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!





 

 

 

 

 

Geboizm ("Explosion!") Night
by Bloom 03.02.07
Kansai [n.] 1. a region located roughly in the middle of the main Japanese island of Honshu encompassing the major cities Osaka, Kyoto, and Kobe. 2.
an area located in the brain distinctly removed from the frontal lobe, of no real fixed abode, vaguely moving about various cortextial areas at whim and will, and extending to nether regions of the body, as well as having the capability of actually exiting the physical body on occasion.

...welcome to Kansai, babe, and if you ain't ready to give it up, you may as well give up.

That, at least, was how I was psyching myself up to do a show with a couple of its Godzillian bands, Afrirampo, and Bogulta, at the down and dirty Osaka Namba Bears live house, ground zero for the Kansai underground scene.
Afrirampo's case is pretty well-known- loud and crazy guitar/drum chick duo partial to less-than-Victorian dress and jumping up, down, and raging around as if someone's gone and finished off the sushi before the start of the post-gig party.
After observing them apply their red war face-paint backstage, I was expecting more of the same. When they hit the stage, however, a more nurturing, intimate Afri-incarnation unfolded, more a beer and some lightly-spiced comfort food than a red hot pepper. It turns out Oni, the lead singer/guitarist, is actually 3 months pregnant and playing the 2nd-to-last Afri gig for the foreseeable future, so some of that molten take-no-prisoners sensual attack was married to a wan waving goodbye to some fond memories and thanking everyone for helping bring them to this stage in their career. Their usual joyous enthusiasm that shone through was now tinged with a lingering at the back gate of the fun house which had been the scene for so many parties, coupled with the realization that it was now for them to go in search of a new abode.

If you could bottle up an ideal essence of the Kansai scene, one possible version would Bogulta definitely be. Take equal parts home-made clown outfits, a propensity for the outrageous (flinging fecal matter, as an example), and mix with frenzied pummeling of instruments hammering out a never-ending barrage of lunatic phrases, riffs, whirrings, stop-start-stutter-go racing again for another instant mosh-generating-fix, and you have a cup of noodle schizophrenic mammoth mayhem of such magnitude that one finds it hard to believe it is all being generated by only two guys. And a sampler.
Having two heads helps, as the drummer Nani-kun started drumming with a punk band in junior high while also geeking it out in his room with his keyboard and pc. Having quit post-high school Laptop Music Technical School after 6 months, he formed a band called Zuinoshin ('New Music') with 5 guys he had gone to middle and senior high with. Growing a third head was the result of him ditching the drums and keyboard to become the leader of this group as a performance artist- naturally this meant that at their inaugral performance (an impromptu countdown street event on the evening of December 31, 2000) he would be defacating and throwing the excreted matter at passers-by. This resulted in many squad cars joining the festivities and the immediate voluntary retirement of four of the members.
Fast forward two years. With his remaining partner in dirty crime (a Mr.
Kakoi, who he had been playing music with sincer middle school) on guitar and a new member who had apparently been impressed with the countdown event debacle on bass, Nani returned to the drums, and the three created an insanely loud and demented spectacle replete with the donning of equally outlandish outfits. On the eve of their European tour in October 2005, Kakoi san was put in the deep freeze for dallying a bit with the herb, leading Nani san to engage his pc instincts in implementing a sampler and forming Bogulta in 2006 with Shogo the bassist.
So it was that I was hanging out in the backstage area of Bears with someone who I sensed had been through some shit in their life, but I really had no idea, as I not only had yet to interview him, I also had only ever saw him play the drums with another impactful band called (he's in four different bands at the moment, three of which I can personally confirm totally rawk).
I suppose I should have been have forming a foreshadow of what was to come when I saw him skipping about the dressing room imbibing by the drop a god-knows-what-proof liquid from a two ounce vial.
Whatever was in that libation, I'll be either ordering a case soon or carefully avoiding it 'till the cessation of all conflicts inthe Middle East, because it made Alladin's two story-tall genie look like a winnie on a
stick- when Nani and Shogo hit the stage, it was ON, and while Shogo shook it up and played a storm with his smoking bass and effects, Nani was a like demon who'd been chained up in a Fundamentalist Puritan convent minus the nuns and was now bent on reducing the drumset to ashes while periodically climbing over it, prowiling around the stage, and singing like the Apocalypse could only be stemmed if he were to induce another one, while various demented carnival scenes danced from the sampler. The keystone which held it all in place and made it work was to be found in the songs'
structures themselves- while the two of them played the hell out of them, it was apparent that they had been carefully constructed, and vicious instrumental crescendos invariably led to sudden precise changes into other codas which were executed seamlessly in-synch, yet were dirty and gritty and done with full-throttle power. The crowd's only possible response was to instantly froth up and implode into a violent mosh pit bordering on psycho-level...
It was a dream event to be a part of, so many dimensions setting up other contrasts to be explored, like bombing it downhill in a bobsled, then gliding over a placid lake in a sailboat, slowly hiking through verdant meadows, descending into moon-lit river valleys, soaring above the horizon on guilded wings, dancing naked on a street corner with Tony the Tiger ("they're GRRRREAT!!!!"), then torching it all in the mother of all fireballs. There was quite a bit of reverie going on that night (the momentum of which carried over a couple of nights later to 'Geboizm Night ver. 6' in Kobe), resounding with a giddy sense of well-being and the smell of burnt resin offerings...Yeah...Hell, yeah.

bloom (Bloom-Creation)


    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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