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!






Sea and Cake Frowns Upon Your Attempts at Un-Permissioned Audience Participation
By CDW 5.22.7

With the right wine, there are particular artists who pretty much guarantee romantic success with an indie rock girl; cat power, devendra banhart; sufjan stevens, bjork's vespertine album, yo la tengo's and then nothing turned itself inside out album, and, of course, anything from the sea and cake.

Based on the number of couples at last night's the sea and cake show at the belly up cuddling up and guys with beards in plaid shirts with the roving eye, it appears that more than a few guys have figured this out. 

The ladies' enthusiasm for the respectfully aged group became evident early in the set when two women jumped on stage and began interpretive dancing.  Touring bands- you bring that mellow folky stuff to San Diego- hippie girls WILL GET ON STAGE AND START DANCING DURING YOUR SET.

I don't know if women have ever jumped on stage at a sea and cake show but it didn't look like the band had any experience with this sort of thing and didn't know how to handle it.  At one point one of the young ladies tried to sing into the mic with Sam Prekop.  Sam didn't push her away but didn't acknowledge her either.

I think it's a fair statement that the mellow indie rock world does not typically allow for audience participation (which is limited quite drastically in most rock club environments) and that the artists- unless they are asking you to clap or whistle along to whatever- do not want you to participate actively in the performance. Nor for that matter, do they particularly want you to dance on stage. Relax guys, enjoy the young women flinging themselves on stage. 

One of the bros in the crowd yelled, "show us your tits!"  Ah, the Belly Up crowd, thank you for confirming unfortunate stereotypes about beach community fans. Really, at a Sea and Cake show? I mean. really?

The sea and cake played a lot of songs that were unfamiliar to me but many of the fans knew the words and sang along.  Still, the best crowd reaction came from some of the older tunes like "Parasol" and "Jacking the Ball."  Honestly, I was suprised at the large size of the crowd for a $15 show on a Monday night.  Go, Belly Up Tavern.

I saw local music luminaries Kelly from Kite Flying Society and Anna Maria Stephens, but mostly the crowd seemed to be more from the beach community than the usual folks we see at the Casbah or the Beauty Bar.  Kelly said that Kite Flying Society is recording and that they should have a new album out toward the end of the year. 

After the show, there were still people milling about, chatting, but, inexplicably, the house lights came on at 11:38pm.  Maybe the noise issues with the neighbors forced the early time but 11:38pm is a little early for a show.

After the Sea and Cake the catdirt posse head to Landlord Jim's for a nightcap.  Landlord Jim's is going to be demolished and replaced with college facilities soon, so Golden Hill residents take advantage of this conveniently located bar..

Sea and Cake at the Belly Up - an unedited email from Keith
"Ello matey, So I went to the seancake show but I never did see ya. the openers were so fucking terrible. Robbers on high street were the only ones I saw. beatles back wind suckers. Everyone is so fucking earnest in that indie rock scene. Turns out I'm like an alien or something. I'm a giant eyeball just rolling along and looking everywhere but not really feeling at home almost anywhere. I'm most at home while at home or inside my head. I'm at home at your home creating. I'm at home in a cafe with coffee and writing. I'm at home with my family. I'm at home on the coast. I guess as an old bastard those are my homes. THis was okay but certainly a bit weird. I kind of like things a little less staid and a lot more crazy. It was all tight sweaters and 1950's haircuts and vaguely gas station attendent/soda jerk vibes. seancake was GREAT. they were however about as boring of a bunch of blokes as I can imagine! It felt as though there were three dudes up on stage who have perfected that very earnest, uptight, holier than thou vaguely post punk garage mechanic look and were somehow accidently in a band. THe music was beautiful and the bass player was a long haired behemoth heavy metal looking dude. During one song these two CUTE indie rock girls jumped on the stage and were so TOTALLY into it and dancing and the two main seancakers were so obviously freaked out by this. THey were like shocked at the enthusiasm and made them get down after a song. I think the chicago music scene must be wound up tighter than a gnats ass. THey did however play two or three of my fav s&c songs and they were beautiful. Also I loved the archer prewitt guitar. It was like a baritone or something and he played it with a capo and ebow a lot so good. THanks so much for the tickets man. I really do appreciate it. I dig the belly up and it's such an easy trip back home after. I drove the coast highway with all windows down to dig the nigth ocean air. I had good old Terry Riley blasting LOUD and it was an amazing trip that I didn't want to end. I almost decided to just keep rollling and see where I'd end up...but there it was 11ish and I knew that within a few hours I'd be here where I am at work SO, I turned on 78 and went home. Sorry I missed you. PEACE, K

    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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