Saturday, October 13, 2018

Various Artists-Switched-On Eugene; Numero Group Records #198, 2018

Towards the end of Douglas McGowan's great liner notes for Switched-On Eugene, Peter Nothnagle, one of its featured artists, is quoted thus: "...I think that if there's one key thing that has inspired me in life, it is uncovering that which is hidden...". These words can truly be the maxim for Numero Group, a label that has been finding all sorts of hidden gems and putting them out for the interested public for several years now.
Earlier this year, when Disaster Amnesiac read about Switched-On Eugene's immanent release, I felt pretty excited and confident that it would be highly worth checking out. I have long had a fascination with the release's time frame of mid-to late 1980's synthesizer music! Of course, this feeling has been proven to be correct.
Over the course of fourteen tracks, the listener is treated to a beautifully detailed overview of Eugene, Oregon's Electronic Music Collective, founded in 1984 by six of the musicians featured. The synthesizer-generated music featured on this release is all wonderful and diverse, linked loosely by a common focus on Post-Psychedelic and New Age aesthetics; that said, all of them are uniquely realized and are clear examples of the individual vision of their respective creators.
Eugene kicks off with David Stout's The Seven Rays. This track features Stout's dramatic incantation about crystals and numerology, backed by great marching drum pulses and a mixture of billowing and bleeping tones from his synthesizers. What a great, definitive opening statement for this release! From and artist with the excellent nom de plume of Phyllyp Vernacular, track two, The Clinging, has a bit more driving pulse, classic machine sounds pushing big keyboard chords towards a slow fade. One can really feel one's self within a blissfully digital realm here. A very meditative piece for Prophet 5 Synth, Shimmer, comes next. Peter Thomas's largo approach features a lovely mixture of longer, longing tones and wistful commentary from the higher notes. It really does indeed shimmer within the perceptions. It seems like a definitive statement of New Age Music from that time frame. Other Playgrounds, from Peter Kardas, proves to be quite a good transition from its predecessor on Eugene, as it continues with the longing feelings in some ways. His Jon Anderson-inspired vocals hover above a drones generated from a delay pedal before fading out. The peripatetic (at least during that time frame) Kim Carter and his lively, almost Beatles-ey Energy wanders in next. Driven by a jumpy drum machine beat, this song is really catchy in a Pop sense. Sadly, its insightful lyrics are probably a bit too deep for mass consumption. This one has been bouncing around in Disaster Amnesiac's brain for days. The more rhythmic sensibilities continue with Great Moves, by Nathan Griffith. It gets to the heart of the machines as robotic poly voices mix and mingle within its moves. Moves veers almost into Punk Rock territory, not so much in overt show, but in its harder edged surfaces. Joel Horwitz joins the action with a very cool fusion of drums and synthesizers for Finale From "A Walk Down Serenity Lane". A track that can by its nature be considered Electro-Acoustic, it was produced to be promotional music for a drug rehab clinic. Joel mentions that it was not used as intended. Its tripartite form runs the gamut from harrowing to uplifting and has some really fine, loose drum set action. What was Serenity Lane thinking? Perhaps the term of Techno-Primitive can best be used to describe Michael Chocholak's Skomorokhi. Sparse washes of sound and a incessant, tapping beat frame vocal samples of the track's title. Its atmospheres are quite mysterious and perhaps a bit dark, and provide fascinating contrast to the dreamier cuts that precede it. Every story needs an element of tragedy, and Derryl Parsons may well fit that role on Switched-On Eugene. After reading about his jaw being broken in a street altercation and his somewhat early passing, Disaster Amnesiac certainly has sensed so.  The icy synths of Floating Landscape (including Chase Scene), Derryl's contribution to the the disc, pulse along gaily and belie the sorrow which the man apparently embodied. Chase Scene is particularly cool with its Minimalist stuttering and water atmosphere. Dance Pacific, by Portland OR native Scott Blair is very aptly titled. He managed to coax bamboo Gamelan sounds from his Yamaha CX5M, along with bright chimes and longer, supporting tones atop them. Really gorgeous tones here. Heather Perkins brings The Eugene Electronic Music Collective to a pretty much Punk Rock place with Burning Through. Her slurred recitation about not being cool and remaining her own person in the face of social pressures has a really sharp edge. The spare electronic percussion bed upon which her lyrics rest is perfect for this type of street level ranting. It's a testament to the broad mindedness of the organization, hinted at from a quote in the liner notes, that they allowed this declamation sit side by side with the more Aquarian sentiments generally expressed. More drum set and electronics fusions emerge with Self-Regulation (II). A trippy blend of bent guitar (?) notes, up beat traps drumming and electronic washes from Carl Juarez, it carries on with the harder sounds. A blending of Punk Rock with Psychedelic in the fine tradition of the German groups of the early 1970's. The next couple of tracks, The Ride and Patterns, by Talve and Suse Millemann respectively, seem to show a return towards more upbeat, vocal-oriented Pop sensibilities. The former has a quite catchy chorus that Disaster Amnesiac has been humming a lot, delivered from Talve's clear soprano. The latter, a bit more subdued, has Suse singing in a rougher alto. Both are finely crafted and inspiring, really nice pieces of 1980's styled song writing. I've really enjoyed these ones during early morning commutes from Richmond CA to Concord CA along Highway 4, a somewhat rural stretch surrounded by ranches. They lend themselves to early morning contemplation. Switched-On Eugene concludes with the very placid New Snow by Peter Northagle. It is a sumptuous piece of smooth tones that floats the listener gently away patient waves of synthesized chords. Along with Shimmer, Nothagle's piece may be the most classically New Age of this set, and it's a fine ending statement.
Additionally of note about Switched-On Eugene are the lovely cartoon graphics by the late Paul Ollswang, numerous reproductions of Eugene Electronic Music Collective tape covers and show flyers, and wonderfully candid photos of most of the artists represented. Numero Group clearly put a ton of effort into this beautiful package. No surprise there, of course. They are stunningly meticulous about all of their output.
Switched-On Eugene would surely appeal to both long time fans of Electronic Music or curious new comers to this fascinating, wide ranging genre. Disaster Amnesiac has been loving this very intimate glimpse into this hidden, hermetic scene and its admirable d.i.y. aesthetics. Most of these artists are still around, doing cool stuff in the world. Throw 'em a couple bucks and some listening time!

Thursday, October 4, 2018

Panic!-photo book; Ryebread Rodeo Press, 2018

It took a day, maybe two, for Disaster Amnesiac to splurge on Ryebread Rodeo's great new hardbound book, Panic!, upon hearing of its release. Being a huge fan of Black Flag and pretty much anything SST and Greg Ginn related, there really wasn't much choice for me. Kinda HAD to have it. I figure that's the case for many out there, and they'll surely enjoy the photos of Hermosa Beach based Punk Rock group Panic!, a few months before they'd morph into being Black Flag. Robo looking half naked and totally feral, Keith holding onto a can of cheap beer for dear life, Chuck looking every bit the philosophy professor gone Col. Kurz, Greg with his piercing stare and lanky frame. The four of them rehearsing in their padded cell (I've marveled at how clean it looks!) and goofing off inside of what I think is the fabled Church, posing dangerously, while being double exposed, on Aviation Blvd., sitting in Keith's car (there's that brewski again, too). Also of note are the rough, naturalistic backgrounds that show Los Angeles in 1978. One can almost feel the grit and smell the exhaust coming off of the contact sheets.
The most instructive takeaway for Disaster Amnesiac, though, has been the repro'd contract with Bomp! Records. After reading it, I was struck by the "in perpetuity" clause mentioned. Is it painting with too broad a brush to suggest that this clause in some sense was the seed for the underground, do it yourself ethos which Black Flag would pioneer?
Dig: Disaster Amnesiac has been trying to imagine the conversation between Ginn and...who? His inner voice? Dukowski? Regis? In which, he saw that some other entity would own his vision for ever. For me, it's fascinating to ponder this, and the final decision to jettison the Bomp! plan and go completely independent. It seems likely that, had Panic! been signed to Bomp!, they would have put out a few 7 inches, maybe a 12 inch, and withered upon the vine of their boutique aesthetic. As we all know, Black Flag took over their own destiny (or, at least made a bold attempt to do so), got that first single out, and proceeded to carve out a tour circuit that is still extant into the 21st Century. Granted, this is pretty speculative statement, but it seems logical from where I sit. From a historical perspective, the contract is really the most compelling piece in the Panic! book for me.
Anyone interested in SST Records, or Black Flag, or Los Angeles, will likely spend a ton of time with it, should they grasp a copy of Panic! It does not feel as seminal a description of them as, say, Enter Naomi, but they most definitely expose some heretofore obscured views of the very important cultural achievement that they represent.

Wednesday, October 3, 2018

United Slaves-United Slaves Live in Paris; Muteant Sounds digital release, 2018

The releases are coming fast and furious from Muteant Sounds, so much so that Disaster Amnesiac is having a bit of trouble keeping up with them! It certainly is a pleasure to attempt to do so, of course, especially when releases such as United Slaves Live in Paris, from the quartet known as United Slaves, comes forth through the 'net.
Consisting of one continuous forty minute blast of heady improvisation, Live in Paris hits several different musical zones as it evolves. It starts out with a few minutes of droning, burbling electronics from Julien Palomo's ARP 2600. Upon hearing this initial passage, I was thinking that the entire set would be a meditation of a mellower sort, but as Michel Kristof on guitar, Yann Geoffriaud on drums, and Vinne Pasternostro on sax join in, it became clear that this set would be leading to a lot more wildly energetic areas. The quartet dives into some seriously thickened sonic interaction, with every voice adding their piece to the collective maelstrom that is conjured. Things settle down for a bit before Geoffriaud's rolling tom tom patterns guide Pasternostro, Kristof, and Palomo back up and out into Stooges level trance energy displays. It's within the mid-to late set times that the full force of United Slaves reveals itself, and it's a powerful improvisational force at that. Disaster Amnesiac has been swooning at the precision polyrhythms of Geoffriaud as it combines with Kristof's equally on point guitar stun attack and Pasternostro's spiritually uplifting tenor wailing. Palomo colors within and beyond his compatriots' collective matrix, sending whirling spirals this way and that.
All throughout Live in Paris, I hear many influences as play: Experimental Lab Music, Free Improvisation, Jazz in all its guises, Heavy Metal. Within the Slaves' hands they are all grasped and wrung into a very effective set of their unique sonic head cleaning praxis.
I couldn't care less what sounds others are listening to, but, if Disaster Amnesiac had to present an example of fiery, freely improvised music to a non-clued in listener, I'd seriously consider United Slaves Live in Paris as that example. It's raw, real, and very, all very exciting. Head on over to Muteant Sounds, and tell 'em I sent you.

Saturday, September 22, 2018

Frank Wilke/Wayne Rex-Cobra Venom-Muteant Sounds, 2018; Digital release

Why do you listen to music? Kind of rhetorical, yes, but while Disaster Amnesiac has been listening to Cobra Venom, Frank Wilke and Wayne Rex's 2018 release, the question has been on my mind. Ask me why, and I'll likely respond with my personal answer: to feel some sublime emotion or insight. Some people listen for other reasons, and that's fine, but the above stated is generally mine. I state this because I really thrilling upon the intimate interchanges from trumpeter/trombonist Wilke and drummer Rex that comprise the entirety of this release.
There is not a ton of showing off or grandstanding. Instead this duo sound as if they're having a deeply detailed conversation with their respective instruments, chatting back and forth with subtle details given great consideration as they converse. Tracks such as opener Cobra Venom, with its slow unfolding tom rolls and longer trumpet tones, the quickly paced Gold Flakes in Bed and Everyday Thermidor, and 83 Dogs and its inventive, swinging percussion (shades of Baby Dodds!) show two musicians who are formidably in sync with each others' playing.
Cobra Venom is the kind of improvisation recording that does not deliver fantastical displays of macho, but instead reaches out and invites the listener in to its deep focus and reflection. A great release of un-fussy, contemplative instrumental give and take from two musicians who seem to be making music for all of the right reasons, at least as far as this listener is concerned. Plenty of sublime within this fine release from Muteant Sounds.

Thursday, August 9, 2018

Sonny Simmons with Barbara Donald-Reincarnation; Arhoolie Records #551, 2015

A friend of Disaster Amnesiac who is somewhat in the know regarding American Master Jazz Musician Sonny Simmons has recently told me that Mr. Simmons is in pretty bad shape, unable to move his arms apparently. Thankfully, Sonny has a permanent roof over his head during this ordeal, but, man, it feels tragic to hear this news. Thankfully for astute Jazz listeners, there are discs such as Reincarnation, an absolute smoker of a live recording that captures the Man, rippin' and runnin' during a prime period of his playing life. I recently grabbed a copy at Arhoolie Records' home base in El Cerrito, and its sounds have been bouncing me into the kind of delights that one gets from seriously great Jazz.
Reincarnation starts off with American Jungle Theme, in which the quartet, featuring Simmons' former spouse Barbara Donald on trumpet, his son Zarak Simmons on drums, pianist Travis Shook, and bass player Court Crawford. The tune's opening theme, a crisp, Bop-ish line, sends Sonny off into an incredible extended solo to start. His complete control of the alto sax is on full display as he crisply rips through it, pushed by the intensity of Zarak's polyrhythms and Shook's modal comping on the piano. Donald answers with her own, somewhat shorter but equally intense passages on trumpet, with her son Zarak shifting the rhythms just ever so slightly, enough to provide great contrast while keep the overall energetic feel the same. His time spent studying with Elvin Jones and Tony Williams really clearly shows, but when the group gets down to piano/bass/drums interplay before restating the head, his individuality is readily apparent.
The title track, up next, is familiar to Disaster Amnesiac from 1994's Ancient Ritual (still got the cassette!) and fascinating in this live set, as Shook rounds out the sound during the head, filling out the theme before Sonny takes another turn, one which is full of fast runs, all colored by his deep knowledge of Blues and Jazz. He may be the last living connection to Charlie Parker, seriously, save perhaps Bobby Bradford and surely not many others. Listen and study and learn my friends. Sonny Simmons kicks the REAL. Crawford plays great, melting notes within the rhythmic matrix here. Barbara Donald kicks in next with a flying trumpet solo, right out of Sonny's statements. It mirrors his solo with its fast and high energies, keeping things going as Zarak continues to romp with Shook. Crawford does a great solo of pizzicato high notes before handing it off to the piano, whence this tight rhythm sections mixes solidly, all three members bouncing ideas off of each other before Donald and Sonny trade 8's and everyone goes back to the head.
Sonny shows his strong familiarity with standards on Body and Soul. He starts off sweet before branching out into more of that great alto sax abstraction, stretching out from the tune's changes as the piano/bass/drums section plays it cool behind him.  Shook follows with a pretty solo, during which Zarak pops and swings with his great brush technique. This relatively short number is rounded out by a quick statement from Court before the alto flares back in for the tune's head is stated again.
Barbara Donald comes back to the fold for Ancient Ritual, another hard swinging odyssey on Reincarnation. This track gets all kind of heavy trance moves from the thick, tight playing of the rhythm section as Sonny plays an extended solo. He moves from mid to low to high registers and just speaks for bar after bar of warm, sublime ruminations on his axe. Zarak chugs and rolls underneath all of the action of his fathers playing; it's quite audible that they're in serious sync. Wherever father goes, son follows, and vice versa. Piano and bass emerge from within the tom tom maelstrom always present but wisely laying down more simple tapestries for the alto and drums to emerge from. Again we find Barbara starting right on key in continuation of Sonny's solo. Her playing is punctuated by some dramatically sparse moments that are pushed by more great tom tom rolling from Zarak. The notes wave into the winds of the band and then burble out the perfect time, making way for Crawford's higher register bass notes. Zarak steps up with some playing that reminds Disaster Amnesiac of Art Blakey at his most tribal or Tony Williams at his loosest, with melodies flying from his drums. Oh how the room of Barb's BBQ in Olympia WA must have reverberated that evening! The quintet plays the head with a brief coda, lead again by Zarak to its conclusion. The slight applause at here is kind of heartbreaking to me. Did this audience realize the magic that they were privy to?
The CD closes with a lovely version of Over the Rainbow. Donald plays around with the melody in really sweet ways. Her solo has almost brought tears to this listener's eyes, what with its emotional depth. The emotions shown: sadness, elation, optimism, sorry.....they're all in it. Travis lays into some lovely melodic piano playing, notable also for its insights into the harmony of this old tune as well. It sounds very much as if he's familiar with it at a deep level, a level he brings out. The trumpet returns, as if especially inspired, going to high notes and trills above the brushing latticework of the drums. There's a point on this track wherein it feels as though they could play into infinity, but soon they restate the head with even more of that Blues-ey sadness at parting, and stop. Over the Rainbow has always been a song that expresses such depth of longing, and these four musicians bring that with incredible depth.
As stated, Sonny Simmons is, apparently, in pretty rough shape. Disaster Amnesiac hopes that he is receiving physical comfort for his ailment. Thank you, Sonny Simmons, for sharing your vision with the music loving public. And thank you, Ahroolie, for making Reincarnation available to us. This here is the GOOD STUFF, and we're lucky to have it. Dig.

Sunday, July 29, 2018

Bill Brovold's Stone Soup-Michael Goldberg Variations; Public Eyesore Records #141, 2018

Along with some really fine discs of new music, a recent package from Public Eyesore contained a promo sheet announcing the label's 20th anniversary. Great job Bryan! The music that you've been documenting for the last two decades is always so compelling and groovy. Kudos!
Disaster Amnesiac is breaking with habit by starting off the reviews out of sequence, having delved immediately into Bill Brovold's Stone Soup's Michael Goldberg Variations, a disc of music that is generally quite introspective and quiet. Bill Brovold, per the liner note, utilized the input of artists Michael Goldberg in creating a piece of music that is Minimalist without being meandering or even repetitive. A four or five note motif is played on an acoustic guitar, around and along and beside which various guests are heard adding their own musical additions. Guitarist Mark Ormerod goes first, finger picking some lovely guitar lines, notable for their at times fret buzzed tension. What sounds like an amp being hit for subtle feedback and viola-like theremin sounds from Scott Burland come next. Disaster Amnesiac is fascinated by the very unique sounds Burland coaxes from his theremin; the instrument really is developing by leaps and bounds, and Scott pretty clearly is on the forefront of that. Bill's former band leader Rhys Chatham appears next with cool flute sounds wordless vocalizations that evoke very primal feelings as they wrap around Brovold's continuing guitar float. Really sweet e-bow riffs on electric guitar, too. Things seem to get back to the aesthetics of the first track as Fred Lonberg-Holm uses cello with implements in order to get shorter percussive attacks followed by long drone bow  sounds. This track feels like it go on for a great deal longer, but, in keeping with the overall mission of Variations, it fades into Leonardo ProtoPeople's synth pops and crackles as they fuzz and distort, pointillist additions to the guitar that has transformed into a sumptuous current. Kieth Moline seems to have added both audio processing and guitar to his version of the piece: the repeated guitar riff rings more, colored by buzzing strings and hollow echoes. The track feels like a natural half way point as it up the energy with its other worldly dynamic flashes.
Stone Soup settles back down into an easier boil with Frank Schultz's lap steel bends and turns. The instrument surely brings out a bit more of rural, Western U.S. feel as its Schultz's lines emerge over and atop the motif, cooling it off from its previous interactions and setting up the second half of this disc. Guitarist Nick Didkovsky treats his sounds with great psychedelic tape delay flashes that circle somewhat beneath the Goldberg Variations riff. These allow the buzzing of its strings to be highlighted. It's as if Nick wanted to frame it, rather than add, and even as his playing gathers intensity, it remains settled in a "support" role. Quite an astute aesthetic move. Tracks 9 and 10 segue right into each other, with the former featuring Toy Pop artist Frank Pahl, who adds chiming percussive hits from what sounds like a plastic toy piano. The latter has Karen Haglof spinning out sweet six string Psychedelic, and Disaster Amnesiac is moved to hear echoes of Golden Gate Park 1968. NEVER a bad feeling as far as I'm concerned! This track rolls like sublime fog careening down into the Western Addition. The paired guitar sounds of Beth Wilusz and Erik Gustafson flutter ghostly on Michael Goldberg Variations' penultimate track, ascending and descending subtly around the now transformed central riff, which takes center stage and holds it right on through to disc's end, a second feature for Mark Ormerod. This short piece has small, two note riff, somewhat higher notes giving a last counterpoint. A quick fade, and its work is done.
Disaster Amnesiac's initial experience with Bill Brovold's Stone Soup had me listening to it on a San Pablo Bay cold Saturday, ducking in and out of its sonics as I watched marine layer mixing with ash from horrible fires a couple of hundred miles north of my residence. Michael Goldberg Variations provided the perfect soundtrack for this bittersweet experience, with its pensive modes. It features music that most certainly could be utilized either as good background or for more foreground intensive listening. Either way, Brovold and Co. have clearly done their job. Enclosed within a lovely hand printed and colored cover, this disc just exudes effort and integrity. No surprise, seeing as that it's out on Public Eyesore!

Monday, July 9, 2018

Youth Chairs-Some Kind Of Amusement Park; digital self release via Bandcamp, 2018

It's always a pleasure for Disaster Amnesiac to hear from David Winogrond. I've been in contact with this great, under appreciated drummer for about ten years now, and when he gets in touch with news of his current musical moves, I feel very happy just knowing that he's soldiering on. A couple of months back, David let me know that Youth Chairs would be releasing new material, and despite a pretty terrible lag on my part in posting, I've known that it would get the Disaster Amnesiac treatment. Hopefully that's a good thing for them!
Some Kind Of Amusement Park begins with the stomping Hot Rod To Nowhere, which features Gabriele Morgan on vocals. It's interesting to note that Youth Chairs utilize two vocalists on this release, Gabriele and Kim Dart Hurwitz, both of whom were in the band's initial early 1980's runs. Really cool to see this type of cooperative compromise! Gabriele's voice is a bit more gritty, and it works perfectly for this track, with its early 1960's U.K. Country Blues feel. David's drumming locks in perfectly with Larry Jacobson's slashing guitar chords and John Richey's understated bass playing. When the band band launches quickly into a post-bridge ascending unison riff it's a thing of beauty! Hot Rod really hooked this listener's attention.
Youth Chairs bring the sound a bit closer to their Los Angeles home on When Amy Says. The tune has that post-Punk energy that fueled many bands in Southern California, with nodding hints towards Bakersfield and maybe Ventura and Pedro aesthetics. Guitars jangle a bit more, and Kim's vocals feature a bit more naivete perhaps. David's swishing cymbal sounds and crisp fills drive this great piece of Pop Rock energy.
Gabriele's more deeply dramatic voice starts off You Made Me Believe. Disaster Amnesiac again finds it fascinating to compare hers with Kim's. They're both great, mind you. Just very fun to dwell on the differences as these songs roll by. The former has a voice perfect for the sentiments of this damn fine love song. Larry strums some effective acoustic guitar and Lisa Haley helps out with lovely viola, while Richey and Winogrond keep things simple and clear in the rhythm section. A very pretty, uplifting, optimistic track.
Youth Chairs bring the energy back up for the spiky Kim feature, Next Best Thing, which fuses most of the stated influences into a very catchy chant about misunderstanding within love relations. Any song that features the line "...the weed is on your nightstand/and the rest is in your head..." is fine with Disaster Amnesiac, that's for sure. Such a damn catchy chorus and bridge, to boot.
Gabriele takes the mic again for the world weary sentiments of Your Perfect World. This tune cannily fuses sunny Dream Pop keyboards from John Kaysing with righteously dissing critiques of some shiny scene. Was this written during Youth Chairs' initial forays? Surely these types of insights are perennially available to the observant person. The approaching of wrapping this message into such a lovely Pop sound is real neat.
Next up, we have the deceptive Don't Make Me Your World, and it is so because while it's Gabriele singing, she sounds a lot like Kim. Or is that vice versa? This track has a loping, almost Ska feel at times, greased by more cool keys from Kaysing and David's tight fills and swift hi hat sticking patterns. Disaster Amnesiac keeps thinking "the Who" during this song's bridge, and envisions a strange carnival during its brief non-sung musical interlude.
Some Kind Of Amusement Park's penultimate track, Paper, kicks in with more fine jangle from Larry's guitar before Kim's return to the mic is pushed with power chord authority. Tight arrangement keeps things moving on this track, leading to more of that great Los Angeles (not Hollywood, mind you) cymbal bell bar stomp action. That sweet jangle gets reinserted there for more Youth Chairs ear candy.
The album ends with a tom tom lead ode to cross country travel, New York Gray, in which Kim utilizes a bit more dramatic leanings to describe a rather ambiguous affair that takes place in the Big Apple. Kaysing's keyboard solo has Disaster Amnesiac thinking about Doug Yule's great playing on that third Velvets LP. Gray most definitely has that bitter sweet feel, and having recently been to NYC, I'm relating. Life's full joy and sadness, and a track such as this adeptly illumines this fact.
Full of Pop vim and Punk Rock vigor, Some Kind Of Amusement Park continues the odyssey of Youth Chairs in a compellingly listenable way. As stated, Disaster Amnesiac always relishes hearing from David Winogrond. Sounds this catchy and energetic just sweeten that deal even more. Nicely done, Youth Chairs!