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!





 

 

 

 

Tone-Questing at the Witches’ Sabbath
The 777 Tour Comes to the Casbah
Keith Boyd 7.3.7
I read the lineup of this night and immediately started to drool. Southern Lord had put together a wet dream come true tour with representative acts from several of today’s heavy music varieties. There would be Wolves in the Throne Room, with their smeared black metal scree. Also, the ganja and booze-fueled riffage of Weedeater. Rounding out the night were the mirror twin, yet black and white opposite, outfits of Earth and SunnO))). What else could your modern day metalhead ask for. My only fear was that the Casbah might suffer some irreparable structural damage and never hold a concert again.

I got to the Casbah and commenced to do the usual Casbah thing; wait and wait and wait and wait for the door to open. While this was a bit annoying, it did give me a chance to indulge in my perennial guilty pleasure of people watching. The crowd was an interesting mix. There were indie punk rock kids, a few old-school metal hesher types, and an annoying pack of self-righteous modern metal kids. You’ve probably seen the type; greasy angular haircuts, prison cell bland clothing, painfully obvious piercings, and a preponderance of anachronistic facial hair. Hey, far be it for me to belittle someone else’s subculture. But this crew was near the front of the line, and as they stood there, no less than twenty (I counted) of their fellow refugees from the emo-moshpit-dungeons and dragons tournament came up and were “cut” into the line. OK, I guess it might be a minor complaint but it was plenty irritating to me.

I have to say, I love the Casbah. Its funky charms include two bars, an open air courtyard, and the decadent, stripped down decor of the grand rock-house it is. After securing a giant Steinlager and earplugs (hey, I’m 40 OK!) I went to check out the vaseline intensity of Wolves in the Throne Room. These guys do black metal right. The riffing and rhythms were supercharged and packed a furious punch. What was even more compelling were the sound collages being generated by a Korg in between songs. These rainy and mournful sounds were somehow in tune with, but in stark contrast to, the dynamics of their songs.

Next up was Weedeater, and I wasn’t exactly sure what to make of them. As a brutal three-piece, they seem to embody an over-the-top, Southern rock by way of Kyuss vibe. I loved the intensity. The bass player/ singer was some sort of Tourette’s addled, inbred trucker zombie who literally quaked as he played. Their sound is built on fat muscular riffs, furious drumming, and growled Cookie Monster vocals. However, while this was great for, say, three to four songs, after a bit it became a little repetitive. I will say, though, that with their committed attack, Weedeater are maximal exemplars of the “Stoner Rock” sound.

Earth played next, and while the story of guitarist, Dylan Carlson’s, rebirth is truly inspirational, and their records are great, I hate to admit I was left a little flat by their performance. I admire the restraint they embody and I also find their tone-questing to be nearly flawless. It’s probably a case of just not enough drama in the visual department. I think that Earth’s set might be improved by adding a visual component such as slides, in the vein of their album’s artwork. That way you’d experience their beautiful music in all of its cinematic glory.

From Tone-Questing to the Witches’ Sabbath, we ended the night with SunnO))). To me, these guys are untouchable. Whenever I see them I am reminded of the old Dead bumper sticker that said, “They’re not the best at what they do, they’re the only ones that do what they do.” SunnO))) creates a singular overwhelming blast of sound that cuts through the very atomic structure of your body and gets your nervous system humming. Close your eyes and you’re transported to some pre linguistic sensory realm. It’s all synesthesia; sound is color, touch is music. Open your eyes and you’re invited to a misty occult ritual in which frequency and sound pressure are the sacraments. Although it’s hard to say who was on stage, I believe the vocals were handled by Black metal legend Atila Csihar. His extended introductory interlude in Latin and Glossalalia was both scary and inspiring. SunnO))) really outdid themselves at the Casbah. They took the most pedestrian and mundane materials, a rock club on a Monday night, and through auditory alchemy, transformed them into sensory gold.






 


    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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