TurHkeE wit durkEE sawsse

Some upcoming December shows in Los Angeles for yez allsz.

Saturday Dec. 4th 6:00ish pm. on Origami Vinyl's loft.
1816 West Sunset Boulevard. dasts Eggo Parq mang. FREE admissions


Friday De. 10th 9:00ish pm. at Sancho/D.I.Y. Gallery
wit
Wildildlife(Crucial Blast/Seattle)
Chuck Dukowski Sextet
1549 W. Sunset Blvd. L.A., CA 90026. $10 donation. private party<>


I would like to take some time to thank Matthew Clark & Oliver Hall for filling the gap that Allen's presence usually occupies. We got to try out a bunch of newer material that would not have worked otherwise. Oliver offered the Dual LizzyVision guitar tarts the likes of which have been heard before but not with the group in question. Matthew also provided ample and subtle support to let the craxmen let they's hair loose like booty juice. These songs will probably be available on the next 'adrumb payng' solo effort to go no-werzz. coming out in da foochur.

Success in trying situations, Under the influence of Bob Dylan

some stuff we did in front of people the other night at a music performance space in downtown los angeles. like x.

Upcoming Autumn Shows

Saturday, September 11th
Hyperion Tavern
1941 Hyperion Avenue
Los Angeles, CA

Also Playing:
Daylong Valleys of the Nile (featuring members of Lavander Diamond)
Sedi Hollow (featuring members of Soggy Duchamp)

The doors open at 10pm with performances to follow shortly thereafter. FREE!
The Hyperion Tavern is a cash only establishment serving beer & cider, and is 21 & over.

October 10th. @ the Smell:

247 S. Main st. Downtown L.A.

With-

Mmoss(Burger Records)

Catwalk(Oxnard)

Haunted Tiger

$5

Miss September

Miss September

Mix Tape Partei Klub Warum...

This time out we've got a tender collation of visceral primitivism and head-dragging boogie bungle. Is there anything else to bullshit you all with? It's endless, endless. what else is there....i'm gonna start putting these shits up on my blog too, gone global...This mix is a tribute to Paul Kersey, deacon of destruction.

Won't You Try.

Brinsley Schwarz - Country Girl

Nice easy going Band-ish wailing from Nick Lowe & Co to kick things off. This was the first song I heard by B.S. and it still gives me some type of aural goosebumps.

Henske, Judy - High Flying Bird

I'm not the biggest fan of Judy, but like the previous song this was the first of hers that I ever heard and continues to be my favorite despite the higher adulation given to her freaky record made with then-husband Jerry Yester.

Stray - Only What You Make It

Standard fair from the UK hard torn blooze boogle bashers. Real deal working class bloke head banger shit. I have a soft spot for absolutely retarded chunk riffs and this one keeps 'em coming.

Blackfoot - It's Alright

Recently unearthed(I swear I'll never use that term again) Zambian 'fuzz' rock from an unknown year. late 70s most likely. These guys are much more groovin' than brothers-in-arms, The Witch & Amazan. I listened to this track about 100 times before getting to the rest of the album. A turnaround south African take on the Stones' take on Black American Country music. Simply fantastic.

Java Street Musicians - Hai Cium Dong (kroncong batawi)

From a Library Of Congress CD I checked from the Downtown LA library. I'm enamored with southeast asian vocal styles, but whenever i hear a hybrid of European instrumentation & Asian chord phrasing I'm absolutely smitten. I used to think I could only dream up a sound like this.

Boards Of Canada - Open The Light

A stalwart from my high school days. A perfect example of Boards' ability to attempt an audio recreation of a slowly developing polaroid picture & never quite getting ultimate clarity. They always evoke hidden spaces for me.

Universal Energy-Disco Energy (I)

Gaudy mustard synth background disco stuff from Germany no less. Late-night helicopter-ride-through-the-Black-Forest stuff here. It ends up fitting in with Italo stuff on some level, even if it lacks some bpms.

Black Sabbath -Junior's Eyes

Hot time slow-burner from later era Ozzy Sabbath. For all of the bands following their formula, I've yet to hear one take this groove over for themselves. Must be a sign.

Nolan Strong & The Diablos -Mind Over Matter

Motor City falsetto belter who could take Frankie Valli any day. My father always pointed out to me how white people could never get the falsetto thing down & right now I can't think of anyone to refute that claim.

The Moles-Already In Black

Darker tune from Richard Davies' Moles(mark II). Conjuring some early Floyd grunge riffage that could have been the set up for an entire album side, if they'd been a different band.

Matata -Gettin' Together

Groovy-groovy 70s Kenyan Funk recorded in the UK. This one is especially drippy, complete with-out-of-tune horns & incredible vocal ululations that make gag if I attempt in anyway.

Opal -Soul Giver

Just wish I could have been around to see these people do this in person. They still are an ultimate primer for the 90s space rock boom, shoegazer craze, & 00s shoegazer/space rock croom. Unfortunately, their share of followers end up taking away some of their thunder. Some consider their lone LP, SST's crowning moment.

Jefferson Airplane-Won't You Try / Saturday Afternoon

A huge influence on Mr. Roback's previously mentioned band. The Airplane had a veritably perfect combo of elements stacked on top of one another. Sex on record.

Asha Boshle & Pancham(aka R.D. Burnham)-Duniya Mein

It wasn't until a few years ago that I learned that MANY of Sun City Girls' records were COVER VERSIONS of 'ethnic' songs. I was slow on that one, & to make it even more confusing, they renamed the songs whatever they damn well pleased. Their version of this cut is on the '330,003 Crossdressers From Beyond The Rg Veda' triple LP which I heard first. Once getting jived to this track written by Bollywood Master Composer, R.D. Burman, it only helped me appreciate the SCGs genius even more. Anyway, this is from a Bollywood Soundtrack & it is awesome.

Izanzaren -Anmal

Closing things out is a popular 70s Moroccan group from the mountainous Berber area. Hardcore political commentary set to trad mountain road music. Not dissimilar in spirit and instrumentation(banjo/fiddle) to American mountain music.

http://www.sendspace.com/file/xdw3he

Modern Rock Nudism

Mexican Summer-->Kemado Records-->Hollywood Records-->Walt Disney Company.

No Indie. that's a Ron English

VERMALIFORNIA '10 U.S. TOUR w/ Happy Birthday

All shows are with Residual Echoes and Sub Pop Dawgs Happy Birthday(featuring members of WITCH, FEATHERS, RESIDUAL ECHOES, & the inimitable RUTH GARBUS)

Friday, July 16, 2010

Spaceland, Los Angeles CA

Sunday, July 18, 2010

San Luis Obispo Art Center, San Luis Obispo CA

Monday, July 19, 2010

Crepe Place, Santa Cruz CA

Tuesday, July 20, 2010

Rickshaw Stop, San Francisco CA

Wednesday, July 21, 2010

The Hub (CA), Sacramento CA

Saturday, July 24, 2010

TBA, Seattle WA

Sunday, July 25, 2010

Slabtown, Portland OR

Tuesday, July 27, 2010

Urban Lounge, Salt Lake City UT

Wednesday, July 28, 2010

Hi-Dive, Denver CO

Thursday, July 29, 2010

Waiting Room, Omaha NE

Friday, July 30, 2010

Triple Rock Social Club, Minneapolis MN

Saturday, July 31, 2010

Cactus Club (WI), Milwaukee WI

Sunday, August 1, 2010

Wicker Park Fest, Chicago IL

Monday, August 2, 2010

Off Broadway, St Louis MO

Tuesday, August 3, 2010

Replay Lounge, Lawrence KS

Wednesday, August 4, 2010

Conservatory (OK), Oklahoma City OK

Thursday, August 5, 2010

Nightmare (TX), Dallas TX

Friday, August 6, 2010

United States Art Authority (TX), Austin TX

Saturday, August 7, 2010

Percolator (TX), El Paso TX

Sunday, August 8, 2010

Trunk Space, Phoenix AZ

Monday, August 9, 2010

TBA, Los Angeles, CA

Tuesday, August 10, 2010

Tin Can Ale House, San Diego CA

Babylon USA

Bob Mould Soundcheck

I've long my life(12 years?) been interested in Bob Mould's musical endeavors. In high school I waited every month for the Pasadena CityCollege swap meet. It's where I learned how to find records and deal with the petty and pusillanimous purveyors of prefab rotundants of vinyl. One dreary April Sunday morn in the late 1990s, I woke at 6 to head north east. It was a good catch that day: "Kill 'Em All", "Pretties For You", "Crazy World of...", "Funketelechy", "Hot Rats", "Flyboys" & more importantly(to this post) "The Blasting Concept". Oh, how the Pettibon illustration made me cringe. The visual sentiments that Mr. P conjured up 20 years prior, still today manage to rest gently in my worldview. I barter for the Alice Cooper, Zappa and SST comp and talk the dude down to $15. (A fucking steal if you ask me, for a Blue-Label Bizarre 'Hot Rats' and any copy of 'Pretties'). This was a transitional period in my musical development(i guess they all are), I was reacquainting myself with Frank Zappa and more forms of black music, via Funkadelic & Ice Cube, and still unearthing certain punk bands that managed to peak my interest. I was moving beyond(not above!) the Chicago-style hardcore fair of the day which many friends were devotees of; Charles Bronson, K
ung Fu Rick, Los Crudos and their West coast(druggy) contemporaries; Dystopia, Phobia, Locust...

Driving home on the 2 freeway, L.A. has the ability to look not tawdry. The hills envelope the just-winding-enough road and offer the driver a peek of Downtown's skyscrapers from time to time. If the lighting is right one can feel a million miles away, slowly approaching

the end of the frontier, beholding Babylon in all of its horrifying and mystifying sense of denouement. It may have looked this way to me on this day through a probable haze of pot perfume stuck to the inside of my eyelids and permeating the windshield and leather interior of my 1986 navy blue Volvo 240 wagon, "Jodie"[r.i.p.], named so from the red and white JFA sticker plastered on the back bumper.

http://www.urbanity.es/foro/infraestructuras-inter

Inside my teenage bedroom, I had created my sad-sack-sanctuary. Bong behind the bed, record player sitting underneath the Zappa & Coltrane posters, stained grey carpeting. I wandered into the cathedral of my making, aloof from responsibility and any sort of emotional reality with living creatures. Most of my relating was done with these discs and the material contained on them. I listened to 'Hot Rats' first, i already owned the CD reissue, and was surprised at how fuzzy the vinyl sounded compared. Aha! Dust on the needle. Cleaned it, mouthed the guitar runs of 'Willie the Pimp' again and tossed it aside. I then proceeded to stuff my glo- in-th-dark bong's bowl with at least $15 worth of grass. I dropped the needle onto 'Paranoid Chant'. (To be honest I had

n't really enjoyed 'The Punch Line' the first time I heard the Minutemen and had even kept the cassette to remind myself never to by something I hadn't been assured was great[that record is in fact great but I was a stupid teenager].) Now this, my 2nd exposure to the Minutemen greeted my ears much more favorably, even with the intro bass and drum riff skipping. These Minutemen were faster leaner and without the plodding chunk of the 'Punch Line' which threw me off guard at first. I was definitely weirded out by Jack Brewer's madman ramblings over Baiza's spidery non-chords on Saccharine Trust's 'A Human Certainty'; one of the most uncompromising and alienating songs on the record, if not for the sheer fact that it's lyrics weren't directly about alienation/paranoia/frustration/etc. but painted an environment of desperation and hopelessness. And I can say here that I'd never heard anyone play the guitar that way before. "What about the Meat Puppets?" I'll cover them some other time.

I then smoked the grass and started side 2 to shake off Brewer's vibes. I knew all of the Flag stuff already so skipped straight to Overkill. This was the hardcore I was used to. A natural precursor to the really fast stuff from the Midwest of the 90s. Their track evoked a punk rock Twisted Sister picture the way I remember it. The Stains sounded a lot like the b

and I was in at age 14. Without the raging solos of course, and basically like a crappy Chavo-era Flag(the least best era). The song is called 'Get Revenge'. Wurm's tune completely escapes my memory now, and I have no idea if I've ever heard anything else by them. I'm sure it was 'heavy', since the 1st side of the record were weirdo bands, and side 2 was the hard shit.

This record was harsh. This record was unkind. The crackling and fluttering of the audio equivalent to specks of dust in my eyes really kept me going from song to song. Then for some reason the final track on this record had this crazy guitar riff that was MELODIC. To quote Brett Haskins of The Clash: 'Wait, Whaaaaaaaaaaaaaaaaat?' An ape I became. This song freaked me out way more than anything else on this record. The guy's voice was so threadbare, and the music seemed more recalcitrant than the heavy groups in that it was actually a little bit catchy. All of this thrashing blanketed in the white hot sheet of static noise that you get at the end of an LP(you know what i'm talking about, where the grooves are closer together). So this was Husker Du huh? This is weird. The chorus on the guitar mixed with the yelling was so good to hear. I liked it very much. wait.....

That's right, I meant to talk about Bob Mould Soundcheck. This track originally was released on a cassette compilation as part of Tellus Audio Magazine series started in 1983 by Joseph Nechtvatal, Claudia Gould, & Carol Parkinson. Since I know very little concerning the 80s NY art camps, i'll suggest you check for more info about these cats here: http://www.harvestworks.org. Mould's track is from cassette #10. I only recently heard about this from my pal Bill Gray, who mentioned it in drunk passing a few weeks ago. I looked it up and am sharing it with ya'll.

This cut is everything I knew Bob Mould was capable of doing but to the casual listener of Husker Du/Sugar/Solo work, this would seem like an extremely unfitting audio document of such a wonderfully tuneful songsmith. However if you've ever heard 'Reoccurring Dreams', 'Plans I Make', 'Statues', or 'Wit & Wisdom' you'd be hard pressed to find finer examples of his pound rock fretboard abuse.

But with 'Soundcheck' he seems to be completely disconnected from himself and is in essence 'just dickin' around'. It's the release of the few inhibitions he may have had while performing live that he's able to let go the cosmic cumshot built up under his closeted tough guy veneer. I don't know what it was like being a closeted gay man in the 1980s involved in a prominent band that was involved in a very hetero-centric performance platform; in the tolerant U.S. nonetheless. This as an example of crisp and unadulterated expression that shoots for the moon. I was always hoping to hear this man lay down some serious Eddie Van Heino shreddage...

linker

http://www.sendspace.com/file/jb2guu