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!





 

 

 

 

 

Mile Davis - The Complete On the Corner Sessions (Sony Legacy Recordings) - Keith Boyd - 12.6.7

miles davisWhenever I think of Miles Davis there are certain images that come to mind. First there is Miles with his back to the audience. He’s slightly stooped and wearing huge sunglasses. His clothes are an electric mish-mash falling somewhere between Jimi Hendrix at his gypsy finest and a Ghanaian king. His trumpet is clutched in his boney fingers and held close to his chest. The look in his eyes betrays the arrogance of turning his back on the crowd. He’s not actually being rude here, that’s just a side effect. It’s a look of such deep concentrated listening that it’s almost scary. It’s the look of a magician waiting for all of the correct elements to materialize before he lashes out with his spell. The other image that comes to mind when someone says the name Miles Davis is the one from the back cover of his album, “Tutu”. In this photo we see the full force of Miles and his slightly wizened countenance. Those spectral hands rest against his forehead while his lips pucker as though getting ready to blow away his pain through some phantom trumpet. What to make of these images? It’s hard to say really but considering that the real legacy of Miles Davis is the vast and ground-breaking musical work he left behind, it’s funny that what comes to my mind first are these images. There is something so singular about the man and these pictures reveal a glimpse of it. He seems to confront you without putting forth the effort to do so. His overarching attitude is that of the self-guided seer bending reality to his will while fully accepting what it will cost him. I’ve dug all kinds of Miles Davis music. From the Bebop to the majestic to the detuned, electric funk, it all holds together. The tones, tempos, pace and players may be different but it all bears the imprint of this difficult and deep genius.
Both Jazz fans and critic’s alike love to argue about the importance of Miles Davis's albums from his late-'60s addition of electric instruments to his mid-'70s semi-retirement. Was 1970's Bitches Brew the first true fusion record? Isn't 1969's In a Silent Way the true precursor to fusion because of its arrangements, instrumentation and studio techniques? Perhaps 1968's Miles in the Sky deserves greater recognition for its use of electric instruments? As entertaining as this exercise may be for the pundits, one point seems oft forgotten: how ripe with ideas each of these records was. As opposed to trying to find a list or ranking for this handful of albums perhaps a better use of time would be dig in deep with a good listen and experience the thrill of discovery. While it’s true that this music can at times be difficult repeated spins allows you to hear sound presented in a whole new way. Truly these records are still shocking 30 + years on. At this point (1969-1972), the jazz icon and pioneer could have rested comfortably as the genre's (arguably) greatest commercial success. However, Davis deliberately pushed further into the unknown. In this period he produced albums that may have been purchased or shared by smaller numbers, but they stirred an unprecedented amount of conversation and controversy.
For what it's worth, then, 1972's On the Corner may be one of Davis's least-listened-to yet most-talked-about records. From a historic standpoint, it is notable for being one of Davis's last proper albums until the musician's reemergence from retirement in the '80s (1974's Big Fun and 1975's Get Up With It were collections more than coherent records). However, On the Corner is also a pinnacle of Davis and producer Teo Macero's use of the studio as a music-making tool. Much like the pair's "format" of editing, looping, applying effects and generally throwing the rulebook out the window on Bitches Brew, the two apparently set out to burn the book's remaining pages while working on On the Corner.
 The process of reaching that point is the subject of The Complete on the Corner Sessions. This six-disc set exhaustively documents the recording sessions related to and spun off from this milestone effort. Although the album has often been cited as an influence in hip-hop and electronic music, the reissue's inclusion of unedited master takes make explicit the extent to which tape loops, studio effects and "production" techniques were employed. For example, the title track sputters and spurts in a honking frenzy in its’ untouched form but is edited down to a molasses of funk and squelches. Included then is the album's principal "source material" of two recording dates in early June, along with "follow-up" dates from the next two years. Davis's well-oiled, “nontet” performs throughout with his trademark wrenches-in-the-engine: Stevie Wonder-alumnus/bass guitarist Michael Henderson and percussionist James "Mtume" Heath were hired as a deliberate affront to jazz standards; cellist, arranger and composer Paul Buckmaster, known for his collaborations with Elton John as well as prog-rock groups Third Ear Band and Nucleus, came from the U.K. with a head full of ideas and a suitcase full of Stockhausen records -- from lead sheets that Tom Terrell describes in the extensive liner notes as being "more akin to a Rube Goldberg hieroglyph." Though On the Corner's original four tracks (two of which reach the twenty minutes mark) are frequently described as funky or compared to Sly & the Family Stone, the boxed set treats the album like an entirely distinct beast -- funky without being restrained to the blues, and sounding circa Riot Sly, sans pop structure -- and makes Bitches Brew sound almost conventional. This was a densely packed and deconstructed funk that perhaps we’re only now growing the ears to really understand.
  Admittedly, The Complete on the Corner Sessions confirms some of the album's weaknesses, particularly its tendency to be heady and insular. Although at what point do we give up calling that a weakness and treat it for what it is; a Miles Davis trademark?  Six discs of dense material makes you feel fortunate that Macero and Davis took the time to filter through the tapes. And although fancy packaging and endless essays by Davis compatriots (Buckmaster) and scholars (Terrell and Bob Belden) are boxed set de rigeur, a more appropriate bell/whistle would have been a disc of isolated tracks for aspiring producers to remix/edit/sample. However, the set demonstrates the creative virility Davis experienced at a time of life when most artists fall victim to habit. If this set is truly the last of Columbia's Davis boxed set series, it certainly solidifies the bookend to one of Davis's many accomplishments.


 


    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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