Built on a Weak Spot

Hope everyone had a nice holiday. I am just now finally catching my breath a bit after the wonderful snow storm we had here in the Midwest made things that much more busy/hectic around here. I don’t think I’ve ever had Christmas feel like it drug on as long as it did this year. But no matter, I am looking forward to 2010 as BOAWS enters into its fourth year of existence (wow really?). Many thanks to everyone that has left comments, sent e-mails, and to all of the labels who have been very cool and supportive.

A slew of new (or in this case re-issued) releases hit my doorstep during this month that I’ve been meaning to get up on the blog, but a flurry of outside activity has really hampered many attempts of doing so. This one from weirdo noise-rockers FNU Ronnies was actually released as a hard to obtain cassette release in Denmark before being released on a one-sided 12” inch earlier this year through Night People. This US cassette re-issue of the Golem EP however contains a bit of a bonus for those that may have missed out on the previous two releases or to anyone that just can’t get enough of this band. Along with the three songs that destroyed skulls originally, those interested can pick this up and hear a seventeen minute long exclusive b-side that again pounds and blasts forth in the sort monotonous and somewhat hypnotizing fashion that these guys are amazingly good at. While I wouldn’t typically say pick this up if you already have one of the other versions, this is definitely worth grabbing for the price since it’s on cassette. It features different artwork too, if that matters at all. Plus, “Golem Smoke” is just a really good track…why wouldn’t you want multiple copies of it?

FNU Ronnies – Golem Smoke [MP3]

For those interested in grabbing this, just head on over to Fan Death Records where they have this and many other excellent items from this past year up for sale. Hop on if you’re enjoying what you hear.

Seems like I’ve seen You Are the Magic People mentioned all throughout the year from the Boston based arty noise-rock unit Magic People, yet I didn’t really realize it hadn’t actually been released. I think that may be about to change, albeit it may be in a very limited run through Oklo Audio here in the near future.

Magic People, during their nearly 5 year run of existence, has seen a number of changes over that time however has emerged as essentially the core of former Neptune and Grand Island drummer John Manson (now on bass) and keyboardist Al Deaderick. Together along with a cast including Jesse Hubbell (guitar/percussion) and Joshua Owsley (drums/saxophone) they recorded You Are the Magic People to be released on Oklo Audio. Those familiar with Manson’s previous groups don’t need much an introduction to Magic People. The odd sounds and lyrical wit that surrounded those outfits manage to work its way into a portion of Magic People’s material. On You Are the Magic People however, the groups sound is largely driven by an alternating assignment of consistent grooves provided by either Manson or Deaderick, which at times sound like a demented theme for a children’s show when paired with the spoken word and borderline ranting lyrical style of Manson. It’s not necessarily out of left field weirdo, but it certainly keeps things interesting and songs like “The Pigeon and The Eggs” and “Fuck the Wind” contain a deceptively catchy quality to them that has me repeating them over and over again. It’s a solid record for sure that fits right along with many of the great experimental/noise-rock related material that Boston spawned over the years.

Magic People – Fuck the Wind [MP3]

While the physical album doesn’t appear to be available quite yet, it has been made available freely through online label Inman Street Records. If you like what you hear definitely drop them a five dollar donation which I am sure would be much appreciated. While you’re there…download that Reports LP they have available too. Keep checking up on the bands Facebook page or the Oklo Audio blog for information on LP version of You Are the Magic People.

Don’t have this one physically in my hands yet since it’s not officially out until the end of this month, however the band was kind enough to pass along the album to me digitally to take an early listen and say a few words about it. However before I go any further I must extend a big thanks to One Base on an Overthrow for bringing these guys to my attention in the first place. So thanks!

Brava Spectre are a four piece based out of New London, Connecticut that are about to unleash a mammoth of a debut album The Hands, The Water, The Hands That Occupy the Water come the 27th. I describe it as mammoth because not only is it over an hour long while spanning across a mere eight songs, it’s also downright punishing for just about damn near all of it. It’s actually quite hard to describe just what these guys are doing. It’s definitely loud, a bit jazzy, and certainly experimental as the songs seem to string together a collage of sounds and directions. The vocals are fairly indecipherable but not in an annoying in your face screamo sort of way, rather they are buried underneath the drums and bass that are so busy taking command and absolutely destroying the woofers on your speakers. What I can tell you is that this album is really good and I am willing to bet a few of you that follow the blog will find this to be a bit enjoyable as well. Do check out the tune below…

Brava Spectre – The Lioness Eye Tamed My Open Palm [MP3]

At this time I’m not quite sure in which ways anyone wishing to pick this up will be able to do so, but I am sure simply contacting the band via their MySpace and expressing some interest will do the trick. If you’re in the New London area, then the band will have the CD with them at their release show at the Oasis on the 27th.

Pretty much anything that features former members of U.S. Maple is going to get my attention and thus since catching wind about Miracle Condition a couple years ago I’ve been waiting to hear some material from the trio, which features Mark Shippy (guitar) and Pat Samson (drums) of the aforementioned U.S. Maple along with Matt Carson (vocals & guitar). Just recently however, the band released the 68 Degrees mini-album through the Tizona label and it features four fresh cuts from the band that was quickly snatched up by these eager ears.

Moving away some from the experimental rough and tumble noise mongering that were attributes of the members’ previous band(s), Miracle Condition takes aim at the dreamy and trance inducing soundscapes of space/psych/shoegaze all sort of rolled onto one nice blue piece of wax. I guess the band sums it up nicely in their own bio applying it with the name of “spacegaze”, which sits just fine with me as I certainly can’t come up with anything better to call it and who would I be to argue with that anyway? As to be expected the experimental/avant background that the members all share never leaves and works its way into Miracle Condition’s music throughout much of the record but acting as sort of a different beast for each members musical proficiencies to be put on display. 68 Degrees is a rewarding sampling of the band and a soothing one at that. Definitely give the track below a listen.

Miracle Condition – Classified Re-Entry Part I [MP3]

For those interested in picking up 68 Degrees then head on over to Chicago Independent where it’s currently available. I don’t know if it’s advertised anywhere, but mine came with a code with an option for an MP3/Lossless download of the album. Be on the lookout of the bands first full-length album on November 24th, which I think is also coming out on Tizona and will likely again be available through Chicago Independent. Keep checking and enjoy!

This will be up there as far as reissues of the year go. Big props to Ride the Snake for considering this little Pittsburgh artifact worth the time to resurrect from cassette tape purgatory from roughly a decade ago, the second of two cassettes the band released while together. Dead at 24 were very much the anti-Pittsburgh though, for every band that’s ever been discussed on this blog that came out of the city you almost have to completely disregard any preconceived thoughts about Dead at 24 that may have been caused by those write ups. Instead, slow things down to the murk of rigid guitar work and lumbering monotonous drumming with sparsely placed synths throughout that amalgamated into a formal challenge to concert goers that dared to show up. To me, Blast Off Motherfucker! is almost the perfect translation into music for exhaustion and all the surrounding negativity of day to day life. What was surely a confusing and intriguing piece of work for its time is still very much that today. Especially when held up against the sort of underground no-wave/noise/punk that has been swelling for awhile now.

Doug Mosurock has a wonderful write up over at Still Single about the band for anyone that wishes to know more about them. Some may recognize Steve Boyle and his brief time with Swob, whose LP Persis Hussey that was originally slated for release on Project A Bomb from what I understand, was never released. I really really wish someone would do that because I am getting tired of having to listen to mediocre bootlegs that I’m assuming were dubbed from an old cassette. Anyone?

Dead at 24 – When Delirium Comes [MP3]

Anyone wishing to pick up Blast Off Motherfucker! can do so through Ride the Snake. Only 300 500 of these things were pressed and many have already been sold so definitely get on it if you’re looking to get a copy of this with any sort of ease and lack of searching.

Took me awhile to actually find a place I could order this album from Sister Iodine without it having to be shipped over a large body of water. Thankfully I eventually stumbled across it in the NY based Other Music online store and had it here within a few days. Aside from being troublesome to find, it has also been a bit of a pain to get recorded on to my computer as well. I was in the middle of doing that when I realized that my computer was in the middle of going belly up in which I lost whatever I had already recorded. However, the whole ordeal left me with multiple listens to Flame Desastre, which apparently is the bands fourth album. Seems like there is more than that, but I’m not certain. Anyway, Sister Iodine’s latest effort here was more than fitting for the situation. It sounds like mechanical or structural failure…a really bad one at that. It’s almost like listening to a suspension bridge with its wires snapping and flying everywhere as it eventually collapses sending a deafening rumble that can be heard for miles. That’s Flame Desastre over its ten tracks of violently played style of twisted metallic noise. It’s extremely harsh and it doesn’t waver a bit from the path it sets forth from opening track “You/Lacerate” to the cold robotic noise of finale “Chromata Vein”. There is almost a sense of determination within the record, with the tracks somehow documenting a struggle to reach an apex that they won’t see…cracking and devolving into a mess of guitar/electronic distortion only to loop right back and try it all over again. For the listener it can be challenging, but as with any horrifying spectacle you want to see how it plays out and Flame Desastre is no different. For the most part it succeeds in being able to draw upon that sick interest inside all of us.

Sister Iodine – You/Lacerate [MP3]

Currently Flame Desastre is only available on vinyl through Premier Sang, however it was recently announced that the album will be released on CD this coming November. I don’t know where it will be available though, it’s supposed to have some bonus tracks as well. Anyway, in the meantime I think Other Music still has copies. Otherwise, you can try the many overseas distros that seem to have it by simply Googling the album. Enjoy!

Anyone out there ever pick an album based on hearing a song or two thinking the rest of it was going to be like those? If so, then you’ve probably found that most of the time that doesn’t end well. However, there is the rare occasion where something comes completely out of left field to really surprise and ultimately impress. Black Cock and their recently released debut Robot Child with a God Complex pretty much shattered any preconception of what I thought I was going to hear when I initially purchased the disc. I’m not necessarily sure what I was thinking I was going to hear, but I am pretty sure it wasn’t this. However, after listening to Robot Child with a God Complex a few times through now, it’s apparent that whatever I was expecting wouldn’t have held up to this.

Funny thing, I began to write this late last night around 4 in the morning, but by that point the sound of lying down on a comfy bed was just too much to resist. However, while laying in bed I began to think about when I worked odd hours at my old job, remaining awake for practically 24 hours or more and how the state of sleep depravation that I would feel kind of related to how Black Cock basically sound. There are moments of dreamy synth that go from soothing to jarring and just downright creepy at a moments notice. The same goes for Whitney Jordon’s vocals, which tag right along. Their music is ultimately the soundtrack you would hear in those last moments where everything/everyone around becomes nothing but muffled noises and just general incoherency. The difference being Black Cock is far from incoherent, as they’ve seen this sound all the way through with pretty great results. There is dashes of everything from Jesus Lizard to early Faith No More to be found here. One write up mentioned that they showed flashes of an old 4AD band, which I can very much agree with…however more so like if they had collided head on with a diesel or something. This is very cool stuff nonetheless.

Black Cock – Harvey’s Machine [MP3]

For those interested in picking up Robot Child with a God Complex, then head on over to the bands website. Also, the whole album is streamable through their Bandcamp site and available for digital purchase for those who prefer that method. Enjoy!

Morsel was an interesting band that came out of the Ann Arbor, Michigan area during the mid nineties. Essentially always the core of singer/flautist Miriam Cabrera, bassist/drummer Be Hussey, and later in the bands life electronics specialist John Vorus, they went through a number of other members that probably helped shape the darker/moody characteristics of the band. However, with a core such as that it still allowed the band to constantly evolve their sound from their more basic yet still unconventional beginnings. The band started out as mostly a straight up indie-rock/noise-rock outfit with their debut cassette EP G.I.B.L.E.T in 1992 and their first album Noise Floor through the defunct Choke label in 1994. Morsel kind of drew in some early attention due in part to Cabrera’s interesting vocal approach in that she sang directly into a blow hole of a flute that produced this weird and often unsettling shriek.

The band recorded a follow up EP that was Self-Titled in 1995 that was supposed to be released on Choke again, but by that time the label had folded and the band moved to Small Stone. The EP began to show glimpses of Morsel’s move into a more textured and progressive sound that would later dominate their last two albums I’m a Wreck and Para Siempre released in 1997 and 2001 respectively. The addition of Vorus likely played a large role into shaping what these albums sounded like.

Personally I find their second album I’m a Wreck to be the most accomplished and well balanced of their two clashing styles approach. It’s not as ambient and electro heavy as Para Siempre, which is a decent album as well, however may not satisfy those who want something with a bit more substance and force.

Noise Floor:
Morsel – Spark Knock [MP3]

Morsel EP:
Morsel – Ocho [MP3]

I’m a Wreck:
Morsel – Didge [MP3]

Para Siempre:
Morsel – Red Red Red [MP3]

For those interested in picking up any of the bands releases, practically every single one of them are still available on Amazon for a couple bucks or less and some shipping. Or I think most of their discography is available digitally through iTunes and the likes. Give it a go if you’re enjoying what you hear.

Mazey Fade was an incredibly underrated noise-rock/experimental band from Liverpool in the early to mid 90’s. Their brief existence might have added to their otherwise now obscurity, as the band squeezed out a few releases between ’93 and ’95 before disappearing. Those that have never heard the band should definitely take a listen if it’s visceral avant-garde rock you’re seeking.

Aside from their excellent full-length Secret Watchers Built the World that was released in 1994 through Domino Records, their 10-inch EP Not Good Radio could also serve as a high water mark for the band and probably my favorite release they put out. There is plenty of trebly atonal guitar work throughout the five songs on the EP and makes it an, at times, uneasy yet captivating listen. Not Good Radio also happened to be the bands final release sadly, which came out in 1995 once again through Domino. All in all I think the band released a couple singles, an EP, and two full-length albums most of which were through the Domino label.

Draco’s Light LP:
Mazey Fade – Nightmare Sound Man [MP3]

Secret Watchers Built the World:
Mazey Fade – Anastasia [MP3]

Not Good Radio 10’’:
Mazey Fade – Version [MP3]

While it may be a bit difficult to track down physical copies of some the bands material, I do know that Secret Watchers Built the World is readily available used on Amazon or it can be purchased digitally through the UK division of Domino Records along with one of the bands earlier singles. I definitely suggest picking up Secret Watchers Built the World as it’s so cheap for such a good album.

Back again this year is Eric Quach with another fantastic edition in the thisquietarmy catalog titled Blackhaunter. Some may remember me writing a few words about the projects debut Unconquered earlier this year, which I fully recommend to pick up. Focusing on Blackhaunter though, this mini album of sorts takes on a bit of a different feel than it predecessor. Where Unconquered used layered fuzzy tones and loops to create a bit of warmth here and there, Blackhaunter does the complete opposite. As the title might suggest, this is a darker and much colder vision from Quach that at times reaches unsettling hair raising atmospherics. In my opinion it seems like a fantastic way to follow up a record such as Unconquered and displays Quach’s ability to achieve such contrasting moods through his skillful guitar tone manipulations.

All I can really think about through Blackhaunter, especially during the first couple of tracks, is being outside lost in the dark surrounded by nothing but snow covered terrain with only the moonlight reflecting off of it providing any sort of light. Blackhaunter manages to capture that sort of gloom and hopelessness in expert fashion. Tracks like “Vampyr” and “Taming the Beast” are especially enjoyable to listen to as you can slowly hear various layers fall into place that eventually contribute to each tracks monumental ending full of melted distortion and warped melodies. I won’t say “Hunting Demons” is the most uplifting piece from the album; however it strays away from the impending doom for a few moments and opts for a more weighty melancholic set of melodies that spans almost the entire eight minutes of the track.

thisquietarmy – Vampyr [MP3]

For those interested in picking up Blackhaunter then head on over to Elevation Recordings. It’s limited 1000 copies and once their gone they will be gone for good. However if you’re into the digital thing these days, then there is always MP3’s available for purchase at Emusic, etc. Enjoy!