Tuesday, May 1, 2012

The Ex - 1936, The Spanish Revolution 2x7" [1986]


Happy May Day, comrade. It's a holiday that is widely uncelebrated in my country, even though it is meant to commemorate the Haymarket Massacre, which of course happened in my hometown. According to Wikipedia, the US government instead assigned May 1 such comical/Orwellian names as 'Americanization Day,' 'Loyalty Day,' and 'Law Day.' In any case, if you've got the day off or are working an 8-hour day (rather than a 14-hour day, or at least getting overtime pay), you've got unions, socialists, and anarchists of past generations to thank for it.

For today's post I give you the Ex's 1936, the Spanish Revolution double 7". Those who know the Ex can probably already attest to the beauty of this release, but I'll get to that in a minute. First I want to talk about the revolution itself. It was a pretty special thing; it's not every day that ordinary people come together to create a relatively well-implemented anarchist economy and society. If you just want to take free music without learning anything cool, or if you're a Spanish Revolution historian, jump to the bottom. The overview is a little lengthy.

The context in which the revolution took place would be a pretty good place to start. Up to the 1930s, Spain was a largely preindustrial country controlled by wealthy landowners, the Catholic Church, and a series of monarchs and military dictators. Meanwhile, revolutionary fervor was brewing. Through the turn of the 20th century anarcho-syndicalism grew popular in rural Spain, and to a lesser extent in cities as well. The industrial sector was particularly rife with labor conflict. Strikes were a regular occurrence, and were often violently broken. Many thousands of workers were jailed or killed in numerous strike-busting clashes with bosses, police, and the military. In 1910, the CNT (Confederación Nacional del Trabajo), Spain's national anarchist labor union, came forth from a series of similar previous organizations. The militantly revolutionary FAI (Federación Anarquista Ibérica) was formed in 1927, following an exasperating decade of postwar economic turmoil that would be exacerbated by the coming worldwide Depression.

In 1931, the Second Spanish Republic came to power, consisting of a "largely self-appointed group of leaders of several small parties that had been formed within the past two or three years."1 The most pronounced change was the rise of anticlerical hostility, as the new government began to dismantle the Church's political authority. Though socialists were initially well-represented in the coalition government, things had swung to the right by 1934 with the rise of the monarchist pro-Catholic CEDA party, and many of the initial reforms were undone. This was contemporaneous with the rise of the Nazi Party in Germany, the Dollfuss regime in Austria2 and on the tails of substantial rightward shifts in Italy and the USSR. Socialist and anarchist miners in the northern Asturias region staged a rebellion/general strike that was viciously crushed by military forces led by General Francisco Franco. The shelling decimated the capital city of Oviedo. The rebellion was followed by intensified repression consisting of political executions, mass jailings (on the order of 30,000-40,000)3, wage cuts, and counter-reform.

Franco led the Army of Africa in a coup against the Second Republic on July 17, 1936, marking the official start of the Spanish Civil War. It was in this period of wartime instability that the anarchist revolution materialized. In the days following the coup, the CNT mobilized the workforce to take control of the factories, foundries, and transportation infrastructure, as well as organizing militias. Noam Chomsky summarizes (better than I can) the revolution in his 1968 essay "Objectivity and Liberal Scholarship":
During the months following the Franco insurrection in July 1936, a social revolution of unprecedented scope took place throughout much of Spain. It had no "revolutionary vanguard" and appears to have been largely spontaneous, involving masses of urban and rural laborers in a radical transformation of social and economic conditions that persisted, with remarkable success, until it was crushed by force […]

The left-wing socialist leader Largo Caballero had demanded in June that the workers be armed, but was refused by Azaña. When the coup came, the Republican government was paralyzed. Workers armed themselves in Madrid and Barcelona, robbing government armories and even ships in the harbor, and put down the insurrection while the government vacillated, torn between the twin dangers of submitting to Franco and arming the working classes. In large areas of Spain, effective authority passed into the hands of the anarchist and socialist workers who had played a substantial, generally dominant role in putting down the insurrection.

The next few months have frequently been described as a period of "dual power." In Barcelona, industry and commerce were largely collectivized, and a wave of collectivization spread through rural areas, as well as towns and villages, in Aragon, Castile, and the Levante, and to a lesser but still significant extent in many parts of Catalonia, Asturias, Es tremadura, and Andalusia […] The revolution was "apolitical," in the sense that its organs of power and administration remained separate from the central Republican government and, even after several anarchist leaders entered the government in the autumn of 1936, continued to function fairly independently until the revolution was finally crushed between the fascist and Communist-led Republican forces. The success of collectivization of industry and commerce in Barcelona impressed even highly unsympathetic observers such as Franz Borkenau. The scale of rural collectivization is indicated by these data from anarchist sources: in Aragon, 450 collectives with 500,000 members; in the Levante, 900 collectives accounting for about half the agricultural production and 70 percent of marketing in this, the richest agricultural region of Spain; in Castile, 300 collectives with about 100,000 members. […]

The period of July through September may be characterized as one of spontaneous, widespread, but unconsummated social revolution. A number of anarchist leaders joined the government; the reason, as stated by Federica Montseny on January 3, 1937, was this: ". . . . . the anarchists have entered the government to prevent the Revolution from deviating and in order to carry it further beyond the war, and also to oppose any dictatorial tendency, from wherever it might come." The central government fell increasingly under Communist control -- in Catalonia, under the control of the Communist-dominated PSUC (Partit Socialista Unificat de Catalunya) -- largely as a result of the valuable Russian military assistance. Communist success was greatest in the rich farming areas of the Levante (the government moved to Valencia, capital of one of the provinces), where prosperous farm owners flocked to the Peasant Federation that the party had organized to protect the wealthy farmers; this federation "served as a powerful instrument in checking the rural collectivization promoted by the agricultural workers of the province." Elsewhere as well, counterrevolutionary successes reflected increasing Communist dominance of the Republic.

The first phase of the counterrevolution was the legalization and regulation of those accomplishments of the revolution that appeared irreversible. A decree of October 7 by the Communist minister of agriculture, Vicente Uribe, legalized certain expropriations -- namely, of lands belonging to participants in the Franco revolt […] The decree compelled tenants to continue paying rent unless the landowners had supported Franco, and by guaranteeing former landholdings, it prevented distribution of land to the village poor […]

The second stage of the counterrevolution, from October 1936 through May 1937, involved the destruction of the local committees, the replacement of the militia by a conventional army, and the reestablishment of the prerevolutionary social and economic system, wherever this was possible. Finally in May 1937 came a direct attack on the working class in Barcelona (the May Days). Following the success of this attack, the process of liquidation of the revolution was completed. The collectivization decree of October 24 was rescinded and industries were "freed" from workers' control. Communist-led armies swept through Aragon, destroying many collectives and dismantling their organizations and, generally, bringing the area under the control of the central government. Throughout the Republican-held territories, the government, now under Communist domination, acted in accordance with the plan announced in Pravda on December 17, 1936: "So far as Catalonia is concerned, the cleaning up of Trotzkyist and Anarcho-Syndicalist elements there has already begun, and it will be carried out there with the same energy as in the U.S.S.R." -- and, we may add, in much the same manner.

In brief, the period from the summer of 1936 to 1937 was one of revolution and counter-revolution: the revolution was largely spontaneous with mass participation of anarchist and socialist industrial and agricultural workers; the counterrevolution was under Communist direction, the Communist party increasingly coming to represent the right wing of the Republic.4

[end Chomsky]
After the Communist-controlled, USSR-funded Republic government had effectively suppressed and disarmed the anarchists and socialists, who had constituted a significant proportion of the initial defenders against Franco's rebels, it proceeded to lose the war against Franco, who would go on to rule the Spanish State as a authoritarian dictatorship until his death in 1975, at the ripe old age of 82.

The sad stuff is not what I really want to emphasize, however. What is important about this piece of history is the social revolution that took place: a wide-reaching transformation of society to anarchist organization. The revolution can be broadly divided into two main parts: collectivization of industry and collectivization of agriculture.
Industrial collectivization began within hours of the Fascist uprising. Workers in Catalonia "seized control of 3000 enterprises. This included all public transportation services, shipping, electric and power companies, gas and water works, engineering and automobile assembly plants, mines, cement works, textile mills and paper factories, electrical and chemical concerns, glass bottle factories and perfumeries, food processing plants and breweries."5 Major changes in the organization of the tramways dramatically increased service while lowering fares. Similarly, anarchist organization of the vacated medical system (which had been run by priests and nuns prior to the revolution) introduced socialized medicine to thousands of Catalonians who had never before had access to a doctor in their lives. Wages were mostly equalized across industries, "and ex-bosses given the option of leaving or working as one of the regular workers, which they often accepted."6 The revolution also saw the introduction of many women to the workforce, though they still had to contend with domestic work and were paid less than men. In any case, industrial collectivization demonstrated the capacity of the workers to run their own factories without falling into the "chaos" typically attributed to anarchist organization.

Agricultural collectivization was even more extensive than the collectivization of industry, largely because most of Spain's workers were still farmers. While the collectivization was viewed as dangerous and harmful by small- and medium-level farmers (and, obviously, the owners of large landholdings), the majority of landless peasants welcomed the change. Historian Burnett Bolloten describes the process of rural collectivization:
A CNT-FAI committee was set up in each locality where the new regime was instituted. This committee not only exercised legislative and executive powers, but also administered justice. One of its first acts was to abolish private trade and to collectivize the soil of the rich, and often that of the poor, as well as farm buildings, machinery, livestock, and transport. Except in rare cases, barbers, bakers, carpenters, sandalmakers, doctors, dentists, teachers, blacksmiths, and tailors also came under the collective system. Stocks of food and clothing and other necessities were concentrated in a communal depot under the control of the committee, and the church, if not rendered useless by fire, was converted into a storehouse, dining hall, cafe, workshop, school, garage, or barracks.7
Wages (which often took the form of coupons rather than money) were based on the size of the family and the amounts of food and supplies they needed. Resources that were locally abundant were distributed freely or traded with neighboring collectives. Although there were reported instances of forced collectivization, this was not the norm. Small landowners who opted not to join the collectives were given enough land to support themselves but were not allowed to hire laborers, and were denied the social/economic benefits given to members. Large numbers of small farmers were thus compelled to join the collectives based on economic pragmatism rather than threat of violence.8 The Chomsky essay quoted above cites reports that production increased in many of the rural collectives.
Neither the industrial nor agricultural collectivization was perfect – in fact, there were a number of problems (see the Siedman book linked below). But imperfection has hardly stopped us from accepting massively worse systems, such as the one that is in place now. I am fascinated by the positive aspects of the Spanish revolution, and it gives me hope that similar experiments might be possible today (probably in developing countries, which serve as the best approximations for 1930s Spain).

Which brings me to the records themselves. In 1986, the Ex recorded four songs to commemorate the 50th anniversary of the revolution. Two songs are sung in English, and two are in Spanish. They are versions (or syntheses) of folk tunes sung by CNT-FAI partisans and those who aligned with them. Some of the words date back to earlier struggles, such as the defense against Napoleon's 1808 invasion. The Ex's arrangements of the songs fit snugly into the infinitely mutable realm of 'Ex-music,' and these are in fact some of my favorite Ex songs. The original release housed the two 7'' discs in the front and back covers of a 144-page book compiling scores of CNT archival photos from the period of 1936-1939. It is a labor of love, as Begemot over at La Folie du Jour elaborates:
The Ex does not pretend to have accomplished a historical or scientific task, and they make this clear soon enough. They also deny any claim of objectivity: "Thus [the foto collection] it is a compilation: neither chronological nor objective, but one-sided, partial and subjective. Only from the anarchist’s side…" Instead, they point out their aim, which has a double character: firstly, to show "…how much pleasure, imagination, devotion and energy the Spanish anarchists put in their effort to destroy once and for all the damned class of boots, ties and crucifixes…", the fact that this attempt to revolution "…saw an explosion of creativity which only takes place when you're finally able to conceive of something and follow through on it –to arrange your own life without hate and greed, without competition and oppression…" and finally how this effort "…was immediately [attacked], terrorized and destroyed by the state and the bourgeoisie…" Secondly, their aim is targeting to diagnose the similarities between the Spanish experiment and the present: "…For us the Spanish revolution is not just an event or incident, not just a chapter in a history book. It’s an attempt similar to what we are doing now: trying to get rid of this imposed shit system…" With that, the conclusion comes by the Ex as an afterword: for them, the anarchist experiment of the 30’s shows that "…it certainly is possible to bring an anarchist society into practice…''.


Buy the Spanish Revolution 2x 3" CD + book direct from the Ex
For no one is a slave

Links of interest:

References

1. Stanley G. Payne. A History of Spain and Portugal, Vol. 2. "Chapter 25: The Second Spanish Republic." 1973 Madison: University of Wisconsin Press. p. 630.

2. Ibid, p. 635.

3. Gabriel Jackson. The Spanish Republic and the Civil War, 1931-1939. 1967 Princeton: Princeton University Press. p.161.

4. Noam Chomsky. "Objectivity and Liberal Scholarship." Originally delivered as a lecture at New York University in March 1968.

5. Deidre Hogan. "Industrial Collectivisation during the Spanish Revolution." Red & Black Revolution No. 7, Winter 2003.

6. Ibid.

7. Burnett Bolloten. The Spanish Civil War: Revolution and Counterrevolution. "Chapter 6: The Revolution in the Countryside." 1991 Chapel Hill: University of North Carolina Press. p. 65-66.

8. Ibid, p. 75.

Saturday, April 21, 2012

mnttaB - Rocky 4​,​2 and 3 EP [2012]


Here is a submission from down in Melbourne, Australia. mnttaB (pronounce it 'Mount Tab') is a noisy synth-punk apocalypse that sounds kind of like what the cover art looks like -- i.e., a violent freak experiment of science and athletic training (and tattoos). They place special emphasis on infectious grooves, whether the drums are struck or programmed. Lots of yelling and general chaos that will make you want to jump around. This came out about two weeks ago, and is available for free on their bandcamp, along with their previous releases. All worth hearing.

There will be a European/US tour this summer, so keep an eye out for gig dates.



mnttaB bandcamp
mnttaB soundcloud

Sad Family - Separate Lives CS [2011]


Sad Family are a band I've been meaning to post for a while now, so here it is. Melodic, dynamic post-punk from Peoria, a town of about 115,000 in the middle of Illinois. This tape compiles a bunch of live performances with a few different lineups, but it plays through like a cohesive album. I haven't seen them play yet but going by these recordings I need to.

This came out on Crippled Sound, based in Urbana, Illinois.



Sad Family bandcamp
Get one of the few remaining copies at Red Dye
Crippled Sound store

The New Yorker - Living Among Winners and Losers 12" [2012]


From lastfm:

(1) The New Yorker is an American magazine that publishes reportage, commentary, criticism, essays, cartoons, poetry and fiction. Originally a weekly, the magazine is now published 47 times per year with five (usually more expansive) issues covering two-week spans.

(2) The New Yorker is a melodic punk/post-hardcore band from Northwest Indiana. 

Now that you're all sad about Raw Nerve being gone, have yourself a listen to this slice of Chicago/NW Indiana melodic hardcore. Members of this band are also in Lord Snow and Expendable Youth, and one was in Raw Nerve. Furious bass playing, harmonic feedback tunes, and drums that sound like a roll of M-80s going off. The melodic chord changes bring to mind the late Witch Hunt, or perhaps Syracuse, NY's Shoppers. Fans of those, or emotional hardcore in the vein of Rites of Spring, will dig this record. The ten songs are all about a minute-ish long and the whole thing runs through so nice you'll listen to it twice.


The New Yorker Bandcamp
Buy the records

Saturday, April 14, 2012

Raw Nerve - Everything I currently have by them [2009-2011]


So the last ever Raw Nerve show is tonight. Probably going on right now, actually. I'm stuck 130 miles from Chicago, so here's my way of seeing them off. I'm just glad I did get to see them a couple of times while they were around. At the moment I've got their music on blast -- hopefully it will sufficiently irritate my wannabe-fratboy neighbors.

For those who don't know, Raw Nerve has been one of the best hardcore bands around Chicago in the past few years. Lots of throat-shredding vocals and screaming feedback and all that. The drums are fine-tuned to generate the maximum amount of crowd movement. But they're hardly by-the-book hardcore. They've laid down some interesting coversongs -- including a gut-wrenching version of X-Ray Spex's "I Am a Cliche" -- and there are a few passages, especially on the self-titled LP, that suggest something "bigger than hardcore" going on, but never for long enough for the hardcore-or-die types to complain about it. What do you want me to say? This is punk rock -- it's fast and it's loud, and it's the easiest possible music to judge for yourself.

Raw Nerve has one final release, an EP entitled Every Problem Solved, that is being released right about now. You can hear one of the songs here:







While you're downloading all this stuff for free, you should take a look at the long list of currently-available releases over at Youth Attack. Records, tapes, tshirts, razor blades, and all variety of other good stuff can be found there.

Youth Attack releases

Friday, April 13, 2012

Brother Gruesome - Mesa Session [2012]


Brother Gruesome hail from Oklahoma City, a place I know nothing about. I saw them play here in Urbana the other night, and I really dug it. They are a guitar and drum duo who play some melodious jams that can also kick your ass. The sound has a good sense of dynamics, and they're able to get away with some actually good stretches of lyric-less music -- which a lot of people can't manage as just a two-person band. I could make comparisons to the likes of No Age and Pink Reason, or perhaps say they have a kind of a Neil Young thing going on, but that is just the impression I got from the gig. Stream and download this, and figure it out for yerself.

There are two other releases worth checking out on their bancamp. This stuff is all free to download (+pay what you want), but you can grab a tape or perhaps a 7" for cheap if you're going to be in Dallas, TX on April 20.



Brother Gruesome bandcamp

Sunday, April 8, 2012

Easter - Demonstration [2011]


On Sunday Mr. J.H. Christ regains consciousness in a dank, cavernous tomb. "Oh my Dad, what happened this weekend?" he thinks. "I must have been pretty hammered for two days to go by like that. I think we had a good time on Friday ... shit." Looking through his hands and feet, he exclaims, "I really got hammered." So he crawls out of the cave on his holy hands and knees into town to find some falafel to try and keep down. His twelve friends came by later to see if he was still passed out, but he had Risen.
So happy Easter to ya, heathen. This band's name is Easter, which is why I'm posting it today. Here is a sixteen-minute demo EP that Kyle down here in Champaign made last year. It's some really good Calvin Johnson-inspired stuff. I think he recorded everything on here himself, but Easter has been playing shows around town as a full band. The sound is unapologetically poppy, but has nonetheless spurred some frenzied moshpits. Have a listen for yourself -- it's as sweet as the chocolate eggs you're scarfing down today.



Easter bandcamp

re-up'd: Les Rallizes Dénudés - Heavier Than a Death in the Family [1977]


Les Rallizes Dénudés (「裸のラリーズ」"Naked Rallizes" in Japanese) are more or less a contrarian underground rock fan's wet dream: from Japan, gigged fairly steadily for three decades, released virtually no official material (but are extensively bootlegged), contains a lot of guitar noise, had a bass player commit some kind of radical leftist plane hijacking -- I could go on but it would belabor the point. With 'backstory' like this surrounding such a reclusive band, there are many who come in with expectations that are somehow not met by the music. So here's the straight dope on this band.

The sound concept is fairly simple -- repetitive rock and doo-wop bass mantras washed over by massive guitar surges, punctuated by Takashi Mizutani's vocal yelps and stretched out to 10 minute(+) sonic endeavors. The insanity is tempered by the electric folk balladry that formed the skeleton of the music when they came together in the late 1960s. Many of the songs were originally developed alongside experimental theater/performance pieces. The vibe is a combination of kosmische punk, dub, and soaring damaged pop greatness. Think of '67-'68 Velvets guitar supernovae out at the far corners of the universe, and the cosmic feedback that such cataclysms would emit. Mizutani's guitar makes the sound of the sky falling, only to rise through the stratosphere at the next moment.

Heavier Than a Death in the Family's tracks are mostly pulled from performances in 1977 (some of them appear on the Rallizes double-disc ur-text '77 Live), one of a number of high points in the band's existence. However, possibly the best piece on here is the ten-minute "People Can Choose," recorded in 1973. It's a powerful motorik beast. Also, for those hundreds of you who downloaded the Dirty Beaches album I posted in my end of 2011 post, you might like to know that this is the stuff that guy was channeling/sampling on "A Hundred Highways."


Basically everyone from Keiji Haino, to Asahito Nanjo (High Rise, Mainliner, etc.), to Acid Mothers Temple, to anyone who claims to play 'shoegaze' takes cues from these guys. It's not so much word-of-mouth as it is word-of-amp. And for some reason, a lot of people are into it. I'm personally hooked. I wouldn't expect everyone to like this -- but for those who do, this is a golden god of Rock.

Rallizes remain largely unacknowledged, both in and outside of Japan. The only people I ever met in Japan who knew of them were record store owners, and even they weren't aware of the recent vinyl reissues being put out in the UK and US. However, with the age of the internet upon us, they are being gradually introduced to the masses, lifted from the depths of the underground and into your auspicious ears.


Les Rallizes Denudes fan site (日本語だけ)
Alleged lyrics
Total cultural assault

Saturday, March 31, 2012

Dive Signals - 10,000 Tropics [2012]


Come inhale the mellowness of this submission from Orange, California. Dive Signals is the one-man drone/electronic project of Angel Ortega. This is pretty much exactly what I'd expect to manifest from a place like southern California (but outside of L.A.): the sum-total "good feeling" resulting from the warmth, wind chimes, the waves, palm trees bobbing in the breeze, and all that pleasant stuff. It also gets fairly cosmic on some of the songs. If you're into krauty, electronic drone-type stuff this will be right up your alley. I've found it also makes for great music for reading, studying, or drifting off to sleep. Whether you listen while trying to focus or zone out, it's best heard as one continuous piece. Mr. Ortega recommends headphones and so do I.

10,000 Tropics came out in digital format (free + pay what you want/can) a couple weeks ago, and a physical release is in the works. Keep an eye on Static Reason for details.



Dive Signals bandcamp
Dive Signals tumblr

Nude Beach - II [2012]


A little over a week ago I had the pleasure of seeing the Men in Chicago. It was great show, which involved my being inadvertently crowdsurfed for a good 90 seconds or so ("let me the fuck down!"). But since the Men are pretty well-hyped as of late -- get their new album, Open Your Heart, on Sacred Bones -- I'll write about their fellow New Yorker tourmates Nude Beach. They bring the melody and songwriting and punch you in the head with it. Easy-to-hear sonic influences would be Let It Be-era Replacements, Springsteen, and Big Star, and maybe a little Tom Petty (in a good way). As far as current bands go, you'll probably like these guys if you're into the Men or Kurt Vile/The War on Drugs. Sounds good right? So hit play and download this, or buy an LP.




Buy II at Katorga Works -- they've also got great records by Brown Sugar, Hoax, Rational Animals, Creem, Pop. 1280, Tenement, Crazy Spirit, and many more.

P.S. Somebody taped the Men's set, so enjoy it here:

Saturday, March 24, 2012

Disciplina Kičme - Ja imam šarene oči [1985]


This is the second record by Serbian postpunks Disciplina Kičme. It continues in the psyched-out industrial dirge of the first record, and it is just as good. Not a lot of bands utilize a 'lead bass' position, but holy christ is it effective here. The synthesis of massive drum grooves and electrified bridge cable bass clamor give this band an undeniable, heavy swing. Discogs actually has DK listed as a funk/soul band, and while superficially that's way off the mark, it does sort of make sense. The riddm is king on this slab. There's also some free jazz horn wailing on here, but nothing like the sort-of-goofy-sounding Balkan brass arrangements that materialized on later DK records.

I originally heard this from a post at Puke Skywalker some years ago, but that link is dead so I put up my own file.

Ja imam šarene oči Discogs page
Novac neće doći

Disciplina Kičme - Sviđa mi se da ti ne bude prijatno [1983]


Music like this is what compels me to love the internet. It's highly unlikely I would come across something like this any other way. Disciplina Kičme formed in 1981 in Belgrade, Serbia. It sounds like an acid-fried Jimi Hendrix playing bass in a dark post-punk band, informed by the same kind of muddiness that, say, drove the Screamers to eschew guitars for dissonant synths. Yep, no guitar here either -- just bass and drums (well, plus all the pedals). But this is some of the greatest stuff I have ever heard. Fans of Wire, High Rise, and any other Serbian/Slovenian/Bosnian/other Yugoslav stuff from this period will all be at home listening to this band. They had one other great EP, which I will also post. After that, they added a bunch of horns and drum machines and stuff, which was maybe/maybe not good (definitely different) but these first couple of records are essential.

Wiki page on this album
Youth does not justify unconsciousness

Saturday, March 3, 2012

Psychic Blood - Strain 7" [2011]


Psychic Blood are a group of noisy punks from Holyoke, Massachusetts. There is a lot of GUITARS on here. It sounds kind of Hüskers-ish -- right up my alley, and many of yours, I'm sure. The idea seems to be 'cram a folk melody under 30 tons of feedback,' and it sounds like flying down a highway at night with the windows down. Bands like this have a tendency to fall flat relying on the noise to cover their lack of songwriting. But that can't be said here. Thankfully, in Psychic Blood's case, the melody comes across pretty much intact, bringing with it all the cool additive chord voicings and resonance that it picked up in the feedback field. This stuff is really good.

Strain will be released as a 7" sometime soon, and Psychic Blood is in the process of finishing up their first full-length LP. In the meantime, put these guys in your hard drive and your ears. At Psychic Blood's soundcloud, you can also listen to their other two releases. All worth hearing.

Psychic Blood website
Strain

Thursday, March 1, 2012

Puke Skywalker - Tripper Crust EP [2012]


Puke Skywalker is one of the first music blogs I ever started following, and is responsible for introducing me to some of the bands I love most (Can, Les Rallizes Dénudés, Grazhdanskaya Oborona, etc.). Posting dropped off for a good while there, only to return with some creations of the author himself.

This EP is a bunch of punk/hardcore/crust songs sampled and cut up to create new 'songs.' Which makes perfect sense if you think about it: bands constantly rehash and rearrange chord changes, guitar leads, vocal rhythms, and drum beats when making 'real' punk music; Puke Skywalker is different from that only technically. I'm honestly surprised I haven't heard other people doing this (I assume they're out there).

Anyway, the music is intense as fuck and samples Infest, Anal Cunt, and some other stuff I'm not really familiar with. But I gotta say, there is something incredibly gratifying about hearing blast beats at a speed that may or may not be humanly possible. Also, the artwork is sick.

Fuck the Machine

re-up'd: Disappears - Pre Language [2012]


Here's the recently-released third album from Chicago's Disappears. I remember seeing them for free at Millenium Park a few summers ago; back then they were riding one-chord guitar noise waves punctuated by tight motorik rhythms in a garage sort of style (here's a Chicago Reader article about them from the time). I really liked that whole schtick, and their first two albums, Lux and Guider, nailed down the aesthetic without making the consciously limited style become stale. Since the recording of those two, they've added Sonic Youth's Steve Shelley to their drumkit, and he has definitely helped develop Disappears' sound further.

Pre Language is quite a bit different from what came before, most obviously in the rhythm section. Mr. Shelley and bassist Damon Carruesco carve out their grooves in more subtle and diverse ways than the band did on previous records. The Johnathan Richman-telling-you-what's-up vocals haven't changed much, but no need to fix what ain't broke. The guitars are still noisily psyched-out with plenty of reverb, but the idea this time seems a little closer to Wire than Neu!. I guess that's the biggest difference I could notice on this record; some of the krauty garage scooched over to make room for post-punk.

The songwriting and production are what will get you into this. The intent behind the songs remains rooted in the idea of not getting too fancy -- nobody could ever accuse Disappears of noodling. Instead, they churn out some masterfully-crafted psych-punk jams. And they sound better than ever, thanks to recording in Sonic Youth's personal studio.

I could tell you about the indivdual songs but you should really just get them into your ear without my words diluting the experience. Here's the first song:

Disappears website/tour info
Buy Pre Language on Kranky Records [came out this week, so don't be stingy yo]
Is it real or replicate