Recent FMA Blog Posts
This is a feed of featured blog posts from FMA users. Blog on, bloggers!
BTurner on 04/02/2010 at 05:43PM
Someday they may settle down and listen to Tom Petty and Astrud Gilberto like the rest of us, but now several records down the line Eastern Pennsylvania's Pissed Jeans continue to churn out ugly, malevolent, sexually alienated/frustrated and boredom-damaged rock music. At a total peak right now with their latest "King of Jeans" on Sub Pop, the Jeans have aged and matured, but instead of going soft they've only honed in on the fine art of destruction with even more precision in channeling the frayed-cable attack of Black Flag, Flipper, Drunks With Guns and more. In October, they turned the stage of WFMU Fest in Brooklyn into a wasteland of broken mic stands and (much) vomit (great pix on Diana Wong's Flickr stream) and might have put in thee rock show of the year. Now, from last week, an especially fried performance and recording from Brian Turner's show, engineered by Dave Mambach and Mark Koch. See em April 3rd in Baltimore at Sonar Fest, and April 9th in NYC at the Knit. Set list today: Science Fiction / Half Idiot / Human Upskirt / Pleasure Race / Dream Smotherer / False Jesii Pt 2 / L Word / Boring Girls.
Calebk on 04/02/2010 at 10:15AM
Things get pretty noisy in Sydney - this is in itself interesting as it is quite problematic to play at volume due to excessive noise restrictions and often underground venues. One answer to the issue is to take it outside, play briefly and return things to how they were. This is Kusum’s ScreamAMP. The work sees her carting guitar amps around Melbourne and setting up in various environs, before unleashing her extreme vocals on an un-expecting audience.
Tactically, numerous noise music practitioners find ways to perform at heart thumping volume about the city, below are three tracks at the noisy end of recent recordings from Sydney, turn them up if you can.
Kusum plays at ISSUE on the 7th April with LoVid and Marina Rosenfeld
JoeMc on 04/01/2010 at 02:52PM
lizb on 04/01/2010 at 09:00AM
Recently discovered the UpitUp netlabel here on the FMA: mutant glitch pop for these modern times. The label has featured tracks by known pros like Vernon Lenoir and Dan Deacon, but also brings a ton of lesser-known artists to the table for some sonic magic.
I'm particularly enamored with UpitUp's "Back From the Future" compilation from 2007, which is chock-full of electronic fun with plenty of spastic knob-twisting. You would be wise to practice your robot dance moves prior to taking a listen, so you don't look like a complete idiot when you find yourself involuntarily busting a move.
Take a listen to a few of my favorite tracks from the comp below, and if you are doing the head bob or foot tap by the end, just download the whole damned thing. If you're poppin', lockin', or working your robot arms, I will prescribe a higher dosage of UpitUp.
jason on 03/31/2010 at 11:00AM
"The place for happy, frivolous music," is Proot Records' motto. They're one of the six top-notch netlabels who joined forces for the Greatest It compilation earlier this month. And we're now hosting more gems from their well-curated discography here on the FMA.
Along with Proot releases by FMA heroes like Ergo Phizmiz, GOTO80, Katapulto and label head-honcho Thiaz Itch, I'm fascinated by the work of Tep, a scatter-brained electronic artist from France with a great ear for organic source material, especially of the sqeeky variety. Horns, banjos, even some flatulence (on Fitje-Fetjeries). But I'm especially digging Tep's penchant for vocal sounds -- he finds something musical about the voice beyond traditional notions of language or "singing". Take a listen to the title track to Tep's "Humble" EP on Proot, hear what I'm talkin about.
Tep also has a couple releases on the fantastic Bedroom Research netlabel. 2004's Tep EP has some great moments, but Tep really found a distinct voice in the four years between his debut and 2008's Pataques (a song appears below). Bedroom Research offers a few key descriptive points about tep, which I've run through the online translation tool:
* Feed the dancefloors of its polka-core
* Orchestrations random songs distilled helium
* Discuss the meaning of life
...so where does TEP draw inspiration for these distilled helium blasts? Take a listen to his podcast/mix for Human Workshop, with music by thiaz itch, zavoloka, ween, Daniel Padden, aavikko, wevie stonder, and more.
doncbruital on 03/30/2010 at 02:00PM
But then you knew that, didn't you? I mean, few bands make good on the promise of harsh texture intensity and nonpitched brute crunch force like the guys in SWORD HEAVEN do, delivering via drumpound worship ceremony and metal (as in sheets of it) screech, their blasts coming tectonic-heavy, thunderbolt-heavy, asteroid-annihilation-heavy, again and again and again, guaranteeing for the listener an experience of defocalization to rival any yogamat meditative zone or nature-rumination psychic space to which you've ever grooved.
At the risk of this post's form too closely mirroring content--and all this purple prose overloading comprehension as much as a Sword Heaven set does--I want to double down on this idea for a sec, cause I think what this band does is really incredible. For some help, Robert Smithson, writing about a theoretical sculpture "The Eliminator"--basically a big repeating neon light--hits us with a handy thought about overload: "The Eliminator overloads the eye whenever the red neon flashes on, and in so doing diminishes the viewer's memory dependencies or traces. Memory vanishes... unreality becomes actual and solid." The incapacitating blasts of a harsh industrial act do the same, staggering out irregular and spaced out, offering the listener nothing to focus on but the overwhelmed mind's own lack of focus. Unlocked from the everyday sensory comfort zone, it all floats free.
Lest you think this is all some modern art conceptual game--not all Eliminators are found in the museum, after all--listen to how great Sword Heaven sounds doing their thing: check out the killer live set so neatly offered up for you FMA folk. And--lucky us--these masters of the sensory overload have hit the road again; their tour, northeasterners, is not to be missed.
Trust me, you're likely to retain some lessons from their scrapmetal-strewn zone of total annihilation.
TAGGED AS:sword heaven
herr_professor on 03/30/2010 at 10:25AM
With the spring weather remaining gross and profane, let's keep the recent trend of bastards of Game Boy noise going with a release from Timeheater. For fans of Starpause, and Overthruster (touring together and collaborating on tracks), Timeheater exploded on the East Coast Chip Music scene with numerous explosive performances, and countless (and extremely hard to find) releases.
He may have quit the Game Boy in 2006, but I emailed him for some information and can reveal to you the following nuggets:
Well at least the name. The logo cracked me up so much, I usurped it for the title of our blog when we launched.
His style is singular amongst most Game Boy performers, who tended to stay away from heavy complex sounds, one because its really hard to do, and two because most of them CANNOT TAKE IT.
You may not think a Game Boy is up to snuff in this category, but tracker technology allows for great variation in poly-rhythms, and generative programing
- not a fan of videogame music.
That much is apparent from this release, 1776. I've linked to the full version, so take a listen, and catch you guys next week.
katya-oddio on 03/29/2010 at 03:00PM
The group El Niño del Parking brings you the sound of the ancient city of Jerez de la Frontera in Andalusia in southwestern Spain between the sea and the mountains. In addition to Spanish guitars, Latin rhythms, and the clapping of flamenco, this brings you the experience of the fluid poetry of the Castilian tongue, festivals, palm trees, celebrated vineyards, sunshine, Mediterranean warmth.
Calebk on 03/29/2010 at 09:15AM
Over the next few weeks I’m going to be posting blogs relating to the current Sydney underground, my book Cracked Media: the sound of malfunction (MIT Press, 2009) and a few things i'm doing at ISSUE on the 7th April.
My background is in experimental sound arts, namely the research and promotion of it. Back in 1999 Sydney had a burgeoning experimental scene, propped up by the yearly festival What is Music? (an agit-punk experimental extravaganza that was highly influential in its ten years with directors Oren Ambarchi and Robbie Avenaim), and irregular one off gigs in Italian bowling clubs, warehouses and caves. I started impermanent.audio (http://impermanent.info) as a way to promote this scene in a regular fashion and to have an event that focused on listening. impermanent.audio lasted 6 years. The event promoted music that utalised electronics, improvisation and noise - though in the early days due to a borrowed PA and the gallery based venues, it tended towards the very quiet.
These three tracks come from releases on the impermanent.recordings label (http://impermanent.info/recordings/) and were produced by Australian musicians closely related to the events in and around Sydney in the early part of this century.
lizb on 03/26/2010 at 09:45AM
There's a big spot in my heart for Sacramento bands, and it's not just because I lived in the area for a few years. The city has little nightlife, only a few venues, scant public transportation, and enough crime to keep the police and residents busy from filing or acting upon noise complaints. These factors not only contribute to how music is made and played in Sacramento, but are also reflected in the sounds.
Motivated and unapologetic, Sacto bands don't have an easy time making cool shows happen in traditional venues, so they get creative: house parties, bands playing under the freeway overpass, art collectives on dirt roads next to the river, spaces above bookstores, backyards, all-but-abandoned bars repurposed, etc. It's pull-up-your-sleeves DIY in the midst of a struggling city whose main industry is a state government that's been crumbling apart for many years.
And thus I present to you a band that was around in the early '00s: Duchess of Saigon. They were a male/female duo, bratty, jangly, garagey and sometimes inept, but always catchy and rockin'. Sacramento's venerable S-S Records has posted the band's 2002 "Easter Queen" 7" here on the FMA for your enjoyment. The EP was recorded by Chris Woodhouse, who either produced, mixed, engineered, or played on nearly every great album to come out of Sacto in the past decade or two.