Tuesday, April 10, 2007
door
sorry motherfuckin dogs c14
[2007, bone tooth horn]
door is someone. he likes kitties. like a nice chunk of bth artists, he's from new brunswick. if i'm thinking of the same dude (how many doors can there be that both make noise?), he might have a bit more of a
following due to his being on sick llama's fag tapes' super street series, appearing alongside lambsbread, prurient and hair police. if being on the same tape with those last two doesn't do anything to raise your awareness, you must really suck. thankfully, for him, he does not. for interested parties, he's got a track on a compilation cd from black lakes tapes that might still be around, who knows. door also makes "sonic junk" under the name earth crown, and occasionally plays well with others as a member of usa gold exchange.
this tape flies by far too quickly for my liking. that's not to say that i don't like it, it's great, but i can stand to hear a lot more of door's take on noise and experimental sounds. his transformation of electronic hums into something actually musical in the beginning of coyote (christ in the desert) was impressive. both sorry motherfuckin dogs and his eleven minute super street piece, showcase how deftly door can craft unconventional sounds (i.e. feedback) into something vaguely compositional and melodic. this is great for people who like a noisier stab at experimentation, but would like to take a break from the more monotonous high-pitched whines, grinds, distortion and static that gets churned out with staggering regularity. it'd be win / win either way for me; nevertheless, it's nice to come across an artist who aims to distance himself from a faceless pack. mission accomplished!
for those of you who may have qualms about c10s or c14s, bone tooth horn has got your broke asses in mind as all their tapes are just four bucks (or three for ten). that's post paid, suckas. that would make this four minutes longer than the last hair police cassette on hospital productions, four dollars cheaper and, at least, equally as enjoyable.
Coyote (Christ in the Desert) Excerpt (from 0:00 to 3:55)
[2007, bone tooth horn]
door is someone. he likes kitties. like a nice chunk of bth artists, he's from new brunswick. if i'm thinking of the same dude (how many doors can there be that both make noise?), he might have a bit more of a
following due to his being on sick llama's fag tapes' super street series, appearing alongside lambsbread, prurient and hair police. if being on the same tape with those last two doesn't do anything to raise your awareness, you must really suck. thankfully, for him, he does not. for interested parties, he's got a track on a compilation cd from black lakes tapes that might still be around, who knows. door also makes "sonic junk" under the name earth crown, and occasionally plays well with others as a member of usa gold exchange.this tape flies by far too quickly for my liking. that's not to say that i don't like it, it's great, but i can stand to hear a lot more of door's take on noise and experimental sounds. his transformation of electronic hums into something actually musical in the beginning of coyote (christ in the desert) was impressive. both sorry motherfuckin dogs and his eleven minute super street piece, showcase how deftly door can craft unconventional sounds (i.e. feedback) into something vaguely compositional and melodic. this is great for people who like a noisier stab at experimentation, but would like to take a break from the more monotonous high-pitched whines, grinds, distortion and static that gets churned out with staggering regularity. it'd be win / win either way for me; nevertheless, it's nice to come across an artist who aims to distance himself from a faceless pack. mission accomplished!
for those of you who may have qualms about c10s or c14s, bone tooth horn has got your broke asses in mind as all their tapes are just four bucks (or three for ten). that's post paid, suckas. that would make this four minutes longer than the last hair police cassette on hospital productions, four dollars cheaper and, at least, equally as enjoyable.Coyote (Christ in the Desert) Excerpt (from 0:00 to 3:55)
Monday, April 09, 2007
russian tsarcasm
my life is as natural as my grip on the machete c30
[2007, bone tooth horn]
carlos gonzalez, from indiana (bloomington, specifically), is the sole perpetrator of russian tsarcasm. if the sheer fantasticness (made it up) of this moniker doesn't urge you to download or buy my life..., you have no appreciation for wit, and frankly, i think a little less of you. just thought you should know. carlos [pictured, with two girls who aredelightfully dangerously close to making out] is also in byron house (cephia's treat darlings
), hepatitus youth (see bryon house), crotch council, dkg sleep trio and assuredly others. he also puts out other people's music (as well as his own) on his kinky noise label.
yay, a polarizing tape. this one, more so than his kinky noise released photography is for assholes, will divide listeners. photography seemed a bit more experimental and loose sounding, while my life is as natural as my grip on the machete is cemented in structure. don't mistake structure for conventionality, this is not that. if there's anything that you might not like, it'd be carlos' creepy, nasally, plaintively spoken vocals. personally, i think they're fucking great. he could easily pass for (anticon hip-hopper) dose-one's younger brother. additionally, the lyrics are very repetitious and have the distinct air of free association. you won't find any insight with "scent of the woman, scent of the unknown planet, keep it, i can't afford it", but you'll be amused. i am anyway.
on the topic of instrumentation, this is lo-fi, bedroom something or other. expect a guitar, a sparingly used trumpet (maybe? what do i look like, a musician?) and a source of simple percussion, amongst a few other instruments. it's those repetitious guitar chords and mysterious percussive sounds that'll stay with you. well, that and the vocal + lyrics combo, obviously. "i touched a dude. i washed his hands", the lyrics are a huge selling point. carlos is also showing off a great ear for production with the spot on layering job, panning and multi-tracked vocals. for a guy fucking around on a guitar, four-track, and not much else, i couldn't be happier. when you actually pay attention to the total package, you'll find that the sound is quite full and busy, without there feeling like too much is going on at once. russian tsarcasm has a unique approach, and it's paying off well for carlos on this particular tape. pretty damned catchy in parts, too.
with my life is as natural..., i've got another album to add to my best of the year list which i haven't even started making yet, so i'll probably actually forget about this when i make that list in february of 2008. for now though, it's so fucking there. brilliance around every corner, utterly unique, musically rewarding, sonically interesting... yeah, i'm done here.
My Life is as Natural as My Grip on the Machete
[2007, bone tooth horn]
carlos gonzalez, from indiana (bloomington, specifically), is the sole perpetrator of russian tsarcasm. if the sheer fantasticness (made it up) of this moniker doesn't urge you to download or buy my life..., you have no appreciation for wit, and frankly, i think a little less of you. just thought you should know. carlos [pictured, with two girls who are
), hepatitus youth (see bryon house), crotch council, dkg sleep trio and assuredly others. he also puts out other people's music (as well as his own) on his kinky noise label.yay, a polarizing tape. this one, more so than his kinky noise released photography is for assholes, will divide listeners. photography seemed a bit more experimental and loose sounding, while my life is as natural as my grip on the machete is cemented in structure. don't mistake structure for conventionality, this is not that. if there's anything that you might not like, it'd be carlos' creepy, nasally, plaintively spoken vocals. personally, i think they're fucking great. he could easily pass for (anticon hip-hopper) dose-one's younger brother. additionally, the lyrics are very repetitious and have the distinct air of free association. you won't find any insight with "scent of the woman, scent of the unknown planet, keep it, i can't afford it", but you'll be amused. i am anyway.
on the topic of instrumentation, this is lo-fi, bedroom something or other. expect a guitar, a sparingly used trumpet (maybe? what do i look like, a musician?) and a source of simple percussion, amongst a few other instruments. it's those repetitious guitar chords and mysterious percussive sounds that'll stay with you. well, that and the vocal + lyrics combo, obviously. "i touched a dude. i washed his hands", the lyrics are a huge selling point. carlos is also showing off a great ear for production with the spot on layering job, panning and multi-tracked vocals. for a guy fucking around on a guitar, four-track, and not much else, i couldn't be happier. when you actually pay attention to the total package, you'll find that the sound is quite full and busy, without there feeling like too much is going on at once. russian tsarcasm has a unique approach, and it's paying off well for carlos on this particular tape. pretty damned catchy in parts, too.
with my life is as natural..., i've got another album to add to my best of the year list which i haven't even started making yet, so i'll probably actually forget about this when i make that list in february of 2008. for now though, it's so fucking there. brilliance around every corner, utterly unique, musically rewarding, sonically interesting... yeah, i'm done here.My Life is as Natural as My Grip on the Machete
Sunday, April 08, 2007
gt performers
slam cic remacor c24
[2006, bone tooth horn]
who the? no idea. what the? a line of bikes. where the? new jersey.
i don't know what they're putting in the water in nj (from what i've heard, probably nuthin' good), but i've been won over by the things going on with the experimental music scene over there. the most impressive aspect is how far from the ordinary a good deal of it is. gt performers are epitomizing that with their twenty-four minute cassette. the group has a great combination of improvisation, rock clamor, tinges of psychedelia and noisy electronics. the overall brevity of the tracks, with eight of them clocking in at approximately twenty and a half minutes, is certainly a plus. nothing sticks around too long, and when each song's done, it's onto something fresh and just as exciting.
the opener, an out of body experience (space), is an example of how not to have self-control as they'll pile on the noises towards the end of this. despite the sensory overload, it's not reckless at all, and actually works well considering how sporadically the piece began. bonham sounds like an oscillating innards collaboration with mid-90s era jackie-o-motherfucker and the results are every bit as rad as you might imagine. the all too brief blister of you incomplete me (how many years later and we still can't shake the jerry maguire references?) is a fun noise rock romp with feedback, cymbal punishment and shrieked vocals. nice one. speaking of nice, dig that recurring banjo on working on a dam. the more blatant electronic pieces (vert and way) hold their own, as well. the former features some nice layering and use of multiple channels, while the latter pairs a galloping rhythm with stabs of feedback.
i've listened to this cassette far too much for my own good, but i've enjoyed every second of it. definitely recommended. if you want a relative point of comparison, think earlier warmer milks stuff (not their disc on troubleman, which was still great, but that's beside the point).
1913
[2006, bone tooth horn]
who the? no idea. what the? a line of bikes. where the? new jersey.
i don't know what they're putting in the water in nj (from what i've heard, probably nuthin' good), but i've been won over by the things going on with the experimental music scene over there. the most impressive aspect is how far from the ordinary a good deal of it is. gt performers are epitomizing that with their twenty-four minute cassette. the group has a great combination of improvisation, rock clamor, tinges of psychedelia and noisy electronics. the overall brevity of the tracks, with eight of them clocking in at approximately twenty and a half minutes, is certainly a plus. nothing sticks around too long, and when each song's done, it's onto something fresh and just as exciting.
the opener, an out of body experience (space), is an example of how not to have self-control as they'll pile on the noises towards the end of this. despite the sensory overload, it's not reckless at all, and actually works well considering how sporadically the piece began. bonham sounds like an oscillating innards collaboration with mid-90s era jackie-o-motherfucker and the results are every bit as rad as you might imagine. the all too brief blister of you incomplete me (how many years later and we still can't shake the jerry maguire references?) is a fun noise rock romp with feedback, cymbal punishment and shrieked vocals. nice one. speaking of nice, dig that recurring banjo on working on a dam. the more blatant electronic pieces (vert and way) hold their own, as well. the former features some nice layering and use of multiple channels, while the latter pairs a galloping rhythm with stabs of feedback.i've listened to this cassette far too much for my own good, but i've enjoyed every second of it. definitely recommended. if you want a relative point of comparison, think earlier warmer milks stuff (not their disc on troubleman, which was still great, but that's beside the point).
1913