American Tapes, C-60
2008, VBR, 39MB
Can't find a review. More American Tapes style fucked up jazz.
Kinda quiet, tense, sober but still freaky…morse code from another dimension. Vague and then done.
- Cassette Gods
this tape delivers that aggressive sound that ppl have practically been begging Graveyards for since they formed. Graveyards records are typically shadowy affairs, and they never overwhelm in the way that we'd expect from their lineup. Not that this is a bad thing, it just something I've heard frequently when Graveyards come up. So here, enjoy the room filling sounds you've been pining for...
- Follow Eye
A stripped down Graveyards in full-frontal drums/sax duo oblivion mode. Some of Olson's most pyrotechnic re-thinks of the post-AACM stream of instant thought pared with some emphatically opaque drum terror from Ben Hall.
- Volcanic Tongue
"This is a two-track (obviously) CD-R culled from a couple of live performances, and has to be the absolute peak of the trio's obsession with slow-paced, vacant, tense, silence-driven sparring sessions to date. At least the first eight minutes of "Can I Take Medications If I Am Straight Edge?" are dedicated to near-nothingless, with Buetow's shrill bowing and Hall's cymbal shaving only occasionally cutting through the hiss of the recording device. Slowly but surely the gears start moving and all three move in step for brief glimmers, relaxing back into their chairs as soon as you think something's about to erupt. They played with this trick a few times when I saw them before giving in to the urge and playing it balls-to-the-wall fire music rampage style, but the payoff never really comes here. Instead they stick to quick sprints throughout the near 25-minutes, weaving tension and release in and out of the other too quickly to ever really feel one emotion over the other. "Tales from the Unhealer" is a sludgier sound and the trio sound more on edge, opting for louder, more rambunctious moves than the previous session allowed. In fact, they spend a good bunch of the minutes here firing on all cyllinders, with only brief pauses to regroup before charging headfirst once again. It's actually two pieces in one, as applause breaks the set up halfway through the 20-minute track and they have another go, with Olson spewing ear-splitting sax noise to Buetow's groans, only to be joined by Hall in a final send-off which sees the three approaching the ecstatic, brash, Last Exit vernacular they sometimes so conscienciously avoid. The impact would've been all the more greater if the quality was better, but what're you gonna do."
- Outer Space Gamelan
"American gothic free jazz from the always spine-thrilling Graveyards trio Funereal dooms of percussion, slow tongues of rusty lung and rough-ass rope burns combine in a mud-caked processional straight through the darkest aspects of old American topography. Highly recommended."
- Volcanic Tongue
HEY, I CAN'T FIND A DECENT COVER SCAN FOR THIS.
CAN ANYONE HELP ME OUT?
"During December of 1979 in Cincinnati, eleven people were killed in a mass panic prior to seeing The Who at the Coliseum. Twenty-eight years later, Wasteland Jazz Unit resurrect that trepidation with scathing, soaked and blistering free-jazz aural assaults. Mutilating ear drums and minds alike.
Side B finds Concrete Arteries (Jon Lockhart [ex-To-Night Golden Curls, Kvlt Of Unicron]) violating listeners with his hazed creeper jams. Savage vocals from the Gem City. Dying beats drowning in the ghosts of the 1913 flood, this is the Dayton sound you've been warned about."
- Community College
Can't find a review. CARDBOARD SAX is Holly (Uneven Universe), Dan (Uneven Universe, Haunted Castles, Body Morph), and Olson (Wolf Eyes, Graveyards, Dead Machines) on saxs and electronics.
P.S. Go and grab the Wasteland Jazz Unit/Eagle Nebula split over at Noise Not Music. Killer release and a killer blog.
Industrial workings from Mike Connelly (Hair Police, Wolf Eyes, etc.) . The rebirth of broken equipment through electrical hum and delayed scrap metal shuffling gives the appropriate atmosphere for Lo-Fi Dirty Industrial.
- Trash Ritual
Can't find a review but you should know what to expect. Artists on this comp. are: Mania, Satori, Whorebutcher, Control, Streicher, Diagram: A, Circuit Wound, Atrax Morgue, Priest In Shit, Âmes Sanglantes, Macronympha, Furisubi, Grunt, The Teeth, The Urge Within, The Grey Wolves, Slow Death, Survival Unit, Stegm, Disease Management, Prurient, Nicole 12
It's pretty quick - 2 tracks, 22 minutes - but feels longer in all the right ways. The first track is a 16-minute piece that arises slowly, with Yeh sawing some high violin tones while the Lambsbread stable add squalling feedback, lonely bass plucks, and achingly deadened guitar strokes. Things slowly ascend from there, with washing drums injected eventually, and a blistering battle of sharp guitar jangles and hole-tearing violin that often sounds like a misty bootleg of the V.U. playing a stretched-out version of "European Son." I dig how this track's pulse is unchartable yet undeniable - it seems to incrementally speed up, yet it never really gets "fast" - just increasingly urgent and thick, like a snowball rolling so far down a mountain it eventually swallows it. Whatever it's doing, it's definitely one of the best long group improv tracks I've heard all year, in a league with the Text of Light box and that insanely great Pengo disc from a few weeks back.
Since that track is 3/4ths of the disc, it would be theivery to post it, so instead here's the brief epilogue - a louder, more hectic rip through puncturing violin rage, overloading guitar blasts, and devastating drum anarchy. There's so much happening on this track that the digital audio space can't quite handle it, which only adds to the hypnotic sheen, vaguely like an iced-over pond under which the fish are frantically swimming for some way out. It all adds up to one of those somewhat rare times where two great bands can combine into something even greater.
CARDBOARD SAX is Holly (Uneven Universe), Dan (Uneven Universe, Haunted Castles, Body Morph), and Olson (Wolf Eyes, Graveyards, Dead Machines) on saxs and electronics. Amazing use of space and restraint on this killer LP debut. Haunting excursions into the dark basement sax damage happening across Michigan these days. Perfect recording and a great example to introduce this trio to the world outside the midwest.
WASTELAND JAZZ UNIT is Jon Lorenz and John Rich repping Cincinati's Art Damage Lodge and ripping the B side up with their scathing sax assault. Walls of feedback and distorted jazz take you on a 16 minute ride of beautiful destruction.
- Community College