Wednesday, December 29, 2010

Do the android dream of electric sheep and why would I care?

Nebula: Atomic Ritual (2003, Liquor & Poker)

    Second album of Nebula's psychedelic tryptic (preceded by To The Center and followed by Apollo), Atomic Ritual is an album that not only assumes the fact that it'll please sci-fi fans, but transcends it, makes fun of it, and does it well all simultaneously.

    Let's go over the mild parts first, because they will be meaninglessly stomped by the qualities of this record. The cover is a a cheesy graphic design piece that would be barely good enough for the 12th re-edition of a weird Lovecraft meets Moorcock meets Asimov and Nostradamus' bastard child fanfic space opera (which 13 year old boys might appreciate nonetheless). The lyrics/titles (when payed attention to more than as an added melodic line, which they're not intended for) are not much more than an uninspired rip-off of the previous authors, mixed in with a bit of californian epicurism. Finally, Eddy Glass' voice strangely oscillates between an upper-register Ozzy and a growly Mark Arm, which might bother some.

    If you're willing to put all those aspects behind you, the music equivalent of a winter wonderland will be opened to you - imagine a soundscape, covered in riffs. Like a prayer to Mudhoney, The Stooges, Hawkwind and Black Sabbath, Atomic Ritual is referential without ever stagnant, hyperactive without ever reaching the Mars Volta, and varied. Songs, which range from 3:00 to 9:42, might go from an upbeat psychoblues jam to a downtempo atmospheric in seconds, or develop a riff for the whole song Dopesmoker style.

    The first wave to hit you are the guitars, provided by the ex-Manchu Glass, building layers & layers of glorious tone(they did go a bit haywire on the overdubs, sometimes with simultaneous solos, multiple rhythm parts and the like). With the classic stoner rig (SG, fuzz, phaser, wah, Marshall stack), he delivers all of the headbanging knowledge he left Fu Manchu with, but this time drenched in psyche-rock juice (noises, self-oscillations and is that a wonky filtered organ I hear in the background?).

    Even if the guitars are more than reason enough to try this record, it shouldn't take to long to notice that the rhythm section is at least as worthy as melodyman Eddy. Providing a more than necessary backdrop and low end to the record (the guitar has typical boosted treble bite), they fuel the cosmic journey that is this record, going from exploratory tempos (that leave an opportunity for guitar excursions of the epic level) to a quick let's flee this hostile alien planet speed, all in a crash of cymbals, and with a touch of Spike (Cowboy Bebop) level class .

    Atomic Ritual, produced by legend Chris Goss, with its memorable artwork, heavy-yet-melodic riffs, and balanced spaciousness/richness, is the '00's Space Ritual. Beyond the obvious title reference, it is, like Hawkwind's early 70's masterpiece, a collage of pop melodies (acoustic guitars, piano), drug hazed atmospheres (DikMik, wherever you are, this record is a straight up tribute to your bleeps'n'swooshes), and fuzzpower. Dave Brock should be proud, Lemmy should be pissed (but isn't he always), and Ozzy should wish he bought a phaser for Tony for the '73 christmas. I'll certainly be enjoying this record many more times.




As I said, mixes every week (!!), reviews every 1st and 15th of the month. I probably won't have time to post anything on Jan. 1st, so you can count the "shortgoodquestionnable" mix and this review as a first installment.

JNCT

....

Sunday, December 26, 2010

11 songs in 14:51 minutes: The Short, Good, and Questionnably Arranged ESS Mix

Very good songs are sometimes very short.

Here are 11 songs, all between a minute o'seven and a minute thirty eight. All of certain quality, maybe questionnably arranged.

Expect acoustic guitars, angry people, quasi-silence, tributes and jokes, not necessarily in that order or in specific combinations.




11 songs happen to be the lenght of mixes Flavio picked over at Payola. I have to admit it works pretty well. Thanks, Flavio



JNCT


...

Review Grab Bag - Happy Holidays!

To all reading this blog: Merry holidays. May 2011 be full of fun and productivity for all of you

Here's a bunch of records I listened to this year, and my opinion, resumed in one line. This idea is shamelessly ripped off the Thundercurrent Express, maintained by my good fellow David Axel Kurtz. Please publish his novels.

FORMAT:

[band name]: [album name]
[short sometime offensive comment]

------------

Angel Eyes: Midwestern
like Isis or Neurosis, but enjoyable. Maybe I should give Oceanic another try.

Arc Of Ascent: Circle of The Sun
a good stoner rock record from New Zealand. Just in: copying Kyuss still works.

Belle And Sebastian: Write About Love
You'll love this if you wear flannel and leggings.

Black Diamond Heavies: Alive As Fuck
White Stripes - guitar + Organ x Lemmy = fun and a headache

Caribou: Odessa
Water pop - tasteless, but enjoyable from time to time. Keep some around

Jack White: anything he made this year
enjoy your revenge on hype

Dreamend: So I Ate Myself, Bite By Bite
Black Moth Super Rainbow goes acoustic not really - awesomeo

Dum Dum Girls: I Will Be
Enjoyment follows a logarithmic curve with time

High On Fire: Snake for the Divine
"I'll take the usual please. Wait - make that a double."

LCD Soundsystem:
Made for clubs. I don't go to clubs.

MTV: Lost Boy
Self production sounding like a load of fun.

Mogwai: Special Moves
Post Rock for dummies

Mono: Holy Ground
Goddamnit. Japanese rockers are the craziest.

Moonhearts: S/T
What does it take to sound honest these days? 29 minutes, apparently

Mountain Man: Made The Harbor
Vermont: good cheese, good music. Bonus points for recording a folk record in an old ice cream truck

No Joy
The single sounded so much more memorable than the album…

Pet Milk: Demo
What does it take to sound good these days? : 17 minutes, apparently

Rien: 3
Only the French could use post rock yet sound innovative and miles above the national musical average

Sleigh Bells: Treats
Proving that Lo-Fi sounds better unfinished

Sloath: S/T
Bonecrushingly relaxing

Soft Pack: S/T
Incredibly close to being perfect

------------

More to come. Expect an obnoxious end of the first year of the decade favorites list, as well as a short mix as soon as its uploaded.

MERRY WHATEVER. I love you all.

JNCT

...

Wednesday, December 22, 2010

Untitled # (2+√5)/√5

 lets play a game. It's called spot the grinning mustachioed man with aviators and a star around his lefteye.

My computer tells me that it's three am. Explaining how I got precisely to the point at which I'm standing right now would be a boring and long story, truth is I'm just procrastinating - as of 20 minutes ago, I like Radiohead's OK Computer, ending a solid 5 years of vague indifference towards their repertoire generally and hatred towards Creep more particularly.

Anyways, an announcement: as soon as I am done with what I'm supposed to be doing at this very moment, and stop reading the procrastination page on wikipedia, I'll be posting mixes all over this place. One a week. every week. until next year. In a similar fashion, record reviews will be twice a month.

FOR THE SAKE OF SELF CONTROL.

BLARGH

JNCT
...

Friday, December 3, 2010

Decembrrrrrrr

For those of you who haven't noticed, it got pretty fucking cold lately.

Chanukah, Christmas, whatever you do, you're probably going to listen to music anyways. Which is why you should get PAYOLA MIXES and your weekly dose of ElephantSpaceSnowstorm.

Doctor said so. Don't discuss with the Doctor, d'accuerdo?


To go with freezing your gonads off, here's a healthy dose of contradiction for you. Can you fit Fugazi and Eels on the same mix? How about Sleep and Vampire Weekend? Spacemen 3 and AC/DC? Well, I just did, and I think it sounds ok. This isn't a compilation for anything or anyone, it's just music, for you, when you want it. Little bites for the busy.







JNCT...

Thursday, November 25, 2010

Saturday, November 20, 2010

Throwback! 3 - The Emperor Strikes Back... I know, that's episode 2. Qu'est-ce qu'il se passe quand on lance de l'ail contre un mur?

My dad doesn't have a vinyl collection. His CD shelf is basically a mix of classical music him and my mother got when I was born (Mozart makes kids smarter, anyone?) and a collection of what's been in the top 40 of whatever country he was in pretty much since CDs became available commercially.

After numerous siftings through this nevertheless exhaustive collection, the only two albums I've taken to the relative safety of my room are Eric Clapton's Unplugged and Soundgarden's Superunknown. The first he got because it has a song that mentions my sister's name a number of times (I'll let you guess what that is), the latter he described as "a mistake I only got because it was number 1 somehow. I've never listened to it entirely". For a long time, he described my music with the expression that my great-uncle uses to talk about old-style rock'n'roll: de la musique de peaux-rouge. Which happens to be mildly offensive, so I'm not translating that.

So no vivid vinyl memories for me. No passing on of buried treasure, no shared tastes. Sure, I had a vague backstreet boys moment around 9, as well as other momentary radio crushes, but they always felt tasteless - going with the easy option, what was readily available.

So what changed that? Well, I didn't write this lenghty useless introduction for nothing. If you're still reading this, it means you have some nerve, and must be really interested. I'll skip the Linkin' Park and Good Charlotte episodes and the Blink 182 covers (although I have to say Travis Barker is still a sick drummer), and finally get to my point:

DIGIMON


That's right. I would probably be a very different person if it wasn't for that fairly catastrophic child's pokemon ripoff cartoon. More specifically, the movie that spawned from its success, and very precisely, the sequence with Smashmouth's song All Star. To this day, I still haven't thought too much as too what the song is exactly about, nor do the lyrics make any sense in my head (I was still learning English back then). It's been about 10 years since I first listened to this song, and I finally got around to actually reading the lyrics. 

Verdict: song's pretty bad. But it made me get Smashmouth's 2001 self titled album: 


Beneath the horrible cover was the first CD I had really asked for. As mentioned before, and like for Flavio, I was learning English at that time, which made me able to consider the lyrics more as sounds then anything with a message (let's be honest, the words to most of these songs are fairly horrendous).

However this record shaped my tastes: I liked the coolness of the first track, the relative "violence" of the second track (qualified by my dad as sounding like a drum carnage), the violin synths of the 3rd track pretty much made me want to vomit... 

So why would I ever talk about an album that is important to me only it was a random starting point? 

First of all, this was Flavio's idea, and I just went with it. Read his own blog too, it's awesome.

Second, it's obvious that this record has little musical interest. Sister Psychic still sounds like an ok song to me, and memories of Shrek and Digimon are woken up by listening to All Star. The Monkees' I'm a Believer is also covered on this record, and that reminds me of The Spy Who Shagged Me, which is probably the movie that turned me on dumb absurd comedies. The harmonica solo in that one song is kinda cool, that gnarly synth in Force Field makes me understand why I like Tobacco today, Shoes'n'hats is a bro version of AC/DC (which remains one of my favorite bands). You could even say that Smashmouth's only feat is that they take a number of influences/characteristic sounds (ranging from hip hop to metal and going by 60's pop and lounge) and making it sound like a cohesive blend pop record. 

In short, it was a pretty awesome introduction to modern music for a 9 year old kid. Your young cousing/familly member is coming over for Christmas and you don't know what to get him? This blog just provided the longest most inconvenient and specific gift advice of all times. Enjoy.

Quand on lance une gousse d'ail contre le mur, elle rebondit. C'est le retour du jet d'ail.

This one's for you, Arthur.

...


Friday, November 5, 2010

"THOUGHTS ON... " - EP. PRIMERO: HALLOWEEN

The best thing I like about Halloween is that I have an excuse to listen to the Misfits' Monster Mash without shame (apparently they started sucking when Danzig left? Nice of the music press to inform me of that after years of listening to Famous Monsters... meh. You know what, AV club? Go cook yourself an egg).

The second best thing is getting a mix from Flavio. It kicks ass. GET IT HERE!

Other than that, I'm the grouchy old man that doesn't give you candy when you ring at his door. I've half-assed my costumes for the past two years (I wasn't even doing halloween any year before that), and I don't like getting scared.

What really makes me excited is dumb ridiculous senseless laidback things and beers. Which is why, next Halloween, I'll be staying home, trying to lure my trickortreater friends into watching Plan 9 with me and drink weird allegedly pumpkin flavored beer.

Ok I'm done. If you've made it through this rant, here's a r e w a r d. kind of.

Sunday, October 31, 2010





Saturday, October 30, 2010

Should You Fear Satan?

Kingpins of a kind of rock that came after rock (What was that? Oh you mean that makes no sense? no, it doesn't. Whatever, I'm over it), Mogwai cultivate an image of being mildly unfriendly Scottishmen who have been studying the balance between power and melody in music, and the very special place where both meet.

Rest assured, this isn't the intro (yet) to a book I'm writing that would be titled "Mogwai: a decade-long study of dynamics in popular music", just to an article about their latest record, which also happens to be a live recording. Their first, I believe:

Mogwai, Special Moves
Rock Action, 2010 


You'll find many reviews for this album. Most of them will describe the intensity of the songs, how Mogwai has been constantly innovating in their own fairly specific subgenre, and managed to maintain cohesiveness. They should then move on to describe the setlist choices, how each song is live rather than in studio, etc... They might mention some lack of direction, but will reassure right away with something like "most bands who sound like that do that" so if you like Post Rock, you should like this, hipster (offended? email me, hipster!)

It would be worthless to repeat this here. I understand lazy people, so I'll even put the link to two such reviews so you can get your usual info there:

So what's left to say? Well, here's a few thoughts for you to munch on: 
  • Mogwai is one of the very few bands who knows how to use a vocoder. Well done guys.
  • THIS IS A GREAT RECORD. GIVE IT A SHOT.
  • How much time will the cheap trick of playing softly then bashing power chords for an entire show will go on? Long, I hope.
  • Buy the record. You get a dvd (which is supposed to be awesome, but that I never got around to see) and 6 bonus tracks. It's all good. Really good.
  • The packaging is gloriously minimalist. Black and white pixelated security cam with all caps text inside and one horizontal line of lightning blue as the only colored element. Should make the graphic designer inside of you (if any) shiver.
  • This is a comprehensive guide to Mogwai so far.
  • Recorded in Williamsburg. Keep it local, hippie.
That's all I got for now. Go enjoy it rather than read my nonsense. You better come back here though. I'll be watching you.

JNCT

///...///...

Saturday, October 23, 2010

The Valvewizard

It's been way too long since I last posted something up here. No one complained, which is kind of sad in its own way, but I wasn't expecting to have more than 7 readers anyways.

So for you 7(+/-5) faithful friends, here's your latest dose of Elephant Space Snowstorm. It's a triple feature, because that's how much I love you and all that internet shit.

PART I:

The Elephant Space Snowstorm's Been Busy As Fuck Mix - Volume I: 

  1. Boxcar by Jawbreaker 
  2. Transcendental Evisceration by Capricorns
  3. Queen For A Day by The Jesus Lizard
  4. Winder by Hum
  5. Forest Of Fountains by Solar Bears
  6. Melee by Russian Circles
  7. Fuck Addict by Torche
  8. Catastrophe And The Cure by Explosions In The Sky, Remixed by Four Tet
  9. You Don't Know What Love Is (You Just Do As You're Told) by The White Stripes
  10. We Stood Transfixed in Blank Devotion as Our Leader Spoke to Us, Looking Down on Our Mute Faces with a Great, Raging, and Unseeing Eye by Red Sparrows
  11. St. James Infirmary by The Gutter Twins
  12. Rise / Set by Tjutjuna
  13. Nice One by Jackie-O-Motherfucker


PART II: 
REVIEWS (FUCK YEAH)

Ok, I admit it, I was on Altered Zones a bit too much this summer. "Pitchfork ruling over indie blogs, blabla, boohoohoo, rabble rabble rabble"? Maybe, but I'm not going to complain, because they found some awesome shit on the internet and are sharing it with me. So thanks. 

First up on this list of Awesome Shit, Tjutjuna's self titled LP:



With seven songs and 35 minutes of synthesized space-inyourface-punk, these Colorado dudes have a debut album that sounds like Lemmy took over Hawkwind and made everyone take speed while dressing up as pirate-bikers. It's not just your usual synthyhawkyspacerocky ripoff (coughLitmuscoughcough), here Robert/James/Adam/Brian not only have mostly British names but also find the sought after balance between synth lines/drones, echofuzzed guitars and rhythms that could bring you to Mars and back. Effortlessly moving from keyboard riffing to full on guitars to noise section to laidback progressions, back into noise and the pleasures of analog delays, Tjutjuna has managed to make an album that's about as insanely awesome as the cover they came up for it. 

Second is Solar Bears' She Was Coloured In double LP: 


If Tjutjuna is the crazy aspect of Hawkwind, Solar Bears is its laid back, cool as hell equivalent. Warm sounds building immense soundscapes, always changing and evolving yet cohesive and driving from start to end, Solar Bears inscribes itself in a tradition of Irish electronic musicians who decided that U2 shouldn't be their country's main musical export (saying just export doesn't work because Guiness trumps all).

Building songs like some people make cakes (as in layer by layer, not from a pre-made mix), Solar Bears not only sport 2010's coolest band name but manage to evocate decades of electronic music history without sounding blatantly ambient or nostalgic - just epic. Sinoia Caves' The Enchanter Persuaded, although wonderful, had a "tribute" aspect that made it not quite as good as it could've been, especially if you're into a Tangerine Dream/Klaus Schulze/Cluster phase at the same time. That's not the case here - Solar Bears do a wonderful job of being evocative, but their references are numerous enough that you'll be thinking of a Guy Ritchie movie one second and of Boards of Canada the next. Of course, Berlin school electronic music inspirations come back more often than Age Of Empires soundtrack references, but ultimately all of it is relaxed/interesting enough that She Was Coloured In is an incredibly smooth, driving record (think of the gliding feeling you have when you listen to Kraftwerk's Autobahn. If you don't know what I'm talking about, you're in for a treat). 

Not afraid to mix different techniques (tape editing techniques/loops, samples, acoustic instruments, synthesizers, or a combination of those), this Dublin duo makes songs that will make rest you, make you want to headbang and be more efficient at working, simultaneously.

I know, that sounds confusing. Just listen to the goddamn record, it's awesome and you'll get what I mean. 


Until next time (and god knows when that'll be), enjoy. And again, call your mom. She deserves it (probably).
JNCT


...

Monday, October 4, 2010

Real Estate @ Hampshire College, Monday Sept 6th 2010

    Let's be honest, this wasn't a My Bloody Valentine or Sleep reformation epic - you just can't pull that kind of event at a place like the Hampshire library lawn, for better or worse. It wasn't going to be about embracing an extreme of any kind, either.  Was just about one guy in uncomfortably tight jeans and a shortsleeve shirt with his buddies, returning to his college's lawn for the sake of good times.

And good times were had.

After the less than memorable DJ set preceding Real Estate's show, a flock of people ran from every direction towards the tent to the sound of Beach Comber, a song that doesn't seem to get old. Population under said tent went from 30, half sitting, to at least 200, all standing and wiggling to the band's joyful harmonics. Sound was surprisingly pristine, the reverberating guitars echoing at will throughout the bands show. The performance was only occasionally bothered by some feedback: considering how many people here think feedback is music, it probably didn't bother that much.

Running through their first album as well as a bunch of new numbers, some untitled, some almost leaning towards heavy surf riffing, the 4 lads impressed not by their professionalism or skills (which they did have in respectable amounts anyways) but by their Beach Boys-like good vibrations. From the guitar player talking about his own days at Hampshire to everyone else being generally friendly to each other, this felt like a nice way to start the semester. It wasn't really about individual songs or lyrics, but more about the "enjoy yourselves" atmosphere. Newcomer or returning student, everyone present at the show seemed to appreciate and bond over how well this music fit the lush Massachusetts landscape on that pleasant summer night.

The audience loved Real Estate so much in fact, that about 30 of them decided it would be fun to jump on the unoccupied part of the stage for the last 2 songs, letting loose a frenzy of fifti-er than thou dance moves between the amps that almost transformed into a hug orgy. It also meant that Martin Courtney's guitar would get unplugged, letting him barely enough time to plug back for the last verse of the show. But when the band went back to full power on those last 15 seconds, they hit the audience with all the power of the frenzied psych surf band they are - approximately equal to that of a giant stuffed Kirby being parachuted on your head from a low-orbit satellite.

"Where are the parties? If anyone wants to hang out after the show… well… we'll be around."

- Real Estate drummer

He would be seen the next day at nearby all-girl Smith College, wearing the clothes he had at the show, checking his Facebook. Congrats to him.



photos by Kevin Schwenkler
JNCT
...

Tuesday, September 14, 2010

Music And Depression, Epilogue

Flavio, I hope you'll excuse me. It was impossible for me not to make this reference

"What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?"

Monday, August 30, 2010

Faire Beacoup Avec Rien

If you talked to me last week, it would have been hard to convince me that there is anything beyond Air, a few Noir Desir songs, Laetitia Sadier and something like 10 electro tracks worth listening to in recent French pop music. The Rita Mitsouko were never my thing, Daft Punk got old really quickly, Telephone ends up being a family classic (and that just ruins it - plus they've been inactive for at least a decade), and I believe I've made my point.

But this week, my hopes are a bit higher for contemporary French rock music (or just French music in general). That's because of a band called Rien, which means literally nothing (haha - sorry...).

Why do you need to like this band (or at least listen to it)?

Because knowing cool French bands other than Phoenix, Air and Daft Punk will make you successful with the ladies abroad.

More seriously (because it won't), Rien is a band from Grenoble, a medium sized French city like many others near the Mediterranean and the Alps. Useless info, you might say, but I like settings for stories.

In that city of Grenoble is an association called l'Amicale Underground (translatable as Underground Friends Union, or something like that, feel free to suggest better), which also serves as record label for Rien. First reason why you need to take a look at this is the Amicale's website in its lo-fi awesomeness:


The second reason: everything that comes out on the aforementioned label is FREE TO DOWNLOAD. I really appreciate that and I don't see why anyone wouldn't give this a try after such a move.

The third reason: if you buy one of the 500 copies of Rien's EP "3" (for 10 €, shipping included, which is a very fair price compared to what some people do), not only do you get a collectible item, you get A VERY FREAKIN' NICE collectible piece of art you can look at for a while. Designed by fellow Grenoble design firm PNTS, here's a few pictures courtesy of their website:



Seriously worth buying if you like the music (that, again, you can get for free - it's like they guilt trip you in buying the best CD package of the year! And did I mention the CD is the most epic slab of black plastic ever?), PNST also did a flabbergasting packaging for Rien's previous LP, Il Ne Peut Y Avoir De Prédiction Sans Avenir (loving the elongated titles à la Godspeed You! Black Emperor - but IN FRENCH). Pictures still courtesy of the PNTS website - awesome people, I'm telling you!):


Unfortunately, this record is out of print. Still good though, and still freely downloadable on the label's website - consider donating (shameless advertisement for other people, yes - least I can do after getting all their records and borrowing pictures).

The fourth reason, and the most important one: "3" contains pretty damn good sounds. It's not at all your usual post-rock record - these people are willing to experiment with sounds as much as motorik-ly repeating one with minimalist style.  On this EP, Rien plays with layers, which, if they sometimes seem conflicting or clashing with the foundation of the song at first, are completely integrated and natural by the end of it. You will come to damn these people, because this record, at 25 minutes and 18 seconds, is about a third of what it should be. Then you will remember what you read on the label's website: 3 is the first of three records, that will come out until 2014, when the band Rien will end (in Japan, apparently?).

What I'm wondering is: How the hell am I going to wait?

JNCT



...

PS: bonus reason: you can make so many puns with this band's name. It's like the fun never stops.

edit: reading my own post makes me feel like I wrote an ad for that record. I tried changing a few things to make this purely subjective post seem more nuanced, but I did really love "3". Considering you can listen to it for free, you shouldn't read any of my nonsense and go directly to the label's website to make you own opinion.

Friday, August 27, 2010


Friday, August 20, 2010

Ride, To Infinity, and Nowhere!

Ride's Nowhere appears to me as a masterpiece, mingling melody with violence in a glorious crash of cymbals, acoustic guitar strumming, overdrive & reverb drenched electrics and a powerhouse rhythm section. The noise sister to Ladies And Gentlemen We Are Floating In Space and pop brother of Loveless is of course English, and obliterates any recent attempt to make something "in the same style but better". This record is in fact so good I can't write anything more than providing you with means to listen to it and a high-res picture of the cover. Which was rapidly taken by yours truly in blatant disregard for copyright laws but never ending admiration for the artist, unknown to me.

another awesome artwork for another awesome record


Ah, maybe one thing to say before I end this article: If that wave on the cover is the start of a 30 meter high tsunami, then it's a pretty good equivalent to the music that's about to crash in your ears, leaving no survivors when it washes out in a foam of goodness.
JNCT

...

Tuesday, August 3, 2010

Beaches, Beaches!

It's not like I've been really active lately, but I'm leaving for a sunnier place (why would ever do that?). Since Flavio's already gone building little boxes, that leaves exactly zero people to write for this blog in the next two weeks. That's unless I miss ESS so much I'll ditch my friends and go to internet cafe. Which could happen.

So long, friendz.


JNCT

Friday, July 30, 2010

Mammoth Mammoth

Australia has always been a land of finely-crafted music and compositions.

AC/DC
Buffalo
Today, Mammoth Mammoth valiantly carries the task of being awesome. How do I know that?

Because of this (from their website):


"WE ARE THE LOUDEST AND GREATEST BAND IN THE HISTORY OF THE WORLD. WE ROCK SO HARD THAT SOMETIMES IT CONFUSES US. WE THINK, "JESUS H CHRIST! WHAT WAS THAT?!" BECAUSE THE SIZE OF THE ROCK THAT WE MANAGE TO PRODUCE TRANSCENDS WHAT THE HUMAN BRAIN CAN MENTALLY TAKE IN. THE CEREBRAL CORTEX SHUTS DOWN.

WHERE AS SOME PEOPLE MIGHT SEE THIS AS A PROBLEM. WE, MAMMOTH MAMMOTH SEE IT AS THE ULTIMATE POSITIVE. IT IS WHAT SETS US APART FROM THE MEL & KIMS, SLAYERS AND MIDNIGHT OILS. IT IS WHAT MAKES US TRULY MAMMOTH.

FOR TO BE TRULY MAMMOTH BOTH IN SIZE AND IN SOUND, EACH MEMBER OF THE UNITED FORCE THAT IS MAMMOTH MAMMOTH MUST BE TRULY WILLING TO BLEED. BLEED FROM THE FINGERS, FACE AND GOAT BAG. THEY MUST BE WILLING TO PHYSICALLY AND MENTALLY PUNISH THEMSLEVES IN ORDER TO BRING OUT THE INNER MAMMOTH.

WE ARE MAMMOTH. FUCKING MAMMOTH. WE WILL DESTROY. WE HAVE IN THE PAST (666BC) AND WE SHALL DO SO AGAIN IN THE VERY NEAR FUTURE.

WHETHER THE WORLD IS READY FOR US IS A DIFFERENT STORY.

FUCK EM. WE ARE MAMMOTH.

BIGGER THAN JESUS. LOUDER THAN HELL!"


Hells Yes. 

http://www.myspace.com/mammothxmammoth

They have an EP and an LP out, both of which I have the utmost inexplicable admiration for.  They're respectively called "Mammoth Mammoth" and "Mammoth". How could you not like that?

Long live the Mammoth!

JNCT

Tuesday, July 27, 2010

List #6: Top Ten records of All The Times Ever

According to me (whatever that's worth):

  • Master Of Reality by Black Sabbath
  • The Velvet Underground by The Velvet Underground
  • Ladies And Gentlemen We Are Floating In Space by Spiritualized
  • The Campfire Headphase by Boards Of Canada
  • Live '74 - At The Cliffs Of The River Rhine by Agitation Free
  • Beyond by Dinosaur Jr.
  • Space Ritual by Hawkwind
  • If You Want Blood (You've Got It) Live by AC/DC
  • ...For The Whole World To See... by Death
  • Maniac Meat by Tobacco


Yes, half of it's the same as the earlier Top Five. It was recent enough that I still agreed with it. Less is missing now though.


JNCT


...

Sunday, July 25, 2010

List #5: Top Five Records Of All Time. That's right. (Quick, before I change my mind)

A record label had "top five records of all time" question in its internship application.
I had a lot of trouble coming up with this, so I thought I'd use it as article material.

So, in no particular order, my top five best records of all time, at this very instant (Sunday, July 25th, 2010, 8:07pm)
  • The Velvet Underground by The Velvet Underground
  • Ladies And Gentlemen We Are Floating In Space by Spiritualized
  • The Campfire Headphase by Boards Of Canada
  • Live '74 - At The Cliffs Of The River Rhine by Agitation Free
  • Beyond by Dinosaur Jr. 
Reviews for all the albums that haven't been reviewed here yet to come very soon.

JNCT

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Saturday, July 24, 2010

Prehistoric Dog, by Red Fang



No comment. Which, in itself, is a comment

JNCT

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Friday, July 23, 2010

Rather than rewriting my 2009 top ten, here's the one for the first 7 months of 2010 / List #4

In no particular order:
  •  Fang Island by Fang Island
  • Nomadic Pursuits by Yawning Man
  • White Hills by White Hills
  • Maniac Meat by Tobacco
  • The Soft Pack by The Soft Pack
  • Appalachian Incantation by Karma To Burn 
  • Holy Ground: NYC Live by Mono with The Wordless Music Orchestra
  • Made The Harbor by Mountain Man
  • Sloath by Sloath
  • Innerspeaker by Tame Impala
Any objections?

JNCT

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Hexagon Sun Collective, Mud Season, Deeply Fried Schnitzel

another pretty nice cover, don't you think?

Sloath by Sloath
Riot Season records, 2010 

Doom usually is a straining listen. The point is to go on and on, in a Terry Riley on downtuned fuzz sort of way. As many other genres with a philosophy, you see how many ways this could go wrong. To make someone actually listen to same riff, usually a thick groove-laden sludgy slab of fuzz guitar,  played over and over again at often excessive volumes, the compositions need to be clever in their minimalism and smart in their choice of sparse ornamentations.

Earth did it by getting the meanest riffs out there, and assembling them in a way that made sense, that willfully made you want to listen to the same 3 (ok, maybe 5, tops) riffs for the 32 minutes that Extra-Capsular Extraction went. When that weird anvil-being-hit sound came, followed by the longest note in rock history, creepy vocals & weird noise, well that was just the black cherry on top of the dark chocolate cake of doom.

Today, Sloath does it by mixing early style Earth riffing (maybe a tad dirtier) with a gloomy version of Hendrix feedback and vocals reminiscent of the ones mentioned above (i.e. echoed yells from far away, think flute from Hawkwind's Space Ritual era). This record should satisfy your most primary needs for monolithic 4/4 riffs played at 40 bpms, and in style.

"Black Hole", "Cane", and "Please Maintain" are the names of the 3 divisions in this creamy guitar and cymbal crash 44 minutes epic. Divisions are superfluous though, as Sloath manages to make these 3 tracks feel like just one very well orchestrated song, with interludes of feedback and the physical necessity of flipping the record. After the first half, the opening of B-side behemoth "Please Maintain" sounds surprisingly mellow. Rest assured, it's not a reassuring or nice instrumental in an Explosions In The Sky sort of way. The occasionally discordant guitar work maintains the unsettling atmosphere, which (by lack of accurate verbal description) is perfectly encapsulated in the cover of Black Sabbath's first LP:


You're thinking: "what is this?.. What's going to happen?.. Why are all the colors weird?.. And who is that person?.. " after 7 minutes, it's obvious you won't escape the sludge, and by the 10 minutes mark, the only thing you want is the sludge. An apocalypse made of over-the-top guitars. Which they give you.

I'm not sure you can call what happens at this point a solo, but a guitar adds a high pitched echoed maelstrom of notes to the general chaos. Reminiscent once again of a Hendrix or a Manuel Gottsching, but on horse tranquilizers.

I'm also not going to write what happens in the last ten minutes, you should discover it yourself. Let me just tell you how you feel after it ends: incredibly calm. If you weren't lying down while listening, you will probably want to, just for a second, and listen to the surrounding noise. It should be at a much more common volume. Birds chirping away. People talking. Maybe take a deep breath...

So what's the fuss with new age records? If there's one way to do yoga with music, it's probably with a doom record. Until better comes along, it'll be Sloath's self-titled for me, please.

Angry Chairs post about Sloath by Tim

I thought I'd add a little disclaimer about how all the record reviews signed JNCT are written: late at night, with said record on repeat. If I feel like I don't know the record well enough, I review another one.

JNCT

...

and thanks to Sandra for the title inspiration

Old list one finds on random parts of digitalia - List #3

Top Ten Records of 2009 (no order), written December 20th, 2009

  • Subway: Subway II
  • Black Moth Super Rainbow: Eating Us
  • Dirty Projectors: Bitte Orca
  • Assemble Head In Sunburst Sound: When Sweet Sleep Returns
  • Oneida: Rated O
  • Hush Arbors: Yankee Reality
  • Pelican: What We All Come To Need
  • Wye Oak: The Knot
  • Weird Owl: Ever The Silver Cord Be Loosed
  • Yawning Sons: Ceremony To The Sunset

While we're at it, top 30 of the decade (watching snow fall is very inspiring as to what one can do with his time)

  • Vampire Weekend: S/T
  • Eels: Daisies Of The Galaxy
  • Air: 10,000Hz Legend
  • Animal Collective: Strawberry Jam
  • Ali Farka Toure & Toumani Diabate: In The Heart Of The Moon
  • Black Angels: Passover
  • Black Moth Super Rainbow: Eating Us
  • Black Mountain: In The Future
  • Boards Of Canada: The Campfire Headphase
  • Dinosaur Jr: Beyond
  • Dirty Projectors: Bitte Orca
  • Earl Greyhound: Soft Targets
  • Earthless: Live At The Roadburn Festival
  • Firebird: Hot Wings
  • Foo Fighters: In Your Honor
  • Goldfrapp: Seventh Tree
  • Yawning Man: Vista Point
  • The Libertines: What Became Of The Likely Lads (EP)
  • McLusky: McLuskyism
  • Motorhead: Better Motorhead Than Dead
  • Nebula: Atomic Ritual
  • Pelican: What We All Come To Need
  • Secret Machines: Now Here Is Nowhere
  • Sinoia Caves: The Enchanter Persuaded
  • The Strokes: Is This It
  • White Stripes: Icky Thump
  • The Dandy Warhols: Thirteen Tales From Urban Bohemia
  • Lords Of Altamont: Lords Have Mercy
  • Spiritualized: Songs In A & E
  • Hush Arbors: S/T

updated list to come soon, maybe

JNCT


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Thursday, July 22, 2010

Moutain Man: Made The Harbor / Lightning Reviews, Part III

Who threw a really heavy hula-hoop in the water? Who?

Made The Harbor by Mountain Man
Partisan Records (for the US), 2010

Three girls from Bennington, Vermont. Playing three-part harmonies with a guitar. Can't be half bad, can it? 

Well, there's a number of way it could, but Mountain Man definitely didn't chose from those. 
Going from ballads to playful tunes with a melody so beautifully catchy you'll end up singing at the supermarket, even if you never sing (watch out for "Buffalo" and "How'm I Doin'" in particular).

Describing their influences as" train engines mothers Redwoods Pines Oaks kale vegetables dogs breasts mountains ocean (seaweed) Wild West Colorado date orange scones Cora" there certainly is a timeless quality to their music that makes pointing out references unnecessary. It draws from a number of things, none of which I could accurately name, but I think that actually helps appreciate the record. Stopping the thinking, listening to the pastoral melodies, and letting them bring you this sense of calm, accepting friendliness.

There is some amount of old-style hum on this record, which probably has to do with the fact that they recorded Made The Harbor in an early 20th century ice cream truck (dixit Allmusic). Amidst the arpeggiated harmonies, this hardly noticeable roughness helps this record be more genuine. And even though these compositions are relatively silent, those artifacts become unnoticeable as soon as the song actually starts, because even though sparse, these composition command all your attention. In fact it's pretty hard to listen to it at the same time as writing about it. So excuse me, I'll go get my headphones and put it on repeat album for a while. 

please make the record a littletinybit longer next time!


JNCT (human)

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Neurotic to the bone, no doubt about it - Lightning Review, Pt. II

You read that right. It's a line from Green Day's Basket Case, off of 1994's Dookie (Reprise Records):


And that's the album being reviewed here.

To those of you in the back already making disgusted faces, don't worry, it'll be quick.

Imagine a time where the 80's were still the recent past, where Gulf Wars were being dealt with by Bush Sr. and where Green Day actually made stuff that made you smile (in happiness). That stuff is Dookie.

I'll admit I was 3 when this record came out, but that's barely the point. Listening to the almost-40 minutes of California Sun encapsulated on this slab of polycarbonate and aluminum makes you imagine another time, when you thought you didn't give a shit and all you wanted was hang out with your buddies. Listening to Dookie.

Because Dookie is a record where melody works with energy, where bass breaks fit perfectly with power chord riffs, all in a joyful tongue-in-cheek atmosphere. It's nothing hard, nothing complicated, the lyrics probably aren't even that clever. But it's hard to beat the 4/4 head noodling joy these people used to make in this bright summer. Green Day never looked like they really hanged out in the sun (more likely some basement, padded with egg boxes, beer crates piled in the corner and instruments instead of couches), but their records sure were better when they sounded like it.

Welcome To Paradise.

JNCT

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Upside Down Clouds - Lightning Review, Part 1

 please stand in awe in front of this glorious, beautiful cover

Fang Island by Fang Island
Sargent House, 2010

Fang Island's debut is like a sandwich.

Start with a delicate slice of airy bread. Bite through some lettuce and juicy tomato, both tasty and refreshing. Then comes the meat and cheese. This analogy doesn't work with vegan subs, no, here the cheesiness / meatiness are of the utmost importance. Every song is a bite of this progressive pop metal sandwich, where animal guitars roar, childish synths oscillate, voices yell senseless hymns and the drums cheerily guide the whole procession. Dense, thick and rich passages veer down into glorious breaks/outros, in a mix of AC/DC bravado, Muse keyboard work and Amon Düül II nonsense.

The problem with eating a really good sandwich (and boy is this a delicious record) is that even if it's massive, you'll eat it fast (in 31:27, actually), and you'll end up wanting a second one.

This is where the sandwich comparison ends: if you'd have to buy another sandwich, the repeat button is free. Don't you wish we could eat music?



JNCT

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Wednesday, July 14, 2010

Summer Bash mix // #2 or exp(iπ)+1... = 0... but only if i = √(-1)?


this actually is the view from my window. It only looks like that about a minute a week. And there's a lot you're not seeing.

I was going to make this article a mashup made up of lyrics from songs in this mix. But that was really cheesy. And way too hard. And a number of other negative things, so I trashed that idea.


And leave a comment! 

Summer Bash, Volume 2: Clouds, Palms, Sands & Mountains
  1. The Dodos: Undeclared (The Visiter LP)
  2. Belle & Sebastian: If You're Feeling Sinister (If You're Feeling Sinister LP)
  3. Blonde Redhead: Spring And By Summer Fall (23 LP)
  4. The Dandy Warhols: Godless (Thirteen Tales From Urban Bohemia LP)
  5. Boards Of Canada: Hey Saturday Sun (The Campfire Headphase LP)
  6. Do Make Say Think: A Tender History In The Rust (You, You're A History In Rust LP) 
  7. Eels: I Like Birds (Daisies Of The Galaxy LP)
  8. The Clash: Train In Vain (London Calling LP)
  9. Dum Dum Girls: Yours Alone (I Will Be LP)
  10. Sweet Tea: If I Were A Carpenter (If I Were A Carpenter 7")
  11. Eric Clapton: Walkin' Blues (Live Unplugged LP)
  12. The Beta Band: Dry The Rain (The Three EPs LP)
  13. Foo Fighters: Down In The Park (The Colour & The Shape LP)
  14. Fast Burn: Lost Boy (Altered Zones)
  15. Hawkwind: It's So Easy (Sonic Boom Killers Best Of)
  16. This Is Real: Best Coast (Saucony Originals Perfect Pairs Download)
  17. Beige: In Kind (Altered Zones)
  18. Beck: Girl (Guero LP)
  19. The Drums: Saddest Summer (Summertime! EP)
  20. Monthy Python: Always Look On The Bright Side Of Life (Monty Python Sings LP)

Have a Happy 14 Juillet.

 JNCT

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Monday, July 12, 2010

"How To Make A" Don't Be Evil

 

What's Better: Google, or the people who use it?
 tues. 13th, 8:52 pm: let me rephrase this. What's funnier, Google or the people who use it?

Oh Epic Fuzziness, Oh Summer - Take it to Eleven!

Since I'm the person who started this blog (and probably one of 5 people who read it), I can pretty much do whatever the hell I want on it as long as its not too illegal. For the moment, that still includes making playlist for things I'll probably never do. Here, I'll go for the much fantasized but probably never happening Drive in the Desert. might as well be prepared, right?

Plus, it's somehow related to summer. Because it's really hot here, but you probably guessed that.


this is the view from my window. No seriously.

Eleven songs about love and girlfriends and flowers. Just kidding. Turn it up! (all the way to erm... 11)

Drive in the Desert - Summer Bash: For The Love of Fuzz

1. Mammoth Mammoth - Slacker (Mammoth Mammoth EP)
this song is pure Australian asskicking. I have no idea what the guy's singing, but it sounds awesome. Plus the cover art is glorious. Find it!
2. Kyuss - Green Machine (Blues For The Red Sun LP)
Classic desert rock. Green Machine is probably a metaphor, or not.
3. Fu Manchu - Cyclone Launch (In Search Of Space LP)
More Fuzz, more cheesy covers - I'm in.
4. Nebula - Clearlight (To The Center EP)
What I listen to when I need to clear my brain - or, how to be a stoner yet make dense, richly hallucinated work.
5. Karma To Burn - Forty-six (Appalachian Incantation LP)
Wear earplugs when you go see them. They're from West Virginia, apparently that's a good reason to get fucked out of your mind and be pissed
6. Karp - Bacon Industry (Self Titled LP)
Something about Bacon and turning you on. Don't ask, enjoy.
7. Queens Of The Stone Age - You Think I Ain't Worth A Dollar But I Feel Like A Millionaire (Songs For The Death LP)
No comment.
8. Rage Against The Machine - Down Rodeo (Evil Empire LP)
"Can't waste the day when the night brings a hearse!" what?
9. Black Sabbath - Into The Void (Masters Of Reality LP)
Off "Masters Of Reality", Sabbath writing the gloom version of Hawkwind's space epics.
10. Electric Wizard - Witchcult Today (Witchcult Today LP)
English Doomsters pick up where Sabbath left to see what you could do with synths, a.k.a. the end
11. High On Fire - 10,000 Years (The Art Of Self-Defense LP)
"Heavy... it's about being a warlord on the battlefield... Like if some dude chopped some guy's head with an axe, and you have a riff that plays the same way that way... that's Heavy." (Matt Pike, Such Hawks Such Hounds - more or less direct quote).



Hope you'll enjoy!

And Remember to drink lots of fluids. Seriously.

JNCT


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Wednesday, July 7, 2010

Do! Make! Say! Think! Yes Brain, but don't you think we should check the gas tank first? + List #2

After a "Fuck Postrock I'm listening to Torche" phase, it seems to be that I cannot get away from long instrumental tracks by bands with overthought names. Some of them are just so good...



 why do I like record sleeves so much??? I'd put it even bigger if I could

 Do Make Say Think 
"Other Truths"
CST062 - Constellation Records, 2009

On their 2009 (and I guess latest) installment for Montreal's Constellation Records, Do Make Say Think have assembled four tracks, intelligently titled, let me surprise you... : 
  1. Do
  2. Make
  3. Say
  4. Think
Were they lacking inspiration? Or is this a statement that after more than a decade after 1998's self titled LP, DMST has redefined itself, reaffirming their position as one of Canada's prime export (after Salmon, wonderful accents, really really good smoked meat, and Broken Social Scene).

Do opens the album with soft, fast paced arpeggios and a mood that's not quite belligerent, but definitely victorious. Comforting you in this feeling after a few seconds of intro are the second guitar, bass and drums. These two are then given a break of restrained epicness, kicking in the stomach any of those Muse fuzz bass+drums breaks I used to drool over in high school and sending them in the stratosphere, ass first. Dynamics is the main focus in this song (or just of "postrock" in general), in a progression that's ultimately resolved by silence. Start smooth, add layers (is that a choir I hear on the way?) give it it's distinctive Canadian touch by adding strings and brass instruments, then return to silence like you're going down the other side of the musical mountain you've just conquered. 


That should give you and idea of what Make, Say & Think are: 10 minutes and longer tracks, conveying emotions through sound (psychoacoustics is a mess of a field), going from warm to epic in more than 5 minutes (and not 0 to 60 lightyears/millisecond in less than 6 mississippis like most things today). Compared to the majority of Godspeed You! Black Emperor, Grails, Explosions In The Sky and their own other albums, DMST's Other Truths incorporates people singing. That doesn't seem like such novelty, but let me tell you, in this context, it is. Albeit scarce & ambient, vocal contributions from other Canadian artists are notable and surprising, giving additional depth to this "pastoral" record (dixit Pitchfork).

In conclusion, why should you listen to this record? Two possibilities: 

a) you like a similar band. In that case, you don't really need a reason. DMST are at least as good as EitS, GY!BE, SMZ and a bunch of other bands with long or short names.

b) you've never heard anything quite like it before. In that case, I suggest you take a seat, maybe lie down, maybe get a book, and let yourself listen to it. If you like it, there's a lot more where it came from, if not, you'll have a fancy band to mention to a hipster next time you want a pbr. It's a win/win situation.

...

Back to Macro. Instrumental rock music seems to have taken a number of different paths, one of which is epitomized (what a word) by this record. Rather than writing long pompous explanations as to what I mean, here are a few top 5 for these different interpretations of making rock music without vocals.

Will you be able to figure out what logic there was in the order of said records?

Instrumental Rock, Version 1 - Top 5

Explosions In The Sky "How Strange Innocence"
Tortoise "Millions Now Living Will Never Die"
Pelican "What We All Come To Need"
Do Make Say Think "Other Truths" 
Mogwai "Mr Beast"

    Instrumental Rock, Version 2 - Top 5

    Agitation Free "Live At The Cliffs Of The River Rhine"
    Earthless "Live At The Roadburn Festival"
    Yawning Man "Rock Formations"
    Colour Haze "All"
    Neu! S/T
      Ok, "All" isn't completely instrumental, but like DMST's record, vocals are more ambient than anything else


      Instrumental Rock, Version 3 - Top 5 

      Popol Vuh "In Den Garten Pharaos"
      Tangerine Dream "Ricochet"
      Klaus Schulze "Moondawn"
      Ash Ra Tempel S/T
      Cosmic Jokers S/T 


        Instrumental... well it's not really rock anymore but that doesn't matter, Version 4 - Top 5

        Boards Of Canada "The Campfire Headphase"
        Manuel Gottsching "E2-E4"
        Fuck Buttons "Tarot Sport"
        Subway "Subway II"
        Beak> S/T

          wasn't getting rid of vocals a good idea?

          JNCT

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