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!





 

 

 

 

 

Throbbing Gristle Part Two - The Endless Not
(Industrial Records/Mute Records) Keith Boyd 04.25.07

Throbbing Gristle have always occupied the creepier and more humid backwaters of the musical underground. During the late 70's and early 80's they were the H. P. Lovecraft of the new music scene. Like Lovecraft to Poe, they were more name checked than known and also like Lovecraft they explored the deep, dark and taboo. When they arrived on the scene they came with an art world pedigree and a seemingly unbending willpower bent on destroying all of the conventions of music and performance that came before them. They chose over the top imagery (such as Manson, Nazi Youth uniforms, venereal disease photos) to project outward and into the media stream. They founded their own record label (Industrial Records) and released a string of releases filled with compelling music. How to describe their sound? Probably not possible in this context but simply put they were all over the place. At times ambient, at other times noisy disco-inflected rants. They were an "everything including the kitchen sink" type of group with roots in the earliest electronic music peppered with dashes of Martin Denny and musique concrete. Their performances were endurance-limit tests in loud atonal noise combined with flashing lights, found sound loops of everything from Nazi speeches to elementary school personal hygiene tapes. All of this sound was generated by Chris and Cosey with healthy contributions from Peter Christopherson (later of Psychic TV and Coil). Lording over this mayhem was one of the most singular media figures of the 20 th and 21 st centuries; Genesis P-Orridge. Genesis is heir to a particularly British type of eccentricity. He's up and out there with the likes of Aleister Crowley, Oscar Wilde and Tony: a British Ex-pat I met in The Gambia in Africa: a man who owned a great roadside beer bar, had Fathered at least ten children and wore flowery dresses over his massive girth everyday. For the last 40 years he's been in a heated battle with all forms of control and expectation. He's a polymath who goes in for poetry, filmmaking, photography, DJing, Bass playing, singing, writing and whatever other methods present themselves to help him get his message out. His latest project has been his ongoing transformation (along with his partner Miss Jackie) into a pansexual being. Through surgery, makeup, clothing and philosophy Genesis has been turning himself into a self-made hermaphrodite. Not just for the kicks of it (although one presumes he does gets some kicks out it) but to embody an ideal. The ideal of getting beyond gender and moving towards a unity of opposites. This impulse, while not so literally pursued in Throbbing Gristle, has been a guiding principal of Genesis's art from the get go. In the years after the original group disbanded Genesis went on to form Psychic TV with Christopherson. Chris and Cosey leaned more into abstract and dark ambient music as their own recording and touring entity. For years there have been rumors of a reunion but as time passed the likelihood seemed less and less. Awhile back the band reunited for a string of highly anticipated and critically acclaimed shows. Some sparks from that bonfire must have dropped down to the undergrowth and took hold as we now have "The Endless Not" to scare and enthrall us.

The idea of a Throbbing Gristle reunion is actually kind of a strange one. The band really didn't have a signature thing to revive. There were no hits to speak of (with the exception of "United" I suppose) and they never had a huge following. I would say that this purposeless reunion actually works to their favor. If there is nothing to really match up to from the past then whatever you produce can be seen more clearly for what it is. The Endless Not starts off in an appropriately freaky place. This is music played by tribes of wandering coroners. That is it sounds organically rooted but veers into the sonic realm of medicine and technology. So many of TG's signature bits have been absorbed and made ubiquitous by acts such as Nine Inch Nails that at first pass it's hard to hear anything but that. Slowly however the layers rot and spring forth their new growth. This is truly some sublime weirdness here. The shaman/surgeon psychedelia of "Vow of Silence" gives way to other tones and tempos. We are treated to some mutant jazzy 1950's strip club burlesque (Rabbit Snare). Vaseline-smeared ambient nightmares (Separated) and some good old fashioned death disco (Lyre Liar and The Worm Waits It's Turn). I think that TG got it right here. They've created a wonderful and deep piece of music. They didn't go about trying to revive the corpse of what they once were. They came together in the light of who they were and by using the varied talents of each member have made an authentic and unified whole. They've got to be cheered for keeping it so strange for so long. Chris and Cosey, Coil and of course Psychic TV are all great by themselves but like the heroes in Theodore Sturgeon's psychedelic Science Fiction novel, "More Than Human" when they come together they create this unstoppable super-beast. In this case it's a beast filled with sleaze, shock, saintliness and funk. TG gives you all of it from the dirt to the ether. They serve it up in spades yet keep you guessing where it's coming from at the same time. I'm more than willing to keep listening and see where they lead. Like life it'll probably be a mix of high drama and low farce. Like life it'll probably be a bit dangerous but may also offer a shot at redemption, hope and enlightenment.


    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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