Here's something a friend gave me. Undulating, lush electronic sound-forms flowing over beats that resemble a comfy couch in my mind's eye. I don't know a whole hell of a lot about electronic music outside of krautrock stuff, but I certainly know that much of what I hear at parties is pretty shite. This, though - this is something I could dance to without even having to be drunk. There is quite a little bit going on in these recordings, but as far as influences go, I'll give it to you straight from the horse's mouth:
My background hasn't always been electronic music, and I never really played an instrument when I was younger, so now that I'm officially "into" making electronic stuff, I feel like I'm constantly catching up with bands I should have known about and genres I need to get "schooled" in. Getting that out of the way, I'd say the things I'm most interested in are acts from the Los Angeles beat-scene, like Shigeto, or Tokimonsta, and the new wave of UK electronic music, sometimes referred to as post-dubstep, or future garage, like Mount Kimbie, SBTRKT, Sepalcure and some others. Star Slinger and Clams Casino are hip-hop producers that are pretty inspiring as well, one for his danceable, Soul/RnB infused beats, and the other for his really atmospheric, cinematic kind of tracks. It's strange because the hip-hop scene is one area where EDM producers could really make an impact and help evolve the culture, and a few have, as I just mentioned. I've actually been in contact with an MC named Vulkan the Krusader, and he's used one of my tracks, Cali-Dome as the single on his newest mixtape, so trying to break into working with people like that is something I have in mind for the future too. I tried to make the EP have elements of all those things, and it worked out somewhat, but I'm still narrowing down my sound and wondering what direction I'll take things next. The only thing I don't want to do is become known for doing one thing and following some kind of fad.
For many of you, dear readers, dubstep (or post-dubstep) is probably a dirty word. But take heed, this isn't some capricious pseudo-electronic bullshit. This music connotes to me a sense of wonder at all that is new and good in the world, like viewing the stars for the first time. Have a listen and get into it, man:
Here is some Chicago punk history for you. Steve Bjorklund formed Strike Under in 1980 after the end of his first band, which was apparently a garagey, protopunk sort of group called the Rabbits. Strike Under consisted of Steve, his brother Chris (later of the Effigies), Pierre Kedzy (later of Naked Raygun), and Bob Furem, who later played in Da. Their first show was at Northeastern University, and through 1980 and 1981 they played the usual places such as Tut's and Oz.
Their only proper release was 1981's Immediate Action 12" EP, which is notable for being the first record from Wax Trax, back before it was a powerhouse of industrial music. The songs are melodic without sounding too polished. Is this the so-called 'Chicago Sound?' I dunno, but it's pretty clear to me that the songs 'Sunday Night Disorientation' and 'Elephant's Graveyard' make this EP worth having. Long out of print. You can read a great Coolest Retard review of this record, as well as a review of Da's Dark Rooms 7'' and a Strike Under interview, in the Dementlieu Punk Archive.
a pretty stacked night, this one
Strike Under also had two songs on the 1980 Busted at Oz live comp, which I will probably post eventually. Also, in 2010 there was a sort-of reunion of Strike Under, as part of the Busted at Oz reunion shows. Vic Bondi from Articles of Faith was one of the dudes in the 'Strike Under covers band,' as it was called. The performance was taped and can be acquired at this wonderful blog.
After Strike Under broke up, Steve kept at it, forming Breaking Circus in 1983. Their first gig was at the Cubby Bear, back when they would regularly book punk bands. They released The Very Long Fuse EP in 1985, and Steve Albini designed the cover art. It's very much an '80s record, sort of like post-punk plus folk plus drum machine (later, when the band relocated to Minneapolis, the drummer's spot was taken by Todd Trainer, who you probably know as the drummer for Albini's Shellac). Famously includes '(Knife in the) Marathon,' which is one of the catchiest songs ever. I defy you not to get it stuck in your head.
For the hell of it, I also put up a single that Mr. Bjorklund did in the late '80s, after the demise of Breaking Circus. It was put out under the band's name, but appears to be only Steve and a drum machine. The A-side is a very bare take on Naked Raygun's 'Home of the Brave,' and the other is a UK Subs song, again quite transformed by Bjorklund's arrangement. I'm pretty certain it's out of print.
This album is a good introduction to This Heat, if you haven't heard Deceit already (which I recommend seeking out). Made Available consists of two 1977 BBC sessions done with the incomparable John Peel, who dug the band's bridging of krautrock sonics, world musics (before that term was pillaged of all meaning), tape magics, pioneering electronics, 'truly' jagged rhythms, and subversive politics. These guys were way ahead of their time, as evinced by the body of work they had produced by the year of 1977, when most people were making a bigger deal about 'White Riot' (which, much as I like it, sounds like 'classic rock' compared to this).
The standout songs on here are 'Horizontal Hold' (superior to the version on their first LP, in my opinion), 'The Fall of Saigon,' and the early version of 'Makeshift Swahili,' which would be laid down again on the aforementioned Deceit.
I dunno, this music is all over the place. It is the ultimate '77 punk record insofar as it sounds so unique. But enough of my incoherent babbling, try it out yourself.
Here's one from 2011 that I have just recently starting getting into. This album was the perfect soundtrack to my night drive up the length of Indiana: dark, brooding, a bit creepy (a particularly manic and noisy passage started up right as I was passing through a field of wind turbines -- which, in the darkness, appear as devilish rows of pulsing red orbs -- scary stuff), simultaneously cosmic and earthen. Barn Owl's foreboding, finger-picked intertwining guitars ride on the drifting keyboards in a manner reminiscent of Ash Ra Tempel, and especially Manuel Göttsching's solo stuff. It's drone-y but hardly unexciting; on the contrary, in the right setting this album is positively cerebral. Your assessment of the album art is in this case a pretty good indicator of how you will feel about the music. Barn Owl have put out a slew of albums and EPs since 2007 or so, and what portion of their work I've heard has been consistently good. Highly recommended.
This is a band I have hinted at on this blog a couple of times, so I figured I had better post something from them. Гражданская Оборона (English: 'civil defense,' or abbreviated GrOb 'coffin') is the most famous and probably the most influential of the 1980s Soviet punk bands. The only constant member was Egor Letov, who was active right up to his death in 2008 (many of his friends, bandmates, etc. ended up committing suicide in the '80s and '90s). I don't speak Russian, but the songs seem to be about anarchism, running from the KGB (they had Letov committed to a mental institution in the mid-'80s), totalitarianism, depression, feelings of powerlessness, and all that kind of stuff you'd expect to hear from a punk band from a country with an overtly repressive government. Musically, it's lo-fi punk (most GrOb recordings were recorded to tape on boomboxes in various apartments and kitchens) with chord changes and melodies characteristic of Russian folk music. Letov has an extremely expressive singing voice, and, like a good deal of other Russian punk musics, he communicates a desperate pathos commensurate with the fucked-up conditions in which he lived. Complete and total outsider music.
Egor was seriously prolific in his lifetime, with most of his earlier work coming in the form of homemade tapes traded among the Russian punks. My own collection of his stuff doesn't even scratch the surface, but this is a double album of two live performances (which, you must understand, were risky and infrequent events) from 1988 and 1989 in Novosibirsk and Moscow, respectively. It's as good an introduction to GrOb as any, and the songs are all great. If none of this intrigues you, I have no idea what would. I'll finish by saying this band is one of the inspirations behind Pink Reason, who I recently posted. Here is a WFMU show on which Kevin Failure of PR plays GrOb and a bunch of other great Soviet underground bands, and shares some knowledge. The Russian sites linked below are pretty readable using Google Translate, so have at it.
This is not a top ten. I'm not ranking them or anything. I'm really pretty slow about getting hipped to new music every year, but here are a dozen or so that I have been digging throughout 2011. Buy all of these.
1. CAVE - Neverendless
More tight motorik grooves from Chicago's best krautrock enthusiasts. The first and last songs are my favorite ones on here. I'll defer to the wonderful review in the Chicago Reader from a couple months back, since I can't write a better one.
This album just feels good to listen to (especially in the summer, or when you're trying to pretend it's warm). I first saw Peaking Lights at Bitchpork a couple of summers ago, and have been digging them ever since. This is probably the album from 2011 I have played the most. Repetitive, bouncy dub basslines with psyched-out, homemade synths and pretty words. If that doesn't sound like much then you don't know what you're missing.
I'm not gonna pretend to be some connoisseur of rap music, but this mixtape is pretty sick. You've got rhythmic extraordinaire Zach Hill making fucked up beats for MC Ride to spit all over. The ridiculousness is turned all the way up for the whole set, and it is pretty damn intense. Critics are all saying this is hardcore punk pretending to be rap, which I guess isn't too inaccurate. If Black Flag samples are cool to you, or if you enjoy lyrics about being fucked up on DMT and listening to Sonic Youth, you should probably get this. I put up my own link but it appears to be free from Death Grips' website. Here's a video:
Holy christ, what an album this is. Like the CAVE album above, the song titles are pretty much indecipherable, and the emphasis is on the extremely tight instrumentation. Besides liking some bands such as Tortoise, I have no idea what the term 'post-rock' is supposed to mean, but it has apparently been applied to the Psychic Paramount. Regardless of what you take away from that description, know that these dudes most certainly know how to rock. II is noisy, psychedelic, incredibly rhythmic (the songs were composed on drums), and easily one of my favorite albums of 2011.
Pink Reason songs often sound like they're recorded on the comedown from a heroin binge (see the excellent Winona 7" for prime examples). And that's cool. But this year Kevin De Broux (sometime member of Psychedelic Horseshit) put out something bigger. Shit in the Garden definitely sounds more produced than most of Pink Reason's previous work, but not in a bad way. Just sounds like Mr. De Broux spent more time putting this one together. There's electronic glitch-beats, soaring pop anthems, swirling psych-punk guitar, banjo, and equal doses of bitter and sweet throughout. This album reminded me of some of Egor Letov's early '90s stuff (Egor who, you ask? I'll post later), which makes sense since Kevin lived in Siberia for a couple of years in the '90s (and is compiling info for a book on Soviet-era Russian punk while touring Eastern Europe). Listen, this record is really good.
If I tried to write too much about the Spits, it would come off as unnecessary intellectualizing. For those who don't know, the Spits are a punk band. They play punk music and they play it well. If you dig the Ramones and Misfits, then there's nothing not to like here. Seriously, just look at the cover art.
7. Matana Roberts - Coin Coin, Chapter One: Gens de Couleur Libres
What we have here is a brilliant (free-?) jazz concept album about an 18th-century slave who manages to get herself freed, and all of the agonizing shit that happens prior to that. It ends on a hopeful note but I won't spoil anything, since I can't tell it as good as Matana. The playing is good, and runs the gamut from bouncy swing 1920s jazz to cosmic free jazz with prepared guitar, but the thing everyone will really like about this record is Roberts' fierce storytelling vocals. This record is punk as fuck, and my stupid review can't possibly do it justice.
He's still good. Overall, I'm not really familiar with Tom Waits' recent stuff, but my dad burned me a a copy of this CD so I've been digging it. It's a mix of Beefheartian blues free-kouts, soulful laments, and rocking the fuck out. There's even an aside of 'Auld Lang Syne,' just in time for your depressing plod into the New Year. My favorite song on here is almost definitely the Iraqistan-vet dirge 'Hell Broke Luce.' My god, it's Tom Waits, why are you still reading this? Just get it.
This, I believe, is Taiwanese-Canadian Alex Zhang Hungtai's first proper record as Dirty Beaches, although he did release some instrumental stuff under the name. Badlands is a minimal, lo-fi, washed-out perversion of 1950s rockabilly. Songs of isolation, empty highways, and dirt, coming out sounding like Alan Vega singing for Les Rallizes Dénudés (the song 'A Hundred Highways' is, in fact, just like Rallizes' 'Night of the Assassins'). What's that, a Suicide reference AND Rallizes? It must be good...
Basically everyone ever thinks this record is amazing. With that kind of hype, one must wonder: is it actually good? As far as I can tell, it is very good. Iceage sound a bit like Wire playing hardcore, or like if Jay Reatard was from Denmark instead of Memphis. I was so pissed to have missed their Chicago date this past summer (Raw Nerve was opening, I believe), because they're supposed to be even better live. In any case this sub-25 minute post-punk blast is something you probably have already, but check it out if you haven't. New Brigade has been confusingly in and out of print all year (selling like fucking hotcakes, man), so I just posted an insound link for those of you cool enough to buy it.
Cülo never fails to impress, and this is probably my favorite record they've put out so far (that new split with Tenement is pretty tight, though). I guess 'Brain Cavity' and the titular track are my favorites, but it's sort of pointless to pick because it's a short record and all the songs are great. It has been many a morning these past few months that Toxic Vision was the thing that got me out of bed to bike to class. Some of the best hardcore Chicagoland has to offer.
Broken Water are a spaciously-noisy post-punk band from somewhere in the Pacific Northwest (Olympia? Portland? I forget), and this EP was their follow-up to 2010's Whet, which was also great. Peripheral Star is a winning combination of pop brilliance and punk aggression with male-female vocals and Sonic Youth sheets of noise. 'Stop Means Stop' is straight-up riot grrrl. The last song is sung in Japanese, so that's pretty cool.
Hardcore that's not too (read: unlistenably)hardcore and punk that is plenty punk. All the songs except for the title track are less than one minute, and cover such topics as hating work, playing D&D, and being at house shows (or so I think; the lyrics are rather unintelligible). The music itself is just perfectly executed, and the bass throws mud and shit all over the place. I regularly listen to this on repeat; if you play it 6 times it makes for a great LP.
Tyvek sounding like Tyvek in three quick garagey punk bursts. As usual, the fidelity is fucked and the instruments are trashed. This was a 7" from their tour of Europe or something. In any case it burns as well as any other Tyvek release.
Here are a couple of fantastic singles by the Bard of Salford, Greater Manchester's punk-poet himself, John Cooper Clarke. He's probably best known (if he's known at all) for his a capella rapid-spat poems, but on these records he's backed by a group which called themselves the Invisible Girls. Clarke's lyrics are great as one might expect, and the backing band doesn't sound tacked on, instead straddling the border between krautrock-influenced post-punk and good old '77 rabble, managing to find themselves in disco territory without sucking, on the second record's A-side.
In the 1980s Clarke spent a lot of time being addicted to heroin with the famous Nico, so maybe that will pique your interest. He's also in the 1982 film Urgh! A Music War, which is worth finding for his performance as well as those of the rest of the underground bands in it.
Mr. Clarke performs to this day, so you should go see him if you get the chance.
I'm a big fan of the blog Mutant Sounds, so it was pretty cool to read this article in the Wire written by one of their contributors. Good stuff about the value of sharing music via this vast series of tubes.
Speaking of music in tubes, check out this psych duo jamming in the Chicago subway:
You're cool, right? You like the Fall, right? Joy Division? Here's a 1978 10" comp of Manchester bands, including some of the first recordings by the aforementioned two bands (when Joy Division was called Warsaw) and more. My favorites on this are probably the spoken-word raps of John Cooper Clarke [I'll probably post some more of him later], or the black-up jam "Macka Splaff" by reggae punks Steel Pulse. Oh, there's also a Buzzcocks song, and although I'm less interested in them, it's a good song. This short album plays through really well.
The consummate loner punk J.T. IV [John
Timmis IV] lived in and around the fringes of Chicago, and made some
fantastically damaged glam-folk-punk tunes, first releasing the
"Waiting for the CTA"7" in 1980. It's a localized
version of the Velvets song, sung over Blitzkrieg Bop chords. The
song starts out pretty cheesy-sounding but devolves into a noisy mess
foretelling the rest of this compilation of super-rare singles (with originals going for over $800). My favorite thing on here is the two-song folk lament suite "In
the Can / Out of the Can," which communicates alienation and pathos
as can only be done by a dude who's been institutionalized. On the rest of the songs there's all sorts of what Timmis called 'destructo rock,' an umbrella under which the MC5 and the Dead Boys would probably fit. All of
this stuff languished in obscurity for the whole of Timmis's
life (he died in 2002 in Nowhere, PA), but was released by Drag City
in 2008. It's out of print now, but when it was available it came
with a full-length DVD containing performances and home-movies (trailer below). More
of his stuff remains unreleased and nearly impossible to find, but I
hope it gets reissued like this album. If you can track that DVD
down, let me know.
I don't really know how much I can say about this album that hasn't already been said (which itself is a pretty cliche thing to say about an album, I guess). If you like Can you already have this. Tago Mago is the first in the 'holy trinity' of Can musics featuring Damo Suzuki on vocals, the others being Ege Bamyasi (1972) and Future Days (1973). It was my introduction to Can and remains my favorite. And it blows my mind that this is 40 years old.
First is 'Paperhouse,' which might deserve the descriptor "perfect slow-burn" more so than any other song I've ever heard. It is really one of the best opening tracks on any album, ever. 'Mushroom' is post-punk circa 1971, and 'Oh Yeah' (see below) is zen in the beauty of its aural production, gliding over a motorik rhythm borrowed from Neu! 'Halleluwah' takes up the whole of side two -- in the hands (and feet) of a lesser drummer than Jaki Liebezeit, such an attempt might fall on its face. But instead, Liebezeit rides a tremendous, primal funk groove that rewards repeated listens. The rest of the band is improvising for pretty much the whole piece, but thanks to the discriminating x-acto knife of bassist/tape editor Holger Czukay, none of the time is wasted and the whole 18 minutes is full of musically potent jamming.
Then you put on the second slab. Side three is the drifting, 17-minute opus 'Augm,' and here things start to get really weird. If the first disc was smoking weed, the second is mescaline, or something. But even 'Augm' might not be able to prepare you, young psychonaut, for what awaits on side four. 'Peking O' develops into the most intense, freaked-out part of the whole album over its 11 minutes, with panic-attack beats and keyboards, glossolaliac vocalizations by Damo, and a noise section near the end that you should really hear instead of just hear about. The result is an intense catharsis, finally releasing the listener to enjoy the last seven minutes of the trip with 'Bring me Coffee or Tea.' It's the perfect comedown from the psychedelic heights reached on sides three and four.
The song 'Oh Yeah' includes Damo Suzuki briefly singing in Japanese, for which not a single translation exists on the whole internet. Or at least, I haven't been able to find it. So I figured I'd give it a try. I have no idea if it is correct (Japanese has an incredible number of homophones). If anyone with greater Japanese proficiency than me can correct this, by all means do so, but here's what I heard:
これで底意素ばてる [kore de sokoi su bateru]
Tired of this obvious conspiracy
頭のいかれたい圧 [atama no ikaretai atsu]
Madness pressure in my head
位置の上から小便 [ichi no ue kara shouben]
Pissing from above their position
我らがいもと呼ぶ [warera ga imo to yobu]
We call on all the fools
LSD の真力 [LSD no machikara]
Pure strength of the acid
あ戯れ楽器を恐れ [a zare gakki wo osore]
I fear the instruments which I play
麻がまだこんな異能 [asa ga mada konnna inou]
Marijuana has mystic power
幸いだ殊に [saiwai da koto ni]
Feeling very happy now
See if you agree:
And here is the song played backwards:
One last thing: I saw Damo Suzuki perform live in Osaka last month, and the dude still kills it on stage. His band was made up of the local opening groups and he pulled them along on a 40-minute rhythmic pummeling the likes of which I may never see again. So if you see Damo touring around where you live, by all means go see him play.
Can on Amazon ... but you know you'd rather get it at your local record store. Tago MagoDMCA'd, but this one ain't hard to find
Here you have some sweet Can jams from (as the title might suggest) 1968. Their first album, Monster Movie, was released in 1969. This set of songs didn't see the light of day until 1981 -- hence the title. My favorite songs on here are probably “Nineteen Centry Man” (German rockers and heads certainly had one hell of an older generation to rail against), “Uphill,” and the slow-burning “Thief.” This recording definitely plays like a band still finding its groove, but that's no mark against it; Delay 1968 is a seriously valuable document of early Can. If you're like me and enjoy Malcom Mooney's staccato vocal style, you'll dig this no doubt.
I just finished watching this and figured some of you would dig it too. Starring Lydia Lunch, though you'll probably recognize a few other names in the credits if you're into any of the no wave shit from end-of -the-seventies NYC. Starts off a bit slow but it's worth the watch. There is some great imagery of the city in the gutter here. Being a no wave movie, you'd be foolish to expect much real plot, but the themes of anti-patriarchy and urban decay are clearly present. The soundtrack is superb as well. If numbers are important to you this has an 8.8 on IMDb (only five votes but hey). Runs approx. 45 min.
A few days ago the music world lost Poly Styrene, best known for her work with X-Ray Spex, one of the very best bands to come out of the initial wave of U.K. punk. Not a lot of bands sounded like the Spex, and Poly's opera-singer-punk wail remains a major contribution to the genre. Seriously, why weren't there more saxophones in punk music? You can (and probably did) read more eloquent pieces on her life and music elsewhere on the web, but grab these Peel Sessions and scream along, why don't you.
Been away from this space for a while, and am about to leave the country. When I get settled in posts shall continue. Til then, enjoy some pitch-perfect Russian punk from the end of the Cold War:
