Nate Fitzbutler did a remix to Kanye West’s and Kendrick Lamar’s “No More Parties in LA” called “No More Parties in SD”. He said, "we made this track to try to bring some national buzz to our city that’s always been in the shadow of the LA music scene."

Niko Sitaras from the San Diego based dream rock band Paper Days says, "We just released our new EP 'Fun For Family & Friends'. Our release party is on Feb 19th being hosted at the Irenic (with The Bash Dogs & Splavender). 

Panic Is Perfect is an indie-pop group from San Fran and they are touring in support of their new album, Cellspace, which drops tomorrow on Strange Loop Records. They'll be playing at The Loft @ UCSD on Feb. 12!





Bauhaus – Go Away White (Bauhaus Music) 3.19.08 Keith Boyd

Those three descending notes are what mattered most. At first it was all dub drums and clatter. Sweepy scrapes of guitar strings added atmosphere and panic. What was this sound? Was it the soundtrack to some German/Jamaican hybrid horror movie? Then those damn notes started. BOOM-BOOM-BOOM! BOOM! BOOM! BOOM! And you knew you were not in Kansas anymore Toto! Like many of you out there my first exposure to the Glam/Doom/Goth/? Band Bauhaus was through the exquisitely creepy single, “Bela Lugosi’s Dead”. This miniature movie as song while actually standing apart from the bulk of their output seemed to encapsulate the exact feeling of the band. Named for the German art and architecture movement of the 20’s and 30’s this group of weirdoes seemed to pop fully formed out of post-Punk England as if they were Nosferatu coming out of the grave. While remaining the ground-zero for all Goth music to come, Bauhaus had an extra something that I believe elevated them into the realm of the truly great and unique. That of course adds extra meaning and poignancy to this combination Comeback/Breakup disc.
I was introduced to the gloomy and passionate sounds of Bauhaus through whom I guess you might call my first “serious” girlfriend Wendy. Our relationship began at one of those theme parties held so often at colleges. This one was a “Black and White” night and I being so not into themes wore the most colorful African Dashiki I could find and finished it off with orange shorts and spray painted gold boots. Early in the day I had made a marigold chain of the discarded flowers from my job at the flower stand and accompanied by my beat acoustic guitar I went to the party seeking a good time. A group of my pals were already there when I showed up and amongst them were these two new gals I didn’t know. I was introduced and right away Wendy asks me if I knew any Rolling Stones on guitar. Being somewhat surprised I decided on a test. I’d ask her to choose between two of the more obscure tunes I knew and see what she knew about the Stones. I said something like, “How about Sweet Virginia” or “Country Honk”?” and right away without pause she says, “Oh Sweet Virginia for sure I don’t want any retreads of Honky Tonk Women tonight!”. I was floored dear readers. I was flabbergasted. I looked at this woman with her wavy-long hair, her rock and roll get up and her almost black eyes and I was smitten. I bashed out the song and something clicked. The two of us became permanently attached at the hip. Well like most cases of young love this one followed the usual trajectory of intensity followed by an abysmal crash. I won’t go too into this particular crash except to say that it involved ignorance, growth and powders. The main thing was that we were both music FREAKS! For every band I introduced her to she’d turn me on to two. Those first months together were a true meeting of young hearts and minds figuring out life and finding a kindred spirit. One of the best discoveries Wendy turned me on to was Bauhaus. She LOVED them. By this time they had been broken up for a year and the side projects, “Tones on Tail” and “Love and Rockets” had already begun making waves but she had the whole catalog of Bauhaus on vinyl and as she put the extended single mix of “Bela…” on the turntable she said something like just listen. I sat back and the whole above described soundscape started whirling out of the speakers. I was blown away. It was such a brilliant hybrid. Elements of dub reggae, Glam Rock, movie soundtracks and Romantic poetry of Shelley and Byron all mashed together into this dreamy yet danceable mix. I was hooked right away. Although “Bela…” is by far the exception rather than the rule of their music, I found almost everything they did to be compelling. Their sound had this great dramatic edge to it. It seemed epic and a bit mysterious. Although they are I suppose irreversibly linked to the Goth music scene, I never found them too easy to pin down. I would say that rather any specific genre that they were making very European music. It had an edge of indulgent, glamorous intelligence that could never have come from this country. And so now they are back but not really folks. This apparently a one-shot deal and due to some undisclosed incident the band will not be working together ever again. Sad really because this album is great.
Recorded in 18 days, some tracks in one take, Bauhaus' fifth studio album proves that even a quarter-century's hiatus can't kill a great band. Echoes of Bauhaus have been heard in the work of their heirs and imitators for the past few decades and 25 years after their last studio release the band have returned with yet another undiluted glimpse into their world and vision. From the first track, Peter Murphy’s vocal strength and daring are immediately apparent. It is safe to say that he has never been in better voice. “Too Much 21st Century” opens the record with a bright punchy saunter, heavy on mid-60’s Beatles guitars and background harmonies. On “Saved,” Murphy’s solo work comes to mind with chromatic melodies mingling with Middle Eastern tonalities and weighty sepulchral bells. (Think “Never Man,” “Socrates the Python,” or the Dust album.) Another standout track, “Mirror Remains,” is reminiscent of “Rosegarden Funeral of Sores” and finds Daniel Ash laying down chilling strains of reverb-driven leads atop David J and Kevin Haskins’ ice cold groove. The album’s most innovative achievement, however, has to be “The Dog’s a Vapour,” an smoldering track that invokes the band’s impressive past while simultaneously breaking new ground. At times it eclipses even the most impassioned offerings of their back catalog. “Go Away White” is a worthy addition to the Bauhaus cannon. It has a little something for dark eyeline wearer in all of us. It’s a shame that something came between the artists that has driven them so far apart. As this album evidences they were on the cusp of a new surge in creativity. I suppose it’s fortunate that at least we are left with one last scintillating artifact to add to the remains of an impressive musical career. Lastly, let me add that I hope that you’re out there somewhere Wendy amongst these foggy ruins of time and space, living your own healthy life and enjoying these new sounds of good old Bauhaus.

    Lotushouse MP3 Sampler
    Maquiladora - The Revenge of Becky Royal (New Piano)
    Tenniscoats + Maquiladora - Hours
    High Mountain Tempel - Processional (An Invocation to Thee Angelic Sister)
    Raagnagrok - HJD
    Beggars - Will We Call It Love
    Maquiladora - Termez 1936
    Maquiladora - Song 26
    Buzz or Howl - Sendhe Mortu Chin Rigore
    Earthling Tempel - Celestial Inhabitants of the Sun
    Buzz or Howl - The Sins Of The Flower Are Visited On The Shunned
    Maquiladora - Light of the Rain
    High Mountain Tempel - The Ascended Master (Hang Gliding in Heaven)
    High Mountain Tempel - Fluctuat Nec Mergitur
    High Mountain Tempel - Tempel Walk
    Buzz or Howl - 05 Oct 05
    Buzz or Howl - Sun as the Destroyer of Dreams
    Live version at the Make Room SF 2005
    Maquiladora - In This Life
    Maquiladora - Simply to See You
    Maquiladora with Kawabata Makoto - Nampasen
    Maquiladora Maquiladora - Drunk and Lighting Fires (A Waltz)
    Maquiladora Maquiladora - Ritual of Hearts
    Maquiladora Maquiladora - Ankle
    Maquiladora - Mayday
    Loraine Loraine - Pasqually Old Pasqually

    Beggars - S/T
    by Pierro Scaruffi

    Maquiladora's Eric Nielsen and Bruce McKenzie joined forces with Skygreen Leopards' Glenn Donaldson to form Beggars, whose double-disc Beggars (Lotushouse, 2013) is a tour de force of ecstatic Eastern-influenced freak-folk. Mostly these pieces lean towards the traditional song format, although inevitably deformed by the musicians' pedigrees.

    The ghostly hyper-dilated drones of Ghost Coyote are imbued with quasi-Morricone western-movie guitar twang and even harmonica. The sweet lullaby and the trotting pace of Eureka My Love as well as the romantic honky-tonking Justine (with a refrain a bit reminiscent of Dylan's Blowing in the Wind) hark back to the heydays of country-rock. 2-3-74 Floating evokes the martial laments of the young Neil Young although diluted amid discordant guitar jamming and lulled by waves of funereal vocal harmonies. Berserker's Boogie is a lively and poppy almost-bluegrass tune. They even intone the singalong Queen Anne's Lace with drums, banjo and all.

    Thankfully, the spaced-out yodeling of Lullaby de Bourbon (memories of Aoxomoxoa-era Grateful Dead), the free-form quasi-jazz guitar and vocal interplay of Will We Call It Love, the seven-minute dreaming psalm Big Pink Sun and its sublimely disintegrating coda, remind us of what Maquiladora are best at. The 23-minute Midget Decapitates Clownis an ambitious concerto for suspense and agony. Far from being just a droning piece, it piles up sonic event after sonic event, producing the trancey effect out of a multitude of traumatic sounds. The chirping and tweeting that accumulates half-way into the piece decays into a nervous organic filigree and dies away in the most cryptic manner; one of the high points of Maquiladora's career.

    Earthling Tempel - Pilgrimage To Thunderbolt Pagoda
    by Aquarius Records

    Not sure if this is part 4, or just the first in a new multi part epic, hardly matters, what does matter is, this is another glorious expansive collection of meditative psychedelic abstract dronefolk ambience. Every High Mountain Tempel disc we're reviewed thus far has gotten played to death here, and this one doesn't appear to be any different. Well, at least in that respect. In one distinct way it is very different, HMT are not going it alone this time. They've assembled a pretty impressive collection of sonic alchemists and musical conjurers to help with this ritual, Isis Aquarian from the Source Family, Charles Curtis from La Monte Young's Just Alap Raga Ensemble, and two crews from the UK we've never heard of, Earthling Society and Astarism, but even with all those cooks in the kitchen, HMT and friends have managed to weave another dark minimal masterpiece, all hushed barely there guitar shimmer, drifting whispered vocals, delicate crystalline melodies, dense swirls of piano, warm swells of tape hiss, mysterious voices and field recordings, whirring organ, bowed steel strings... so lovely.

    If the liner notes are to be believed, two of the tracks feature Earthling Society on their own, and those tracks do sound different, much less free and sprawling, a bit more structured, like seventies UK acid folk, swirling and melodic and quite lovely. The final two tracks find the two groups in full on collaborative mode, and the gears shift to something much more space rocky and Hawkwindy, all blissed out and heart-of-the-sun, until the final track which is a strummy, delicate, moody chill out closer, a sort of dour doom folk drift, that makes a perfect ending.

    Super nice packaging, silkscreened oversized 4 panel sleeve, white on black, with the cd-r affixed to the inside. And of course, SUPER LIMITED!

    High Mountain Tempel - The Glass Bead Game by Aquarius Records

    Part three in the ongoing series of limited cd-r explorations from mysterious drone combo High Mountain Tempel, and like the two before it, the band continue to delve into some murky sonic underworld, again presenting loooong songs, each separated by brief sonic interludes, this disc seems feature more actual vocals, the opening track features a processed voice, that sounds a bit like throat singing, or a Speak And Spell, intoning some arcane message, interwoven with long drawn out tones, and a thick ropy buzz, super dark and intense and atmospheric. Elsewhere sampled voices surface, there are bits of chanting here and there, all peppered throughout the disc. But even with the extra voices, the focus here is still on dark, lugubrious, extended dronescapes.

    The sound of High Mountain Tempel is probably closest to Expo '70, as their various permutations of dronemusic seem to have a definite krautrock vibe, that gives the sound a sort of spaced out quality, and a subtle propulsion, but unlike Expo '70, HMT seem to have a distinct Eastern influence, much of the music is meditative and subtly dramatic, a bit soundtracky, and some of it sounds like it could be Japanese. Especially the way field recordings are incorporated into the sounds. Giving everything a definite texture, some of it sounding like it was perhaps recorded live in some hilltop temple. Which we would imagine is the idea.

    Not sure what else to say actually. This is indeed fantastic, brooding and malefic, but also shimmery and dreamy, sonically it has much in common with the first two installments, so definitely check out those reviews to read more about their 'sound'.

    Needless to say, fans of the drone and folks into the current crop of cd-r soundscapers will for sure dig this, but like the other HMT discs, this is more than simple drone music, this is ritualistic alchemical soundwork, one can almost imagine stumbling across a group of cloaked figures huddled around a fire in a forest clearing, tossing various powders into the flames, causing the fire to change color and cast beastlike shadows on the branches above, and this is the sound filtering through the forest like a black moonlit fog...
    SUPER LIMITED of course, packaged beautifully in a foldover silkscreened sleeve, gold metallic on red on the outside, black on red on the inside.

    High Mountain Tempel - A Screaming Comes Across The Sky - The Faultline Scriptures
    by Aquarius Records

    Record number two from this mysterious drone-kraut styled duo. Their last disc was a huge hit around here, so we were pretty thrilled to get our hands on this one, a logical sonic extension of the first, delving deeper into some murky tripped out twilit soundworld.
    The disc opens with shimmering clouds of gongs and cymbals, whirring and sizzling, suspended over a deep distant rumble, a delicate intro to a record at once hypnotic and lovely, dark and dense.

    The record is arranged into three epic tracks, interspersed with short sonic interludes, ranging from field recordings of crickets, looped chants (Elizabeth Clare Prophet if we're not mistaken), spirituals and mysterious liturgical songs, whirring drones, and backwards percussion, but it's the long tracks where the duo get to spread out, let their dense soundscapes sprawl.

    The three long tracks sounds like movements of a greater whole, clocking in at 15 minutes, 11 minutes and nearly 17 minutes respectively, each rife with creepy delayed vocals, churning guitars and smeared chords, roiling muddy whirls, which often dissipate leaving streaks of fragmented melody and haunting slowed down voices. Buried amidst the drones and whirs, are lullaby-like melodies, skittery percussion, streaks of grinding distortion, hidden voices, more field recordings, thick swaths of cavernous rumbles, little bits of electronic glitch and lots and lots of low end buzz.

    Packaged in a fancy navy blue fold over sleeve, screenprinted in white ink, with a photocopied insert with liner notes and song credits.

    LIMITED TO 150 COPIES! Each one hand numbered.


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