This self titled release could be considered Adrian Orange's first ‘deliberate’ album. After touring the country in 2006 with a massive band in two vans (including children and horn players and official dancers) and inventing a new kind of music and living, the band re-materialized in Dub Narcotic Studio in February 2007. The studio is an amazing collection of equipment from an era when recordings were made "live", everything happening on the spot, which was perfect for this new kind of tidal wave. It’s the perfect combination of beautiful accident and deliberate symphony.
"American Nudism or Gabriel Gutierrez is the former front person of Lysol. Done with starving on tour in the American underground he has settled in Olympia where he can bathe in synthesized chocolate syrup." "too much change in too short a time. Can you tell what’s real or unreal? Science fiction becomes future truisms "Vroomvroom" says the philosopher Change is a cop And he's an action machine."3 tracks 45RPM
Inspired by Bollywood, a trip to Morocco, and Serge Gainsbourg, Angelo Spencer’s second full-length World Garage [KLP235] brings armloads of new instruments and the flavor of exotic locations to a compilation of songs that amount to more than just an album, but an experience of wildness
Similar to works by such instrumental groups as The Shadows and The Ventures, Angelo Spencer et Les Hauts Sommets illustrates the potential of the guitar; how it can be played and bent to influence accompanying instruments. Angelo Spencer is self taught, but aside from his one-man band performances, he has never played guitar in a band before. On this album his guitar creates the wavering tempo for accompanying echoplex, bass clarinet, keys, bells, bass drum, handclaps, shenhai and shakers. Arrington de Dionyso (Old Time Relijun), Karl Blau and Clyde Petersen (Your Heart Breaks) were called to Olympia, Washington to contribute extra instrumentation as Les Hauts Sommets and set the scene. Because Sergio Leone has already passed it is a soundtrack to an unmade, never dreamed of movie. A village is burned. A nameless drifter has undetermined motives. A town celebrates his arrival. The unfolding drama happens within the mind of the listener. Les Hauts Sommets is an homage to that special moment when someone hears a soundtrack that is so wild and dissimilar to what’s been heard before that it helps them create their own story and hero from the music.
“My Music is My Sweat” began with a conversation between Karl Blau and Angelo Spencer about how music is similar to body odor and, like everyone’s stench, one’s music is also unique and identifiable. Angelo’s music is as raw as sweat. Recorded in one day, on one take by Blau, this 7” is a puddle of twitchy urgency. Generally a one man band, this recording is fleshed out with frantic drum fills and fidgety keys by L’Orchidee d’Hawaii soon after they finished a tour with Spencer. “My Music is My Sweat” is the sprint and “The Great Salt Lake” is the cool-down, exasperated pause needed to sprint and sweat again; embellished with distant whistling â€“ like the playful intermission of a spaghetti western â€“ and Spencer is the wandering hero. “Music should always be like that.”
Angelo Spencer's third album is his most danceable work so far. Written and recorded in ChambĂ©ry, France, in the heart of the Alps over the course of a week in February 2014.
With the help of old friends and amazing musicians Luc Detraz (Imperial Tiger Orchestra) and Karol Skonitcki (Super Fedor), Love In The Morning (KLP256) is a short, precise, and undeniably groovy love affair! With repurposed autotune and raw, uncompressed sound recorded by Djan (the man behind the Larsen Records sound), the album is minimal yet so full.
“L’Argent” [IPU131] is the second collaboration between Angelo Spencer et L’Orchidee d’Hawai resulting in a 45 rpm double-sider for the International Pop Underground series of 7” records. Although there is a Side A and B, “L’Argent” is really one song; this is a single that can’t be left idle â€“ tend to it like a fire. “Part I” contains the voice of Angelo Spencer, it is calm and gently awakens you from a slumber, the urging guitar providing a tingle in the hands. “Part II” follows with a procession of handclaps, stringy guitars, a totemic drum and an echoplex that unspools like the celluloid at the end of the reel. Closed eyelids filled with spinning light, “L’Argent,” is a vinyl Dream Machine.
Isa Fdez. Reviriego defends her song that states "doing nothing" is a sublime pleasure; the truth is Isabel herself finds it very difficult to stay still. In the last year, she soundtracked the Playstation video game Melbits World and a short film for Stella McCartney and provided singing voices for the Spanish-language version of Cartoon Network’s Adventure Time.
In 2011, Isa discovered a melodic, kaleidoscopic, punk and unpredictable universe inside her head - one in which Brian Wilson's melodies and Leon Tolstoi's law-breaking final messages - could happily dance hand in hand to electronic rhythms. She called it Aries, after her zodiac sign. Her fourth/latest album, Juramento Mantarraya, released by K in North America, is a collection of beautiful melodies, a combination of violins, flutes, industrial sounds, and chest-rattling bass. Isa and co-producer Jose VĂˇzquez create an exciting mixture of soul and free-jazz rhythms, melodies from the girl groups of the 60s, sunshine pop, Spanish folk and experimental electronics. Combining her precious voice and the sounds of the Galician Coast, where she creates, she speaks of friendship, love, and the beauty of error. A collection of dazzling intervals created by someone who knows that only those who are as excited taking a walk as composing melodies can reach people’s hearts.
"I've done everything myself. Every sound is mine, every synthesizer, every melody, every beat," says Isabel Fernandez Reviriego, who is releasing Adieu Or Die under her pseudonym, Aries. It isn't simply notable anymore that someone is their own band, overdubbing over and over, but in the case of Aries, we have music that is so thickly and sturdily constructed, through layer upon meticulous layer, it becomes not just a marvel of sound, but one of craft.
Aries' music is densely melodic, like echoes of the American west coast in the 1960s coming through the Spanish radio waves. On "En el Oceano" her voice twists around itself like a stick of Twizzlers licorice. Amidst all the synthesizers, drum machines, buzzes and whirrs, the most prominent, playful, melancholy, important piece pasting everything together is Reviriego's voice, light and dancing in circles around every song. On Adieu Or Die, she says, "someone disintegrates, while the world disintegrates around him or her." But there is something beautiful in the way things fall apart, in the way that things die. Aries lives in that nook, comfortable and warm.
Some artists push the envelope, Arrington de Dionyso eats the envelope and spits out an origami of sound.Malaikat Dan Singa is a collection of throbbing, hallucinogenic, trance-inducing trans-utopian cosmic post-punk sounds from Old Time Relijun’s Arrington de Dionyso. Never one to compromise in pursuit of his twisted visions of the future of music, de Dionyso not only rattles listeners with heavy grooves but he also sings every song on this album in Indonesian, with some of the lyrics being lifted from the poems of William Blake and passages from The Zohar. Malaikat Dan Singa is an album of translated and personal mysticism that sounds like it was dug up from the Earth. Although there is a familiar (drums, bass, guitar) and foreign (bass clarinet, throat-singing, echoplex) rhythm -- with a mixture of post-punk and Gamelan tendencies, Malaikat Dan Singa is really Future World Music. And you can dance to it.
I See Beyond the Black Sun pushes de Dionyso's previous solo album Breath of Fire (2006) from a charcoal sketchbook into a Technicolor landscape with more clarity, shape and definition. The album is structured with two immense bookends "AION" and "Pluto in Capricorn (I See Beyond the Black Sun)." "AION" creates a rhythmic drone that specifies the rules for movements of the melodies on the album in a convergent up and down scale â€“ continuing to climb the color spectrum ever so slowly. The gradient shift is deceptively hidden before exploding into color on the parenthetical title track. "Pluto in Capricorn (I See Beyond the Black Sun)" â€“ featuring a guest appearance by Old Time Relijun drummer Germaine Baca â€“ is the culminating catharticconclusion, a propulsive mythical beast that combines all the previous pieces into a new separate entity where sparks begin to rise. It is the crossing over and the release.
While Arrington's work with Old Time Relijun has brought much in the way of both critical praise and notoriety for ecstatic-rock deconstructions and a frenzied performance on the edge of possession, "Breath of Fire" is a very different sort of beast. Recorded on Christmas Day in a nameless town in Southern Italy, the album uses voice, bass clarinet, and jaw harps to invoke the spirits in a mind-bending ritual of technical mastery and emotional freedom. Like field recordings from a lost continent, these short pieces conspire to present a completely mysterious sound universe, unlike anything you may have heard before. To be sure this voyage is not without its reference points- fans of Old Time Relijun's live performances have longtime been aware of Arrington's multiphonic vocal research, unearthing the missing links between Tuvan throat-singing and free improvisation. In "Breath of Fire", this research is presented in its purest form- spontaneously, without overdubs or processing of any kind; an ethnography of intergalactic avant-primitive folk music, a dream diary without words, that enwraps in resonant sound.
Ever since Arrington de Dionyso cleared his throat and growled "I ate a hole right through the mirror/ Spat out the shards, and I put it back together" on the standout track "Mirror", his music has spoken to those lonely souls who have stared at themselves in the mirror and known that something lies on the other side, beyond their comprehension. The band Old Time Relijun formed in Olympia, Wash., in 1995 with bassist Aaron Hartman and drummer Bryce Panic, to take Arrington's four-track tapes that had been circulating and spooking people around Olympia, and to translate them into live performance. Since that time, the band has gone through various mutations, including a number of drummers (Phil Elvrum, currently of the Microphones, toured and recorded with Old time Relijun for several years after the departure of Bryce Panic), but the spirit of Arrington’s musical explorations and creative expression have remained constant. Unlike most releases that attempt to summarize a band and an era, Varieties of Religious Experience is not a clear-the-vaults effort, and the multiple takes are not filler; nor is their inclusion the result of an unchecked ego, intoxicated by its own brilliance, unable to edit itself. It would be equally wrong to suggest that Arrington's four-track takes are "originals", the band's versions are "alternates", and one is necessarily better than the other. While four-track enabled Arrington to cram songs full of esoteric sounds and a sheer ear-popping lunacy that can turn two minutes into kaleidoscopic trips, Hartman and Panic helped loosen his grip on the drum sticks, change up the whack-a-mole tempos, and let a song's backbone slide. Calling the result Varieties of Religious Experience emphasizes Arrington's belief that it's all good - every song is its own spark of playful, in-the-moment creation, its own shard of experience - and the remarkable thing is that all is good on this CD.
You know how in the 1950s the press and parents and such talked about how rock‘n’roll had some evil, sexual, tribal force that was going to possess the youth? Arrington de Dionyso’s Malaikat dan Singa is really that. Trance-punk dancehall explosion gonna knock you up! 2011! Formerly of Old Time Relijun, this is Dionyso’s second Malaikat Dan Singa release, the lyrics for which are entirely in (self-taught) Indonesian. Fancy!
You may have experienced Arrington de Dionyso’s Malaikat dan Singa as an unexpected live force, pushing up through the earth like daffodils in late winter; or maybe you’re familiar with their previous exploits in the studio, Malaikat dan Singa [KLP215] and Suara Naga [KLP226], which burn clean with fragrant traumas. Open the Crown is similarly passion-filled, with new vistas (channeled hallucinations) exploring English (previously only the Indonesian language was employed) as their stomping ground to expand parallel themes anew. Open the Crown conveys tendrils of raw energy emanating from the head â€“ dream visions translated directly to audio outrage. Heavy. And sexy. To be expected from Arrington de Dionyso and his molten collection of Malaikat dan Singa who manipulate the “form’d and the formless” to create from within this broken system.
Ashley Eriksson (darling to many for her work with LAKE) has achieved a status few artists ever know: her song "Island Song" can be hummed by almost any teenager in the United States (a surprising discovery she made while teaching Portland's Rock Camp for Girls last summer). Used as the closing theme for Cartoon Network's cult sensation Adventure Time, "Island Song" has over a million views on Youtube and has generated dozens of cover videos, making Ashley Eriksson the equivalent of a "household name" to the youth of America. Now Ashley Eriksson has recorded Colours [KLP245], her inspired solo debut to be released on K this spring, and a collection of piano pieces, ballads and songs for her fans around the world.
The tracks featured here single are good ‘ol fashioned garage rock that morph and segue into surf, blues, and even at times a little bit of soul. But don't get confused, they're no retro band.
This album compiles Beat Happening songs recorded between 1984 and 2000, including material long out of print on 45s and compilations, including the original version of "Nancy Sin". The last four songs are from the Beat Happening/Screaming Trees collaboration EP. Music to Climb Apple Trees by was originally included in the seven CD box set Crashing Through (KLP115) released last year. Now it is being made available individually for the first time.
Black Anger brings you nothing but sure shots with hits like “206 Mix Tapes Worldwide” for the Walkman Crew featuring DJ B-Mello, the No. 1 west coast Tapemaster, “Conscious Attack”, “Violence I Become It”. Maximum strength hip-hop relief for your aching conscious head.
Track listing:206 Mix Tapes Worldwide, Conscious Attack, Violence I Become It, Feel What I Feel, No Commercial, Conscious Attack - Radio Edit, 206 mix Tapes Worldwide â€“ Radio Edit, Conscious Attack Beat-A-Pella, Still No Commercial
The debut single by Tacoma, Washington’s premiere Underground Hip-Hop combo. Produced by their own Bedroom Produksionz at the Dub Narcotic studio, “Feel What I Feel” serves as a symbolic douche for those days when you’re not feeling...well you know, FRESH!
When the Black Anger crew is pared down to Sayeed and Kendu, they function as Bedroom Produksionz, knocking out the hitz, hip hop pure and direct from their Tacoma lair. This is presented in conjunction with their own DU4SELF label.
From the crew that brought you “S.E.L.F.”, the record which Justyn Tyme said was “The most slept on record of 1998”. DJ Sayeed (producer, engineer, and deejay) and Kindu (emcee, co-producer and head of DU4SELF Records) have set full steam ahead to bring you the next headknocker, “Non-Fiction”. An energetic, innovative, work of poetical hip-hop. This song is an undisputed hit. “Temple No. 8” gives you the same style of low-end kicks and chopped guitar sample that DJ Sayeed phased us with on "S.E.L.F.", except the lyrics are more in the freestyle- battling-with-intellect mode, showing that Kindu can take out the sucker mc as well as provoke him to think.
The Blackouts were the best Seattle band you never heard of. To those who bought their records and attended their shows, this is no secret. But for the majority who didn't, this exciting anthology--long overdue--thankfully now exists. Sequenced in reverse-chronological order, it begins with their last recordings, which were produced by Al Jourgensen and originally released on Wax Trax! (three Blackouts later worked with Jourgensen in Ministry after the Blackouts demise). The album ends with their debut 45 "The Underpass." Included on History in Reverse (KLP165) are three previously unreleased songs from the Wax Trax! session.
In 1979, following the breakup of the notorious Telepaths, several members (guitarist Erich Werner, drummer Bill Rieflin, synth/sax player Roland Barker and bassist Mike Davidson, later replaced by Paul "Ion" Barker) re-formed as a new musical alliance--the Blackouts. They had an implosive intensity and were the antithesis of the bar bands that dominated Seattle's anemic local music scene. Intentional, dynamic songs were the Blackouts' stock-in-trade. At this they excelled. Over the next six years they released four singles and EPs on four different labels (Modern, Engram, Situation Two, a subsidiary of 4AD, and Wax Trax!) and relocated to Boston, then San Francisco. Few bands from that era can claim as impressive a legacy as History in Reverse.
Pop psychosis vs. the garage disease.
B side: “Feeder”, “Living in a Haunted House”
Bobby Birdman is the ultraego of west coast musician Rob Kieswetter and he graces us with his musical interludes on “Don’t Walk Away” b/w “Dub Walk” [DBN124]. Birdman’s guitar twang supplemented with Calvin Johnson’s melodica = magic in the heartland.