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!





 

 

 

 

 

Dirty Sweet - Scrappy Rock Poised On the Brink of Greatness Keith Boyd 10.31.07
Dirty Sweet is one scrappy looking band. Before you get all hot under the collar about that let me say, it's a good thing. Maybe even a great thing. The other night I was cruising YouTube looking for a few of its hidden delights and I came across a number of great things. First was a "Dance Lesson with James Brown". Who knows where the footage came from but man it was funky. The Godfather of Soul was showing the Boogaloo, the Mashed Potatoes, the Funky Chicken and a wild Robot. As is the way of the net I kept clicking through links when I was totally surprised to find a video of The Faces doing "Bad N'Ruin" on the Top of the Pops. That's when it hit me. The Faces were scrappy supreme. They wore their faded glory and rascal charm with panache. The power of the sound was rooted in soul as much as rock and the overall performance was so winning that you couldn't help but smile. I catch a dose of that same Artful Dodger charm when I listen to Dirty Sweet. Their album, ".Of Monarchs and Beggars" (Seedling Records) has a well loved and lived in quality that speaks to the players passion and commitment to their vision and tradition. What tradition is this? Well it's too easy to say, "70's Rock" or "Classic Rock". That covers a part of it but it's not as if the guys in Dirty Sweet are simply a soulless karaoke machine cranking out cover versions. To their credit they channel the underlying heart and energy of such scrappy legends as T-Rex, Bad Company, Foghat and The Guess Who while maintaining their own distinct footprint. There are doses of Funky Soul, hits of Hard Rock and a distinct Punk Rock ethos of "Do It Yourself". The whole package is rounded out by a pack of the hairiest dudes this side of ZZ Top. Okay their beards aren't that long but there is facial hair a-plenty. When Rock and Roll is done with this kind of care, commitment and intensity who really cares about the lineage? From a certain perspective I guess it helps frame what a band is up to. If that's the case Dirty Sweet are the new standard bearers for the exalted line of Scrappy Rock Bands. I think they are poised on the brink of further greatness right now and it would be wise to check them out. I recently did this email interview with guitarist Nate Beale. Here's what he had to say.

1. When I hear the name "Dirty Sweet" I think of good old T-Rex. I also think of a host of other 70's bands such as Pink Faeries, Bad Company and Free. What relation does your music have with that 70's vibe and how is it distinct from it?

I think the connection we have with the bands you named is that we're playing rock 'n roll music derived from the Blues with soulful vocals. I suppose we differ in the fact that 30 years of music has past since then and a lot of other great bands have influenced us that sound nothing like "70's rock".

2. Last year you all played a long stint at LA club the Viper Room. What was that experience like? Given the nature and reputation of LA were there any particularly strange moments?

We did a month long residency at the Viper Room last October. The shows were great and it was a terrific way to "break" into LA. I can't really remember anything that stands out though.it was a year ago!

3. Your new album, "Of Monarchs and Beggars" is a wonderfully realized listen. I understand that it was recorded in a home studio. What was that experience like and how do you feel it affected the music?

We recorded Monarchs up at Shaun's place, Blue Roof Studios. His studio is located in a 4000 square foot building adjacent to his house sitting on about 10 acres of land in the hills of North County , so it's not your typical home studio! The photo on our album cover was shot there. It was a really comfortable way to record. just us, isolated from the world, making a record. Not having to worry about hourly rates and producer/engineer fees was also a plus!

4. Having been around the San Diego music scene for a while I know how incestuous it can be. What is the band/musical background of Dirty Sweet's members?

Chris and Mark played in Jejune and Lovelight Shine together. Shaun was a member of Convoy. Ryan is from Spokane , WA .this is his first band. I moved here from Detroit , MI , where I played in a band called Moods for Moderns. I met Mark and Chris when Lovelight Shine and Moods for Moderns did a U.S. tour together.

5. What's next for Dirty Sweet?

We're gearing up a for a little 6 week U.S. tour starting Nov 2nd. After that, we'll probably concentrate on writing new material and recording for our next record.

6. Do you all have any messages you'd like to throw out there to the Internet public or San Diegans in particular?

Our thoughts go out to everyone affected by the recent Wildfires. In fact, Shaun's house and studio narrowly escaped the inferno.

7. Where does everyone stand politically?

We love music. Politics are for people who love money and power. It doesn't matter if you call yourself a Democrat or a Republican; it's all corrupt in some way. The machine always crushes the few good people who try to make a difference. Wow, it sounds like the music business as well! Call me a cynic!

8. Favorite mixed drinks?

Whiskey and water.

9. For each member; what's your favorite piece of equipment?

Well, I can't speak for everyone, but I really love my Gibson ES-335. It's the most comfortable guitar I've ever played. And it looks, um.tits?

10. Who else is making some vital music these days?

There are a lot of great bands out there.way too many to name. When we play San Diego we like to share the stage with bands we enjoy/admire. On November 2 nd at Canes we'll be playing with Get Back Loretta, The Silent Comedy and Crash Encore.

 


    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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