Chewing Pine

The Functional Blackouts – The Very Best of the Monkees/The Severed Tongue Speaks for Everyone (Dead Beat, 2007)

Over about a five year period of recorded activity, The Functional Blackouts were able to create a trebly mixture of punk and noise that knowingly could only have culminated in a break up. Well, that’s what happened, but if some other avenue would have been explored, listeners may not have been privy to The Very Best of the Monkees. Not necessarily a “Best of…” compilation, this collection aims at bringing unreleased versions of album and singles tracks to a full length format.

The bands’ entire first single is represented here, which betrays the groups initial leanings towards a more garage inflected sound. However, since we are talking about the FBs, the overwhelming surge of disheveled punk overshadows the precedings. Somewhere between Bedroom Disasters by the Reatards and Erotic Grit Movies by the Piranhas, the FBs belie a Midwestern sound. Thrown in is a Cabaret Voltaire cover as well as a song titled “Frustration”, which may be considered lacksidasical based upon the fact that the one hit (that term being applied liberally) from SF’s Crime holds the same title.

Similarly, “Stab Your Back” from The Severed Tongue shares its’ name with the first British punk single by the Damned. Regardless of that, this, the second FBs full length, originally released on Chicago based Criminal IQ in 2006 and repressed by Dead Beat, continues in roughly the same direction. The production quality, while still remaining in proximity to the basement improves on Monkees efforts. Musically this disc incorporates more explorations of noise. “Heavy Breather”, getting two treatments, clocks in at more than half of the forty-five minute slab and offers at best a difficult listening journey through experimental noise. The FBs being label as an experimental punk band though, or whatever genre name may be applicable, seems to be a misnomer if compared to Pere Ubu, Devo or any other early punkers with penchants for a shambolic rock. What the FBs do best is play primitive punk for the modern loser. Stripped down guitar lines, horrific if not occasionally ridiculous lyrics and painfully screamed vocals enrobe this disc.

Understandably, playing straight punk can at time become tedious, but listening to faux sonic avant-punk can be just as trying. The songs offered up amidst their last album are as rewarding as any other punk release circa ’06. Unfortunately, listeners can only hope that the Daily Void improves to the point where there isn’t a distinction between their recorded past and that bands’ future.

The Scientists – Pink Album (Anthology Recordings, 2007)

(This originally appeared in the Cleveland Free Times)

Apart from the singles that voracious, nerdy collectors seek, this first proper album from Perth’s Scientists represent a water shed event in the development of punk and underground music in Oz. If at some point the compilation Pissed on Another Planet has become accepted as the encyclopedia of Scientist history, this early era of the band seems misrepresented. On Pissed, these tracks appear out of sequence and are interspersed with singles and other album tracks. The evolutionary point that Pissed misses is that, this initial album was recorded as a trio, unlike a fair amount of tracks that have in the past accompanied the thirteen tracks that make up the Pink Album. Kim Salmon, who alternately sounds like Jake Burns and Dan Treacy, created a sound from what he discerned was punk. Working on the model offered by Jonathan Richmond, who happens to be echoed lyrically in almost every lyric, and other simplified rock of the mid ‘70s, Salmon gushes songs about girls, being a loser and enjoying science as a way of dealing with the feeling of being cast aside. Despite the future fame, cult or not, of the Saints as well as the Birthday Party, the Scientists have lived in a lull, not working full time, but being given popularity bumps every so often with a release or two and a spot opening for U2 during an Australian tour. This resurrection brought around by Anthology Recordings, an all re-issue, digital label has done the reassembly needed to introduce new fans to an excitable, innocent and confused sound of down under rock.

Dave Holland Quintet – Critical Mass (Sunnyside Communications, 2006)

There’s a difference in sound quality that one can hear when listening to the horn tonality and general overall production in jazz from previous eras and current technologies. Rudy van Gelder recorded jazz masterpieces in his living room for Blue Note Records for long enough to make current recording procedures seem rather ridiculous. And while this Dave Holland lead group most certainly sounds slicker and well produced than bands from decades ago the recording sports good players and polished production. Critical Mass is comprised of original tunes from each member of the group and is still able to maintain a certain kind of cohesive feel that makes the album sensible. More often than not the main statements in each track are standard in nature, but occasionally the soloists have a chance to get free. On “Vicissitudes” a Latin tinged melody and rhythm is exploited by Chris Potter as his sax gets a good work out. Apart from Holland himself, who shares as much space on bass as any melodic instrument, Steve Nelson and his vibes really go a long way to making this album distinctive. From the first track, “The Eyes Have It” to “Secret Garden” the vibes go off on some tangential journey, but Nelson always has the sense to regroup and come back from that place he goes amidst the solos. A well rehearsed group on Critical Mass makes listening more interactive than on normal albums, even if the production values are more pop related than jazz.

Seth P. Brundel – Devil’s Pawn (Aesthetics, 2004)

“Gotta Mac-10 to whack ten politicians…”

A few years ago I borrowed a 12” called “Movements” by Cyne. And on the second side? Obligatory remixes. But, two were by Seth P. Brundel. And finally he releases a solo album. Subtle innovations are copped by Monsieur Brundel, so the music doesn’t sound solely hip-hop related. It’s not a third stream, but it’s a tributary. The one complaint I have is that on every damned track there’s awful drum production. Any slight that I could possibly conceive of would not fully convey the horror that these drums visit upon me. Even with robo-drums, though, this album is warm, but not hot. The raps are above boards and the production comes close to being unique. Alotta politics fly from the mouth of Brundel, but really the most touching track comes in the form of the “Self P.” Disregarding the fact that this one’s an introspective downer, it stands out amongst the rest of this slab. I guess that there has to be a battle rap, and we get it on “Ego Fuel” – it’s typical faire. Some psychedelics, interestingly enough, show up with the references to The Doors and Floyd on “Absolute Power”. Included are enough backwards guitar to be interesting and not annoying. Good release overall, but ya’ll need to work on the packaging.

Lee Perry – Chicken Scratch (Heartbeat, 2007)

Originally released more than a decade ago, Chicken Scratch possesses an indisputable ability to make a tangible cross section of Lee Perry fans cringe. Of course, only those fans who can not appreciate a good ska beat will feel that way. Unfortunately, that proportion of fans probably makes up the bulk of Perry listeners. Deep roots, echo chamber sound effects and crashes are expected from any Perry release, regardless of how early the recordings may be. Chronologically, these tracks represent some of the earliest sides from this would be Jamaican musical giant.

Backing him throughout these offerings are graduates of the Alpha Boys School: better known as the Skatalites. Supplementing the historical aspect of Perry’s career, the Skatalites early on in their short lived initial phase were a house band, albeit one of the best ever assembled. And here we are given the chance to listen in on the prototypical motions of the group. “Feel Like Jumping” should be familiar to anyone who has entertained the notion of purchasing a pork pie hat, considering the music is also used for “Fat Man” by Derrick Morgan. Similarly, “Tackoo” is also the Alton Ellis tune “Ska Beat”, from Skatalites and Friends at Randy’s. Given these recycled rhythms, it’s interesting to hear Perry make use of a familiar tune and experience his oddly pleasing voice, though he may not adhere to the singing standards of either Ellis or Morgan.

Again, for those looking for dub, it won’t be located here. What is similar between this and later work by Perry, or anyone else from the island, is the inclusion of religiously themed lyrics. Between “Rape Bait” and the groaning proclamation at the beginning of “Roast Duck” are songs like “By Saint Peter”. Traditional themes of sixties Jamaican music are explored as well: like family trouble and having problems with those damnable rudies.

Outstanding, this release is not. And in-fact, if this happened to be led by another personage, there ostensibly would be little interest. Even with the additional tracks that supplement the re-release and the strength of the solitary standout, “Hand to Hand”, there are incalculable better ska discs to spend that i-Tunes gift card on.

Om – Variations on a Theme (Holy Mountain, 2005)

Om definitely doesn’t suck. But at the same time, that’s about all they got going for ‘em. Sure, they give up forty plus minutes of sludgy drum and bass rock music geared towards those of you that enjoy substance abuse; but interest in that cannot be sustained.

The album is aptly titled, seeing as each song exercises about the same tempo, shifts and mood. The bass-lines aren’t exactly the same, just eerily similar. If nothing else rarely in recorded music is the distortion on a bass turned up so high. The sing/speak method of vocals are employed, but frankly who can say if it’s even a worth while exertion of energy to decipher what Al Cisneros is saying.

The reason that this band was allowed and most likely encouraged to explore these exercises in sludge is resultant of the duos past musical relationship. Cisneros and drummer Chris Hakius were formerly members of the late ‘80s/early ‘90s band Sleep. Now, what Sleep is remembered for is smoking copious amounts of weed and playing really long hard rock songs, affectionately and sophomorically referred to as stoner metal. Other members have gone on to form bands including High on Fire, a current darling of hard rock connoisseurs.

Regardless, Variations on a Themeis just that. A statement reiterated as many possible ways as the duo can muster. Now there’s nothing wrong with it, but it’s not a stretch to venture playing these tunes is more entertaining then listening. Highly recommended if you’re stoned all the time and like hard rock. But, if that’s not you, then perhaps you should go pick up The Monkees reissues that Rhino put out. Killer.

Alias – Collected Remixes (Anticon, 2007)

(This originally appeared in the Cleveland Free Times)

Hollis, Maine hasn’t given the world a great batch of hip-hop, but Alias weighs in from the Anticon stable with an album that both represents his concept of what rap has become as well as what his label works to push forward. In keeping with the unconscious decision of Anticon a few years ago to further embrace indie and electronic styles, Collected Remixes moves deftly between genres and works to include the personalities present on the original tracks. On “Alienation”, Alias works with percussive noises that recall vintage De La Soul, but adds the unobtrusive vocal piece lent by Lali Puna. Somber hip-hop, evoking slow mornings comes in the form of “Clue” from a Lunz project where Alias allows the drum programming to take over the track. The final two selections on this slab are from Anticon related acts and end the affair on a promising note. “Karmic Retribution/Funny Stick”, a Sixtoo composition, represents the strictly hip-hop life of Anticon backpackers and hints at the organizational skill of the writer and the re-mixer. An Alias and Tarsier track concludes the album with a quiet intro and a representation of where Anticon seems to be going in the future. Collected Remixes sits firmly in the Anticon cannon and as a misfit amongst remix albums that take on the personality solely of the producer. If rap fans are looking for a strictly boom-bap soundtrack, look elsewhere; here, influences are rampant and evident, taking cues from much more than hip-hop and electronica.

Sunburned Hand of the Man – Fire Escape (Smalltown Supersound, 2007)

According to their website, there is an official discography. But honestly, how accurate can it be if the recording life of this ensemble dates back to ’94? Allied to the new wave of private press pseudo hippies, Sunburned has worked its’ way to a relatively strong following amidst the media drooling over the likes of Wooden Wand and Akron/Family. Consistent touring and recordings documenting free form performances and or jams sit Sunburned squarely in a position to grow their listener-ship. Releasing a disc, Z, earlier this year on Thurston Moore’s Ecstatic Peace label, probably doesn’t hurt either.

As for Fire Escape, the band is joined by Kieran Hebden (Four Tet). And while sonic manipulations have always been apart of Sunburneds’ oeuvre to some extent, Hebden makes his presence felt. For a band that even apes the Dead’s artwork, utilizing a producer aligned with IDM seems like an odd posturing. Of course there are those listeners that will undoubtedly get into this disc as a result of Hebden’s production. But why him? And why now?

The answer to those questions may be found in the form of “Parakeet Beat”, which is all percussion, loops and production. The troglodyte inclinations of this band, and others of their background, do point towards an eventual percussion jam, which “Parakeet Beat” is, of course. The pronounced affinity for krautrock from both producer and musicians here also contribute to the success of this track, which seems an odd high point considering the instrumental limitations. A scant two songs latter, the title track confirms any inkling related to the players’ angling at repetitive white-folk, electro funk.

Other sections of the disc display Sunburned in its natural habitat, but ever once in a while, the listener may want to re-examine a specific section to find whether it was a musician making that noise or Hebden inducing sounds. The band, here on Fire Escape, takes a step, regardless of how minute it is, towards a new music, or at least a new avenue for them to spread their hedonistic lifestyle to accepting audiences.

The Daily Void – The Identification Code 5271- 4984953784-06564 (Dead Beat, 2007)

Dead Beat Records has relocated to good ole Cleveland, Ohio. And regardless of their office being in my hometown, they continue to release punk and garagey related ventures. Amidst some of the more standard music this imprint works with are a few idiosyncratic and unique acts.

The Daily Void have been culled from the disbanded Functional Blackouts, who over the relatively short while they were performing, created a dense aura around themselves: playing house shows throughout the Mid-West and the like.

With the demise of the FBs, Dr. Filth and cohorts sought to continue their legacy of disheveled punk with a slight evolution. The sound of DV is obviously in some way tied to the FBs, but not as fulfilling. It’s still punk and the music still attempts to relate a bleak future through each tune. There is a tangible difference. The same propulsion is present. The band is fast, sloppy and rugged but the sense of experimentation and lack of care is missing. Even their name points to a perception of life that may not result in maximum effort.

If you think shit doesn’t matter, why bother exerting yourself?

Where as each FBs’ release moved forward in some way, adding a new layer of post-punk nihilism and noise, this initial release from the Daily Void seems like a step back to a more basic and primordial time. The music is still balls out punk, but doesn’t maintain the urgency that the Functional Blackouts were able to bring to the fore.

“Tapewurm” does possess a great deal of noise atop of the steady punk beat and even a bit of rhythmic variety, but unfortunately, there really isn’t a succinct statement of their work. Instead, what becomes apparent is an obsession with insects. Comparisons and blatant statements like, “You’re not a man/You’re an insect”, do point to the prevalent perception of humanity as scum, but where in punk is that lacking?

The arduously screamed chorus of “Die Stiletto” works to cement the lack of concern for life, and it’s convincing. Considering the past association though, this delivery of not quite standard punk seems a bit centered. The future may not look upon this as kindly as previous FBs releases and E-bay certainly won’t find anyone to hock The Identification Code for holiday prices anytime soon.

Psychic Ills – Early Violence (Social Registry, 2007)

(This originally appeared in the Summer ‘07 issue of Skyscraper)

Considering that Dins stands as an un-touted moment of perfection amongst all of the psych schlock that appeared within the last few years, Early Violence only serves to explain where the band came from. The assertion of Dins main idea, prehistoric drumming coupled with repetitive but intelligent guitar lines, is present even at these early dates. What the band has come to embrace in their live shows is augmented by additional influences. “Killer” gushes forth ‘80s British adulation with rudimentary keyboard and electronic sounding drum programming. Punk rears its head a bit during some of the guitar focused moments, but never over takes the proceedings. Early Violence displays a band trying to work out which of their influences should take over. Obviously there’s the omnipresent Spacemen sound, but ‘70s NYC rock is a touchstone as well. Having figured this, naming a song “Days”, which Television did as well, and playing it for 7 minutes amidst the worst recording of the scattered selections seems a bad idea. The 8 tracks only add up to thirty-five minutes and every listener will find at least one song a throw away. Unless the copy of Dins you bought is worn out already, you probably can wait to find this used in the discount bin.