Category Archives: albums

2014, albums, Bandcamp, music

Stream: Purling Hiss s/t 2009 limited edition re-release

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Ultra distorted, lo-fi psych punk. That just about sums it up.

If you know anything about Purling Hiss, and Permanent Records that originally put this album out back in ’09, it’s that they are both synonymous with fuzzed out, lo-fi (sometimes to an extreme) psych/stoner garage rock.

This recording is overblown, in the red nearly the entire time, really capturing the energy and immediacy of a debut release. Since this album came out 5 years ago Purling Hiss has gone on to release tons of stuff on other labels like Woodsist and Drag City to name a few. Purling Hiss has gone from the solo project of Mike Polizze to becoming a full-fledged band, jamming non-stop on endless tours across the country.

“Almost Washed My Hair” lays out an 8 minute guitar solo over static harmony that explores almost every classic rock guitar idiom known to man while simultaneously slicing through squeals of feedback and an incessant wash crash cymbals. “Montage Mountain” takes the noise element up a few hundred notches, with guitars bleating and screaming wildly, trying to find their place. Both tunes stretch on for what seems like an indefinite period, again, just a noise, feedback jam session. And I didn’t even bring up the track “Purple Hiss,” the longest on the album, clocking in at 14 and a half minutes.

And now that we have a better idea of what Purling Hiss sounds like in their current incarnation-specifically a Sabbath influenced, stoner rock guitar riffage band-it’s interesting to be able to hear where that all started. Head on over to the Permanent Records site to grab one of the limited edition cassettes or vinyl while you can, as I’m sure they aren’t going to last very long. If you miss out, you can still head to their bandcamp and get in on the download.

Purchase LP (limited to 250)//Purchase Cassette (Limited to 100!)//

2014, albums, miscellaneous, music, personal, thoughts

In Memoriam Sonic Youth XIII: “Sonic Nurse”

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I have Sonic Nurse on vinyl. Not that this is something that is particularly novel, it isn’t by any means. The truth is I have a ton of SY vinyl, early stuff, rare stuff, the SYR recordings etc. The reason that I think of Sonic Nurse as an album that I have on vinyl is because the digital copy that I have I recorded directly from that vinyl to my computer, and I am reminded of that every time that I listen to it.

In 2004 the common practice of “download code inside” that we all take for granted now, was not the case so much back then. And by “not so much the case” I mean that it wasn’t at all the case. So this was maybe one of the first times that I had bought an album brand new, without having heard it first, on vinyl. Anyway, the sound of my digital files is pretty bad. It’s tinny, thin, nasal, too quiet. Basically I didn’t know what I was doing when I ripped it to my computer. I still listen to it this way though. I’ve gotten used to it and I kind of like it this way now.

But the truth is, I didn’t actually buy this album until a few years after it came out. I got Rather Ripped and then went back to Sonic Nurse after I realized that there was an album out there that I didn’t have. I’m glad that I did because there are a lot of great tracks on here. “Pattern Recognition” starting it off, with its lengthy noise freak-out at the end is so great to hear after not getting too much of it in the past couple of albums.

Of course Jim O’Rourke was still in the band at this time, which means there was some more interesting guitar interplay throughout the album. Things really take off with songs like “Stones” and “New Hampshire,” though. Dense layers of melodic interplay that more closely resemble some sort of free-jazz improv session than they do anything else that Sonic Youth has attempted before. Sure, their stuff has always had an element of noise and experimentation to it (that’s why we’re here, isn’t it?) but when 3 different guitarists start attacking the same patch of silence all at once, coming at it from completely different angles, all spreading out and crossing over top of each other, well that sounds different than the usual blasts of noise and feedback that we’ve been getting.

Interludes that feature melodies that closely resemble real-life actual guitar solos like in “Unmade Bed” start to appear, and really add an interesting dynamic to the staid gestures that the band has been adhering to for the past couple of decades.

What’s funny about writing this is that my memories of getting to know this album are continuing to this day. It wasn’t really all that long ago that the album came out, barely 10 years now, and I’m pretty much still continuing on down the same path that I was starting out on when this album came out in 2004. Back then I was in the 2nd year of my undergraduate program, and now I’m in the 3rd year of a doctoral program, with only a little break in between. So in a way I’m still coming to know this album little by little. Sadly I know that I tend to neglect it in favor of Rather Ripped or some of the classic stuff.

I have been thinking though, as I listen to this and the albums that come after it, about Kim and Thurston. Now that it is 2014, and they have been separated or divorced or whatever for a few years now, how far back did what lead to that start? And what lyrics or songs would indicate that a separation was in the works? Does it go all the way back to Murray Street? Does it start here, or on Rather Ripped? There may have to be some pretty detailed lyrical analysis to figure it all out.

Either way, listening to this album I’m just thankful that the band decided to continue on the path that they returned to on Murray Street.

Lots of things were starting to come to an end, not only Kim and Thurston’s marriage, but also the band itself. They would leave DGC after releasing Rather Ripped two years after Sonic Nurse, and only one more non-SYR album in 2009. At this point in their career, and at this point in my being a fan, Sonic Youth was just a given. I thought that it was a pretty safe bet that we would be getting albums from them well into the next decade, that they would never stop, and it would just be something that went on in perpetuity.

I guess I was wrong.

2014, albums, news

Stephen Malkmus & The Jicks – “Wig Out At Jagbags”

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For some reason there are some albums that I listen to a lot, but refuse to write about. I think that sometimes I just want to try to focus writing on bands and artists that aren’t getting much (or in some cases ANY coverage anywhere else), but I also listen to a lot of music every day, and I develop obsessions with albums that last for months at a time.

One of the albums that I’ve been stopping myself from writing about is the latest offering from Stephen Malkmus & The Jicks. This was probably the first significant release of the new year, and also the first album that I started listening to on a daily basis.

Unfortunately Malkmus is never going to be able to escape the shadow of Pavement, and his solo efforts are always going to be compared to their brilliant albums that have reached the heights of required listening to all up and coming indie music fans. I think that “Wig Out At Jagbags” is just as solid a release as his past solo efforts, each of which should be considered outside the bias that inevitably happens when reviewing his work against that of Pavement.

Lead single “Lariat” is more radio-friendly and just more welcoming in general than some of the more angular material that can be found on “Pig Lib” and “Mirror Traffic.” It seems as though Malkmus is more comfortable indulging his proggier side with a few additive rhythms here and there, some odd phrase structures, maybe a few dropped bars; he’s tinkering with form. Take for example “Houston Hades.” That opening (after the noisy intro) that goes on to become the textless chorus, features a bit of hypermetric irregularity. By that I mean that he’s shifting the measures around 4/4 + 2/4 + 4/4 + 2/4, which all adds up to 2 full bars of common time, but the accents are shifted around. That idea carries through to the outro section as well.

Malkmus’ songs make shifts like this, and all sorts of other aberrations of typical structures, sound smooth, and they are hardly noticeable unless you really make an effort to focus a bit on them. The buzzing, sustained guitar lead line that opens the album is placed over one such aberration, with the rhythm section chugging along in a protracted additive rhythm that blends right into the first verse. Sure, it sounds a touch off-kilter, but it is certainly not the focus of the section.

What I find particularly interesting about the songs, on this album as well as on past solo efforts, are Malkmus’ lyrics. Words strung together that partly resemble free association, followed by internal rhymes, allusion, word play and assonance (check out the line that leads into the titular line on “Independence Street” for example). At first listen it might just sound as though the words are thrown down as he sings them, without a care. The truth is is that his lyrics are regularly brilliantly constructed. It’s poetry done right, all of which is sung (with terrific prosody, mind you) in a natural, almost conversational delivery.

Well, I guess I take that back. Lyrics aren’t always delivered as such in every song. In fact, on “J Smoov” Malkmus does his best blue-eyed soul, singing in falsetto, supported by horns with the guitar pared down significantly.

Standout tracks, for me though, have to be “Chartjunk” and “Cinnamon and Lesbians,” the former of which features more use of horns, some rolling, bouncy guitar work and 3-part backing harmonies. “Cinnamon and Lesbians” is just a fun tune with a great deal of the aforementioned wordplay (as is the track “Scattegories” that precedes it), and of course it also has a (terrible) video that interprets each of the lyrics literally.

Malkmus has more tunes than he even knows what to do with. He makes everything sound so effortless and carefree, but if you dig a little bit it’s plain to hear that there is a lot of attention to detail within every line of every song. “Wig Out At Jagbags” came out last month on Matador and they just started the North American leg of their tour a few days ago, so make sure to get out there and see SM and Jicks. Apparently they are going with the hashtag #wigoutacrossamerica

Stephen Malkmus & The Jicks “Wig Out Across America”

Fri Feb 14, 2014
Columbia, MO | Mojo’s |

Sat Feb 15, 2014
St. Louis | Old Rock House |

Sun Feb 16, 2014
Omaha | The Waiting Room |  *

Tue Feb 18, 2014
Minneapolis | Cedar Cultural Center |  *

Wed Feb 19, 2014
Madison | High Noon Saloon |  *

Thu Feb 20, 2014
Chicago | Lincoln Hall |  +

Fri Feb 21, 2014
Ferndale, MI | The Loving Touch |  +

Sat Feb 22, 2014
Toronto | Lee’s Palace |  +

Sun Feb 23, 2014
Montreal | Cafe Campus |  +

Tue Feb 25, 2014
Boston | Paradise |  +

Wed Feb 26, 2014
NYC | Bowery |  +

Thu Feb 27, 2014
Brooklyn | Music Hall of Williamsburg |  %

Fri Feb 28, 2014
Washington DC | Black Cat |  %

Sat Mar 1, 2014
Philadelphia | Theatre of Living Arts |  %

Mon Mar 3, 2014
Carrboro | Cat’s Cradle |  #

Tue Mar 4, 2014
Atlanta | Terminal West |  #

Wed Mar 5, 2014
Birmingham | Bottletree |  #

Thu Mar 6, 2014
New Orleans | The Parish @ HOB |  #

Fri Mar 7, 2014
Houston | Fitzgerald’s Upstairs |  #

Sun Mar 9, 2014
Dallas | Granada |  #

Sat Mar 15, 2014
Portland | Star Theater |

Thu Mar 27, 2014
San Francisco | Slim’s |  &

Fri Mar 28, 2014
Los Angeles | El Rey |  &

Sat Mar 29, 2014
San Diego | Casbah |  &

Sun Mar 30, 2014
Pioneertown, CA | Pappy and Harriet’s |  &

Tue Apr 1, 2014
Phoenix | Crescent Ballroom |  &

Wed Apr 2, 2014
Las Vegas | Beauty Bar |  &

Thu Apr 3, 2014
Salt Lake City | Urban Lounge |  &

Sat Apr 5, 2014
Missoula | Top Hat |  &

Mon Apr 7, 2014
Calgary | Republik |  &

Tue Apr 8, 2014
Edmonton | Starlite Room |  &

Thu Apr 10, 2014
Vancouver | Rickshaw Theatre |  &

Fri Apr 11, 2014
Victoria | Lucky Bar |  &

Sat April 12, 2014
Seattle | Neptune |  &

( * with Tyvek)
(+ with Disappears)
(% with Endless Boogie)
(# with Purling Hiss)
( with Sun Foot)
(& with Speedy Ortiz)

2014, albums, Bandcamp, music, reviews

Stream: Nothing – “Guilty of Everything”

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Add another band to the list of “ungoogle-able bands.” They’re in good company though. I mean, Women is one of my favorite bands of all time and they are tricky/impossible to do a google search on.

So many thoughts and memories came rushing to mind as soon as I started listening to this Nothing album. Shoegaze is, to start off generally, one of the first and most noticeable characteristics of Nothing’s sound.  But it’s not all just a My Bloody Valentine cloud of distortion. Inside that wall is a concentrated core that contains so many recognizable elements.

Hum, The Smashing Pumpkins, Longwave, all of these emerge from Nothing (the more I mention the band by name the more it sounds like I am making some lofty philosophical statement: “they all emerge from Nothing.” Or maybe it would be better to say “they all emerge from the sound of Nothing.”)

The hushed vocals, thick power chords, persistent focus on one long drawn out harmony like the band is carving a path through a thick, dense fog, all coming out of the shoegaze tradition. But, this isn’t a bad thing. No bands are out there really doing the same thing. I suppose We Were Promised Jetpacks is going for an approximation of the same aesthetic, but really the details are quite different. Nothing re-presents shoegaze in much the same way that Yuck re-presented grunge with their first album.

“Guilty of Everything” is dark in tone, which is unavoidable given the parameters. There is something slightly sinister, or at least ominous about that combination of relaxed, whispered vocals and a barrage of loud guitars. One can’t help but have a visceral reaction. You get pulled into the music listening intently to the vocal, which in turn results in getting lost inside the sound of that barrage of guitars.

And the quieter moments shouldn’t be overlooked. I’m reminded of some of the more introspective moments on “Siamese Dream” like “Mayonnaise”  or the end of “Hummer,” throughout the titular track of this album. Moments that work to just pull the listener in with ringing open strings that cut through the wall of guitars; feedback that squeals uncontrollably for a few seconds in the background–it’s all here. Another distinct connection comes in the form of “You’d Prefer an Astronaut” era Hum that comes out loud and clear on “Dig” (listen to “Little Dipper” below to compare).

“Guilty of Everything” is certainly an entrancing debut that will resonate strongly with listeners who grew up listening The Smashing Pumpkins and My Bloody Valentine, but I’m sure it will also manage to draw a new crowd that may have missed the chance to experience those bands when they were first around (and not a shell of their former selves like they are today). Nothing still has a few shows coming up in March, while their debut album is set for release on March 4th through Relapse Records. Check the links below to pre-order the album and to connect with the band all over the internet.

Bandcamp//Twitter//Facebook//Web//

Upcoming shows:

Mar 12 Austin, TX Relapse SXSW Showcase @ Dirty Dog

Mar 16 Dallas, TX Spillover Music Fest @ Club Dada & Three Links w/ Ty Segal

2014, albums, music, news

Guided By Voices – “Motivational Jumpsuit”

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Well, here it is. This is going to be the most useless post that I have ever written.

Why? Well, because if you are a Guided By Voices fan, then you are a fanatic. I really don’t think that there are any casual GBV fans out there. This is just one of those bands. Shellac is another, and maybe Stereolab is yet another. The point is, they are all bands that inspire completist culture. And, Guided By Voices tends (or at least tended to) take advantage of this by releasing about 50 albums a week. Or maybe it’s more than that. I think at this point basically every sound that Robert Pollard has ever made has been recorded and some fan somewhere is in possession of it, listening to it with their equally fanatical friends, analyzing it, fitting it into the larger picture of Guided By Voices apocrypha, and then insisting that everyone around them listen to it. The point being: the internet doesn’t need a review of a Guided By Voices album. The only the internet needs to do is to let people know that there is a new Guided By Voices album coming out. That’s it. And it only needs to be said once.

Guided By Voices doesn’t need album reviews anymore at all actually, their fans are going to buy it. I would be willing to bet that the band has sold the exact same number of albums for the past 10 releases. And if Robert Pollard and co. released a cassette tape recording of the band discussing the weather, it would sell just as well.

Of course these are my own very biased opinions. In reality I do know that there are some really amazing GBV albums and songs. The first album of theirs that I ever had (bet you didn’t see that coming. That I was going to reveal myself as a GBV fan) was “Universal Truths and Cycles.” Not too long afterward the band released their “final” album “Half Smiles of the Decomposed.” It looked like they were going to go away forever, but we know now that that is very not true.

Well, now they have re-formed. There has been drama, excitement, thrills and chills, and I’m sure that this album is going to carry on the trajectory.  Hit. Miss. Too much. Whatever. Rob Pollard can certainly be prolific that much is true. But say what you will, the guy can sure write a tune. Often times those tunes are tightly packed into 2-minutes or less. Get in, say what you gotta say, and get out. Don’t overstay your welcome. What other band can fit a catchy, exciting verse-chorus-verse-outro into a 35 second long song? And on top of that who would dare to make that the first track on the album? Answer: none. (see: “Wire Greyhounds”). That right there sums them up. That is the thesis behind Guided By Voices. But they aren’t just cranking out songs in less than a minute. When they do stretch out with a song that is over 2 minutes, or sometimes even pushing closer to 4 (“Christian Animation Torch Carriers,” for example) they can really floor you.

Anyway, they have a new album coming out. Here’s a link. February 18.  CD/LP/MP3/FLAC.

 

2014, albums, miscellaneous, music, thoughts

In Memoriam Sonic Youth XII: “Murray Street”

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“Murray Street,” to me, feels like a resurrection of sorts for Sonic Youth. This undoubtedly has a lot to do with the fact that after several years away from the band, completely missing out on “A Thousand Leaves” and “NYC Ghosts & Flowers,” I got this album from my brother for my birthday and started listening to them again in earnest. It was like starting to talk to an old friend again after having a huge fight.

And so many of the elements of Sonic Youth’s songwriting that were missing from the (what I thought at the time were) way-too-high concept of the previous two albums, return here on “Murray Street” in full force. It’s a return to structure, or as much song-structure as Sonic Youth could ever return to; there’s more of a focus on filling the space with guitar driven harmony and melody; more of a focus on all of the band’s strengths, basically. One could Listen to “Washing Machine,” skip over the next two albums and go straight to “Murray Street” and not really have missed much in the way of an evolution. The two albums in between have their strengths and their weakness, of course, but aside from that they just sound as though the band had veered off course for a bit. Again, the insertion of the SYR recordings probably have a lot to do with that.

 


We’re picking up right where we left off now. In that time away the band had added Jim O’Rourke to the official lineup, which brought in some more complex compositional forethought to the writing process, and if I’m remembering my Sonic Youth trivia correctly this was something that drove Thurston a little crazy because it slowed the whole writing and recording process down. Anyway, that’s something to consider I guess, but it really has nothing to do with my experience of the album.

I just remember that when I got this album it was during my first year away at college, it had come out only a few months before I started. At the same time that I was re-acquainting myself with Sonic Youth I was discovering an entire world of music that I had never even heard of before. This was around the time that I discovered the music of Charles Ives, John Cage, Stravinsky and so many others that are staples in my regular listening now. Everything was starting to make a little more sense to me now. I was starting to be able to put together where all of these ideas and sounds were coming from. At the time I didn’t realize just how many gaps existed in my knowledge of music in general.

Listening to “Murray Street” again now I can clearly hear the beginnings of ideas that turn up in slightly varied form on “Rather Ripped,” which would come out 4 years later. The one thing that jumps out at me right now is the tuning of “Rain on Tin” sounds to be the same as the tuning used on “Pink Steam.” There are a lot of similarities in those two songs.

The album is definitely more subdued than material found on “Experimental, Jet Set, Trash & No Star,” and there certainly isn’t anything as cacophonous (nor as epic and brilliant) as “The Diamond Sea.” It’s a new phase of Sonic Youth. They seem less focused on creating as much noise as possible, and more interested in carving out interesting and dare I say it catchy melodies.

I still enjoy “Murray Street,” and when I listen to it now all sorts of memories of my first years away at college come flooding back, which was a good time for me. For maybe the first time in a decades I felt as though I was succeeding in something, and feeling comfortable doing it. It’s similar to how I think I was feeling when I first started listening to Sonic Youth. I guess that at this point it was good to welcome them back. And now that we were becoming re-acquainted I was learning to listen to music in an entirely new way. Neither one of us needed non-stop action, aggression and noise to hold our interest any more. And this is the reason that I started writing these entries, is because that connection of growing up with the band holds true all the way through to the end.

Up next I continue through to the final phase of the band with their final 3 proper releases.

2014, albums, Bandcamp, music, news, songs

Stream: Chad Vangaalen – “Where Are You?”

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It’s been a few years since we’ve really heard anything from Chad Vangaalen, and the void has been noticeable, at least to myself. In my opinion, Vangaalen released one of the best albums of 2011, not to mention one of my favorites that has held a place of heavy rotation on my turntable since before it saw official release, the strangely titled “Diaper Island.” I can’t help but think of him as the Canadian Steve Albini, not because of his outspoken nature or aggressive attitude (because he is neither outspoken nor aggressive), but because his production style is immediately recognizable as his own. His fingerprints are all over Women’s “Public Strain,” undoubtedly one of my favorite albums of all time. And since “Diaper Island”s release the only thing that we’ve gotten was an EP (an EP, by the way, that was as long as some albums, and just as good) released through Altin Village, which is also worth checking out if you haven’t already.

The new track, “Where Are You?” features Vangaalen’s quavering and distant voice that echoes through the din of reverberant drums and guitars wrapped up in ominous synth tones.  It’s doing the job that it is supposed to do, that being getting me excited to hear more new material. His forthcoming album, “Shrink Dust” (cover art seen above) is set to be released on April 29th on SubPop.  And speaking of that “Green Corridor” EP, from the tracklisting posted to Consequence of Sound, “Weighed Sin,” the EP’s standout track, will appear on “Shrink Dust.”

As an addendum, as I was searching through the internet for this post I came across some stuff of Vangaalen’s that I hadn’t heard before. Apparently after “Diaper Island” was released, an EP was also released containing out-takes. “Your Tan Looks Supernatural” is posted to the artist’s bandcamp page that apparently hasn’t been updated in several years. There isn’t anything too exciting here, but the songs are worth a listen for the completists out there. That one can be downloaded immediately for as little as $5 CAD. You can listen to that below.

And finally, there will be a very small tour in support of “Shrink Dust” beginning in May in the US. Details about that can be found at the Consequence of Sound post.

 

 

Chad Vangaalen//Facebook//SubPop//

2014, albums, music, news, reviews

Re-release: Glenn Branca – “Lesson No. 1”

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Whenever I think about Sonic Youth (which is a lot, as you can probably tell) I can’t help but link it all back to Glenn Branca. When I was first introduced to Branca’s work I came to think that he is where Sonic Youth got all of their ideas from. In Branca’s symphonies appear the larger (much larger) versions of Sonic Youth’s descents into chaos. It’s not that just those parts recall one another, but the guitar tone in general, and the visceral, defiantly experimental energy all do as well.

I’m sure by now that the two are sick of being linked to one another, as both have gone in completely different directions; Branca’s language has drawn him to increasingly bold ideas of gargantuan scope, while Sonic Youth (before their dissolution), for the most part, went the “song” route.

But Branca’s work is not all captured in his symphonies. In 1980 he released his first solo work, “Lesson No. 1” that featured two tracks, that is one for each side. Side A consists of a single chord, gradually and continually growing, adding little bits and pieces while the static harmony remains. It’s similar to his later, larger, symphonic work, yet distilled to the basic essence. Minimalist music with distortion. It’s a mix of several conflicting ideas; meditation and tension, focused and loose, contemplative and aggressive, celebratory and intimidating. It’s all there, packed in to 8 intense minutes.

Something completely different is found on the B-side. The contemplation and focus derived from the steadily growing and singular harmony has given way to a jagged part structure, increased dissonance and pounding percussion. “Dissonance” is exactly what it says it is, wild and aggressive, grinding, dissonant. Where “Lesson No. 1” continually picked up the pace, growing to massive proportions, “Dissonance” chugs to a near halt, with the ominous bass and drums beating out “and-1, and-1, and-1” throughout. Melodies clash and ring, strings rattling against guitar necks, psychotic strumming on the high strings play against the low wobble and tenuous pitch of a 2nd guitar. Everything explodes in the end, and one can just picture various scattered bits of wood and metal where drums and guitars once were.

Thankfully all of this beautiful early (No) New York is being resurrected, and rightfully so. It’s really important that music like this, that was way ahead of its time in its brazen originality, gets another release. Though collecting old and rare records may be great for some, there are also those people that just want to have it for their own for the first time. People need to experience this music, no matter how they came to it, and now they can. And, of course, to bring everything back full circle to Sonic Youth, Lee Ranaldo and Thurston Moore were two of the guitarist used in the “bonus” (you can think of it as a bonus, but really it was originally a separate release entirely) track “Bad Smells,” another side-long expedition into the noisier side of things, though those noise filled moments only last so long before an awkward, stilted kind of groove begins to set in.

Superior Viaduct is re-releasing “Lesson No. 1” in an expanded edition, set to hit stores on February 18th. It’s currently available for pre-order from the label. You can hear “Lesson No. 1” on the pre-order page of Superior Viaduct. Give it a listen and then scoop up the vinyl.

2014, albums, Bandcamp

Stream: Jasmin Kaset – “Quiet Machine”

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I wasn’t quite sure how I was going to start off this post. I mean listening to all of the tracks it is pretty easy to hear that Kaset has no trouble spinning out melodies in understated, yet expansive arrangements. But then I came across this quote on her website:
Quiet Machine is to be released in January of 2014. Jasmin also tours extensively as one half of the filth-country duo Birdcloud.
If you haven’t heard Birdcloud, then I’ll let you look up some tunes on Youtube. The reason I bring it up is because Birdcloud was my first opportunity to hear Jasmin’s work, but at the same time I don’t think anyone walks away from a Birdcloud show praising their understated, introspective lyrics. The first time that I heard a track from her solo recordings, they blew me away.

“Porno Mtn” is the kind of excitedly hopeful track that just screams to be played on a summer road-trip. Meanwhile, on the other end of the spectrum the rumbling piano on “I’m Tired” provides the perfect backdrop to a poignant and personal vocal.  And there’s something Beatles-esque about the verse on “The Salesman.” The waltzing tack-piano sound is very “Ob-la-di-ob-la-da,” and the next verse builds on that with a chugging string section and horns. It’s all very George Martin sounding. Similar in style is “Throw it all to the Dogs.”

From the synth-pop of “Strange Traveller” to the  lush “Bangalore” everything that Kaset does she does really well.

If streaming from bandcamp isn’t your thing, you can check out the video below and watch Jasmin, as well as some of her friends and family, listen to the album in its entirety. It’s got action and suspense, and at one point an apple is eaten. Sorry to spoil it for you.

You can order the album now on vinyl. It’s limited to 250 copies. It’s also available digitally from everywhere ever. You can find all those links on Jasmin’s site.

2014, albums, music, songs

Stream: Spray Paint – “Rodeo Songs”

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Here comes another dose of aggressive, detuned raw post-punk energy. Stumbled across this one while bumming around Soundcloud and it really grabbed my attention.

My knee-jerk reaction whenever I hear a band that extends what it means to use the guitar as an instrument, where they realize that it is so much more than just the notes, that it’s about everything else, is “Sonic Youth.” The tone, the slack-stringed jangle with harmonics that ring out alternately with a wall of inescapable noise.  But really after about two seconds my thoughts quickly turned away from my beloved Sonic Youth and towards something more like Wire.

“I Need a Bag” starts us off with incessant guitar abuse; bashing the daylights out of the strings so much that the pitch bends. But, in addition to the overall “Wire-ness” there is something about the abrupt vocal delivery that calls to mind The Blind Shake. Definitely a good thing.

Then we come to the even noisier “Bring Dumpster Back” and “Trollin the Lake.” The latter of these starts with some calm–relatively calm–though somewhat unsettling ambience. A few stray notes here and there, a few open strings before suddenly everything explodes in a fiery ball of aggression in the form of dissonance in every aspect imaginable. This is pretty much the stuff that I live for. Polvo-like guitar tunings, early Sonic Youth’s energy, up front and bordering upon hostile vocals. Really great stuff.

Of course, check out the tracks above, or head over to the soundcloud page to hear them and other fantastic stuff from S.S. Records. This is the band’s 2nd full-length, and if you want one you had better act fast because it seems that S.S. can’t keep these things on the shelf very long. Their first LP has already burned through a couple of pressings. “Rodeo Songs” is available on vinyl right now.

And below you can check out the official video for “Yawn Factory” from the band’s first album. There’s also some really great footage of them live online as well.