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Recommended: wavepool abortion

From damn near out of nowhere (well, Russia actually) comes wavepool abortion (non-capitalization required), an exhilarating wreck of a band that has neither the interest or patience in, say, “building sound sculptures” or “rewarding repeated listening.”

The Russian duo keep the antagonistic spirit of rock alive, in all its celebratory give-a-fuck-ness. This is addition by subtraction, a reductionist equation that hands your ass to you and tosses you out of the sweaty corner dive, covered in alcohol fumes and (mostly) your own blood. The kind of music that used to be whipped up by teenagers with permanently sunken eyes and garages full of amplifiers. The kind of rock that crawls into bed after dawn and can’t get up before 2 pm, staggering back into existence slightly before dusk, looking like a million bucks, if a million bucks dressed in second-hand leather and was badly in need of a hepatitis shot.wavepool abortion get straight to the point: generating a low-end, lo-fi, reverbed rattle that plays “catch and release” with a swiftly moving horde of touchstones. The speedy monotone riffage of The Ramones. The greaser swamp boogie of The Cramps and (suprisingly!) Duane Eddy. The cavernous drum set reverb of The Jesus and Mary Chain. (The JAMC being another band that found its early ambition at odds with its mostly empty pockets, resulting in Bobby Gillespie being chained to a couple of toms and all the warehouse space they wanted to record in. Gillespie obviously found this to be somewhat limiting and sped off [most likely under the influence of speed] to form Primal Scream, the best/worst thing to happen to rock [depending on which album you’re currently listening to.])

The Russian duo keep the antagonistic spirit of rock alive, in all its celebratory give-a-fuck-ness. This is addition by subtraction, a reductionist equation that hands your ass to you and tosses you out of the sweaty corner dive, covered in alcohol fumes and (mostly) your own blood. The kind of music that used to be whipped up by teenagers with permanently sunken eyes and garages full of amplifiers. The kind of rock that crawls into bed after dawn and can’t get up before 2 pm, staggering back into existence slightly before dusk, looking like a million bucks, if a million bucks dressed in second-hand leather and was badly in need of a hepatitis shot.

The Second Coming of College Rock: Nu-Gaze Edition


Presented for your consideration today: two fine New Bands whose aural tendencies echo the past, specifically that magical decade or so stretching from 1985-1995, when College Rock was actually a Thing. Good times, those what with talented and possibly drugged up students spinning everything under the sun that would never see the light of day on Top 40 radio.

Jangly arch-country from Camper Van Beethoven rubbing musical elbows with imported British takeover applicants The Charlatans UK (the appended UK gives it away). But first and foremost, atmospheric shoegazer epics drifted across the lower ends of the FM dial, carried by sparse megawattage that nearly allowed the signal to escape the surrounding parking lot.

This was before College Rock morphed into Alternative Rock (aided by MTV), which soon transformed (via the arrival of Nirvana and about a million bandwagon-jumping A&R men) into various shades of grunge, which a half-decade later got drunk and passed out in tattoo shop, awaking only to find itself the inadvertent caretaker of Helmet and Dr. Dre. Once it was discovered that talent skips a generation, this malformed child was christened “Nu-Rock” and abandoned in the care of a million frat boys, each of whom assumed growly yelling was a viable form of artistic expression.

BUT! These two tracks have nothing to do with a decade-long run of strangely earnest guitar wrangling in which louder always = better and melodies were something for the girls to enjoy along with their roofie-laced drinks. These two tracks bring back the “alt” in “altrock,” summoning up the swirling, hazy guitar anti-heroics of a short generation of pedal-pushing geniuses who operated under such unlikely names as My Bloody Valentine, Yo La Tengo, Catherine Wheel and Sonic Youth.

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Your Band Name v. Google, Featuring Belong

New Orleans ambient drone duo Belong showed up out of nowhere with the 2009 vinyl re-pressing of October Language, an album recorded in 2004 and previously released in 2006. A followup album (Common Era) was released earlier this year. Not bad for a group that’s been around since 2002 and whose Allmusic bio refers to a followup album being due sometime in 2007.

Perhaps the glacial pace of Belong’s release schedule has something to do with the glacial pace of the music itself. “Late Night”, a Syd Barrett cover, coasts along at a beatless pace that redefines “languorous.” (No. Really.)

lan guour ous (adj.) – dreamy: lacking spirit or liveliness; “a lackadaisical attempt”; “a languid mood”; “a languid wave of the hand”; “a hot languorous afternoon”
1. See: Belong – Late Night
2. See also: These guys, whose 1995 album A Stable Reference defined languorous up until sometime between 2006 and 2009 (depending on which version of October Language you picked up), at which point Belong stole the definition away in broad dusklight under the cover of the space between the notes..
3. See also also: Low, whose pace is so languorous that time slows perceptibly during live appearances, rendering analog clocks unusable and a number of their fans late for work.

It’s a thing of gauzy, womblike beauty. The vocals fade in and out of the background (which is also the foreground, apparently). The track itself is something you experience more than you hear. It takes concentration to get everything out of it, but it’s well worth the effort, especially as it heads towards a muted roaring crescendo. (I realize that phrase seems to make no sense whatsoever, but LISTEN TO THE TRACK.)

Now, if your interest is peaked, head right over to Google and search up a storm. Thanks to a pile of writeups from some influential music blogs, Belong’s various pages have risen towards the top of the listings, resting comfortably between a stack of dictionaries. However, things haven’t improved much on the image side. Google doesn’t read minds (still in closed beta) so sorting by relevance is about as useful as sorting by dartboard.

Now, if you’ve decided to name your band after a common English word, you should know you’re engaging in a uphill battle for SEO hearts and minds. Of course, you could just go another direction and claim popular profanities for yourself, thus ensuring that every venue will now have to invest in asterisks in order to display your edited band name on the marquee. See also: Fuck ButtonsHoly FuckFucked UpFukkk OfffThat Fucking TankThe Fucking Eagles, etc.

Back before they took off, there was no better way to see if you’d forgotten to turn Safesearch back on than aquick image search for Fuck Buttons. Of course, now that they’ve become one of the more prominent Fuck groups, the natural progression of organic SEO has filled the search results with images off two guys assaulting a table full of electronics, rather than various orifices being assaulted by various appendages.

But what if you’re not as popular as the Fuck Buttons? What happens if your band name keeps unfortunate company, image-wise? Consider Nashville’s finest (only?) drag/witch house group, Party Trash. If you’re looking for some “relevance” from the image search, well… good luck. If you just needed an excuse to eyeballyoung party fiends in various states of disrepair/disrobement (now officially a word!), “Party Trash” is all you need to know. And that’s with Safesearch on.

Speaking of witch house, what if you’re knee deep in triangle cultists with names like GuMMy†Be▲R! andℑ⊇≥◊≤⊆ℜ and †‡† and other Unicode horrors? Bad news, surfers. Google has no idea what you’re looking for.

So between the witch housers who don’t want to be found, the drone rockers who like to hang with Merriam (and Webster –alternating Tuesdays) and the others who turn your office computer into an inadvertent Bacchanalian slide show, what’s Mr/Mrs/Ms Internet to do?

Go to a trusted source. [Insert self-promotional link to website here.]

Oh, but before you go, take a listen to this track from Belong’s latest LP, which shows the pair up to their old tricks, only faster, louder, harder and more melodic. If “Last Night” is a lullaby heard through a wall, “Perfect Life” is the daunting leap into a frigid, rushing river without ever escaping the noose.

Recommended: Nattymari

Nattymari is an unusual beast. With a name copped from ultra-weird import Playstation 2 hit “Katamari Damacy” and combined with a reggae descriptor, Nattymari both hides his blacker-than-black productions behind innocuous nomenclature and tips his cap towards his dub progenitors. His pitch-shifted blend of corrupted noise is built on the back of the following monstrosities (from the man himself):

“The clippy sounds of lo-bitrate mp3s,the buzz of blown speakers, cassette hiss and warble, the sound of a tape with a bend, where you hear the other side backwards for a few moments…”

The obvious influence is DJ Screw and his promethazine-addled pitch shifting, which lowered the beat to the pulse rate of coma patients and turned swaggering MCs into cocksure demonic forces sent from hell to inform you of their extraordinary rhythmic skills/success with the opposite sex/early years as a drug dealer.

Nattymari takes this and adds his own touches. Slowing things way down is a start, but it’s not as simple as that. You can hear the tape loop befouling of Chrome and Throbbing Gristle ricocheting around the soundscape, slipping off the spindle now and then with a burst of Chipmunk speed or getting hung up in the gears and grinding to a halt.

For example, take “K1LL K1LL”.

MP3: Nattymari – “K1LL K1LL”


Odd Future, My Daughter and the Art of Button Pushing

If anyone’s dying of overexposure, it’s Odd Future. Not that attention shouldn’t (or won’t) be paid to the most fresh-faced band of nihilists to hit the airwaves in pretty much ever. After all, if someone’s going to continuously press the “rape” button, you can’t be surprised if everyone comes running to verbosely attack/defend the button pushers.

I’m not going to rehash the million justifications or re-cry the millions of tears shed for the whole of humanity. My personal stance is basically that it’s artistic expression and as such, leave it the hell alone. There’s a ton of stuff out there I won’t put myself through but I’m not going to stop anyone else from trawling the outer limits of art, no matter how offensive it might be to myself or others.

My personal take on Odd Future and their lyrical transgressions goes something like this. (Not that you will or even should care necessarily, but I’m still on this side of the keyboard, so here it goes.)

I have kids, including a teenage daughter. For no logical reason, I would not have a problem with her listening to Odd Future. (Obviously, this would probably be cause for concern at her school, especially if she made a big deal out of listening to them. But schools are constantly concerned about one thing or another and ten minutes later, a student is talking to a cop because of a t-shirt they wore or for alleged stapler possession or whatever.)

The logical catastrophe is that I would have a problem with her hanging out with people who listened to Odd Future. Outside of a few vetted friends that have provided some context as Normal Human Beings, my instinctive reaction would be to cultivate a deep mistrust of these young nihilists in the making, who in no way are appreciating Odd Future on the same level I presume I am. No, they’d be all about the dirty words and vicarious thrills. I’d follow this bit of presumption by parking the vehicles in the garage (with the alarms on) and banishing her to her room until age 22 (release dependent on a useful college degree — none of this Art Major horseshit).

Even more illogically, I’d feel better about her hanging out with Odd Future fans if she was the one who introduced them to the group. This would still be the same set of people and yet, I would view her as a Forward Thinker bringing controversial culture to a bunch of directionless, hormonal teens.

Why is that OK? The vicarious thrill of latent music snobbery. Because I introduce her to Odd Future, it therefore follows that she introduced Odd Future to them, thus making me (once again) Correct About Music.

At this point, I’ve read more lyrical quotes than I’ve actually listened to and I’ve read a million more critical pieces, both pro and con, all of which have solidified my feeling that Odd Future operate better as a caricature than a Threat To Humanity.

Still, the underlying threat is not completely nonexistent. As a parent and a human being, the feeling that someone, somewhere will view Odd Future as guidance counselors rather than entertainers is unshakable. With that coloring my reaction, it boils down to Odd Future being OK for me and my offspring, but not you and yours because yours (as an unknown quantity) will always have a greater capacity for evil than my own, not to mention they are more easily swayed by peer pressure than mine. Obviously.

But, isn’t that the purpose of art? To provoke reaction? And if so, is just getting a reaction enough? Yes. Yes. And a qualified yes. The last qualification is that if provocation is all you have, you’re on the fast track towards “shtick.” Ask Serrano. Piss Christ annoyed a hell of a lot of Christians back in the day, but when it comes to pushing buttons, pounding on fundamentalists is kid stuff. Other religions will kill you for blasphemy. Beating up on Christianity just puts you into the opening paragraph of a million chainmailed petitions. And when Serrano states that his future endeavors will involve using “feces as a medium,” maybe it’s time to stop handing out the title “artist” so freely.

Odd Future have clearly stated that they want to piss off  “parents and old people who live in Middle America.” Trust me, you don’t need to go this far to piss those people off. The first group gets pissed off whenever someone suggests adding a vegetarian option to the school lunch menu and the latter gets pissed off simply because you’re “not from around here.”  If these are your targets, you’re painting yourself a pretty generous target.

If you want to push past the easy thrills of provoking the easily-provoked, you’ve got to take aim at your supporters and put them through the wringer now and then. You can transcend but you’ve got to aim higher. Musicians have been pissing off Middle Americans since the early days of jazz. Odd Future, I’m behind you but you’ve got to push harder. More importantly, you’ve got to push better.

(By the way, I take back most of what I said about your kids, readers. It’s the instant superiority granted by subjective parental views that turns your kids into criminals and sex fiends and mine into misunderstood saints who are just “going through a phase.”. I’m sure they’re all wonderful human beings who would be welcome to stop by my house during Normal Visiting Hours.) [I should also get over the idea that I can control what my teenage daughter will or won’t listen to.]

First Impressions: Jay-Z & Kanye West – Watch The Throne

joomplu:300

Watch The Throne, probably one of the most hyped-up releases in quite a long time, has finally arrived. The work of rap superstars Jay-Z and Kanye West, the album reportedly took nine months and three attempts to create and fine-tune. Does it live up the hype? Is it the newest classic?

We decided to post our track-by-track impressions as each of us listened to the album for the first time. As we each finish, this post will be updated with our individual opinions. Right now, you can check out three sets of first impressions below. More to come soon!

PURCHASE: STANDARD | DELUXE

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Recommended: Nocturnal Me

joomplu:279

When the original Cute Is What We Aim For lineup disbanded in 2009, bandmates Dave Melillo, Jeff Czum, and Mike Lasaponara joined together to form Nocturnal Me, a band with an incredibly varied, but surprisingly catchy music style. After adding bassist John Viavattine to the mix, the four-piece released two EPs and are currently gearing up for the release their third, a brand new EP entitled Two Faced. Blending a wide range of musical genres, Nocturnal Me produce pop music with funk, hip-hop, and rock roots to blur traditional boundaries with their own unique spin. Despite the variety of styles fused together in each song, Two Faced is an incredibly cohesive record of distinct-sounding tunes; one that shows plenty of promise for a band that is still refining their sound. With the band’s steadfast do-it-yourself mentality in mind, Nocturnal Me should continue to improve and grow in the near future.

Their new EP, Two Faced, is scheduled for a July 19th release via Apparition Records. You can listen to lead single “Love Is A Lie” below.

Recommended: Hymns

Hymns

For Fans Of: BlakfishBear vs. SharkBars of Gold, post-punk

Hymns

Following the breakup of Blakfish in 2010, vocalist and guitarist Samuel Manville’s thirst for music-making was not quenched.  In fact, Manville was so parched that he formed two new bands, Vietwow! and Hymns and continued to write for his solo project. I recently discovered Hymns and was extremely impressed with the style of post-punk they play. The two-piece, comprised of Manville on guitar and vocals and Peter Reisner, formerly of SOS, on drums, have released several songs and news of an album (supposedly a double LP) is imminent. Out of the collection of released tracks, single “A Punch to the Temple” is the most impressive. Manville’s vocals resemble Marc Paffi’s in places, and the bright, punchy guitar complements the percussion perfectly. Several tracks are available for free download, “Honesty” at Project Rodney (where you can also stream “A Punch to the Temple”) and a live demo of “Lily” up onSoundcloud. The former is a heart-wrenching acoustic track in which Manville pleads, “Give me some honesty / And you can have anything you ask of me”. The latter is a much noisier piece of post-hardcore excellence showcasing Reisner’s percussive skill. Both are worth the download.  You can also watch the music video for “A Punch to the Temple” after the break.

Recommended: Maybeshewill

Maybeshewill

For Fans Of: 65daysofstatic

Maybeshewill play a unique brand of instrumental post-rock, drawing from electronic, metal, and progressive influences. The band, based in Leicestershire, Great Britain, is reminscent of a more riff-based, guitar-oriented 65daysofstatic, resulting in a well-developed sound which truly sets them apart from their peers. The added use of strings on tracks such as “To The Skies From A Hillside” lends their music a dramatic, almost theatrical (though not in a campy way) tone. Melodic piano lines are often utilized as well, creating some absolutely gorgeous soundscapes, most notably on “Red Paper Lanterns”, in which bell tones harmonize with the piano to create a modern day post-rock masterpiece. Whilst post-rock seems to progressively become more and more crowded with similar-sounding bands, Maybeshewill strive to incorporate originality into their compositions.

Their newest album, I Was Here For A Moment, Then I was Gone, released May 30th of this year, continues the sonic progression of their last few releases, leaving the listener to bask in the somber heaviness and more subdued, melancholic moments that prevail throughout the ten tracks. Good for those chill-out moments at home when surfing the web on sites like PartyPoker España or social networking.

Listen to “Red Paper Lanterns” here:

12 Good Looking Album Artworks (Post-2000)

Album artwork made its first appearance in 1938, when Alex Steinweiss introduced artwork over the previously, plainly labeled covers. This “invention” provided every album with its own unique identity and images that fans could associate their music with. When we think of an album, the first thing that often comes to mind is the cover; it’s become a peripheral of music that no album, EP, or single can do without, remaining with us even in the digital format.

The following twelve album artworks are not ranked in any particular order.

Fall Out BoyInfinity On High

The flying sheep and dream-like atmosphere are this cover’s best features. The artwork has depth and gives you plenty to look at, especially the various contrasts that coexist (moon/wall and crow/wall with light and dark values, closet interior/wall with temperature values). The artwork just has a unique dream feel.

Brand NewDeja Entendu

I have no idea why the astronaut is there, but this cover just looks, to put it simply, cool. Contrasting temperatures result in an odd feel that absolutely fits Brand New’s distinct rock sound. This feel is further expressed by the textures of the water and sky.

Death Cab For CutieNarrow Stairs

No stairs here to reflect the album title, but the cover looks fantastic nonetheless. The multi-hued red, green and blue colored strips of paper being layered have great visual texture and the fact that no two strips share the same tone (more or less) gives this cover a lot of interest.

Radiohead – In Rainbows

This pop art styled cover designed by Stanley Donwood, who has done every Radiohead artwork since 1994, looks like something created digitally when in fact it (surprisingly) isn’t. It features a galaxy photograph layered with paint and interesting type that looks simple and fits Radiohead’s style of experimental music. The variety of color also serves to reflect the album title itself.

MGMT – Congratulations

‘Psychedelic’ just about sums up this cover. Odd colors, an i-don’t-know-what’s-going-on scene, and the cartoony style makes the cover seem like it’s something you’d see in a weird dream or trip (drugs are bad for you, kids).

Jay-Z – The Blueprint 3

Clean cover, with something other than the generic rapper’s face or body photograph. From a distance, the red bars have strong dominance and clearly indicate the cover is of the 3rd installation of Jay-Z’s ‘Blueprint’ records. Closer up you notice the objects piled up which adds complexity and depth.

Delphic – Acolyte

The artwork is absolutely amazing. Great photo-manipulation of the band members and the smoke they fade into. It’s something you definitely won’t mind looking at on your ipod.The background may be a tad simple when the complex photomanip is placed on top, but the Delphic typeface works to ease the  combination.

Jimmy Eat World – Chase This Light

Beautiful photograph with vibrant colors, giving insight to what the music itself is like. Nothing really much to say, just a wonderful looking cover.

The Killers – Hot Fuss

Smoooth. A soft blue dominates the cover (plus hints of red), and gives off a fuzzy, mellow feel. The Killers’ logo typeface fits well too, although I’m not sure I can say the same for the buildings lining the bottom…

Kanye West – Graduation

The cartoon style of this artwork by Takashi Murakami is great and the colors are extremely eye-catching. The illustration features West in a teddy-bear form (known as “Dropout Bear”, referencing an earlier record) being shot out of a colorful, vectorized who-knows-what. This is one creative rap album cover that sets it apart from nearly every other.

Passion Pit – Manners

Green paint, white text. What else do you really need?

Pendulum – Immersion

The feel of this cover is great. This artwork by Polish artist Valp is mysterious and just seems to fit the sound of Immersion. The colors are great, using a majority of cool green and blue while adding hints of warmer purple and red to increase interest. There is just so much going on here that some may not notice all the subtle elements of the art from a quick glance or from their music player screens.