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Monthly Archive for March, 2009Page 3 of 4

The Decibel Tolls has a New Look, New Mission, and Wants Yr. Fuckin Money

adrevenue The Decibel Tolls has a New Look, New Mission, and Wants Yr. Fuckin Money

No doubt you’ve noticed the design changes to the blog. Hope you like it. In addition to that, there’s a few major changes worth noticing.

The blog started as a music site focusing on the genres of music I preferred (psych, post rock, space, no wave, noise, et al).  However, with fresh voices writing for the blog, it was time to expand the scope.  You’ll be seeing a wider range of music, topics, features, and musings on pop culture on the blog within the next couple of weeks.  More content, more variance, but with the same snarky voice you all have come to know and love.  Also, since Louisville has shown me and my lil’ bloggy guy lots of love as of late, I plan to write more locally-focused features.  Look out for it!

Finally, it’s about time to monetize this motherfucker, ya know? That is to say, The Decibel Tolls now offers advertising for extremely reasonable rates.  The Decibel Tolls ropes in 3,000 visitors a week, most of whom lie in the educated 21-30 year old demographic. Show these people how rad your product or service is with a righteous ad on DT.  Visitors to this site have demonstrated a high conversion rate with my current ad networks, which means a highly specialized ad on The Decibel Tolls gon’ put cash in yo’ pocket, trickespecially Louisville-area businesses.  The ad space is insanely affordable.  Moreover, I am a freelance graphic designer that can make you a static or rich media ad on the fly and on the cheap (your ad will look better than the image macro above, I promise you).  Shoot me an email if this interests you: kb [at] thedecibeltolls (dot) com

P.S. – To our faithful readers: monetizing this blog does not equal selling out, ‘kay? The less hours I have to spend doing menial-ass work, the more time I have to provide quality content. It’s utilitarian, dig?

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The Passion of Steverino Hayes

steverinohayes The Passion of Steverino Hayes

This entry is categorized under “Noise Consultations” because that’s where all the feature-based writing tends to end up. But the story of Steverino – who he is, how I met him, and how it is that this guy actually exists, probably deserves its own category. Nevertheless, I’d like to introduce you to Steve Hayes, who performs under the name “Steverino.” As foreshadowing to this story, it might be relevant to add that I made the graphic above from a picture Steve uses as the background on his website. The file is called “steverino4u.jpg,” for what it’s worth. This tale of indescribable weirdness is 100% true.

Steverino is a stalwart gentlemen, roughly Roman in proportion, and in his plainclothes motif is conventional in fashion and appearance. He’s probably in his 50s, if I had to guess, with sandy and graying hair, spotted wrinkles and crevasses in his face. His casual wear generally consists of Hawaiian shirts and cargo shorts. Just a dude, ya know.  I later found out he’s in some faction of the military. He has a flat tenor of a voice, sounding like a corn-fed laggard Midwestern boy, a product of growing up in parts of the country not intimately touched by the latest diffusion of innovations (or I have to assume). This explains a certain naivety or obliviousness that borders the pencil-thin line between endearing and obnoxious.

I first encountered Steverino in 2006. At the time, I was the promoter for The Dame in Lexington, Ky, a music venue that specialized in hosting national touring acts and local bands within the realms of indie rock, punk, alt country, and hip-hop shows. On Monday nights, unless we had a national act coming in, The Dame would usually host an open mic night as a means to assuage the need to have some sort of music on a slower weeknight. Lots of white dudes playing shitty blues and acoustic covers was the usual fare.

The pervasive mood of stagnation and apathy was shattered one spring evening when Steverino came in to perform – and nothing was the same. This is not hyperbole – skies parted, food tasted differently, et al. Continue reading ‘The Passion of Steverino Hayes’

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Dumb Band Names, Vol. I – What the Fuck?

f-bombs Dumb Band Names, Vol. I - What the Fuck?

I was caught in the internet vortex the other day and ran across some old cuts by The Crucifucks.  It brought back the vivid memory of when I was just a young pup and my mom found a hand-labeled cassette in my case featuring said band.  Needless to say that Maxell XL90 hit the wastebin in a hurry.

Not particularly a big loss as The Crucifucks were a mediocre band hawking the same kind of marginally informed political rants typical of hardcore in the mid ’80s.  But I was in junior high and listening to a band with the “F” word in the name gave me street cred.  Not sure if it’s a form of arrested development or an extremely sheltered childhood which leads grown-ups to believe that use of the word “fuck” is somehow the ultimate statement.  But apparently this banal formula is still intact since I’ve lately run across a fuck-ton of “fuck” bands.

Yo La Tengo cashes in with its alter ego, Condo Fucks, and a new covers CD appropriately called Fuckbook.  Aside from that does anyone really think Yo La Tengo is *that* good or just a beneficiary of critical hype/having the balls to write 17 minute songs?  [Editor's Note: I dunno man, Yo La Tengo is pretty fuckin' rad] Fuck Buttons – frequently referred to as F*** Buttons – join the club along with Holy Fuck, Fucked Up and an endless number of minor bands with correspondingly minor wits.

Do you remember the Ass Ponys?  It was always good for a titter when you could claim them as one of your favorite bands.  What about Throbbing Gristle?  Alien Sex Fiend?  But you can no longer get anyone’s attention by simply being suggestive.  You need to ‘make a statement’ about how it’s ‘just a word’ over which people shouldn’t get so upset.  And if it gets attention/endears you to critics so be it.

 Dumb Band Names, Vol. I - What the Fuck?The dudes in Holy Fuck have already reaped benefits via a mini-controversy when Canada’s parliament pulled arts funding by citing them as recipients.  Dutifully insulted that anyone would take issue, the band shrugged and claimed, “…really what the term ‘holy fuck’ is about—it’s a way to say ‘hooray!’”  So why didn’t they name the band, “Hooray!”?

But what pisses off the man pleases the critics.  The subtext is that an obscene name means you’re somehow anti-commerical and ‘all about the music.’  Accordingly, all of the “fuck” bands have earned Pitchfork praise with Fuckbook ranking an 8.3, Holy Fuck’s latest clocking a 7.9, Fuck Buttons’ Street Horrrsing hauls an 8.6 and Fucked Up’s The Chemistry of Common Life is off the charts yall with an 8.8.  That’s some really fucking good music.

Of course “fuck” isn’t the only overused unoriginal moniker out there.  Maybe there’s something like those baby names books but for bands.  Do you really think millions of moms independently came up with Chloe, Addison or Liam?

There are the exclamation point bands which are the rough equivalent of every bullshit company with a website that rebranded itself with a “dot com” in the late ’90s.  We’re cool!  it says.  Panic!  At the Disco.  Against Me!  You Say Party!  We Say Die!  Los Campesinos!  And of course the band known as !!!.  Godspeed You! Black Emperor (formerly known as Godspeed You Black Emperor!) was arguably there first though some historians would go as far back as Wham!  As evidence of an easing of this trend, Panic!  At the Disco decided it wasn’t that excited and became Panic At the Disco.

Then there are the “go” bands; Go Panic! (bonus points for the !)  OK Go.  The Go! Team (more !), The Go Find, and the Go Fuck Yourselves.  Actually I made up the last one so you can still use it for your band if you want.  Just credit me in the liner notes dude.  Etymology of “go” bands is probably The Go-Go’s or to a lesser extent The Go-Betweens.

The “wolf” bands; Wolf Parade, Guitar Wolf, Wolfmother, Sea Wolf, Peanut Butter Wolf, and AIDS Wolf.  Probably derived from either Howlin’ Wolf or Peter Wolf.

The “crystal” bands; Crystal Antlers, Crystal Castles, Crystal Stilts, The Crystal Method, and Crystal Skulls.  Most likely derivatives of Crystal Gayle.

If I had to go way out on a limb and predict the future of dumb band names, I’d put my money on the vampire meme.  What with Vampire Weekend and that whole Twilight thing taking over the world, it won’t be long before we’re rocking to stuff like Bite My Neck Say Yeah and Vlad!  The Impaler.

Here’s my favorite fuck band, Jackie O’ Motherfucker.  Maybe posting an MP3 will get us some more fucking blog traffic.

MP3 :::
Jackie O’ Motherfucker – Backyard Raul’s Unisex Reprise

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WFMU’s People Like Us and Their Futuristic View of the Atomic Age

01 WFMUs People Like Us and Their Futuristic View of the Atomic Age

I don’t toss around the word “brilliant” too often. I recently rediscovered visual and sound collage demon People Like Us, and it’s absolutely brilliant. I find old film reels, archaic educational videos, public domain images, technology that was supposed to change our lives but didn’t, and general oddities of American industry terrifically intriguing. People Like Us, the A/V project of Viki Bennett, combines all these images with a Raymond Scott-esque audio pastiche.

People Like Us do tour and perform installations occasionally, and I had the pleasure of seeing them back in, I think, 2004 when they came to my school. Their live show is, in essence, a live VJing of these images and sounds. I saw it sober, but I wish I was stoned. And of course, People Like Us is associated with the mighty, avant-retard WFMU. Unfortunately, Viki’s show Do or DIY is not on the current schedule (though she fills in every now and again).

Below are some of my favorite videos. The first is 2003’s The Remote Controller, which features “found footage sourced from educational films to explore the way human body and machine interface in the 20th century.” The second film, “Resemblage,” features a lot of the images I saw at the live show. The last is 2005’s Story Without End, extracted from “a public domain film of the same name made in 1950 about the development of microwave radio transmission and the transistor.”

UbuWeb hosts these videos, and I encourage you to visit them. The site compiles a variety of audio and video from “outsider” artists, and it’s incredibly awesome.


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Obits Play the Blame Game

l_a905961b42a14470afe65c428ad253a9 Obits Play the Blame Game

Pardon the recent morbid content of our posts lately, and stomach just one more gut punch for the sake of our new friends Obits. Then we promise to resume taking our Xanax and get back to all the freak-folkin noise-poppin goodness. Ahem.

Rick Froberg, formerly of Drive Like Jehu, ditches the humidity of his previous efforts for some stark, but equally turbulent garage rock. I Blame You, their forthcoming debut on Sub Pop, is full of dirty post-punk blues swervin’ on the shoulder of the highway like the contorted French Connection chase songs of Josef K.

“We just go ahead and play the stuff we like,” says Froberg addressing Obits‘ relatively straight-froward sound, going on to add, “we don’t worry about originality per se, because that takes care of itself.”  Clearly, this approach hasn’t worked for everyone, but I Blame You makes a decent case for itself. It is both conscious and irreverent of its surroundings. There are obvious nods to trail-blazers The Gun Club when the psychobilly beat creeps in, and a few stray glances towards their Smelly peers like Abe Vigoda when things get all scatter-brained, but Obits only use this a frame of reference, and the idiosyncrasies are what truly hold this release afloat.

I Blame You is available on March 24th from the folks at Sub Pop.

MP3 :::
Obits – I Blame You
Obits – Milk Cow Blues

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New Super Furry Animals Release Set to Drop

SFA460 New Super Furry Animals Release Set to Drop

Prolific psych popsters Super Furry Animals will release their ninth studio album, Dark Days/Light Years, on March 16th via digital download on the band’s website.  Details on the forthcoming slab have been scarce but the latest is that it will feature a guest vocal from Franz Ferdinand’s Nick McCarthy [Editor's Note: boooooooooo!] and include 12 tracks including one named “The Very Best of Neil Diamond.”  Fans of “Cracklin’ Rose” are likely to be disappointed if SFA’s latest is anything like its past paeans.

superfurryanimals New Super Furry Animals Release Set to DropThe band’s last go-round was nearly two years ago with 2007’s Hey Venus! and frontman Gruff Rhys has more recently been busy with Neon Neon, his side project with Cincy native, Boom Bip [Editor's Note: yay!].  Yet another of the megabands spawned out of Creation Records’ heyday, Alan McGee plucked SFA for the label back in ‘95 and soon released Fuzzy Logic to critical acclaim.  Reviewers frequently lumped them in with Gorky’s Zygotic Mynci as the torchbearers of “Welsh rock” in yet another example of why overeager attempts at categorization are often ill-advised in hindsight.

I like to now and then check out McGee’s blog over at the UK Guardian to see what the old Creation boss is listening to these days. With his keen A&R ear and provocative posts like, “Animal Collective: The New Hall & Oates?” (which predictably generated more flames than Mrs. O’Leary’s cow), he’s always a fun read. In reminiscing about his discovery of SFA, he claims that the band was intended to be the “Blur to my Oasis” referring to the top of the Brit-pop rivalry between the two bands.

Of course SFA never succumbed to the ridiculous swagger (although Mogwai couldn’t resist slagging Blur as “shite”) but has been quietly consistent and understated to the point of turning down millions from Coca Cola for the use of “Hello Sunshine” in its ads. McGee points to the band as woefully underrated but, as Carles at Hipster Runoff would say, “don’t yall h8 it when mainstreamers discover ur fave alt band?”

Hey Venus! was the band’s first of three contractual releases on Rough Trade. Response was overwhelmingly muted from fans unaccustomed to such a conventional album from a band known to twist Steely Dan samples pretzel-like into something like “The Man Don’t Give a Fuck.” Still, the album features some of their catchiest work to date including tracks like “Run-Away” which conjures up Beach Boys harmonies and a Ronettes backbeat.

The superficial reviews often compared the album to Fuzzy Logic though the two sound entirely different to me. There’s a span of over 10 years between the two releases and the nuance and maturity of Hey Venus! is apparent after repeated listens. While SFA’s albums in between have featured a daring willingness to experiment, their most recent release shows a restraint which says ‘yeah we can go there, but we won’t.’

Rhys has claimed that Hey Venus! was intended to be a “loud” album and that most of the more eclectic tracks were made part of his solo album, Candylion. There are even odds as to whether Dark Days/Light Years marks a natural progression or embarks on something entirely different. I’m sure Alan McGee is waiting with bated breath and hoping the next release transforms our planet into a “Super Furry” one.

After eight solid efforts over more than a decade it’s hard to know what would break the band into the bigtime alt rock world of, say, Miley Cyrus’ latest crush, Radiohead. “Hello Sunshine” was already floated on an episode of The OC and Zach Braff doesn’t have anything currently in production. But ask Thom Yorke what he thinks of being the new tween sensation and maybe superstardom doesn’t look all that appealing.

MP3 :::
Super Furry Animals – Run Away
Super Furry Animals – The Man Don’t Give a Fuck

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The Mythical C86 Tape

NMEC86 The Mythical C86 Tape

Holy shit! Like unicorns, I wasn’t sure if this thing actually existed, but the C86 tape has finally surfaced.

Despite sounding like a printer model, C86 is actually a genre of music, and the term refers to a cassette released by the (ugh) NME in 1986.  C86 is a sample platter of all the jangle pop, fuzz pop, dream pop, shoegaze, and various off-center melodic rock happening in the south of England in the ’80s.  Many of these bands, of course, are notorious for building the mighty Creation Records with crazy ol’ Alan McGee. Read my annotated history of Creation Records (and enjoy some choice jams as well) here: Creation Records, For the Win.

Without coming off as too nerdy, the C86 tape is pretty legendary. This small-run cassette tape was, for many throughout the UK and the western world, a rather seismic introduction to groups like Primal Scream, The Pastels, The Wedding Present, and more.  I mentioned in my review of the new Wavves album a couple of days ago that this new wave of “shitgaze” bands that are popular with indie dorks these days owe a polite handshake to Marmoset, who owe a tasty bundt cake to Meat Whiplash, who all owe their mortgage to the C86 movement.

Now, maybe I’m not good at Intarwebz, but I’ve been looking for a digital version of C86 for a straight minute.  Chocolate Bobka, a blog I just discovered and like quite well, somehow gripped a full, high quality digital recording of the original C86 release.  And they were nice enough to share.

Below are some highlights for me.  Enjoy! Oh, and I was just informed that unicorns do exist. Well… shiver me timbers. Scratch the introductory sentence, then:

captb374481c5e3543cfa80c045b09fc6414italy_unicorn_pto101 The Mythical C86 Tape

MP3 :::
Primal Scream – Velocity Girl
Shop Assistants – It’s Up to You
The Pastels – Breaking Lines
The Servants – Transparent
The Wedding Present – This Boy Can Wait

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Locrian is Perfect for a Sunn O)))-ny Day

l_0c327a4395f341f88af3036ce62a7be5 Locrian is Perfect for a Sunn O)))-ny Day

I had an opportunity to sit down with the latest release from Chicago drone duo, Locrian, but hadn’t packed my bag for the transcendental journey on which this slab of sound sent me. Drenched Lands is 6 tracks clocking in at just over an hour and thick with layers of droning synth and strings. Despite the traditional association of the locrian mode with metal, Locrian is surprisingly easy on the ears, bringing in a slow tide which eventually crescendos into a powerful swell. There’s a raw fury lurking underneath the glassy smooth sea giving you one hell of a ride without ever smashing you onto the rocks.

The opening track features a repetitive Slint-like riff backed by subterranean synth which leads seamlessly into the pulsating “Ghost Repeater.” Closing my eyes I saw Kurt Russell on the barren ice in John Carpenter’s The Thing. This is the modern-day counterpart to Morricone’s masterful score of one of the creepiest films of the last half century. Drenched Lands indeed conjures up desolate post-industrial landscapes teeming with hidden peril.

“Obsolete Elegy in Cast Concrete” punctuates the mood pieces with stabbing guitar attacks and distant howls building frantically to a reprise of the album’s melodic opening. The alternating dissonance and consonance pushes you right to the edge of discomfort before lulling you back into the fold. The 30 minute epic final track, “Greyfield Shrines”, brings the storm to shore with an unyielding torrent of feedback and noise which eventually relents so you can breathe again.

I’m not a fan of unbridled noise which feels a bit too much like each musician is off on his own personal journey. But Locrian imposes an order on the chaos and the result is a surprisingly mature effort which feels a lot more dangerous than it is. Drenched Lands is a harrowing thrill ride down a dark, remote highway but there’s no risk here of running off the road.

MP3 :::
Locrian – Epicedium
Locrian – Obsolete Elegy in Cast Concrete

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The Low Frequency in Stereo Proves Not Everything From Norway is Evil

lfis The Low Frequency in Stereo Proves Not Everything From Norway is Evil

Describing Norway’s The Low Frequency in Stereo as “eclectic” is an unfortunate understatement. Futuro toggles, in a rather freewheeling fashion, between anthemic pop by-way-of shoegazing and total fucking weirdness.  The most memorable (and best) songs balance the two, such as “Starstruck,” which amalgamates a motorik-informed rhythm with space rock reverb and bubblegum pop vocals (think Pia Fraus or Deerhunter). “Geordie La Forge” gives me a nostalgic tear for early Stereolab, back when the group was noisier and less space-age bachelor pad.

However, considering that the musical output of Norway has generally gravitated toward all that is evil (ya know, black metal), it makes sense that more dissonant turns like “Mt. Pinatubo” and the nine-minute, obviously cosmic “Solar System” create the “bad trip” ying to the Black Angels’ acid rock yang… and with saxophones, no less!

Perhaps because of geography or a vastly different drug regiment, the (as I refer to them as) LoFrequSter’s cluster of kraut, space, psych, and pop seems very far removed from similar sounds coming from the Yanks and the Brits – and proves that an identity crisis is not necessarily a bad thing.

Futuro is out now on Rune Grammofon.

- Kenny Bloggins

MP3 :::
The Low Frequency in Stereo – Starstruck
The Low Frequency in Stereo – Solar System

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From the Grave, FTW

Death

Drag City recently unearthed a long lost, blistering proto-punk artifact. In 1974, the Hackney brothers, three young black men from Detroit, started jamming under the name Death. They made one record, a uniquely raw and aggressive take on classic rock, and were never heard from again, until now. Three decades later, it finally gets a proper introduction, and this time…For the Whole World to See.

According to a recent interview with bassist Bobby Hackney (Via TimeOut), Death would have never coined their harsh sound if it weren’t for their mom’s bouncer boyfriend who would sneak the trio in to see such acts like Iggy & The Stooges, MC5, and the Who. The brothers Hackney immediately went out, got their instruments, and started channeling the energy of rock into something much more primitive. The rest is history, or rather, it should have been. A combination of bad timing, arguments with the label over the band’s presentation (namely, well, their name), and a generally ill-prepared state of music allowed this missing-link of punk rock to fall through the cracks.

A remarkably well-aged time capsule of hefty hooks and driving power,…For the Whole World to See, is finally available for discovery on Drag City.  Photo by Tammy Hackney.

MP3 :::
Death – Rock-N-Roll Victim
Death – You’re a Prisoner

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