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 riff unravels
Quicksilver Messenger Service - Live Fillmore East June 1968 (bootleg) 10.28.06 by Bruce McKenzie
when i was a pup i used to draw versions of my favorite rock and roll photos into a notebook and one of the coolest rock pictures ever was/is on the back of quicksilver messenger service’s first disc on capitol. john cippolina got a cigarette in the strings of his sg which you can see in 3/4 profile. long hair, dark clothes, eyes closed, big hands so he’s gotta be good, you know. and that sg man. i remember the morning after i met koji shimura, the drummer for white heaven, one of japan’s psychedelic heavyweights, in 1999. i’m visiting my folks and hear this music over coffee and i say to myself, why the fuck is my father playing my quicksilver messenger service records and which one is that? cos it’s loads better than i remember. well it wasn’t QMS, it was actually white heaven’s e.p. next to nothing that koji had given me the night before and it was guitarist michio kurihara’s crushing debt to the guitar playing of neglected godhead john cippolina that got me confused. that plus the rhythym of the opening track owed more'n a little to a quicksilver song “gold and silver”, from that first l.p. that and that plus i’d let QMS drift out of my san fran psych orbit in favor of, i don’t know, moby grape, a rediscovery of the dead who i’d mocked for years just to rattle the cage of an old friend, the l.a. psych scene, so i couldn’t have pointed out a QMS song i knew for love or money. i just recognised that guitar sound, the style of playing, the vibrato. kurihara still plays the sg. there’s his picture with one in the last ghost record. i think skip spence’s oar had just been re-released that year - 1999 - and right around that time of year too. a record of uncompromised genius and committment to a feel, a sound. i’d heard about this record, searched for it and could never find it or anybody who had it. yet here it came thirty years later like a brother your parents told you was dead. given that one song on this disc, “war in peace”, has maybe the most perfect guitar solo of the sixties and when you recall that skip was gonna be in QMS before marty balin hijacked him into jefferson airplane, it boggles the mind to imagine the magic that john c. and skip mighta produced together. before the inevitable axe attack. but see, then we might not have oar or “war in peace” and one of the most perfect guitar solos of the sixties or moby grape for that matter and so it all worked out for the best. maybe. skip was fucked up, and in fact was the dead brother. that year 1999 he died on my birthday. drag. so.
thinking about finding myself a cheap older sg with a repaired headstock crack or something (or i’d heard aria made a pretty awlright copy in the late
70’s) mighta got me listening to QMS again. the guitar mighta made me give em another try. but it’s rough man it’s rough. long instrumental tunes highlighting the guitar interplay of cippolina and gary duncan (no slouch himself) are really where you can understand, appreciate, the band most fully. but they never took the psych-infused r&b workouts that were the skeleton of the live shows into the studio. it’s no wonder their best record is generally considered to be the live happy trails, compiled teo macero-style from shows at the filmores east and west in november of 68, cos there’s some real dreck on their other long players. i wanted to find some other documents of their shows cos happy trails was sounding better and better to me. i came up with a boot from june of 68 that had me drooling onto the cover. there was a photo by jim marshall of the band on-stage with erstwhile jail-bird and original member dino valenti! a handwritten note giving the date as sometime in 68. but like a skip augmented QMS it wasn’t to be, the record featured just the guys, but hell, who cares cos this is one sweet piece of contraband. i had my doubts going into it as it kicks off with a workout on “backdoor man”, a song irretreivably ruined for all of us by the doors. but at a certain point as they hit their stride with some subtle rhythmic shifts you forget how this all began and by the time you recall, cippolina has filligreed his way into ether and the ride has begun. the instrumental “goldand silver” is next and as it progresses it’s like, holy shit, this is one of the greatest bands of their time, why are their records so crap?! “the fool” -also from record #1 - is here too, and it’s great, but these aren’t songs really as much as composed jams. they were at their best playing live, they shoulda only ever recorded live. apparently QMS gigs would get kinda tribal, with the audience stomping clapping and chanting as the band did what they did best: take known r&b standards and shape them into something other. cippolina’s snaking vibratoed leads seem neutered in the studio compared with the ferocity and presence on this boot. the
control and the excitement. in the studio you feel he’s forcing it . is that why this guy has been all but forgotten. name-checked by virtually no-one, but still unmistakable once you’ve heard him. so good. and you know what else? one of the real revelations here is david freiberg’s bass playing, fluid, melodic, shifting speeds and emphasis. never heard him like this, even on happy trails. codine (rhymes with “sign”) gets played on this thing (and i gotta say those two tracks they did for the flick “revolution”, “codine” and ”babe i’m gonna leave you” piss all over most of their records - the first three being the only listenable ones really), all san fran love-in cheese, but in it’s own way it’s irresistable. the chord changes and melody together speak so firmly of a time and place (as does gary’s comment at the end of a show “see you back here tomorrow night...if you can make it”) and the sonic explorations that surround it only reinforce its rightness. now, i maybe found myself a pretty astounding sg (on ebay over in china if it’s not a too-good-to-be-truescam) - a guitar that as any acid eating relic knows was played not just by cippolina but jerry as well in the early days of the dead, through 71 or so. and it strikes me that these guys really are two of the most innovative and identifiable stylists of their generation, certainly of their neck of the woods, and that john gets the short end of the stick if he gets the stick at all.
one of the problems is that john couldn’t write songs. jerry, he could write songs but he couldn’t write lyrics and then he found robert hunter and solved that problem. to varying degrees of succes. but nobdy in QMS could write songs either, really. not so that you’d want to...i don’t know...remember them? well they almost did, in the person of dino valenti, but he was in jail for the first years of their career and the gumball hack job they do on his tune “dino’s song” bears no resemblance to the majestic clouds of acoustic meanderings on dino’s later self-titled solo album that show us where his head was really at. and it makes sense then, after listening to dino valente [sic], that he’d be playing with these guys because they were, after all, great players. still, i love that they couldn’t write songs or even really play them without turning them into something else. it’s the perfect solution. can’t write a tune? do “smokestack lightnin” for 20 odd minutes, as through your own virtuosity it becomes more, is (re)written as it is played. the dead would do it with bobby bland's "turn on your lovelight" and a couple others in the early days, but hey, that’s not easy. just look at canned heat. r&b becomes a slippery and elusive thing in the hands of QMS. some folks just need a little push before they can create. a base camp from which to explore. an idea to hold close and run with; turn into feathers and then jump. that’s these guys.
so, quickly: this boot may be german (there's a GEMA icon on the label?) and there's typical bootleg naming issues: "gold and silver" (introduced at the concert as "acapulco gold and silver" for all you dopers, man) becomes "golden soldier". "smokestack lightnin" becomes "don't hear me cry", credited to some cat named Groner instead of our boy chester burnett. they would haver us believe that all the tunes here are either written by this Groner kid or someone named Silver. if there's a pun here i'm not getting it. sound quality almost rivals happy trails at times, only on a track or two do you feel like you're losing someone or something in the recording. could it be an informal sound board recording? quality varies and it seems like this is compiled from a couple of shows during a june residency. wish i had more.
anybody out there got a pre-69 moby grape show?

twoweekslater: the sg’s a bust.



    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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