intro.
This week, a little appeal from Bonnie Prince Billy to get along and be more than tolerant, but too, to reject the liars and keep divisiveness at bay and why not, if we've tried everything else? I know it has been written here most every friday this year, but this has been a great week in music. Wholly great, with considered and sometimes considerate reviews from Ancient Champion (1), Alex V. Cook (4), Lee Paul (5), A.I. House-Painter (1), LamontPaul (4), Alan Rider (6), Jonathan Thornton (1), Richard John Walker (1), Ogglypoogly (1) and David O'Byrne (3)
singles.
Pleasurezone Transmitter
(On U Sound)
by David O'Byrne
Dub Syndicate are back with a third single from their
forthcoming album 'Obscured By Version'. As with the rest of the album it's a
reimagining of a track from the group’s 1989 - 1996 period, specifically ‘Dubbing
Psycho Thriller’ from the 1993 album Echomania. As with the original, it
features spooky theremin and traditional Rastafarian Nyabinghi congas as well
as vocals from none other than the legendary Lee Scratch Perry - also credited
as co writer. And, as with the previous two single releases, also featured is drumming
from producer Adrian Sherwood's long time collaborator, legendary Jamaican
drummer Style Scott who was murdered in 2014. Pleasurezone Transmitter is
a little heavier in the bass and lighter in the vocals than the original, but
is no worse for wear for it. Obscured by Version is out on February 28,
together with vinyl re-issues of the four classic Dub Syndicate albums it draws
from: Strike The Balance (1989), Stoned Immaculate (1991), Echomania (1993),
and Ital Breakfast (1996). But it's been ten years now since the last
"totally new" Dub Syndicate album, and re-releases and new versions of old tunes only
serve to leave us wanting more.
Only One
(Chrysalis Records)
by Alan Rider
Hands up who remembers The Kaiser Chiefs? Yeah, me too. They were horribly annoying weren't they? That bloody 'I Predict a Riot' shite. It was everywhere. Well, their drummer has a new band with possibly the worst name I have heard in a while (and that is a very low bar to reach). It too is an annoying song (so he is at least consistent), although thankfully it is very forgettable. Its on Chrysalis. Hands up who can remember when Chrysalis was a decent record label? Anyone? Anyone?....
Nectar
(Youtube)
by Lee Paul
This is a rare bird, Yasmin Williams, playing Nectar from her new album, ‘Acadia.’ on a double-necked SG guitar, to delectable effect it must be said. How would we ready ourselves for that?
Joe Hannes and the tres Wanceros
(Sheep Chase)
by Alex V. Cook
Krauty, twangy, groovy, no stupid words. Perfect band name. In listening, I am involved in high-speed chase perusing the self and we get closer and closer until we are one, infinite in velocity, overtaking ourselves. Weaving in and out of traffic like the Colorado forming the Grand Canyon in real time. everything and nothing. Constant and ever evolving. Azoom and trapped in amber.
when i’m with you
(Room 2 Recordings)
by LamontPaul
Ahead of George Dillon's EP 'Coming Up For Air' comes when i’m with you, a sort of primer, lead off track that is unquestionably great. Where parts of the EP leans into the investigation of an american indie rock diffused Pixies terrain, dug with very fresh fingers though. when i’m with you delivers the heaps of joy once brought to you by the Shop Assistants types — this is that good, and that my friends is a really good thing. Birmingham bedroom's finest.
Oh My Actual Days
(International Anthem)
by Alex V. Cook
Like a post-everything Chet Baker, I typically lean toward the lifestyle poet side of Alabaster DePlume’s curious jazz workarounds and forget that he plays an instrument. Here his sax wavers in the humidifier steam, taking the lead into not really anywhere in particular but it’s earnest and lovely.
Wha-Gwaan
(True Groove Records)
by David O'Byrne
Tomas Doncker emerged from the late 70s New York 'No Wave' scene, cutting his musical teeth with acts such as James Chance and the Contortions, and Defunkt before going on to play with or produce a long list of luminaries ranging from Bill Laswell and Bootsy Collins to The Specials and Madonna. We won't hold that last one against him as his new single 'Wha-Gwaan' owes nothing to the erstwhile 'Material Girl' turned 'Madame X'. Instead Doncker has very much returned to his roots channelling the early 80s, studio heavy, sound of Ze Records acts such as 'James Chance', and especially the wild hypnotic funk of 'Was (Not Was)'. Albeit one reinforced with a heavier reggae style bass and dub guitar lines, and drumming courtesy of Frank Benbini, late of 'Fun Loving Criminals'.There's even hint of Ze stablemates Kid Creole and Coati Mundi, not to mention New York musical neighbours 'Talking Heads'.. In short it's a truly engaing mix clearly nostalic, but still managing to sound bang up to the minute.
Cosa Rara ft. David Dylvian
(RVNG International)
by Lee Paul
Lucrecia Dalt's Cosa Rara with David Sylvian is so extremely cool, I played it twice while figuring out where the legendary David was. That's him on feedback electric guitar. Alright, and I looked all over the web and discovered, because I wasn't certain, I mean how could I surmise, but that is him surprisingly inserting himself, vocally, at the end. Who knew he sounded like that? Maybe a little more RFK jr. or J. Jonah Jameson than Life in Tokyo. It's a distinct contribution to a wholly fine record. Lucrecia's lengthier EP will be out at the end of February. See you back here then.
Lost In The Moment
(End Of The Wall Recordings)
by Alan Rider
We've been having a good laugh at this one in the OL office (if we actually had one). Their PR thought that we would be able to review this on the strength of a seven second 'taster' video. Yes, you read that right. SEVEN SECONDS! And in that generous seven seconds you get to hear just three notes. We can only assume this single is so awful that even their own PR agency dare not let reviewers hear it. On the basis of this, we are expecting the album this is taken from to last for just over a minute.
Weird Recordings (you've got some)
(Mint 400 Records)
by Alan Rider
Like a latter day cross between The Fall, Frank Zappa, and Devo, who can resist a band called Two Man Giant Squid. What does that even mean, and where can I get some of whatever they were on at the time they thought of that name?
Turned To Dust (Rolling On)
(Domino)
by Lee Paul
The smoothest american smooth, from the Bonnie Prince, a little adulterated by the ravages of an electric guitar but otherwise an attenuated appeal to resist the temptations of a liar, and to all get along as we roll along towards dust. Yes. I think so.
Trash Mountain 1pm
(Lame-O Records)
by Lee Paul
There's an early hours version of Lily Seabird's Trash Mountain (1am)—the piano there I think reflects the hour, the mood, the light. But this I think, while you're listening to the terrible news with Sarah Montague on the World at One, the exquisitely named Lily Seabird is all extemporising about a her Trash Mountain (1pm) home. It begins with the spit and polish the Harvest Neil Young, or the Failer Kathleen Edwards applied. That's the shape and the fit. It's the map and the territory of course, but really it's only the fragments of that are required by Lily Seabird to evoke a rurality you're unsure that you can truly belong in. And aren't even sure you should try. This song is like a Kerry Hadley-Pryce short story. Lily's voice aches perfectly. "It started with thinking about touring and then, late stage capitalism, technology, climate change, my shortening attention span, but also shifting relationships and our ability to deal with the past and move forward,” she explains, “I kinda just ended up at my house feeling really grateful for my friends. The house I live at has been referred to as Trash Mountain because it's on top of an old landfill on the edge of town."
Direne Direne
(Big Crown)
by LamontPaul
Do I say this every time, New York's Big Crown records are one of my favorites. They have a lot of good eggs. Derya Yildirim & Grup Simsek, whose LP 'Yarin Yoksa' will be released on March 14th, are one of those bands. Direne Direne - an anthemic protest song urging people to come together and resist oppression - well why not? Begins with a Menahan Street Band sweep, an audacious intro that devolves into Anatolian folk psychedelics. Above it all is Derya’s demand for equity and dignity. Super.
Imps
(Unifaun Productions)
by Alan Rider
'Imps' is another lift from last year's the 'Age of Loneliness' debut album by Vamberator, who are comprised of former members of Shellyan Orphan and The Cure. They currently seem to be experiencing the curse of all small/self run labels, that of pressing delays, meaning CD and vinyl copies are only now appearing - more than three months after it's November '24 digital release. No matter, because 'Imps' is the perfect taster for those who might want to get their hands on some physical proof that Vamberator actually exist. With a distinctly Britpop feel to it, complete with "yeah, yeah, yeah"s, it really belongs more on a breezy summers day rather than in a damp January. Throwaway it may be, but it may cheer you up if chirpy indiepop is your bag.
Wake Up
(Ugly Hag)
by Lee Paul
From the new LP 'Only Dust Remains' out in March, this is a heck of a heavy fella for sure. Backxwash, aka Ashanti Mutinta, is an uncompromising Zambian-Canadian rapper & producer based in Montreal. This decade has already seen her produce a trio of critically acclaimed albums — all with exceptional titles, reinforcing her status as one of the most significant artists in experimental hip hop. First 'God Has Nothing to Do With This Leave Him Out of It' (2020), followed by 'I Lie Here Buried With My Rings and My Dresses' (2021), and finally, 'His Happiness Shall Come First Even Though We Are Suffering '(2022). The albums interrogate a personal struggle, by invoking haunting soundscapes and sometimes off-kilter rhythm patterns. How else to mash up faith, identity, and queerness? The new record, 'Only Dust Remains' promises even more.
Late Last Night
(Merge)
by Alex V. Cook
The Clean are perfect and timeless and why is this Z-side from a 2003 compilation and thereby even older their new single? Doesn't matter! Anything can happen!
How We Roll ft. Jazzie B
(BMG)
by LamontPaul
It's more than two years now since Tim London began his article (Cymande Restored!) about the Partisan Records reissue of Cymande's eponymous 1971 LP. "I’d forgotten how sad-sounding this album is. There’s a melancholy aspect to it that belies the ‘West Indian/UK funkers’ description. That’s why it’s special." How We Roll from their new LP, 'Renascence' out today, and featuring Jazzie B - in a classic talking role, displays a similar understated resolve. It's there. It's right there. And it sounds, expanded over seven minutes, gorgeous. You might've heard the wholly beautiful 'Only One Way' featuring Celeste. Oh Man! What an LP 'Renascence' promises to be.
Feel The Cold
(Metropolis)
by Alan Rider
Last years 'Trickery' album was a masterwork in how to do modern Gothic Rock, with nods to the past and future, and a fresh sound that stands out a mile in a genre that has become largely stale through unimaginative repetition. No such worries with Then Comes Silence. They are perpetually touring, so you may even get to catch them live, wherever you are in the world, at some point. You can always read our excusive interview with them here whilst you are waiting. 'Feel The Cold' surges and explodes in all the right places, boasts best-in-class production, is anthemic without sounding cliche'd, and is one of the best tracks on the album, against some pretty stiff competition from the other songs on there. Crikey, I may even need to prise open the Outsideleft piggy bank and buy the album for myself as, sadly, we impoverished reviewers only get MP3 downloads and once something disappears into a folder on my hard drive, it is like burying it in the garden, so I have to have it on CD or vinyl to keep playing it.
ep's.
24
(Bandcamp)
by Ancient Champion
Of course. I want to be Museumgoer. I always have. Is it possible to say, and is it even true, at 24, the number of Museumgoer releases, the Museumgoer has matured? Maybe lulling us with fewer abstractions... It's very much like the Special AKA in the studio revisited, although supplanting droll charismatic front person with audacious hoo-ha sounding songs. There's a track by track by the Museumgoer enigma here. Dear God. This is superb.
long plays.
The Bagatelles Vol 1
(Tzadik)
by Alex V. Cook
Corker noodly guitar jams over a rhythm section on the verge of rioting. This is the kind of music for those who like to point out what someone just did on an instrument. The person to whom you are doing this to doesn't want you to. In fact, they might have enjoyed the music a lot more before you piped up, though you are not wrong in wanting to highlight something extraordinary. Mr. Zorn does not seem to appear on the record, so if you are waiting for the drums to crash into a brick wall for a second followed by a WHEEEEEEEEEEEEEEEEEEEEEEE of sax so you can point it out to your bored friend, yeah, they are way ahead of you. And don't start with talking about Zappa. That is no help. Great record!
Journey To Voltus B
(Cosmic Dross)
by Ogglypoogly
How to describe Henge?, I've seen them at Festivals, and even in a state of assisted bewilderment it's always appeared that they're wearing costumes to compensate for the sound, which given they describe it as 'cosmic dross' I assume they're at least aware, that somethings very much lacking here. Their latest offering Journey To Voltus B leaves an awful lot to be desired, I might be missing the subtle nuances, but from what I can gather this is a collection of vocal effects, mucking about with the settings on a keyboard and adding a few sounds from early computer games and Geiger counters all in the name of a sonic journey across space. This should be fun, I shouldn't be sat here with that sense of obligation to carry on to the bitter end that comes with attending school productions. My ears are convinced they've done something dreadful and must be punished. But there must be something there, there must - I can only conclude people are misremembering, they are confusing the elation experienced when the noise finally ends, with having enjoyed the album. I don't want to say, AVOID THIS AT ALL COSTS, and yet I have.
From Now To OK
(Independent Project Records)
by Jonathan Thornton
From Now To OK is Springhouse's third LP, and this timely reissue gives fans of melodic and atmospheric songwriting a chance to catch up with it. Springhouse released two LPs of gorgeous shoegaze indiepop in the 90s. Land Falls (1991) and Postcards From The Arctic (1993) mixed melody with swirling guitar noise to great effect, and Springhouse were clearly in debt to the UK shoegaze greats, they were certainly one of the earlier practitioners of the genre stateside. From Now To Ok was released after a hiatus in 2007, and sees the band toning down the distortion in favour of Mazzy Star-esque torch songs and Shins-esque tuneful narratives. If it's not as sonically striking as their original two albums, it's still a lovely listen. The CD comes with a bonus disc of instrumental, demo and live recordings which fans will want to hear.
I’m Just Say’n
(Smalltown Supersound)
by David O'Byrne
A graduate of the 1960s Manhattan free jazz scene, it would be fair to describe Joe McPhee as something of an individualist. Which is arguably why at 85 with over 90 albums to his name as solo artist/ collaborator/ group member, he's considerably less well known than some of his contemporaries.
'I'm Just Sayin'', due out Jan. 31, finds him very firmly on the left fringes of the free jazz tradition. The 11 minimalist pieces presented here are scaffolded around McPhee's energetic spoken word poems, many dealing with the iniquities of the less financially secure end of US society. It's a long way from his best known album, 1971's 'Nation Time' which deftly knitted McPhee's wild sax improvisation into the vibrant jazz funk of the time. Rather, bleeps, whistles, squeals, whirrs, synth wirbles and clangs predominate, with occasional instrumental interventions on sax and flute from long time collaborator Mats Gustaffson. It's not an easy listen. Dischordant, provocative and at points lyrically, actually disturbing. Which is not necessarily a bad thing. As Fall front man Mark E Smith once explained, his job as writer consisted mainly of searching for the right phrase that would put a chill up the spine.
so, have you got anything else.
The Mystery of Heaven
(Sacred Bones)
by Alan Rider
Jim Jarmusch you may be familiar with as the Director of films such as Down By Law, Coffee and Cigarettes, Mystery Train (which featured a decent cameo by Joe Strummer), and the wonderful Only Lovers Left Alive, and also as a member of Sqürl. In 2006 he was allegedly looking to have Dutch experimental composer, serial collaborator, and lute player Van Wissem compose a score for a film he had been trying to make for years, which he described as a “crypto-vampire film” , and which eventually became Only Lovers Left Alive. They struck up a friendship which subsequently resulted in three albums of improvised, circular-guitar-through-effects pieces, of which this is the second of the two released in 2012. Now you know.
As Tears Go By
(Youtube)
by LamontPaul
I guess who hasn't been a fan of Marianne Faithfull at one time or another.
Girls Like You
(Youtube)
by A.I. House-Painter
SoCal has had a lot of ska queens over the years, all wrapped up in fantastically frenetic energy. That's the way they do it over there. Some big DM's to fill. Bite Me Bambi's single Girls Like You came out late last year and shoehorns together speed ska and southern california pop punk and amazingly entertaining it is. There's a little mildly diverting perfectly perfunctory S&M lite, although I don't know if the band noticed because it's making the musicians doze off. And... isn't that the rope they used on 'Do The Damned' too?
essential information
Main Image screengrab from Bonnie Prince Billy's record sleeve
Previous Week in Music, 'Something Something Something' is here