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!
No Stagediving Off The Record Bins - Nirvana at Off The Record Jay Allen Sanford 02.14.07
Who doesn't miss the staple-infested LP bins of Off The Record's late lamented Hillcrest locale? Those beat up bins survived hundreds of live concerts, with both bins and shows dating back to the store's original College Grove location. Phil Galloway was a fixture at OTR nearly as long as the bins, booking many of those performances and witnessing nearly all of them.
"It's a pain in the ass to do an in-store [concert]. We have to rearrange the racks, run ads, sometimes we hire security, and then we're losing $300.00 to $400.00 in sales while the band's playing.Even though it's a huge hassle, in-stores promote the business, they create goodwill with our customers and, really, all of us at the shop love putting our heads together and saying 'Let's put on a show!'"
"About half the time, we approach the band directly or through their agents, and the rest of the time it's a vendor, their record company or someone like that who gets ahold of us to say [the band is] available. The El Cajon Boulevard store was a lot smaller but we managed to pull off in-stores with Slayer, Husker Du [and] a lot of punk groups." Long lines and packed aisles were common when bands played OTR, with the largest turnouts greeting The Posies (1991), Mudhoney (1994), The Misfits (1996), Drive Like Jehu (1997) and Rocket From The Crypt (1998). An April 2001 set by the Locust drew, in Galloway 's estimate, over two hundred patrons.
"I've only ever been starstuck twice in my life. Once was when I had the chance to hang out with Elvis Costello, [because] I'm a huge fan. The other was when I was thirteen years old and I met Charles Schultz at the Comic-Con[vention], and met Charles Schultz." Just mentioning the comic strip artist who created Snoopy and Charlie Brown causes Galloway to slip into a reverent, almost worshipful tone. "I had a collection of 'Peanuts' comics that I saved in binders and he signed those, and then he actually drew Linus for me," he sighs, enjoying a fond recollection directed more inward than toward the tape recorder.
The record store's "close relationship" with Geffen Records, coupled with the success of a recent in-store with The Posies which had been broadcast for television, earned OTR an offer to host Nirvana for a performance to be staged near the start of their first national headline tour. "Right when we found out [Nirvana] was definitely coming, 'Nevermind' jumped from number twenty to number seven on the Billboard charts. At that point, they decided there'd only be three in-stores for the whole tour - Seattle , San Diego and New York . For the one in Seattle , they purposely leaked out the wrong date and location, so the actual gig could stay a secret until the last possible minute."
"Down here, we prepared by creating limited edition tickets; purple, with a watermark. Each one [was] individually signed and numbered and recorded, not only to control the number of people in the store but to prevent counterfeiting. I heard right away about the Seattle gig.the kids who got in went nuts and were bin-diving. Actually climbing on the record bins and diving off, fallimg all over the band! That made us a little nervous, for sure. I'm sure, to our insurance company, just saying 'Please, no stagediving off the record bins' isn't going to cover the injuries and damage!"
"I was in the store at 5:30 AM, taping baby dolls and fishhooks everywhere, like on the [Nevermind ablbum] cover. The record bins had to be moved and those weigh three or four hundred pounds each. Oh, and part of the deal was that we had to provide the equipment, a twelve string guitar, a PA.the plan was for them to do an all-acoustic set. Geffen [Records] or some radio network was also going to record it. Things on our side fell through because we had all right handed instruments and so Curt went ahead and played electric guitar. They ended up doing a whole forty minute hard rock set."
"After the set, they hung out and signed autographs and posters for people. You could tell Curt [Cobain] wasn't into that part at all though. He wasn't in the mood to pose for pictures and, well, let's just say he was definitely feeling down. Not at all like he was during the set. I'm sure that he was used to being able to wind down and go to sleep after a show so this must have been a drain, having all this activity going on around him for so long after playing so great [and] putting out all that energy. A lot of us talked about that later, how he seemed to be having a great time and all of a sudden he looked so miserable and depressed."
Cobain agreed to pose with his bandmates for a group snapshot with the OTR staff, and the resulting photo, capturing him making a face somewhere between a grimace and a nyahh-nyaahhh taunt, seems to show him already disgusted with rock star posing and commercial ass-kissing. "The guys in the band went out to dinner with a bunch of the employees, some record company people and even a few customers got invited along, but that definitely wasn't something [Cobain] was into. But, hey, they played an awesome set." Galloway phrases this with a finality that seems to discourage more discussion about the singer's off-stage attitude. Further inquiry results in a long sigh and then a longer silence. "The other two [bandmembers] had just gotten over being sick so, I don't know, maybe he was coming down with something?"
At this writing, about nine minutes of Nirvana at Off The Record on 10-24-91 can be viewed on YouTube:
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.