Music Reviews: Thee Koukouvaya, Charlie Nieland, Squirrel Records

Independent music provides the life blood necessary to expand creative boundaries commercial enterprises place on this art form.   Drawing inspiration from sources meaningful to them, the purity in the work produced makes it all more interesting.   An artist unshackled by restrictions to conform is then free to create whatever they can imagine.   Although creators ultimately benefit from favorable audiences (which in turn provide an economic platform to continue), art is always better served when approached from a transparent, non-commercial approach.

This feature focuses on music created by independent artists operating in varying degrees outside of the mainstream.

On August 22nd, 2016‪, Fiercely Independent Records released "Ancient Race of Techno-Voyagers," the new album from electronic musicians Thee Koukouvaya, in vinyl and digital formats. It is the second full-length album from collaborators John O’Hara and Brian Wenckebach, following their debut LP “This is the Mythology of Modern Death” (Saint Marie Records) and their ambient EP Witches’ Jelly (soundinsilence).

The slightly muffled tom tom pattern first heard setting the pace in featured track “Limbic Crisis For Sparkle And Foam” is soon joined by deep buzzing bass tones and higher end modulation. This establishes a frenetic feeling, as if running through a forest at night. Crisp higher pitched sounds surface and buzz intermittently, like fireflies over summer fields.  Blips and bleeps abound as passages undulate and morph into other shapes.  There’s enough unanticipated dropouts and re-starts to keep clear of predictability, holding on to your interest.  Although one might point to 2006’s breakthrough artists The Knife and their “Silent Shout” as muse for this style of composition, all electronic approximations of hypnotic jungle drumming owe a certain amount of debt to Brian Eno’s “In Dark Trees.” It’s pretty much common knowledge that the 1975 album “Another Green World” still serves as the basic blueprint for all ambient electronic music that followed.  That’s not to say that O’Hara and Wenckebach don’t add anything new to this genre, for they surely do.  Many of their textures are new to my ears and as such, a delight to come in contact with.

Listen here:



Other tracks lean closer to pure film soundtrack material. The opening cut “We Walked Out of Mexico Loaded” is a tension-laced backdrop you’d hear in the buildup towards a pivotal scene in a Science Fiction thriller.

 The brilliantly titled “Suspicion Breeds Confidence” comes on at a more methodical pace. There is a central drone buildup that ratchets tension levels up, until a plateau is reached. Distant, muted voices can be heard periodically throughout, as if astronaut space technicians can be heard working on a new colony.

“The Modern Beige” approximates movements one might imagine a large pumping device would make. The track is actually in two parts, as the second half picks up the tempo, seemingly swapping out the pump for a whooshing surface sweeper.  Also, points for the title's clever play on an oft-used expression.

“Planetary Archive” undulates with a joyously dancey feel as processed voices provide a comforting humanoid backdrop. There’s a delightful sweetness to this track that sets it apart from all the others.

“Nauplia” provides the sonic equivalent of the sheer awe and wonder of staring into a magical sea of stars. Beat-less and without any real shape at all, it still envelops you in a warm bath of sine waves.

Mechanical clapping percussion creates an underlying polyrhythm on “Pluto Heart.” Softer sound waves move at a more deliberate pace, ultimately giving way to an abrupt liftoff.

“Margaritas By The Pool” may have the requisite prestige of a vocoder performance by electronic music innovator Ulrich Schnauss to draw attention to it. However, even without that respected contribution, the track stands out as an uplifting composition. The final (and another cleverly titled) track

“Aged Into Conformity” benefits from marimba and bell like tones. As those patterns loop, other textures rise up from underneath, creating the sensory equivalent of deep mysterious caverns.

- - -

Recording artists looking for a studio run by the capable hands that produced this record, follow this link here.

* * * * *

[This section removed due to extreme myopic arrogance and ultimately inferior quality of the vanity project.  Some people need to learn how to treat others better and never take anything for granted.  To quote TRUE actual pop artists - The Beatles - about  being "treated right" - "love has a nasty habit of disappearing overnight." ]

* * * * *

Musician/producer and multi-instrumentalist Charlie Nieland has created an array of picturesque music over the years. Writing and recording impressive dream pop with his band Her Vanished Grace, Charlie recently released his first set of solo material titled ICE AGE - now available on Bandcamp.  Reviewed here are the six songs included on that expansive set of acoustic guitar based songs.

The title track “Ice Age” opens with heavily reverberated sonics giving the impression a Pink Floyd style journey may be underway. That sense quickly shifts as bright acoustic guitar takes the forefront and softly sung vocals begin. Though the noisy undercurrent continues, sparse piano notes enter the mix along with the half-spoken/half-sung storytelling. “She will cry, I’m falling” catches the ear as an early bridge/hook. Percussion emerges in the form of light touch snare drum and cymbals on the second pass through. “She alone can melt all the ice away” creates a poetic resolution to any questions regarding thematic imagery. The early albums of Nick Drake, Syd Barrett and David Bowie all come to mind as the spiritual antecedents to this sound.

“All I’ve Ever Wanted” continues with the brightly strummed acoustic guitar textures and lush synth background atmospherics. Touching on the positive universal theme of self-recognition and seeking “the perfect moment.”

There is a bigger overall feel to the track “Lighthouse.”  Vocals are sung out more passionately against celestial chiming guitars, giving it all a Cocteau Twins feel – but with Robin and not Liz singing. Poetic phrases like “the color of your dreams” hint at the beacon’s purpose.

“Automatic” impresses with its lush, romantic chorus and an overall floating upward sensation. Reminiscent of 90’s era Projekt recording artists Love Spirals Downwards, Soul Whirling Somewhere and Black Tape For A Blue Girl.

Distinctive melody notes sit atop the acoustic chord structure of “Water” while a dreamy electric guitar haze carries on underneath. Feeling more Slowdive than Cocteau here, those distinctions may be subtle, but important to those in the know nevertheless.

“Falling” stands out with its piano chords as primary structural instrumental base. Strings create a dramatic backdrop for an emotional lyrical recitation. Voice takes the central focus, leaning on the sentimental while incorporating unexpected minor chord changes.

Find out more about Charlie Nieland and his music here on his Bandcamp page.

* * * * *

Longtime friends of this site Squirrel Records has recently released Nuts and Vaults! - a two CD, 50 track compilation of carefully curated tunes from their vast catalog. Mixed in with those tracks are never before released cuts from a number of bands who have been on the label over the years - as well as a handful of bands who just wanted to contribute to this compilation.

Presented as the labels final major release, there is no shortage of great songs to be heard. Here are a selection of tracks that garnered review attention.

End It (Part One) - AILSA CRAIG

 Hyperactive, percolating percussion and a sturdy descending bassline serve as the driving entry for “End It (Part 1)” ‘Leaving so fast, you don’t know what you’re getting,” sings Caroline.  Matt Robson is credited with something referred to as “lead sample guitar” and evidence of it can be heard throughout the song. Of note is a particularly hooky chorus sung by Caroline that goes “I can’t go on like this – you must end it” A surprising and delightful rapid sequenced keyboard line emerges, which leads into Paul Elam’s powerful fuzzy guitarwork.

Down From Here - INSECT GUIDE

“Down From Here” is driving, catchy pop at its best, while the lyrics point towards something a bit more sinister. “There’s no further down from here,” can only imply you’ve reached rock bottom. So – the only way out is back up? With a single guitar line hook that references both The Cure (in tone) and The Jesus and Mary Chain (in construction) fans of those bands will surely love this.

Hit It ! - POP THREAT

“Hit it!” is a noise-fueled shorty that encompasses the rawness of The Ramones, with a “do, do, do do” vocal passage that’s pure JAMC. Guitar and bass trample the avenues of chaos and sludge, offering up total disregard for any rules of decorum.

---

THE SUNDAY REEDS 

Distorted feedback intros a Mo Tucker-meets-Bobby Gillespie backbeat on The Sunday Reeds “Handgun To My Heart.” The deep and sultry vocals of Romana Ashton explain that when your “love was doomed from the start,” this is the best way to consummate it.

“Drop Dead Cool” is both harder and trashier. The snare drum has that deep echo on it that appeals on a number of levels. Powerful guitar riffs snake throughout as Romana deadpans lines like “hey kid you’ve got no blues – hey kid you got nuthin’ to lose” – but – it’s “drop dead cool.” Well alright!

Made Out Of Perspex - GIRL ONE AND THE GREASE GUNS

“Made Out Of Perspex.” A quicker, bass guitar and synth hook driven pop groove, the catchy lyrics “I won’t care about you, I’m an instant automaton,” get stuck in your head.

---

Kubanskaya - THE MEDUSA SNARE

A previously never before released rave-up, “Kubanskaya” finds Manhattan Love Suicides alumni Adam fronting his own project here. With a vocal performance reminiscent of David J’s work with both Love and Rockets and solo, the track is quite impressive. A female voice joins Adam on significant passages, as the bass guitar driven rhythm powers it all along.

One Track Mind - HOROWITZ

Capturing the spirit of Johnny Thunders and The Heartbreakers classic anthem to nihilism, a near note and beat perfect rendition is executed here.  Jerry Nolan beats,  Johnny's and Walter Lure's guitar riffs - it's all there.  Those boys would be proud of this one.

---

Nothing In Return - THE MANHATTAN LOVE SUICIDES

A quickly recorded Roky Erickson cover that has never been released anywhere else, “Nothing In Return” is a faithful rendition that gets to the heart of what the MLS were all about. The spirit of original Texas rock and roll and the psych-rock that it spawned (like viruses spreading in a biological horror movie) flows through this track. Special props go to Caroline for her impassioned vocals.

---

Getting Faster - THE BLANCHE HUDSON WEEKEND A surprising 60’s keyboard/organ part steps out as the primary melodic accompaniment on “Getting Faster.” Underscoring how Darren and Caroline’s post Manhattan Love Suicides project expanded from the stripped down fuzzy guitar, bass, drums and voice only formula. Those other elements are still there in full force however.

Wasted - INSECT GUIDE

With an intro guitar tone reminiscent of The Jesus and Mary Chain’s “Some Candy Talking,” vocalist Su Sutton alternates between a sweet and sandpaper quality on this track. Spinning a tale of “wasting another night with you,” bright tambourine (meticulously placed) accentuate key moments as Stan Howells guitar layers add power and clarity to it all. “I go through charcoal grey – I go through black,” Sutton laments. “I go through charcoal grey – I’m not coming back,” she concludes.

Well - SUZY BLU

Suzy Blu takes on the Texas legend that is Buddy Holly in a truly inspired way.  Building their entire song around a single word sound sample of Holly's trademark "Well" - provides the necessary sonic gravitas for Suzy's own creative flow. After Buddy's initial "appearance," the track takes on a forceful minimalism of driving tom tom percussion accompanying storyteller vocals. Guitars emerge into the mix and serve to create an appealing level of tension throughout. The bigger move, however is a jacked up chorus featuring buzzaw guitar chords, matched throbbing bass, electronic handclap percussion and floating outerspace sounds. It's all pulled back together with the return of Buddy's "Well." The cycle repeats with enough incidental sonic variations to hold the listeners interest. The story being told focuses on the eternal search for love - or at the very least a compatible partner. While one may "find it easy to lie in the dark" the other challenges them to "play your part." "Do you want to sink or swim? Show me how thick's your skin!" If only Buddy were around to hear this.

This wonderful compilation can be ordered here.

- - - 

Additionally, Squirrel Records has a recent 7" vinyl release that is a pretty cool collectors item as well.

The seventh, and final single release from the mysterious collective Girl One And The Grease Guns

Here they bring you "The Shatterproof Man" b/w "A Steel Cat In A Glass Jar."  The disc comes pressed on clear vinyl in a transparent sleeve. 

The a-side is a vigorous slice of electronic pop, while the flipside takes you on "a 6 minute experimental journey into a creepy, Eraserhead inspired world filled with the sounds of factory machinery, and a feeling of dread."

That single can be ordered here.

Previous Squirrel Records features on this site can be found via these links:

True Independent Music Labels

Pop Threat / Dirt N' Dust 1999-2003 Album Review

The Insect Guide - Dark Days and Nights

The Blanche Hudson Weekend

ailsa craig - a silent no : 19-10-09

The Manhattan Love Suicides - Singles

The Manhattan Love Suicides - Burnt out Landscapes

* * * * *

Pop Threat / Dirt N' Dust 1999-2003 Album Review

It's often an enlightening journey to trace the roots of musicians you discovered at the point in time you did.

Such is the case with the band Pop Threat. Having become aware of the principal musicians involved during their second phase with The Manhattan Love Suicides - through their present incarnation with The Blanche Hudson Weekend - I was intrigued to hear they would finally be releasing a retrospective CD of their earlier bands works.



Now in possession of the recently released "Dirt N' Dust 1999-2003," nothing short of a full review of all 23 songs on it will do.

What saves previously unreleased album opener “One Track Mind” from the potentially monotonous experience that a “one chord” composition might suffer from is what’s moving around it. Specifically, the descending bass line and vocal “do – do, do do’s.” Then there is the power charged doubletime stomp section the song keeps going back to. Everything about this song suggests forward motion. You most-likely wouldn’t even be aware that it’s “only one chord” – if it hadn’t been spelled-out in the liner notes.

“So It Seemed” blends fuzzy Darren guitar with Caroline’s upfront, effects-free soft vocals and tickety-high-hat percussion.

The wonderfully titled “Sugar Fuck” comes at you with explosive guitar chords, whose bombast make listening to Caroline’s vocals not as easy as your typical pop song.


Four complete tracks from the album can be heard here:
http://www.myspace.com/popthreat

“Ripen” has Caroline more prominently featured and sounds more like the wonderful pop music of Tracey Tracey’s Primitives and the lovely English pop of that era. Caroline’s voice is up close in your ear, creating a pleasantly intimate listening experience. The repeated vocal refrain of “I wanted to be somewhere else” is catchy and charming. Darren’s clean guitar sound hearkens back to prime era Cure. There is also a long single keyboard note (played by the band's drummer Mick) that provides additional texture. A spoken word section of the song is accentuated by Darren's guitar noise run through a fuzz pedal and placed further back in the mix.

“Monochrome” (8 track demo) is full on razorbuzz guitar, 4/4 thunder drums with Caroline’s unmistakable vocals, passionately delivering a lyric heavy story. It’s overall mood (and power) is not dissimilar to what A Place To Bury Strangers frequently do.

The amusingly titled “Sludgy” is actually not really as much of a sludge-fest as one might expect from this name. The vocals, guitar, bass and drums can all be heard rather clearly. “It’s easier just to shut my eyes, than to watch you slide” is Caroline’s repeated vocal hook.



“D 4th S” (demo version) finds the band dipping into the experimental waters first explored by The Velvet Underground in the late 1960’s – and then again by Brian Eno during his pop solo career in the 1970’s. The warbly guitar work is prime “Taking Tiger Mountain by Strategy” era – specifically “The Great Pretender.”

“Filth” is a sheer wall of buzzing, hissed-out guitars filling all the open spaces of the sonic spectrum, while clean bass and drums throttle the progression forward. On top of that is Caroline’s un-effected lyrical recitation. The occasional pause, then guitar driven restart points towards the bands self-admitted Sonic Youth influences.

“No Way Out” swings a bit more, with poppy vocal “wha, ah, whoah, oh, oh’s” and “whoah, whoah, whoah, yeah’s.” It also benefits from a multi-tracked, centrally located Caroline vocal segment.

“Vivia” takes the pop song progression and twists it in unsettling ways by way of the guitar sound choices. Alley cats howling late at night might be one way to describe it. Meanwhile the vocals trudge forward, oblivious to the sonic subversion going on all around this otherwise straightforward pop song.



“Towards An End” has an opening narration taken from the 1950's film "Yield To The Night" – something that has become a recurring occurrence on Darren’s music – that, if anything, is used even more today with his current project – The Blanche Hudson Weekend. The sampled vocal clip is from Diana Dors (who, I've been told was England's answer to Marilyn Monroe). The song itself is a beautiful piece of gentle pop, with Caroline’s soft vocals as the dominant focus. Keyboard synth strings are initially the strongest musical presence – ultimately giving way to guitar textures that slowly rise up in the mix.

“Hit it!” is a smile inducing shorty that encompasses the rawness of The Ramones, with a “do, do, do do” vocal passage that’s pure JAMC.

The added white noise textures of tv static finds its way onto “The Last Resort” (because the band felt everything else was a bit too sweet). This certainly roughs up what is an otherwise clean and straightforward pop song. The structure shows thought and care, however, as there are some interesting chord changes and tempo shifts involved.




“Cheap and Vulgar” is fast and furious, capturing the energy that only live-in-the-studio can produce. The raw, aggressive punk feel of Iggy & The Stooges (Raw Power era) is fully represented here (especially in the slashing guitar chords and shouted vocals).

“Cheri” shows Caroline presenting the kind of lyrical story about some lost waif that would also become a recurring theme through the songs of Manhattan Love Suicides and currently with Blanche Hudson Weekend.

“Falling Spike” brings back the anthemic and glorious, with those ever satisfying “do, do, do do’s.” Of note is Darren’s guitar tone, strumming and chord selection – which brings to mind the playing of John McKay on Siouxsie & The Banshees first studio album “The Scream.”

“Sludgy” returns, this time as an 8 track demo version. It’s even less “sludged out” than the earlier studio version and pretty clear to listen to. Caroline’s vocal hook refrain is catchy and tailor made to sing along with.



“Amarantal Meltdown" finds Caroline ’s vocals filtered through heavy effects. The first instrumental break kicks in with force and aggression. The guitar chords are strummed fast and furious, while other guitars are manipulated in unconventional ways, creating a myriad of whistling-like sounds. There’s also some Beatles/Hendrix-like backward tape looping against Sonic Youth-style chiming chords.

“Dark Black” comes at you with the lyric “there’s a fine line between hate and hate she said.” Surely this is a much finer line than the one between clever and stupid. Violins, violas and other plucked instruments appear on this delicate number, showing a depth and range within this band’s compositions that one might not expect, based on their other recorded works.

“Reverse Expectant" (8 track demo) is a straightforward rocker that employs the sound of glockenspiel plinks (currently in vogue again now, due to the popular band Cults use of them on their latest album). It’s true that this instrument adds an uplifting sonic texture. Other sounds emerge later on in the song – theremin-like squiggles for instance.



“It’s the Police” brings back the chaos via shredding guitars and shouted, obscured-thru-megaphone vocals (delivered this time by the bands bassist Juliet). It’s a trashy raveup with equal parts Sonic Youth and early Iggy & the Stooges spirit.

“Ingrained” comes at you with clean guitars and easily understandable vocals. “The best is over now,” Caroline sings. The more experimental guitar work returns for the chorus, however.

The albums final track – “Rediffusion” opens in anthemic fashion - with solo buzzing guitar, allowing Caroline ’s doubled vocals to tell the impassioned tale. “La, la, la, la” is the simple (yet oh so effective) central hook. Layered buzzsaw guitars create a textured sonic bed that builds successively, until everything rises to an emotionally charged triumphant conclusion.

With that, this wonderful collection of songs is over.



For anyone who has ever loved the bands I mention in this review (and quite frequently in general) – the Jesus & Mary Chain, Sonic Youth, Iggy & The Stooges – or the other incarnations of the principal members of this band I have written extensively about over the years – The Manhattan Love Suicides, Blanche Hudson Weekend and Ailsa Craig – you will absolutely love this album. You owe it to yourself to go out and pick up a copy of this.

Do it.

Do it now.

________________

For further reference (including how to obtain this album) follow these links:

http://www.squirrelrecords.co.uk/pop-threat/dirt-n-dust

http://davecromwellwrites.blogspot.com/2010/04/blanche-hudson-weekend_26.html

http://mog.com/blog_post/content/4016/2608678

http://davecromwellwrites.blogspot.com/2010/02/ailsa-craig-silent-no-19-10-09.html

http://davecromwellwrites.blogspot.com/2009/01/manhattan-love-suicides-singles.html

http://davecromwellwrites.blogspot.com/2008/08/b.html

http://davecromwellwrites.blogspot.com/2010/10/insect-guide-dark-days-nights.html