Denver After Dark

Denver After Dark is a compilation of underground sounds from the Mile High City, burgeoning artists, who will probably be household names in the next two years, or at least deserve to be. It is a decent encapsulation of sounds that drift from doorways of clubs like the Hi-Dive, Rhinoceropolis, the Larimer Lounge, long into the night, drifting on fumes of PBR and American Spirits. The sounds are as diverse as the many different types of people you'll find here, but still manage to flow together to be a pretty listenable compilation. You'll find Chillwave/Witch House/whatever represented here by the sounds of Modern Witch, with their retro-drum machine fetishism and indistinct goth murmurings, but the synth bass is sweet, catches in yr craw, draws you in. You'll find distorted club Pop, destined to be mangled by 12" subwoofers from those that know, from the husband and wife duo of Hideous Men, who are wonderfully gifted at writing skewed but expert pop beats, and are wonderfully nice people, to boot. They gave me a ride to the bus station, once, so make sure you check their tunes.

You'll find electronica, in its various mutant striations, brought to you by Hollagramz, c.db.sn., Flashlights, and Peddahblak. The c.db.sn track, Airport, is detailed and polished, a minimal trancey dubscape with a light-touch that still moves. This dude, one Chase Dobson, obviously knows what the fuck he's doing, and i look forward to showcasing him more, here in the future.

Rock makes a brief cameo here with the final trinity of artists, Woodsman, Gauntlet Hair, and St. Elias. Woodsman are a n instrumental rock trio who absolutely tear the roof off live! Their track, Balance, is a more subdued affair; a pulsing, tribal locked groove affair, that sounds like a Sonic Youth jam, picked up somewhere in the middle, or some lost Kraut nugget. Gauntlet Hair bring it with garage pop, as in yr neighbor's garage, if he lived two blocks away. Like, distant. Good songwriting sensibility, though, nice splashy 70s reverbed guitar, and pounding 4 to the floor backbeats. Solid, yet airy, simultaneously, with an emotional undercurrent to the vocals. They have already been noticed by the p4k, so are probably already familiar to many of you, but i seriously dig what i have heard from these kids. These guys, as well as Woodsman, will be on tour of the West Coast for the rest of the month, so check 'em out live, if you get a chance.

The final track comes courtesy of St. Elias, titled Welcome to your Doom, which is not nearly as metal as it might seem, more like a 90s guitar indie math rock band. Hints of Don Caballero, pummeling menace of Shellac or Polvo. Didn't even know these guys existed. Sure am glad i thought to find this for y'all. Don't even know what's right under my nose.

TRACKLIST

1.) Brittany Gould & Cory Brown: “Nite Chimes For Lucid Lovers”

2.) Modern Witch: “Running”
3.) Hideous Men: “Fantasy Cloak”
4.) Hollagramz: “Magnet Flow”
5.) c.db.sn: “Airport”
6.) FLASHLIGHTS: “Apple Trees”
7.) PeddahBlak: “Make It Funky” (curator of compilation)
8.) Woodsman: “Balance”
9.) Gauntlet Hair: “All Eyes”
10.) St. Elias: “Welcome To Your Doom

This can be had, straight from the horses' mouth, here

Hideous Men-Fantasy Cloak [mp3]

I hope to cover more local culture here, in the near future. There's some neat shit, going on in the mountains, and by focusing on the talented artists and quality people i occasionally meet, it will help me forget how i'd rather be living in Olympia.

Review: Caldera Lakes (DØD UNIVERS)

"A featureless silhouette is glimpsed at the bottom of a shimmering lake. A long lost love is seen through the frosted window of a winter cottage. Always on the outside, always peering inward. Leaning hard against solid matter, you feel you can push right through. Suddenly you can sense the space between the atoms of perceived reality. All at once it is stretched out before you, the passage of eons, life from plasma, the births and deaths of galaxies. To grasp it you must lose it. You are and always were cosmic dust. Insignificant. The detritus of stars." - from DØD UNIVERS blogspot

Three Tracks of barely contained, but well constructed, maelstrom.

This newest transmission from Caldera Lakes is the closest recorded approximation to what they are doing live, at the moment. Eva Aguila, of Kevin Shields, produces a wall-of-sound with a cornucopia of different instruments and homemade electronics, while Brittany Gould coos and shrieks and vents over the frenzy. They are both obviously very adept at what they do, which makes for that rarest of anomaly, masterful noise music. The presence of the human voice provides an emotional hook to hang yr hat, while the blistering fuzz and shimmering soundscapes disorient and perplex.

This recording, and their live performance, utilizes some tibetan singing bowls, bells, and chimes, which gives the proceedings a ritualistic flavor; exotic flights of fancy behind opiated eyelids. Brittany Gould also has a deft touch with the pedal-board, and a real finesse looping her voice, a simulated choir, a mumbled catharsis. 3 tracks here, flowing and blending together, mostly atmospheric, as hinted at with track 1 title, Contained Etherealness, only to be t-boned by a blistering white-noise assault on the end of the A side, the tail end of undefined, a pure noise assault that would make Boyd Rice proud, only to decrescendo back into melodic territory, and then the flip. These ladies will keep you on yr toes, keep ya guessing, no easy answers, no party lines. Just a world, a swamp, a forest, to wander in, to get lost. Either yr down for the journey, or yr not.

The packaging on this cassette is so unbelievably gorgeous, it made my heart sing to hold it in my hands, a glad hallelujah for art objects, tangible and lovingly crafted. I had the good fortune of seeing them open for Sonic Youth in Denver a couple months ago, with a stunning live set, and i believe i scored this miracle for maybe $7. At times it is sweet to be a fan of underground music. It can be had from the label for $9, and i really must insist that each and every one of you buy a copy, until they're all gone, and then they'll make more, or just release more music. The spectacular show reminded me of this duo's existence, and listening to this tape several times over the past couple o' months has really whet my whistle for this band's music, and for experimental music, in general. They really are something special.

You can check out some free tunage, that they've upped themselves, over at FMA:

http://freemusicarchive.org/music/Caldera_Lakes/The_New_Caldera_Lakes_Album_Rough_Cut/

and you can buy this gem here:

http://soundofadeaduniverse.blogspot.com/

Trash

Here's a couple of albums from this esoteric New Zealand quartet. Featuring members from other quality underground Kiwi bands such as The Dead C, The Verlaines, The Alpaca brothers, this band is considerably under rated, and due for a renaissance.

The first album, for yr consideration, is Gritt and Butts (album cover pictured left.) Its cover art is a good indication of what lies inside, smeary impressionistic lo-fi guitar sturm and drang, it would be fitting to call it a collection of great Sonic Youth outtakes, if not for the fact that the SY were obviously ripping this sound to begin with. Buzzing guitar scree, and absolutely PUMMELING drumming takes this release to the next level. Embracing all the strengths of intimate lo-fi gems, it is warm and fuzzy, intimate and non-commercial. Not striving to impress, nor to exceed, more like express, and what becomes apparent, through all the hiss, is the strong songwriting sensibility, a shiny poppiness beneath the murk, as is appropriate for its Dunedin genesis. Full of post-Velvets dirge and pigfucker thump, assimilating all that is great of underground rock of the last 2 decades, particularly of a hypnotic, 2 chord variety.

Mihiwaka was their third LP, and is decidely more polished. Still experimental, occasionally sprawling, but the guitars spark and spit in glorious hi-fi, clean and clear and sharp and menacing. Glider to Sam, the second track, is a truly great song. Impress somebody on yr next obscure mixtape. I don't know this album as well, mainly having heard Gritt and Butts and (Not) Gate, their second album. Picked both of them up at the Reckless Records in Chicago for 3 bucks a piece, and proceeded to have my head blown wide open, becoming a fanatical devotee of New Zealand noise rock. Listen to these two, and you'll see why.

Trash were:

Bruce Blucher (the Alpaca Brothers, Cyclops, Pointy Little Stick)
Paul Cahill (the Alpaca Brothers)
Robbie Yeats (the Renderers, Dead C, the Verlaines)
Andre Richardson (Doramaar, Cyclops)

If anyone has (Not) Gate, i can't find it anywhere, having spaced my cd copy during my chaotic 20s. Fans of Dead C, and The Verlaines, take note, rejoice! Also This Kind of Punishment, and generally the whole underground NZ/Xpressway thing.

Gritt and Butts

Mihiwaka

Dark Arts

Here's some leftovers from my Halloween extravaganza, that didn't quite get put up on time. More autumnal in general, than specifically pumpkin oriented, i thought they'd still be a welcome addition to the season.

Autumn is a time of flux, the world goes to sleep for another year. The old generation dies off, to make way for the new in the spring. At first it is quaint, nostalgic; faded quilts and handkerchiefs, old photographs, drifts on smoke on increasingly chilly air. A time of nostalgia and remembrance. Then the death throes, the flailing: the breeze grows fangs, shows it heart of darkness. Homeless, drunken men freeze to death in alleys and doorstops. The trees all bare.

You can resist it, struggle, try to hold on to outmoded concepts and identities, or you can dance with the spectre, realize that Death is a transformation, a chance to come out of yr cocoon, to bust out of stasis.

I have here an autumnal mix i made, entitled Dark Arts, first focusing on the nostalgic, warm sweater side of the fall, then segueing into dark ceremony. It features such psychonauts as Six Organs of Admittance, Dead Raven Choir, Silvester Anfang, Green Pajamas side-project Goblin Market. It has a track by Donovan Quinn, who was a recent discovery, whose full time job is with the Skygreen Leopards, of Jewelled Antler fame, whose corpus features much fitting Oct. melodies. If anyone out there happened to have a copy of his most recent work, 'Your Wicked Man,' i'd love to hear it. I think it should provide a stirring addition to yr internal soundtrack, and perhaps introduce some to the darker side of the psych-folk phenomenon.

As an added bonus, we've got a JSHEAVEN ORIGINAL, a mini-mega mix: haunted soundscapes

and creepy music, with a few post-production bells and whistles. An imaginary journey into the woods

at night. This is my first attempt at publishing an original mix, brought to you by my dear, sweet

friend Ableton Live. A canny listener may recognize some morsels from some of the albums i featured

in Oct.

I had a blast putting all this together, so i hope y'all enjoy. Thoughts and feedback would be appreciated, as this is something i've been wanting to get together for a while, inspired by the multitudes of skilled curators out there. It gives me a chance and an excuse to spend some quality time with my record collection, to get to know one another better. I hope to put more original content out into the world, to be creative and express myself. That's pretty much why i do this thing. A skylight into my daydreams and nightmares.

I'm also recording original material lately, some of which may first see the twilight here.

Dark Arts

A Walk in the Woods

Review: Barn Owl - Ancestral Star

I would like to clarify something: many people claim that Barn Owl, the duo of Evan Paminiti and Jon Porras, create soundtracks for Western Skies, the age-old 'scores for films that don't exist,'. I think it is more apt to say that Paminiti and Porras CREATE WORLDS, whole geological strata; flora and fauna; weather systems and patterns. There is no sense of human drama, no fleeting flitting narrative. The 10 tracks that comprise the duo's 3rd full-length EP conjure vast landscapes; where the listener can park the car, get out, stretch the legs, explore.

Clearly in the drone/raga-rock tradition, they are more indebted to the guitar flailings of John Fahey and the Tacoma camp, as well as other mystics of the wide-open spaces, than Dylan Carlson and the like. However, there is a smidgen of Black Sabbath dirge, alongside pulsing harmoniums and bowed guitars, chanting, hypnotic violin, temple bells and throbbing synthesizer. The best thing about The Owl is they seem to encompass the strengths of all manner of ritualistic, droning music: the tone, the attitude, the volume, the sheer physicality of sounds eeked out from fingers on wood and string. I've heard it said that they create 'Elemental Music', as in music created from the elements, and i'll go along with that. It is of the Earth, their music has the power of tribal ritual. It will take you places, if you let it.

I've heard others say that this album drags, that it is excessive. I think it is a matter of taste, and what you look for in a listening experience. The thing that i like the best about this album, and their entire back-catalog, (of which i am a slavering devotee), is its infinite properties. Like the 10-minute title track, the guitars and synths seem endless, unwavering, and it really gives an active listener to dive into the nuances of sound, to really feel it in yr bones.

Barn Owl is at the top of their game, and i think this is a landmark of so-called 'drone music'. Much experimental music is excessive and noodly, odd gems emerging from muck, moments of unexpected grandeur amidst chaos and confusion. This is the first time the band had a chance to take their time in a studio, and the song-writing and album sequencing seem taut and focused. They embody all the strengths of a wide-range of ritualistic styles: the burning, sludgy electric guitar of Nadja or the solo work of Aidan Baker; the beautiful, acoustic guitar and wheezing harmonium of Six Organs of Admittance or Sir Richard Bishop; the Americana minimalism of Henry Flynt and Angus MacLise. Its got the power and presence, the interesting textures of post-rock, but stripped of its cliche. Its got the smoky, ceremonial demeanour of a psych-folk collective. Its pretty much got it all.

Barn Owl have raised the bar, and created a world, that i hope to get lost in, over and over. For fans and n00bs alike. Someone said, 'Barn Owl carves epics out of ash,' and i couldn't agree more. It is out today, courtesy of Thrill Jockey.

Support

Radio Show: Exotic Pylon

Here's the beginning of a new series i am planning, shedding light on radio shows

of excellence, both on-the-air and through the wires.

There is something mystical about the radio, disembodied voices coming to caress

and confront you, wherever you are. From the crackling cicada buzz of the AM dial, to

freeform freakouts from Finland, its like a circuit-ouija board, imparting wisdom and

sometimes bringing doom.

Sometimes i get tired of trying to be a music expert. Sometimes i can't think of what to

listen to. Sometimes i think i know it all. Turning the dial relieves the strain of playlists,

biographical information, statistics and formula. It swells and fills the air, blowing like a

cool breeze. EVERY TIME i listen to the radio, i hear something i've never heard before. I am

freed of the pressure of trying to be an expert, and i can just be a listener, and a fan.

To kick-start this on-going endeavour, i bring you the Exotic Pylon, brought to you weekly on Resonance FM by the consistently charming and worryingly hard-working Johnny Mugwump. The show is a bastion, a mainstay, a pillar of the British school of hauntological High Weirdness, Ghost Box weirdoes and Mordant maniacs, as well as other strands of experimental mutation. An excellent source of information, he's done shows on J. G. Ballard and stories by Thomas Ligotti, exclusive mixes from Moon Wiring Club, Position Normal and live in-studio performances from every strata of the underground.

The Pylon is a wonderful source of undiscovered gems. I came across the show, when i had pretty much scraped the bottom of the Ghost Box, exhausted The Caretaker discography, thought i had seen every horror movie worth seeing. I was lamenting! I was at wits' end. Through the graces of Johnny Mugwump, i have discovered the joys of the Moon Wiring Club, who has become a personal favorite, as well as Dolly Dolly, whose mixes i have enjoyed immensely, although i have yet to lay hands on a long-player. The mixture of weirdness, wackiness, kitsch, and sheery bloody-minded horror and darkness is right up my alley. I consistently listen, an hour to an hour and a half a week of bizarrity that i always look forward to.

You can download all of his shows from the website. You may start with last weeks' Samhain festivities, a bit behind the time, but a nice memento of the season. It features some exclusive tracks off of the forthcoming Moon Wiring Club record, for which i cannot wait, and the Dolly Dolly mix is wack! I also HIGHLYHIGHLY recommend listening to each and every episode of the Weird Tales for Winter, which are glorious. I have heard that he plans on doing a new series, this coming winter. Glad tidings, indeed!

Exotic Pylon

Got a favorite radio show or station? Post 'em up, i'll write 'em up!

Garden on a Trampoline - Near-Life Experience

Newest release from my dear friend James Eric, finds him exploring many different variation of instrumental music; from scorching, guitar-driven post-rock, to Aphex Twin ambience, and at times veering close to wacked-out breakbeats. This release is perhaps one of the most adventurous i have heard from G.O.A.T. to date, skipping styles and sounds like a smooth stone over still water.

Perhaps the most noticeable attribute of this music is its emotionality, its beating pulse that is ambiguous and moving with its lack of vocals, of spelled-out narrative, to tell you what to think. The impression i am left with is inhabiting the emotional states of the Artist at the time of its inception, lonely inspiring nights in the bedroom, hunched over keyboards and audio editing software, spelling out silent stories, wordless cries, howls, lamentations, and laughter.

Production is clear and clean, and for the most part suits the songs well. Extra super-cool points for guitar tone, delayed electric guitar falling down like autumn rain, occasionally burning like a solar eclipse, bringing to mind Robert Fripp's classic work with Brian Eno, circa Another Green World. Intricate acoustic guitar lines provide the heart and soul and tear ducts of the work captured therein. The bass guitar (a 5 string, i happen to know,) growls and hisses, and provides some grit and muscle, that i feel is sometimes lacking in the world of G.O.A.T.

This album also goes to show that Mr. Eric is no slouch at programming beats, tipping his hat to NIN and other progenitors of the Industrial Revolution, whose sounds were in vogue when Mr. Eric was sharpening his chops and pen. Some songs find him experimenting with ambience and sound-design, and really illustrates his musical ear, as disparate elements hang together to find unlike symbiosis, multi-limbed mutant children, dancing in moonlight. It is an angle i'd like to see him pursue further, as he seems to have a knack for it, and it calls to mind all kinds of delightful, subjective imagery.

The only real detraction of this album is a fondness for digital sounding keyboard pads, which to these ears calls to mind cut-rate movies from the '90s, when producers realized they didn't have to pay orchestras for soundtrack work anymore. There is a Bjork quote, which i have taken to heart, re: synthesizers (and she should know): "Plastic can be beautiful, as long as it looks like plastic,". As you probably know, i absolutely adore much electronic music, but i approach synthesized with much caution and trepidation. Many of the keyboard tracks on this album work out just fine, particularly the chiming bell tones and the parts that sound like Twin Peaks, (and i do realize that score is about as synthesized as they come).

Stand-outs off this album for me are Bed (with its Frippisms) and the trinity of tunes in the middle of the album; A Silence that Almost ... which is a total class act, albeit with some questionable synth, for its driving pulse and charging melody, Melatonin for its moody, nocturnal vibes and textured production, and A Song for Kaytee which is just beautiful, and has the sounds of dolphins chattering!

This album has been one of my favorites by James Eric, whom i have watched develop and mature over the year. I am most intrigued to see where he goes from here. I think the best thing i can say for this record, is that it seems to progress, to explore, to tell a story, which is one of the challenges of instrumental/ambient music, and to do so without resorting to Explosions in the Sky formulaic bombast. Not that i got anything against the ol' P.R., but it has been done and done and done some more, so if yr gonna do crescendo rock these days, you better be real fuckin good at it. This album is more subtle, more textural. I've listened to this record probably 5 times, while putting this piece together, and i am still enjoying it on my headphones at this particular moments. That is probably my highest mark of excellence.

G.O.A.T. - N.L.E.

Get More Here!

I am getting situated at a friend's house, where i will be staying for the month, and where i intend on doing much writing, and getting this here spot up to snuff. There will be some runoff from my Halloween bender, and some original rips of stuff. I've come across much goodness in the past few weeks, y'all will not be disappointed!