wordpress stats

Archive for the 'Contraband' Category

Brian and Dennis Wilson’s Cocaine Sessions

bb

Instead of doing work today I decided to hunt down Brian and Dennis Wilson’s notorious Cocaine Sessions, sometimes known also as the Hamburger Sessions or Things We Used to Get Brian to Show Up for Practice. The two brothers recorded this demo at Village Recorders during a real low point in 1981 while Brian was in temporary hiatus, not too long before Dennis’ tragic death. This short collection of fragments documents a sweet and haunting glimpse from the last years of their song writing partnership. I can’t brag about the quality, I know, the tape hiss is about as loud as the music, but with a little Treble Reducer the white noise dissipates and some pretty great sketches emerge. Stoned off their gourds, the duo navigate some pretty commanding melodies on organ and piano with vocals both exhausted and hysteric. The tape’s two ‘coherent’ tracks “Oh Lord” and “I Feel So Fine” were slated to be properly developed although they just never materialized, but maybe these dejected, underwater gospels were never meant to get cleaned up.

You can grab the whole bootleg here.

MP3 :::
Brian Wilson & Dennis Wilson – Oh Lord
Brian Wilson & Dennis Wilson – I Feel So Fine

Share/Save/Bookmark

[Recording] Coast to Coast AM with Art Bell – 11.27.09

antennafarm3 [Recording] Coast to Coast AM with Art Bell - 11.27.09

While, yes, The Decibel Tolls is a music blog, sometimes I like to write about and share my other interests. No jumping the shark here, dudes. I figure that if you listen to the type of jams we post, you’re probably into weird, fringe, interesting media all around. So now that Art Bell is very occasionally returning to Coast to Coast AM to show everyone how it’s done right, someone needs to start recording, archiving, and making available these shows in MP3 format. I nominate myself.

If you’re not familiar with the program, read my Halloween article and get acquainted. If you like what you hear though, I’m not sure you’d want to turn on the program on any given night. George Noory and team are total dweebs. And they screen calls, which the lack thereof is what made the original C2C program famous. Art provided a forum for anyone to come and discuss their ideas. However, he still makes you prove your highly fringe theory or will calmly tease substance out of your nebulous statement. This makes for entertaining radio. George, on the other hand, totally believes whatever you say (for example, Art remained skeptical about the guests’ estimate of a 90% fatality rate after an EMP attack, whereas George would say “aw geez whiz, 90%, that’s terrible”). Also, there’s something viscerally creepy in Art’s smoky voice in the night that adds an air of mystique and solemness to the program. George sounds like a children’s show voiceover. Not to bash the latter too much, but let’s call a spade a spade, ya know? Hence, it’s always a real treat when the originator comes back to the mic.

Anyway, Art was back late Friday night for an AWESOME show. Here’s the recap from the C2C website: “Art Bell spoke with Prof. William Forstchen for the entire program about how an electromagnetic pulse (EMP) attack by a rogue nation could disable America’s power grid and communications infrastructure, and lead to an inconceivably high death toll.

Forstchen provided details on Starfish Prime, a high-altitude nuclear test conducted by the U.S. in 1962, which increased our awareness of the serious repercussions of EMP. The detonation took place high above the Pacific Ocean yet caused significant electrical damage several hundred miles away in Hawaii, he said.

Major solar flares can also produce EMP, Forstchen added, noting the Carrington Event of 1859, the most powerful solar storm in recorded history. If such a storm hit our planet today, over 80% of the electrical generating systems in the Eastern U.S. would still be offline four years later, he estimated.

Forstchen pointed out that North Korea or Iran could easily place an EMP-calibrated weapon within range of America and blow out the entire U.S. power grid. A 2004 Congressional Study projected a stunning 90% fatality rate from such an attack, he remarked, explaining that it would cause an almost immediate shortage of potable water, food and medical supplies, and eventually lead to a economic and societal collapse.

“We can stop this before it happens,” Forstchen said, agreeing with Art’s assessment that America should preemptively strike any country preparing to launch an EMP attack against it. Forstchen also proposed the U.S. harden its infrastructure and begin stockpiling replacement parts to rebuild it.”

Yeah man, it’s some shit. Below is the entire program, with the commercials, bumpers, and after-break catch-up removed, recorded from the crystal-clear 50,000 watt signal of WHAS. For those that were indeed listening, when Dr. Forstchen was discussing Faraday cages, did anyone else make an immediate LOST connection (the character Daniel Faraday, the electromagnetic force from the DHARMA Swan station, etc.)? Heavy on all fronts.

MP3 :::
Coast to Coast AM with Art Bell – 11.27.09 – Part 1
Coast to Coast AM with Art Bell – 11.27.09 – Part 2

Share/Save/Bookmark

The Inner Space: Can When They Were Simply Scrap Metal

agilok_blubbo The Inner Space: Can When They Were Simply Scrap Metal

I’ve spent some of my downtime over this holiday weekend to start recording some of my vinyl onto Buhbee (the pet name for my Macbook), including this amazing, hard-to-find record (pressed on 180 gram!) Lana scooped up from ear X-tacy for my birthday a few months ago.

The freeform collective The Inner Space consisted of, but wasn’t limited to, West Germans Holger Czukay, Irmin Schmidt, Michael Karoli, Jaki Liebezeit, and American Malcolm Mooney. These gentlemen would, only a few months after recording the score to underground German film Agilok & Blubbo, form “The Can,” later to be known simply as Can. And everyone except for Mooney remained in the group until their split in 1979.

The Inner Space, as described in the soundtrack’s original liner notes (which were translated quite hastily):

“The Inner Space group is made up of specialised instrumentalists and excellent sound-engineers, led by the composer. Irmin Schmidt feels at home in all kinds of musical generes, electronics, aleatronics [sic?], classical, jazz and beat are all of equal interest to him. His point of view is that ‘music has to be good, everything else is the people’s choice.’ For the first time in German film history, there is a complete soundtrack of underground music. For the first time, there are electronics with a beat, or the other way around.”

Both Schmidt, the de facto conductor, and Czukay were music academics, so it’s understandable why soundtrack work would be appealing (notwithstanding the fact that Can would release albums with titles like Soundtracks and Monster Movie). And yet, it’s interesting to think that what they actually brewed with this prototype Can was decidedly punk – mostly sloppy, organic, splattered, vaguely psychedelic rock. At times, what The Inner Space did paralleled the sound of what The Velvet Underground was doing at that time in 1968 – a juxtaposition of delicate melody and abrasive noise, from half a world away and without any awareness of each other (as the krautrockers were an insular bunch). Both approaches come out to play on “Kamerasong.”

The Inner Space’s Agilok & Blubbo is certainly a creature of its own – an odd mix of rough and tumble fuzz guitar, embryonic garage space rock, dissonance, and a shit-ton of flute and didgeridoo. However, you can hear where the sonic palette of Can begins to take root in “Flop Pop” – precise rhythm, fluid bass, fluttering freak-outs, and that paradoxical, seamless mash-up of the extremely calculated with the loosey goosey. This is a fascinating listen.

I can’t speak for the movie Agilok & Blubbo itself, as I’ve not seen it and little is written about the film. But I understand it’s a sort of abstract political narrative, and the excellent boobage on the cover suggests there’s probably lots of free love to be had as well. The soundtrack evokes the idea that it’s probably an engrossing headfuck. Take a read of Julian Cope’s review at Head Heritage for more thoughts and some additional frames of reference.

This is absolutely necessary for any serious Can fan’s collection (known as Der Kanfan in German). If you like what you hear below, go visit Wah Wah. As an aside, folklore tells of Can’s ability to focus their energy so acutely during live shows that some audience members would vomit. Anybody have more info on this? Thought I’d ask while I have you around.

MP3 :::
The Inner Space – Flop Pop
The Inner Space – Kamerasong

Share/Save/Bookmark

[Bootleg] Ride – Live Light – France, 1994

livelight1 [Bootleg] Ride - Live Light - France, 1994
live_light_vinyl [Bootleg] Ride - Live Light - France, 1994

I recently stumbled upon this impeccable DAT soundboard-quality bootleg of a November 1994 performance by Ride, though bootleg may not be the right word. This recording often appears on the band discographies, but Ride never gave permission for an “official release.” Hence, before the mighty intarwebz, Live Light was available only in Japan.

Particularly special about this recording is that, given the date, this was probably the last document of the original Ride in their prime. Carnival of Light, released earlier that year, was Ride’s White Album. Chief songwriters Andy Bell and Mark Gardener were majorly bummed on each other, creating a huge rift in continuity on Light. Bell, as you may know, went on to join Oasis after the group’s demise in early ‘96. Talk about a rebound date.

Live Light was taped in either Lyon or Nancy, France according to the Ride Gigography. The album’s liner notes don’t specify. Either way, it is absolutely necessary for any shoegaze fan to have this swan song document of the genre’s premiere artist. Hence, I’m offering it at the link below. It’s the CD version of the bootleg. There was a light blue 2LP version as well that featured two songs not available on the disc (“Twisterella” and “Drive Blind,” the latter I’d love to hear). If anyone has those jams, holla at ya boi Bloggins here.

ZIP :::
Ride – Live Light (approx. 77 MB)

MP3 :::
Ride – Chelsea Girl (Live – 11/94, France)
Ride – Leave Them All Behind (Live – 11/94, France)
Ride – Close My Eyes (Live – 11/94, France)

Share/Save/Bookmark

Revisiting the Terrifically Loud Skywave

29fb92c008a03b19934c8010.L Revisiting the Terrifically Loud Skywave

The now defunct Virginia-based Skywave is a name you might not recognize, but their lineage is rather important in the second generation shoegaze (or “newgaze” as it’s sometimes referred) movement. Synthstatic is certainly their best, and I first heard it my freshman year in college in 2003 when we received the record at the ol’ campus radio station. It was the loudest thing I had ever heard at the time, and I think I played a cut off it during my show every week for six months. It might still be the loudest record I own, save for maybe Guitar Wolf, which is just ridiculous. I don’t know, man – point is, it’s real goddamn loud.

Every song sounds as if the mix is utterly and completely in the red – at all times. It’s the type of production that would make most audiophile-sensitive producers shit. Skywave’s wall of sound is downright frightening. Throw “Angela’s an Angel” on your ghetto blaster and feel your tweeters jump about a quarter inch at the 1:22 mark. With that said, rays of light peak through the decibel decimation on sweet dream pop numbers like “Adore,” “Wear This Dress,” and “I Believe.” “Fire” is still my favorite track after all these years, though. That jam is evil.

As per a frame of reference, Skywave is a fine concoction of The Jesus and Mary Chain’s darker moments on Psychocandy, the more bombastic selections off of My Bloody Valentine’s Isn’t Anything, and the extremely tight rhythm of any given Echo & the Bunnymen record.

After Skywave split, the former members went on to form two bands you may be more familiar with – A Place to Bury Strangers and Ceremony. If you listen to the aforementioned, however, they both sound just like Skywave, right? Synthstatic is the all-in-one sinister jam hive to own.

I generally don’t do this, since I run a professional music blog, you see, and I always encourage our readers to support the artist. But Synthstatic is out of print and hustlers be tryin’ to flip copies of it for, like, $75. Hell naw; fuck that shit. Kenny Bloggins gon’ give it 2 u: Skywave – Synthstatic (ZIP archive, approx. 68 Mb). Don’t say I never did nothin’ for ya.

For fans of:  My Bloody Valentine, The Jesus and Mary Chain, A Place to Bury Strangers

MP3 :::
Skywave – Fire
Skywave – Angela’s an Angel
Skywave – Adore

Share/Save/Bookmark

The Missing Link Between Flower Power and Creation – The Folklords

51yRK%2Bq5gwL._SS500_ The Missing Link Between Flower Power and Creation - The Folklords

Whoever said you can’t judge a book by its cover is an asshole. I was introduced to The FolklordsRelease the Sunshine whilst poking around Ear X-Tacy over the weekend. Like magnetism, my eyes locked on this record that was on display in the psych/kraut/experimental section from rather far away. The kaleidoscopic band photo with a Polaroid-washed palette, Indian-inspired hippie chic wardrobes, and the album’s title imposed over a doily-like paisley sun in the upper right hand corner – oh hell yes, this record’s going to be very relevant to my interests. And they’re called the fuckin’ Folklords. You know this is shit’s gonna be rowdy. So I picked it up.

The record sounds exactly as the album art suggests – good vibin’, sunny, spellbinding, lazy and hazy psychedelic electric folk with serious zither and autoharp solos in tow. Originally released in 1968 on Canadian imprint Allied Records, little is known about this Toronto trio and their only album. Their obscurity says nothing about the quality of the music – only that the late ’60s were quite a competitive period for this type of sound. As the liner notes suggest (and I agree), the Folklords, strangely enough, sound closer to the Creation Records groups of the mid ’80s, the British bands emulating the timbre of flower power, than many of their contemporaries in 1968. This is especially pervasive on “Thank You For Your Kindness,” included below. You can extrapolate whatever you will from this sentiment.

Release the Sunshine isn’t anything you haven’t heard before, but it’s exciting nonetheless to find a pretty good document of Canada’s response to the west coast sound – one that was swept under the rug, no less. Fortunately, Lion Productions, who specialize in grabbing obscure psychedelia and craftily remastering their finds, recently released this gem, and its available here.

For fans of:  West Coast Pop Art Experimental Band, The Left Banke, Margo Guryan

MP3 :::
The Folklords – Forty Seconds River
The Folklords – Thank You For Your Kindness

Share/Save/Bookmark

Rain Parade, Where Have You Been All My Life?

rainparade Rain Parade, Where Have You Been All My Life?

I recently started exploring the realms of what was known as the Paisley Underground, a movement mostly around Los Angeles in the early to mid ’80s that acted as a reaction to the machismo of the hardcore scene percolating at that time. The groups involved in the Paisley Underground (a moniker that, like punk, was meant as a joke) wanted to spread peace and love again through candy-ass rock and roll. Some very incredible albums came from this movement, and not all were specific to LA (Soft Boys and Big Star come to mind). While The Dream Syndicate and The Three O’Clock probably championed the scene the most, The Rain Parade’s austere yet lavish 1983 album Emergency Third Rail Power Trip is my pick of the litter. This album rips.

If “I Look Around” sounds familiar, The Asteroid #4 covered it last fall on These Flowers Of Ours. Jangly, lush, gorgeous – Emergency Third Rail Power Trip is unrelentingly powerfully, probably because it’s the perfect balance between two significant movements in rock – ’60s psych, and C86 dream pop. “This Can’t Be Today” is the type of unequivocally perfect, slightly askew pop song that makes everything else sound shitty. Everything. I mean, really, after hearing a song so flawless, it makes me want to go find the members of poppycock groups like Passion Pit, roundhouse kick ‘em in the domes, steal their money, and donate it to the formers members of the band. While The Rain Parade never saw much commercial success before their split in 1986, vocalist David Roback went on to form two other excellent bands – Opal, and the mighty motherfuckin’ Mazzy Star. So Roback still got real paid in the end, I suppose.

Though Rain Parade’s original label, Restless, is no longer around, Ryko still distributes Emergency Third Rail Power Trip, but not widely. Hence, if you don’t live near a rather large record store, your best bet is to grip it through Amazon. Which you should. Amazing that there was a time when indie rock didn’t suck, yes?

MP3 :::
The Rain Parade – This Can’t Be Today
The Rain Parade – 1 Hour and 1/2 Ago
The Rain Parade – I Look Around

Share/Save/Bookmark

The Best of Swirlies

61adnfeydgL._SS500_ The Best of Swirlies

Continuing the Contraband series, showcasing various finds and older, often out of print, records that deserve some ink in the blogololosphere, today we discuss Swirlies and three albums – Blonder Tongue Audio Baton, What to Do About Them, and They Spent Their Wild Youthful Days in the Glittering World of the Salons – all of which are very worthy of your attention.

Swirlies served as a Yankee response to the Thames Valley-centric shoegazing movement, though it could still be argued that Swirlies didn’t necessarily fit nicely in that box either. The group masterfully amalgamated both dream and noise pop aesthetics like champs, while also pioneering what was known as “chimp rock,” or music with a deliberately childlike, uncouth approach to songwriting.  Though they’ve not done a whole lot in more recent times, it’s worth noting that Swirlies never officially disbanded. As a matter of fact, they recently resurfaced to play three east coast shows in February.

What to Do About Them, released in 1992, is rather cohesive for a debut EP. Under the soundboard-clipping washes of noise is a touch of bubblegum pop that carved a niche for Swirlies as America’s The Vaselines. Dig the sweet and sour “Chris R” and anthemic “Upstairs.”

24c5c060ada055dd040d0210.L The Best of Swirlies

Blonder Tongue Audio Baton, released in 1993, maintains the typical cadence and aesthetic of the time as a freewheeling, sloppy recording. One important distinction, however, is Swirlies’ mastery of the quiet/loud dynamic. Songs like “Bell” have a real Ride quality in terms of soaring melodies and silky guitars – minus any sort of production, of course.

61fvRZOYY1L._SS500_ The Best of Swirlies

While Swirlies’ 1995 album They Spent Their Wild Youthful Days in the Glittering World of the Salons is still in print, it isn’t widely released, discussed, or revered, and that’s an abject bummer. Compared to their noisier, more disjointed previous releases, …Salons features cleaner production and more sophisticated, concise songwriting, ostentatiously because it is, indeed, a latter album and the members are older, etc. However, the band proves they still don’t give a shit by way of their classic muddy, brutal distortion. The liner notes state that no synthesizers have ever been used in Swirlies, making some of the sounds scattered on “Sound of Sebring” over the ’90s-centric, tinty, active rhythm quite curious indeed.

MP3 :::
Swirlies – Upstairs
Swirlies – Chris R
Swirlies – Pancake
Swirlies – Park the Car By the Side of the Road
Swirlies – In Harmony New Found Freedom
Swirlies – Sound of Sebring
Swirlies – Sunn

Share/Save/Bookmark

The Nightblooms and their Summertime Shoegaze

51dYpyGnxML._SS500_ The Nightblooms and their Summertime Shoegaze

Recently, I discovered I had quite a volume of unmarked CD-Rs lying about my personal caverns (closets, that is, not some strange sexual euphemism). Last night, I gripped L-Train’s industrial-strength Sony Walkman (remember those?) and went through 30 or so unnamed CDs. I found some amazing stuff – much of which I will share with you over the next few weeks. A lot of tracks I found were certainly of the older, rare, and/or out of print variety, as I pirated a lot of music from my former college radio station WRFL, where I dwelled for most of my college career. The station pretty much had a “don’t throw anything away” policy since its inception in 1988, so it’s a veritable museum (though certain titles were stolen at some point in the past obviously). This is why you see a new category called “Contraband.” Since the concepts are somewhat similar, entries from Cut-Out Bin Classics and Vinyl Finds have been consolidated into one easy, low-APR category. The MP3 categories, as always, refers to hawt new traxxx (or easier to find music).

The first awesome find in last night’s excursion is the 1992 self-titled album by The Nightblooms. The Nightblooms were, as often is the case, an underappreciated collective from The Netherlands who only released two albums. Shoegazing is certainly the easiest reference point, as the group concealed melodic vocals under massive Big Muff guitar sounds. However, the Nightblooms were not nearly as ethereal as, say, Lush – the group packed a crunchy punch… almost reminiscent of a sped-up stoner metal band. You also hear an amalgamation of fuzz, punk, noise, and twee a la The Vaselines. There’s very little information on the group and I have yet to find any interviews on the intarwebz. If you find something, please send it my way! Otherwise, enjoys these rare gems perfect for warming weather.

For fans of: Lush, The Vaselines, Velocity Girl, Aislers Set

MP3 :::
The Nightblooms – Panicle
The Nightblooms – 59#1
The Nightblooms – Slowly Rising

Share/Save/Bookmark

Man or Astro-Man – What Remains Inside a Black Hole

manorastroman Man or Astro-Man - What Remains Inside a Black Hole

Man or Astro-man? sounded like The Ventures after being anally probed by aliens and promptly dumped behind a Radio Shack. In fact, the band claims to be from outer space but rumor has it they surfed out of the same Auburn, Alabama scene as the Immortal Lee County Killers and The Quadrajets.

Dropping science on top of surf guitars, MoAM toured the country with a wagonload of retro tech including theremins and even a homemade tesla coil which remarkably never resulted in a Spinal Tap moment of spontaneous combustion. The band also built its own supercomputer called Eeviac which is reputed to be the most powerful supercomputer ever used on stage by a rock band.

What Remains Inside a Black Hole was an Aussie import on Au-Go-Go Records which compiled many of the band’s early 7” singles. The live version of “Eric Estrotica” was originally included on Man or Astro-man? Vs. Europa while “Adios Johnny Bravo” – complete with Brady Bunch samples – was incarnated in wax on Possession by Remote Control Estrus later released a domestic facsimile, Beyond the Black Hole, which included many but not all of the tracks on the Au-Go-Go release.

Bands with a schtick are sometimes entertaining, sometimes annoying. In the realm of entertainment, MoAM’s live shows rank at the head of the class. Certainly well above the toilet antics of GWAR though not quite as retro as The Mummies. For a little teaser check out this snippet from the YooTubes:

MP3 :::
Man… or Astro-Man? – Eric Estrotica (Live in Space)
Man… or Astro-Man? – Adios Johnny Bravo

Share/Save/Bookmark