done a good job establishing is own sound and the record is definitely one that gets better the more you listen to it, which is probably the greatest quality an album can have. Oh, and in case you missed it, “Apparently Someone Tried To” is one my favorite songs of the year.
Other notables are: the album is released today-according to the press release, comes in a “heavy duty gatefold jacket w/ full lyric sheet” and was mastered by Pete Swanson. Czech it out.

Auxiliary Out Radio Programme #4 (10/28/07)

”The Casual Joke” Turner Cody Buds of May (CD) [Digitalis, 2007]

”Apparently Someone Tried To” Theo Angell & the Tabernacle Hillside Singers Auraplinth (CD) [Digitalis, 2007]

“Dun Dan” Group Doueh Guitar Music From the Western Sahara (LP) [Sublime Frequencies, 2007]

”Untitled 5” Richard Youngs & Tirath Singh Nirmala Richard Youngs & Tirath Singh Nirmala (LP) [HP Cycle, 2007]

”Sequins” Big Blood Space Gallery Jan. 27, 2007 (CD-r) [Dontrustheruin, 2007]

”Neutron Dracula” Crappy Nightmareville Neutron Dracula (7”) [Black Velvet Fuckere, 2007]

”Glisters” Ray Off Nothing Like a Ribbon Round a Parcel (CD-r) [Black Petal, 2007]

”Side A” Fantastic Magic Witch Choir (CS) [Abandon Ship, 2007]

”Fonta” The Reggaee Catolistal (CS) [No Label, 2007]

”Vlige” Benjamin Franklin Takes Time (CS one-sided) [Dreamtime Taped Sounds, 2007]

”De Transistions Van Hallucinatorische Knikken Tussen” Miles Devens Atlantic Woman (CS) [New Age Cassettes, 2007]

“I Am Your Charred Remains” Ajilvsga Thorazine To Infinity (CS) [Peasant Magik, 2007]

”For What It’s Worthless” Barrabarracuda Abasement Tapes (CD-r) [Not Not Fun, 2007]

”Human Friend/Snail Territory/Megasolar Bodyslam” Fricara Pacchu Space Puppet (CS) [Lal Lal Lal, 2006]

mp3: Part 1 Part 2

Tent City – Tent/City [Arbor]/James Fella – D888 [JK Tapes]

When I can, I like to do some sweet theme-teamed reviews, and here it’s themed times two. Theme one is James Fella does his thing on both releases, the first with his Tent City crew and the second all by his lonesome. The other theme is Chicago area label bros Arbor CDR and JK Tapes each put out one of the releases. So they are, like, connected but times two.
Anyhow, nuff o dat. The Arbor CD-r starts us off, man I have to say this thing looks and feels totally sweet. Arbor always brings its A game on the aesthetic front, but Mike Pollard has outdone himself this time. As you can see this thing is sewn from a classic red cowboy bandana and even has a little button snap to make sure yr CD-r is nice and cozy and don’t fall out (dontcha hate that?). This release is apparently the studio debut of Tent City, which is interesting cause they’ve been around a while you’d think they would have done it by now, but who knows. They seem to be pretty fucking good at the live thing considering the long live recording on their Cascade Trinkets CD-r is one of my favorite pieces of music from this year. Anyhow, enough about that. The CD-r is made up of 5 untitled tracks ranging from 2-12 minutes. The first track starts out with a little of the typical Tent City sound, wind instrument and thumb piano type sounds over shaking and tinkling, then about a third of the way through a really low (in pitch and volume) synth pulse takes over. The synth continues to the second track and is joined little by little, by muted guitar and sounds akin to the rustling of broken glass. At the end a neat little dilapidated piano loop materializes which is sweet, but it’s a little too late though. The first two tracks are much too drawn out, and for some reason everyone seems really timid like they aren’t comfortable with the synth loop or something. There’s just not a whole lot interesting going on. Things begin to pick up in the third track, however. A guitar is riffing on the melody from “Unmade Bed” against some thumb pianoing and rattling and shaking. It happens gradually but things get jammin’, anchored by some sweet thumb piano licks. The fourth track is the longest and best. It’s a bit more aggressive, with a percussive presence something the previous tracks lacked. There is actually a distinct rock vibe to the track courtesy of a grinding, dirty guitar riff and later a 4/4 drum beat. It seems like an odd fit at first but it actually ends up being pretty groovy. The caravan moves along getting to a surprisingly noisy crescendo. The final track, a two minute coda, is a nice droney sendoff with a bunch of loops and the plucked sounds of something. A pretty little piece.
It seems like the studio recording may not be Tent City’s forte, at least not yet. The record gets off to a needlessly slow start but the second half is quite cool. Still respek to TC for trying something different. They’re still one of the better improv’d jams acts (I don’t mean that like jam band) around. The thing that’s so sweet about the live stuff I’ve heard is they always seem to be movin and groovin to a vibe of raw, communal inspiration. But here, you don’t really see it too much until the fourth track when things start clicking. It’s a decent but not perfect effort, but certainly worth checking out if you are a fan of the group or sweet bandana packaging.
D888 is interesting cause the insert gives a pretty detailed, second by second breakdown of the sounds heard for each side by Fella himself. This makes my job really easy cause I don’t have to guess or hyperbolize the sounds coming out my speakers. I can straight up tell you, “Dudes, the sounds you hear at 2:25 in on the A side is empty mic sockets while phantom power was turned on and off, tracks then punched in and out while making one master from the eight tracks.” But that doesn’t have the same mystery to it, so I’m gonna go with a sorta old fashioned type review.
The alternate title for the tape is “compiled sounds salvaged from the memory bank of a digital eight track recorder late summer 2007”. And that is pretty accurate to what it sounds like, but it’s also a bit more. It took a couple listens for my ears to figure it out, but after they did D888 became a rather fun tape to listen to. I’m generally not into the whole collaged aesthetic cause it usually comes off as too scattered, and I am a man of composition (whether it’s improvised or meticulously constructed). However, this tape is pretty well paced. Side A begins with echoing guitar until a bit of noisy drones and whathaveyou join and eventually take over the track. Noises are looped and layered building to chiming feedback which promptly cuts out and more looped noises replace it. Then a zoo of squiggly sounds emerges. They sound like the “telephone” setting on toy keyboards, but at all different speeds. The track continues this weird wobble for a while until guitar and a fuller drone take over until the end click. My apologies for all the “untils” and “thens”. Odd little track but it moves fast over a relatively wide range. Side B begins with guitar as well but it’s a weird muffled fuzz tone and some vocals are in the mix too I think. Quickly after, there is some clipped electronic sounds hopscotching around and eventually cohere into a steady stream. Then similar sounds but a bit more dronier (which consulting this handy insert are the “same sounds, less loud and slower”). After that comes the coolest part of the side, a bunch of skittering sounds all combining into a wicked cacophony of sound. Overall, it’s a pretty interesting tape worth repeated listens.
The James Fella cassette comes packaged in JK’s, signature by now, d.i.y. aesthetic; this time a paint drenched tape case. Both releases are still available from their respective labels, though they’ve been out for a little while so you may want to hurry and snag a copy if you want either of them.

Evan Miller/Gown – Split [Arbor]

I was browsing random websites the other day and anyhow, I noticed that this Evan Miller/Gown isn’t sold out. And well, dammit, it should be. I bought my copy immediately when I heard about it, figuring it would be gone quick. So now, I feel I must do my part to vouch for this tape’s greatness and give it the proper props.
You know the drill, two guitarists, two sides, one sweet spool of tape. I think Evan Miller is a relatively new face but lately he’s been rollin’ out some tapes on Night People and I’ve been digging ‘em. I’m no scholar of Fahey or Jack Rose or whoever the god of the acoustic guitar is. But I do know that I like the way Evan Miller plays. Apparently, “Spectre” was recorded in a storm which is rad cause you can hear thunder rolling in the background, which sometimes provides great punctuation, and maybe even a bit of rain too but I might be confusing that with tape hiss. This track moves a lot slower and is less sweetly melodic as his other work I’ve heard. However, there is way more sparseness and tension in this piece. It makes me think of a lamenting score for a wounded cowboy in a western. Like the dude is shot and the music starts and there is a ten minute long slow motion sequence of the guy stumbling around all bloody, crawling through the dust and writhing in agony. The track is based around a couple circular arpeggios, which are broken up every so often with melodic flourishes. The track actually reminds me of Earth’s latest stuff, not so much aesthetically but in the way that restraint is used to create intensity. Cool track and an interesting take on the solo acoustic guitar thing.
Miller’s track is cool and all but the real reason you need this tape is what comes on the backside. Gown (a.k.a. Andrew MacGregor) is probably most well known, at least nowadays, for playing with Thurston Moore in the Bark Haze, however based on “Pigeon Church”, Gown could kick Thurston’s and his own ass at guitar—combined, which doesn’t really make sense but this track is that good. This track is so good that my friend who loves Daft Punk stopped everything he was doing said “Drew. Who is this? This track is incredible!” “Pigeon Church” is like a wind storm, an electrical storm, and a snow storm combined and played on guitar. I’m not sure if this thing is multi-tracked or looped but either way it’s rather dense. There are tons of frequencies flowing out of the amp and Gown blows them every which way, all around the track. What’s amazing to me is, for ten minutes, the track somehow never loses the blustery, weathered texture, or its undulating intensity or its melodic center. Sorry to quote Radiohead, but everything is in its right place you know? The guitar tone is very electric and powerful, but not noisy in the way you think of Hototogisu or someone being. Its palette is very much whites, greys, silver rather than black. Last I heard, MacGregor moved up to Newfoundland, so I hope he’s basking in its remote, solitary chill and recording shitloads of stuff. It’s almost mean to just give me one track; I need a hundred more at least. I mean really, only one windswept, classic, masterful, mind ripping Gown piece per release? Come on! How am I supposed to live on that?
The tape, as mentioned, is still available from Arbor and it comes with an insert, printed tape labels and a classy, 3 color screen printed J-card of a wildcat battling vapor (or something like that). So, get it already.

Auxiliary Out Radio Programme #3 (10/21/07)

“Ink Sac” Aaron Dilloway & C. Spencer Yeh The Squid (LP) [Hanson, 2007]

“Confessions of a Digestive System” Chris Cooper Bill Nace Duo I’m Fucking in a Sitting Room (For Nmperign) (CS) [Night People, 2007]

“The Lionshead” Scumm O)))) Brown One: The Bathrobe Demos (CS) [No Label, 2007]

“Summoning the Recluse” Ettrick Brutal Sound FX Compilation and Exhibition of Strange Fact (2xCS) [Enterruption, 2007]

“Lanzarse” Goliath Bird Eater Brahmans (CS) [Nurse Etiquette, 2007]

“Eureka” GHQ California Night Burning Dreams (LP+3” CD-r) [Not Not Fun, 2007]

”Untitled 2” Menstrual Chinese Dream Menstrual Chinese Dream (CD-r) [Nature Tape Limb, 2005]

“Curly Fruit” Quilts Acid Flower (3” CD-r) [Ruralfaune, 2007]

“Standing Water” Emeralds Grass Ceiling (CS) [Fag Tapes, 2007]

“Wanderlands” Agitated Radio Pilot Ghost of Medb/Under Your Night (split with Nether Dawn) (LP) [Pseudo Arcana, 2007]

”Drifter” Pillars of Heaven Silver Tusks Vol. 1 (CS one-sided) [Peasant Magik, 2007]

“Rope” Gowns Red State (CD) [Cardboard, 2007]

“Aborescent” Arachnid Arcade Crepuscular Aborescent (CS) [Psychform, 2007]

“December, 6th 2006” Dull Knife Untitled (CS) [Psychform, 2007]

“Love Falls” (VxPxC) Stoned to Death (CD-r) [Leaf Trail, 2007]

(some of the voice parts didn't record very well, sorry)
mp3: Part 1 Part 2

Auxiliary Out Radio Programme #2 (10/14/07)

“The Story is Told in a Different Sphere” Brothers of the Occult Sisterhood Temicxoch (CD-r) [Foxglove/Digitalis, 2007]

”I Need Her” CJA/Smokehouse Whiskey & Freedom (CS) [Abandon Ship, 2007]

“Cyuti” Xochipilli Aircquocces of the Arc Tones (3” CD-r) [First Person, 2007]

”Feggic Shoam” Non-Horse Horse Split (with Horse Head) (CS) [JK Tapes, 2007]

“Untitled 3” Sarin Smoke It Chars Our Lips Yet We Still Drink (LP one-sided) [Wholly Other, 2007]

“Kuni Majagani” Group Inerane Guitars From Agadez (Music of Niger) (LP) [Sublime Frequencies, 2007]

“By a Thread” Pink Reason By a Thread (7”) [Trick Knee Productions, 2007]

”Chapter of the Fog” Family Underground Riven (LP) [Not Not Fun, 2007]

“Flash Pumper” Manpack Variant Sticky Wickets (CD) [Digitalis, 2007]

”Larvae” Family Battle Snake Split (with Owl Xounds) (CS) [Blackest Rainbow, 2007]

“The Mirror Speaks” James Blackshaw The Cloud of Unknowing (CD/LP) [Tompkins Square, 2007]

“Miami Morning Coming Down” Earth Hibernaculum (CD) [Southern Lord, 2007]

Auxiliary Out Radio Programme #2 (mp3)

Pocahaunted – Emerald Snake on Ruby Velvet [Not Not Fun]

A little while back I was having a conversation with a friend about Pocahaunted. We were both fans, we always enjoy stuff we hear by them but what we were really discussing was the standard Pocahaunted framework (i.e. two chords repeated ad infinitum and vocal coos and moans). This framework has served them well thus far, but at this point it seems to be inhibiting their potential (could you imagine how awesome they would sound if there was some big glorious change in chord progression every so often?). So seriously, days after we had that convo the Phaunts dropped this little baby. It was sold out in an instant like all their stuff, but it’s still worth noting even almost two months after its release.
While Pocahaunted has yet to work in a third chord, their overall aesthetic has been given an update. The most obvious change here is the steady dubbeats supplied by Bobb Bruno (of Goliath Bird Eater and Bobb Bruno). The repetitive drum pattern is hypnotizing, like traditional Pocahaunted but in an entirely different way. It’s actually somewhat reminiscent the drums (sample?) in “Gates of Ballard” by Sunn o))). Anyway, back to the whole hypnotic thing; this isn’t Portishaunted or nothing (ha?) but the dubbiness actually really works well in duo with Pocahaunted’s style because they both go for atmospheric and spellbinding but do it coming from two distinct directions. It’s a mutualist relationship, the beats keep the rest of the track focused and the rest of the track keeps that same drum pattern repeated over and over from getting on yr nerves. So anyway, it’s an unexpected though very welcome addition to the Pocahaunted teepee (tipi?). Elsewhere in the track there is some rad fuzziness, coming from one of the guitars and a bass or keyboard or something, giving the track a much fuller overall sound and richer texture. It also has a bit of a home-taper feel due to a recording bobbles, which is fine in my eyes.
As evidenced by this tiny CD-r, Pocahaunted still have a few tricks up their sleeve which warms my little knife (I hope they expand the scope of their songwriting sometime soon though). And the dang thing comes with fake snake skin sewed on too! As mentioned, it’s sold out, but if you can find it pick it up.

Robedoor + Pocahaunted – Hunted Gathering [Digitalis]

Both the Robedoor and Pocahaunted crews have been making a name for themselves this year, especially when in tandem it seems. They opened for Sonic Youth in collaborative live form pretty recently, and their first shot at a collabo release, Mouth of Prayer, was reissued by Blackest Rainbow only mere months after it came out in the first place. This double disc split/collab slab, courtesy of Digitalis, is the next piece in the ever expanding RBDR+Phaunt puzzle.
The excellently titled, Hunted Gathering starts off with Robedoor in classic dread drone mode. There is sloshed vocal murk a plenty, but what Robedoor has always been killer at is the way they incorporate rather typical instruments into their palette of scuzz and hum. This track, “Plague of Settlers”, has an organ of some sort, bass, a drum kit perhaps a guitar, all mingling and forming into a heavy monolith exploding underneath the Earth’s surface. Pocahaunted follows with “Roman Nose”, beginning in typical Phaunt fashion, two guitar chords cycling back and forth and female vocal séance. In addition, the girls are joined by subtle drumming (I’m assuming by Goliath Bird Eater’s Bobb Bruno) and I’m pretty sure I hear a male voice in there too but don’t quote me. It’s a nice unified procession, almost to a fault, but vocal “solos” towards the end help break the sameness up a bit. Another Pocahaunted track, “Crow Scout” follows but it doesn’t quite do it for me. The central melody and arrangement doesn’t gel well enough to sustain the piece across its almost 14 minutes. There are some of those classic, sublime Pocahaunted vocal moves in it though. My ears like that. Robedoor gets back on the mic and closes out the first disc with “Spectral Outpost”. It’s a long, gradually winding piece, like riding a rollercoaster in slow motion, in the dark. Except instead of being filled by excitedness, like you would be on a rollercoaster in regular motion, you’re filled with utter creepedoutness. This is real digging-up-bodies-on-an-ancient-Indian-burial-ground shit, total looming doom. Give it a few minutes and you’ll be under its spell, marching hypnotized into oblivion just as I am.
Robedoor opens up the second disc as well. But out of left field, it’s a pretty serene piece called “Ancestress Moon”. And it’s the only track length on the album that doesn’t make it to double figures. It doesn’t go anywhere particular but it doesn’t really have to, it’s a nice comedown after “Spectral Outpost” AND it’s a great lead in to the final solo Pocahaunted track “Warmest Knives”. “Warmest Knives” starts out almost identically as “Roman Nose”, but soon enough it morphs into a rather lush echoing piece. The mysterious Laena (whose violinwork was the standout on the Phaunts’ Rough Magic tape) makes a much welcomed appearance here. Her violin isn’t front and center, but it comes in at all the right places. This may be the foggiest Pocahaunted has ever sounded and it suits them well. The track still feels a bit long, but the fine use of dynamics by all parties involved excuses that. “Razed Terrain”, Robedoor’s final bout, is a decent enough though repetitive vocal-dominated affair, that can't quite compare to their excellent cuts on the first disc. Though I do dig the cymbal smashing towards the end. The grand finale, the collaborative title track, is a very disembodied sounding piece. The Pocahaunted element is prominently on display while the Robedoor faction snakes around in poisonous mists. Towards the end of the track the intensity has increased a bit but it doesn’t sound too much different from when it started. It feels more like a Pocahaunted piece with Robedoor sitting in rather than a full on meeting of the minds, though maybe it’s just me.
While I wouldn’t call Hunted Gathering either group’s best work, it’s still a good showing (especially for Robedoor) and unlike the rest of the groups’ other work, it’s still available. All in all, the whole thing is a classy, well put together project by Digitalis. The sound is crisp thanks to Bobb Bruno and Pete Swanson, on recording & mixing and mastering duties, respectively. The sweet collage plastered all over this thing is by Manda and Bethany of Pocahaunted (also Roy Tatum of Buried Valley is credited to layout, as well as additional instruments) and it’s just totally fun to look at, especially the inside. So if you’ve yet to hear either subject of this review, I suggest you pick this up. It’s definitely the best bang for your buck. And if yr a fan of either group, well, you already know what to do.

Auxiliary Out Radio Programme #1 (10/7/07)

“The Mighty Mississippi” The Cherry Blossoms The Cherry Blossoms (LP) [Apostasy/Black Velvet Fuckere/Breaking World/Consanguineous/Hank the Herald Angel/Yeay!, 2007]

”a-doz-hiel-z” The Skaters Lal Lal Lal Festival Compilation (CD-r) [Lal Lal Lal, 2007]

”Pigeon Church” Gown Evan Miller/Gown Split (CS) [Arbor, 2007]

“Cops Wet Pussy” Deep Jew Bored Fortress Split Series (with Mindflayer) (7”) [Not Not Fun, 2007]

”Guru Femmes” Wooden Wand More From the Mountain (7”) [Woodsist, 2007]

”The Pig That Stood Upright” Medroxy Progesterone Acetate Something in the Weeds (CD-r) [Midwest Death Cult, 2007]

”Untitled 2” Orphan Fairytale Speaking Spooky (CD-r) [Foxglove, 2007]

“Fraha” Softwar Softwar (CD) [Digitalis, 2007]

”Side B” Slow Listener Untitled (CS) [JK Tapes, 2007]

”Undying Glare” Bone Awl Undying Glare (7” one-sided) [Nuclear War Now! Productions, 2007]

”Heart Current” Grouper Cover the Windows and the Walls (LP) [Root Strata, 2007]

”Violent Memory” Robedoor Hopeless Transformation (CS) [Goaty Tapes, 2007]

”Untitled 3” Tent City Cascade Trinkets (CD-r) [Night People, 2007]

”The Fire Sky” Kiss the Anus of a Black Cat An Interlude to the Outermost (CD/LP) [(K-RAA-K)³, 2007]

”Sandwall” Drowner Yellow Swans Drowner Yellow Swans (CS) [Tape Room, 2007]

”Untitled 1” Burnt Hills Cloud Nine (CD-r) [Tape Drift, 2007]

I've posted a link to download an mp3 version of this show. Audacity was being a son of a bitch this week but I finally got a passable recording. I had to chop the show up weirdly (the Slow Listener track got split up, sorry) and there are some volume inconsistencies but overall it sounds okay. I've got another program I'm gonna try using for next week's show, so hopefully I'll fair better then. Thanks for your patience.

Auxiliary Out Radio Programme #1 (mp3)