Chewing Pine

Passage – The Forcefield Kids (Anticon, 2004)

(This originally appeared in Canned Magazine)

Everything from Anticon has an undeniably cohesive style. This release from Passage (Restiform Bodies) has that feel and a little style on top. The Northeasterner transplanted himself to Oakland a few years ago and has since been involved with Anticon: spreading the gospel of oddity. Again, Anticon doesn’t specialize in hip-hop. The collective specializes in exploding the boundaries of said genre. Passage doesn’t necessarily rap, he sings and strums a guitar a good part of the time. Although the guitar playing is accompanied with myriad burps, gurgles and hums of electronics, one can most certainly hear the folky influence in the music. The album itself flows well. With any hip-hop or electronic recording a test for competence is the ability of the producer to meld each track together to create a seamless breadth of work. The Forcefield Kids possesses a singular vision of sonic textures, thanks to Passage. While this slab does not sound specifically derivative of one artist/group the closest relation may be Beans and his first solo full length Tomorrow Right Now. Sometimes the boom-bap doesn’t sound like rap, but more like electronic punk. The album starts off with an unsettling instrumental and proceeds to offer similar sonic settings throughout. Often times Passage does not rap, but sings portions of the verse only to explode with section of raps (“Lost in Boston with a head full of Zanex”). When verses are understandable they’re interesting, but occasionally between the raps and bizarre production a track becomes trying (“Put together/Play/Red Ferrari calendar blob”). This is an amalgam of sounds, only for the advanced listener, but certainly an apt introduction to Anticon for the uninitiated.

Tracklisting:
01 – Forcefield Intro
02 – In the Bio Burbs
03 – Creature in the Classroom
04 – The Pins in the Bowels of Charmed Design,
05 – Old Aunt Mary
06 – Free Luvv, From Left Field
07 – Whine Money
08 – The Unstrung Harp
09 – The Kiss Ass Karaoke
10 – Put Together, Play, Red Ferrari Calendar Blob
11 – Jail 4 Lil’ Geniuses
12 – Duck’n'cover
13 – 19911
14 – The Unspectacular Whiteboy Slave Song
15 – Spring ‘97
16 – Suffragette
17 – Reagan’s Chest
18 – All the News That’s Fit to Pint
19 – Scarefilm
20 – Poem to the Hospital
21 – Pail of Air

Head Roc – The Return of Black Broadway (Odara Productions, 2004)

Head Roc maybe the most well intentioned person in hip-hip, if not in all of music. But, alas brethren, that does not translate into the most exciting recording. Instead, there are moments of pure unfettered dissatisfaction courtesy of Washington DC. Let’s just review the first track since there’s not another point on the album that reaches such a height as this. In the first few moments of The Return of Black Broadway crossing the threshold of your ear hole, getting at your brain, you loose control. It instantly-aurally-pleases. It improves your mood, the day brightens. Immediately the horn grabs your attention as a smooth sounding gentleman begins rapping about his childhood: cheap candy, goin’ to school to be socialized – but then the drum. It’s instantly-aurally-saddening. The patterns being played on the drums aren’t sub-pinhead, however they aren’t gonna make listeners turn to this slab again. Head-Roc continues talking about the downtrodden, critiques public services and politicians. There’re moments of talent sounding out through the mediocrity, but then it’s only a moment. Head-Roc enjoys his position in the underground, which is an overriding emotion from this guy. It seems that he values the independence from what the pubic deems as acceptable, and that’s important. But that doesn’t excuse the winces that this man bestows upon listener’s cheeks. Eventually, Head-Roc will put out something that doesn’t make one contemplate producers needing new drum machines. When that time comes, it’ll be that much easier to agree with his views on American culture and what needs to be done with it.

Tracklisting:
01 – The District
02 – Introduction
03 – Maulistic Animals
04 – Honeys
05 – Eggsquisite
06 – Dedicated
07 – ReunionListen
08 – Inna Time
09 – World Premier
10 – The Skills
11 – Young Jefferson
12 – Hip-Hop
13 – Lord God in Heaven
14 – (202)SKIL(L)S-4U
15 – These Motherfuckers!
16 – America!
17 – Enough!
18 – Sermon on The Metro
19 – Message To The Elders
20 – Groove Wit It
21 – Black Bird
22 – Introduction (DLee Remix)
23 – Crack-a-Dawn (DLee Remix)
24 – Young Jefferson (DLee World Mix)

The Izzys – Self Titled (Kanine Records, 2004)

Since the blues and country music birthed rock and roll there have been countless invocations of both the parents within the vernacular of rock music. The Izzys proudly carry on this conversation between the past and the very distant past. The self titled full length from The Izzys sounds authentic; it could’ve been released anytime within the last 30 years or so. But it wasn’t. It’s new, which can’t bode well considering the slew of throw back groups that currently transform your local dive bar into a juke joint. But, Mike Storey sings as if there’s something to say, and the production overall on the slab here is pretty warm. The songs are even arranged to bore you with the filler (“Change Your Mind”, the bands version of “Climb” by the Meat Puppets) and then let the good ones jump out and make you feel something deep inside, something akin to satisfaction. Actually, there are moments of groove on each and every track on here, just not continuously throughout. “Stand Up Laughing-Falling Down to Cry” (the bands version of “Dead Flowers” by The Rolling Stones) doesn’t make me what to commit random violent acts but, the just makes me wanna keep moving. The stand out from the New York trio here is “Morning Bells”, which is pushed toward the end of the album to reinvigorate the listener with interest. Each song includes an above average chorus, but there are guitar solos on here while a rhythm guitar chimes chords. And while that sounds less than suspect, there’s only one guitar player in the band (like the Meat Puppets), so live shows may prove to be less entertaining then the recording. But if the Black Crowes regroup, these guys should open up for ‘em and take over the nation.

Tracklisting:
01 – Little Sally Water
02 – Turning Round
03 – Highway Blues
04 – Lonely
05 – Stand Up Laughing-Falling Down To Cry
06 – You Got Me Crying
07 – Strange
08 – Change Your Mind
09 – Morning Bells
10 – Velocity
11 – Dreaming

***As a disclaimer, their newer stuff isn’t up to snuff, but how ‘bout that foresight in the closing line…

Mike Fellows – Limited Storyline Guest (Vertical Form, 2004)

Mike Fellows did some time in a band of note, The Silver Jews (Velvet Underground doing country without an expressive lead guitar). So that little history lesson delving into this mans’ career should fully explain his latest release. Of course not. Limited Storyline Guest is full of laid-back guitar twang, finger picking style, and electronic production. The merging of two disparate styles, Americana and Electronica, pushes his music as a whole forward. And moreover, it works. Fellow’s singing is kinda shaky, but in the context of thirty-somethings doin’ country stylings for the hip set, it becomes part of the model. Most of this recording is pretty restrained, but it seems that way because of the minimal drumming, making this whole recording seem light and airy, yet complete. The one frustrating moment on the album comes in the form of “AM”, an instrumental with good intentions that quickly becomes an exercise in self gratification. Experimental attempts succeed or fail, there’s seemingly no middle ground. And “AM” falls short by about a mile and a half. The off-kilter piano simplicity wouldn’t come off as bothersome if not for the lack of rhythm: though intentional, not acceptable. “Way I Love,” replete with acoustic bass accompanying the fingerpicked guitar, the Beefheartian damaged vocals and harmonica further layers the track with Dadaism. The guitar line of “Sunshores” flows up and falls down into itself as the main figure repeats for a good minute before Fellows, amidst electro production proclaims, “I don’t know what the fuck to do with that”.

Tracklisting:

01 – Way I Love
02 – All Wang Heavily
03 – Zig Zag Zig
04 – Sunshores
05 – Chinese Houses
06 – Our Crank
07 – AM
08 – Commander of Space
09 – Nothing Sign

Inouk – No Danger (Say Hey Records, 2004)

I almost love this band, but it almost sucks. I attribute that to the fact that the brothers McMahon are mostly responsible for the writing on this slab. While the two are not given separate credits for each song in the liner notes, their voices and individual interests are easily heard. One of these fellows enjoys the false-seto and an occasional Julian Casablanca impression, like on “Island”. While the other brother lets loose with his version of the country/folk sound on “Somewhere in France” and “Cherry Orchard”. But beyond this simple split personality, the band cranks out some lack luster disco drumbeats and some Radiohead sounding drudgery. When they come out and simply let it fly the results are just short of inspiring. But when they go on a quest to be creative, they’re just short of awful. A few tracks evoke some early-era Pink Floyd (“Elected”, “Nudie Suit”). Most confusingly, though, are the steady flow of references to nudity, childhood and birth. Frankly, I’m not smart enough to make something up that’s interesting, so I’ll end this all by saying only that they have three guitars.

Tracklisting:

01 – What I Want
02 – No Danger
03 – Elected
04 – Father’s House
05 – Search For The Bees
06 – With The Birds
07 – Somewhere In France
08 – Island
09 – Cherry Orchard
10 – Nudie Suit
11 – Victory

Lori Scacco – Circles (Eastern Developments Music, 2004)

If you like one of these tracks, you like them all. It’s like a mini-symphony, without the old, European rigidity. Circles feels like it was perhaps recorded in Oregon, inside of a tree or some such. The instrumental nature of this album, Scacco playing guitar and piano, makes it very hard for the listener to discern one track from the next. Maybe it’s sound-track music. But it is rather impressive that this entire recording, save for the bass parts, attributable to Tim Delaney, came from a single persons’ mind. All the light and airy instrumental sections as well as the negative space (or silence if you’d like), echoes and occasional glitch-pop production came from one, singular perspective. Scacco’s talent was evident enough to Scott Herren (aka Prefuse 73) to take her on tour as well as put out this slab. Just one warning though. If you’re driving and feel moderately tired, do not put this on. It may, in that one situation, cause death.

Tracklisting:
01 – Reeling Then Again
02 - Imitation Of Happiness
03 – Quiet Light, A
04 – Heirlooms
05 – Love’s Journey
06 – Sketches Of Lines In Spiral
07 – Moving Thought Meditation
08 – Meditation
09 – Love’s Reprise

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.

Mystic Chords of Memory – Self Titled (Rough Trade, 2004)

After my first sampling of this slab I sat down and listened to the Beach Boys’ Smile and Wild Honey.  As a result, I feel that I understand the duo that is the Mystic Chords of Memory a bit better.  Soft and succinct surely came across well for the Beach Boys, so former Beachwood Spark Chris Gunst gives it a stab.  Gunst must be credited for crafting solid songs and being able to evoke warmth through speakers, which at times becomes a difficulty due to the proceedings being detached from the listener. The lyrical content that flies digitally off this slab, when it makes sense unlike the line “I became a lobster and he became me”, is slight and at times a bit lacking.  “Soul Through the Bullet Hole”, with a hint of lo-fi, hip hop style drumming and the final relaxing instrumental offering of “Pi and a Bee” don’t sound similar to the vocal numbers, but languidly reign when compared to other tracks that constitute the rest of the slab.

Spring Heel Jack – The Sweetness of the Water (Thirsty Ear Recordings, 2004)

Folks at Thirsty Ear don’t want you to see what’s coming. Another installment in The Blue Series is here to confound preconceived notions. First though, let it be said that Spring Heel Jack (Ashley Wales and John Coxon) is not a duo that sits firmly within one genre. They’ve collaborated with Everything But The Girl and the master spaceman himself, Jason Pierce. So this recording promises at very least, genre bounding. Throw into the mix, Leo Smith and Jah Wobble’s comrade Mark Sanders and the disc already sounds like a bizarre after party in some dark room.

The disc begins in an unassuming manner, free, but ultimately not awe-inspiring. Track two, “Quintet” showcases the talent seeping from every individual participating. The organ sounds raw and disconnected, as if recorded separately and edited in, but helps hold the freedom-music together. Mark Sanders’ excitable drumming changes repeatedly throughout the track to keep every musician moving. Confusing to all but the advanced listener, there are less melodies on this album than tracks. We do find ourselves amidst a few melodies though (“Lata”, “Track One”, “Autumn”), but in a simplified way. What this album does, that Spiritualized and Spacemen 3 do very well, is to take a plain statement and make it exciting. The ritual flights into freedom by Smith and Evan Parker (Sax) serve to inject the music with braun, while the basic concept is held down by the rest of the crew, including the producers. Again, on this Blue Series release, as with El-P, there is less personality displayed by the producer than the instrumentalists. That being said though, this album far surpasses El-P’s effort.

Let’s say I’m a teen-age girl. I wouldn’t let these guys de-flower me, but I’d probably let ‘em finger bang me in the back of their Mini-Cooper.

Daedelus – Of Snowdonia (Plug Research, 2004)

The first time most heard of Daedelus was as a result of the Mush release The Weather. That initial exposure to bizarre beats, put together from myriad sources including kids’ songs and toy instruments, coupled with the rantings of Busdriver and Radioinactive, endeared listeners to the producer. Ignorant of his previous solo work, Invention (2002), Of Snowdonia is a welcome profile raiser.

Apparently, Snowdon is a mountain range in the north of Wales, where the highest point on the island can be found. Now, the invocation of such an area, one that possesses so much serene, natural beauty is obfuscating. If this were a Bert Jansch record or even a hillbilly record with slow and subtle bluegrass melodies tinged with pre-war blues, the reference would be understood, but electronic music and nature, in most minds, do not invoke one another. Not to say that this record lacks organic melodies, it does not. The melodies on “Taking Wing” or “Telling Meaning” are evidence of that. But tracks like “Overdressed” or “Pocket Watch Pulse” are rife with technology. Even the echo on the drum featured in the first track, “Snowed In”, is not a window to nature, but a comment upon the techniques utilized today in electronic music wizardry and studio mastery.

An exceptional effort though. Some may want to compare Daedelus with Scott Herren, but that’s simply unfair. While the two work roughly in the same medium, the results that they both produce are drastically different. Nor is El-P, another producer garnering much attention of late, an apt colleague. Daedelus has no artistic peers, only colleagues.