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!





 

 

 

 

 

The Psychic Paramount - Origins and Primitives vol. 1+2 (No Quarter) Keith Boyd 4.17.07
I remember reading this quote from Brian Jones of the Rolling Stones that has stuck with me for many years. He had just finished traveling to and recording in Morocco , specifically spending time with the Master Musicians of Jajouka and when asked about his experiences there he said, "What psychic weaklings has Western civilization made of us". It struck me as somehow true when I heard it and as the years have flown by I think its truth becomes more and more apparent. Whereas in other cultures there are rites and rituals meant to guide people through their experience of life, in America we just put up another strip mall, hand the kids a joystick and drown them in enough pills to keep them quiet. We're also the great moralists. We love to preach and legislate from on high about sexual preferences, the right to choose and whether or not a woman dying of cancer should be able to smoke marijuana. The more I look around these days the more I see, as Perry Farrell said, a nation of, "Farm people, book wavers, soul savers". A nation that once boasted how ruggedly individualistic is was has become a vast, plugged flock of sheep. We've suffered through some of the shittiest politics this past 20 years or so that the world has ever seen. Yet given this level of depleted spirit what are most people up in arms about this week? Not the fact that the attorney general of the United States is a shill and a liar. Not the fact that the Iraq death count continues to grow. Not even the horrid and senseless waste of life at Virginia Tech. No what we're most concerned about is the fact that Sanjaya is still on American Idol. I'm left stunned. So bereft of rituals to mark the stages of our lives, we're forced to invent them. Events like Burning Man are at least some attempt to tap into the vast ocean of spiritual/artistic energy and frenzy we are all heir to. The problem is this; Burning Man is an event. It's something artificial (however great it is) put on by people and there's an admission fee. Hey, I know that things cost money to make happen but what I'm saying is that for all of its claims to being this grand catharsis and ritual it's still just another show. The "psychic" weakness Brian Jones referred to has everything to do with this lack in our society. We stumble through our lives trying desperately to find peace or make meaning of the shards and fragments of our experience and usually come to no conclusions.

As an anecdote to aforementioned rut it's up to us to remain active in our pursuit of the freaky, the evocative, the free, the wild and the strange. The only way we can build up our psychic selves and navigate this void of our waking lives is by occasional emersion in the weird, but how? I can make a handful of suggestion to help get you started. Go dive with the turtles in Hawaii . Hell go dive with the garibaldi in La Jolla cove. Take a mammoth bike ride down the coast on a sunny day. Meditate. Ride a skateboard across the Balboa Park Bridge on Earth Day. Go hiking. Fly a damn kite. Paint. Have sex. Go on a fast. And folks I'm here to tell you, you could do a lot worse than checking out the scary/freaky/beautiful music of The Psychic Paramount.

The Psychic Paramount is a noise damaged trio from New York who simply killed speakers, ear drums and brain cells with their debut release, "Gamelan into the Mink Supernatural". That disc was a stunner. The sound was so tight, brittle and crunching you were bludgeoned into closing your eyes and nodding along in shock and awe. Now No Quarter Records has gone back and mined a trove of the bands old recordings that were previously unavailable in anticipation of their next disc due out later this spring. The contrasts in overall sound couldn't be any starker. While you still hear the freaked out psychedelic heartbeat underneath the music on "Origins and Primitives" is all together a different beast. Whereas "Gamelan" snarls and grinds like an explosion of glass and twisted metal "Origins" twists and noodles. It takes its time to seduce the listener before spiking the punch. The music isn't quiet per say. Only by comparison to the earlier release would you use that word to describe this disc. It's more that there is space in the music. On their debut, The Psychic Paramount seemed to want to fill every available second of sound with a cacophony of drum spatter and over driven distortion. While that is a remarkable and beautiful achievement this other side of the band is amazing as well. I'm figuring that a lot of people might listen to this and come away saying, "That's just noise". Well I reply with what do you mean "just noise"? Noise is a gateway to the unknown. Fill up your head with some high quality noise like this and you'll visit unknown dimensions. You'll drool and your eyes will roll back to the dark side of you skull. You'll jump up and down like a panting shaman and when you land you'll be both exhausted and elated.

Along with a handful of others ( Acid Mothers Temple , Indian Jewelry and Titan to name a few) The Psychic Paramount are leading the charge in better living through applied noise and volume. This glimpse at their early days is eye opening and enjoyable. It gives us the Yin to their Yang and is a portend of great things to come. Don't be afraid of a little stroll down the freaky-side. At the very least you won't come out being one of  the "Psychic Weaklings" who crumble at every shift in the sands.


    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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