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!





 

 

 

 

 

Goof is Gone - Lambchop, Damaged
Merge Records 12.11.06 by Bruce Mackenzie

"damage' is a really interesting word.  a good word.  evocative, dangerous.   it can apply to the physical and the psychical, the emotional.   doctors use it.  it is calming and carries, i guess, the promise of repair.  beautiful sounding in an incongruous way.  like "slaughter". now i've had some damage in my life lately.  pretty significant damage.  none of your business, but it's a part of me, of who i am.  it's affected how i move through the world, how i smell.  i got this package the other day, a byzantine fucking process lemme tell you.  cuz it was damaged.  the goods was damaged.  and i knew it.  i made em send the shit anyway.  and i had to write "damaged" on the shipping receipt before taking my shit inside.  i put it where my signature should go.

but damaged is not the same as broken, you see.  you carry damage. it's portable.  you can't carry broken.  and if something's broken it doesn't work.  something's damaged it doesn't work right.  still works though.  now i don't know what happened to kurt wagner between records but it's clear some deep shit went down in this man's life.  this record, man.  it's a glacier.   it's got one inside the cover.   and on the disc.   and in the booklet.  two.  one in color.  it might be an iceberg but either way it makes sense; there's something going on that we can't see: inexorable advance (or decay if you take global warming into account) or unperceived  immensity. and i've since heard that he had some kind of health crisis or something.  i don't know what it is/was and don't necessarily wanna know.  i mean, i knew.  i got it.  i don't need to know.  none of my business really.

to listen to this record all the way through is to spend an hour with your smartest, most thoughtful and saddest distant friend.  the lyrics are filled with liminal and hovering moments or experiences - opportunities for intimacy, conversations, letters never sent, the act of waiting - moments that hang like pearls on, i dunno what on but it's gonna break.  it could go at any time.  but until it does...  and whatever the song happens to be about it's a long walk (metaphorically) to get to what's next if your lucky enough to get there.  waiting.  it's all over the album.  the most laid-back relaxed white cracker soul song ever is here, titled "i would have waited here all day".  originally written for candy staton (who recently did a song will oldham gave her didn't she?) and why the fuck not?   she's got a history of doing intense memphis soul versions of cracker country tunes, and i mean kurt got his curtis mayfield thing going on "what another man spills" - what was that tune, it's a curtis song.  but on "i would have waited..." he doesn't  go where you might think he'd go and that's good.  i love him but sometimes his soul-pop thing gets too close to up with people for me.  here the restraint (here being everywhere on the disc) is remarkable.  and kind of frightening.  where's the goof?  what happened?  none of our business.  to my knowledge he's not making a big deal of it whatever it is, if there is an it, the way mark linkous used his it to market good morning spider or whatever that sparklehorse record of some years ago was.

i have a hard time keeping it to myself myself i guess and i appreciate a guy who can.  self-contained.  i love the arrangements on this record.  throughout the players contribute with such care, such sensitivity, it's as if one man is breathing music behind wagner's fragile singing.  and he articulates and finishes, i think, every single word he sings, the plosives, the sibilants, the whaddya-call-ems when it ends with m or r.  you don't hear that too much.  the care is there as well, and the overall sensibility is that every sound is important .  (you know who else does that in spades?  frank sinatra.  speaking of arrangements, what an ear that fucker had.  he didn't write em but goddamn he could hear it when some clown in the strings missed a note and he let em know too.  lotta respect, whether you like the music or not.  some guys just have the ear, you know.  brian wilson, jack nitzsche.  (i hope that's how you spell it)  brian's rare cos he could write em and arrange em.  )  by the second track "prepared [2]" you know something special is going on.  the loping bass line at the chorus-y bit only hints at it.  the structural play is a complete surprise after the straight lovely catalog of the mundane that precedes it ("paperback bible".  dig the simple piano run at about 4:07 or so) and when the strings come in over the repeated guitar figure...  this is a thing that could go on but it's done once, only once each time but the potential for repetition, knowing that you could hear that progression  played  two, three times, more, but only hearing it once and still being completely satisfied is a beautiful thing. it is enough.  and this sense of promise or potential, of something coming whether you and i are here to see it or hear it, it's all over the record.  we live in a continuum of events, a fabric of lives, of cares, and you get the sense from "damaged" that these everyday things stretching beyond ourselves is as deepened by our presence as by our absence.  to put this into lyric is pretty straightforward. the achievement of this record is that it is also fully embodied by the music: how it is played, what is played.  in the music.  i could go on track by track., but i won't.  i do just wanna say about maybe my favorite track, "short": the quiet propulsiveness and cluster of strings, the way the track develops musically makes me want to fucking explode when i listen to it - in a good way - and it ends with the devastating lines : "here's a little story bout regret/...this story's short just like i said/can't seem to get it through my thick head/started out with hope and now the ending is suppressed/smothered like a fire in your dreams/or will we burn for you tomorrow in your dreams/or will we pass out in the airport like a freak upon your seat".  that's something worthy of robert pinsky for fuck's sake.  to me.  the sympatico of musicians, lyric and delivery give the experience of listening to this record the kind of weightlessness of the best conversations.  which are, (not?) coincidentally, always the heaviest ones.

so the goof is gone but not a goner.  damaged but not, not broken.

f.y.i.  this was gonna be a two-fer about damaged and joanna newsom's new one but it was gonna be like taking a load of spider monkeys down the chisolm trail as far as ideas go and i'm ain't up to it. 

jesus  east l.a. has got a startling sunset today.  crepuscule.  another hovering that carries the promise of the promise of.  something's coming.

Stream Damaged by Lambchop
Merge Records


    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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