The Dead Tones-Deader Than You; self-released CD, 2006

 

When it comes to Horror Punk, Disaster Amnesiac has never been exactly up to speed. I've always had a copy of Legacy of Brutality around since 1986 or so, and I profess to love the graphic design and kustomized culture that so many of its leading lights utilize. It's a highly creative, active subculture, one that has had the admiration of this dude for a long time, albeit from afar. 

In light of that, the Dead Tones Deader Than You came across my visual radar at a Goodwill a few months back as Mrs. Amnesiac and I were perusing for a white elephant gift. The price of the disc, a few bucks at most, was right, so I took the chance. 

Happy to have done so, too. The music, generally performed at an amped up pace, has all kinds of great aspects. Notable is the way in which guitarist Jason coaxes from his Fender Twin-sounding guitar all kinds of examples of the killer ability of the the electric guitar to be both percussive and melodic. The way he plays chords during the verses of the music is always bright and very present, and when he brings a slide for the solo on the title track, or wigs out on Scarlet Street, it's very clear that he has spent time studying ways in which to be expressive with his instrument. Good on him for allowing himself to take some creative license with it. Joining with Jason in the upper registers is the organ playing of Tabitha. When Disaster Amnesiac first played this disc, it was her sounds that I found most intriguing, as they add a kind of mid-1960's Garage feel to the more Rockabilly one that is overarching. I guess that Horror Punk allows for this kind of mashup, and I am happy about that. Her sounds give all of the songs that lysergic edge that helps to bend the mind a little bit or a lot. It's a bold musical move, and it really works to add brightness and melodic atmosphere to the sound. 

Within the rhythm section, bassist/vocalist Andrew and drummer J, as mentioned, keep the pace brisk. Their rhythmic lock avoids a stock polka beat; when J's bass and snare combos kick things along, the listener can definitely feel their physicality. It's my hope that he also bought recording engineer Jason Testasecca (or are these two the same person?) a beer of two after these recordings wrapped. Testasecca captured great drum sounds on all of these tracks. Hearing the ways in which a Rock 'n Roll upright bass clicks and and burrs, along with its melodic aspects, is never  a bad thing, and Andrew accomplishes both with aplomb. His vocals are confident, and, dude can really sing. It's the sound of a front man doing his thing because he knows he can, and it's great to hear. Additionally, his lyrics are creative. The total package! 

As Disaster Amnesiac has spun Deader Than You, I've imagined how fun The Dead Tones shows must have been. Perhaps they happen still? Who would part with this kind of rockin' fun? Top notch Horror Punk, all the way through, ya ghouls!

Live Shot #46!

 

Alien Planet (Sheila Bosco and Collette McCaslin)

Temescal Arts Center, Oakland CA 2018

Ypsmael-Box of Black; eh Records #120, cassette

 

So during the last phase of Disaster Amnesiac's epic 2021 move, I lost the bio sheet that came with Ypsmael's new eh? Records release Box of Black. It's easy to recall that the sounds on this tape were produced for use within an art installation that utilized a completely dark room. Other than that, most of the details for Box of Black are murky to me. 

This kind of fits, though, as the music that Ypsmael conjured up for this release keep bringing me back to that word "murky". Things bubble up from the silence and kind of float there, interacting with other sounds in a sonic soup that immerses the perception in ways that I imagine would make for a pretty harrowing journey through a completely dark space. Disaster Amnesiac has had visions of falling through layers of spinning matrices, much like those shots from old psychological horror films from the mid-20th Century, in which the person is spun around and around, going deeper and deeper into the void as that action continues relentlessly. About three tracks in, an insistent rhythm clips out on the track Becol, and while this may give some relief to a listener, it's only enhanced the overall anxiety jam feel for me. It's as if the conveyor belt to the abyss has increased its pace and is pushing even harder at the mind. I guess that it harks back the early waves of Industrial Music production, Death Factory and their fellow travelers, and it still works. Disaster Amnesiac can groove with it in the light of the day, and indeed daylight times are the only times that I've played Box of Black. Honestly I don't even want to know how these sounds would hit me at night! 

(An aside here: did you know that Jeremy Benthem, consummate rationalist and inventor of the Panopticon, was deathly afraid of being attacked by ghosts at night? Just goes to show ya.....)

Getting back to Black, I guess it's not all doom and gloom as the track Rhombus gives off some neat synthesizer brightness for a spell before going dark again and Bob Outro hints at UFO Club-styled psychedelia, but even within these pieces it's tough to shake off the fear vibe, as that murky feeling evoked by the mysterious sound sources is never that far away within them. Again, imagine yourself hearing these sounds and not being able to see what's in front of or behind you..........damn. 

You have to hand it to Ypsmael, they certainly don't ever lose the thread of the apparent vision for Box of Black. Be brave while you listen to it, and just maybe have a close friend nearby to guide you back to light, should you drift too far into the darkness while doing so.

 

Bestia-Eternal Unions; (iN)Sect Records:IRS-078; digital single, 2022

 

Have things become hypermodern enough for you? The events of the past two years seem to have bifurcated society into camps that are either embracing this phase or rejecting it. Sadly, this cleaving has not exactly been of the most light nature; it seems safe to assume that everyone has lost something or someone as this realm which we inhabit has been pushed into some new form which has the heaviness of being pre-ordained somewhere, by entities seemingly far beyond comprehension. In short, this period has been pretty damn dark, and hypermodernism seems to have a lot to do with that darkness. 

Disaster Amnesiac mentions this as a way of introducing Eternal Unions, by Bestia, because its composer, Conrad Gonzalez, has embraced hypermodern means of realizing this new single. I'd also like to put forth the proposition that Eternal Unions give the listener multiple glimpses into sonic light and beauty that do a fine job of sloughing off some much of the darkness that has swirled around and seeped into so much of our lives. Bestia utilizes strictly digital/computer-based methods in order to put forward this audio light to uplifting results. 

The track skids into existence with a kind of glitch-ey sound, which seems to presage a more Noise-based feel, but then quickly lifts off into these heavenly washes that lead the listener into serene spaces of contemplative largo. These spaces are warm and welcoming, even if occasionally touched by strange electronic squiggles. Lovely flatted arpeggio float by, providing melodic counterpoint and grounding to the more abstract elements. It's an astute blending of light and shadow, much like watching January clouds, dappled by sunlight but filled with moisture, drift by your window. As I've listened, the concerns of whichever daily crisis that I'm supposed to by hypmodern-ly tuned in to have fallen away, and I'm left with a perception that is much more engaged with  the  moment, and much less inclined towards distraction. In that, Bestia is bestowing a nice favor upon the listener to Eternal Unions. 

Over the course of ten minutes, a calming musical utopia is, to borrow a term from Gonzalez, quilted together. It's a quilt that Disaster Amnesiac has found to be supremely pleasant to wrap myself up in. As this dumpster fire of a hypermodern era drags on, it's most welcome, and I can only image the kind happiness that a full length of music of this sort from Bestia would bring.

Vintage Disaster Amnesiac show notes!

These notes, written upon a copy of Fear and Loathing In Las Vegas, were taken at New Horizons in Richmond Virginia, probably spring of 1988. Disaster Amnesiac assumes that they were intended for a review in my high school pal Erik Grotz's  'zine, Action Time, but I don't know if they ever made into print therein. Action Time was cool, as was Erik, who had the good sense to go and see Honor Role at D.C. Space. I was not intelligent enough to do so, nor was I intelligent enough to not be bored by some of Penn's next band, Butterglove, at times during their set. Dude, c'mon! 

Above: Burma Jam and Butterglove get critiqued. I have no doubt that Butterglove were NOT boring, sorry guys, it was probably the pot Disaster Amnesiac had smoked

Below: Fugazi set described by me, then a quote from the inevitable "play Minor Threat" dude, who was addressed by Ian and then butthurt by that. Find this show at the Fugazi live archive and hear it for yourself

Below: Sonic Youth closed an intense afternoon of music. I recall Thurston asking the bartender for Cokes from the bar, along with noting that Richmond girls looked like they had just arrived from Spahn Ranch

Live shot #45!

 

CAL Marching Band, UC Berkeley main campus, February 2014. I wonder what these kids are doing these days.....

Amanda Chaudhary-Meow Meow Band; Catsynth Records, 2021

 

Multi-instrumentalist, film maker, critiquer of synth gear, and just generally bright person Amanda Chaudhary has a new release out! Here is Disaster Amnesiac, still scolding myself for never getting around to enthusing about the disc that I bought from her at a small coffee shop off of Park Blvd. in Oakland a decade ago, apologies for that, Amanda. Won't be letting that much time pass in order to review Meow Meow Band, Amanda's new release for the ever-busy Catsynth concern. 

Things start off strange, as the voice of the late Serena Toxicat chants surreal texts while framed by Chaudhary's electronic drums and synthesizer washes on Invocation (French Miaou Bast). It's all very mysterious and moody, and one would think that it would set the emotional tone for the disc. It does not, as one of Amanda's great Pop Jazz tunes, White Wine, follows it. Disaster Amnesiac has heard Amanda sing this one, but on the CD it's performed by Amy X. Neuburg, who gives the lyrics her characteristic sparkle. ROVA new guy Steve Adams gives lyrical alto saxophone solo, and then Amanda follows with her astute keyboard ruminations. Funky rhythm section players Jamaaladeen Tacuma and G Calvin Weston swing the changes and then throw down a nice thick rhtymic carpet for the melodic players to do their thing. It's all happy and cool, with a tripped out tag line before the last chorus and nice, big finish. Cables and Carafes showcases Amanda's creative use of various synthesizers, with a good melody that is supported by really keen sounds from the various widgets and whirlies that Chaurdary knows with great insight and plays with great skill. Weston slams his characteristic style and clearly enjoys wacking China cymbals Cobham-style all over the sucka. Phuture Phunk Phor Phrenetik Phables here, all the way out to Pluto. Chaudhary's lyric song craft comes back into play for North Berkeley BART, with singing again handled by Neuburg. As always, her voice delivers pleasantly, with her clear enunciation and tone. What a great singer. Adams brings back his alto stylings, Chaudhary finds even more odd keyboard sounds, Tacuma and Weston syncopate like crazy, and then Neuburg brings it home. It would be SO bitchen if BART would release this song as a limited edition 7" commemorative next year for North Bekeley BART's 50th anniversary, with art by Aaron Cometbus. I'd buy one, and I don't even like BART very much. Something for the bean counters over there to  consider. The star of Under the Ceiling Fan for me is Sheldon Brown. His bass clarinet solo on this track gives further proof of how intelligent and creative a musician Mr. Brown is. Any time he plays, it's for real, and Disaster Amnesiac is stoked to hear something new from him. Beutiful, impressionistic keyboard solo for Chaudhary as well, along with real lovely harmony playing from Adams. Just gorgeous! Gimme some more of that white wine from earlier, I wanna float! Meow Meow Band concludes with Donershtik, wherein Weston and Chaudhary rock a seriously robotic groove and Tacuma gets dirty on top of it. Chaudhary seems to pull from her formative years in the Big Apple on this one. It's got all of the urgency of that city, with all of the "fuck it, let's just dance" vibe that has always been so critical for people navigating it. That could apply anywhere else, as attested to by how Mrs. Amnesiac is dancing in our living room as I type these words. I myself have definitely rocked a few Travolta moves as we've played the disc on trips about town. 

It seems as though Amanda Chaudhary has fulfilled a long-term ambition with Meow Meow Band, which would be the blending of high minded, academic head music sounds and harmonies with danceable, fun grooves and moves. This short, sweet release is a real pleasure to take in for all of that, and it's been to listen to as Disaster Amnesiac has kicked off 2022. Meeeeoooooowwwww!!!!!

Live shot #44!

 

Multi-instrumentalist, singer, poet, radio host Meri St. Mary. Poetry reading in San Francisco SOMA district, ca. 2013.

Orasique-Ixtlahuaca; eh? Records #119 casette, 2021

 

Before Orasique's Ixtlahuaca even ended up in Disaster Amnesiac's possession, I was excited about it. Its orange jay card, emblazoned with what is clearly Bryan Day's asemic art work and listing of (to  me) unfamiliar musicians provided the requisite intrigue. Suffice it to say I am happy to  have listened to it. 

Orasique is a group made up of Don Malfon on alto saxophone, Fernando Barrios on drums, Marco Albert on vocals, and Misha Marks on iatarra, which is a home made electric guitar. Each of these elements battle it out on Ixtlahuaca's seven tracks, sometimes fiercely, as on Quien sabe que clase de revoltos sean, sometimes with more restraint, as on Oyo alla astra su propia voz. 

It's really fascinating to hear the various sounds of the iatarra; this instrument naturally has timbral characteristics of regular guitars, but its body seems to give it a very pleasing metallic flavor as Marks gets down on it. There are most assuredly spaces in which he develops regular "guitary" themes, but it's just that the iatarra often ups the ante on the "guitar as percussion instrument" hand, and in Misha's hands it often feels like an extension of Barrios' kit. Speaking of which, Fernando sounds as if he's assembled a set of drums that features various small elements, metal wrenches and cracked cymbals and junk shop busted head small tambors to go along with his traditional, very nicely resonant bass drum. His "all over" style skitters and scatters along during Las urgencias del cuerpo and Cuando los vivos comenzaron a salir, but he's not afraid to keep things bone simple, as on Oyo alla...., where he sounds like he's been studying Tony Williams' minimalist hi-hat on In A Silent Way. Marco Albert's vocalizing often brings images of crazed street corner prophets, but it's clear that he's also exploring the concept of voice as primary musical instrument. The small sound crevices and and burbling dada cadences of Cuando los vivos comenzaron a salir show this. His background in electronic music would seem to be a ground for these voice explorations. Don Malfon keeps a quieter profile throughout much of Ixtlahuaca, indeed he often seems to be content to let the other three dudes duke things out. That said, when he lets loose, it's clear that he has a point of view and a voice with which to show it. It seems clear that Don gets the whole group concept. His shredded ribbons of alto sound on Me mato un novillo are certainly worth the wait. 

Taken in as a whole, Ixtlahuaca is a juicy sound revel from a quartet that digs in and develops seven pieces of organic and compelling band-based Improvised Music. This release has an organic, loose feel that is never stuffy and academic, that's for sure. Listen, fellas, Disaster Amnesiac is living only about an hour or so away from Heroica Nogales. Any chance you could do a tour up that way? Listo!