disaster amnesiac

A plea to Disaster Amnesiac's Russian readership.

2012-01-26T15:33:00.000-08:00

Dear readers in Russia: Disaster Amnesiac reads his stats. He knows that you are reading his screeds. He is truly humbled by this fact. Please, please help Disaster Amnesiac by sending music by Pussy Riot in ANY form. Contact me for address.

Спасибо

Han Bennink/Myra Melford/Mary Oliver, Arch St. Music House, Berkeley CA 1/22/12

2012-01-23T07:29:00.000-08:00

Disaster Amnesiac had the great pleasure of attending this show with Andrew Joron and Joe Noble, shlepping over to Berkeley in the rain. Han Bennink is the kind of musician that one should not be deterred from seeing.
Han brings fun to the Avant Garde of Jazz, and he can play his ass off. The man has chops and humor and undeniable presence.
Pianist Myra Melford is one of the great post-Taylor players; she can play with incredible control on the keys, using scads of technical prowess to get the desired sound. The S.F. Bay Area is lucky to have her.
Violin player Mary Oliver was a pleasant surprise to Disaster Amnesiac and my pals. None of us had heard before. We were blown away by her techniques, which ran the gamut from Jazz to micro-tonalism to Classical sounds.

The net musical result of this trio was a romping set, comprised primarily of several compositions by Dutch pianist Misha Mengleberg, spiced with tons of improvisatory fire (especially from the ever-puckish Bennink).
The evening's proceedings ended with UC Berkeley electronic musician David Wessel joining in. His clanging laptop-generated sounds clearly made Han very happy!

If you get a chance to see any of these musicians play, do take it. No mere storm can stop a guy like Bennink!

FUCK the U.S. Department of Justice

2012-01-21T08:53:00.000-08:00

The take down of Megaupload rests solely on the lying Obama administration and its number one elitist bully boy, Eric Holder. FUCK THE FEDS, AND FUCK ERIC HOLDER. Transparency in government, my ass.

Fugazi Live Series: Live at D.C. Space, 10/16/1987, digital download

2012-01-18T09:01:00.000-08:00

As it's been almost ten years since Fugazi played a live show, it makes a lot of sense for Dischord to set up an easy, affordable way to hear this consummate band's live tapes. Ten years in music time equals at least one generation of music fan having gone through the crucial high school/college/young workin' stiff years. It's tough for Disaster Amnesiac to comprehend a demographic that has not at least had the chance to see Fugazi's amazing live energetics, but, it's a fact. I'm sure there are other bands that deliver the kind of live wallop that Fugazi specialized in, but I'm also sure that there was only ever one Fugazi. They were incredibly unique, and were easily one of the top live bands of the 1990's.
My first foray into this deep well of Fugazi live recordings, 10/16/1987, represents a nascent band, playing early tunes (a few of which, to my knowledge, were never formally released), and developing their chemistry.
At that time, Guy was not yet playing guitar with the band. His more melodiously leaning sound added a lot to the band in subsequent years, and its absence here allows for the heavily rhythmic aspects to remain in the fore. Disaster Amnesiac can recall a friend opining that she didn't care for Fugazi because "I don't like reggae"; that was a common refrain from many upon their initial hearings of the band. I'd say, not exactly. While it seems clear the Dub, Hip Hop, and Go-Go (bass/drums music) lent rhythmic and procedural aspects to Fugazi's approach, their one-of-a-kind, bass/drums/guitar full RHYTHM section sound is clearly evident in all its originality. The Canty/Lally rhythm section shows itself as the primal base of Fugazi's music here. Ian's guitar playing would also develop into a tightly coiled rhythmic ballast over the band's life span. This recording seems to show him figuring it out, learning his approach within the monster grooves of Canty and Lallys' base.There are the occasional drops, but how could one not root for the guy?
Fugazi shows were always an event, always a chance for celebratory ecstatic movement. They were pretty clear about their post-Revolution Summer move away from paint-by-numbers Punk Rock ritual behavior into a more all-embracing humanism. The D.C. Space recording features plenty of admonishments from Ian on these themes. At one point he even suggests audience members join the band on stage if they have ideas that they want to share! Having been one of said audience members that evening, I can recall wishing I could have taken him up on that. Probably best for everyone I just remained on the dance floor.
Dischord lists the recording's audio fidelity as "Good", and I'd agree. There are a few spots wherein the audio drops out, but it is very listenable. Definitely worth the $5 cost of access.
If you're at all interested in Fugazi, you'll no doubt be thrilled with the Fugazi Live Series. 10/16/1987 is a great place to start your investigations of this seminal live band's in-concert, in your face experience. One can feel the juggernaut emerging, hear its early rumblings. Who knows, maybe someday soon the band's Indefinite Hiatus will come to an end, and their will be a 2010's addition to the Live Series Library. One can hope.

Nymph-U.F.O. Over Dome Rock

2012-01-12T14:15:00.000-08:00

<p>&amp;amp;lt;a href="http://bandofnymph.bandcamp.com/track/u-f-o-over-dome-rock"&amp;amp;gt;U.F.O. Over Dome Rock by NYMPH&amp;amp;lt;/a&amp;amp;gt;</p>

Disaster Amnesiac was not around for the advent of the first truly Pop movement, but I'm relatively certain that it was an Art World reflection of those products and trends that were contemporaneously popular within the larger society.
I say this not because Nymph's great new on-line single relase, U.F.O. Over Dome Rock, is particularly Pop in nature, or even reflective of the tastes of a wide swath of current society. I do say it because I wish it were true. Nymph have nailed it here, with a catchy, complex song that alludes to African forms (reminding Disaster Amnesiac of the Ex's recent recorded approach), 1970's Avant Garde vocals, Soul Jazz, Sterling Morrison, Krautrock, etc.
Disaster Amnesiac would love to be able to turn on a contemporary FM radio station and hear this track's bubbling, clicking, Harmelodic All-World music ringing forth. A mere $2 got it into my iPod.
Be a true reflection, grab a seat on Nymph's flying saucer flight.

Richard Serra-Drawings, MOMA SF, 12/30/11

2011-12-31T10:23:00.000-08:00

Disaster Amnesiac made it over to San Francisco MOMA to check out the exhibit of Richard Serra's drawings, along with Mrs. Amnesiac and our pal Cynthia.
Minimalism always brings out an interesting response from people. I heard one waggish teen put it bluntly: "this SUCKS". There were also plenty of bemused looks from various viewers.
That said, I loved the work. Serra's stark, paint stick-on linen works were very complex, despite their outward simplicity. The textures, pocks, lines, and drips that different light angles revealed within them were wondrous for this viewer.
Disaster Amnesiac was also reminded of Nordic Black Metal as I gazed up into these works that were tacked onto various gallery walls. Their immense blackness would surely go well with some Burzum or Darkthrone. I could definitely see Fenriz appreciating their stark black forms.
The linen works had the same mass of volume as Serra's metal sculptures in many aspects. The weight and feel are very similar, and the fact that this effect was achieved with cloth is amazing.
Serra's paint stick-on homemade paper were amazing as well. With their black forms on white space configurations, they had the feel of Zen drawings. Some had impasto inches thick. I marveled at the amount of drawings Serra must have done to get that effect. Striking.
Also on display were many notebooks with plans for his large scale sculptures. It was cool to see the early imaginings of these monumental works, especially those at Bilbao.
Disaster Amnesiac left the gallery thinking about Minimalism and its effect on the viewer. In my opinion, Minimalism offers a lot of freedom to one who is taking it in. The viewer's perceptions are free to go wherever they go, unencumbered by representation. It also offers the chance to be disciplined and attentive. When these aspects of the mind are employed, its vistas are endless. That sucking sound heard by the surly teen was the sound of his own ignorance. Given time, I hope that he will cultivate the willingness and discipline to gaze at the vastness that Serra's art can offer.

Pere Demo

2011-12-27T07:29:00.000-08:00

Disaster Amnesiac downloaded Pere Ubu's most recent demo release for their forthcoming Lady From Shanghai record over the weekend. Hearpen clearly states that many of the tunes on the release are still quite embryonic, while others are near completion. The whole thing is "nowhere near" mixed. I just wanted to chime in and say how brilliant it seems, from a marketing perspective, for Pere Ubu to do this. In an era of the hyper-niche market, it makes absolute sense for what is probably the ultimate niche market band to do this. It lets the the band's hardcore fans glimpse into its process, something that Disaster Amnesiac is sure appeals greatly to many of them. It provides revenue to Ubu, something that Disaster Amnesiac is sure appeals greatly to the band, if for no other reason than to help pay production costs for the album. It's a spin on the Kickstarter patronage system, a logical, effective way for underground bands to operate their business. As usual, David Thomas is WAY ahead of the curve, blazing trails that others will likely profit more from. At least he'll get the satisfaction of saying "I told you so", or maybe something harsher. Disaster Amnesiac has seen him be that way. He earns the privilege again and again.

Black Face-I Want to Kill You/Monster; 7" vinyl, Hydra Head Records 2011

2011-12-01T09:50:00.000-08:00

Billed as a revisiting of songs that Chuck Dukowski wrote for early 1980's Black Flag, only to have been rejected, Black Face has had Disaster Amnesiac intrigued since my good pal Max Sidman told me about them in September. Needless to say, I put a pre-order in at the earliest possible opportunity. It has arrived. I have listened.
Opener I Want to Kill You is a fast paced, stop/start Hardcore rant, featuring excellent, throaty declamations from singer Eugene Robinson. The lyrics are definitely evocative of the Creepy Crawl/My War paranoid vibes that characterised the early 1980's iterations of the Flag. Musically, it reminds Disaster Amnesiac more of SWA than Black Flag, owing to its bass-driven, stuttering feel and more blatantly psych-colored guitar sound from Milo Gonzalez. It seems as though it's very difficult to approximate the physical weight of Ginn's riffing, especially of that within Black Flag. Drummer Tom Dubrov does a nice job of keeping the quick pace of the song flowing without ever resorting to the standard Hardcore oom-pah-pah blast beat approach.
On the flip side, Monster seems to tell a tale of self loathing and the desired love interest of him doing that self loathing. This song is closer to the then-emerging musical aesthetic of Black Flag ("let the rhythm ooze"), again with bass-led and psych-fueled sounds from the strings, and heavy rhythmic trudge from the drums. Robinson sounds downright scary on this one. Although he seems to have checked his more manic vocal approach with Oxbow for a more "normal" one within Black Face, it still sounds unsettling as he comes a-courtin'.
This 7" is an impressive opening salvo from what will obviously be a great band. I look forward to seeing Black Face live!

Greg Ginn and the Royal We-We Are Amused

2011-11-18T09:04:00.000-08:00

In which, Greg Ginn continues his decades-long personal quest to make the music that best suites him at the current time. Disaster Amnesiac has been listening to We Are Amused, along with reading the most recent Black Flag book, Spray Paint the Walls. The latter has not much bearing on the former's sound, aside from being of the same musical continuum, but certain interviews in the book have influenced my hearing of this new release from SST.
I'm not sure if this is Greg's first truly solo recording, but it appears to be so. The instrumentation consists of guitar (and guitar synth?), bass, keyboards, theremin, and programmed percussion. As it is after all Greg Ginn, let's start with the guitar. As opposed to the recent recordings of Mojack or Gone, Greg keeps the guitar relatively restrained, more a part of the rhythmic/melodic aspect of the sound than a soloing voice. This is not to say the classic Ginn guitar tone is not present. His tone is instantly and recognizably unique, a tart, treble-ey melodic style that is his alone. When he does take solos, they are brief and somewhat understated. In this, his guitar approach is more akin to that used in Jambang. As mentioned, some of the sounds seem to be generated by the guitar synthesizer, an instrument that Greg has mentioned using in recently on-line interviews. These tones have a bright, keyboard-type sound, but an attack that sounds guitar generated. Having seen Ginn play the bass for full sets on four different tour cycles recently, Disaster Amnesiac knows how much he loves the instrument, and great his playing of it has become. On We Are Amused, the bass is a central element. Given that the percussion is all programmed, the bass is in a lot of ways the "lead" percussion instrument. By that, I mean that it provides the sound of physical impact (fingers hitting strings) in a much more "real" way. Greg's bass style is very percussive and heavy; at times, the tunes end up being duos of percussion and bass, with the bass being very compelling just on its own. Perhaps the best interview subject in Spray Paint the Walls is Kira, bass player for Flag from 1984-1985. At one point she expounds upon Greg's desire to "let the rhythm ooze". On Amused, he has definitely achieved this oozing sensation with his bass playing.
We Are Amused is in some ways a recording of surprises from Greg Ginn, one of which is his heavy inclusion of keyboards throughout. He keeps his playing paired down to a simpler melodic approach, but this new timbre in the Ginn sound world provides interesting and cool hearings of his melodic style and song writing approach. The keyboards brighten the sound a bit. It's a bit disconcerting to hear Greg's sound as an almost joyous one (in the conventional sense), but the keyboards do provide that aspect on the record. Also new and entirely unexpected is the theremin. While not used on every song, this strange, noisy instrument seems to be used as the out-and-out noise generator that the electric guitar so often has been in Ginn's hands. There are points where the tones of guitar and theremin are played in harmony, even, but, for the most part the instrument provides weird, wiggy sounds atop the groove.
Speaking of groove, despite the fact the the drums and percussion on We Are Amused are all electronically generated, they still manage to provide enticing rhythmic action throughout. Ginn's programming is creative, the beats are clearly thought out and "non-stock". On top of and around them, percussive accents swirl and echo and twist. Greg has managed to utilize the percussive approach of the electronic and techno music that he loves so much, melding it to a more Rock/Jam Band aesthetic. It's pretty unique, actually. This is most likely the aspect that will turn off many of Ginn's fans. To them I say, try and listen to the record with headphones on, paying close attention to the beat programming and percussion. You may change your opinion.
The overall sound of We Are Amused is a kind of Rock/Techno/Jam Band hybrid. The pacing of the music is one of slowness, overall. Another compelling interview subject in Spray Paint the Walls, Keith Morris, talks of the rehearsals for the 2003 Black Flag reunion shows, in which he mentions an annoyance with Ginn's desire to have the tempos of the classic Flag tunes slowed down. According to Morris, Greg's response was something akin to "that's their correct tempo". It is telling that, possibly as far back as the late 1970's iterations of Black Flag, Greg was already feeling a slower rhythmic tempo. Just venturing a guess here, but I'd opine that it may be Greg's desire to slow the music down in order for the riffs and melodies to really sink in. I say this because We Are Amused's tunes benefit in this way from the slower pace of the rhythm. The melodic sounds are given time and space to be heard and felt. They are all quite catchy and memorable, and in that, We Are Amused strikes Disaster Amnesiac as being as compelling a statement from Ginn as Nervous Breakdown or Slip it In or In My Head or Let it Burn (Because I Don't Live There Anymore), all high water marks of his career. The album also benefits from great mixing and great production standards. One can hear the attention to details in this mix, an aspect that has sometimes not been the case from SST productions. It just sounds solid, all the way through.
Greg Ginn and the Royal We seem to be heralding yet another change of pace from Ginn, another new direction. Regardless of what others think, he continues to follow his own muse. Only Greg knows whether or not he'll continue with more recent projects such as Jambang or the Taylor Texas Corrugators, along with older ones such as Gone or Mojack. Disaster Amnesiac looks forward to hearing whatever comes down the pike next from SST; We Are Amused will absolutely stay in my rotation until that time.

21st. Century Ginn-zoid Man: Greg Ginn's music in the 2000's

2011-11-04T08:42:00.000-07:00

Next week Greg Ginn will be releasing a new recording, that of his Greg Ginn and the Royal We project. It seems as if our man at SST has started yet another new chapter in his going on four decade career of music making. This turn of events has had Disaster Amnesiac thinking about, and listening to, as much of Ginn's work from the 2000's as I can scour up. Here are a few of my thoughts.

Mojack-The Metal Years
The Metal Years will probably stand as the Ginn release that is most pleasing to his traditional fan base. I'd say "ditto to Under the Willow Tree", but sadly, have not heard that one. What Disaster Amnesiac has heard on the Metal Years, though, is Ginn powering a mostly-live band, made up of Greg on bass and guitar, Steve DeLollis on drums, and Tony Atherton on saxophones. Pleasing, in that the classic Ginn melodic approach of simple, repetitive melodic lines is the standard here. It's what happens around and on top of these lines where the magic happens. DeLollis's approach is fat and funky, moving the tunes with solid, musical, acoustic kit playing. Ginn's tandem bass lines provide thick support for the drumming. His bass playing can seem as powerful and original as his guitar playing, in its own, Ginn-singular way. The Metal Years is a rhythmic romp, for sure. The upper registers of the sound are provided by Atherton's great saxophone. His sound is wild and controlled at the same time, and when it's not going into full Fire Music mode, it is often giving the proceedings a kind of rollicking 1960's Pacific North West feel; you know, like the stompin' bleats of the Wailers, the Raiders, etc. Greg revisits his classic guitar soloing approach on the Metal Years. Listeners are treated to the out of control, noisy blasts that made Black Flag and Gone such compelling groups for guitar freaks. The overall sound of the Metal Years is a kind of hybrid of the heavier jam bands, SST melodic aesthetic, and Jazz, which bounces and grates and slides and rocks, all in a very live feeling way. Great stuff.

Hor-Culture Wars
Wrapped in a naughtily lurid cover, Culture Wars continues the legacy of Ginn's Hor project, which goes back to the mid-1990's. Hor is a much more electronic music-related concern than Mojack. Ginn has been pretty open about his love for electronic music, stating, for example, "[I']ve gotten really involved in that (electronic music), as far as listening and going to clubs and stuff. I like the hardcore techno, but also a lot of other electronic music" in Mark Prindle's Mark's Record Reviews web page. The band, made up of Ginn on bass, guitar, and synthesizer; Sean Hutchinson on drums; and Andy Batwinas on percussion, crank out a taut, robotic, computerized sound. Ginn's guitar playing is less melodically/chordally-focused; instead, he plays clipped arpeggios, little percussive runs up an down the neck. It seems as if he wants to get his guitar to sound as much like a computer as possible. On the rare occasions when he does solo, he keeps them succinct, jumping out from and back into the rhythm really quickly. His bass stays in a more traditional "bass" role, and, as such, proves a lot of the melodic feel on the tunes. Much as in the Mojack release, Ginn's bass playing is superior and deserves special mention. He really does coax rich, thick tones from the instrument. A few years back, there were intense on-line debates as to whether or not certain listed drummers on Gone releases were real or fictitious. Disaster Amnesiac can attest to the actual existence of Hor drummer Sean Hutchinson, as I've seen him play live (3/29/2010, Red Devil Lounge, S.F. CA). Hutchinson is adept at fusing acoustic trap set playing with laptop-generated electronics, and does so on Culture Wars. His playing is tight and uncluttered, less Funk-oriented than that of DeLollis, but perfect for Hor's Techno grooves. His drumming and Andy Batwinas's percussion stick close to the computerized beats and feel here. Overall, Culture Wars is a fast-paced, intense blast of guitar-led Techno from the mind of Mr. Ginn. Who bought this? I sure did!

Gone-The Epic Trilogy
Greg Ginn/SST's late 2000's re-emergence was heralded in large part by this 2007 release, the first from Gone since 1998. A double CD release, the first of which featured vocals by Bad Brains leader and long-time SST recording artist HR, with the second featuring instrumental-only versions of the same songs, The Epic Trilogy proved to be a challenge to many who followed Ginn's work. Over three sprawling, twelve to fifteen minute songs, Greg sounds renewed and re-energized, but, perhaps, a bit too tech-ey for many. More on that in a bit. First, let's talk a bit about Mr. Huntin' Rod's vocal performance. On the Epic Trilogy HR's approach is less righteous Rasta and more good time party in its tone. It's as if he uses the opportunity to sing "side project" to let go of some of the heavier messages he often imparts, and just have a good, rockin' time. The Epic Trilogy may be the closest he'll ever get to out and out GoGo, at least as far as subject matter is concerned. Of great effect too is his use of multi-tracking. Sly and smooth, it is quite the tripped-out call and response, the voices just out of phase enough to add some serious "WTF?" sounds for the listener to contemplate. The Epic Trilogy definitely sounds like a guitar-heavy statement for Ginn. His six string axe is mixed loud and up front throughout, and Greg wails with his characteristic big riffs, noisy solos, and bars-long slide effects. Gone has always been a very melodic band, and that trait stays true here. The songs' lengths beg for repetition, but, of course, Ginn riffs make repetition a good thing. His melodic gifts make navigating the twists and turns of it bearable and enjoyable. When he steps out and solos, the effect is mind-numbingly great. As with so many of his recent recordings Greg handles the bass on the recording. It is mixed a bit lower than the guitar, and as such plays a bit more of a subservient role in that relationship. Still, it bears repeating just how talented a bass player he is. Greg plays the bass with a percussive, driving hand. Heavy! The previously mentioned "tech-ey" sound is in large part due to the drums on the Epic Trilogy. Some have argued that the drums are 100 percent electronic, and programmed. To me, they sound like a blend of electronic drums played by a drummer and percussion overdubs/programming (Andy Batwinas?). The fact that the only listed drummer on the recording is dubbed "Drummer" will not give clarity to the matter! Ginn has always been a stickler for tight, focused rhythm, and I feel that if electronic drums provide him with the precision he needs for his guitar flights, then so be it. Some find the sound cold, but, Disaster Amnesiac likes it. All in all, epic indeed!

Change has always been the defining constant in the musical work of Greg Ginn. It has been my hope, with this by no means complete survey of his work in the 2000's, to show that the changes continue to happen in his music in enjoyable and interesting ways. That so few are interested, and many more actively hostile, seems a shame. Still, I suspect that I will be grabbing a copy of the Greg Ginn and the Royal We CD soon after its release, along with any other product he puts out. SST is still relevant to me.

Space Collective 3-Live at Outfest, Medusa 088, cassette

2011-11-01T14:10:00.000-07:00

As you are probably well aware, recently the Oxford English Dictionary removed the term cassette tape from its future editions. If you've read this blog recently, you may have also become aware that Disaster Amnesiac has been purchasing, enjoying, and writing about a few cassette tapes of late.
Most recently, I've been digging into Rafael Toral's Space Collective 3, and their cassette tape release, Live at Outfest .
Toral provides "electronic instruments and direction" for the Space Collective, and is joined by Ricardo Dillon Wanke on Rhodes piano and Afonso Simoes on drums and percussion.
The trio burns through three lengthy pieces, seemingly improvised, with a hot sound that is equal parts Avant Garde and Fusion. That they take the most compelling factors from both of these styles (intense interplay based upon subtle auditory communications and high-grade musicianship), makes for a fun, often intense listen.
Far from being there simply to add color, Toral's electronics are right up in the instrumental mix. It's pretty cool to hear them being played as part of the group, the way one would hear a guitar or a sax or any more traditional Jazz instrument, as Toral by turns comps, solos, or interacts with Dillon Wanke and Simoes. He gets wicked electrified trumpet a la Agartha-era Miles sounds, robotic R2D2 sounds, wispy washes, drones, cracks, and pops. Again, all of this sound action within the broader context of an improvising band.
Ricardo Dillon Wanke also plays his axe masterfully, providing heated electric piano. He takes long solos, comps with tons of space, even leaves the scene completely, just generally doing whatever the moment requires of him. His keyboard sound may draw from the likes of Larry Young and Joe Zawinul, but it is clear that he is well into his own world.
It is a pleasure to listen to Afonso Simoes's drumming. He mixes powerful chops with free/expressive approaches within all of the tunes. His style is a burbling rhythmic one, much reminiscent of Free masters such as Andrew Cyrille or Shannon Jackson. There is total freedom of playing here, but it is contained within a deep pocket. Simoes is entirely present throughout, driving, commenting upon, and just generally moving the music along.
Cleanly, clearly recorded and well-mastered, Live at Outfest is a great document of a compelling band, utilizing time-honored approaches, all the while, thanks in large part to Rafael Toral's instrumentation, adding unique twists to them. I suspect that subsequent releases will be available in more formats than that of the now non-OED-lexicon'ed cassette. Would that the real-time version would hit a Jazz fest in the S.F. Bay Area!

Kevin Carnes Interview

2011-10-21T14:14:00.000-07:00

Presence. For Disaster Amnesiac, that one word describes Kevin Carnes quite effectively. The few times I've spoken with him, he's been quietly humorous and eloquent. He doesn't say much, but, one invariably knows that he's in the room. When he's behind a drum kit, his presence makes itself known in a much more audible way. His funk-fueled poly rhythms have been blowing Disaster Amnesiac away for two decades. Kevin can drive any kind of band to musical heights.
Kevin has been a present, drumming in the S.F. Bay Area musical scene for close to thirty years, but he doesn't seem to get the in-depth treatment that so many others have received. I've lamented that for some time, and humbly offered my services to him, by way of this interview. Dig in, and enjoy the wit and wisdom (and there is PLENTY of both) of Kevin Carnes!

You've been making music out of the S.F. Bay Area for quite some time. Are you a native Californian, or were you born and raised in some other locales?

I was born in Florida, my parents were part of the “migration” north in the 60’s to Detroit, that’s where I spent my early youth until I graduated from high school.
From there, I went to Las Cruces, New Mexico on a Track and Field scholarship which is where I met Adam Shurborne (Consolidated, Until December). I joined his band (the Usuals) and relocated to Houston, Texas.

After a year of being called nigger and told to go back to Africa, the band moved to San Francisco, and aside from about 10 months in LA in the early 90’s, I’ve been in the Bay Area ever since.

What were some formative sounds or musical experiences for you?

Seeing Isaac Hayes in Detroit in 1970, and Prince on the Dirty Mind tour were 2 of the most important experiences on my musical journey. Taking drum lessons with my father every Saturday for about 7 years and listening to his massive record collection also played a major roll.

As far as sounds go, I’ve never felt bound to any particular genre, so I’ve always been open to all styles of music, which has exposed me to all sorts of sounds, textures, and ideas about what music is or could be.

2 other moments stand out as well. The first was a recording session that I did with George Clinton. I won’t go into the long version of this story but he directed me through over-dubbing drums on a song and I learned more about “dynamics” with him than ever before. The second moment I have to mention was seeing Max Roach do a solo performance at The Palace Of Fine Art. Max played drums and sang songs for about 55 minutes and it was the most beautiful thing… The elderly woman sitting next to me cried like a baby, she was so moved by it.

At what point in your life did you begin to actively play the drums? Did you play in school or church bands? How about garage bands?

I started to study drums at the age of 5 but didn’t become serious about it until I played in my first band at age 12.

I played in school from first grade through high school, orchestra, marching band, not much in church, but once I played with my first band, I was hooked.

Were there any formal instructors in your early development as a drummer? How about other instruments? Did you have any early mentoring in your musical development?

I had a drum teacher when I first started playing music, he taught me “In the Sunshine Of Your Love” by Cream for my first lesson. He also taught me how to read music, and that was his greatest contribution to my world. I also studied guitar and viola but I had no support on the viola and after my first guitar instructor, who was awesome, I had a really crappy teacher who was so grumpy that I quit studying with him.

You were a founding member of the Beatnigs. I never saw them play, but have heard clips. Beatnigs' sound comes across as a mashup of various Post-Punk musical elements. Please tell how this group came about, its aesthetic concept, and its development.

I was a DJ at a small mission night spot in the early 80’s and had the run of the place on Sunday nights. I hosted many events there, fashion shows, dance performances, film nights, it was more of a salon than anything, very experimental and I would spin everything from Public Enemy and The Sex Pistols to Sylvester and Dean Martin over Dub tracks.

Gradually, certain people became regulars in the scene and on the stage. One was Andre who introduced me to Michael Franti and brought him into the fold and soon had him on stage reading poetry and dancing in some of our performances

Rono Tse joined the circle with a very creative fire and a truck.

We did some pretty “out” stuff but continued to develop ideas and try them out to the point where we started to need “rehearsal” and a space to work out.

Henri Flood was a friend from another band that I was playing with and he began to play percussion with us and was really into the idea of being more than just a conventional percussionist.

That became the nucleus of the band and Michael came up with the name. There was a manifesto, of sorts, one that was about what you could do and not what you couldn’t. We were very political in that Punk Rock, Black Militant, Artist kind of way (very Afro Punk).

Broun Fellinis have been playing for over twenty years. Please talk a bit about the conception of this band, early development, and the nascent scene around it.

David Boyce and I had a bunch of conversations about art, music, history, politics, girls, general bullshit that we felt like expressing as musicians. We also did not want to sound like anyone in particular but everyone at the same time while also carving out our own space in the continuum.

David came up with the name during a rant about “surrealism” and how to convey that in our music. And, along with a lot of other folks, we both love Fellini and his films.

Broun Fellinis have a very solid, identifiable sound, along with fascinating conceptual world all your own. Can you address these two elements of the band?

Feeling is first, and we rarely use the word “style” when we share our musical ideas with one another. That’s all I can really say about our “sound”. I Think that everyone lives in their own internal “conceptual world”, we’ve just chosen to live our conceptual world in our actual world and it’s made it a lot better to be here.

Broun Fellinis have held steadfast to an independent stance within the music industry. Please address the issue of independent artistic control, especially as it applies to your music.

We’re not a “major label” band. We’re not even an “indy” band, and we’re not really interested in designing something that fits into those little boxes. The last 20 years have provided artists, of all disciplines, the opportunity to create, market and display their art independently and be very successful and we’ve found that there is also a great deal of satisfaction in knowing how manage a mailing list… just joking! This shit is hard work and I’m sick of doing it but if a label or manager, or publicist or girlfriend doesn’t do the things necessary to get on stage, make records, or pay bills, who will?

A friend recently attended a Broun Fellinis show in Berkeley, and he marveled at just how psychedelic the music has become. It seems to me that this has always been the case. What are your thoughts on psychedelic elements within music? How important are psychedelic or space elements to you and your band mates?

Playing this music is very meditative for me. It’s my medicine, my religion, my food, and a positive thing that I can share with the world.

I don’t really think of it as “psychedelic” before arriving to the band stand or in the studio. We just try to open ourselves up to the possibilities of the cosmos, or our own inner feelings or whatever kind of hippy shit that sounds like.

Music, story telling, the creative process, is about transportation and a little delay or flanging goes a long way.

I have seen and heard your drumming in other bands besides Broun Fellinis. Please talk about some of the projects in which you've participated. Which ones have you enjoyed the most?

The short answer is Eric McFadden Trio (with James Whiton on bass), Storm And Her Dirty Mouth (later Storm Inc.), and IZM (the best rock band you’ve never heard of), and Consolidated/Adam Shurborne.

There are many other bands, artists, jam sessions and events that I could talk about for hours, but the one that I have to mention are the times that I’ve played with Bernie Worrell (Parliament/Funkadelic – Talking Heads). He is the most intelligent, funky, creative, versatile, musician that I’ve had the blessing of making music with and I would commit major crimes for the chance to play with him again.

What type of drum gear are you currently using? What types of gear do you love to use?

I have a set of Slingerlands from the late 60’s that I absolutely love, a 13"[tom], a 16” floor tom and a 22” bass drum. I have a wooden snare that Sam Adato designed and my Black Beauty copy was stolen so I need a good metal snare. I use Zildjian cymbals and I have a set of Vistalites that need refurbishing. I don’t really care for “new” drums, they all sound the same, but if you gave me some I would play the hell out of them for you, then probably trade them for something old with a little more character.

How involved are you with engineering and mixing of Broun Fellinis recordings?

You know, it varies from project to project but I tend to be very hands on with our recording session. As I get better and better at doing it though, the less I want to be in that mode . I’d much rather work with a good engineer so I don’t have to think about it. I would really like to produce more, both with the band, produce the other members’ projects, and other artists outside of the band as well.

Along with drumming in Broun Fellinis, you also add electronic sound. Do you produce a lot of electronic music as a solo artist as well? Any links to these types of productions?

I’m finishing a project now, U.A.F., which will be done around the end of the year, and some other things are in the works – HEADBOLT, Black Quarterback, a Broun Fellinis remix project which will happen in the spring and hopefully include releasing some vinyl.

Many creative people have well springs of inspiration from which they draw. What are some things that give you the spark needed to continue on your creative path?

I just open my eyes, open my mind, breath deeply then strike the first note and see what happens. I think that every moment in one’s life is an opportunity, a story, a melody or a rhythm and it’s on me to address whatever I feel and try to document it.

Please give your thoughts on San Francisco, particularly your impressions of the city over the years that you have lived there.

San Francisco is one of those “special” cities and I love living here. Whenever I think about relocating I end up with a very short list of places because so few places offer up what the San Francisco and the Bay Area provide for me. It’s a very inspiring and stimulating place to be an artist, though it has become more difficult in light of the gross inflation of property, I’ve seen my cost of living more than double since moving here and it’s largely due to housing and rehearsal space rental fees.

I’ve been here since ’84 and have seen many changes, both good and bad, in the Bay Area. There seem to be a lot more people who are part of the consumer culture and fewer of those who contribute to it, more trend followers and fewer trend setters. Don’t get me wrong though, the folks who are here creating are doing some amazing work, the ratio just feels wrong and I have to do a lot more investigating to find cool shit. I also feel that SF has priced out a lot of the creatives and they’ve relocated to the East Bay and that’s causing a renaissance of sorts that’s been happening for a number of years now, and it’s beautiful… Make BART run 24 hours please! (amen to that!-ed.)

Going forward, what are some projects that you're involved with? What is in store for your music?

What is in store for my music? To get it into the stores!!!

To also see if I can cut another 20 year slice of life out of this Fellini cake, continue rockin’ stages all over the globe, and inspire others to make some kind of positive action. As far as projects to look for: U.A.F., Black Quarterback, HEADBOLT, Reverser, and Broun Fellinis are the things that I’m most passionate about, and there are a few others that either don’t have names yet or I am keeping them secret until it’s time to share them with you.

Fancy Space People, Jean Geanies, Magic Leaves-Brick and Morter Music Hall, SF, CA 10/7/11

2011-10-08T10:03:00.000-07:00

After a four year wait, Disaster Amnesiac finally got to see the wonderful Fancy Space People live and close up. The group played this smaller venue, the night after opening for Smashing Pumpkins at Oakland's Fox Theater.
Magic Leaves started the show. Their music is a hopped up "regular guy" art Rock, with a lead guitar player who plays quite good solos and a sharp rhythm section. I love seeing bands that are still developing their sound, and it seemed like this was the case with the Leaves. A definite lack of pretension here, and a definite love of playing.

Above: Magic Leaves groove together
Below: Magic Leaves guitar player takes another flight

Jean Genies played next. They are a 1970's era David Bowie cover band. I was talking to my pal Adam a lot, and, sadly, took no photos. Mick Ronson was great! Paging Paul Hood and Craig Gray!

After midnight, Fancy Space People ambled up onto the stage and presented their brilliant, fun, mashup of Glitter/Space/Psych. I was stoked to hear Spectacle Electric! This band is just so rad in so many ways. Nora is riveting as a front person. Disaster Amnesiac can die never having had to watch Alice Cooper live, as Ms. Keyes pretty much owned and delivered that particular vibe in spades! She also has the coolest fingers in Rock!

Above: Magical Fingers!

While Don Bolles's former band mate Darby Crash will be forever seen as the primal poet of Hardcore, Don has become something even cooler-the elder shamanistic messenger. It's always inspiring to see him play. Oh, and was that Paul Roessler on keyboards? Shit yeah!

Above: Fancy Space People, in space!

I still can't say enough good things about Fancy Space People. It was just so great to see and hear them live, loud, trippy, and fun!

The Dreams-Morbido, cassette, Yerevan Tapes 001

2011-10-04T09:14:00.000-07:00

Some years back, Disaster Amnesiac was seriously excited by the music that was coming out of the Alsatian region of France, primarily from groups under the rubric of Le Grande Triple Alliance. A.H. Kraken, the Anals, Pussy Patrol: these bands were exciting to listen to (still are, of course. A.H. Kraken's debut has never left my iPod).
It seems as though a lot of that activity has waned, or perhaps I've fallen out of that particular informational loop. Or, perhaps I haven't. I was delighted to get an email from Yerevan Tapes, advertising their debut release, Morbido, by the Dreams. These guys had me at "featuring members of Le Grande Triple Alliance". As it has been with all releases of the Alsatian Punk ilk, the only thing I could count on, as I clicked on "pay now", was a challenging listen, followed by delight at hearing actual aesthetic quality in contemporary musical production.
Need you even ask if this was the case?
The Dreams are a duo, made up of one male and one female. Their sound, a drum machine-propelled Post-Punk, is rich with references to all kinds of rhythmic styles, from all regions of the world. Despite their lack of a drummer, they enhance their particularly good drum beat programming with tons of percussive accents and colors; this music is danceable and funky, without ever succumbing to blatant style copping. One might hear elements of East Indian dance music, or African tribal sounds, but one never gets the sense that the Dreams are being too obvious. Thick, dub-ey bass lines propel most of the tunes' melodies, which are scratched out on cheaper-sounding guitars. While the melodic element takes a somewhat subservient role to the rhythmic element of the Dreams' music, that is not to say that the songs here are tuneless. They are not. The listener will find plenty of hummable tunes, even as they stop dancing around to the deep grooves on this cassette.
As with all other salvos issues from Le Grande Triple Alliance, great enjoyment can be taken from the vocal style of the Dreams. Their declamations, whether in their native French, or English, or, as on one tune, dubbed backwards to resemble some obscure Asian dialect, just sound cool. They are never delivered with too much hysteria, but always have the Punk sense of urgency and real human expressiveness.
Morbido's production has a definite "home taped" feel, but the Dreams have clearly taken care to ensure that their sounds are present and listenable on this release. One never gets a sense that it is a slap-dash affair, only that it is an independently produced document, working within the restraints and blessings of that approach.
Hopefully Yerevan Tapes will find more Alsatian Post-Punk to document, or at least make more music by the Dreams available.

Midday Veil-Subterranean Ritual II, TLO 05, cassette

2011-09-26T14:33:00.000-07:00

Disaster Amnesiac was stoked at the possibility of seeing Midday Veil play live in San Francisco last month, but, sadly, a nasty little stomach flu precluded that trip.
I have been tripping on their great cassette release, Subterranean Ritual II, though, which I purchased in advance of the show that I was not able to attend. It's a great slab of current psych/freak Rock, bubbling along at a stoned, immaculate pace, with great, tom tom centered drumming by Chris Pollina, and post-Yma wordless vocalizing by Emily Pothast. Baritone guitarist Timm Mason adds color and space to the Ritual's psychedelic mix, and David Golightly's synth washes and gurgles spice the sound with elements of Kraut-ey curries. The first track, Moon Temple, gets a bit wiggier, while its opposite side track, Naxos, stays cool and austere throughout.
One could definitely use this tape for their actual psychedelic rituals, whether played out in consensus reality or just within the private spaces of the mind.

Karen Stackpole with Dan Webster, photo essay, 9/11/2011 Ex'pressions Sound Stage, Emeryville, CA

2011-09-11T21:41:00.000-07:00

Disaster Amnesiac met up with recent pal Andrew Joron, to listen to Karen Stackpole play some of her vast collection of gongs. Karen is probably the preeminent gong player in the S.F. Bay Area. She's a master of coaxing sounds from her metals. With the help of laptop processor Dan Webster, she transported the audience at Ex'pressions into otherworldly sound spaces.

Karen dances with her gongs!

Karen and Dan played about five pieces total. All with strange, scientifically inspired titles. Karlheinz Stockhausen would have been proud. The audience was quietly awed.

All sounds were pumped through Sunn cabinets. Yeah!

Jeff Mooridian photo essay

2011-08-25T08:39:00.000-07:00

Disaster Amnesiac caught Vaz, live at S.F.'s Hemlock Tavern last night, 8/24/11. Jeff Mooridian seems a lot like Christian Vander to me, in that the music of his band pivots pretty much entirely around his shifting, machine like drum set POUND. Jeff left me pretty much speechless, so I'll just let the pics do the talking on this one.

Weird Scenes Inside the Goldmine

2011-08-20T21:59:00.000-07:00

Just got home from seeing Cowboys and Aliens, and, color me impressed! The movie is a great mash-up of the best elements of classic Sci-Fi and Western, as the title suggests. Before you go and call Disaster Amnesiac a master of the obvious, I'll list: Alien, Blade Runner, Treasure of the Sierra Madre, West World, Star Wars, The Terminator, hell, even Blazing Saddles! All these influences, and countless more, plus a compelling story and a great performance from Harrison Ford as an aging bad-ass, make for a fun summer blockbuster movie. See it at the theater for its full effect!

India Cooke/Bill Crossman/Donald Robinson, 8/14/11, Berkeley Arts Festival

2011-08-14T19:17:00.000-07:00

The weather was great and the mood was light for this Sunday matinee, presented by the Berkeley Arts Festival, 2011.
India was in fine form. Her earthy, bluesy playing, honed with the likes of Sun Ra and Cecil Taylor, is such a joy to hear. Even when she gets into heavy abstraction, there is always a joyful sound coming from her violin. She's a Jazz Master.
Cooke was joined by pianist Bill Crossman and drummer Donald Robinson. Crossman's swift piano playing, often in duet with India, was at times also bluesy, at times more abstractly Cecil-like. The two chased each others' playing brilliantly.

Drummer Donald Robinson playing the second half of each of the group's two sets. His mallet-driven playing was subtle, generally quiet, and very free. Perfect for the chamber Jazz feel conjured up by Cooke and Crossman.

It's such a blessing to live in such close proximity to marvelous players such as these. What a fine day for freedom of expression!

Lost and Found in Russia-Lives in a Post-Soviet Landscape; Susan Richards, Other Press, 2009

2011-08-14T11:23:00.000-07:00

The fall of the Berlin Wall and the break down of the Soviet Union were noted and celebrated in my family. My father worked for the U.S. Army in Germany. Young Disaster Amnesiac was watching commercials that celebrated the A-10 Thunderbolt II while his contemporaries stateside were watching MTV as it aired live. This must be stated, as formative media such as the Armed Forces Network and the Stars and Stripes newspaper had huge effects on me. The Soviet Union loomed as a large existential threat to me quite early on. I'm not gloating here, just being honest about where certain philosophical outlooks were shaped within my younger consciousness. Disaster Amnesiac is fascinated with the history of the Soviet Union, along with the historiography that has ensued in the wake of its collapse.
Regardless of where one stands in the debate of Right v. Left/Capitalism v. Communism/Wealth acquisition v. Wealth redistribution, it is undeniable that the Soviet Union, at least in its 20th Century phase, failed. Lost and Found sets out to deal with the fallout of that world-historical event. Richards uses the story of her relationships with seven Russian citizens over the span of several years (1992-2008) as the lens through which to view the post-Soviet evolution of the region. Her use of the travel writing method takes the reader along as she journeys with her various friends throughout Russia and its myriad regions. Often these friends are using their recently acquired human rights to "vote with their feet" as they search for meaning, or profits, or that elusive "freedom" that beckoned to them across the great divides of the Cold War era. It is within the descriptions of the towns that they visit and the people that they interact with therein that Richards paints the picture of a Russia struggling to come to terms with her identity and possible futures. Much attention is paid to the pre-Soviet era and the encompassing influence of Orthodox Christianity. If one comes away with anything from Lost and Found, it is that Orthodoxy looms large within the national psyche of the Russian people, that its influence is as prevalent as that of Stalin-ism.
Chapters describing time spent traveling among an occult-oriented physicist, an intentional New Age community, ancient religious communes, and a traditional shamanistic healer ("witch") are juxtaposed alongside scenes of the crumbling, struggling cities of Marx and Saratov as their citizens adjust to the rampant succession of changes that effected Russia during the book's time frame. The former are contextualized within the rubric of the older, Orthodox Russia, while the latter are defined more by the parameters of the great struggle of the 20th Century, the cold (economic) and hot (physical) wars fought between the competing ideologies of Communism and Capitalism. The descriptions of her friends' developments within these battles are great. The reader will find his/her self compelled by the stories of these peoples' lives as they unfold, the spanning their youth and developments into maturity. Some thrive, some flounder. Richards writes with insight about all of these developments, bringing a human tenderness to her descriptions of their stories (they, are, after all, friends).
Books like these are very important to Disaster Amnesiac. For one, they bridge the mental divides that were instilled within me as a child. Secondly, they tell stories and show scenes that are in real danger of being wiped away. It would be naive to think that the totalitarian impulse that found perfection within the Stalin-ist Soviet Union has been abrogated. There are currently powerful forces within Russia that would gladly "disappear" many of the insider views shown within Lost and Found. If for no other reason, I recommend this book to spite Richards' conclusion that gives advantage to the ultimate return of that impulse, in Russia, and elsewhere (italics mine).

Nervous Gender-Gestalt/Green Tile Floor 7" (TestTube Records, 2011)

2011-08-10T12:02:00.000-07:00

Disaster Amnesiac was excited to read Razorcake's exhaustive two part interview with Nervous Gender last winter, and had been looking forward to hearing the new recording that they mentioned.
Thankfully, the Gestalt 7" does not disappoint. The two tracks are both jabbing, propulsive, and succinct; cutting synthesizer lines and super-fuzzed keyboard runs, played on what sound to be older analog gear, are punctuated by simple, pounding tom tom drumming. The vocals and lyrics retain Gerardo's punky, alienated misanthropy, and although his presence is missed, the surviving group members do a fine job of continuing his singular vibe. The overall feel of the tunes compliment the group's name: both of these tunes will make one nervous. You can feel the adrenalin, hear the angst that is its result.
There are times when I'm reminded of the Screamers, but, seeing as Nervous Gender were that great band's contemporaries, maybe that just shows how the two bands influenced each other within a living scene as its nascent development was occurring. The presence of Screamers member Paul Roessler as engineer only adds to the super-legit feel of this 7". The sense that he put a lot of care into the production is clearly evident. This version of Nervous Gender benefits from the care put into its production.
Here's to hoping that more recordings will emerge soon. The spirits of Gerardo and Tomata live on!

Saccharine Trust-The Great One is Dead; Hazelwood Records, 2001

2011-08-01T13:03:00.000-07:00

It's hard to believe that ten years have passed since this disc's release. It's also hard to believe that so little ink, physical or digital, has been spilled to assess its qualities. Of which there are tons.
To start with the obvious: there can be no Saccharine Trust without the dark insights of Jack Brewer's lyrics and their nervous, halting delivery. The Great One is Dead is filled to the brim with both. Brewer's writing often seems to focus on the pain of real world relationships, real world failings, and street level real world life in general. His lyrics have always been far from Utopian in scope. It is within their poetic treatment by Brewer that these stark realities are often given a kind of grace. Listen to Water on the Dance Floor or The Sadness of Apollo or Untitled no. 2 (I gave another dimension the slip) for prime examples of his lyrical prowess in these matters. Disaster Amnesiac has also often been enthralled by Brewer's lyrical pictures of urban California life. The way old fishermen are described in Birthing the Ancestors, and the ubiquitous liquor store of Neruda's Wave, and the tweaker friend of Reggie's Plateau-these, among even others, have often reminded me of similar scenes in my haunts within the Golden State. Praise must also be given to Brewer for his unique, expressive and highly personal vocal style. When you hear Jack Brewer, you know it's Jack Brewer. Score one for individuality in the face of boring (Industry) standards! On The Great One, Brewer uses varied mic and recording effects to alter the sound of his vocals to great effect, too.
Speaking of sound, one would be pressed to find as creative a guitar sound player as Jack's long-time cohort in Saccharine Trust, Joe Baiza.That is not to say that Baiza's technical prowess is lacking: it is not. Joe's guitar playing has been in continuous development for thirty-plus years now, as anyone who has followed Saccharine Trust and Universal Congress of can attest to. From the early, skewed Punk Rock chord sounds of early S.T. to his later Jazz-inflected capital L lead playing of both bands, Baiza has grown as a writer and player, all the while retaining the rawness and edge (hey, it's the Blues, once again!) so necessary for effective, impacting, physical oomph that makes for great Rock guitar. Joe adds many purely noise/sound effects to his more linear guitar parts on The Great One. These industrial (in the machine/scrap metal sense, not in the NIN/Skinny Puppy spooky dance sense), paired with his dexterous runs, lead and color the tunes. His guitar tone is fuzzy and echo-ey, adding to the raw, claustrophobic feel of the overall sound of the disc. Great, disturbing cover illustration from Joe, to boot.
In contrast the the firm pairing of Baiza/Brewer necessary for Saccharine Trust's existence as a band, the rhythm section of S.T. has often been in flux. For The Great One is Dead, the engine room is stoked by bassist Chris Stein and drummer Brian Christopherson. Stein's tight, funk-inflected fuzz bass often plays as much of a lead roll as Baiza's guitar. It's such a solid anchor, all across the record, too; but, the listener is very often lead through the tunes by way of his bass work as it bounces and blasts them by turns. Christopherson's drumming is sublime: a Jazz-schooled heaviness that never feels heavy handed or overly flashy, but always expressive and within a deep pocket. Imagine Max Roach deciding to play Rock, and you'd be close. Rock intensity without the stadium volume. A singular, outstanding drummer here! As a rhythmic pairing, the two are outstandingly tight and focused. Pretty clearly the best drummer/bassist tandem for Saccharine Trust, at least on record.
The sum of the aforementioned parts makes for a harrowing, heavy document. Given Saccharine Trust's history and physical location, it's no wonder. Here's a great, original band, made up of creative and original musicians, that has never really gotten its due. The fact that they've managed to continue at all is a credit to their vision and tenacity.
Some levity is provided in the madcap closing tune, but for the most part, The Great One is Dead provides a darkened soundtrack to the heartbroken purgatory that lies outside the front doors of most, particularly in urban California. Its close-engineered sound only adds to those vibes. The recordings have a hovering, and to use the term again, claustrophobic feel.
Upon further reflection, ten years is probably about the right amount of time for a recording of this magnitude to settle. Hopefully more fans of Saccharine Trust will begin to weigh in with their impressions, and hopefully Saccharine Trust will lay some more of their weight on us.

Do the Muffs speak Objectivist?

2011-07-31T12:18:00.000-07:00

Last night Disaster Amnesiac watched the Rush documentary, then promptly went to the Uptown nightclub in downtown Oakland to watch the Muffs.
It was a tough transition. The Muffs do their thing well, but I must admit that my perception was colored by the Rush story.

"We are strangers to each other
Full of sliding panels
An illusion show
Acting well rehearsed routines
Or playing from the heart?
It's hard for one to know"
-copyright Rush, 1980

Lines like these echoed in my mind as I watched an actual cover band (who play covers of a band that is so derivative of their influences as to be practically a cover band themselves) warm up the crowd for the headliners from L.A.
The Muffs played with energy and enthusiasm, and the assembled adored accordingly. Disaster Amnesiac sipped Pabst and hummed Rush tunes to himself.

Graham Bond-Holy Magick

2011-07-26T11:17:00.000-07:00

In light of the previous post, it stands to reason that Disaster Amnesiac would start digging into some of the musical artists of which he'd read.
It must be stated that although I mentioned enjoying reading about Graham Bond's tragic demise, please don't go and call your old pal D.A. some kind of sadist. To clarify, this blogger simply found Bond's story compelling and interesting. Ye olde Amnesiacke also really wanted to hear some of the Bond music highlighted by Young. Thankfully, Amazon had plenty of copies of the 2006 Holy Magick re-issue available. Within days of finishing Electric Eden, I was grooving to Holy Magick's bewitching tones.
The LP's centerpiece, Meditation, a 23 minute invocation/adoration of and for the old Gods, begins with incantations that invoke images of the best Chick Comics in this blogger's mind. Being "just a modern guy" and all, Disaster Amnesiac finds this section of Bond's reverential epic somewhat of a distraction (yes, I am aware of post-Thelemic and Gardenarian Western mysticism, but, frankly, find it all as compelling as studying Maoist thought). It's when the band kicks in that things get good here. Twenty or so minutes of ascending and descending chord-age, kicked into gear by the heavy, tranced-out drumming of Keith Bailey, greased by hot Leslie-ed organ grind (weirdly uncredited, but it's there), and accented by bubbling conga playing by Big Pete Bailey. The tune features call and response vocalizing worthy of a Lagos all-nighter, repetitive riffing to match any L.A. blues or space ritual, and Bond's expressive and distinctive bluesy growl. Significant time spent listening to his voice makes it clear why he remains the object of such great esteem amongst both his contemporaries and collectors that have come along later. His saxophone playing is damn bluesy and great, too. It's within the musical meat of the Meditation where the mystical lyrics take their more comfortable place as chanted words within a musical matrix (you know, Rock-n-Roll!) and subsequently have a less important air. Surely Bond would have disagreed, as his liner notes go to lengths to stress that importance. One can't help but wonder if maybe he'd taken the mysticism a bit more lightly and just let the dumb, fleeting glory of rockin' out have its proper due, he'd have avoided the precarious mental states that proved to be his undoing. We'll never know, sadly.
The rest of the record continues with shorter mystical vignettes, dealing with Arthurian Legend, the Apocalypse, archangels, and c. These tunes get back to a simpler, Blues-Rock feel, and, though finely played and sung (that voice, again), fail to reach the highs of Meditation's climb.
The 2006 re-issue also contains the single release for the album, Water Water. This tune's percussive gris-gris hell fire chanting makes me long to find a bar in which it is among the juke's selection. Preferably in New Orleans or London.

Electric Eden-Unearthing Britain's Visionary Music, Rob Young; Faber & Faber, 2010

2011-07-15T08:45:00.000-07:00

In October of 2010, Mr. and Mrs. Amnesiac found ourselves ambling through London, in between Primrose Hill and Camden Town, when we came across the Cecil Sharp House. The facility's varied spaces (theater, pub, class rooms) were fascinating to us as we took a brief, self-guided tour. Having read about some of the artists who had presumably sung/hung out there in Ugly Things magazine, I was thrilled to be hanging out there myself, albeit at a time of day when most musicians would either be asleep or just ending their evening.
This experience primed me for the immense undertaking of reading Rob Young's 600 page overview of British Folk-based music, Electric Eden.
Working from the premise that Britain has a long and rich history of folk-based musical forms of production (in contradistinction to certain German composers' stated opinions to the contrary), Young gives detailed description of those forms, from the late 19th to the late 20th centuries.
In Young's opinion, the British yearning for a return to an idyllic Albion, cleansed of the complications and crises of modern society, informs and shapes this indigenous music. Chapter titles such as The Inward Exodus and Orpheus in the Undergrowth underlie this central tenet; they and all the other chapters spin yarns describing the various voices of this musical movement.
Presented in a loosely linear form, Electric Eden moves from the early 20th Century British composers and their struggles to define their identities within composition (not the mention the immense heartbreak of the nation upon the advent and subsequent developments of WWI), to the post-WWII "purists", and onward to the 1960's technicolor polyglot, post-modern forms. These last two are given the most detailed treatments. One can see why, as the richness and variation of their participants are fascinating. Disaster Amnesiac particularly enjoyed the peripatetic story of Vashti Bunyan, the tragic yarns of Nick Drake and Graham Bond, and the detailed developments of the U.K. festival scene (linked very implicitly to the deeper currents of British earth-based mystical thought).
Electric Eden is a deep, engrossing overview of a fascinating musical development. The listener will find tons of sounds to dig into, along with detailed descriptions of many aspects of British culture and life. Recommended, even for German composers. Maybe, in a symbolic act of international peace and understanding, I'll shelve my copy next to the Kraturock coffee table tome.

Meat Puppets, live at the Independent, SF, CA 6/17/11

2011-06-18T10:03:00.000-07:00

Disaster Amnesiac and Scarp braved the parking nightmare that is the now-happenin' Western Addition of San Francisco to catch the re-animated Kirkwood brothers show at the Independent, and were both glad we did. The Meat Puppets played a tight, yet at the same time loose set, made up of tunes from as early as II right on up through their current album.
What's always been great about the Meat Puppets is their use of simple rhythms and drum kit patterns as launching pads for psychedelic guitar excursions. Curt Kirkwood was in fine form-he definitely went off and out at the earliest chance he had. It's great to see Cris Kirkwood play, as his downward spiral is the stuff of legend. Cris's bass playing ranged from big driving low end chords to near silence. Shandon Sahm played said simple style excellently. His drumming provided a solid foundation for the two brothers up front.
Meat Puppets' wonderful mix of high-lonesome desert redneck Psych Rock has been inspiring Disaster Amnesiac since 1986 or so. I was so glad to be able to finally see the Kirkwood brothers live, loose, and loud as hell. Long may they ride!

Dear Miles Davis-Thank you for Bitches Brew

2011-06-07T18:56:00.000-07:00

This afternoon, Disaster Amnesiac's commute was marred by heavy traffic in downtown Oakland. Thankfully, the iPod brought up Miles Davis' epic jam, Bitches Brew, from the album of the same name. Twenty seven minutes of pure musical glory!
Miles, thank you for your spacious trumpet playing, simultaneously free and restrained. Thank you for assembling an amazing band, one that features pinwheeling psych keyboards along side spidery guitar runs. Thank you for letting one drummer slam furious beats and another tap out icy latticeworks. Thank you for allowing a Brazilian percussionist to add his Third World sounds to the mix. Thank you, Miles, for featuring deep, rich, acoustic bass, paired with funky electric bass. Miles, thanks for letting Teo Macero cut, paste, and mix the jams that you arranged for.
Miles Davis, you invented about four different genres of future music with one extended jam, a jam entitled Bitches Brew. Thank you Miles, thank you.

Jonathan Sanchez, 5/17/11

2011-05-17T13:23:00.000-07:00

Some months back I posted about a baseball book I'd read, and used Jonathan Sanchez's antics against the Philadelphia Phillies as a kind of jumping off point re: dekes in baseball. Today, Sanchez plunked Colorado Rockies batter Troy Tulowitzki after the latter had homered off of the former in his previous at-bat. Jonathan Sanchez, Old School Hardballer! That is all.

Kreamy 'Lectric Santa, live at a house in Oakland, CA 4/29/11

2011-04-30T08:40:00.000-07:00

There were a ton of choices for live shows on this evening, which seemed like the first really Spring-like one of 2011. Mike Watt in SF, Mudhoney in Oakland, Kowloon Walled City in SF, Kreamy 'Lectric Santa in Oakland.
Scarp, Jason, and Disaster Amnesiac chose the latter, much to our mutual happiness. KLS, with their mixture of Punk, Prog, Metal, Rock, Jazz, etc., were so lively and inspiring. The mixture of guitar and violin as lead voices provides a very rural, gritty feel to their tunes. Their drummer is a beastly player who leads the bassist through all of their twisted rhythmic turns. Their music is fun and compelling. Their personae are down to earth and welcoming. It was just great to see and hear a band in the house party setting, without pretense and boring show biz accoutrement.
I've read on-line that the main two band members are moving to the Eastern Seaboard, and this show was to be Kreamy 'Lectric Santa's last. I hope not. The music scene needs this band. Perhaps they'll reconsider, once they settle in the North Carolina.

Smt. Sangeetha Swaminathan-Live at Amma Ashram, 4/15/11

2011-04-16T12:49:00.000-07:00

I just want to say that this performance proved to me that music can lift the saddened spirit. Mrs. and Mr. Amnesiac spent $25 each for an evening of wonderful Carnatic devotional music, with all proceeds going to assist volunteer efforts in Japan's devastated Fukushima region.
The soaring vocals of Smt. Sangeetha Swaminathan, with accompaniment by Shri. Shriram Brahmanandam on mrudangam and Smt. Lakshmi Balasubramaniam on violin held us in rapture for over two hours. The trio wasted no time, diving into deep playing within seconds of the start of the concert; this standard remained present throughout the proceedings. Carnatic music, with its ancient base of song-fueled improvisation, is truly remarkable and wonderful to hear.
The deep improvisatory interplay gave much inspiration to this tired and frustrated reporter. It was humbling to be inside of the beautiful space of the M.A. Center, whose credo, "Embrace the World", rings true, even during the tougher spells that come our way.

The Ex-Catch My Shoe

2011-04-09T17:11:00.000-07:00

Thirty years into their career, and the Ex have proven themselves to be perhaps the Rock band most capable of using change in their favor. If you can think of a band that has lost so many defining members and subsequently soldiered on to make fresh new sounds, please let me know. And, no, the Fall don't count. Their sound stays pretty much the same, and that's a good thing, too. But, this post is about the Ex, and their most recent LP, Catch My Shoe.
The Ex's latest change is the departure of G.W. Sok as lead vocalist. It's been written elsewhere that he remains a vital part of the Ex, running their merchandising division. That's pretty amazing, as anyone who has spent time within a band would likely attest. Sok's replacement, Arnold de Boer, does not radically depart from the Sok's singing style: lateral, left-leaning incantations, somewhat tossed off, but highly effective within the Punk aesthetic framework of the band's Rock approach.
It's de Boer's added guitar that gives the most joy to Disaster Amnesiac. This addition has given long time member Andy Moor and founding member Terrie Hessels the impetus to add baritone guitar to the Ex's spiky tones, in lieu of the bass guitar, which has been dispensed with completely. Moor, Hessels and de Boer proceed to make some of the most adventurous guitar music heard around these parts in some time. Their traditional spindly, heavy rhythmic guitar sounds remain present, but throughout Catch My Shoe, they also achieve the most amazing African sounds. This sound features interweaving, polyphonic patterns and melodies, paired with tones much like the over-driven and distorted beauty of the mbiras utilized by Konono No. 1 or the the low budget recordings of so much of the Ethiopiques series. The various offspring of the Blues have forever craved the ability to "return to the Motherland", sound-wise. The creative way in which the Ex have achieved this feat with the guitar tones on Catch My Shoe is stunning and admirably brilliant. All the tours to Ethiopia and who knows where else in Africa have clearly been worth it. If this is the World Music of the 21st Century, consider Disaster Amnesiac on the band wagon.
It's often seemed as if Katherina Bornefeld is the Ex's secret weapon. The imaginative guitar modes of the band's six stringers have clearly needed a lot more than standard/stock drumming, and Katherina has always come up with her own methods of giving the tunes propulsion and beat. Her beats have always been gargantuan! Her solid, driving, "whole kit" playing, with lots of tom tom beats, cowbell patterns, and snare drum rolling, continues to evolve. Take for example the way she sounds as if she's taking control of the entire tune on the second half of Tree Float. One senses that time spent around Free Improv MASTER Han Bennink has seriously effected a lot of her approach within ensemble playing. The fact that she manages to retain a clear, rhythmic pulse inside of this kind of wandering is just impressive as hell. Other tunes have her slamming kick/snare/hat beats worthy of Bonham or playing poly rhythms to equal Ronald Shannon Jackson's manic tom tom symphonies. Her stylistic/musical development is just as impressive as the rest of the band's, and just as vital to the entire, evolving Ex sound. Her voice also shows nice signs of maturation. The Gurage dialect in which she sings her vocal feature on the album works really well for her range.
Other fine features of Catch My Shoe's include hot, stacked horn parts by Roy Paci, and white hot engineering by Steve Albini. It seems that Albini's role within the Ex's recorded sound cannot be overstated. He's recorded most of their long-playing releases for years now, and they all sound so much the better for it. He captures their vibes onto tape. They must have their mics and spots at Electrical Audio dialed.
The most exciting aspects of Punk for Disaster Amnesiac has always been its tonal and rhythmic reassessments of its Rock antecedents. Along with their activism within the humanitarian/political spheres, the Ex have pushed these reassessments forward for an astonishing amount of time, and continue to amaze. One can't see them ever throwing in the creative towel and joining the ranks of Anarchy Nostalgia Brigades and their boring slam dance. They just keep making really creative musical statements, come what may in terms of the inevitable changes that life throws their way.

A Long Slow Screw, by Eugene S. Robinson; Robotic Boot, 2010

2011-03-26T16:38:00.000-07:00

Thirty years post Hardcore and it feels safe to say that it was a Revolution that won. So many of its perspectives have seeped into the broader society, and this, in Disaster Amnesiac's mind, is a mixed blessing.
One downside of the mental conversion ushered in with Hardcore's Historical Triumph is the lack of story telling ability. So much post-Punk writing, while ostensibly packing the punch of "the Real", takes on a hectoring tone.
In smaller doses, fine.
Ultimately, however, there's only so much "I AM REAL" that can be dished out before the lack of other imaginary aspects becomes an impediment.
Eugene S. Robinson's Hardcore bona fides are undeniable. Do seek out the twisted recordings of Whipping Boy and Oxbow, or make time to see and hear the latter live for the visceral proof of that.
What's great about A Long Slow Screw is that, along with the sought after and attained physical impact that simplified writing can approximate when paired with attentive reading, Robinson, unlike many of his Hardcore peers, tells one hell of a powerful STORY.
Using 1970's Brooklyn as its gritty backdrop, A Long Slow Screw tells the tale of a heist gone wrong, with thorough attention given to illuminating the shit stained piston which drives the Hustle behind said heist.
Robinson uses a noir tone with which to tell the dark back stories of the novel's characters, who are roughly divided into those getting fucked and those doing the fucking. A more fundamental trait of Hardcore's narrative focus you'd be hard-pressed to find, and in that, the author remains true to his creative roots. It is within his character development and dialogue that he moves away from many of his peers' one dimensionality. As one reads the book, these characters and their intertwined stories come to life within the reader's imagination. It seems clear that Robinson spent a lot of time thinking about them. The complexity of these characters and the richness of the book's narrative voice and dialogue are way more compelling than the "right/wrong", "left/right", "I/them" of so much post-Punk aesthetics. Robinson is a writer, not a ranter, and this novel is well worth the time spent reading it. An attentive reader will find him or herself savoring many a passage, many a sharp turn of phrase.
Bonus coolness: as a physical object, A Long Slow Screw, with its sleek black cover and solid paper stock, has a weight not unlike the weights that Mr. Blue, one of Robinson's more intriguing characters, hefts with such ease.
My only question is, is A Long Slow Screw to be followed by further descriptions of Jake and Easys' ice fueled plight?

Hello America, or How Two Brits Sent a Love Letter to the American West

2011-03-19T21:16:00.000-07:00

Just got home from seeing the movie Paul. It was a great comedy, referencing tons of classic Sci-fi, celluloid and print. The writers spared no one in their parodying, yet despite this there was never a sense of the identity-based approval or disapproval of selected sociological subcultures that one often senses coming from the film Class.
A very honest and, ultimately, loving portrait of a kooky aspect of the American West by British writers Nick Frost and Simon Pegg.
Well done. Now, if you'll excuse me, I must be on my way...........................

The Skull Defekts-Peer Amid (Thrill Jockey)

2011-03-03T09:19:00.000-08:00

Life is full of surprises. Some good, some bad. The prolific output of Daniel Higgs is hardly a surprise anymore, but a new release in which he fronts an electric band? Indeed, that is a fine, fine surprise for Disaster Amnesiac.
After several years of listening to Higgs play banjo, mouth harp, small/toy percussion, etc. to accompany his mystical/meta-physical lyrics., along with visually feasting upon his many poetry and art books, it's a joy to hear him fronting a full band again. The former expressions are great and lasting, mind you; that said, Higgs has been such a riveting Rock front man, a unique vocalist and lyricist; his absence has been noted and felt within that sphere.
Daniel's vocal development of recent years is fully on display here. His alto registers have become more reedy in some sense, more weathered and aged. Think perhaps of Billy Holiday's later recordings. The qualities of Higg's voice have begun to take on the same sorts of qualities that Lady Day had toward the end: less physically strong, but all the more powerful for their necessary restraint. Along with these apparent qualities comes his recent characteristic evangelical-styled delivery. Lungfish lyrics always hinted at a religious aspect, and Higg's delivery likewise hinted thus. As also displayed on 2010's Say God, on Peer Amid Higgs goes there. Disaster Amnesiac lived for many years in an apartment in which his Grandma would warble old hymns as she accompanied herself on an out of tune piano; the overtly religious tone of some of Higg's lyrics are no bother to me. That said, in a post-Modern world, people may find this kind of earnestness quaint or even unsettling. That response is up to the individual, of course. For those who are repelled by overt evangelical tone of delivery, fear not, as for the most part the lyrics on Peer Amid, while being delivered with a preacher's urgency, remain ecumenical in their meta-physical/mystical subject matters.
It would be tough for a band to reach the high levels of focused minimalism that Lungfish did without ceasing to play altogether. To their credit, Skull Defekts provide great musical accompaniment to Higgs. Their sound retains a lot of their earlier aesthetic, a big, post-1990's guitar band approach, but one can hear a significant pairing down, a la Lungfish. Whether this is due to Higg's presence or developments within Skull Defekts will have to be conjectured, but it's a welcome development either way. In comparison to Lungfish, the guitars of Joachim Nordwall and Daniel Fagerstroem are less locked-groove in approach, and more garage-ey in tone and style. The drumming of Henrik Rylander has a more "big beat" feel, which seems to be in keeping with so many Scandinavian Rock drummers' rhythmic style. All comparisons aside, Skull Defekts sound on equal terms with Higgs, whether on more conventional tunes like No More Always and Gospel of the Skull or signature percussive experiments such as In Majestic Drag. This is, after all, Rock music, and at no time is there a feeling of "Daniel Higgs backed by the Skull Defekts". Even the appearance of Higgs on solo banjo and noise on the last track, Hidden Hymn, can not diminish this full band feel.
Peer Amid's mix is live and even, and in keeping with the collaborative Rock feel, the vocals never overpower the instrumental mix. Engineer Stefan Brainstrum did a fine job.
In the liner notes to his great CD collection, Monster, David Thomas recounts how Pere Ubu's Song of the Bailing Man was pressed to 45 rpm, in order to obtain higher fidelity from the vinyl. Peer Amid's vinyl edition shares that aspect of said Ubu LP, and this is an aspect noted at the Thrill Jockey web site. The sound is great. Another victory for the vinyl comeback, one would hope.
With great cover art by Swedish artist Frederik Söderberg, added to it's heavy sound, Peer Amid would undoubtedly make a great addition to any sound collector's archive. Now, if only this group would add some West Coast U.S. dates to their upcoming tour!

Millenarian Rock from Pleadian Youth-Fancy Space People EP (StarTone Records)

2011-02-16T10:11:00.000-08:00

As American society crashes and careens through History, we often seem to find ourselves at points of spiritual crisis. Winter of 2011 seems like a particularly trying time to be an American. The Hope and Change that was promised in 2008 has hit the walls of harsher, harder world realities. People seem pensive at best, bitter at worst. In Disaster Amnesiac's opinion, the current mood in America is one perfect for cult leaders' opportunistic entree into the lives of those who may feel particularly let down and/or lost.
Thankfully, there's a cult in existence that will only ask for a few bucks towards purchase of an eponymous white-vinyl three song release. That cult's name is Fancy Space People.
All cults need some kind of Revelation, some Knowledge to impart to the seekers who find them. Fancy Space Peoples' Revelation comes in the form of a glorious mixture of Rock and Pop styles, primarily mid-1960's-the present, all mixed together to Blissful Perfection. The three tunes on this EP are seriously well written and arranged. One hears echoes of early Psychedelia, Glitter, Avant-Garage, obscure Soundtracks, 1990's Big Guitar, Art Punk, etc, etc. The kind of ambitiousness on display here would in less Adept hands result in an ugly mash-up of "eclecticism". The presence Space People Mainman Don Bolles, a decades long veteran of creative music making, assures that the tunes are expertly arranged. Every twist and turn sounds spot-on, occurring at the exact right time. Do you think that Father Divine or Rael had bad timing? Their messages depended upon hitting the right note at the right time, and the music of Fancy Space People is no different.
All of this aural deliciousness supports the Mystical and Loving lyrics of Nora Keyes. As she's credited on the jacket, No-Ra's distinctive, unselfconscious warble sends messages of Love to greater Humanity from Fancy Space People. The main messages seem to be: Fear Not! Create! Have Fun! Love! How can one really argue, especially at such a psychically delicate time for the New Age?
As for the overall sound of the EP, it's big and booming. While it has been released on the independent Star Tone Records, it benefits from the seemingly substantial resources available to the label's founder, Billy Corgan. Disaster Amnesiac read a Rolling Stone interview with Corgan last year, in which he lamented his treatment at the hands of the New Media Wing of the Music Industry. To Billy, I say, Fear Not, Brother. Your Good Works within the Fancy Space People camp are more than enough to redeem you, as if you ever needed redemption from the likes of Pitchfork et al. Perhaps a 7" release of Fancy Space Peoples' 2007 Spectacle Electric would assuage your hurt feelings even further? Just suggesting, one Member to another.
Millenarian-ism is nothing new in the world. In America, it has been honed and refined to a fine point. Fancy Space Peoples' Millenarian Pleadian Scriptures, well within this continuum, should come as welcome messages to any Rocker who may feel distressed in these psychically trying times.

Changes in the City-The Chatterbox by way of KUSF

2011-02-05T16:06:00.000-08:00

In mid-January of 2011, the University of San Francisco sold off the rights to the broadcast band on which its radio station, KUSF, had been located. In a rather ham fisted move, the USF administration did not tell any of the KUSF staff about the sale. Subsequently, a corporate Classical station began broadcasting on frequency 90.3 FM minutes after locking the doors on any KUSF staff that happened to be on site.
KUSF DJ's and their supporters have vowed to fight the change, going so far as to petition the San Francisco Board of Supervisors to initiate legal maneuvers in order to halt the sale. Disaster Amnesiac has followed the story with interest, and while saddened by the loss of a station with pleasingly diverse aesthetics, can't help but wonder if the the disgruntled staff and fans realize that USF is a private institution, and that KUSF's physical and band space were donated to their users. Maybe that's a simpleton's explanation, but it seems undeniable.
A HARD fact, especially within cities: there is a constant battle for space, money, and the time needed to fill and make them. As long as people choose to participate in a city's evolution, they risk being steam rolled within this dynamic. Friendships are wonderful, and communities do arise from friendship networks within cities. Sadly, cities change. People change. Circumstances change. Again, a hard fact of life, but stubbornly and, for the most part, irreversibly true. As a city's life evolves, institutions are born, grow, and end. These are all direct results of the the commerce that occurs in a city. One wonders what pressing economic needs USF was addressing by the sale of 90.3. In this writer's opinion, the university needed money for capital projects, and the sale of KUSF helped raise that money. Again, the University of San Francisco is a private institution, and their mission is primarily to educate students, not primarily to provide space for a volunteer-based radio station. While some critics of the sale have described USF's profits from it as a pittance, the fact remains that times are very tough in all financial sectors, and institutions need cash to advance their missions. It seems logical to assume that the money raised from the sale will be put towards that end by USF. Any political action initiated to reverse a sale on the open market strikes me to be as ham-fisted as USF's PR bungling of the change in owner occupation.
Watching this political/economic drama unfold had Disaster Amnesiac thinking a lot about changes in the City (SF; DA's current city of choice, Oakland, features changes that are, sadly, much less publicly bandied about and WAY below the perceptive radar of most everyone in the U.S.)
These ruminations brought me to Chatterbox-Biography of a Bar, San Francisco 1986-1990, by Alfie Kulzick.

Alfie owned and operated the Chatterbox, located on Valencia St. in San Francisco's Mission District. In this great coffee table style book, filled with hundreds of photographs of the bands, staff, and patrons of the bar, one gets a clear and fascinating snapshot of a particular era of San Francisco's 20th Century history. Along with all of the photos is Alfie's chronological recounting of the Chatterbox's evolution: from her initial decision to leave a position at Aquarius Records in order to start the bar, to the middling years of packed houses and great shows and on up to the waning sales and disastrous IRS audit that lead her to give up the ghost. Her style is frank, blunt, and unsentimental. Her passion for Rock-n-Roll as a vehicle for fun is made clear and unquestionable as the Chatterbox's story unfolds. If there is any justice in the world, Biography of a Bar would be included in any decent historical library of San Francisco, let alone that of any rocker with a book collection. So much of the swagger and grit of SF's underground Rock culture is revealed within the photos. Absent are the political activists that loomed so large out of the City on the national stage. Alfie's bar seemed to host a looser, more decadent crowd. Some people pictured have gone on to prominence. Most have not. One wonders "what are these folks up to now?"
As for Alfie, she's still in San Francisco, working at Lennon Rehearsal Studios in SOMA. Her dry humor and frankness are bulwarks within the high strung low stakes world of hourly music rehearsal studios.

KUSF and the Chatterbox share similar stories and probably many of the same people. That they were both victims of the Historical churn of a "World City" is a tragic inevitability. Who knows, maybe the SF Board of Supervisors will figure out a way to nullify the deal that the University made with the Classical Conglomerate. That seems like a long shot, but surely there are some who have girded for a long fight, casting themselves as Punk Davids against the Goliath that USF has become in their minds. All that said, nothing lasts forever. The Chatterbox sure didn't, but Disaster Amnesiac is sure glad that Alfie Kulzick had the prescience to document and share the record of her dream gig.
Order Chatterbox: Biography of a Bar, San Francisco 1986-1990 here:
http://www.chatterboxbar.com/Chatterbox_Bar_Documentary.html

Thrift Score!

2011-01-08T20:38:00.000-08:00

It started when I saw the sock. You know the one. It's on the cover of the first Henry Cow LP. There it was, among the Hugo Winterhaller and Boots Randolph and Joni Mitchell LP's. I saw it, and KNEW. "There's more here...I can feel it...keep digging".

The scene: a nondescript building on Mission Blvd. in Hayward, CA. I had accompanied my wife as she went to find shoes and boots, generally bought cheap and sold for profit on eBay.
I'd perused the record section of this store before, only to find said Winterhaller et al. Today, it was different. Magical.
A few inches down the row of dusty LP's: wait, what's that there? The demon? The red demon with green eyes? Hello, there, Black Sabbath's Born Again, a Ian Gillan's great lone recording with Iommi and the gang!

As I crouched on the floor, the small of my back beginning to ache, there appeared before my eyes a veritable Kluster of Kraut!

At that point, I considered stopping my dig, and being content with the kick-ass scores that I'd dug up. However, I hadn't gone through the entire rack, and, hey, I was hot, right? I continued, and managed to find this weird New Age epiphany:

The dig ended with some classic (in my opinion) ECM Jazzbo A-R-T from down to earth dude Keith Jarrett, accompanied by the probably very nice Mr. Jack DeJohnette.

Total cost? $7.00 and change. Total fun? Need you even ask? Now excuse me, I've got listening to do.

Aboombong Interview

2010-12-22T15:51:00.000-08:00

Winter is officially here, and in Disaster Amnesiac's home base of Northern California, this means rain. Rain in turn means long bus rides during commute hours. Thankfully, the old iPod is loaded with great music, which makes the longer slogs bearable.

One recording that has filled up tons of commute time has been Amnemonic, by Aboombong. The music of Aboombong is a great mixture of Industrial aesthetic, "World" percussion, and Psychedelic abandon. The tracks on Amnemonic sprawl out within these parameters, giving an air of the mysterious to the otherwise mundane chore of the day's commute.

Curious about what makes this cool project tick, I emailed Aboombong some questions, and he was kind enough to reply.

What was the genesis of Aboombong?

Aboombong started as a way to release detritus from my archive of half-finished projects that had never seen the light of day. The first album is pretty much just a collection of outtakes (recorded primarily from 1999 to about 2003). By the end of putting together the first release, I had a couple of loops and one percussion track that didn't feel finished enough to put out as is...these became the genesis for "asynchronic". Once I started working on these (Daymare and Never Been to Konono), I recorded some new material, mixed it with some older snippets and found myself with another album's worth of material.

I get the sense that Aboombong is a one-man project, but a lot of the music has the rich sound of an entire group's effort. Do you have a cast of musicians?

It is a one-man project...although some of the tape archives used on the first two releases include other players. Most notably David Chapman from !Para!helion on trumpet (Jericho) and the members of Waltz Bop Shop on Aboom. Everything else is me.

There is a definite, for lack of a better term, Third World feel in Aboombong, particularly in the various percussive approaches and instrumentation. Can yo explain where this approach comes from? What sparks it?

I listen to lots of music from around the world. That gets filtered through my American brain when I compose. Not much more to it than that. I don't every try to mimic specific genres or rhythms...but I do feel like I abstract elements or approaches I hear in music from other cultures and apply those to my own work. For instance, a lot of non-western musical traditions will use incessant unchanging rhythms underneath a more fluid foreground. I don't use those rhythms in any of my pieces, but the basic approach is one that resonates with me when I am composing.

In light of the mentioned "world percussion" approach, do you have formal training in any non-Western systems (eg Balinese Gamelan, Filipino Kulintang, Korean Samulnori, etc)?

Nope. Just lots of listening. I was briefly a member of a traditional Javanese Gamelan, buth other than the handful of lessons done to get parts down for that, I have no formal training outside of the standard American school-based music education. I did a fair amount of course work in college in experimental music, but none in non-Western traditions. More than anything, I'm just an old Punk Rock drummer who likes to experiment.

The recordings sound as if they were done with a lot of care, yet they retain a great, raw feel. What kind of recording set ups are used for Aboombong releases?

One microphone, a stand alone CD-r burner and a mixer. [The recordings] (R)ecorded one track at a time, mixed with Audacity.

How about individual instruments? As I listen to the rich bell tones, guitar tones, and drum tones, I envision a warehouse full of exotic percussion worthy of Martin Denny's studio. Is this the case?

Every toy is listed on the bandcamp page. That pretty much exhausts my collection. I live on a houseboat, so there isn't much room for storage. If I had space and money...it would be much larger.

Along with the excellent percussion, there are also great "junk electronic" sounds within Aboombong's music. What sorts of instruments are being used, and how much electronic manipulation is being made to their initial sounds?

That's a secret.

Amnemonic's tracks have a very "ritual" feel; as one listens, one can feel transported to imaginary worlds, filled with wild street festivals or austere temples. Please speak to the creation of these soundscapes.

All I can say to that is...thanks. I have always felt like each piece of music should create it's own unique environment.

What lies in store for Aboombong? Any great projects looming on the horizon?

The next album will be based around some spoken word and field recordings. None of the musical elements have been recorded yet, but it should be quite different from the other three releases. I am also working with DUSTdevil & Crow on another release. Tracks are just starting to get bounced around the planet for that one.

So there you have the mysterious Aboombong in his own words. Do your mind a favor and click on his bandcamp link, where you can buy his music at good prices. And then float away.................

3 Nights in August-Strategy, Heartbreak, and Joy Inside the Mind of a Manager, by Buzz Bissinger

2010-12-09T08:02:00.000-08:00

Another week further into winter, another day closer to Opening Day! What a better a way to celebrate that American dynamic than by reading yet another baseball book?
Researched and written during the height of the "Moneyball" and the tail end of the anabolic steroid eras, 3 Nights in August ventures to go inside of probable Hall of Fame manager Tony La Russa's heart and head, in search of the real. Real passion and grit, as opposed to the stats obsession ushered in by the likes of Billy Beane and the "hey, I'm just an entertainer" attitude from players such as Jose Canseco. These factors are anathema to men such as Bissinger and La Russa, men who crave the beautiful "levers and pulleys" exhibited within the elegant complexity of f great baseball game.
The action of the book occurs during a three game series played between the St. Louis Cardinals and the Chicago Cubs. As Bissenger so effectively writes, it's as venerable a rivalry as Red Sox/Yankess or Giants/Dodgers. The tight divisional pennant race that was transpiring during this series only adds to the historical tension. Within this broader context, the manager's in-game life is illuminated by way of descriptions of various types of baseball player: the hard working, freakishly talented (Albert Pujols), the methodical, intelligent veteran pitcher (Woody Williamson), the coasting Star (J.D. Drew), the discipline problem (Kerry Robinson), the reliable workhorse (Matt Morris). Each player's trajectory, and La Russa's work, thoughts, feelings, and processes with them is described with honestly and objectivity. These straightforward appraisals of the good, bad, and ugly provide an excellent view into the inner workings of baseball as it is played and managed throughout a season.
As this book is now six years old, and the described games over seven years old, historical light is shed on just how short and tragic the shelf life of Major League pitching can be. The Cub's two star pitchers as described in the book, Mark Prior and Kerry Wood, pitchers whose talents seemed to shine so brightly, who seemed so destined for dominating greatness, have for the most part faded away. Bissinger and La Russa do much to acknowledge the outright toughness of the Game, fate's cruelties lurking right below the "tranquil surface" of the Game.
That said, they always come back to the wondrous and magical feeling that arises within a great game. To quote Bissinger's conclusion, "Just Beautiful Baseball". That in itself makes up for all of the time spent obsessing. I could not agree more.

41st Annual Fungus Festival, Lawrence Hall of Science, Berkeley, 12/4-12/5 2010

2010-12-05T17:33:00.000-08:00

Mrs. Amnesiac and I copped free passes to this fun, amazing event. We braved yet another SF Bay Area 2010 rainstorm to hang out amongst mycologists, hippies, punks, and other curious types. Check the photos and then, if the spirit grabs you, go and forage! Just, please, consult a mycology book before you eat!

We even bumped into old pal Suzanne Carter, a member of the Bay Area Mycological Society!

Some beautiful 'shrooms!

The afternoon finished up with a lecture by mushroom photographer Taylor F. Lockwood. His motto is "Chase the rain".

Yes, that's a mushroom cap! Get it? I think I may have, ah, ingested something........

White Out w/ Jim O'Rourke and Thurston Moore-Senso

2010-12-03T10:48:00.000-08:00

Disaster Amnesiac continues the late 2010 trend in improvised music listening with this meaty 2 disc set by this NYC amalgamation of stone cold masters.
This all-live document of a set at Tonic in 2004 blasts off with the quickness, and rarely lets up. The players quickly delve into their respective bags of improvisational tricks, the sum total being a forest of blurping, bleeping, clicking, and ratcheting sounds. There have been improv sets that seem all the more boring for their insistence on "energy" and "fire", but the players that make up White Out for the Senso set manage to avoid those kinds of dynamics, instead achieving an intensely focused, yet highly energized interaction. There is never the sense players simply blowing for the sake of blowing. This is not to say that White Out doesn't lack energy. That's not the case at all. The sound just has, for the most part, a sense of restraint as the players reveal new sounds and motifs into the overall piece.
Drummer Tom Surgal is particularly impressive, utilizing rolling phrases to move the music. One wonders if he ever studied with Roger Blank, a mid-period NYC Free Jazz player profiled in Val Wilmer's classic study As Serious As Your Life. The question is asked due to Surgal's predominant use of mallets, an approach that Blank touted heavily is Wilmer's book. In a recent New Yorker podcast Blake Eskin, trying to describe Keith Moon's approach, opined "why not just be doing rolls the whole time?". This is essentially Surgal's style on Senso, and the use of mallets to effect these rolls gives his kit a melodic, rounded sound. It gives focus and drive to the scraping and feedback sounds emanating from Liz Culbertson and Jim O'Rourke's synths and Thurston Moore's guitar.
After repeated listening, it's clear that engineer Kari Erickson deserves as much credit for the ease of listening as the players. The audio is stunning; each instrument is clearly captured, with none of the "in the red" qualities that often add to the hyperbolic macho of many improv settings.
The combination of spatial awareness, dynamic focus, and imagination in playing and presentation make Senso an entertaining document of what was surely a solid show by a great band.

The Baseball Codes-Beanballs, Sign Stealing & Bench-Clearing Brawls, by Jason Turbow with Michael Duca

2010-11-24T18:14:00.000-08:00

As I'm sure most are aware, the San Francisco Giants won the 2010 World Series. Their road to this monumental victory was not an easy one, and it was traveled by a classic band of misfits, worthy in all ways of Johnny Damon's 2004 Red Sox "we're idiots" sobriquet.
As amazing as it was to watch the Fall Classic unfold, there was an event that occurred in the NLCS against the Philadelphia Phillies which in some ways, seemed even more amazing to me. Giants' game 6 starter Jonathan Sanchez had nothing. No control. No command. He looked lost from about two batters into the game.
In the second inning, one of his pitches hit Phillies second baseman Chase Utley. This beaning, whether intentional or not, had great significance for the game 6, and for the Giants' eventual historic Championship win.
Utley and Sanchez had already established a history of antagonism; Sanchez threw behind Utley in an at-bat in 2009. There was no love lost between the two. As such, Utley, while taking his base, reached down for the ball and flipped it toward Sanchez. Sanchez and Utley "exchanged words" once Utley reached first base. It was clear to me that "fuck you" was uttered by Sanchez, as he walked off of the mound toward the agitated Utley on first.
Eventually, the benches cleared, and play was stopped for at least five minutes. During the melee, Giants reliever Jeremy Affeldt did not join the fray. FOX Sports cameras at one point panned to the bullpen, showing Affeldt calmly throwing warm-up pitches. By time the brawl had been stopped, he was ready for relief. Sanchez was promptly pulled, and Affeldt proceeded to pitch superbly, giving the Giants the relied they needed, and keeping them in a game that they needed to, and eventually did, win.
A question: did Sanchez deke the Phillies into losing their collective composure, just long enough for Affeldt to warm up, incredibly earlier than he probably expected to, thus giving the Giants a chance within a game that was rapidly slipping from their grasp? The answer to this one is probably lost to history, but I've pondered it a lot since that Sunday night in October, 2010.
Whatever the truth of the matter really was, there were Codes at play, ones that Jason Turbow and Michael Duca set out to describe in The Baseball Codes. For example, Affeldt's choice to remain in the bullpen could be seen as a violation of one of the codes expounded upon in the Baseball Codes.
The Baseball Codes sets out to shine light upon the unwritten rules of baseball, rules that players' careers live and die by. Much like life in greater society, these codes provide both guidance and boundaries to the interactions that make up daily life. One could argue that without codes, people are often left clueless as to how to make their way through the tasks at hand, whether in baseball or any other pursuit.
Dekes, tagging etiquette, sign stealing, rookie vs. veteran dynamics, retaliatory tactics, and a plethora of other baseball codes are explained and examined in depth within this very entertaining book. The authors did a great job of researching these inner workings of baseball, with anecdotes and opinions from several generations of players, managers, and broadcasters.
The insider information within this book provides many revealing glimpses into the sport that I have come to love so much, the sport that best exemplifies how life really works in U.S. society.

Steve Touchton and Evan Backer-"03142009" and "04182009" tape

2010-11-22T12:57:00.000-08:00

I picked this one up after reading Byron Coley's review of it in the Wire, in which he compared it to the work of Doug Snyder and Bob Thompson.
Happily, these two players do seem to dance together in much the same way that the early 1970's Ohioans did, locking guitar and drums parts within an improvised setting.
Touchton's guitar sound often reminds me of Sharrock at its most unadorned (i.e.guitar to amp without pedals). At other points, his sound makes me think of Wire or other post-Punk bands, filtered through a Free Jazz envelope.
Backer's approach to the kit is sometimes note-dense and busy, sometimes sparse, always very responsive to the moves that Touchton makes with his ax. At one point, given a space of total silence from Touchton, he starts to quote Han Bennink's great Nerve Beats concept!
The format of this release (two short tunes on a short tape) and its bare bones packaging, give it an endearing d.i.y. feel. The tunes' brevity makes it very approachable. I've often thought that improvised and noise music are rapidly becoming truly Folk mediums, and this tape fits very nicely into that concept.

Anthony Braxton/Gerry Hemingway-Old Dogs (2007)

2010-11-20T20:04:00.000-08:00

Some years back I had a conversation with a tenor sax player who stated bluntly, "I'm not feeling Anthony Braxton".
I, however, am very much feeling Mr. Braxton. Disaster Amnesiac is a fan.
As such, it's been easy and enjoyable to dig into the four discs that make up Old Dogs, Braxton's duo recording with long-time cohort Gerry Hemingway. Clocking in at well over four hours, Old Dogs is a king sized dose from these veterans. Both have built up lengthy reputations as top flight composers of Jazz/Creative Music, along with being improvisers of the highest order. It is their improvisational side that gets aired on this document. As stated in the liner notes, the only given parameter was that they played as long as a large hour glass was running. These old dogs take full advantage of this given freedom, touching upon all sorts of different feels, spaces, and approaches within the duo context.
Each disc contains one lengthy piece, in which Braxton and Hemingway range from playing silence filled passages to dense and furious exchanges.
In improvised music, the listening thrill comes from paying close attention to the sounds being generated by the respective players' approaches. One of the great things about Old Dogs is the amount of such sounds that the duo are able to conjure up within each piece. Braxton utilizes seven different reed instruments, and Hemingway adds laptop samples, marimba, and electronic drum pads to his acoustic kit. Despite the scant number of players, the tonal options are quite varied.
These two have made careers out of researching and performing "extended sounds", and they utilize this research to the fullest extent on Old Dogs. Braxton ranges from repetitive arpeggio playing to primitive bleating, from complex overtone blowing to simple key slapping, all the while staying within his signature stylistic melding of players whose sounds he adores (Ayler, Gilmore, Allen, Coltrane, Marshe, Desmond, etc). Not to say that Braxton lacks a personal tone; one can tell it's him playing pretty quickly, especially when he digs in with the alto sax. Hemingway's kit playing is amazing. His is a highly personal and masterful approach to drum set, defined not so much by the extent of options to be hit (size) than by choice of which kind of object to do the hitting (color). He uses sticks, brushes, mallets, hands, towels, anything to coax the right sound from the skin and wood of the drums or the metal of the cymbals and stands. Also of note is his use of space. Even within his densest poly-rhythmic thickets, there is always a feeling of room, of each note given just the right amount of time to ring out.
The material on Old Dogs is amazingly varied, highly listenable, and very fun indeed. If you're at all interested in improvised music, you'd do well to try and feel it, too.

Fancy Space People have landed!

2010-11-17T08:01:00.000-08:00

To my great pleasure, Fancy Space People have announced that their LP will arrive here on earth shortly. An advance landing has occurred by way of a free download at their Facebook page:
http://www.facebook.com/pages/Fancy-Space-People/256599767850
If there is a better band on Planet California, I'm not aware of them. So many great elements coalesce within Don and Nora's vision: Glitter-stomp beats, Morricone chants, Psyched-out guitar lines, pauses worthy of Laughner getting spaced-out at Pirate's Cove in 1975, all framing Nora's wonderful warble.
They claim that they have come to save the human race. All I know is that I'll be saving a few bucks in order to buy the LP when it descends from the Heavens.

Jandek-Veterans Memorial Hall, Davis, CA 11/12/10

2010-11-13T08:41:00.000-08:00

Having missed Jandek's SF Bay Area shows a few years back, I was determined to make the trip Davis for this one, despite scant advance notice.
Davis Veterans Memorial Hall seemed to be the perfect venue for this show. The feel of this small theater, with its 1950's design and intimate vibe, gave the proceedings less an air of "Rock show" and more of that of a recital. Given Jandek's very non-show biz approach, that seemed fitting.

The band consisted of Jandek on keyboards (Yamaha keyboard and Korg synth), accompanied by Davis musicians Christian Kiefer on guitar, Alex Jenkins on drums, and Greg Brucker on double bass. This trio proved to be amazingly adept accompaniment for the Corwood Representative.
When I've listened to Jandek's recordings, they have often seemed to be made up of improvised music coupled to his Outsider poems of longing and loneliness. Not so at Davis, at least musically. The set's tunes were pretty clearly worked out header figures, with either Brucker or Jandek generally leading them in with small sound kernels, after which Kiefer and Jenkins would commence with their accompaniment. Jandek's keyboard sound was somewhat reminiscent of the 1960's approach of Sun Ra; he proved pretty adept at coaxing chiming bell tones out of his Yamaha and more smeary tones from the Korg. Kiefer's playing was a joy to hear. He alternated between a high, lonesome twang and blasts of pure post-Rock noise (on banjo, even!), all the while keeping his tone and playing approach very "Corwood". Brucker utilized loops and deep, long, bowed tones to provide an often surreal undertone. Jenkins, using a tiny kit of floor tom, djembe, trash can, and small percussion, was particularly amazing, in the amount of tone and texture he was able to coax from his battery.
And the overall group sound? A delicious blast of primal, primitive ESP-type scree, at times quiet in order to accommodate Jandek's poems, at times blaring away to bring their impact home. The cacophonous passages hit Ayler/Godz levels of pure improvisational fire and grunge, and the vocal passages allowed for Jandek's words to have their full despairing and alienated effect.
After almost two hours of playing, the group finished off with a solemn, chime-ey instrumental, and Jandek slowly closed his poetry book. They walked off, the house lights turned on, and the assembled crowd shuffled out, for the most part silent, for the most part smiling.

Top 20 Songs, by force

2010-11-01T19:25:00.000-07:00

Recently I traveled to Britain. It was a lovely trip, and London is still blowing my mind, three weeks removed.
Along with staying at a great little hotel downtown, my wife Melissa and I stayed with our friends Debbie and Joel, who live in the wonderfully named suburb of Harrow on the Hill. Joel asked me at one point to list and email him my top twenty songs. At first I balked, but Joel can be a very convincing guy!
This list represents what felt like an honest attempt. My main criterion was: "what songs can I recall that I've either played obsessively or can listen to at any time?"
I hope this list will reignite my long-ignored music writing blog.

Pere Ubu- I, will wait
Tuxedomoon-No Tears
Kyuss-Cataraman
Toiling Midgets-Cling Fire/Clams
The Cramps-Green Fuzz
Black Sabbath-Hole in the Sky
Bad Company-Bad Company
Led Zeppelin-Houses of the Holy
Black Flag-Nervous Breakdown
Minor Threat-Cashing In
Frank Zappa-Peaches en Regalia
The Fall-Tempo House
Link Wray-Rumble
Grateful Dead-Scarlet Begonias
Monitor-We Get Messeges
Jethro Tull-Flying Dutchman
Miles Davis-All Blues
Gerry Hemingway-More Struttin' with Mutton
Royal Trux-(Have You Met) Horror James
X-Blue Spark

The best Product name, ever.

2009-02-26T07:23:00.000-08:00

As seen on a crushed can, Harrison and 5th St., SF CA, 7:00 AM, 2/26/09:

MEGA-OFF

YEAH!

Mills Music Festival 2009, Opening Night Concert

2009-02-22T14:17:00.000-08:00

During her introductory speech, Mills College President Janet L. Holmgren disputed the notion that academically produced music is inherently dry. Sitting here, watching the rain pour down upon Oakland, and reminiscing about the sounds I heard last night from Pauline Oliveros, Roscoe Mitchell, Terry Riley, and Joan Jeanrenaud, I have to agree with her contention.
Oliveros started the concert off, playing the first notes within the renovated, restored, and vastly improved Littlefield Concert Hall. Her piece Sound.Light.Migrations was delightfully spacey and minimal. Her characteristic accordion playing was enhanced by something called "expanded instrument system" which she controlled by use of her laptop. Sounds within the piece ranged from pointillist single notes to fast clusters, all of them ringing around the acoustically amazing space of the hall. Towards the end, she brought the listener back to earth by using beautiful, sonorous chords, a kind of soft earth landing from the outer reaches of space. Sound.Light.Migrations also featured visuals by Tony Martin, a genuine pioneer in the field of light show art. His work was often as minimal as the sounds, with a large screen that remained mostly black, while white and green squiggles undulated on the margins, sometimes leaving blurred trails in their wake.
Next up on the program was Roscoe Mitchell's piece 8/8/88, composed for and performed by pianist Joseph Kubera. 8/8/88 was filled with dense, spiky chords, often played in advanced time signatures. Roscoe's Jazz background could be heard within the rooted left hand bass lines, which at times had an almost Ragtime feel. The melodies in the piece were rich and fascinating, often blue-colored on Disaster Amnesiac's closed eye lids.
After a brief intermission, Terry Riley took the stage to a rapturous applause, and proceeded to play his brand new work, For Margaret. Riley's use of Raga technique within solo keyboard playing has been a work in progress for four decades, and it still sounds fresh, innovative, and real. Beginning with a more Western melodic motif, he slowly segued into a very Indian modal approach, achieving his always meditative and tranced-out Minimalist. Mid-way through the piece he added vocal chant a la his mentor Pandit Pran Nath; Riley's approach radiates pure LOVE, and his use of vocals gave a real air of sanctification to the work. The piece ended the way it began, with simple melodic motifs. Standing ovations ensued.
Last up was former Kronos Quartet cellist Joan Jeanrenaud. She played two works, Vermont Rules and Strange Toys. Both pieces utilized looped cello phrases, over which Jeanrenaud played various techniques, ranging from purely Classical in sound to Avant-Garde, Jazz, and Rock. Her control of the cello is breathtaking; she makes the instrument sing, weep, squeal, any sound she wants is there for her to use. It's not enough to say she's just a virtuoso, though. Her sheer musicality and inventiveness are key within her compositions, and take them, and the listener, higher than mere displays of technique ever could.
The Mills Music Festival 2009's slogan reads "Giving Free Play to the Imagination". All of the opening night's featured composers/artists made this statement come alive on the stage and within the ears and minds of the listeners. There was nothing dry about this concert at all.

Predator Vision/Sun Araw-Split LP

2009-02-09T18:13:00.000-08:00

Although it's been passe for well over a year now, I still love myspace. Yes, it makes my Mac seize up something terrible, but at work I use a PC, and "hang out" there often during the work day. Mind you, I'm not doing the same thing all those REALLY COOL people at Facebook are doing, updating each other with minute by minute twittering about how "Suzy just figured out that the toaster burned my toast", and other inanities. Oh, no. I'm trolling for bands. See, in my opinion you just have to love myspace for it's band links. Choose just one group you like, then surf through all of their friends, and presto! you're sure to find a least a few more which can satisfy that eternal craving for some bitchin new sounds that you just won't be able to live without. Added satisfaction comes from the friend updates bar, in which bands often post regarding their upcoming shows and releases. I try and be supportive of bands that I like to listen to, and chances are, if you post about your new release, CD/LP or otherwise, you'll promptly be receiving a money order from Disaster Amnesiac.
No Not Fun Records in LA received just such a money order a few weeks ago, and promptly shipped out the split LP by Predator Vision and Sun Araw, two great, and as far as can be ascertained, current Psych groups.
Of the two, Predator Vision is the more "standard", using two guitars and drums to play spaced-out, raw, and sprawling instrumentals. Their side of the album is divided into three distinct pieces. Drummer Etienne Duguay gets a big sound from his ride cymbal-heavy pattern playing, accenting with tom tom rolls in a manner akin to Jaki Leibezeit's Can approach. His playing is well-paced for the trancy effect that Predator Vision seems to want to achieve. Guitarists Matt Mondanile and Ben Daly weave in and out of each others' lines, with one sometimes soloing while the other plays simple, repetitive riffs. The effect is generally hypnotic. One gets a sense that these guys spend a lot of time jamming, and probably listening to other peoples' jams, to boot. The last jam on their side is notable for the way in which it begins to resemble Lou Reed and Sterling Morrisons' most mind-melded tandem riffage. Seeing as this was recorded in NYC, it stands to reason, I guess. I just wish the fidelity on the recording was better, but for a hand-held tape job, it's not bad.
Sun Araw, a project lead by Cameron Stallones, is a bit more overtly experimental. On the side-long track Hey Mandala, Stallones uses heavily processed samples, guitar, organ, and percussion to produce a heavy, ambient wall of sounds. It's all echoes and crashes, a sort of subdued, funky Industrial, in that it doesn't pound, but more quivers and throbs. Guest musician Phil French provides nice Cosey Fanni Tutti-styled trumpet warbling. His primitive playing style fits in nicely with the doomy ambience of the piece. Occasionally, voices rise to the top of the mix. They never sing, but instead make ecstatic exclamations. Hey Mandala is really well recorded, and although no engineer is listed, whoever it is deserves real credit for their work. This is music that can provide real, lasting listening pleasure for the Psych fan.
This split LP is beautifully packaged, with a cover reminiscent more of Les Baxter or some other Exotica than the more brutal aesthetics of most basement Psych being produced these days.
It's finds like this LP and these bands that keep myspace worthwhile. Facebook folks can keep their polls and questionnaires. Disaster Amnesiac will be over at their uncool cousin's house, digging new great sounds and STILL supporting the underground.

David Winogrond-Pictures at an Existentialism

2009-01-06T16:01:00.000-08:00

What do you do when you've played drums in the bands of two very important underground guitarists/band leaders? In the case of David Winogrond, you bravely strike it out on your own and begin an entirely new aspect of your career. Pictures at an Existentialism is the opening salvo in David's next drumming phase, that phase being one of a distinct instrumental/Jazz approach.
Released in 2007 on the L.A.-based Wondercap Records, Pictures is an imaginatively conceived and remarkably played recording, full of great, interactive playing and improvising. For much of the album, Winogrond leads a primarily bass-less trio of drums, woodwinds, sparse electronics, and piano through highly charged, intuitive group interaction. The listener is treated to the sounds of musicians really playing together. As the trio tunes wind their way through several different modes per song, the simpatico between pianist Arlan Schierbaum and Winogrond becomes very clear. Closer listening reveals piano and drums conversing and riffing off of each other for seconds, sometimes even minutes on end. In music this is no mean feat; on tunes like Swans Reflecting Elephants and Dusk in Amber, David and Arlan pull it off wonderfully many times over. Schierbaum's playing is generally cool and melodic, despite hinting at a more Avant-Garde influence. To my ears his style echoes the cooler, post-Free European aspects as much as the generally grittier American approach to Jazz piano playing. His sparse use of electronic coloration also provides the occasional surprise within the primarily acoustic setting. Winogrond's drumming on the trio tunes is all free flow. This is not to say he bashes around the kit, for he does not. David uses the drum kit melodically, providing an important voice for the tunes, by way of the drums. His brush playing is particularly great, an advancement of the free-brush techniques pioneered by Paul Motian in the classic bands of Bill Evans and Keith Jarrett. Reedsman Jack Chandler plays with both emotion and control throughout. Echoes of Dewey Redman and Jan Garbarek can be heard in his playing, but when he drops a few delightfully unexpected verses of great Charlie Parker tunes such as Salt Peanuts into Hard Night in Reseda II (Allegro), you know he's got deep grounding in the Jazz tradition.
Speaking of tradition, David's choice of including a hard charging, revved-up version of the Big Band classic Sing, Sing, Sing adds further proof of the fact that he's a legitimate Jazz artist. This great Louis Prima tune is given great, rockin' treatment, with bass added by Bruce Wagner. Winogrond gets the classic Gene Krupa cowbell and tom tom riffs down perfectly as the band plays by turns subtle and raunchy around him.
Closing out the record are two more great pieces, Sunset Blvd. Blues and Imhotep. The former, dedicated to "all the lost souls in Hollywood, past and present," features guest trombonist John "Rabbit" Ritchie, who does some Jimmy Knepper styled 'bone bleating. The tune divides nicely into several different episodes, conjuring up visions of various characters who have or may still wander the streets of Hollywoodland. The latter would be a treat even for those without an ear of Jazz, as it features not one, but two Rock greats, Davie Allan on guitar and DJ Bonebrake on vibes. Anything that Allan plays on is going to have some weight, and Imhotep is no exception. After a brief piano/vibes duet, the tune launches into Punk/Funk/Fusion territory that would match anything offered up by Shannon Jackson or Sonny Sharrock. Aside from being just downright intriguing to hear Allan within a Jazz context, his sound is kick-ass, of course. DJ's vibes match him. Both men are skilled, obviously, and their addition on Imhotep makes for compelling listening.
In terms of production and engineering, Pictures at an Existentialism features a dry, close-mic'd sound. It's air has the feel of 1970's ECM recordings, with plenty of legato and spacey echo. Winogrond benefits in particular from this method, as all of his drum and cymbal strokes are clearly defined within the mix. It is, after all, his record.
Pictures at an Existentialism is a great start to what should be an exciting career transition for David Winogrond. The man has ambition to go along with his prodigious musical talent. As he continues into his fifth decade of drumming, he continues to inspire and amaze. Jazz stations such as KCSM in San Mateo still do weekly charts, and if there is justice left in this world, Pictures would appear there.

Tomata lives?

2009-01-02T07:45:00.000-08:00

Over the New Year's break I was sick in bed for about 36 of the 48 hours I had off. When not tossing in a sweat-covered sleep, I watched a lot of cable TV. During the great Anthony Bourdain No Reservations marathon on the Travel Channel, I watched, several times, and with increasing wonder each time, an info-mercial for some miracle product that soaks up liquid with extreme efficiency. The fascination for me came from how much the pitch man looked like Tomata Du Plenty. I mean, the man is a dead ringer for the late Screamer. I like to think that the irony of it would not be lost on Tomata. That is all for today.

David Winogrond Interview

2008-12-29T15:57:00.000-08:00

It's clear now that cool music has always been produced somewhere, even if the prevailing wisdom runs contrary to that statement. Pre-internet, people just had to look a bit more diligently in order to find underground sounds to their liking. For me, Homestead records provided all kinds of cool sounds in the later half of the 1980's. Live Skull, Naked Raygun, and most of all To Damascus were Homestead bands that I loved to listen to. They were all bands that expanded my listening post Metal, Punk, and Hardcore. The thing that I love most about To Damascus is their singularity. Their records are always challenging, and I admire the "take us at our own terms" vibe that Syliva Juncosa and her band mates produced. Of particular interest to me, aside from Sylvia's mind-boggling guitar ripping, was David Winogrond's drumming. Rock based, and Jazz inflected, David's drumming stood apart from the standardized, stock room playing of so many of his counterparts in Rock at that time. Towards the end of the 1990's I was pleasantly surprised to find that he'd become the drummer of choice for the great Davie Allan, who was at that time making a comeback. While David's playing was much more straight ahead within the context of the Arrows' music, it was still kick ass and exciting to me. At some point during 2008, I friended David on myspace. In keeping with the Disaster Amnesiac tendency of interviewing drummers, I asked Mr. Winogrond if he'd do and interview. He graciously consented, and then some. The man has some resume! Dig in and be astounded by a life making cool, underground sounds.

First off, some background questions. What part of the country did you grow up in?
The North Shore area, outside Chicago, till age 6. New Jersey at age 7. Moved to La Canada, California at age 8. Started playing drums at age 11. Stayed in La Canada till age 17, where I was in many bands, but nothing was released. I moved back to the Chicago area suburbs, and finally Chicago. Played in a few bands out there, Graced Lightning, and Athanor. Graced Lightning put out one single, which didn’t really represent us. We gigged a lot for over two years but none of that material was ever released. The single was with vocal, but we were primarily an all instrumental prog rock band. Athanor was a Beatles/Lennon influenced band and we put out one single. Finally moved back to L.A. and been here ever since.

I associate your playing with the L.A. area. Has that area been your home for most of your life?
Most of the music I’ve done that’s been released is from here. Yes. Time-wise, I’ve lived here the longest.

How did you get into music? Was there music in your house growing up?
My dad bought me a record player, a lot of records, and a radio when I was around 5. I was immediately hooked! I remember going to my first day of school at age 6 and freaking out until I was put in a room with a radio, tuned to my favorite station! I had a cousin, Blanche Winogron (she dropped the “d” at the end), who was known in classical music circles for her harpsichord playing. I didn’t know her that well, but she’s probably the reason I love the instrument. I also have a cousin, Mark Winogrond, who’s exposed me to a lot of great music over the years, especially when I was younger. Both rock and jazz. His son is a rapper. Good stuff. He goes by the name of Grip Grand. I’ve only briefly met him once.

What made you get into the drums? Was this something you did in school (i.e. band class, etc.?)
I knew I wanted to play an instrument. Tried a few things, but drums felt natural to me from the beginning. The two events that really did it for me was seeing The Beatles on The Ed Sullivan Show, and seeing Sal Mineo in The Gene Krupa Story. I loved how Gene Krupa didn’t care about the traditional role of drums and brought them up front and did his own thing with them. I met him at some equipment show a few years before he died. Very nice guy. I briefly took one semester of band in school, but didn’t really relate to it and didn’t do well. That was for reading drum music and playing one snare drum in the orchestra. I knew I wanted to play a full set and play rock music, so I quit after the first semester. I think I got a D in the class. Outside of this, I’m completely self-taught.

How about other instruments?
Tried clarinet, piano, guitar, and violin. Was in one band briefly playing rhythm guitar shortly after starting drums. It didn’t stick and I went back to drums

What was your first drum kit?
I bought everything a few items at a time. A Sears snare drum with crappy 10” cymbal. Then I bought a much better Ludwig snare drum but turned that into a rack tom. Bought a crummy high hat. Then a 36” marching bass drum that was really loud and literally made pictures fall off the hall wall of our next door neighbors. Their hall was facing my bedroom. Some friends who also played drums would sometimes bring their sets over and I’d combine them, so I could play with a lot of toms and two kick drums. I was maybe 12 then, and had no clue what I was doing. I wasn’t sure how to set up a drum set, so I looked at pictures in Sears catalogs, which were very unhelpful, and the front cover of “Having a Rave Up with The Yardbirds” for clues of how to set things up.

Did you take lessons? Were there any teachers or experiences that inspired you greatly?
Just the one semester of band in school, which I had no interest in. No. I just listened to a lot of music. Those were my teachers, basically.

How about early listening experiences, the kind that you can still remember as being greatly inspirational?
As mentioned, I was glued to my record player since age 6. Kids would come over to ask if I wanted to go out and play baseball with them. Zero interest. I remember when stereo was a new thing and the family just got one. Prior to that, I had a mono turntable hooked up to my television. I remember getting the first Hendrix album when it first came out, before he was known in the States, and planting myself between the two stereo speakers and listening to that album. It blew me away and I called a drummer friend to tell him I had just bought the best album ever made!

Presumably, you came of age in the 1970's. What are your memories of this time in music?
That’s a big question! There were many phases in the 70’s! I liked the stuff that still vaguely sounded 60’s, some prog rock like Soft Machine and Van Der Graaf Generator, and various punk, but preferred the more melodic pop influenced punk, like The Buzzcocks, The Undertones, Ramones, Siouxsie and The Banshees, Magazine, etc.

Were you involved in Punk at all?
I was the 2^nd drummer for The Germs, but never did any gigs or recordings. Pat Smear and I were on a couple of singles: The Tidalwaves, and The Martyrs. I was asked to play the last Germs gig but I was busy that night. I seem to remember it was a short notice kinda thing. I also was working on a Pat Smear solo project, but that didn’t go anywhere because he was asked to join Nirvana. I wasn’t a big fan of The Germs, which was why I quit. My only regret is that I didn’t get to play with Pat more. Pat’s a great guitar player and very cool guy.

Please give some account of your earlier musical history. What kind of bands did you play in? Any that you remember with particular fondness?
So many! (I was) always putting something together. My first gig was pretty funny! I was 12 and only had the Sears snare drum, 10” cymbal, and high hat. No kick drum yet. 7^th grade talent show. Singer and lead guitar player was playing through his record player. Bass player was playing guitar, tuned down. Rhythm guitar player… well… we hadn’t decided which song to play until we were actually walking on stage! The singer said, “I’m a Man” by The Yardbirds. Unfortunately, the rhythm guitar player only heard him say “Byrds”, so he was actually playing “Mr. Tambourine Man”! Oops! And the band before us was an instrumental surf band, so the sound guy assumed we were too, and turned off the vocal mic! We kinda sucked.

My first experiences of hearing your playing came from the great band To Damascus. This band was so unique, especially in the context of 1980's music. What was it like playing in To Damascus?
Fantastic! Sylvia and Tyra were both way cool people to work with.

Was the band aware of just how different you were?
We were ALL different.

Sylvia Juncosa is, in my opinion, one of the best guitar players ever. What was your experience playing with her like? Can you give any insights into her amazing story?
Back then, she was just on fire! Writing tons of songs, which we’d learn and work out only to have her come in the next week with a new batch. But I also remember that our non-rehearsal chit chat was rarely about music. They had really well rounded interests, so they were really interesting to hang out with.

Your drumming in To Damascus has always seemed to me to be a sort of Jazz/Rock hybrid. Can you describe your approach to drumming at that time? What were some of the effects that you were after?
Jazz has always influenced me from an early age but it wasn’t really a conscious thing. I guess my approach to drumming back then isn’t that different from how it’s ever been. My approach has always been very conversational, as opposed to being the anchor. I like to “talk” to whatever the melody is. That may be in part because the kick drum was the last piece I got in my first drum set. I’m guessing on that, though. But doing the “in the pocket” thing with the bass player was something I got into later. I was always more interested in conversing with the melody, whether it be a vocal or guitar or a bunch of feedback.

It seems that To Damascus ended when Sylvia joined SWA. Is this the case?
No, she was playing in both at the same time.

Did To Damascus play with a lot of the SST/South Bay bands in live shows?
Not really. Sylvia did with SWA.

After To Damascus ended, what bands did you play in?
The band broke up after we did a U.S. and Canadian tour. I, especially, found the tour to be very disappointing. It was my first, so I didn’t know what to expect. I came back and intended to take a break from music altogether, but was immediately asked to do a Davie Allan session, which produced the song, ”Missing Link”. I was then in a band called Screaming Flesh Machine, with Tom Hofer on bass and vocal, and Bret Gutierrez (who was later the singer in Sylvia’s band for a little while) on guitar and vocal. We did some recordings, around four songs if I remember. One of those songs, one that Tom sang, ended up on an album by Tom, called “Clearing House”. Tom was in the first line up of Leaving Trains and played bass for To Damascus on much of the first album and the tour. He’s doing these really cool collages now. Not so much music. He’s getting art shows and selling his collages. Lots of stuff inspired by old match books. He also did the collage on the inside of my new album, “In The Ether”. Also, after To Damascus broke up, I bought a drum machine and started doing drum machine programming for some local rappers and other people. I did some drum machine programming for a rap version of “Surfer Joe” by Mike Love, but he ended up not releasing the album it was planned for. But mostly, the few years after To Damascus broke up, I got more seriously into photography, which I had actually been doing longer than drumming. I discovered photography around the same time I discovered music but was doing photography before I decided on an instrument. I was more focused on photography than music during this time period.

Please talk a bit more about your start with Davie Allan. What has it been like to play with someone so talented?
It started with “Missing Link”, which I mentioned earlier. It was just a session. He didn’t have a regular “Arrows” at that point. But in 1994, with the release of “Loud, Loose and Savage”, he decided to put a working Arrows together for the first time since the 60’s and I was asked to join, through Chris Ashford. Chris thought my improvisational approach would be good for Davie. The guy is an amazing talent! And what I’ve never understood is why he isn’t better known for his writing. He’s obviously a great guitar player, but he’s also a great song writer, as well.

The clips of the Arrows that are posted on YouTube are incredible.
Thanks! Have you checked Jake’s Wild Trip on YouTube? It’s in three parts. Kurt Max filmed and edited the whole thing in his back room. Very talented guy!

Are you still with the Arrows? If so, are there any new recordings in the works?
No. Basically, I got a day job that enables me to finance my psychedelic jazz recordings. The problem is, I can’t get away to do out-of-area gigs or tours. So I realized my choice would be to keep the job and work on my own thing, or quit the job and not have the money for my recording, so I can continue working with Davie. I’ve been an Arrow longer than any other Arrow, roughly 13 years, so I decided it was time to move on and work on my own thing. “Moving Right Along” finally came out this year, but it was finished in 2004, right after we finished “Restless In L.A.” (that same year) and before we did the two Christmas albums. So, at this point, everything’s been released that I played on.

The tunes on your CD “Pictures at an Existentialism” have a great, post Free, almost ECM-ish vibe.
Clearly you have a great Jazz influence and approach there. Is the group from this CD playing shows?
Interesting. The Blue Note and Impulse labels were more where I was coming from. And the look and feel of the Columbia gate fold Miles albums in the 70’s, that had an almost concept album vibe. That wasn’t really a group. Jack Chandler is the one consistent person on my CDs. He plays sax, flute, and occasional keyboards. The guy’s a freakin genius! I feel very lucky to be working with him! I have a 2^nd album, “In The Ether”, coming out Feb 17. This album is also not a consistent personnel, except for Jack and myself. I didn’t see this as a drawback or compromise. I wanted the albums to be fairly eclectic, and not necessarily have the same sound or approach throughout. More like solo albums than band albums. On “Pictures at an Existentialism”, there’s one song where I had DJ Bonebrake (the drummer from X) play vibes, and Davie Allan on guitar. DJ just put out a new jazz album on the same label, Wondercap Records. “In The Ether” (which) is even more eclectic. Both (of my) albums were specifically studio projects and not intended to be representative of a live band. After finishing the two albums, I decided I needed to start doing shows and needed to put an actual band together. It’s called The David Winogrond Spacetet. As of now, it’s a fairly new band. We’ve only played three gigs so far, all at The Industrial Café and Jazz, in Culver City. It’s a very cool Ethiopian restaurant and jazz club. This band consists of Jack Chandler, Larry Rott on bass (who I worked with in the 80’s with Michael Penn in a band called Doll Congress), and Bruce Wagner on guitar and trumpet. Bruce and I have worked on many bands together, including Davie Allan and The Arrows, Skooshny, and SS-20. SS-20 was sort of a psychedelic art damage band on Greg Shaw’s Vox Records label. We started out with just Bruce on extreme fuzz bass (or occasional guitar), me on snare, floor tom and high hat, and Madeline Ridley on vocals. No other instrumentation. Very minimalist. Played gigs at punk shows or poetry readings or Greg Shaw’s Cavern club. When Greg Shaw found us, he turned us into a more conventional line-up, (guitar, bass and full drum set), but we remained very psychedelic. Bruce also appears on a few cuts on “Pictures at an Existentialism”. Skooshny, which Bruce was also in, was a band I started with Mark Breyer in 1975. We released singles on a label I started in the 70’s called Alien Records. The DIY approach of 70’s punk was influencing me, but the Graced Lightning and Athanor singles were also independently released as well, in the early 70’s. Eventually, Greg Shaw contacted us (Skooshny) to tell us our singles were collector’s items in England. He hooked us up with Bill Forsyth in London, who released our first album, which was made up of the singles and recordings I had sitting in my closet, collecting dust. Bill also released two more Skooshny albums after we decided to reform. Several years ago, the label for Jigsaw Seen, Vibro-Phonic Records, released a “best of” Skooshny album called “Zoloto”. Skooshny finally broke up, though we have one more song that’ll be released on Vibro-Phonic eventually, for a Bee Gees Tribute album. More info on Skooshny here:
http://www.skooshny.com
http://www.myspace.com/skooshny
Also on the site is my discography and another interview:
http://www.skooshny.com/David_Winogrond.htm
http://www.skooshny.com/dw_discography.html
The David Winogrond Spacetet is my focus for now. I usually juggle several projects at once, but this is what I’m concentrating my energy on right now. That, and trying to get “Pictures at an Existentialism” and “In The Ether” some exposure.

You're an accomplished photographer. Can you talk a bit about this aspect in your life?
I mostly do people photography. Models, album covers, portfolio work, etc. Examples can be found here:
http://www.winogrondphotography.com/
I’ve also done journalistic photography, which is completely different. (I've) worked as a staff photographer for The Palisadian Post for four years. I’ve been working with film cameras for decades, but once the quality of digital got really good, I finally moved into digital and haven’t used my film cameras in years.

What projects are you involved in as we move into 2009?
I’m excited about my new album, “In The Ether”, which is a continuation of the psychedelic jazz explorations that I started with on “Pictures at an Existentialism”, though each album is actually very different from the other. I’m also looking forward to getting The David Winogrond Spacetet more gigs and recording an album. I’d like to eventually move to Ethiopia and put a jazz band together there and occasionally tour Europe while living in Ethiopia, but that’s down the road a bit.

Post Script: David emailed me to remind me that To Damascus was on Restless, not Homestead. Totally my mistake. I seemed to recall them on Homestead, but I checked my copy of Come to Your Senses, and it is on Restless. I guess I'll blame that one on old age related memory loss. Thanks, David. He also wanted me to ad a link for the Spacetet's bass player, Larry Rott:
http://home.att.net/~l.rott/

Ok, thanks to David for putting up with me and me gaffs!

In Heaven Everything is Fine: The Unsolved Life of Peter Ivers and the Lost History of New Wave Theatre, by Josh Frank and Charlie Buckholtz

2008-12-28T17:31:00.000-08:00

For years Peter Ivers has been a blurb in the RE/Search Incredibly Strange Music II mag for me, and a bit more to boot. The excellent Jello Biafra interview/rant therein includes a brief description of him, and I've always been intrigued, despite the description's mere paragraph length. I found this unexpected gem of a book about Ivers at the always astounding Oakland Public Library (Main Branch), and blazed though it during a short trip to the island of Hawaii.
Peter Iver's story is one of brilliance and tragedy. The authors use biographical writing, verbal testimonials/interviews from his numerous friends, and interviews with the LAPD Homicide Division to tell his story. It's a great way to format a biographical book, as each section never outwears it's welcome. The transitions from pure biography to interview make for compelling reading throughout. Obviously it doesn't hurt that Peter Iver's life was one of great interest: he surrounded himself with creative people, and was involved in diverse projects. If you've laughed at the folk tune scene in Airplane! or tripped out on the woman singing from within the radiator in Erasherhead, you've been exposed to Iver's work. The man decided to take the stage as the Nicks/Buckingham Fleetwood Macs' opener clad only in a diaper. He put up with Lee Ving's tough guy act as the host of New Wave Theatre. He got kudos from Muddy Waters for his harmonica playing. Frank and Buckholtz do a fine job of describing all these aspects of his life, along with his vexing inability to realize the Star Power he was so clearly deserving of. They also do an admirable job of attempting to shed light onto the tragic murder of Ivers. Although they point no fingers, they do allow those close to him and to his homicide case to give their opinions as to "whodunnit".
In Heaven Everything is Fine was a great read. If you're at all interested in the hidden aspects of Hollywood, or the charismatic and/or quirky historical figures found there, you'll surely enjoy reading it. I bet you'll also be saddened by the senseless death of such a great character. I wonder if the truth will ever be told.

Cometbus #51-The Loneliness of the Electric Menorah

2008-12-10T13:12:00.000-08:00

If there is one thing that I can say with certainty, it is that I love the San Francisco Bay Area. This place is my home, and I hope to stay here for as long as possible. To whit, I've lived in Newark, Fremont, San Francisco, Union City, and Oakland. I've driven trucks all over this area, and am familiar with many of the smaller towns and neighborhoods here.
The depth of my knowledge of the Bay Area pales in comparison to that of Aaron Cometbus. Aaron grew up in Berkeley, and has been putting out the amazing zine Cometbus for years. Cometbus routinely focuses on the East Bay region, and I consider Aaron's writing pretty essential to an understanding of the East Bay. Aaron doesn't pay too much heed to the surface aspects, but instead hones in on the "smaller" aspects, the environments and people that make up the landscape at street level.
Issue #51 of Cometbus focuses on the lives and exploits of Morris "Moe" Moskowitz and various other men and women who made up a small community of book sellers on Telegraph Avenue, near the UC Berkeley campus. Told in his signature conversational style, #51 recounts the amazing history of this small group of cranks, oddballs and business men. Aaron spoke with a lot of the key players that made up the odd mixture of Telegraph during it's height, say 1956 to 1997 or so. The story is spiced with the intrigue of their power struggles, leavened by the truly odd personalities involved, and given heart by Aaron's often melancholic musings upon the passage of time and life. As someone who has spent a fair amount of time hanging out in that area, I was fascinated to read the stories of the men and women who ran the shops, owned the buildings that the shops were in, and just generally helped to shape the tensions that ran through that area like a live wire. It certainly helped me to understand that strange corridor a bit more. Next time I'm there I know there will be a much richer humus from which to draw insight.
Beautifully illustrated with stencils by Caroline Paquita, and sold for a bargain price of $3.00, Cometbus #51 is highly recommendable reading. Seek it out, as you will not be disappointed, even if you've never been to Berkeley. The story transcends mere setting, as all great stories do.

David Hurley Interview

2008-12-08T07:41:00.001-08:00

It started with an advertisement for Porter Records in an issue of Waxpoetics. Along with recordings by older greats like Byard Lancaster and Rashid Ali, Porter advertised a CD by drummer David Hurley. I was intrigued and ordered a copy. I'm glad I did, as Outer Nebula Inner Nebula is a really cool CD, full of great, percussive improvised group music and spacey solo pieces by Hurley. It's a fun listen. I really enjoy the way Hurley plays within an improvising group, and wanted to ask him a few questions about his influences, his processes, and what his plans for the near future are. Thankfully, he agreed to do a short interview. Read on and be inspired!

You are based in San Diego. Is this the area that you grew up in?

Yes! Born and raised and at the moment based in SD.

What were some of your formative musical experiences?

Having the chance to see Ornette Coleman still bring it at age 78… He really impressed me.
As a musician I’d have to say playing (sax and traps) on the streets or “busking” if you will… I can honestly say this has made me a stronger and more conscious musician. Playing down town on the busy street corner, I find myself in a position where I’m able to freely bounce ideas off an unsuspecting audience, which naturally reflects consistent honest (sometimes too honest) feedback. After doing this for a few years I’ve found it has greatly helped me as a creative improviser to be comfortable and confident improvising freely while keeping the ball rolling and thus keeping things interesting. You start to be aware of things like attention spans as you play off of your audience… When you have one. The club situation offers this but not nearly as raw and intense as the streets. It’s much easier to consciously or subconsciously disconnect yourself from the audience on stage and in the comfort of a venue.
I get formative musical experiences off youtube all the time.
Most recently I had the opportunity to record and play music with Elliott Levin. It was an amazing experience thanks to Luke at Porter Records. To be connected by some thin branch in the same jazz family tree as Cecil Taylor and so many other great players is an indescribable feeling.

On Outer Nebula Inner Nebula you play horns, flutes, and keys along with percussion. Did you play in school bands, church bands, etc? How
about teenage years? Did you play in Punk or garage bands?

Never played in school “band” bands. I started playing drums in a punk band at age 16 in high school. Punk is and always will be at my roots. The interest in other instruments came partially natural. I try to think in melody and colors with rhythms. I do remember someone explaining to me early on that if I wanted to be a great drummer I should learn other instruments. I took that to heart.

You also play a lot of percussion from various parts of the world. Have you played in any kind of ensembles, e.g. a Gamelan or Taiko group?

I wish!!! The closest Gamelan ensemble I know of is at UCLA. I’ve always wanted look into it. My Gamelan instrumentation came about with a good run on ebay with some pot-gongs and hours of youtubing/listening to Balinese Gamelan and Ketjak. I obsessively listen to world music for inspiration. Just recently I spent some time in Cuba studying conga drums.

Did you take trap lessons? Any teachers/elders that had a great effect on you in your personal life?

I didn’t take lessons for the traps. I often wish I did… About the time I discovered Elvin Jones’s magical drumming I was really into Fugazi’s drummer Brendan Canty and music of that genre. Elvin stumped me. I knew if I just listened hard enough I’d understand. That’s how Tony Williams, Billy Cobham, and Christian Vander worked their way into my head. Not to mention a huge appreciation for all of their music.

You dedicate Outer Nebula Inner Nebula to Elvin Jones. Clearly you have a high amount of reverence for him and his music. Can you talk about this, or any other great musicians from history that
inspire you?

Well, Elvin has this enormous heart and soul that emanates from his drumming. He is one of the most honest drummers I have ever heard. You can actually hear him feel the music and lift it up on his shoulders. He was a reflection of Coltrane and vice versa which made him even stronger during the time of that synergy. He completely absorbed the moment! Other great drummers are takers of the moment like Tony (who I love). Tony was a lot of flash and talent. But I always come back to Elvin. Christian Vander is just straight up entertaining… Elvin on acid and steroids . I love the way Christian looks with his iced over eyes rolled up in his head behind his Gretsch bebop spaceship… A huge inspiration!

Were improvised music or Jazz styles that you heard in your house as a child?

No! My mom did listen to Mahavishnu Orchestra and King Crimson when she was my age. Sadly her LPs were long gone by the time she had me. Jazz and Improvised music came much later.

The ensembles on Outer Nebula Inner Nebula feature a lot of percussion and not too much of the more traditional instrumentation. What were some of the factors that lead you to organize groups like this?

I wanted a sense of balance between the sounds and instrumentation. Percussion is a given, however, I specifically chose the djimbe and djun djun to provide the high highs and low lows so the alto and the drums (two mid range instruments) could weave in and out freely and comfortably. It takes a lot of consideration to make a group or ensemble really work. Also I’m fortunate to make music with such talented musicians.

Can you talk a bit about the members of the ensembles on Outer Nebula Inner Nebula? Are these men all part of and improvised music scene in the San Diego area? Do you play in any of their groups?

Leonard Mack and I are cousins and grew up together. The funny thing is we both found the drums independently of each other. He is a member of a folkloric African drum and dance ensemble with Ousmane Toure. The Nebula sessions are only the second time we had played together. I felt an intense visceral/familial connection to his drumming, which I feel came across nicely on the album. Preston Swirnoff is a close friend and multi-talented producer of dub, psych and experimental music. We have worked on several projects together over the years. Most notably Seesaw Ensemble and Habitat Sound System. Brian Ellis is one of my musical heroes. He makes anything he picks up sound good. I don’t think he had that violin more than a week before he recorded solar wind drone. He is the lead guitarist in ASTRA, a psychedelic neo-prog group I am honored to be a part of. Google or youtube him… He’s making an impressive mark. Zuri Waters is foremost an artist and was my faithful street companion and horn player in Seesaw Ensemble. Needless to say we know how to listen to each other very well in an improvised situation. He’s now studying art at RISD.

One of the things that I love about the CD is the way in which you leave lots of space in your playing. Can you talk a bit about your approach to percussion/trap set playing within an improvising group?

If you can listen harder than you are playing you can count on being in a good place to make music interesting.
Studying congas has given me a new sensitivity to the traps. Sometimes I’d rather be playing them with my hands (sometimes I do). On the album the drums almost gel like some sort of swinging language at the best moments, which created a more African vibe than a jazz vibe. I kept from riding the cymbals too much which also helped the drum set become more African.

Outer Nebula Inner Nebula features four tracks that are solo pieces. How do you go about with this process?

Hard to say… Cosmic Moon March was actually the first song I recorded for the album and coincidentally the first thing I ever recorded with my computer in my living room all by lonesome. Funny how it’s also one of my favorite songs on the album. When I was researching mics and preamps I wanted to have just enough to make a “Van Gelder” style recording using dynamic mic and focusing on placement to absorb the room sounds. I haven’t quite mastered this yet!!! With the tracked songs I approached the music as if it were improvised. Making a simple rhythm or bass line, which inspired the next rhythm or sound and eventually it would take shape and I’d know where it was going and how I wanted it to get there. I have a house full of collected musical instruments from all over at my disposal. Sometimes I just set them all up and try to find the best combinations of sounds and rhythm.

The track Solar Wind Drone is quite intriguing to me. It's under a minute long, but there sounds like so much is going on within it. If you'd like to, please describe the process of composing/recording this amazing piece.

Ha, it actually was part (the very end) of a much longer piece, which I liked very much. My computer farted and most of the songs tracks were lost in a spit second. When the album was nearly finished I had this thought of using some of Ellis’s violin and my moog from the remaining tracks and thus Solar Wind Drone was reincarnated… This time as a forty second vamp. It works in so many ways in contrast with the rest of the album and with the order of the songs as a bridge from one style of recording to another. I’m glad you like it.

What kind of drum set did you use on Outer Nebula Inner Nebula? How about cymbals?

It was custom made for me by Hard Bop Drums out of Arizona. My graduation present to myself. I use Zildjan K Constantinople hi-hat and ride cymbals and a Meinl Jazz ride.

Do you have a favorite non-trap set instrument?

Congas are my first love lately. I’ve also been giving the cuica and flute a lot of attention.

Do you have any plans to tour in the near future? It would be great to hear you at the Elbow Room in S.F. or 21 Grand in Oakland!

I don’t have any solid dates at the moment; however, sometime in May I’ll be in SF with Khan Jamal and Byard Lancaster and members of Seesaw Ensemble for a Porter Records tour. I should be headed your way with ASTRA soon as well. It would likely be in February or March. My most recent project is an all percussion ensemble. It’s taking shape quite nicely at the moment. We ought to make something happen in SF soon. Until then, Cheers.

David Hurley-Outer Nebula Inner Nebula

2008-12-02T08:31:00.000-08:00

avant-garde- n. A group active in the invention and application of
new techniques...esp. in the arts

Using the given definition, it would be really hard, almost impossible, to consider any music currently produced as avant-garde. I'm not trying to by cynical here, just trying to come to some sort of definition of the music played on David Hurley's great CD, Outer Nebula Inner Nebula. Let's go with Creative Improvised Music.
Hurley is a San Diego based drummer/composer whom I found about in the great Waxpoetics magazine. On this CD, which seems to be dedicated to Elvin Jones, Hurley leads quartets, trios, and duo's through six tunes, augmented by four more solo multi-tracked ones. The former for the most part sound improvised, and are characterized by their heavy emphasis on percussion. Hurley generally augments his drumming with djembe and junjun, played by Leonard Mack II and Ousmane Traore. This percussion heavy approach gives the ensemble tunes a great AACM or Sun Ra Arkestra feel, with lots of clicking, chirping, chiming and bubbling sounds surrounding the alto saxophone soloing of Zuri Waters. Waters takes good advantage of his often lone melodic role within the ensembles, soloing in free form interaction with the percussive bed around his sounds. His solo on Inner Nebula is particularly great; at one point I swear I hear him quoting Aaron Copeland! On Deep Giant squid he takes a slower, more contemplative approach for a while before launching off into the depths of the tune, interacting with the spacey-as hell organ bleeping of Preston Swirnoff. His tone throughout the disc is raw, kind of like Sonny Simmons or Archie Shepp. Hurley's trap set drumming on the cuts with other players in pretty remarkable. Even during his most heated interactive moments, he has a great sense of space, as in leave some for everyone else. Oftentimes it seems like free drummers take all of the freedom and none of the discipline, either groove-wise or ensemble-wise. David's drumming never comes across as overbearing. One gets a sense that he's really listening to his band mates. On the solo pieces, the listener is treated to more contemplative soundscapes, often reminiscent of John Cage's percussion pieces. Hurley is particularly effective with the brushes on Shake the Noise Maker as he explores quiet sounds on his expertly tuned kit. Here is where the Elvin influence really comes across (see the track Who Does She Hope to Be? on Sonny Sharrock's Ask the Ages for comparison). Cosmic Moon March ups the tempo a bit, with groovy Moog and balaphon playing making it sound like the music in the club in which Sun Ra took up residence after leaving this planet. David drops the drums entirely for the fifty second long Solar Wind Dance, a weird duet with violinist Brian Ellis. The song's strange ambiance is disturbing, all the more effective for it's brevity.
In terms of production, Inner Nebula Outer Nebula is quite strong . Hurley wisely keeps tunes on the shorter side of the spectrum, thereby avoiding one major pitfall encountered in improvised recordings: the CD length track. This wise editing allows the listener to move through the different spaces presented by his various combos, getting the full effect and not having to put up with the inevitable filler that occurs within group improvisations at just about any level. The sound is warm, with great separation between the various instruments; even the "little sounds" of shakers and bells come across well in the mix.
Inner Nebula Outer Nebula is a great example of creative, improvised music. At this point, so many years after the initial forays of the Jazz Avant-Garde, I hesitate to give it that description. I can unhesitatingly call if cool, fun, creative, funky, spacey, and ass-kicking. If you dig any of those factors in your ears, you could do a hell of a lot worse.

Led Zeppelin-Presence

2008-11-27T11:20:00.000-08:00

What irks me about the Classic Rock radio format is not so much the bands, but the programming format. The same fifty or so songs by about thirty bands have been in endless rotation for decades now, helping to clog listeners' perceptions about so many aspects of music. I suspect it has a lot to do with royalty rates and point systems, but could be wrong. If anyone ever reads this, and can explain it clearly, by all means explain it to me. That said, at this point the well of sounds from which a careful DJ could draw, in terms of the "Classic Rock" sound, is pretty much endless, what with just about every recording ever produced easily available on the booming reissue market.
Led Zeppelin are by no means an obscure band, even nearly thirty years after their demise. They are often slagged off as classic Rock radio dinosaurs. Punkers like Joe Strummer spit at 'em. Post Punks like Elvis Costello derided 'em with spiteful condescension. Despite their lowly standing with so many of the Official Arbiters Of Taste, Zep's music remains not only a huge monetary source for the music industry (ever notice how often their catalog gets trotted out during dry spells?), but it still sounds really great. I'll grant (no pun intended) that I and II are pretty tuneless and dull, but move past those two in their catalog, and you'll find a wealth of great songs, played with imagination and verve.
Presence, the penultimate document of Zeppelin as an active band, is often seen as their one dud. Why this is, I'll never understand, as for me it's one of their best. Recorded quickly in order to make way for the Rolling Stones, the record has for the most part a raw, simplified sound. By this point in their career, these guys could have sounded tight as a kazoo or washboard ensemble, never mind as a Rock rhythm section.
The album is bookended by two longer tunes, Achilles Last Stand and Tea for One. The former is a great, almost purely Metal tune. My only complaint about it is that it could have been edited down to even greater effect, as Bonham's blasting speed shuffle and Page's cutting riffs are both really heavy. I'd venture to guess that they figured on writing at least one new Big Anthem for their concert repertoire, and Achilles was molded as such. It features as the one constant on said Classic Rock formats from Presence. Tea for One can be seen as pretty much standard Led Zeppelin blues, of course, but it's intro is equal to any riff from the Touch & Go post-Hardcore scene, and it's raunchy guitar playing is great throughout. Dig on Bonham's ride cymbal, too. The rest of the record is made up of shorter tunes that often sound as if the band is trying to fuse Funk and Rockabilly. These songs all feature Bonham as his tightest and most funkified. The paradox of infinite complexity residing within the seeming simplicity of his drumming remains compelling, and the listener will find fine examples of this on all tunes here. His drums were recorded great, too, as usual, beautifully up-front in the mix. Listen to Royal Orleans and try not to be moved by 'em! Page brings the Rockabilly aspect to Presence. His tones are gritty and countrified on tunes like Candy Store Rock and Hots for Nowhere, and most of his solos on the shorter tunes feature at least one instance of whammy bar bliss, as opposed to Guitar Hero pomp. He sounds a lot closer to Carl Perkins and Link Wray than Richie Blackmore or Jimi Hendrix. John Paul Jones adds to the overall feel by subtraction, in this case subtracting the keyboards entirely. He sticks to fundamental bass playing, with his axe pretty much welded to Bonham's big bass drum. His presence is pretty unobtrusive, which I'm sure at least made Page happy. Robert Plant's performance is the biggest surprise on Presence. Eschewing the "golden God" pose, Plant for the most part tones his sometimes histrionic style down, and the vocals' deep placement in the mix helps this process. You can hear the pure Rock-n-Roll approach of some of his 1980's recordings emerge here, along with a new found humour: at one point during For Your Life he makes audible pig grunts! Acts like that, along with a great name check of Barry White during Royal Orleans, seem to show Plant coming to some new way of approaching his method, perhaps willfully shedding the "Percy" persona of earlier years? Maybe the pain of his recent car wrecks and his having to record sitting in a wheelchair had him reevaluating things.
Led Zeppelin always had a raw, immediate feel in their music, especially compared to many of their contemporaries. I've never understood why they were singled out for derision amongst many of the revolutionaries that followed in their wake. Presence is perhaps the best recorded example of this rawness. The fact that they are a big part of the dull Classic Rock Radio cavalcade can't change how great and funky most of the tunes on this record are. If some of the shorter ones got a bit more airplay inside that vacuum, maybe more folks would see Presence for the cool document that it is.

Rufus Harley-Re-Creation of the Gods

2008-11-22T10:19:00.000-08:00

One of my favorite memories from going to live shows is set at the Wilson Center, WDC, in early 1989. Fugazi was playing, and at one point, their sound took on the characteristics of bagpipes. I swear, Ian and Guys' guitars made the band sound much more like a Scottish tattoo than a Post Punk band. I made a mental note right then and there to check out some bagpipe music, and on occasion have actually done so. It's a great sound, wry and melodic to my ears. I love it.
Rufus Harley loved the bagpipes, too. A long-time resident of Philadelphia, Harley may be the only Jazz bagpipe virtuoso in history. Aside from Albert Ayler's trippy tune Masonic Inborn, I can't recall any other examples of the bagpipes being used in Jazz. He made records for Atlantic during the 1960's, but seems to have been consigned to the fringes of Jazz history. It doesn't seem right that such creativity and invention (I mean, come on, JAZZ BAGPIPES?), could be shunted aside, but thankfully the great Transparency label has recently re-issued Re-Creation of the Gods, Rufus's 1972 offering.
Re-Creation of the Gods is a solid, soulful record. Harley leads a rhythm section made up of organ, electric bass, and drums through six hard boppin' tunes. There's a great "Soul Jazz" feel throughout the entire proceedings, in no small measure due to the funky organ playing of Bill Mason. Mason's playing is at times smooth and supportive, at times overdriven and heavy a la Larry Young's Lifetime wailing, but always right on point and in the pocket. His solos are great, too, full of wild abstraction, as on the amazing tunes The Crack (about the Liberty Bell, according to the liner notes) and Etymology. The rhythm section of Larry Langston on drums and Larry Randolph on bass provides tight support for Harley and Masons' solo flights. Their grooves are funky in a post 1970's Jazz Fusion sort of way. Randolph's bass playing on many of the tunes sticks to fundamentals, but on ones like Hypothesis he flows with crazy walking playing that sounds simultaneously relaxed and frantic. His tone is all butter, too. Langston's drumming is by turns jazzy or funky, according to the needs of the rest of the rhythm section. On The Crack and Malika he struts with a real New Orleans sounding high hat and snare drum fueled backbeat, real syncopated sass, almost Bonham-like on the latter cut. That he can turn around and blast out heavy-assed Jazz Fusion drumming on Etymology and Hypothesis, rolling and tumbling off of his ride cymbal and tom toms, is just beautiful. I wonder if he still plays. Harley augments his bagpipe soloing with the electric soprano sax, and with both instruments he solos wonderfully, hitting Coltrane or Lateef style multi-phonic spaces with the former and gruff Roland Kirk type tones and bellows with the later. Despite his exploring, he always has interesting melodic ideas, and never sounds boring on his axes.
Sound wise, Re-Creation of the Gods has a nice, raw feel to it. It's not too slickly produced, and the occasional lapses in Harley's intonation give it a real live feel. The band sounds loose and authentic, sometimes reminding me more of the blues groups led by Junior Kimborough and R.L. Burnside. It features a nice, even mix of all instruments, which is warm and inviting to the ears. The liner notes for Transparency's re-issue feature mystical/spiritual tones, making me wonder if Harley spent any time at Sun Ra's band house in Philadelphia, which I believe would have been there by 1972.
The bagpipes are by no means a commonly used instrument here in America. One might hear them at Fraternal Order of Police/Firefighter funerals, and there used to be a guy who'd sometimes play on Market St. in San Francisco, but for the most they seem pretty rare. In Rufus Harley we have a great example of American Jazz "eccentricity", a musician making highly personal and creative statements by thinking outside of the realms of established canon. I wish I could have seen him at the Wilson Center that night, too.

AH Kraken, 11/21/08, a warehouse in Oakland, CA

2008-11-22T08:55:00.000-08:00

After dining on some great homemade paella at his house, Colin and I hightailed it down to San Pablo Ave. to catch AH Kraken in a warehouse. Scott met us there. The band was starting their set right as we walked in. It was so great to feel their assault up close and personal. All of the elements that make their records great were there: simple guitar riffs, sludgy bass, pounded floor tom pulse. To stand at arm's length from it all felt great. They were somewhat hampered by bad equipment and tons of booze intake (the drummer told me at the merch table that they'd been drinking since 3PM!), but still managed to put on a great, heavy performance. I love the chaotic punky sound that they generate, and they seem like good guys. If you get a chance, go and see 'em live. They seem like a pretty real deal to me.

A thought re: Chinese Democracy

2008-11-20T10:55:00.000-08:00

I logged-on to myspace today, and was kind of bombarded by hype about the impending release of the new record by Guns 'n Roses, Chinese Democracy. I just want to ask, who cares about this stuff? Does anybody? According to the band's myspace page, they've had over one million plays, so maybe the question is just rhetorical. Still, it's been sixteen years since their last record. It seems to me that their kind of music is marketed towards younger demographics. People who were "youth" when their last record came out are no longer young, at least age wise. Is Axl Rose counting on the current crop of teenagers to purchase his new offering? Can he depend on middle aged and thirty somethings for their hard earned cash, even in what seems to be a recession, after the d.i.y. movement? I guess we'll find out. I have a feeling I'll be listening to Celtic Frost or something, at least in order to fulfill any possible Metal jones.

Doug Snyder and Bob Thomspson- The Rules of Play

2008-11-19T08:14:00.000-08:00

Over the last few months, I've become a big fan of the magazine Waxpoetics. Thanks to my pal Max Sidman, who suggested I check out the magazine and it's amazing contents, I've been reconnecting to several musical styles and approaches that I'd become unnecessarily jaded about. Along with it's amazingly detailed coverage of of all things Funk, Hip Hop, Jazz, Dub, and Fusion, Waxpoetics sometimes features a column entitled Left Field Americana, in which writers describe strange recordings that they've unearthed during their record digging expeditions. It's a great column, and I'm continually inspired by the descriptions of obscure records and unknown musicians that it features. Of course, being an obsessive compulsive geek myself, I find it necessary to try and find and hear as many of the strange gems LFA describes as possible; this has proven to be quite a challenge, as these records are seriously rare. It kind of makes me want to move to NYC, or Amsterdam!
One featured group that I have been able to find recordings by is the duo of Doug Snyder and Bob Thompson, whose early 1970's LP Daily Dance was given serious props in one LFA column. Said column's description of it as something like Fushitsusha recorded in the 1970's was enough to make me squirm in my office chair, mouse clicking like a fiend in order to find a copy somewhere. Daily Dance is one rare motherfucker, but, happily for my ears, Snyder and Thompson's more recent The Rules of Play is much more easily accessed, and it's great, too.
The Rules of Play is made up of three tracks, starting out with the 45 minute long title song. The duo start out playing a simple call and response phrase between guitar and drums, and within a minute and a half launch into the meat of the piece. There are plenty of exchanges, plenty of changes that take place within Rules of Play. As with other long improv pieces, it seems to work best when close attention is payed to the rhythmic interplay of the players and the melodic invention that arises from it. The pace is at times relaxed and at times more frenetic as the players wind their way down the tune's long path. Snyder uses looping devices to set up drone figures, and then both he and Thompson go balls-out or blissed out over the top of them. The guitar has kind of a "processed" sound, but the soloing is of a gritty enough nature as to keep from floating away from earth entirely. Doug plays really well in response to the calls of his duo partner throughout. The drumming is kind of Rock, kind of Free Jazz, and always highly rhytmic and inventive. Thompson never falls into the "deep listening" trap that plagues a lot of Fusion drummers, instead opting to sound like Rashid Ali or Elvin Jones if they'd been sitting in with King Crimson. Bob mixes things up between the drums and cymbals with great balance, too.
The remainder of the recording is comprised of two pieces, They Would Not Be Turned Away and The Inertia of Youth. Both feature Snyder on organ along with the percussion of Thompson. Both tunes are played in the same contemplative/improvised manner as the title track. Thompson's s drumming sets up center stage, really a lead instrument playing over top the melodic beds set up by Snyder. He taps, crashes and rolls around nicely. These two remind me a lot of the Terry Riley/John Cale collaboration that was released in the 1970's. It has the same drone-ey/psyche feel as that one.
The Rules of Play works really well for me as early morning listening, but I can see how it would be fine as late late night chill/fright soundtrack, too. I find it inspiring and hopeful that there are musicians out there with this kind of approach. My America is peopled with folks like Snyder and Thompson, making joyous or rowdy noise just for the hell of it, documenting it just in case anyone else cares, but not caring too much if they don't. If anyone out there in cyberspace reads this blog, and has a copy of Doug Snyder and Bob Thompson's debut LP, please contact me. I'd love to get a copy.

Jambang and the Taylor Texas Corrugators, November 14, 2008, Blake's in Berkeley

2008-11-16T19:14:00.000-08:00

Continuing their year long road trip, Greg Ginn and his pals rolled into Berkeley on an unseasonably warm evening, setting up shop in the basement of Blake's on Telegraph. Scott and I followed suit, foregoing a chance to see Gang Gang Dance over in S.F.
Although the format of the show was exactly the same as that of their July appearance, there were differences in the sound(s). To start with, bassist Cliff Samuels is no longer with the group(s). Greg has taken over the bass chores within the Corrugators, and their sound has changed pretty substantially. As opposed to their earlier sound, which was very heavily guided by Samuel's Can-like playing, Ginn's bass lines are much bluesy-er. Greg also seems to like leaving tons of space between his notes, giving the Corrugators a somewhat easier overall flow. Steve DeLollis's drumming has benefited profoundly from this year's heavy SST approach to touring. His touch was sweeter in Jazz sense, his swing reminding me at times of the great Kevin Carnes, master drummer for S.F.'s Broun Fellinis. His approach in the Corrugators is now much funkier. Lastly, Bobby Bancalari has had to assume the sole conventional melodic spot within the band. His mandolin playing was just beautiful, at times hitting Garcia-like heights within the improv Rock of the band. His sound gives them their Jam Band stamp, and if you're inclined to enjoy that approach, you'll probably dig hearing his flights of fancy.
After a short break, during which the band essentially acted as their own road crew, setting up the video monitors for Jambang's multimedia aspect, Greg strapped on his guitar and led his new fave project through their set of synced-up-to-samples sounds. Obviously the lack of live bass has somewhat of a detrimental effect on the overall Rock bottom end of Jambang's spectrum; their new approach allows for the listener to be really transported by the extreme high end tones that they generate. Towards the end of their set, during which I believe to be the song The Big Bang, Jambang achieved really psychedelic lift-off, with guitar and mandolin locking in tight with Steve's motorik drumming, all three elements delivering an amazing, minutes long locked groove. It was awesome, and had me pinned to a wall, eyes closed and mentally tripping. That's what Jam bands are good for, right?
I guess Jambang and the Taylor Texas Corrugators will be heading back to the Lone Star State soon, hopefully in order to take stock and do some new recordings. Greg Ginn remains an innovative and creative musician, and I'm happy that I was able to hear him live again. Gang Gang Dance will have to wait. I probably wouldn't have been wearing the correct pants for that show, anyway.
Thanks Scott and Melissa, who both asked, "what happened to your blog?"

Further proof, as if it's even needed

2008-10-11T11:06:00.000-07:00

Summer 1966:
Talk, Talk
You're Gonna Miss Me
96 Tears
Psychotic Reaction
All on the airwaves. The fact that none of these groups were accepted and recognized, save for a small cult of folks who really enjoy music, is just further proof of how lame the music industry really is. There really ought to be a celebratory memorial erected at the spot on which Bill Graham's helicopter went down. Bah.

Watt takes the day!

2008-10-06T13:02:00.000-07:00

It' s only fitting that on a day in which I received several mp3's of the Chastity Twins from the esteemed Mr. Row, my mail box should also contain a copy of the Mike Watt E.P. by the Widow Babies. This Long Beach group, who appear to be part of the very fertile and fucking interesting scene that has sprung up in and around L.A., have put out a thirteen minute concept record, starring Mr. Watt. It's a chronicle of his battles against a vampiric Abe Lincoln, who steals Watts hands, thus preventing him from sharing his music with his Pedro pals and anyone else who cares to listen. Of course, Watt prevails in the end.

And the Widow Babies' sound? Oh, yeah! Guitarist Danny Miller has an obvious D. Boon appreciation, and goes for that clean, jangled strum of Boon's, his attack strong and scattering. The rhythm section, comprised of drummer Tabor Allen and bassist Neal Marquez, does a fine job of moving the frenetic tunes along, stopping and starting, rolling and tumbling. Allen is particularly great, his style reminiscent of Hurley's later work with Vida. For all I know Allen could have taken lessons from Hurley. Whatever he's doing, it's working! Marquez lays back inside the tunes a bit more that Watt would, which is probably a good call on his part. No need to go get all ironical. Elise McCutchen's vocals are of the higher register "Punk Chick" type, sassy, I guess, but they work well within the context of the band's amped up sound. One might compare her style to Kathleen Hanna's, which makes sense, but I'd throw in Chris Thompson's name as well. Her lyrics are a lot more abstract and a lot less polemical than Hanna's, which suits me fine. But then again I was outed as a redneck on Saturday night, so feel free to ignore my opinion, as it clearly rests with the patriarchy.

All in all, the Mike Watt E.P. is a really exciting, fast paced blast of a record. I haven't felt this turned on by a Punk record since the first Skull Control e.p. blew my mind in 1999. It has energy and immediacy, but does not lack for musical ideas and creativity. The future is in damn good hands with the likes of the Widow Babies.

Mike Watt and the Secondmen-The Secondman's Middle Stand

2008-09-25T18:51:00.000-07:00

It's obviously safe to say that Mike Watt's reputation and name are sterling. As the years roll along, he becomes more and more a figurehead within Post-Punk Rock circles. Watt, the man who makes it o.k. to play second-string to guitar with the bass. Watt, the man in the van, still econo after all these years. Watt, paragon of d.i.y. culture. I'm not knocking him one bit ever. The man and his music will always warrant great attention from Disaster Amnesiac. Watt is a musician's musician, and as such it's safe to say that his sounds deserves hearing, listening, and appreciation. The Secondman's Middle Stand has been getting a lot of play on my CD player of late. Perhaps I can convince any else reading this blog to give it a fresh listen.
The Secondmen on this recording are made up of Watt on bass, Pete Mazich on organ, and Jerry Trebotic on the drums. The group is augmented at times with vocals by Petra Haden.
This all- San Pedro band exhibits all of the cleverness and movement that one can expect from SST musicians in general and Watt projects in particular.
The bass and it's position within band hierarchy obviously been an constant with Mike Watt. His playing has never assumed the strictly supportive role with which the bass spot in a band has often been saddled. That's not to say that Watt's playing suffers from some kind of bass inferiority complex. It seems to me that he loves the bass, loves it's tones and timbres. On The Secondman's Middle Stand, bass is often the featured lead voice. The way in which Mike amps his sound is great: big, fuzzed-out tones feature prominently. Thankfully, he avoids the dorky "more is more" chops-heavy approach that many bass players utilize for lead voice leverage. Instead, Watt makes tasteful choices of good notes, played lyrically and melodically. His simple solution to the problem of the bass' position pays off big dividends to the listener. It's thrilling to hear his fuzzy lead voice on tunes like Beltsandedman and Puked to High Heaven.
One criticism that some folks level at Watt is a disdain for his singing voice. As for me, seeing as that I love the recorded voice of singers like Dave Thomas or Don Van Vliet, I have no qualms about it. C'mon folks, it's Rock for God's sake. Mike's lyrics are always great, too, full of Pedro vernacular and common sense wisdom. It's really populist in a way that many phonies in the music biz aspire to but, for whatever reasons or limitations, can never attain.
Along side of Mr. Watt's bass leadership, Pete Mazich's organ playing carries the tunes on Middle Stand. It's really fun to listen his driving, driven playing. He gets all kinds of great sounds from it. At times it's reminiscent of great 1960's players such as Pigpen; at others it has a smoother, 1970's sound which harks back to groups like Steppenwolf and Bloodrock. There obviously ain't a lot of folks adding organ to the post Punk musical landscape, and as such it's really refreshing to hear Mazich's sound instead of the standard six string guitar. Electric organs produce such a wonderfully colorful sound, and paired with Watt's treble-soaked bass tones, the organ voice on this record just explodes in the ears. Let's hear it for Post Punk organ trios!
Drummer Jerry Trebotic gives a killer performance. He rarely relies on stock rhythms, instead playing imaginative patterns, a kind of Jazz/Rock fusion style that gives propulsion and weight to the tunes. The closest comparison player I can think of would be G. Calvin Weston with Blood Ulmer's groups, but Trebotic puts his own stamp on the style by adding a bit more space between the notes along with a bit more of a relaxed touch. He sounds as if he divides his parts along a kind of linear "cymbals vs. drums" approach, often punctuating tom tom heavy patterns with splashy cymbal accents. It's exemplary trio drumming, as yet another outstanding drummer emerges from the SST/South Bay continuum.
As a group, Mike Watt and the Secondmen sound tight and well rehearsed. The organ trio nature of the group provides for a lot of space, and they fill it nicely; each member by turns steps up and plays support, all the while sounding mindful of the other two. I can attest to their high powered ass kicking live show: even at the pretentious Fillmore they managed keep things human-scaled and full of immediate, real physical power.
Sound wise, the Secondman's Middle Sound is mixed with clarity and precision. The spectrum sounds pretty evenly divided between the three voices. No one is buried in the mix, and it's obvious that great care was taken as far as mic'ing and tonal capture were concerned. It's mixed and mastered smooth, allowing for both high level cranking and lower level appreciation. That's some fine engineering there, boys.
The Secondman's Middle Stand is a great record that has held up tremendously well since it's release. I guess Watt has been sidelined somewhat from the group as he fills in for Dave Alexander with the Stooges, but I look forward to the day when he gets The Secondmen out of Pedro and either on the road or into the recording studio. Anyone know whether or not he's gotten his SG bass back?

Farflung, Numinous Eye, Beaks Plinth-Hemlock Tavern, SF, 9/20/08

2008-09-22T15:27:00.000-07:00

I wore a Kwik Way t-shirt. Scott wore his prized Jimi Hendrix t-shirt. Jason called in sick. Again we braved the strange ways of Polk street in our quest for live Rock kicks.
Up first was Beaks Plinth. This is a one man electronic music project. He used sound from LP's, fed into a laptop and then heavily processed. The resulting sound was not quite the harsh attack of your Hair Police or Wolf Eyes. The sound was a bit more widely spaced, a bit more melodic. A lot of it seemed sourced from recordings of Asian music. Although not dramatic to watch, Beaks Plinth's music was fun to listen to with eyes closed, after a long Saturday afternoon of domestic chores. I give added props for his use of old suitcases to cover the turntable and laptop. Very Eno-esque and stylish.
Following quickly in Beak's wake was Numinous Eye. This is a duo which features Mason Jones on guitar and Mark Shoun on drums. Their set was made up of two long, seemingly improvised jams. Mason is a guitar KILLER, and I enjoyed the hell out of listening to his wide open and heavy Fender Strat playing. It's a really psychedelic sound, filtered through his incredible knowledge of and interface with the best Japanese Psych players. He's getting to be as stunning as Sharrock with his assault. Shoun is a powerhouse of a drummer. His tom tom heavy playing and lightning speed left hand snare technique took advantage of the spaces opened up within a duo setting. He filled them up with a hyper-technical approach, at times playing lead drums to Jones's steady time playing. Another band that may be better appreciated with the eyes closed. Mason sure kept his shut throughout the proceedings.
Lastly, and after a break of ten fucking years Farflung took San Francisco by storm. I've loved this band for a long time. Their Space Rock, so simple and rhythmically driving, has always appealed to me. Yes, they're a lot like Hawkwind, but much as in St. Vitus's case vis a vis Sabbath, I feel that they do it so incredibly well that they get a pass. Farflung did not dissappoint. Pushed along by a powerful new drummer and tight bassist, they blasted out their stoney jams, all three guitars weaving simple riffs, the Moog synth coloring on top. Two thirds of the way through their set, the room started to feel like one big echo chamber, bass tones bouncing off of the walls in a physically bracing way. Tasty! The dudes ended the night by giving every single person who wanted one a cool new T-shirt. I wore mine yesterday. With pride.

Toiling Midgets-Son

2008-09-09T08:31:00.000-07:00

It's been my contention for many years that if you want to understand Toiling Midget's music, just stand at the corner of 3rd St. and Harrison St. in San Francisco, face west, and watch the fog roll over Diamond Heights. The off-whites, creams, and pastels of the houses on that large hill reflect back on the gray tones of the fog, making for a shimmery light that seems to move both slowly and with quickness. It's a very odd thing to see. Much like that view, Toiling Midget's music is often a roiling, muted soup, some sounds moving fast, others more slowly, all aspects swirling together hypnotically.
Released by Matador in far off 1992, Son is likely that last Toiling Midgets studio release. What to make of this apparent swan song?
For starters, Son does not feature the bizarre singing and lyrics of Ricky Williams. Mark Eitzel does a pretty good job filling in for him. Mark's tenor crooning is similar to Ricky's, slightly more traditionally musical than the latter's crazed whooping. Ricky's vocals always sound other worldly to me, truly alien and bizarre. In contrast, Eitzel's vocals come across as more world weary, sounding not as if they come not from the incomprehensible mental spaces inhabited by Williams, but from a more profane perspective. Still, his voice fits with the music, and doesn't detract from the overall sound. As with the vocal timbres, the lyrics differ from the perspectives of their origins. Eitzel's lyrics are much more objective than Ricky's subjective inner landscape portraits, describing characters and relationships from a distance that feels bitter and cold. There is a darkness to his concerns that sits right with the moody sound the Midgets conjure up.
Paul Hood and Craig Gray are just about the best guitar tandem ever. So often, bands with two guitar players just sound crowded, as both will play identical riffs. Hood and Gray never fall into that trap. Instead, the listener is treated to the sound of Hood's brilliant cyclic melodic riffing; it's always tuneful, yet somehow heavy, and neither aspect ever seems forced or cliched. His playing on Son sounds particularly inspired, the tones well recorded and up front in the mix. Atop Hood's foundation, Gray colors the music with cool feedback, noise, and the occasional unison riff. His sounds are trippy and strange, giving abstraction to the tunes. There are songs on Son in which Gray's playing, if isolated from the mix, could easily go with anything played by Throbbing Gristle or Wolf Eyes. These two are never mentioned in written "Guitar Greats" articles, and that's a damn shame. They executed an amazing concept for a lot of years, one that was truly original, and get no credit for it. On Son their guitars spar, collide, and intertwine, all the time very musically. Renaldo and Moore are the closest comparison I've got, but Gray and Hood do it better, in my opinion.
All great guitar sounds need a complimentary rhythm section, and on Son, Hood and Grays' playing gets that is spades from drummer Tim Mooney and bassist Karl J. Goldring. Here we find honest to God rhythm, in the way bassist and drummer push and pull the tunes, a tight unit, flowing together to form climactic highs and tense lows. They never sound anything less than completely engaged in the songs, and never fall into rote rhythms. Son's songs come across as organic entities, and much of this is due to the way that Mooney and Goldring play off of each other. Mooney's simple kit playing, especially his ride cymbal sound, is exemplary. It's a style without peer, and deserves more appreciation than it gets. Goldring does a great job of holding down the tunes, grounding the guitar voices with it's deep Fender Jazz tones.
Extra shading for some of the songs on Son is provided by strummed acoustic (12 string?) guitar, symphonic strings, and what in one song sounds like operatic tenor singing. These elements, along with the classic Toiling Midgets ethereal guitar voice, make for a great, under appreciated gem of a recording. Son's beauty lies within it's song's clashing and rolling instrumental interplay. Peer deep into it's foggy interior, and find yourself transfixed.

Berlin-by David Clay Large

2008-08-28T13:13:00.000-07:00

As it goes without saying that the act of writing is extremely difficult, I'll ask the question, "how about reading?" Of the three basic, classic learning criterion, reading seems to be the one that has been shunted to the side. It's my conviction that many people scan, as opposed to read, texts. This is a sad state of affairs, in my opinion. All that said, history texts often warrant no more than scanning. As a person who loves history (easily evidenced by the obsessive collecting bug, the compulsive document search) I find that sad as well. Well written history texts are few and far in between, and when I find one, I heap attention upon it, relishing my time with it in an effort to savor the sublime feelings that arise from it. Berlin is deserving of such hyperbole, in my opinion. David Clay Large's book about the conflict torn and Historically significant city on the Spree River is an extremely compelling one. Large uses fascinating anecdotes and a superbly even handed critical style to give the history of Berlin from the 1870's until 2000. His portrait of Berlin is one that shows a city constantly arising out of Historical flux, rebuilding and reinventing itself, and for the most part finding itself knocked back down again in relatively quick order. The story of Berlin is fascinating and tragic, and Large does a excellent job of telling it. My only minor quibble with his 650 written pages is an anecdote about Johnny Rotten, in which the author accuses him of "[strutting] about in West Berlin, decked out in black leather and swastika tattoos." Rock-n-Roll to David, get your facts straight. Even though Punk was a Pop phenomenon, I think it's safe to say that it too is deserving of historically accurate treatment.
Other than that, this book is an amazing one. Highly enjoyable and recommended without hesitation. If you pick this one up, please give it more than a perfunctory scan.

Alter-Natives-Hold Your Tongue

2008-08-27T08:34:00.000-07:00

The historical record has not been kind to Alter-Natives. I have a Forced Exposure from '87 or so in which Coley pans them. Dave Lang consigned them to SST's mistake bin in his great '98 Perfect Sound Forever article on said label. My beloved Carducci only mentions them in passing during the Riff section of Rock and the Pop Narcotic. Hell, I have a pal who lives in Richmond, VA, their home town, who has suggested to me that the group themselves have disowned a lot of their stuff. As for me, I saw them two or three times live, and was always blown away by their wild combination on precision and abandon. They're a band from that era that I find myself coming back to repeatedly. Could this just be bad taste on my part? Let's put the headphones on and dig in to Hold Your Tongue and find out.
Alter-Natives sound like a group that practiced a lot. Many of the pieces on Hold Your Tongue feature the kind of changes that arise from heavy, frequent jamming. That's not to say that there are not tunes. Most of the songs on this recording clock in at about two minutes, and despite having tons of changes, they do have working melodic and rhythmic parts.
The lead voices of Greg Ottinger on guitar and Eric Ungar on flute and saxophone provide plenty of melodic interest. Ungar's playing is not particularly virtuoso, but he gets raw tones from his saxes, sometimes sounding Pacific Northwest Garage, at other times South Bay Surf, and still others almost Gnawa. His flute tones are sweet and controlled, Rock in orientation, as he never ventures too far out into solo realms and sticks mainly to melodic playing. Perhaps his music loses points with the critics for his inclusion of the flute? It's never been a particularly popular Rock instrumental choice, that's for sure. Ottinger's guitar playing is a mixture of Prog control, SST grime, and post Fusion Harmelodics. He seems to really like spiky harmonics, which come into play throughout his rhythm section playing. When he takes the lead, his sound becomes a lot more SST-ish; he flips out in a manner that can be described as controlled aggro, playing Pharoah Saunders to Ginn's John Coltrane.
The rhythm section of Chris Bopst on bass and Jim Thomson on drums rages underneath the horns and guitar. Bopst seems to favor the higher end of the bass register, playing a fast, melodic Fusion style. On many songs it's more another melodic element than an anchor. His growling, funky sound goes to places inhabited by the likes of Watt and Dukowski. He's not stayin' in the background, that' for sure. Thomson's kit playing is a hyper, rolling bash. He syncopates wildly throughout each and every song, but has the good sense to stick tight with the band during the more subdued parts. However, when he goes for it, he REALLY goes for it, featuring a sound that flies by the seat of it's pants, a caffeinated Tony Williams, lashing out and spinning ideas with haste. Sometimes it works against him, as his beats seem to be a bit behind the rest of the band, but you won't hear me complain about that. Please also let me mention his ride and hi-hat cymbal playing, in which he has such a sweet touch.
Alter-Natives' brand of Harmelodic Hardcore obviously isn't going to please too many people. The fast, dense attack on Hold Your Tongue is a great example of musicians' music, as the band careens through idea after idea, barely stopping to catch their breath, let alone leaving room for the listener. Obviously someone at SST was listening, and liked what they heard (check out Mojack's latest CD and the last SWA recording for evidence of that.) I find a lot of pleasure in their murky fusion, too. If only the naysayers could have seen them as they pounded through their version of Why Don't We Do It in the Road (I'm not joking), maybe their accounts would have been different.