I wish the ape a lot of success.
Stereo Sisterhood / Blog Graveyard:
- After The Sabbath (R.I.P?) ; All Ages ; Another Nickel (R.I.P.) ; Bachelor ; BangtheBore ; Beard (R.I.P.) ; Beyond The Implode (R.I.P.) ; Black Editions ; Black Time ; Blue Moment ; Bull ; Cocaine & Rhinestones ; Dancing ; DCB (R.I.P.) ; Did Not Chart ; Diskant (R.I.P.) ; DIYSFL ; Dreaming (R.I.P.?) ; Dusted in Exile ; Echoes & Dust ; Every GBV LP ; Flux ; Free ; Freq ; F-in' Record Reviews ; Garage Hangover ; Gramophone ; Grant ; Head Heritage ; Heathen Disco/Doug Mosurock ; Jonathan ; KBD ; Kulkarni ; Landline/Jay Babcock ; Lexicon Devil ; Lost Prom (R.I.P.?) ; LPCoverLover ; Midnight Mines ; Musique Machine ; Mutant Sounds (R.I.P.?) ; Nick Thunk :( ; Norman ; Peel ; Perfect Sound Forever ; Quietus ; Science ; Teleport City ; Terminal Escape ; Terrascope ; Tome ; Transistors ; Ubu ; Upset ; Vibes ; WFMU (R.I.P.) ; XRRF (occasionally resurrected). [If you know of any good rock-write still online, pls let me know.]
Other Place. // One Band. // Another Band. // Spooky Sounds. // MIXES. // Thanks for reading.
Saturday, February 29, 2020
First Quarter Report # 4:
Ryte – s/t LP
(Heavy Psych Sounds)
Staying on a European stoner-rock tip, Ryte appear to dwell somewhere in the vicinity of Vienna, and, though there are a few moments on their self-titled LP which find them stretching out into more atmospheric realms as the fog of feedback ebbs and flows between chords, for the most part they’re keeping it simple here. Which is to say, Ryte deal in riffs. Also solos, plenty of solos. But mainly riffs. Sweet riffs, crushing riffs, comfortingly familiar riffs, cool, tricky riffs, searing, melodic riffs - riffs atop riffs, and verily, these are GOOD riffs. And, to some extent, that’s all that needs to be said here really. Ryte’s riffs, meet the ears of rock fans. You guys are gonna get along great, I just know it!
Fifty word reviews just ain’t the way we roll around here however, so let’s dig deeper. Keeping things about 90% instrumental, Ryte open the first of four extended cuts on their LP with a dense swirl of wah n’ delay-blasted, overdubbed guitar tendrils, sounding not unlike the kind of eternal rockist nirvana envisioned by Mike Vest in his more recent projects, before things eventually thicken up into a meatier, low-end groove which sounds quite a lot like Sleep - a comparison which remains in play across much of the subsequent half hour, particularly coming to the fore during the rare moments in which vocals intrude upon proceedings.
As anyone who has ever detuned an E string in an unventilated room will tell you however, sounding quite a lot like Sleep is easier said than done, and Ryte celebrate their overwhelming success in the doing department by overlaying their riffery with further sick, self-indulgent lead shredding. Also, more riffs. Sweet!
‘Raging Mammoth’! ‘Shaking Pyramid’! Yes, these are the kind of things pieces of music like this should be called, and I commend artist Sandra Havik for her valiant attempts to literally illustrate these concepts on the album’s front cover. Side 2’s ‘Monolith’ is dutifully depicted on the back cover meanwhile, whilst the accompanying track mixes things up somewhat, heading in a more trad metal direction, bringing in NWBHM-ish harmonic leads and moving from curious, almost jazzy/modal passages early on toward some positively Maiden-esque adventures in mid-tempo, dragon-slaying guitar heroism. Probably the all-round best cut here, it’s pretty damn immense.
And as for fourth/final cut ‘Invaders’… well, I suppose the mammoth and/or pyramid might be seen to be ‘invading’ in some more general sense, but otherwise, no dice, art-wise. Music-wise, it proves a a bit of an outlier too, following up a few minutes of consummate – though by this point standard issue – riffage with a member of the band with a reedy, somewhat theatrical voice taking the mic to holler about “space invadeeeeers”, followed up by some seriously wacky theremin action. Hmm.
So: pretty much a “what’s not to like?” scenario here, I’m thinking. Totally flawless, psyched-out riff-rock / full-on metal with a slight edge of off kilter weirdness? Yes please! Frankly I’d be heading to leave this spinning for a good few weeks even without the off kilter weirdness, but it’s all to the good. Nothing ground-breaking here perhaps, but utter, self-indulgent fun of the highest order, destined to keep me putting one foot in front of the other for weeks to come.
Labels: album reviews, Ryte
Wednesday, February 26, 2020
First Quarter Report # 3:
Domo –
Domonautas Vol # 1 LP
(Clostridium)
Returning to the astral plain of pure musical escapism, Domo hail from the golden city of Alicante. Their name doubles as a Japanese honorific (“domo arigato”, etc), which pleases me, and their debut ‘Domonautas Vol # 1’ LP (on the German Clostridium label) finds them infusing their consummate stoner/space-rock with a heroic dose of pre-‘Dark Side..’ Floyd / early King Crimson styled compositional ambience, which pleases me yet further, fooling me for forty-odd minutes into imagining all is right with the world.
For, as long as the dusty string/brass/choral textures drift past like a twilight frolic through Bosch’s Garden on the opening ‘Oxymoron’, languid bass walkin’ the dog until those pyramid-robbin’, Eastern-tinged riffs crash down at precisely the right moment for an extended interplanetary grind on second cut ‘Astródomo’ … we have no cause to worry.
Though they may initially seem to be lurking somewhere on the same general vacinity as Denmark’s Causa Sui and the El Paraiso label, aesthetically-speaking, Domo achieve a mellower, more approachable sound here, digging deeper into the feel (rather than merely form) of their vintage influences, leaving their music enriched by fading echoes of bucolic, analogue-era psych alongside their sinister metal void-gazin’ and, crucially, exhibiting a greater veneration for the supremacy of The Almighty Groove.
If there’s a lot of prog in the mix, well, rest assured, this is prog in the best possible sense of the world, valuing a sense of collective expression over individual ego-trips from the players (though there are, naturally, plenty of ripping solos to enjoy too), making – to my ears at least – for a supremely generous quartet of semi-side long jams, epic as you like whilst keeping a careful check on the bombast, making sure heads keep nodding all the way to the silver gates of infinity. (The cyclical riff on side 2’s ‘Rituel del Sol’ is particularly immense in this respect.)
Basically, this record sounds like it’s cover art (by Maarten Donders) looks, to the extent that I’d wager your instinctive reaction to the cover will very likely mirror your response to the music within. If you have no space for this in your life, I won’t judge you, but personally, I’m down with it.
(Up close you can even see the brush strokes and the texture of the canvas reproduced on the LP cover, it looks smashing. I wish it was made of that lovely textured card material you sometimes get on old ‘70s albums, but shit, can’t have everything right? Might as well demand to see it adorning the walls of some candle-lit beach house, waves crashing upon the shore outside. It’s a lovely package anyway, and I’m happy merely to own this LP; well worth the eye-watering sum you’ll likely pay to some delivery firm to place one in yr hands.)
Labels: album reviews, Domo
Saturday, February 22, 2020
First Quarter Report # 2:
Jaimie Branch –
Fly or Die II: Bird Dogs of Paradise LP
(International Anthem)
I realise this may not be big news to those quicker on the uptake than I, but Jaimie Branch is a U.S.-based trumpet player (and latterly, vocalist), and ‘Fly or Die II: Dog Birds of Paradise’ is her second album for the so-flawlessly-hip-it’s-making-me-suspicious International Anthem label. Recorded on stage at London’s Total Refreshment Centre and Café Oto in late 2018 (why was I not there, what an absolute fool), the record is a fairly sombre and stripped back affair in comparison to the kaleidoscopic splendour favoured by some of Branch’s label-mates, finding her accompanied for the most part simply by a core trio of Lester St Louis (cello), Jason Ajemian (string bass) and Chad Taylor (drums).
Though she may also be lacking in Ellingtonian compositional heft, in terms of pure feel, I get a strong Mingus kick from Branch’s work. There’s certainly a lot of dark, empty space between her strident, combative horn crescendos and the churning, knotty low end provided by Ajemian and St Louis, which puts me in mind of the textures on the classic Mingus albums, but more importantly, her songs (and there are indeed some songs here) also seem driven by a similarly heady mixture of joyous exuberance and deep-rooted anger.
Nowhere is this more evident than on the album’s centre-piece and obvious stand-out, ‘Prayer for Amerikkka’, a brooding yet adrenalised lament which finds Branch taking to the vocal mic, linguistic syntax crumbling slightly, as in all the best anger-choked outbursts, as she speaks in no uncertain terms of the “bunch of wide-eyed RACISTS” currently clogging up the pipes of her nation, as disorienting bursts of street chatter (live or over-dubbed?) are threaded through the track’s sparse undergrowth.
The track’s second half meanwhile brings forth a more lyrical verse section, which seems to take us into the POV of a young Central American migrant, crossing the border at dawn. Repeated several times until it becomes almost mantra-like, this short, sketchy narrative becomes increasingly ominous, gradually adding detail and building a gut-wrenching sense of tension, interspersed with coruscating blasts of Branch’s disjointed, mariachi-like horn riffs, and her repeated, urgent message - “this is a warning honey, they’re coming for you..”.
It’s pretty on-the-nose, no question about it, but if this isn’t an appropriate moment for musicians to take a stand and get it all out there, I’d like to know when the hell it will be. THIS is the record I felt myself needing throughout 2019, perhaps since I took in the similarly white-hot frustration of Obnox’s similarly themed ‘Templo Del Sonido’ Back in 2018, though typically, it’s taken me a good, long while to blunder my way toward it.
Branch hits many of the same notes once again on the closing ‘Love Song (for Assholes and Clowns)’ (how’s that for an ersatz Mingus song title, incidentally?), a kind of mutant noir torch song of disgust directed toward the malign and ignorant forces currently feeding the fire of human misery. In between these two spikes of rage however, there’s more to this record’s appeal than mere culture war chest-beating, as the more relaxed and explorative instrumental cuts in-between spread out deep and weird across the wax, still equally infused with the feeling of people grasping to try to pull the best out of the morass of rootless frustration, sensory confusion and eerily deferred physical hardship within which many of us now live, but… in a rather more measured fashion, I suppose.
The ‘Bird Dogs’ moniker and avian artwork is reflected in the trilling waves of vibes, flute and hand percussion which add a touch of psychedelic glimmer to the opening title track, whilst ‘Nuevo Roquero Estereo’ on side # 2 is particularly exceptional - eight plus minutes of sick, skittering hypnogogic groove over which what I assume to be some pretty hairy live electronic processing runs riot, doubling and tripling Branch’s riffs and pushing her signal through a hot mess of distortion and reverb, leaving eerie fog banks of noise cascading through the dark space deep in the mix.
For all its platitudes about universality and communication and realising potential and so on, the best of the new jazz stuff I’ve been getting into recently genuinely seems to function by taking a retooled, arts n’ crafts movement type approach to re-establishing vital human/music connections which have been severed across successive decades. By paring back the cosmic/head-noddin’ drift of her contemporaries however, Jaimie Branch seems to reveal some sharply honed socio-political blades beneath, hitting the scene from the best possible angle. More of this, and soon, please – I think we’re gonna need it.
Labels: album reviews, Jaimie Branch
Tuesday, February 18, 2020
First Quarter Report # 1:
Sarah Louise, Sally Anne Morgan
& Kryssi B. –
NATCH 11: Earth Cult d/l
(Black Dirt Studios)
Anything featuring guitarist Kryssi Battalene (Mountain Movers / Headroom) immediately earns a spot on my “to listen” list, and though this collaborative album recorded with two members of the band Home and Land (with whose work I am unfamiliar) feels like a bit of an outlier within her catalogue, it’s still a more substantive and rewarding work than its ostensible status as an unplanned / off-the-cuff “hey, why don’t you guys get together and do some recording and I’ll put them on bandcamp” type affair may suggest.
What we’re essentially hearing here, I think, is the sound of two factions moving beyond their respective comfort zones, meeting somewhere in the middle, looking around at the curious landscape of an area which neither of them have really explored before and… I dunno, building a nice treehouse together, I suppose.
So, Louise and Morgan range out beyond (what I assume to be) the more conventional, song-based folk of their own groups, embracing a woozier, more free-form approach, whilst Battalene for her part nixes the PSF-styled noise-rock maximalism of her playing in the aforementioned bands, instead threading her way into the gentler, more delicate fabric favoured by her collaborators. Applying a variety of more intuitive and low-key guitar/effects treatments to the tracks here, she helps bring the underlying psychedelia of the enterprise simmering nicely to the surface, finally breaking out with some tormented, dissonant racket towards the end of the track-list, on what is probably my favourite track here, the mantra-like forest mulch trip-out of ‘Emerald Ash’.
Prior to that however, beautiful heavy tremolo strumming adds shimmering depths to the otherwise fairly trad country-folk of ‘Gathering’, whilst strange, throbbing delay pedal conjurations provide an ominous bed for ‘Squash Vine’s similarly healthy, no nonsense indie-folk take on free-from jamming, allowing it to grow into something rather spectacular across its six minute duration - a winning combo of elements repeated on the record’s slightly more tangible centre-piece, ‘Cherry Tree Carol’, whose mix of earnest, trad-arr vocal recital and more rock inclined backing might perhaps strike a distant chord with fans of Shirley Collins & The Albion Country Band’s revered ‘No Roses’.
Indeed, as is nigh-on inevitable for this kind of acoustic/electric, folk/psych type venture, the trio touch upon some familiar, leaf n’ bramble-strewn ground over the course of these seven cuts, fleetingly sharing shadows with some of my own old faves of yesteryear. A whiff of early Charalambides can definitely be discerned in the more abstract, unglued moments (the ominous, wordless vocalisations of opener ‘Skullcap’ and closer ‘Five’, for instance), although the feel here is thankfully way looser and less buttoned up than the Carters’ 21st century work. Elsewhere, instrumental textures (particularly Louise & Morgan’s harmonium and bowed string work) often touch upon the East-West drone alchemy of Pelt, and the picked opening riff of ‘Two’ even momentarily recalls that of Heron Oblivion’s ‘Beneath Fields’… but we needn’t make a fuss about it.
The crucial thing here in fact is that none of these comparison points really take hold for more than a few seconds at a time, and, despite the somewhat hesitant / open-ended nature of this collaboration, the three players succeed in establishing a compelling identity for themselves across these recordings, with each of the seven tracks achieving a sense of hypnotic intensity and a dark-eyed clarity of purpose often lacking from these kind of neo-hippy jam scene ventures. In fact, the whole damn thing is so flat-out wonderful, showcasing such rich, collective promise, it already has me hoping the participants might consider extending their collaboration into a more permanent, on-going band type arrangement.
Released on a digital-only basis by the New York based Black Dirt Studio label, all proceeds earned from bandcamp sales of this album will go “..to the Amazon Conservation Team, who partners with indigenous people to protect the rainforest and their rights”, which I’m sure we can all agree is admirable. I made sure to accelerate it to the front of the queue of records I wish to write about this month furthermore, simply because this everybody-wins exchange of money for mp3 files will only be available to us punters until March 1st 2020, at which point it will be withdrawn from sale, and a shorter, five track version will be made available free of charge. So, if this stuff sounds remotely like your cup of gently spiked herbal tea, please make sure you get in quick and do the decent thing.
What we’re essentially hearing here, I think, is the sound of two factions moving beyond their respective comfort zones, meeting somewhere in the middle, looking around at the curious landscape of an area which neither of them have really explored before and… I dunno, building a nice treehouse together, I suppose.
So, Louise and Morgan range out beyond (what I assume to be) the more conventional, song-based folk of their own groups, embracing a woozier, more free-form approach, whilst Battalene for her part nixes the PSF-styled noise-rock maximalism of her playing in the aforementioned bands, instead threading her way into the gentler, more delicate fabric favoured by her collaborators. Applying a variety of more intuitive and low-key guitar/effects treatments to the tracks here, she helps bring the underlying psychedelia of the enterprise simmering nicely to the surface, finally breaking out with some tormented, dissonant racket towards the end of the track-list, on what is probably my favourite track here, the mantra-like forest mulch trip-out of ‘Emerald Ash’.
Prior to that however, beautiful heavy tremolo strumming adds shimmering depths to the otherwise fairly trad country-folk of ‘Gathering’, whilst strange, throbbing delay pedal conjurations provide an ominous bed for ‘Squash Vine’s similarly healthy, no nonsense indie-folk take on free-from jamming, allowing it to grow into something rather spectacular across its six minute duration - a winning combo of elements repeated on the record’s slightly more tangible centre-piece, ‘Cherry Tree Carol’, whose mix of earnest, trad-arr vocal recital and more rock inclined backing might perhaps strike a distant chord with fans of Shirley Collins & The Albion Country Band’s revered ‘No Roses’.
Indeed, as is nigh-on inevitable for this kind of acoustic/electric, folk/psych type venture, the trio touch upon some familiar, leaf n’ bramble-strewn ground over the course of these seven cuts, fleetingly sharing shadows with some of my own old faves of yesteryear. A whiff of early Charalambides can definitely be discerned in the more abstract, unglued moments (the ominous, wordless vocalisations of opener ‘Skullcap’ and closer ‘Five’, for instance), although the feel here is thankfully way looser and less buttoned up than the Carters’ 21st century work. Elsewhere, instrumental textures (particularly Louise & Morgan’s harmonium and bowed string work) often touch upon the East-West drone alchemy of Pelt, and the picked opening riff of ‘Two’ even momentarily recalls that of Heron Oblivion’s ‘Beneath Fields’… but we needn’t make a fuss about it.
The crucial thing here in fact is that none of these comparison points really take hold for more than a few seconds at a time, and, despite the somewhat hesitant / open-ended nature of this collaboration, the three players succeed in establishing a compelling identity for themselves across these recordings, with each of the seven tracks achieving a sense of hypnotic intensity and a dark-eyed clarity of purpose often lacking from these kind of neo-hippy jam scene ventures. In fact, the whole damn thing is so flat-out wonderful, showcasing such rich, collective promise, it already has me hoping the participants might consider extending their collaboration into a more permanent, on-going band type arrangement.
Released on a digital-only basis by the New York based Black Dirt Studio label, all proceeds earned from bandcamp sales of this album will go “..to the Amazon Conservation Team, who partners with indigenous people to protect the rainforest and their rights”, which I’m sure we can all agree is admirable. I made sure to accelerate it to the front of the queue of records I wish to write about this month furthermore, simply because this everybody-wins exchange of money for mp3 files will only be available to us punters until March 1st 2020, at which point it will be withdrawn from sale, and a shorter, five track version will be made available free of charge. So, if this stuff sounds remotely like your cup of gently spiked herbal tea, please make sure you get in quick and do the decent thing.
Labels: album reviews, Sarah Louise Sally Anne Morgan & Kryssi B
Monday, February 17, 2020
First Quarter Report: Update & Intro.
First off, my apologies for chronic lack of blog action thus far in 2020. I have a hefty backlog of mixes and radio playlists which are basically ready to go, and which I’d been planning to post here early this year, but - technology hassles have done a number on my ability to prepare ‘em for public consumption, and I’ve lacked the time & inclination to undertake the wrestling with second-rate sound-editing applications and file converters which is now necessary to make this happen.
But, equally, this failure has resulted at least in part from the fact that what little computer-time I do have has instead been taken up with deep scoop bandcamp trawls and wallet-damaging scrambles for verge-of-selling-out vinyl - and let me tell ya folks, things have been frantic recently on that score.
I don’t know about you, but in recent years, I’ve fallen into a pattern wherein I’ve tended to find that the first few months of the year pretty slow-going in terms of new music. For blogging etc purposes, I keep a list of everything I buy/acquire/listen to, and after a few months of trudging back and forth through the cold listening to, I don’t know, The Faces or something equally moribund, I’ve often found myself scanning said list as the daffodils begin popping up and the birds start singing in early March-ish, thinking “hmm, the cupboard is bare – must make more of an effort!”
Not so this year however, as all-seeing 2020 vision has brought forth a veritable embarrassment of riches. Indeed, great stuff has been piling up so quickly since the new year, I can barely keep track of it. Aforementioned cupboard is full of cherry-glazed puddings and exotic pastries and fucking marzipan as far as the eye can see, and it’s only bloody mid-February! Anyone else out there feeling similar, or is it just me?
Admittedly, most of this exciting new listening seems to clustered around a few specific genre sweet spots – new school jazz, metal of various stripes and woodsy, neo-hippie U.S. psychedelia - and there are, inevitably, some latterly discovered 2019 leftovers still lurking in the woodpile, but, here at Stereo Sanctity, we SPIT upon such marginal distinctions of form/aesthetics and chronology, so it will be my pleasure to arbitrarily mix it all up for you in the weeks to come.
Initially, my plan was to cram all my recent discoveries together into a couple of “First Quarter Report” round-up posts, but I ended up writing quite a bit about some of them, so decided in the end it would be more appropriate to post them up here as individual album reviews. The first of these will be up TOMORROW, and all being well I’ll follow up with another post EVERY THREE-FOUR DAYS until I run out of steam, so, if you’re in need of some fab gear to help you get clocked in (or clocked out) for what promises, in its non-musical aspects, to be a singularly grim and vile annum, even by recent standards – look no further, friend. In terms of the humble turntable at least, New Decade is ON.
Labels: series intros
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