EP Grab Bag vol. 106

This post has been a long time coming, I had it 65% written then things went all pear-shaped. Turns out my computer shit the bed. Blasted motherboard was fried, and there were many deliberations on how and when to acquire a new computer. Today I finally bit the bullet. I'm feeling profoundly uncomfortable with having spent so much money, as I am fundamentally a miserly man. Yet this is better than sitting around watching Quantum Leap on my smartphone and drinking cheap micheladas. Well, maybe not better as much as it's different.

Also, this means I am even more far behind on submissions that I would have been otherwise, so please bear with me.

To be had here:

Fuzz Ghost - Fuzz Ghost EP (2015)

If you've been digging on the full-length albums I've posted lately then I'm glad to say that there's plenty more garage rock piled up in the submissions, not least of which is this debut EP from Nashville's Fuzz Ghost. Surfy, psych-tinged garage rock with a light-hearted tone. The singing is a real highlight of these tracks, howling, echoey and dreamy at once.  I think it's an utterly fantastic EP, yet I had little doubt that it would be impressive. After all, it is being issued by our friend over at Ongakubaka Records.

Buzz Driver - Buzz Driver (2015)

On the other side of the equator comes more garage rock, specifically from Volta Redonda, Brazil. Heavily reverbed and stylized surf riffs can be heard in the intro, then it fades into a jumpy, fast and very distorted garage rock. Like an even more blown out version of Tokyo Sex Destruction. They've full embraced the thunderous quality of an untuned bass guitar through a wildly lo-fi set up. Whole EP is maybe 7 minutes, but some of the loudest and craziest minutes I've heard in a while.

Pulco - Found Sound (2015)

Though this EP was just released it is a recording from 2009 for a radio show called 'Garden of Earthly Delights' (a name taken from the same Hieronymus Bosch painting that is the background imagery of this very blog). If you've heard any of the other work from Pulco you'll know to expect some experimental music riddled with spoken word. This EP is neat because it sounds more raw and kinda creepy compared to the music the Welshman made later.

Kate Wakefield - Water Lungs (2015)

A rather unique EP as far as what you'll usually find on this blog. The songs are filled with operatic and classical influences from Wakefield's cello playing and her robust vocals. However, it is done in the way that is weirdly appropriate for what we do here. Her sining is phenomenal, poetic and versatile. Same goes for her cello playing, and they're both wrapped into a highly textured and layered avant-pop context. I could see her either as an indie darling or a full-blown popstar, I wouldn't mind hearing her as either really.

HIATO - HIATO (2015)

An lo-fi electronic musician from Guayaquil, Ecuador, the city that the first Scenes of a City was about. Ambient, chillwave sort of electronic music. The songs are well-fleshed out and engaging, something can sometimes be a challenge with these genres. HIATO has avoided many common pitfalls, yet still has identifiably characteristic of a bedroom electronic musician such as vocal samples and looping artificial drum beats. There's some catchy stuff on this EP, especially the final track, "Úrsula."

Joshua October and The Wool - "karaoke" (2014)

A reoccurring theme in the music I gravitate toward, at least one of them, is a fascination with the bizarre and strange lo-fi folk that seems like a weird friend of yours could have made in their bedroom. Some of these are weird and lovable friends of mine from Michigan like Forest Porridge and Twin Man (really the same dude, but there are others who're shyer) and sometimes it is submitted music like this EP. Either way I eat this shit right up as I find it incredibly charming to hear. To be far to everyone involved in this release, it's quality is pretty high and I imagine only sounds oddly lo-fi by choice. But the awkward, off-color attitude of these songs is very evident. You'll know what I mean if you hear their song "Hater's Parade."

Joshua October and The Wool is from Shreveport, Louisiana. "Is" as I'm unsure if this is one-man band despite the name or really has multiple players. This is a place I gotta imagine doesn't have all that much going for it, which I say in a heartfelt and sympathetic way as a Detroiter. However, it is in these towns that haven't got too much going on that dudes can sit around with a beer and maybe something smokable and come up with the most simplistic, unsettling and honest music you'll be able to hear. Yet the honesty is uncomfortable and not on a topic that galvanizes support so readily, hence the magic of anti-folk. Making something unpleasant and unusual into a subject of satire and musical exhibitionism. This motherfucker excel at exactly that.

However, not all of the songs are anti-folk per se, the first track is a very touching and sweet instrumental cover of "Over the Rainbow." It seriously made me very nostalgic and wistful. It all got more bizarre from there.

To be had here:
Joshua October and The Wool -  "karaoke"

Peking Tapes - Oz Do it Better! (2014)

Peking Tapes out of Australia put out some great tunes. If you haven't heard much from the label, this mixtape will give you a window into some of the awesome experimental sounds folks down under have been coming up with. There are a slew of styles and commendable bits emanating from this 14-track compilation, but my favorite is The Grease Arrestor, but I won't fault you if you enjoy another track more.

Get it here:
Peking Tapes - Oz Do it Better! (2014)

EP Grab Bag vol. 63

Here's a collection of EPs from America's eastern seaboard with a German group thrown in for good measure. Sure it is lo-fi, but it isn't garage rock which is perhaps usually for me in a grab bag but I am all about these solo and duo acts doing this insanely awesome stuff that bridges genres and influences to such a degree they are nearly rendering those taxonomies obsolete. Heavy on social commentary, which has really true for all these EPs, it makes me feel a bit down that the messages are true but comforting in how at least all these guys are here explaining it to us. Good summertime music to enjoy, then get a bit bummed out, then remember that gin is certainly a thing and you could sure could use some.

To be had here:
The Amount of Light We Give Off - LIST (2014)

Starting off with a motherfucking doozy, German post-punk that integrates some wonderful noise, new wave and darkwave. Had this album in the inbox for a minute so I have gotten a chance to hear this several times, each endearing me more to the merits of this EP. The songs are very catchy and sound much more dance-able than you might imagine with the kinda dark and moody genres they've blended. The single "Together Apart" is an epically fine track that I cannot get enough of.


Mason Mercer - SLOBBER (2014)

I just got this EP and was delighted by what I heard. New York-based bedroom pop musician Mason Mercer uses sampling, looping and bizarre chord progressions to make a surreal and very primal sound. This is absolutely prefect for anyone that is a fan of Nate Henricks or Pill Wonder. While the whole of this five track EP is pretty golden, "Scrappy-Doo" has climbed into my head like the most oppressive of earworms. But I don't mind, it is good shit.

J. Chance -  Tell the Dark a Secret EP (2014)

This is put out of the Connecticut label Obscure Me Records, who rather consistently submitted good tunes, but whether I get a chance to write up or not is different. This EP by J. Chance found me at the prefect time, I've been in the mood for shimmering, otherworldly lo-fi music and this met the bill and delivered beautifully. Genre-wise it is hard to place, so I'll call it folksy avant-pop. The cite both the Beach Boys and John Cale as influences and that seems like a match made in heaven.

Muteboy - Dreamlife (2014)

Alright, wanted more of the last two EPs? Well, this Dreamlife obviously unique it seems to share elements with each of them. Muteboy is New York by way of Cleveland musician that makes use of sampling and computerized effects to make psychedelic and surreal pop songs. The tracks are dreamy and can also be twangy, washed out and sweet. Sentimentality as it is meant to be heard.

Chris Weisman - Bentonia (2012)

Chris Weisman has been consistently putting out records, tapes, and CDs for some time now, and has developed a small cult following from his home in Brattleboro, Vermont. Mixing lush melodies with fits of spastic chaos and sonic experimentation, Weisman’s output has veered between accessibility and the fringe, making him one of my favorite bedroom pop-stars in action today. He has played in groups like Happy Birthday (with King Tuff), and his brother is also a prolific songwriter, earning these brothers the “Wilson Family of Brattleboro” tag.

Weisman’s recent cassette, Bentonia, was released by the always stellar Spooky Town Records out of Vermont. It is packed full of caustic, lo-fi symphonies (18 to be exact), that demonstrate just what can be done with a 4-track and a hefty dose of creativity. Tracks like Os Tonokos Token and Sunshine Blue II have been lodged in my head for days, bubbling up as I stand in the shower and grade papers. Chris clearly learned from the psychedelic pop pioneers of the 1960s, effortlessly crafting songs that are approachable and yet complex and intricate. This is highly recommended stuff for anyone who likes well crafted pop music.

Get it here:
Chris Weisman - Bentonia (2012)  

(Sunshine Blue II)
 

Each Other - Heavily Spaced (2012)

I'll probably show my age by saying it, but it really doesn't seem like bands in the "indie" realm are pulling their weight as much as they did when I was a teenager. In the 90's, the term was more of an umbrella that covered many styles of rock... you had the "college rock" of Superchunk or the "bedroom pop" of Tullycraft; the differing punk sounds of the Pacific Northwest and of Washington DC. It was all encapsulated by this overarching DIY aesthetic that was proving musical careers possible independent of the mainstream music industry.

But now "indie" describes a particular sound... and it all sounds like Arcade Fire. Friendly, consonant, and just plain accessible. Yuck! Even those innovative gods of 15 years ago like Blonde Redhead and Sonic Youth have both recently produced some of the tamest, radio-friendly music of their careers. 

Where then, is the ground still being, if not broken, at least poked and prodded? Just a little?

Well, look no further than to the great northern moose. Each Other is a band hailing from Montreal who bring a fresh interpretation to the jingle-jangly side of indie rock. It's fun and outgoing, but equally introspective and unsettling. Heavily Spaced, their second outstanding release, picks up where last year's Taking Trips left off. After hearing about them through this blog (thanks to Antarktikos and apologies if I snatched this review from under his feet), I was immediately smitten with the creative and spastic rock they produced. The band has a definite ear for melody, rhythm and song structures that are unique, disposing of standard verse-chorus-verse rotations for a more evolving, linear approach. At immediate face value, you'll feel like you're just listening to some songs by some band. But after playing this 20 minute EP a couple times, you might be left feeling more like you're hearing one long, intricately composed piece.

Heavily Spaced offers more accessible sounds than it's occasionally oddball predecessor, but both are equally worth your time. Name your price for both EPs and have yourself a great full length begging for repeated listens. 7" also available through their bandcamp.

Each Other - Heavily Spaced

Antique Pony - Museum of Blood (2012)

An eccentric album from a Glasgow-based group of self-professed art rockers. The songs shift in mood and style throughout the album, but altogether they've got a wonderful mosaic of neatly strange tracks. It reminds me of a mingling of various bands I' gonna rattle off knowing full well it'll makes sense to like 3 people on earth: Bunky, Bablicon and Pill Wonder. However, an easier comparison would be Deerhoof, you all know that, right? Regardless of similarities they're doing their own odd thing and doing it right. Really do make the effort to listen to the album fully in one sitting. I found that really rewarding, even if slightly exsperating of the unsettling moods created from my reading Knut Hamsun's Hunger simultaneously. You get what you ask for though.

To be had here:
Antique Pony - Museum of Blood

Cat Tongue - Cat Tuong (2012)

A rather strange album with an offbeat name today. As nearly everything I wanna post I here it is lo-fi as all get out, perhaps I don't even need to bother explaining that any longer. It is a batch of odd, outta tune psych-pop songs really, not that all them really even get to that degree of complexity. Interestingly it is quite compellingly sweet for moments and then confusing straightaway again. Neat in that sorta of way that quirkiness is something everyone has gotta find admirable if it doesn't make itself unbearable. In fact, far from being unbearable, it is charming. I can't really describe the music itself without any amount of accuracy, so if the previous words are enough to pique any curiosity I suggest you give it a go, at very least there are far worse ways to spend 15 minutes of your day.

To be had here:

Cat Tongue - Cat Tuong

Laurie Anderson - Big Science (1982)

The debut album by Laurie Anderson, an experimental / avant-garde musician from New York, someone I'd known and read about for a long time but never actually listened to until recently. Interestingly enough, she married Lou Reed in 2008.
This album features a lot of experimental electronic music that in minimalistic in nature with lots of spoken word excerpts mixed with vocoderized vocals. Features the 8 minute centerpiece 'O Superman', a pseudo loop-based track about technology, the comforts of Mom and Dad and attacks by American planes. Lots of dark undertones in the themes that repeat themselves throughout this album that work perfectly within the context of the cold electronic instrumentals.

DOWNLOAD: Laurie Anderson - 'Big Science'

Bablicon

Bablicon is far too obscure band for the talent it could tout. In a loose fashion Bablicon can also be included in the greater Elephant 6 family, if your criteria is basically that members of this played in Elephant 6 bands previously. Griffin Rodriguez aka Blue Hawaii who is member of Icy Demons, David McDonnell aka The Dimisher, and perhaps most famous is Jeremy Barnes aka Marta Tennae now leading A Hawk and A Hacksaw as well as formerly working with The Minders. Musically it Bablicon is quite a stretch from the sugary twee pop that Elephant 6 is associated with, but nothing beyond what these seasoned gentlemen were able to do skillfully. Definitely experimental, when I listen I find myself wondering why the term "free jazz" can't be used for this instead of the bullshit that is currently referring to. All of the trio can play a number of instruments and they accordingly make use of this asset. I'd say it is progressive jazzy post-rock improv stuff if that makes any sense. Some call it avant-pop, but I have never even heard of that damned shit.

To be had here: all @ 128 kbps



In A Different City (1999)











The Orange Tapered Moon (2000)










A Flat Inside a Fog: The Cat That Was a Dog (2001)