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!





 

 

 

 

Interview with Al Cisneros from Om Keith Boyd 8.20.9
Eds. note: We're working on a review of the mysterious, engrossing, simple, majestic, transfiguring new Om album God is Good, so check back for that soon. Om plays the Casbah 9.26.9, we'll be there.

1. Having just listened to the new album (another WONDERFUL release!!), it seems as though there are a few new textures/instruments seeping into the mix. What has been behind the choice to add different sonic voices and what led to using these specific elements?

Its always what the song calls for, we didn't say ahead of time "Let's try adding something else" meaning, what was rendered is what our vision/conception of the songs required - what was necessary to bring that about in an exteriorized form - the recorded song. I hear melodies that answer other melodies, the interplay of the basslines with vocal placement to beats/percussion - and here it is not different with the augmentations. When we "heard" certain parts in the early writing, we weren't certain what instrument(s) would best bring that to be, but as the songs evolved it became clear.

2. The underlying mythos and thematic narrative behind Om always seems to veer towards Middle Eastern mysticism and spirituality. There have been Sufi poetry references and Old Testament style prophecy. I find these aspects of your music to be deeply and wonderfully captivating but I was wondering if you might give readers an understanding of where this interest comes from and how it drives your music and vision.

The verses and themes are personal prayers in a salute to the reality, or God, the light, or what you term It, That, Him or Her as.  

3. Is there anything you might be able to share in regards to the departure of drummer Chris Hakius? The two of you played together for many years in different groups so I would imagine that integrating a new drummer must have presented certain challenges. What do you feel new drummer Emil Amos has brought to the band?
  
He quit in the middle of a tour and is now retired from playing. When he quit he mentioned his heart was no longer in it, I had felt that for some time and that is where it was challenging. In a five-piece band if one member is not putting their heart fully in it can be difficult, but in a two-piece it's very challenging. So the challenge is in the past.

Emil has brought life and energy into the band, his playing style's fluidity and lyricism really permits the premise of a two-piece band to manifest - which has always been to have a dialogue between the instruments. As songwriters we really have actual collaboration, where the energy of ideas bounces off one another and ends in a higher piece of music than we could have arrived at individually. We both share the same sonic image, and are inspired to play for similar reasons. I feel what we've done on "God is Good" is thus far the most accurate in meeting up to and even surpassing the initial premise/vision.

Further - I don't want to be in Sleep for the rest of my life. For me, that band and the mindset that went into it all expired in 1997. I don't understand why people who see no guitar player on stage assert that it is going to take them into that. OM doesn't sing about dragons, wizards, and pot caravans and there is not one guitar solo. I feel we are finally playing music that is present and relevant NOW - to our hearts in our life in our experience.

4. What is your song writing process? Do you usually start with lyrics or music?

It always begins with hearing it within. Then its externalized by humming it or tapping it out, then the instruments come in to play. If I don't hear a part that sticks to me, I can't expect the audience to care either.

To your second question - I've had songs begin with either, whichever is the initial primary element, it always energizes the process so successive themes, riffs, beats, lyrics and melodies start to appear and fall into place.

5. I’m a huge fan of the work you did with Current 93 on the “Black Ships…” cycle of releases. How did that collaboration come about? What do you enjoy about collaborating with other artists and will there be more projects where Om works with others?

David is a big fan of our work, and has become a good friend. He suggested a split release, and thematically speaking, a cohesion in both bands is there on the 10'. We are planning some splits with a couple bands, which will be in 2010. Already have some material prepared.
 
6. Although a two-instrument (3 including vocals) band is not unprecedented, it is fairly rare. In what ways is this relatively small sonic palette confining or freeing? Can you envision making other instruments a permanent part of Om?
  
Its by far more freeing than confining. We know what we want to do and are able to do it. I think a lot of bands are always searching, then give up after trying this and that with nominal results. To the latter, I'd have to say we have to see what the songs tell us when we get there!

Thank you so much for your time and for your music. I’ve been a fan of your output since the Asbestosdeath days and loved Sleep as well. I think that Om is one of the most singular, spiritual and engrossing bands in modern times and have enjoyed everything you’ve put out.  I’d also like to say how powerful and cathartic I find your live shows!

Check out the pics from Casbah show on our front page


    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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