
Label: Terrapin Records
Mh, the voice reminds me a bit on Smashing Pumpkins, high pitched boys voice - acoustic guitar and 11 love songs.
number of glitches can be heard throughout the songs. These glitches are not technology-related but they were produced organically in real-time at the live performance when the songs got intense and [the songwriter] passed into a mild trance, to fade out for a minute, then falling forward heavily, caught [his] guitar strings upon the mic." (insert)
This record is aesthetically, sonically, and conceptually amazing. BOOM!
The record is a baby blue 45RPM with a bigger hole in the middle for an adapter. It is only a one-song single, and the other side is a neat picture/blue print of a scene reminiscent of “Moby Dick.” Visually, this record is incredible. Phil’s handwriting adorns the side with the song and the sleeve-insert features big-bold letters and several titles for the song. Honestly, I was pretty worried about what this record would sound like. Anyone who got the “hardcore four-way split” on Stop Drop records or whatever was DEFINITELY disappointed with the Mount Eerie track. Who the hell thought Phil would recycle the music from a different song and put some humdrum lyrics on top of it? Not me! I wouldn’t have bought it! BUT, “I Whale” kicks ass.
The first thing I notice is the shuffle-ing guitar part. Fucking foot tapping, head-nodding awesomeness. The verses feature generic, yet warming, chords switches and a story about whales and being out on the sea. Out of nowhere Phil’s Wife (Woelv) sings a quick sentence and is out of the picture. A second, guitar track comes in as Phil starts to hit perfect high notes. A DISTORTED guitar! That classic Microphones distortion. Then a second voice track comes in the doubles/harmonizes with the original higher track. The story ends and so does the song and so does this little review!
-Scott Moore (via Only Angels Have Wings)
Church utilizes this unique analog instrumentation to unite factions of noise rock with psychedelic folk and experimental pop. Song Force Crystal, the debut long play from Church, is a honing of musical themes heralded in two prior EP's. Picking up where previous titles Gold and With All Our Love for Francisco the Man left off, Song Force Crystal was recorded in a living room to an 8-track tape machine. The album reverberates with a warmth and rawness more familiar to 70's era basement productions than to modern day digitalia. The songs revel in dense slabs of tabe saturation, perfect for showcasing cavernous four-part harmonies, or trebly tube amplifiers. Song Force Crystal is a contradiction fo sounds, at once expansive, and cohesive, experimental yet familiar, brooding one moment and soothing the next. (Labelinfo)
Dragibus music is based on the twisted children pop songs with electronics. Their songs drive us in an electro-pop trip that mixes 60's pop culture, 80'synth.. melodies, cartoons taste and traditionnal songs from all over the world (Italy, Hungary, England, Japan...) with a little bit of joyfull experimentations. The band plays an electronic pop music for kids and kidults, where the retro-futurist child songs are played with drums, old-fashioned keyboards, cheap effects, electronic guitare and toys, unusual sampling and Lore childish voice.
Clifton Von Smeltzer was born an early 80’s child, who now lives in Texarkana, Arkansas. Texarkana effectively functions as one half of a city which crosses a state line — the other half, the city of Texarkana, Texas, lies on the other side of State Line Avenue. One can only assume this as somewhat of a symbolic significance which correlates with Khemo Rabbit’s brain and his possible double-personality complex. Could one half of his brain be a fan of Nick Cave and the other side a fan of Anthony and The Johnsons? Who knows? Whether that is the case or not, Khemo’s music is way beyond original. Sprinkles of influences you will hear, though, Khemo walks his own road.Try Karma Burns EP
Repetitive sounds played on the six strings, while adding nice field recordings from a theatre, a train and the beach. The field recordings play a small role here, but they certainly add a nice element to the bittersweet guitar melodies. (Vital Weekly)
“The best, most unfuckwithable, avant-pop I’ve heard…my default jam of the month.”“One of Portland’s finest indie outfits.”-Portland Mercury“A perfection of textures that leaves little room for improvement.”-Vanguard“Lush melodic songs built upon echoing acoustics…”-Willamette Week“There’s no end to [their] spinning wheel of blossom/decay/sunshine/gloom.”-Eashfa“Soft beautiful music that pulsates, drones and spikes…you should be there for this.”-Fuck Bad Music
Greg Davis and Sébastien Roux are back with their second collaborative album following the acclaimed release “Paquet surprise”. “Merveilles”, translated from the French word as wonderland, describes the album very fitting as the songs have a very illustrative quality. Where the previous album relied a bit more on sweet melodies and quick changes “Merveilles” explores different sound worlds in depth and illuminates a terrain of diverse emotional scenarios. Silent passages of field recordings are combined with subtle harmonic layers, interrupted by sudden noise eruptions and contrasted by folk like guitar melodies and very concrete sounds, often leaving the listener wondering what the origin of this tone might be.Tracklisting
The Monsters third full length release is certainly not for genre purists. To create EARTH EATERS, MZO have moved beyond just splicing and dicing samples and mashups, with Miss P. Leisure securing the mic and creating a new sound using the very strangest of vocal effects. They still retain their samplistic roots with plenty of bashment & retrodelic rollers, but add super futuristic basslines, beats which are unrelenting and lyrics about body implants, circuit bending and dancing in the nude to create the sound that is uniquely their own.Put simply, MZO bring the party to any planet of sound that you happen to inhabit.
Sampling anything from 50’s rockabilly, lounge to ragga and noise, MZO combine eclectic sampling with fat synths to create a hybrid sound all their own. From punk gigs to drum n bass. Lounge shows to breakcore. House to experimental, and from electro clash to rockabilly …MZO destroys them all… … Someone said MZO sounded like: “Techno Jungle Sixties Hardcore Punk from Outa Space! ” … Someone else said : “Mental ragga rave n bass with zigzag bass lines and the kind of free spirited abandon guaranteed to ram a dance floor in 10 seconds flat! ”
"I don't know what god or gods you all are praying to but you're praying too fucking loud" Boston Police Department
...a smooth, dreamy, synth driven album that keeps the listener interested in exploring further...Tracklisting
Here is the complete Woods discography, hope you enjoy and buy their records!