Podcast Episodes 721 & 722 are live!
Mid-November midweek special
Two new episodes are now available.
Episode 721 features Throwing Muses, Eros, claire rousay, Moin, Zachary Paul, Voice Actor and Squu, Leya, Venediktos Tempelboom, Cybotron, Robin Rimbaud and Michael Wells, Man or Astro-Man?, and Aisha Vaughan.
Episode 722 has James Blackshaw, FACS, Laibach, La Securite, Good Sad Happy Bad, Eramus Hall, Nonconnah, The Rollies, Jabu, Freckle, Evan Chapman, diane barbe, Tuxedomoon, and Mark McGuire.
Wine in Paris photo by Mathieu.
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Amazing what can be found from just surfing around on occasion. Afriend who is a huge Beulah fan once asked me to look at their labelSugar Free's website, and see what other bands recorded for the label."Any label that would sign Beulah has to have other good bands," hesaid. He couldn't have been more right. We listened to a few samplesfrom Wheat's second album, "Hope & Adams," and we were hooked. Itdoesn't hurt to have the involvement of Dave Fridmann, mind you. TheFrid-mann has the ability to bring out the best in every band. A greatfan of his work with The Flaming Lips and Mercury Rev already, I knewthis would be a great release and ordered it immediately. What I gotblew me away. It's crafty pop with a primary message of loss, whetherof love or youth or what have you, with the standardbass/drums/guitar/vocal formula. Thanks to Fridmann, however, the bandplays nicely with electronics, bringing out a fuller sound with thebeeps and whistles. Well-placed piano lines on "Don't I Hold You" and"Body Talk (Part 1)" bring more strengths to the table. Wheat willnever have to worry about becoming tired: there's so much they can doto throw you a curveball. 
Being fond of this CD, I decided to give their first, "Medeiros," arun. Missing is the Fridmann influence, but the songs are still there,along with a healthy dose of nerves. Scott Levesque's vocals are moreechoey and subdued, bringing to mind the feeling that he's still notcomfortable with that role in the band. Songs like "Summer" and "GirlSinger" impress with their picturesque lyrics and directness (samplelyric from "Girl Singer": "I believe I'm touching you, 'specially whenI'm fuckin' you, but you're a little on the tenative side"). Somekeyboard appear now and then, but the album works best without them, asopposed to "Hope & Adams." Both good releases, and well worthtrying out. Look for their latest, "Per Second Per Second Per SecondEvery Second," also with the Fridmann influence, this fall.
There's been quite a little bit of hype about this Filipino trio goingaround in certain hardcore and 'alternative' circles lately and it'sonly going to get worse in the months to come, so before you startthrowing your hard earned pennies out the window, listen to the shortsample below and you'll get the gist of their entire sound ? AtariTeenage Riot? Meet Green Rage Against the Blink-182 Korn Day. Pure crapfor the now generation.
As part of the burgeoning Fatale movement which is ""a force againstthe male-driven music industry and its great heroes" Nic Endo hasreleased an electronic work of great scope here. I'm not really certainhow political / feminist messages are contained in the bleeps,squiggles and beats of this instrumental work but I'll leave that tothe armchair pundits to squabble over. A far cry from the Massona/Haters scree of her first EP 'White Heat' and more a continuation ofthe spacey, removed feeling of the eponymous EP as She Satellites hereEndo takes off from that platform and adds 80's electro-styledkeyboards, casio drums and a variety of samplings from pop culturestaples. The disc's highlights are many ? from the Bauhaus beginningoff 'Man Eater' which quickly changes into a poppy, Kraftwerkian numberto the lost in the ether feeling that 'The Program and the Brides'gives off, this discs pleasures are many. The structures run the gamut- your usual music concrete, free jazz improvisations and tribalrhythms all processed through Endo's sensibilities and lo-fi equipment.Also included is a video for 'White Heat' which is the first time I'veseen pure noise feedback being marketed as pop music ? hot chick inleather bra and fishnets and everything. Easily worth the price ofadmission.
The 'Lab are back and boy do they love The Beatles (well, they'rereally ripping off George Harrison's "When We Was Fab" from the 1980s,which is much lower on the cool-meter). Actually, it's rather nice thatthey're song-based again as opposed to the overtly wanky qualities oftheir last few releases. The faux-country acoustic guitar noodling andpedal-steel solos kill all enjoyment of this song started in the firstminute. Track two, "Long Life Love" might as well be a stoned outversion of the first track: it's slower and almost twice as long andmelodically and structurally begins almost identically. There is aprettiness factor but it's not enough to make it a good song, plus Pramdo it ten times better these days. The third track, "Canned Candies"sounds like a nod to an unreleased Mamas and Papas Christmas outtakecombined with chiming vibes, flute and la-las from 'Dots and Loops'while the last track picks up the energy but doesn't provide anythingcatchy to leave me with. Sadly I feel the group's seriously gotthemselves in a rut, using the same producers for the umpteenth time ina row, coupled with the strong feeling they have inhaled so much potthey can't write a good song any more. On the other hand, I might be abit too critical on an EP of songs which didn't make it to the album.(Or perhaps too grouchy about spending $10 on four crappy songs.) Therewas a time and place where I thought this band could do no wrong: aminimal amount of instruments wasn't a hinderance to their abilities tomake something magical and catchy. Their current sound may have a lotof shiny ornaments, but at the roots are rather empty songs. The bandhas become what they were seemingly anti in their beginning days:they've traded in low-fi for high fidelity low-distortion recordings.They once were trying to say they weren't 'adult oriented' or 'M.O.R.'but they're now primed for elevators in shopping malls. I haven't heardhorns like this since Chicago's "If You Leave Me Now". This EP is outnow through Duophonic in the UK and preceeds the full-lengther due nextmonth. Start twirling your finger.
Early in 2000, Scott Herren delivered a fine serving of organicmulti-instrument post-Tortoise rock on his Hefty debut, "Folk Songs forTrains, Trees and Honey" as Savath + Savalas. Less than a year later,he surfaced with mayhem electronics as Delarosa and Asora for the"Blacksome" EP and "Agony" LP on Schematic. 'Vocal Studies' is theintroduction of his hip hop persona, Prefuse 73, something he's beentouring the country with and releasing limited runs of 12" singles.Here, Herren flexes his muscles as a one-man wrecking crew, pulling indeep grooves, broken beats, melodic samples and just enough electronicglitchery to make it listenable. It's a mishmosh of influences howeveras elements of smooth low-end grooves, sneak in between the bombasticbeats The disc opens with a bit of hip hop radio scanning and the cutup collage madness begins. Guest appearances are made from rappersMikah 9, Rec Center, MF Doom & Aesop Rock and even Sam Prekop. Ifyou were a fan of the Deltron 3030 Instrumentals but wanted a littlesomething more but not an all-out guest fest, this one's for you. Oncenotable producer/musician types like U.N.K.L.E., Bomb the Bass and Khanhave destroyed their street cred by flooding albums with a differentguest on every stinking track, and in turn minimalizing the quality andimportance of the music itself. Herren's not only got a proven talentas a musician and producer, but is smart enough to know at which pointis enough to make it great without overkill. The disc is just over 18minutes and is truly a fabulous trip, well-equipped for those summerdrives with the windows down and the music loud.
'Asylum' (their first deliberate Tarot card reference) firstmaterialized in 1985 and was considered by the group to be a troubledtime. The group's lineup had been fairly steady since the early daysbut their home base had recently moved from the UK to Holland. Songswith titles "Prisoner", "The Last Straw" and "This Could Be the End"symbolify the sentiments of a writer feeling trapped and a group on theverge of calling it quits. Steven Stapleton of Nurse With Wound wasbrought in to perform various production and editing duties. Popularfavorites include the violin-heavy "Fifteen Flies in the Marmalade,"the epic multi-part madness of "So Gallantly Screaming" and the classicsignature LPD sound of "Golden Dawn."
'The Golden Age' was originally released in 1989 and was the first longplayer to feature guitarrorist Bob Pistoor. While many LPD fans don'tconsider this one of their fave releases, it did give clubs the popularhits "The More it Changes" and "Blacklist" (included as a bonus trackfrom the 12" of the same name). The album features a couple of theirrecurring themes with the gorgeous "Hotel Noir" and swirlingneo-classical signature LPD style of "Lisa's Separation". The album wasproduced with Hans Myre and primarily featured a stripped-down lineupof the core three members at the time: Edward, Phil (the Silverman) andPatrick Wright on violins. Thus the sound was completed more byelectronics than conventional rock instruments. Rarely throughout the90s until now has the group performed any of these songs in concert.
Therecordings for Crushed Velvet Apocalypse began in 1989 with the albumsurfacing in 1990. Between 'The Golden Age' and this disc, theLegendary Pink Box surfaced too, a 3xLP set with 2 LPs worth of newmaterial. The Dots were on fire! Bob Pistoor, now a full-time memberopens the album with the familiar guitar work of timeless LPD classic"I Love You in Your Tragic Beauty." On other tracks Pistoor gracefullyadds sitar and wonderful bass lines. Saxophonist, clarinet and fluteplayer Neils Van Hoorn is also now part of the full time lineup but theviolin virtuoso of Patrick Wright has departed from the group. Thisdidn't inhibit the Dots from turning out what many point to as theirfavorite full-lengther. 'Crushed Velvet Apocalypse' showed a maturedsense of writing ability, coordinated musicianship, and a stellarproduction which can conjure emotions of love, awe and horror withinseconds of each other. Songs like "Green Gang," "Hellsville," "Just aLifetime," "The Death of Jack the Ripper" and "Princess Coldheart" areoften played live to very warm receptions. The back of the CD featuresa newly surfaced image, a stunning tribute to Pistoor (by means of abeautiful live picture), who died the following year after a shortbattle with cancer. 
Recorded in 1990 and released in 1991, the lineup remained constantfrom the year before and the group's bonds had grown stronger throughvarious tours all over the world. Initially released as a single LP,double-CD (70+ minutes and a limited edition w/a bonus 3" CD single),this album went on to become their most successful release ever.Popular favorites include the tear-jerking surrealistic dark ballads"Third Secret" and "Belladonna", the pretty yet spooky "Charaderama" orsax and sequencer filled "A Space Between," which has given way to manyemail signature files with the popular EKS lyric, "we all have names."The apocalyptic nightmare of "The Grain Kings" has become a frequentlyused last song or encore number on recent tours and even "Disturbance"rears its head occasionally. The Maria Dimension was the first albumreleased on the newly forged partnership between PIAS and Caroline.Guilty only by association, the releases that were co-issued byWaxTrax! may have gained the LPDs some cred with the gothpost-industrialists but with the new deal on Caroline the space rockersand indie rockers now had better exposure to the crew. One of themagical things about the Dots is going to a concert and seeing allsorts of fans present. This period the Dots seemed to be flying high,1991 saw the US-release of the Pink Box and the recordings of 'FourDays' took place. The passing of Pistoor later in the year shook theband's foundations, the band soon recruited Martjin de Kleer and thelegendary Ryan Moore as they entered a new phase and called up oldfriends (Steven Stapleton and Patrick Wright) for the subsequent ShadowWeavers.
How's that for a concise title? Culled from five shows in the U.S. andEurope between late 1999 and mid 2000, Mark Spybey and friends werecommitted to digital tape by Michael Rother (Kraftwerk, Neu!), amongstothers. The bulk of the ten tracks are drawn from the last two DVOAalbums "Piss Frond" and "Frankie Pett..". The basic structure of thesemostly instrumental songs is about the same, the sequences sometimesextended or edited, then embellished upon by Spybey and collaboratorsNiels Van Hoorn (The Legendary Pink Dots), Dave Wright (Not Breathing),Ryan Moore (LPD at the time, Twilight Circus Dub Sound System), DarrylNeudorf (Abintra), Darren Phillips (Hellen Keller), Mark Gunderson(Evolution Control Committee), Frank Verschuuren (also LPD at the time)and Aimee Lane. All those extra improvised horns, keys and beats perkup many a song and help give DVOA a sturdy and fun live band feel andsound. "Sulphur" is the only one that Spybey really steps up to the micwhile Van Hoorn adds flute to the cello part. "Lost in Deming, NM" isapparently new, essentially Spybey solo on bass and sound debris loopswith longing wails from Van Hoorn. "Muffel", originally found on therecent Spybey/Harris 'Threesome' series disc "Bad Roads, YoungDrivers", explodes again here with sax squawking and Moore's heavy livedrums. "Redkerre" is extensively drawn out for nearly 17 minutes aselectro blips and beats skitter about like firecrackers beneath densepadded loops. "Puppet Show" is the finale and something tells me itneeds to be seen rather than heard to be fully appreciated - it wasn'ta feature of the 2 shows I saw on that tour. Unfortunately, forwhatever reason, Spybey chose not to include his celebrated d 'n brenditions of the Download instant classics "Sidewinder" and "BaseMetal". Darn. Otherwise, it's a fine document of live DVOA circa theend of the 20th Century . 
Krzysztof Kieslowski's film "The Double Life of Veronique" has beendescribed as a romance about moments when we think we see ourselves ata distance; could there be more than one me? Well perhaps that's whatwas at the back of the mind of David Bennet of the heavily Sonic Youthinfluenced Stray Light when he chose the name, because this projectgives vent to his other persona, of e-bowed guitar dronescapes. Of thefive long, immersive yet spacious tracks, two are scored for bowedguitars and dedicated to minimalist painter Mark Rothko, whilst theother three are guitar improvisations that give a nod to Rafael Toraland Jim O'Rourke albums like 'Disengage'. The titles suggest that eachpiece could be a synaesthetic reflection on a particular colour. Eachtrack takes a constant drone as it's base and gradually unfurlsdrifting harmonics like watching the first rays of light creep over amisty morning horizon, until light engulfs the senses. It's a calm,reflective and beautifully blurred music that ought to appeal to fansof the less anchored members of the Kranky roster, particularly Starsof the Lid. In live excursions TDLV is augmented by a second droneguitar and violin, but for this disc it's all guitars. Hopefully thiswill be just the first step in a long and fascinating trip from deepestdarkest Manchester to head expanded eternal orbit around the planetJupiter. Available from: www.nameless-records.com 
The distinct writing, singing and playing styles of Karla Schickelefirst appeared in the trio Beekeeper, where Karla played alongside herbrother, Matt. The next step was in Ida where she joined the group,already in progress, and rounded the group out quite nicely with alower voice and a pianists touch. Finally, with the project known as K,Karla is in complete control and the results are breathtaking. "NewProblems" collects 12 tracks totalling just over 30 minutes, includingmost of the songs from the first CD-R that was being sold at lastyear's K concerts (the remaining one appeared on the split EP with Low)as well as a demo version of the now classic Ida tune "Poor Dumb Bird".Karla's a multi-skilled performer/player, with her fingers pluckingguitar and bass strings, tinkling the ivories and even wrapped aroundan oboe for the song "Figther Dove." On the disc, Karla is joined bysome of her closest friends including Tara Jane O'Neil of Retsin, Rodanand solo fame, Cynthia Nelson of Ruby Falls and Retsin, Michael fromIda and Ida Pearle, who's violin playing has graced Low, Ida, MagneticFields, Retsin, Naysayer and many others albums. Rose Thompson joinsKarla on the vocals for a couple tracks, and if you've seen the K showin the past few months, you'll know Rose is another top-notchmulti-instrumentalist, a force to reckon with and possibly the nextperson to surface from the scene with her own material. The songs rangefrom the gracefully subtle, melodic, minimal instrumentation of "Got aFeelin'" (a Mamas and Papas cover) and the album's openers, "*"/"NotHere", to the jam-rockin "Knoxville" (which sounds like it had to befaded, else it'd go on forever), the four-track charm of the "Poor DumBird" demo and "Telegram" to the bang-up production jobs on theinfectiously catchy "Reminder" and "Regular Girl" tunes. I wish theyhadn't faded so many songs out however, as I love to hear songs truly'end' without being cut short. Fans of any of the aforementioned bandsshould already have this, and if they don't they're truly missing anessential piece of the picture. Karla Schickele is truly one of myfavorite contemporary rock/pop writers.
Phil Western has at least a decade of experience in electronic musicand is currently a member of Download and platEAU. "Dark Features" isthe debut release from Vancouver based The Record Company and it picksup right where Western's 1998 solo album "The Escapist" (co-produced byTim Hill, who has also played with platEAU) left off. This is premiumtextured techno: a thick mesh of synth and sample ambiance andprogrammed beats with additional organic elements like voice andguitars. Phil's vocals appear on half a dozen tracks - they're moreunnecessary than they are annoying, ditto for many of the numerous,seemingly random spoken samples. "Fight No More", "Dirty" and "DMT"ride strong bass and guitar grooves, the latter one being as active asthe psychedelic substance it is named after with Western singing theword 'dimethyltryptamine' over a bright and bouncy pop riff. Gorgeousambient moments endure in several tracks, most notably the tail ends of"Embryo" and "Duke". "Bring That Home, Buffalo" is downright peculiarby throwing banjo playing into the mix. But the most surprising andstunning track of all, the one which will surely confound many alistener, is "Be the Fool". Here Western sings and plays acousticguitar solo for an emotional and atmospheric song that approaches thesound of late '80s American Music Club. Great stuff. I hope Westernfurther explores these heretofore unrevealed singer songwriter and popproclivities. Act now and three more techno oriented tracks areavailable on a bonus orange marble 10" with the first 300 orders directfrom the label at colourspeaks.com .
Not to be confused with the similarly moniquered oldprog group, Berkowitz, Lake & Dahmer are certainly abit noisier, and probably don't stop at stickingknives in keyboards. Lord Pendro and Mr Oleum ofFflint Central have been afflicted by channeledrumblings from these disembodied ectoplasmic entitiesfor some time, and the only way they know how toexorcise the Satanic power of the drones and loopsthat take hold of their recording sessions when thistrio of restless spirits holds sway is to bung out aCD-R packed full of seventy minutes of what reallywent on there at the haunted red house from anotherdimension. Of course Lord Pendro has been known tobecome restless when imbibing vast quantites ofspirits of a different kind, but that is anotherstory.
