Listen here:
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Listen and be mesmerized:
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Showing posts with label brian eno. Show all posts
Showing posts with label brian eno. Show all posts
Friday, October 21, 2022
First-Hand Dissection and Insight on New Audio Music Releases
The month of October is well-known for Autumn leaves and Halloween parties. As some contemplate what costume to wear, or to simply prepare for trick-or-treaters outside their homes, the diversion of a new DaveCromwellWrites music review is now present. Familiar electronic artists who work in the synthetic realm are featured here alongside similarly situated creators. While some are equally focused on thoughtful lyrics and their vocal presentation, others opt for sprawling ambiance of epic proportions. The universal line connecting them all is the ability to make inspired tangible recordings.
It's been a year or two since new Lunar Twin music has entered our universe. The enigmatic west coast duo are now back with “Beyond The Sun,” the first single release from their upcoming album “Aurora.” Bryce Boudreau (vocalist/songwriter) and Christopher Murphy (multi-instrumentalist/producer) continue to expand on their sonic vision with this new material. A full nine track album will be released on the first of December. Until then we have this wonderful new track which receives a close listen and complete review below.
Regimented electronic synth-bass pulses kick the track off with Kraftwerkian aplomb. Modulating through a distinct progression, subtle explosive hiss leads in to the opening lines. “I watch you fly away” is delivered in that now familiar Lannegan-eque sandpaper rasp. “Shadows stay the same” continues the vocals, cycling the intro line once more before capping this time with “our love with never fade.” A mixture of electronic and traditional sounding drums enter the mix, expanding sonic parameters. Vocals become more expressive through elongated diction, phrasing and apparent sharp-edge layering. All of that creates a psychedelic sensation to the floating/flowing voices and instruments of synths and percussion. A plateau break of sorts emerges midway, pared down to only drums and voice, with those vocals extolling the virtues of “sun” and “sleep.” Trippy-somnolent voices continue on, and bass-heavy synth throbbing returns the full sonic palette. There's a Nine Inch Nails feel to it all, who have also been known to rely heavily on bassy synth-lines and obscured, whispered vocals.
Previous Lunar Twin reviews on this site can be found HERE, HERE and HERE.
Multi-disciplinary artist and singer-songwriter Ora Cogan is no stranger to the DCW review world. Having previously covered her psychedelic folk and ambient dream pop album “Crickets” a few years back, discovering a new EP "Dyed" has now arrived serves as welcome news. This latest music expands on her previously established hypnotic opulence and reflective elegance. These soundscapes touch on neoclassical themes, weaving together Gaelic folk, mantras and chant into unique art-rock compositions.
Commencing immediately in full falsetto-voiced motion (bypassing even a hint of slow-build instrumental intro), title track “Dyed” lyrically feels more autobiographical than fictionalized storytelling. “I woke up by the field, with a bee hitting the glass. You rolled your sequined eyes at me, as you pulled up your pants.” There's a floating sensation to the guitar and background voice elements, creating a dreamlike feel. A descending progression serves as foundation for the distinct chorus that goes “I am a fool in love and I’ve got nothing to prove.” Longer-held dive down notes and soft percussive flicks contribute further movement within this section. A brief twangy guitar interlude leads into the next verse. When the subsequent chorus section emerges, lyrics become more poetic, making comparisons to “love” as “an island forever losing its shore.”
A pleasantly surprising choice for the EP's middle track is a personalized reworking of PJ Harvey's 1995 song “To Bring You My Love.” While the original had only sparse instruments of guitar and organ, focusing predominantly on Polly's deeper vocal register, Ora adds percussion and a lively bass guitar to her higher pitched voice. Although the lyrical story is true to it's original - “I was born in the desert - I been down for years - Jesus, come closer - I think my time is near” - Ms. Cogan bathes it all in her familiar softly psychedelic sheen. Long instrumental passages between verse and chorus amplify the more musical qualities to this piece. Slight lyric changes appear in places, using “fell out” in place of “cast out” in both instances on the second verse. Ora speeds up the pace of the original somewhat as well, moving it away from Harvey's dirge-like progression to something lighter. Different too are the vocal ranges, with PJ's leaning more towards Patti Smith, and Ora falling closer to Joni Mitchell.
Final entry “Driver” is a lengthy 6 minute ambient meditation that stretches out time and thought processes for maximum introspective effect. Voices are flow in ethereal clusters, at first unintelligible like Gregorian Chants. A steady guitar churn creates a semblance of pace, as fragments of lyrical voicings emerge. “Black marble steps shining in the sun - And if anyone gave any reason,” can be made out through the undulating disquiet. “You’re growing out of your shadow. Every morning you hear It - So clear” the celestial story continues. An impactful rising guitar drone emerges near the midway point, providing a gritter element to the floating atmosphere. Layers of chanting are reestablished, infusing an avant-garde formation reminiscent of Lisa Gerrard's work with Dead Can Dance. Chiming guitar figures present snippets of melodies against a wind-rush field, enhancing the full sonic expression.
Info on how to acquire this EP and Listen can be found here:
Ora now embarks on month long tour of Ireland, England, Scotland and France, with all of her dates listed on her Bandcamp and other sites as well.
A previous feature on Ora Cogan can be found on this site here.
Returning here for another review is the work of Baltimore-based recording artist Andres Alfonso, who makes solo music as Los Dientes Hundidos en la Garganta. While that phrase loosely translates to “the sunken teeth in the throat,” Andres composes his ambient works with guitars, bass and heavy looping. What comes out of that are wonderfully dreamy experimental ambient electronic soundscapes. The second single “Configurations” from upcoming album “Infinite Past” on Jak Jonson Tapes has recently dropped, and get's a full review below.
A dreamy ambience starts immediately in full flight, as gentle rising waves envelop a wide sonic spectrum. Powerful staring-into-the-void atmospherics create a sensation of awe, as if experiencing something otherworldly. With this initial glacially strong soundscape making a large impression, subtle movements ebb and flow inside of it. Higher pitched tones can be detected, elevating above the mass to create an almost-reverential quality. There's a depth to this audio composition that entices our mind to go on a vision quest. One in which hallucinations and/or dreams would have you flying over vast mountain ranges and deep unexplored oceans. A sensory experience that slows down time, affecting both the auditory and neural systems of mind and body. While comparisons to Harold Budd's “The White Arcades,” Brian Eno's “Apollo” and their collaboration on “The Pearl” all come to mind, a more obscure album by Vidna Obmana - “The Contemporary Nocturne” serves as a like-minded work as well.
This digital track can be acquired now on their bandcamp, as well as the artists entire discography.
Wednesday, August 24, 2016
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.
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.
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.
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."
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
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." ]
[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
* * * * *
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