Sudden change of plans leading to surprise viewing experience!

 

Yesterday afternoon, Disaster Amnesiac went over to the University of Arizona campus in order to take in a euphonium recital. After schlepping through a bit of a late monsoon shower, I got to Holsclaw Hall and found it to be locked, with no staff around and certainly no performer present. Eventually a student ambled up and told me and the two other people that had been waiting for the doors to open that the performance was cancelled. Total bummer, as I'd been rather excited to hear some live euphonium music! 

Heading back to my car, the University of Arizona Art Museum appeared to me to be open, and it was decided that I'd just go in and take in some art. Pleasantly surprised that I did, too, as the exhibit entitled Staged: The Art Of Performance had some really cool pieces, foremost for this viewer being Score Without Parts (40 Drawings By Thoreau): 12 Haiku by John Cage from 1978. Disaster Amnesiac has long been a fan of Cage's work, and in fact earlier in the day I'd listened to a piece by him on an album released by Nonesuch Records. Score Without Parts is a fascinating glimpse into the mind of America's foremost composer/mycologist. So much space is included within its matrix, yet it allows for unlimited combinations of sound, too. It was imagined that a performance of this piece could be realized by twelve players, or a solo player, or any type of lineup in-between. Cage clearly noted dynamics within each of the piece's twelve sections, and they range from pianissimo to fortissimo, a range that runs the gamut within that particular spectrum. Intriguing too, to see Cage's delicate handwritten title, modestly embossed upon the bottom the score in pencil. John's sketch-styled visual notes upon the score's staff, somewhat brittle looking, were also a joy for this viewer! 

Below: John Cage's Score Without Parts (40 Drawings B Thoreau): 12 Haiku

Another very compelling work on display is The Buffalo Hunting Dance, a 1941 piece by Josè Ray Toledo. Disaster Amnesiac was struck by how current a feel this work on tempera has, despite its being over eighty years old. The vibrant colors contained within its field, the use of negative space, and the line work utilized by Toledo combine in very visually exciting manners.  Ancient to the future!

Below: The Buffalo Hunting Dance

Rock and Roll, a circa 1965 oil painting by Joseph Sherly Sheppard, also made itself notable. This piece exudes a carnal energy in its depiction of music fans rocking out to a live band. Its size and placement within the gallery of the museum make it very tough to disregard, and once the viewer begins to take it in, its vigor becomes readily apparent. The painting's somewhat rough style and slightly primitive lines give it a visceral appeal that serves as a fine analogue to the live Rock 'n Roll experience. 

Below: Rock and Roll 

A final piece that Disaster Amnesiac found remarkable was 1969's Flamenco Rock, an etching done by Moishe Smith. The contrast between the mostly black and white lines of the occasional fields of red, particularly on the textual elements makes for an exquisite little world, one inhabited by interestingly rendered show goers as they experience a night out as they enjoy "Gypsy Spanish Dances". These dancers, captured within the middle of the frame, provide movement that contrasts with the static positions of the seated audience. What were these peoples' lives like? 

Below: Flamenco Rock 

As stated, it was a bit of a disappointment for Disaster Amnesiac that my initial plan of hearing some interesting new music did not work out. That said, a spontaneous decision to veer into what was available led to a pleasingly moving experience within a slightly different milieu. Might have to run back over to University of Arizona Art Museum in order to stare at that Cage piece some more! 

Tijuana Hercules-Pulp Tuxedo; No Sides Records, 2026

One of the most pleasing aesthetics to have been conjured by the early Rock 'n Roll era was that of less is more. It must be recalled that much American music before the Rock 'n Roll era, at least the music being documented on the dreaded physical media (which so often just ends up being furniture), was produced with large bands or orchestras. Rock 'n Roll paired things down, slimmed the lines out, and allowed for the  basic, simple beauty of the sounds of a small combo to ring out and be appreciated for their less encumbered and cleaner strokes. For their 2026 release, Pulp Tuxedo, Tijuana Hercules also went the minimal route, pairing their instrumental attack down to just three elements: electric guitar, baritone saxophone, and drum set. The result is a rockin' and rollin' set, filled with shorter songs that do not skimp on the melodies. Disaster Amnesiac is familiar with at least one of the bands with which Pulp Tuxedo is connected by membership and figures that anyone in the group could go off upon any Avant Garde tangent that they'd choose to wander down. Instead, Tijuana Hercules keeps things nice and greasily Blues-ey. The result of this decision is an album that pumps and pushes and jumps as its players dig in to a form that never doesn't work. Singer John Forbes keeps his delivery cool, often speak-singing his lyrics as he chucks hopped up chordal figures with his axe. Dig on Bounce for a great example of his style in this regard. Additionally, the tone of guitar is clearly well considered. Nicely raw yet never overdriven to the point of excess. John's a great guitar player. Baritone saxophonist Doug Abram provides sounds that envelop and contrast with the guitar. His soloing on tracks such as Paper Bag and Gravity Sits In show him to be a very developed player, one worthy of any showcases in which he blows. Extra cool is the pretty much Ethiopian sound that he affects on Four Walls Underwater. What Jazz and improvising groups does Abram play in? On the drums we find Joe Patt. It sounds as if he plays a pretty small kit: not too much tom tom flaring or China cymbal syncopation from him, just good, solid, four on the floor time keeping. It's the ways in which he propels the other two members of Tijuana Hercules that really impresses. For examples of his more subtle touches, hear Lying To God and realize that Patt can probably get by within any musical situation that he finds himself to be part of. It's always perfectly fine to go back to the roots, and it can be argued that it's even kind of essential. There really is just as much abstraction and real thought within forms that perhaps present as a bit more staid than some of the more willfully "out" ones. Tijuana Hercules certainly sound to be proponents of that kins of thinking, and per No Sides Bandcamp page they've done so for a quarter century. No doubt their live shows have the walls shaking and the ceiling dripping with beery sweat. 

Live shot(s) #249!

 

Shots taken at Wave Archive Tucson, 10/8/26. 

Below: Rob Magill/John Welsh/Kenji Lancaster played trio music from within the Post-Ayler Continuum. Pushing out sound forms in waves. 

Above: Theo Krantz, Santa Fe based sound artist. Electro-acoustic cracks and standing waves of sine. Viol de gamba in use! 

Below: Yewn is also from Santa Fe. Drones from cassette based mixing and banjo. 

Aluminum Knot Eye/Vocokesh-split cassette; No Sides Records, 2026

 

It's been brought to Disaster Amnesiac's attention that No Sides Records have a clutch of new product heading out into the world, the actual physical world as well as the digital. This is always a fantastic message to be found when it is found, which happens at intervals of six to eight months if I'm gauging it correctly. No Sides release in batches of five to six new editions to their catalog, and they're always intriguing to downright ass kicking in their scope. Needless to say, it's time to dig in. 

It's the split cassette release which doesn't appear to have any kind of title that's been dug into so far, and it's been a pleasure to hear from both of these groups. Aluminum Knot Eye is a new name to this listener, whereas Vocokesh, their music has been heard at some point or another, but admittedly only somewhat fleetingly and in the context of other Milwaukee, Wisconsin acts.  

The former kick things off with Die Beschwörung in der Kloten Oase. Translates to something about summoning within that Deutsche-speak but that's as far as the semantics are going to go here. As a tune it hits with some immediate Freak Beat. Impactful guitar tones that run to the raw side, ripped soloing propelled by a tranced out rhythm section. Swearing that Lonely Woman is quoted within that solo action. The vocals are delivered with a properly psyched-out manner and after six minutes or so one can get the feeling of being around a Touch & Go Records bar-b-q in 1987 or so. Aktionist Spelunker follows all of that din, and after a rollin' drum intro which introduces phat tom tom tones that go for the duration, some more seriously Mid Western sonic beat down goes all unhinged for nicely lengthy durations. There's a spot wherein the group spaces out a bit, but they do it collectively and manage to pick up the pieces in a very coordinated way. After that their waves of energy playing goes off again and any kind of mistakes are forgiven and forgotten. The final track from Aluminum Knot Eye on this split is Western Violence and Brief Sensuality. Sunday comin' down vibes at first and an ominous Space Rock manifesto, spookily 'verbed. Disaster Amnesiac has imagined this song being performed at about 1:26 AM to a rapidly emptying club somewhere: a few die hards are still jamming along with the band while drunken stragglers at the bar cry and laugh at whichever spirits they'e engaged with. A Dead City Anthem if there ever was one and a fine way with which to end their portion documented by this release. 

Vocokesh's Starship is the first of their two songs on the cassette. At first it's a blackened Kosmische trip with glitches and a sound of lasers blasting as they battle. Chordal forms are strummed on an electric guitar until the drums and bass kick in together and suddenly the listener finds themself in the midst of a Heavy Rock romp that features mile wide bass drum and cutting guitar tones. A pause lifts up the squeaking electronics section of Vocokesh for a minute. Eventually the proceedings conclude with a a Noise Jam note that gets pummeled in a pleasingly stretched out coda portion. This split release ends with Bucket Of Air, which has melodic Prog notes on the guitar. It's a pushed by a primitive break beat figure on the drums and syrupy bass guitar. An extendo-bliss guitar solo surfaces before the track dips into a b part which explores more atmospheric environments as the lasers reemerge before one last wind up and sonic pitch. 

The press blurb for this new split cassette from Aluminum Knot Eye and Vocokesh mentions that they were "generally hated" by elements of some music scenes that were contemporary to them and within the same region. That the collective membership of these two bands have soldiered on and continued to produce impactful and interesting music gives testament to their disregard for aesthetic visions not in alignment with some kind of unique guiding star. So yeah, grab the tape and gaze at it for yourself!

Live shot(s) #248!

 

Shots taken at Che's Lounge, Tucson 10/4/26.

Below: Trikochet continue to tighten and evolve their mostly instrumental sound. So much to love about this band.

Above: Body Song play lyrically-based Prog Pop. Another outstanding Tucson drummer in their mix. 

Bed Maker-The Mark b/w What Boy Where; Dischord Records, 2026

 

When it comes to seven inch wax, Dischord Records has been a seriously heavy hitter at many points in past years. Think about their initial run that documented the D.C. Hardcore scene as it was transpiring in real time. Or Salad Days. Or the Egg Hunt release. Or the first offering from Ignition. Disaster Amnesiac has no doubt that many people could add their own special addition to the list. Perhaps the never-issued Minor Threat material from a few years back? Or the Lungfish 10 East slab? It was in light of this fact that when the news of the second release from Bed Maker would be a two song seven inch record there was no doubt in mind that a copy would make its way over to my turntable. 

Disaster Amnesiac places Bed Maker within the Dischord continuum as being squarely within the post-Revolution Summer strain of D.C. Punk Rock. By that it's meant that the guitar sounds of Jeff Barsky spiral out with a tightly (W)ire(d) precision stabbing that foregoes the mellow and instead cuts with manic precision. That sound is pushed relentlessly by the fast paced kick/snare beat from Vin Novara on The Mark while Arthur Noll's fat and Dub-ey bass line holds down the frame. Singer Amanda MacKaye declaims about female isolation and alienation within pursuits that are traditionally male centered. Sorry that's still a dynamic. Here in Tucson there's a scene which is very well integrated between girls and boys. Hopefully that's the case in the District, too? The voice which delivers Bed Maker's singer's voice is sometimes reminiscent of her brothers Ian and Alec, never a bad thing, and when the former joins in on the chorus sections, the tune's overall aesthetic value ebbs even higher. Not that it wasn't really cool before, mind you, it's just that Ian has some kind of elevatory magic which imbues everything he's involved with. If you know, you know. The blending of all stated elements assures that The Mark is a song that will have many moving their stereo needle back to the beginning for another spin. That's been the case aqui anyway. 

The second side of this tight document, What Boy Where stays within the Post Punk as Bed Maker groove together as an electric guitar band that on occasion jangles and on occasion roars. This song has such a consummate D.C. sound with its electric, pulsing drama within the rhythm section and the urgent vocals that deliver a harrowing story in the voice. They end it tight as a drum, too. 

Given with an interesting cover image, clear engineering, and tightness in the graphics/photos department (you can't really go wrong with Jason Farrell managing these aspects) The Mark b/w What Boy Where presents itself as a strong seven inch statement from within a label that specializes in such matters. Reach out for it before it goes out of print! 

Sleep-Hempispheres; Third Man Records, 2026

 

Here's to hoping that the 2026 Surprise Lineup Change Of the Year was approved by all parties concerned within the Sleep organization. This is not to say that Disaster Amnesiac doesn't see Sleep as being a band first and foremost, and a very important, genre defining one at that. It must be acknowledged that the original trio were pretty much inventors of the type that's come to be known as Stoner/Doom. Those guys were laying that particular type of groove many years ago now and the entire Metal macro-genre is well aware of the fact. It would be so cool to find out that Matt Pike and whomever was last to hold the drum throne signed off with acceptance, if for no other reason than to hear what drum King Dale Crover and D.C. Hardcore guitar legend Bubba Dupree could cook up with the bass/vocal action of Al Cisneros. Pike seems like the type of person to take just about anything in stride: his career in High On Fire has been admirable and fascinating. So, yeah, trusting that it was all good in the 'hood with past and now current members of Sleep. 

As to the new LP, Hempispheres, the news of Sleep's new configuration documented therein was greeted within esta casa with some serious excitement mixed with perhaps a touch of bewilderment. Was this listener really going to able to hear new, easily accessible guitar work from Bubba? OH SHIT YEAH went the refrain. His first band Void has never not been in my listening rotation since first encountering them in November of 1985, when a guy that had been able to attend those essential early 1980's Hardcore Punk shows in D.C. hipped me to the wider Dischord catalog (I'd already discovered Minor Threat earlier that year in June). The possibilities of how Dupree would sound tantalized, and the first single and album opener, Have Spacesuit Will Travel did and does not disappoint. Definitely a more laid back approach for a bit, and then....impact. Bubba has harnessed a deeply imaginative, Sci-Fi guitar sound that blends so well with the Crover drumming flow and Cisneros's unique chanting and super fuzzed Rickenbacker low end grooving. The b-part of the tune has this excellent 1970's Library Record synth that hits with extreme precision. Trio action with Dale bell traction! Dupree's solo is wonderfully melodically expressive and he's so in control of the tones. Plus a very logical chord sequence to end. If memory serves correctly, the second single was The Morrisist and that tracks as it feels like a second movement vis a vis the opener. Is it an outright ode to T. Iommi in verse? Crover just drives the heavy earth moving six string riff and its Sabbath style hippie percussive jam takes it out with further sonic linkage to the masters of reality from Brum. It may be a purely subjective idiosyncrasy on Disaster Amnesiac's part that the title track makes me think of slightly slowed down New Wave of British Heavy Metal but after multiple hearings that's still the case. Bubba grabs some ultra fuzzy guitar sounds. Astute Moog interjections ride atop cymbal bell boogie and into a half-time slink on the b-part here. One can hear Crover making slight adjustments to Cisneros and Dupree as they tandem on the electric guitars. It's an evolving plot with wicked, creaking tones from Bubba that bring Paul Leary's heights to mind. Kind of an abrupt ending, huh? On Arrival of the Industry Ships Sleep take up a real desert groove. Al Cisneros sounds more upfront as his bass rumble comes this close to clipping. The emergent b-part climbs up to firmament within his imagined Science Fiction world and it's heavy! The group sits on another phat groove, lets the smoke fill the chamber until Bubba rips a bong load of heavy Rock action. His soloing takes off on multiple flights and each one balances perfectly with its predecessor. Stoner bliss is activated as this powerful trio grooves for a nice, extended duration. The sonic interstices are slid around with such dextrous finesse. Hempispheres concludes on Whole Wheat Mountain/Well Backed. The first half of this title cracks me up again and again. What does this mean? Insert Instagram laughing emoji here for sure. The coolest drum flow on the album resides here: tight cymbal bell work that glues all of the elements together. Bubba stabs at chords at goes into minimal, flatted progressions. It's a song that gives a heavy-assed goodbye wave as the newly reformed Sleep prepare to trudge on off down the road. 

Despite Sleep's new lineup being somewhat of a "shock" to many, it's no surprise at all that Hempispheres is another fantastic statement from the deep mind of Al Cisneros. Here's to hoping that their tour takes a stop in The Old Pueblo, as Disaster Amnesiac would be over the moon at a chance to occupy the same room as the one that Bubba's amp and hands are also in.