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!





 

 

 

 

 

Cloudland Canyon - Silver Tongued Sisyphus
(Kranky) Keith Boyd 11.28.07

When I was a kid everyone always talked about the things they could see in nature. We’d lay on our backs in my front yard and with hands tucked behind heads stare out at clouds shouting things like, “Hey! That one’s a frog riding a motorcycle!” or, “Wow, look at that winged horse!” Our observations weren’t limited to clouds however. There were ancient and evil faces to be found in tree trunks, heroic and sprightly figures to be seen in water stains on rocks and even weird cartoony animals lurking in the whirls and swirls of old sidewalks. Growing up when I did (Yeah! The 70’s!) meant that you spent most of your time outside. I remember summer days that started when your bike tire hit the blacktop in the morning and didn’t end until the sun was going down. Who knows what has changed but we’ve gone from childhood being a nearly autonomous (and certainly anarchic) experience to adult mediated “Play Dates”. Once upon a time it was every nine year olds God given right to torment crayfish, cadge money for Slurpies and roam the landscape as though it were your own. The benefits of this are hard to calculate. I think it was the trial and error methodology that was our best teacher. We’d set up old paint cans full of water into pyramids, drag a piece of plywood and bricks into the street to make a ramp and proceed to kill ourselves for hours until we got the perfect alignment of ramp angle, pyramid height and bike speed to become mini-Evel Kenevels.
And so it was that one cool December evening I was lying on my back in the grass watching my Dad string up the Christmas lights. As I sat there a beautiful full moon slowly crept up into the sky and seemed to hover just out of reach. As I looked at it I tried in vain to see the legendary “Man”. Was it a lopsided, leering expression? Was it a big balloon headed face wearing Gene Simmons Kiss makeup? I just couldn’t see a face whatsoever. As I continued to stare though, an image did seem to resolve itself out of the abstract. It looked like a man in flowing robes, holding a steering wheel with long hair trailing behind him. The moon itself was some sort of bubble car and this guy was driving it. Given my somewhat limited experience with Hippies and the like I labeled the guy “Jesus”. The full moon would from that point on until today always be this to me; Jesus driving inside a bubble. As I said before this image appeared to me on a coolish December night and so that tranquil, inky blue atmosphere is wrapped up with this image. Whenever I see the moon I see that image, feel that cool air and hear a sound which I can only describe as silvery-blue forever. Hey I know that’s not much help in understanding really but that was how the thing came at me. The great part is I’ve heard that sound since then. It has mostly tended to creep up in German “Kraut-Rock” bands. I’ve heard it in Can’s, “Future Days”. I’ve heard it in Neu!’s, “Fur Immer” and even on Kraftwerk’s, “Strom”. Whenever I hear that sound I swoon. It’s a hard thing to put your finger on but the essential element is that it feels as though it started before you got there and could continue on long after you’ve left. Naturally I find this tone and sound to be utterly entrancing and I’m here to tell you it’s in abundance on the new Cloudland Canyon CD, “Silver Tongued Sisyphus”.
Cloudland Canyon is composed of two members; guitarist Kip Ulhorn of hipster Brooklyn band Panthers and German multi-instrumentalist Simon Wojan. Last year they put out the massively freaky, “Requiem de Natur” and it was a stunner. While that disc was jarring, beautiful and chaotic this EP has a softer, more hypnotic pulse. The saddest part of this CD is that it’s so short. It’s only two songs (admittedly they both clock in somewhere around the 12 minute mark) and that’s just long enough to whet your appetite for more.    
The first track, “Dambala” starts as a heady landscape, all rough edges and dark patches. As it progresses it gives way to a perfect synth rhythm, different loops all going in and out of the mix, locking and unlocking the music. The shifting and pulsating nature of the song makes it feel alive. It is like a giant superorganism: each component of the song being drones (think insects as opposed to say La Monte Young) working in sync for the good of the music. The title track is similarly multifaceted, starting off seamlessly where the sedate "Dambala" leaves off. However, there is a startling change of pace as the drums kick in with a powerful rhythm with a strong bass foundation. The guitar conjures up an ethereal wash around this iron backbone. The icing on the cake are the vocals which are in German and so, while I’m not sure what’s being said, they sound like they mean business.
Silver Tongued Sisyphus is a great, engaging exercise in tonality and dynamics. Cloudland keeps it reined in here for the most part and the result is a beautiful and diverse piece of art. Put this on and celebrate the freaky side of life. Pay homage to the fungal and subterranean. Let your dream glide boldly forth with wild anarchy colors. Close your eyes and clearly see Jesus driving the bubble moon across the dome of a mythic night sky.

 

 

 

 

 

 

 

 

 


    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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