Monday, July 27

The World May Never Know

Dwnld: Tapes Of Wrath 001: C-Drip & Presstones - The World May Never Know

Side A: A lone sequence bends truth in a world of diversions. Airplanes, rains, the whistling wind, serve as backdrop. Fat beneath the temple. Canned beats. Duet for bell tower and mariachi sequence. Sap drips on the grove, stones fall from the branches, twigs snap like vertebrae. The forest is steamrolled. A mystery leaves us up in the air.........

Side B: Synchronization. Electronic heartbeats interlock as if by natural law.
How do we make a form fluid?
Is a conflict a collaboration?
Is all life a song?

The world may never know.

Saturday, July 25

Asphyx - Last One on Earth

Gigantic bludgeoning death metal with doom tendencies. Dutch guys with really nice fuzzzzzzy and bassssssssssssssy amps going chugga-chugga-chugga and then playing some perfect sabbath riffs. no technical bits in this just fast chugging or thick slow sludge. Vocals are crazed death metal barks.
put on headphones and hurt your ears or put this on the ol family stereo and bother your parents or roommates. Get stoned and stomp around, do what you want.

Thursday, July 23

I appreciate a man who reclines

Peter Brotzmann Sextet/Quartet - Nipples

So I havent been keeping up with mr. Mendell. let me get something to eat. okay.


This is a prime example from the first wave of European free improvisers, essentially the european response to free jazz going on in america. These players had even fewer preconceptions of what "jazz" is supposed to be and used their instruments as tools of raw sonic expression. Brotzmann was an early leader of this movement with his LP Machine Gun which was unprecedentedly noisey and abrasive, essentially a statement of the extreme unrest and political turmoil of the late sixties.

This release from a year after machine gun (1969) contains many of the major players of the early european scene: Peter Brotzmann (Tenor Sax), Evan Parker (Tenor Sax), Derek Bailey (guitar), Fred Van Hove (piano), Buschi Niebergall (bass), and Han Bennink (drums).

The title track on this features that full sextet. this may be less aggressive than Machine Gun but is probably just as Frantic. Derek Bailey's scrapes, plicks, plonks, and dings mesh perfectly with with Han Benninks percussion frenzy. The two sax players are on full on animal communication with eachother the whole time. this is good stuff.

The second cut on the album "Tell A Green Man" is a quartet containing Brotzmann, Bennink, Van Hove, and Niebergal.
begins with round thuds of upright bass and shards of Han Bennink's percussion. Niebergall begins playing bass with a bow which sort of foreshadows Brotzmann's raw and harmonically full saxophone timbre. Brotzmann and Van Hove enter at around 5 minutes in playing angular phrases that in a strange way seem to sync up with eachother as though they're interpreting the same line or something. Brotzmann eventually goes into high pitched staccato zoo-animal mode, Van Hove plays a chord progression of sorts, and you cant tell what is bass and what is bass drum. I WON"T RUIN THE REST FOR YOU BUT ITS REAL GOOD
the last sounds on the album are an archetypical brotzmann lyrical squeal and a nice piano ding.
shits the best.

I should add that Brotzmann is one of my favorite musicians and completely changed with way i heard and thought about music when i discovered him at an impressionable age.

bro love

Jump to a random point in the video and it will either be:
1) Ric cryin
2) Ric huggin
3) Someone walkin to Ric for hugs and cries

while you're waiting for me to get off my ass and actually write about an album...

Prince - I Would Die 4 U (long version)
30 minute groove sesssssssion
smoke your pot and dance to this or something. do what you want i don't care.

Tuesday, July 21

It's DJ Quik & Kurupt!

Cause three packed rubbers cost three twenty nine

It's always great to hear new fire. It's even better to hear new fire from guys with 20 years of music already under their belts. I feel like the combination of expectation to live up to past greatness and do something new and in touch with what's going on in the now is really the best recipe for an album, but it rarely pulls through. On BlaQKout, it pulls through without a fliff. The veterans representing on BlaQKout are legendary producer/rapper DJ Quik who has worked with 8 Ball & MJG, 2pac, Dre, and Suga Free to name but a few, and Kurupt, an original Dogg Pound member and founder of Death Row. In other words, these guys are two heavy players in the 90s g-funk socal sound and they've continued to keep it alive past its time on the charts.

While G-Funk may not be my first love in rap (see Memphis, TN), I still think it's one of the better regional hip hop movements ever. While these guys' careers were at their height when I was like 7 and didn't know rap existed, the sound is really familiar. I was born and raised in LA and I definitely understand the aesthetic, like backyard cookouts and palm trees and LA weed and gangstas wearing sandals.

"Ooh!" is probably my favorite cut, "ridin around in the west coast", choppy female vocal loop and super blippy Sega synths and the fattest kicks on the record. "Moroccan Blues" starts out with a sample of a street musician from an episode of No Reservations and launches into a balls-out anthem of SoCal style. "9x's Outta 10" prominently features Kurupt's word-juggling highly-percussive flow. "Jupiter's Critic and the Mind of Mars" is just fucking ridiculous and awesome electro funk. There really aren't any bad tracks, but those are the ones that stick out for me.

DJ Quik (center) and Kurupt (right) with some sort of a man (left).


Saturday, July 18

Chooki Undertoe Disco Rainbow

Some pretty choice windchimes on this one.

Friday, July 17

Thanks, I love you

a piece of me, for you

these are like a year old

Thursday, July 16

Aerial FX - Watching The Dance

Time Machine To 1982

This is probably the most cohesive 26 minute album ever. Full length album, 26 minutes. It feels even shorter. Probably because the songs flow so seamlessly into each other. That said, this isn't some sort of concept album, all the songs sound completely different. Too a degree, I mean, it's all really 80s. Minimal synthpop/punk I guess sums it up, but it's so much more than that. This shit is like some Sonic the Hedgehog music with mopey Cure singing on top of really reverby guitars.

"Hold Me" was the first song I really got into, cause it was just so fucking ridiculous that I couldn't stop listening. The singing and lyrics are so completely melodramatic over the top, the drum(machine)s are either doing like one snare hit or one cymbal if they're even there, and oh yeah the synths are totally fucking pulsing. Then I started noticing how fucking good "Who Is Down There", the track before, fused into it. It's like you're on a dream bubble helicopter and it just sets down inside Morissey's Brain. "Instant Feeling" sounds like you are driving on a neon 80s racing game highway. "Servitors" into "Accident" is another awesome transition, and they are both also incredible jams. Just goes to show, Animal Collective were not the first dudes to put the playground ambience into their music so fucking get over it turds.

Oh yeah and the dudes in this band now manage Radiohead. Funny world.

Sunday, July 12


Two friends from Santa Cruz bike across the country.

And blog about it.


Friday, July 10


Get Some.

Hototogisu is Matt Bower of Skullflower/Sunroof! and Marcia Bassett previously of Double Leopards/Zaimph. Burning Star Core is C Spencer Yeh's project with two dudes from Hair Police. Lots of names, but if you know any of them you know what you're getting yourself into by downloading this monster of a jam. Two bands who rock some pure sonic annihilation together as one screaming fuckfest of sound. From the opening wall of white noise and pounding drums to the last distant wails of stray feedback, this music totally consumes you, You can try to play it as quiet as you want, it'll still be pure power. The trick is to listen to this if you want to be totally content with the common chaos of sound around you. Put this on while you drive and when it's over, you really won't want to listen to anything but the road. It fades into and out of your life like a musical thunderstorm, and when it blows over, you appreciate the still quiet air that much more.

Keep rocking in the free world bros.

3 Disclose splits and 2 Homomilitia splits (The crust of all nations)

Is it your birthday or something? Here are 8 tasty EP sides of mid 90s hardcore and crust punk from around the exciting world.


Disclose were a d-beat hardcore band from Japan. They stayed pretty close stylistically to Discharge (the "D" in d-beat, IF YOU DIDNT KNOWWW) but with a significant dose of fuzzy distortion and the frenetic sloppiness Discharge usually saved for their live performances. Lyrically they generally dealt with (anti)war themes and seemed to be very concerned with a coming nuclear holocaust.

On this particular release Disclose sounds like an impenetrable wall of thick trebely fuzz with a little bit of bass, drums and vocals underneath. Luckily for you and me the songs are A) short and B) arranged in a way that totally capitalize on the filthyness of textures. The opening track "Pollution of Development" opens up with a delightful "bass riff bass riff FUZZ FUZZ FUZZ bass riff FUZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ". The second track gives you 1 second of drumming before launching into sonic equivalent of very coarse sandpaper being rubbed on your face. The third track does not give a fuck and begins with a completely fuzzed out pick scrape but by then you know what you've gotten yourself into and then its over. How did you like your first taste of disclose, i sure liked it.

Homomilita (was/is, I'm not sure if they're still together) a crust punk/metal band from Poland. They sang about (or uh, against) homophobia, racism, sexism, corporations and possibly other things but hey i don't speak or understand polish, especially fast shouted polish. Most of their songs feature vocal interplay between their male and female vocalists, somewhat reminiscent of Crass or new york city crusties Nausea.
Their opening track "Milczenie=Smierc" opens with dryly picked clean guitar and is quickly met with a big fat fuzzy metal riffing and neat fast drum beat. Things get underway once the guitar switches into double time and the drums start d-beatin' and the male and female singers start trading vocal parts. I would probably shit my pants if the female singer was screaming at me. but thats just me. The track ends with more really good drum beats and mean eastern-european shouting. Next track isn't a cover of Black Flag's police story but is still good. Third track is short and quirky.


Oh hey more Disclose, this time a split with a Brazilian band called Besthoven. Disclose is back with their trebely superfuzz and primitive hardcore but this time you can hear the other instruments! Bass and drums both, even vocals! All three of their tracks are quality thrash-attacks, with the last track "N.J-F.J" the winner, if you ask this guy who you are reading right now.

As I said, Besthoven are from Brazil and they sure are enthusiastic! They play a somewhat similar style of Discharge influenced punk-metal. The bass is recorded really well and carries most of these songs. The singer has a really nice rasp to his voice also. listen to this.

Disclose / Framtid

Oh well then how about a Disclose split. The guitar sounds extremely full and fuzzed on this but significantly less trebely than on the other tracks. Great shouted vocals and awesome could-be-Discharge guitar parts make me a happy man.

Framtid is another japanese hardcore band with a funny name. The have sort of a powerviolence thing going in that their songs start slow and doomy or end slow and doomy or something except "Punishment" which is a midtempo romp-n-stomp the whole way through. The singer has a goofy voice like the guy from Infest (but not as goofy as the guy from Spazz) and i like the ocaisonal guitar leads. : ))))))))))))

Homomilitia/Força Macabra

Força Macabra is a Finnish band that thinks that they are Brazilian (hence the name and songtitles in Portuguese). Their primary influence was apparently Brazilian punk and extreme metal (Like Besthoven maybe? Olho Seco? maybe Sarcofago?) I don't really know enough about brazilian punk to say who they sound closest to but i like it a lot. Their drum beats have a vaguely polyrhythmic hiccuping thing that I'd like to attribute to some really good brazilian band that I don't know.

Homomilitia is here being a really good band again but with only 2 tracks. 2 really good tracks. The first one, "Ziemia" starts out with what I originally thought was a drum machine (but might just be a drummer, playing drums) and then guitar chug-fest which turns into one of them fast things (Have you guys heard any of what is called hardcore punk? its sort of like that). "Multinationals" starts with a really good metal riff and then turns into another one of those fast things and then it has a chorus and also a polish woman screams at you.


Thursday, July 9

High Tide - Sea Shanties


This is a folk-metal record from 1969. So yeah it sounds like early metal stuff like Blue Cheer, Wicked Lady, Groundhogs, or Sabbath with a violin player (Simon House, later in Hawkwind). It's like Mahavishnu Orchestra doing an album about pirates. That said, there's no stupid gimmicky stuff, this is straight powerhouse electricity rock and roll. "Futilist's Lament" opens the record with a swash of fuzzed out guitars, quickly joined by stomping bass, shredding violin, drums that seem to be filling half the time, and a singer who sounds a little like Jim Morrison. "Death Warmed Up" stays on a similar keel but is instrumental and goes on for twice as long. Then, on "Pushed, But Not Forgotten", the band drops into a surfy ballad. This turns back into an ampstackscreechfest by about the minute mark, but there are a few more periods of calm like this smattered throughout the rest of the record. "Pushed" is probably my favorite track on the record, but it's all pretty good. En-jow.

Wednesday, July 8

Dr. Dooom - First Come, First Served

Kool Keith. Music for afternoon, evening, late night, or morning. Look at all the animals on the cover.

Dystopia - Human=Garbage

Dystopia were a sludge/crust band from California (a state). Basically ultra-heavy melvins-like bass-riffs with really coarse screamed vocals or guttural bellows. Sometimes the drummer does those ding-a-ding-a-ding-ding ride drum beats like one the later Death albums, sometimes.
theres a hidden track at the end of the last track and that wastes about 18 minutes of you precious time but don't worry its good if you like music. I turned on the tv and then it came back and surprised me.

edit: i forgot to say something like "california version of Eyehategod, less bluesy but no less -uhhh, brutal". Try to fit that sentence in there somewhere.

download this