Author: z-s

TRACK | Dinero Romero – Laser Beam of Consciousness

5/5 golden merles

“Laser Beam of Consciousness” from Louisville’s Dinero Romero was a central piece of the last mix. With much warmth and warbling, the track is a kind of psych rock which evolves like a placid fever dream, methodical and yet genial in its delirium.

The song in no way begins to address the question of whether it’s performers are… “either people dressed in regalia to look like spirits, or they are spirits.” It’s anybody’s guess. But they are employed, with heads filled with fog and in a stupor on the trip home. A nice, dreamy track concerning how you spend your time and to what do you devote the few brief moments of coherent focus.

It can be bought for an increasingly devalued buck.

TRACK | Brian Eno – Here Come the Warm Jets

5/5 golden merles

“Here Come The Warm Jets” is all about phases, pacing, and a stupidly rich pallet of textures. It is discordant in intriguing ways, none of which dissolve that core melody entirely, but instead provide it with a shine and sheen to reflect back off of.

The core is always intact and remains there as a life preserver. The drums appear to drip out of the lead riff. The late vocalizations offering an alternative vision of how the track can proceed toward the end of its coursing, slightly warped and nuanced.

Mr. Eno knows a bit about introducing variance to keep things fresh and focused. Big but it is worth celebrating. Known but not often revisited. It hasn’t appeared on the Hype machine since 2011, and even then as a remix, OK? When was the last time you sat down and listened to it?

TRACK | Stereolab – John Cage Bubblegum

5/5 golden merles

I found “John Cage Bubblegum” through Carolyn Hawkins’ (School Damage, Parsnip, Chook Race) Sight of Sound Society Radio Mixcloud feature. It appears on the remastered Stereolab singles and rarities collection Refried Ectoplasm Vol. 2, first issued in 1995 and collected/reissued in 2018.

Drenched in reverb and surrounded, it leans heavily on a few formidable vocal melodies. There are a handful of phrases, breathlessly repeated in French, It’s the most beautiful / and it’s the saddest / it’s the most beautiful / landscape in the world.

As at least partially confirmed by the experimental composure and artist’s name in the title, there is an unreviewed post from Genius.com claiming the track is made in reference to one of Cage’s most famous pieces, 4’33”. In this piece a performer intentionally plays nothing, allowing the audience/ambient noise to become the song.

True or not, there is a fun dialog in the play between these two ideas: lo-fi and no-fi. One is the direct embrace of the erstwhile void and the absence of all else other than that which is usually considered undesirable or an extraneous defect. The other a form that balances leaning into a celebration of melody and tone but also in a lo-fi, human manner, incorporating the place and performers, containing breaths between phrasing and elements of performance that likewise embrace these, to some, imperfections.

The former is the absolute extreme of this idea, but for my tastes, the latter, in contrast to the dehumanized/decontextualized refinement of the last few decades of modern pop, is not too dissimilar either.

TRACK | Amy Annelle – Buckskin Stallion Blues (Townes Van Zandt)

5/5 golden merles

It is with rare exception that a cover is featured here. And usually only if it takes things in a strange and inventive direction, or I hadn’t ever heard the original.

Despite being a fan of Townes and very much loving classics like “Waiting Around To Die” and “Pancho and Lefty,” somehow managed to evade this track prior to hearing the Amy Annelle rendition.

I have written about Annelle previously, and her criminally underrated 2010 album The Cimarron Banks. Here that voice and method is combined with Townes songwriting in a era-spanning idyllic Americana partnership.

There may be plenty of Greenland sharks older than this nation, roughly 250-500 years in age. But within our nascent eons, and just either side of what appears to be the pinnacle of whatever it was supposed to be, this must be one of the finest collaborations to take place across the empire.

The Great Unveiling also features covers from other greats like Ray Davies, Billie Holiday, and Neil Young, and is only modestly requesting a $7.00 increment from wherever you store the digital representation of your wealth.

TRACK | The Lentils – some people sure can leave a mark

5/5 golden merles

I am a fan of The Lentils and think Luke Csehak is one of the best songwriters working in the cesspool of innovation that is our common era. “Some people sure can leave a mark” is a track of great ambivalence, ruminating and rejoicing in the navigation of interpersonal alternate timelines, and of acceptance for the one we find ourselves enduring.

I would settle for being kind to myself / and just once deny the idol of my regrets

The track balances the interlocking plucking and melodic spirals well with the focused yet expansive subject matter. And the depths of the topic are sufficiently plumbed: the outsized influences of some brief instances and acquaintances, influential hinge points of inflection at which dramatic alternate directions might have been taken. There’s extensive scrutiny in the musings and the introspection is finely honed.

TRACK | Sam Stansfield – creeps are out

5/5 golden merles

Carefully constructed and richly arranged, Extreme Falcon is a proper album in a manner of speaking. It is also a good lesson on how to take your influences as seeds and how to use them to grow a hybrid vision of a new, compelling world.

There is a different quality to art you not only admire but wish you had made. The warmth of the world-building within the storytelling and the crystalline structures of favorably overlapping tones, it all come across as a place well observed and conceptually rendered. Minimal elements merge together, often subdued or absent of drums but never seeming to lack a solid foundation or structure, legibly blurred and blossoming.

To put it in a kind of context that roughly approximates lineage, there are somewhat similar guts and graces to projects like Guided by Voices, The Microphones/Mount Eerie, and Julie Doiron. My favorite sequence runs tracks 7 through 9, “creeps are out,” “lazer tang,” and “company car.” The arrangement feels not unlike the honor of being forced through a fine mesh screen for your planet. The luckiest of all resolutions.

I recently read that ~90% of Sumerian/cuneiform tablets have yet to be translated. Most appear to be related to basic business or home accounting, but many are journals, myths, histories… It would be nice if future archeologists surveying the muck of the geological record could favor such things that seem to easily contain within them relatable and self-contained multitudes. Black or Turquois vinyl available on Slick Rock Records.

TRACK | Crime of Passing – Vision Talk

5/5 golden merles

Geographically in the world as it has been mapped, Crime of Passing are from Ohio. In the empire of aesthetic this s/t album sits near the capital, wherever that happens to metaphorically lie… probably not far from John Carpenter’s prison island version of Manhattan.

Right out the gate there is apparent enough texture and melody to be a strong contender for the year-end lists.
“Tender Fixation” is the lead single and a great, hounding track. But “Vision Talk” is the easiest revolver for me. If you gave me a hundred years I couldn’t make a single track with this much clarity that is simultaneously as dense and textured.

The tome includes plenty of chrome plated and finely calibrated tracks. Post-punk often loses its edge and some of it’s precision in the prolonged mire of continuing to act despite an acknowledged futility for doing so. But Crime of Passing takes those tones/aesthetic and shocks them back to life, keeping the complexity of the characteristics and sense of impending doom but also maintaining a bit of fire lit underneath it.

Both phasing and finely focused, it regularly, impossibly, rides the line between both decimated and decipherable.

TRACK | The Shifters – A Believer

5/5 golden merles

“A Believer” is a bit more Australian garage rock excellence from Melbourne’s The Shifters. Gradual and gracious tones that creep about the periphery, blossoming and cleaving to the meditative frame. Soldered together with synths, an incise track largely devoid of excess.

You can forsake all your earthly possessions and embrace the void with a nice, transferrable digital purchase that still benefits the band in some miniscule but not immeasurable capacity. And it includes a 21 minute live set as well in addition to the original couplet. The second-hand market has the wax disk for about $50 big ones.

TRACK | The Mystery Lights – What Happens When You Turn The Devil Down

5/5 golden merles

Ambition and rock music are not two things that readily go hand in hand. If they do, it is usually in a gruesome and unnerving manner. If they do it is in a way that gets diverted into purely worshipping form and/or disgusting commercialization.

When it goes wrong in the direction of marketability, you get the generic. When it goes wrong in relation to form, it ends up as math-rock’s hounding idiosyncrasy, which often gets lost in the pattern of its own making, as ornamentation for the sake of overelaboration, and makes a game of the grandiose at the expense of all else.

Surely that can somehow highlight the humanity underneath the approximation of machinery, directing perception toward the margins. But what a lot of faffing about to get to something you can just render directly.

The Mystery Light’s have a different kind of ambition. They’re convinced of their own sensibilities, and when they manifest it is like steel folded over toward a purest form of redundancy. They find a way to pay homage and derive creative works from the primordial soup of classic garage rock somehow without that long simmering bile becoming stale.

There is invention and resourcefulness. There is a craft and creativity to the process so far removed from the infinite covers and karaoke repetitions within the genre. Yet, in an era paranoid of feeling and fueled on derivations, it is easy to see them confused for reenactors. That would be a mistake.

TRACK | Jessica Lea Mayfield – Standing in the Sun

5/5 golden merles

I am occasionally susceptible to bouts of optimism. They afflict even the best of us from time to time. And within these moments I am vulnerable to the influence of works of art that seem to represent this rosier outlook… at least as long as the craft rises to meet the exposition and there is an undercurrent of tenable fallibility or impending collapse.

I would like to see you live / not survive but really live

My first exposure to this excellent album/track was during Mayfield’s 2014 Tiny Desk Concert. Brutal and succinct turns of phrases glide over the accomplished melodic core. Slight alterations or additions keep pace with and expand out from the traditional foundation. There are more than a few layers, the combined attributes of which are getting at something.

“Not survive but really live,” it bears repeating. What a sentiment and phrasing perfectly fit for modern America, in which the living reproach of daily life dehumanizes and deprives of dignity so thoroughly, framing every proposed alternative as by default worthy of consideration.

It almost begins to break you from that spell itself, and starts to expand the realm of the possible. To utter it, at least, is the first step. Both a positive gesture and an act to set us on the path of the gauntlet ahead.

The song embodies the personal struggle within the systemic. Our institutions mirror our infrastructure. At a certain point you stop rebuilding the same flawed, failed blueprints from the same rubble, take what components you can use, and attempt to build something better.