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Volcano the Bear / La STPO, "The Shy Volcanic Society At The Bear And Bird Parade"

cover image As fitting a split as could be, this album joins two of rock's most experimental experimentalists in a meeting of minds that, as any split should do, provides new insights into the output of both artists, creating a fitting relationship between these two diverging takes on weird.


Beta-lactam Ring

The disc opens with Volcano the Bear's five tracks, whose sumptuously layered take is, comparitevely at least, the more palattible of the two. Not that that means much here. "Our Number of Wolves" drifts from concrete scratch to ultra-slow New Orleans funeral music as covered by European avant-improvisers, while "The Boy with the Lips Inside" presents a spare beat and odd hummed melodies that trickle outward like some hi-fidelity field recording from hillsides yet uncovered, never presenting too much or getting carried away.

This comfort working with a single idea can be seen throughout here, as the extended "The Open, the Closed" presents sputtering synth lines and odd feedback that grows, shrinks, and grows again over its eight elliptical minutes. It is a compelling and, as is typical for the group, exceptionally well paced sonic descent before "Death Sleeps in the Ear" and the cosmically titled "The First Circle is the Eye" see the group moving deeper into the abyss.

La STPO, a relatively large ensemble of like-minded musical players (and I mean that in both senses) takes over from here, displaying their knack for oddly orchestrated mini-symphonies on tracks like "Guayaki," which could just as well be a meeting between gamelan classicists and early Zorn game pieces, and "Les Oreilles Internationales," whose silly and sputtering stop-starts, overrun with vocal antics, lunges deeply out of sync with any conventional genre trappings.

"Invalid Islands," opening with bent reed and string slides, eventually drifts into a kind of ether-drenched poetry before turning around and harkening toward a downtown aesthetic that's as much Pere Ubu as it is Branca, let alone Material. The closing "Colonies" is just as chaotic, jumping between sytles and approaches at a moment's notice while remaining entirely together and cohesive.

Given the strength of the music here, and the vast potential of such a tag-team as this, it seems a shame almost that the split wasn't done track by track. Given the world music influences, open sonic stances and moment's notice phrase changes of both groups, it seems like, rather than splitting the disc down the middle, this offering could just as easily alternate every other track. While the relationship of both groups is highly apparent here, perhaps there would be even more to discuss were they presented side by side and title by title. That said, this works too.



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Review of the Day

John Rifle, "Fracas Nurture"
Rabbit Surgeon Musics
And from the "What the fuck is this?" file comes this CD from John Rifle. John Rifle is an enigma. He's obsessed with rabbits, as the album artwork shows, and pop culture, as the music shows. He's not happy with the way things are going in this world of ours, and he's taking action. Mostly minimal piano and drum-created music with sound samples on top, "Fracas Nurture" is a pretty strange and frightening listen, completely devoid of warnings or clearances. Most samples are taken from television source material like ABC News and VH1 Behind the Music, and the CD is assembled like one long radio broadcast from inside the mind of a lunatic. It's socially conscious, it's got its sights set on many different targets, including the music industry, fame, drug use and the media, and it's completely and totally out of its gourd. Never has sound collage music sounded this urgent, this driven, or this insane. It's like Negativland making the soundtrack for a reality TV/horror movie. Bob Weston recorded this music, and he has done an admirable job given how this material could drive anyone involved over the edge. Tom Waits once created a track like this with samples of Dan Rather, and this is like the dream that track touched upon fully realized. Occasionally the music takes on a real structure, like on 'Intercom', but not often. Mostly, it's spoken word performances, with a little music for good measure. It's a message, not exactly for the faint of heart, that has some music with it. It's a good project (can't really call it an album because it defies even that moniker), but needs to be absorbed in doses. This is too much for one sitting. Try it out, though, because it needs to be heard to be believed or understood.




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