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!






Love Is The Song We Sing (San Francisco Nuggets 1965-1970) (Rhino Records) Keith Boyd 9.18.07
Without the 1960's we'd be nowhere. I don't care what music, literature or art you dig (you know, the BIG priorities in life!) somehow it wouldn't have come about were it not for the amazing cultural blossoming and legacy of that decade. Don't get me wrong here. I'm not saying that there's been nothing since. That misses my point entirely. Punk, Electronica, Hip-Hop, hell even Disco were all full of sublime and transcendent moments. It's more that the experimental, open-ended and adventurous ethos underpinning the expressive realms of 60's (particularly underground) culture provided the fuel to propel onward the subsequent developments of the next 4 decades. I think a lot of the staying power of this energy has to do with a magickal belief in the self and world transformative powers of art. However self or chemically driven the developments of people like Brian Wilson and The Beatles/George Martin it remains that they were seeking out new ways of producing sound and in turn there were people willing to try to find new ways of hearing. Along with the big names of the era there were a million and one forgotten aspirants to the throne. For every Jefferson Airplane and Jimi Hendrix there were 50 Chocolate Watchbands and Frumious Bandersnatches. Any number of reasons exists as to why this host of names has been lost to the ruins of time. Bad management is one. Bands of teens or early 20 year old fresh from the garage signed ridiculous contracts binding them to labels with no distribution and very little profit. Drugs were another. The 60's weren't all lightness and freedom. For every mind opened by an LSD trip or toke of grass there were plenty destroyed by speed and heroin. The death toll of 60's luminaries is quite high. Jim Morrison, Janis Joplin, Pigpen, Jimi Hendrix, Brian Jones are just a few of the more well known names. Along side these two major forces is another and that is dumb luck. It's hard to lay out exactly what this constitutes but it's likely a combination of the previous two with a dash of wrong place at the wrong time thrown in for good measure. This isn't quite the tragedy it might seem at first. Some of the lost is quite rightly lost. I can't tell you the amount of times I've taken a chance on a reissue without really knowing the artist and come away with terribly corny songs and rotten, scratchy recordings. What it does mean is that along with what is known of the music scene in the 60's, it was complimented, bolstered and moved along by host of other innovators and one-off's. The good news is that for those of us inclined to look back and dig through the crates, there's a mountain of good stuff out there waiting to be discovered. Remember, not all you'll find will be good. You'll come across and have your mind blown by some Nick Drake or David Allan and the Arrows track just to wash up on the shores of the fractured mess of The Shaggs or William Shatner singing The Beatles. And while there might be strange pleasures awaiting you amongst the local Salvation Army record stacks, great companies such as Rhino are using their considerable resources to put out wonderful overviews such as their new 4-disc set, "Love is the Song We Sing".

This set is simply an over the top pleasure-fest for Bay-Area 60's fanatics. The design is stunning and comes in a book sized package with silver metallic on black printing. The book length material inside is chockfull of amazing and rare photos of every band on the discs and the San Francisco scene in general. There are three essays written by Alec Palao (creator of the set), Ben Fong-Torres (of Rolling Stone magazine fame) and Gene Sculatti (noted music journalist). Also provided is track by track commentary by Palao. This is perhaps the greatest addition as you get a taste of the history and trajectory of each band. Some of course will be well known. Tastefully represented are the big names of the era; The Grateful Dead, Jefferson Airplane and Janis Joplin. Others are just down right wonderful, wild and unknown. The disc is organized thematically and somewhat chronologically. Each disc has a representative name of its' contents and includes; Seismic Rumbles (highlighting the divergent fault lines separating the traditional pop flavors of the early 1960s from San Francisco's emerging bands that were inspired by the more complex rock and roll of The Beatles and Bob Dylan), Suburbia (exploring the nearby burgs of Berkeley, Sausalito, Sacramento, and San Jose to show the garage, folk-rock, and musically-hybrid psychotic reactions to San Francisco's psychedelic stew), Summer of Love (celebrating the myriad riches of that era-defining season with many well known classics) and The Man Can't Bust Our Music (charting the visionary artistry and mind-blowing evolution of the maturing San Francisco sound - an epic musical wellspring that changed the course of rock and roll and gave birth to freeform FM radio). This is truly an embarrassment of riches.

"Love is The Song We Sing" is going down on my list as one of the best releases of 2007. The variety, quality, surprise and plain old fun to be found here are worth the price of admission alone. So on some clear and lazy afternoon when you're dying for some good soul-cleansing music slide these discs in and hit shuffle. You'll be treated a taste of just how high that high-water mark rose on the Pacific shore some 40 years ago.

    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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