Thursday, December 29, 2011
Chief Tizo Interviews #2: Lithium
The second installment of Chief Tizo Records Interviews! We have the lovely opportunity to talk with Lithium and discussed their origins, the music making process, the local scene, and future plans. An extremely amusing and insightful watch. Check it out above!
Tuesday, December 27, 2011
Obligatory best of 2011 list (+rant intro) [Bryan Blaster Set Edition]
Two thousand and eleven A.D. was an annoying year in terms of new music releases, the only thing I truly looked forward to was Radiohead's 'The King of Limbs' and as much as I adored and loved that record and regardless of how both certain fans and critics were pissed that RH had decided to not follow up the casual listener friendly 'In Rainbows' with just that, casual listener friendly music (I was happy with the experimental and new approach to their recording since 'Amnesiac'), I felt that I didn't give much of a shit for other releases this year.
There was simply NO energy or exciting events this year in music that really made an impact on me. Everything that mattered to me was either released many years before or was a record that was came in and out of my conscious musical attention. Everything that was supposed to be a big deal turned out to be boring, bland, cookie cutter indie rock music. Or even worse, 'indie' music.
The day I utter those words as a genre with any sense of actual relevance I will cry in shame. I mean come on, it's almost the year 2012, can we all burn in a meaningless fiery display of planetary implosion without bullshit? If the incoming year is as bad as this one, then maybe we deserve it. More than ever do I give great acknowledgement to the 'lower' bandcamp artists because the most noticeable and meaningful music came from them.
Not all is bad though, with this year I learned more of music in terms of what really makes it stand apart and what is worthwhile (to me of course). In a sad way the cliche that many artists are repeating the same ideas from the past is not so far away from the truth. We leave it to the future I suppose.
So without further rant or word, here is my list of best albums of 2011 in no meaningful order.
Boris - New Album
I enjoy j-pop/k-pop/anime openings and am a closet and unappreciative anime fan. But that really shouldn't matter here (it does in a subconscious way) and I was sad to witness another situation in which a band tries to experiment in a new approach to making their music and gets shit on for it. Boris are a very talented and experimental band that have a colossal amount of albums that are all different from one another. Not many bands that pull that off with a set standard of quality but Boris do seem to have it down to an art. 'New Album' was my favorite of their THREE recent records this year for the influences that seem to stem from k-pop/j-pop but still have their noise rock/experimental sensibilities intact. What more could I want?
Dads - Brush Your Teeth, Again ;)
I'm not too well endowed in the twinkle emo genre as I'd like to be (Starlon is helping me out though) but this year I tried my best to expand my horizons a lot and get familiar. Somewhere along the line in my quest I had been introduced to Dads. From the opening jangle of the guitars in 'Dan's Christopher Walken Impression' you know you're listening to something creative and a mix of melancholy and warmth. The entire twenty three minutes of it give off this feeling of "home sweet home!" and sounds entirely effortless. A record with true heart and hardship.
Giles Corey - Giles Corey
Even if the year was not blessed with a Have a Nice Life release (and we're all eagerly awaiting!) the year was treated to Dan Barrett's solo project Giles Corey. A self-titled record that contains songs of bleak melancholia, soul crushing hope and every little thing in between, 'Giles Corey' is a record that takes multiple listens to truly appreciate and immerse oneself into. Probably the darkest thing that I listened to and actually enjoyed this year (there were a lot of faux depressing albums...), this record is a true display of bare emotion. This isn't the sequel to 'Deathconsciousness' and it clearly wasn't meant to be that, but rather this record becomes its own rewarding and powerful experience altogether.
Iceage - New Brigade
When that calm intro 'piece' ends, this record never lets up on the energy and keeps hitting you over and over and over. In an another year of toothless and bland post-punk (I'm looking at you The Horrors) Iceage really brings back the filthy grime back to what once was a respectable genre. Maybe it's more noise to you or maybe it's more punk than the post variety to you, but to me this was a post-punk record that made me excited and made me mosh of my free will like a brainless idiot for the first time in many years. 'New Brigade' is noise ridden, filthy, loud, and most importantly, refreshing post-punk, and for that I am more than grateful. Favorite song? 'Rotting Heights' all the way, although Aaron likes 'Broken Bone' the most.
Dirty Beaches - Badlands
No album captured places I've never been to that were probably made up in my head so vividly than 'Badlands'. This was the album that hit my imagination more than any other and made me feel sad, happy, hopeful, resentful, and, even at times, cool. For those reasons Alex Hungtai (the guy who makes all this under the moniker) represents to me the classic role of a lone wandering traveler who is just trying to make it in life, living through the past's sounds and experiences. For that I respect and cheer him on, but for his music one is able to live and breathe, and ultimately have eternal support in what he himself creates: an immersible and relatable musical journey.
Joyce Manor - Joyce Manor
The band from my birthplace of Torrance. Maybe it wasn't such a surprise that I loved the record right off the bat because it had a nostalgic and familiar quality to it. It sounded like the old beach I used to frequent and from the moment I read that they were from Torrance I knew that the stars must have aligned for me if at least once in my life for this. Joyce Manor's self-titled is the joy and despair of being a human being with flaws and other humans to deal with in record format. If Iceage were what made post-punk this year bearable, Joyce Manor forgave pop-punk and made it acceptable to listen to (but it's more punk than pop though!). Every song has this tinge of sadness and acceptance in it, from the woahs in 'Orange Julius', the cathartic final crying out in the end of 'Call Out (Laundry)', to the final chords and riffs of 'Constant Headache', this record made youth and my hometown memories eternal for me this year.
Death Grips - Exmilitary
This could be the life and death of what was/is now known as noise rap or experimental hip-hop or whatever suits your flavor. Every track hits hard and the vocal delivery is fierce, relentless, and gruesome. Each beat cuts through speakers like ripping flesh and murders your ears. I know that perhaps this is starting to read like a stereotypical black kvlt metal description but there is no better way to describe the music's excessive and harsh nature than by using the very same method in excessive descriptive metaphor. Creative aggression at its finest.
Radiohead - The King of Limbs
(it's kinda obvious this is my album of the year from 2011 number one huh?)
I will always love Radiohead, maybe not to the point of me re-buying 'The Daily Mail' and 'Staircase' when the 'From the Basement' Blu-Ray has the EXACT SAME SONGS IN THE SAME SESSION but I do have the majority of their discography legally bought and am excited to see them tour next year with hopes for more new material.
So let me get the notion out of the way that I am a Radiohead fan of at least notable order and have listened to all their b-sides, unreleased live songs and whatever. There, I said it.
So let me begin by saying that 'The King of Limbs' is indeed what I truly wanted from the band. After the release of 'These Are My Twisted Words' in 2009, I was excited for a new sound from my favorite band. I was expecting something darker, jammier, longer, and overall less accessible than 'In Rainbows'. Now it isn't a matter of thinking "Oh I'm so cool, I like inaccessible music to look like an intellectual", but rather I truly do enjoy Radiohead when they are at their most experimental. My favorite moments in their music come from when they take the unconventional and make it conventional. So to me, this was something great in the making.
I wanted to have a mix of 'Amnesiac' and 'Hail to the Thief', something moodier, something harder to understand than say 'All I Need' or 'Nude'. As much as I loved 'In Rainbows', I noticed that in the second disc of b-sides, they really dropped the ball on keeping their experimental edge with the older songs that promised such (Think of 'Up on the Ladder').
'The King of Limbs', whether I knew it at first or not, was the answer to what I wanted all along, a moodier, experimental effort by my favorite band.
From the opening loop of that distant piano that turns into a far away ambient noise in the beautiful 'Bloom' you know this is a special record for the band. Minuscule details like the chopped up hi-hat in the glitchy reinvention of 'Morning Mr. Magpie', the krautrock meets pop hybrid of 'Little by Little', the rickety instrumentation of the wandering 'Feral', the groove filled and catchy 'Lotus Flower', the underwater piano march of 'Codex', the minimal beauty of vocal looping and guitar in 'Give Up the Ghost', and the ominously pretty sounds of 'Separator' are all ingredients that help create a record that is more than the sum of its parts.
'The King of Limbs' was the album from this year that had more than earned my excitement and expectations.
Honorable Mentions:
- Lou Reed & Metallica - Lulu
This was probably the best juxtaposition of the year, if anything we got to see people get confused and others to claim to 'get it'. Whatever side you're on or if you just don't give a shit, you most likely noticed it and that's that!
- Mark Kozelek - Live At Union Chapel And Södra Teatern
I love Red House Painters and *almost* anything by Mark Kozelek, this live album he released this year had some great reinterpretations of older Red House Painters and Sun Kil Moon material along with much of the great material from one of the best releases last year: 'Admiral Fell Promises'. Hope he tours near me next year for once.
- Odonis Odonis - Hollandaze
What if The Horrors still had talent and made an even noisier and raw version of 'Primary Colours' that was dark as fuck? It still wouldn't be as good as 'Hollandaze'. I'd probably have this up there but I sadly didn't have enough time to truly digest this record, still maybe over time I'll recognize this as one of the best things from the year 2011. 'Blood Feast' all the way.
- Panda Bear - Tomboy
I was actually looking forward to this release because I somewhat still enjoy listening to Animal Collective and wanted to know what a poppier version of them would sound like. Not a bad release by any means and even has its share of beautiful moments like in 'Drone' or 'Scheherezade'. What really hinders the record is it's ability to be completely forgettable. It's okay Panda Bear, you still seem to be the nicest guy from AnCo, also 'Slow Motion'? Chill jam to end all chill jams.
- Teenage Cool Kids - Sunset After Denton
I played 'Beg to Differ' a million times on my way and while I was at school. It captured my feelings of apathy, melancholy, and unwavering despair in the nights before school days in a single song. Perfection, just fucking perfection. Oh, the rest of the album is pretty nice too.
- ORGE YOU ASSHOLE - homely
Best use of saxophone and the best music I used to chill out to, would be up there if I had paid it closer attention. Maybe next year!
- My Little Underground - My Little Underground
The only combination of post-punk and shoegaze I heard this year that wasn't complete shit. It was fresh and the melodies are to die for. 'Civil' was quite a hit in my playlists.
- The Drums - Money (A song I know right?)
BUT I DON'T HAVE ANY MONEY BUT I DON'T HAVE ANY MONEY
There was simply NO energy or exciting events this year in music that really made an impact on me. Everything that mattered to me was either released many years before or was a record that was came in and out of my conscious musical attention. Everything that was supposed to be a big deal turned out to be boring, bland, cookie cutter indie rock music. Or even worse, 'indie' music.
The day I utter those words as a genre with any sense of actual relevance I will cry in shame. I mean come on, it's almost the year 2012, can we all burn in a meaningless fiery display of planetary implosion without bullshit? If the incoming year is as bad as this one, then maybe we deserve it. More than ever do I give great acknowledgement to the 'lower' bandcamp artists because the most noticeable and meaningful music came from them.
Not all is bad though, with this year I learned more of music in terms of what really makes it stand apart and what is worthwhile (to me of course). In a sad way the cliche that many artists are repeating the same ideas from the past is not so far away from the truth. We leave it to the future I suppose.
So without further rant or word, here is my list of best albums of 2011 in no meaningful order.
Boris - New Album
I enjoy j-pop/k-pop/anime openings and am a closet and unappreciative anime fan. But that really shouldn't matter here (it does in a subconscious way) and I was sad to witness another situation in which a band tries to experiment in a new approach to making their music and gets shit on for it. Boris are a very talented and experimental band that have a colossal amount of albums that are all different from one another. Not many bands that pull that off with a set standard of quality but Boris do seem to have it down to an art. 'New Album' was my favorite of their THREE recent records this year for the influences that seem to stem from k-pop/j-pop but still have their noise rock/experimental sensibilities intact. What more could I want?
Dads - Brush Your Teeth, Again ;)
I'm not too well endowed in the twinkle emo genre as I'd like to be (Starlon is helping me out though) but this year I tried my best to expand my horizons a lot and get familiar. Somewhere along the line in my quest I had been introduced to Dads. From the opening jangle of the guitars in 'Dan's Christopher Walken Impression' you know you're listening to something creative and a mix of melancholy and warmth. The entire twenty three minutes of it give off this feeling of "home sweet home!" and sounds entirely effortless. A record with true heart and hardship.
Giles Corey - Giles Corey
Even if the year was not blessed with a Have a Nice Life release (and we're all eagerly awaiting!) the year was treated to Dan Barrett's solo project Giles Corey. A self-titled record that contains songs of bleak melancholia, soul crushing hope and every little thing in between, 'Giles Corey' is a record that takes multiple listens to truly appreciate and immerse oneself into. Probably the darkest thing that I listened to and actually enjoyed this year (there were a lot of faux depressing albums...), this record is a true display of bare emotion. This isn't the sequel to 'Deathconsciousness' and it clearly wasn't meant to be that, but rather this record becomes its own rewarding and powerful experience altogether.
Iceage - New Brigade
When that calm intro 'piece' ends, this record never lets up on the energy and keeps hitting you over and over and over. In an another year of toothless and bland post-punk (I'm looking at you The Horrors) Iceage really brings back the filthy grime back to what once was a respectable genre. Maybe it's more noise to you or maybe it's more punk than the post variety to you, but to me this was a post-punk record that made me excited and made me mosh of my free will like a brainless idiot for the first time in many years. 'New Brigade' is noise ridden, filthy, loud, and most importantly, refreshing post-punk, and for that I am more than grateful. Favorite song? 'Rotting Heights' all the way, although Aaron likes 'Broken Bone' the most.
Dirty Beaches - Badlands
No album captured places I've never been to that were probably made up in my head so vividly than 'Badlands'. This was the album that hit my imagination more than any other and made me feel sad, happy, hopeful, resentful, and, even at times, cool. For those reasons Alex Hungtai (the guy who makes all this under the moniker) represents to me the classic role of a lone wandering traveler who is just trying to make it in life, living through the past's sounds and experiences. For that I respect and cheer him on, but for his music one is able to live and breathe, and ultimately have eternal support in what he himself creates: an immersible and relatable musical journey.
Joyce Manor - Joyce Manor
The band from my birthplace of Torrance. Maybe it wasn't such a surprise that I loved the record right off the bat because it had a nostalgic and familiar quality to it. It sounded like the old beach I used to frequent and from the moment I read that they were from Torrance I knew that the stars must have aligned for me if at least once in my life for this. Joyce Manor's self-titled is the joy and despair of being a human being with flaws and other humans to deal with in record format. If Iceage were what made post-punk this year bearable, Joyce Manor forgave pop-punk and made it acceptable to listen to (but it's more punk than pop though!). Every song has this tinge of sadness and acceptance in it, from the woahs in 'Orange Julius', the cathartic final crying out in the end of 'Call Out (Laundry)', to the final chords and riffs of 'Constant Headache', this record made youth and my hometown memories eternal for me this year.
Death Grips - Exmilitary
This could be the life and death of what was/is now known as noise rap or experimental hip-hop or whatever suits your flavor. Every track hits hard and the vocal delivery is fierce, relentless, and gruesome. Each beat cuts through speakers like ripping flesh and murders your ears. I know that perhaps this is starting to read like a stereotypical black kvlt metal description but there is no better way to describe the music's excessive and harsh nature than by using the very same method in excessive descriptive metaphor. Creative aggression at its finest.
Radiohead - The King of Limbs
(it's kinda obvious this is my album of the year from 2011 number one huh?)
I will always love Radiohead, maybe not to the point of me re-buying 'The Daily Mail' and 'Staircase' when the 'From the Basement' Blu-Ray has the EXACT SAME SONGS IN THE SAME SESSION but I do have the majority of their discography legally bought and am excited to see them tour next year with hopes for more new material.
So let me get the notion out of the way that I am a Radiohead fan of at least notable order and have listened to all their b-sides, unreleased live songs and whatever. There, I said it.
So let me begin by saying that 'The King of Limbs' is indeed what I truly wanted from the band. After the release of 'These Are My Twisted Words' in 2009, I was excited for a new sound from my favorite band. I was expecting something darker, jammier, longer, and overall less accessible than 'In Rainbows'. Now it isn't a matter of thinking "Oh I'm so cool, I like inaccessible music to look like an intellectual", but rather I truly do enjoy Radiohead when they are at their most experimental. My favorite moments in their music come from when they take the unconventional and make it conventional. So to me, this was something great in the making.
I wanted to have a mix of 'Amnesiac' and 'Hail to the Thief', something moodier, something harder to understand than say 'All I Need' or 'Nude'. As much as I loved 'In Rainbows', I noticed that in the second disc of b-sides, they really dropped the ball on keeping their experimental edge with the older songs that promised such (Think of 'Up on the Ladder').
'The King of Limbs', whether I knew it at first or not, was the answer to what I wanted all along, a moodier, experimental effort by my favorite band.
From the opening loop of that distant piano that turns into a far away ambient noise in the beautiful 'Bloom' you know this is a special record for the band. Minuscule details like the chopped up hi-hat in the glitchy reinvention of 'Morning Mr. Magpie', the krautrock meets pop hybrid of 'Little by Little', the rickety instrumentation of the wandering 'Feral', the groove filled and catchy 'Lotus Flower', the underwater piano march of 'Codex', the minimal beauty of vocal looping and guitar in 'Give Up the Ghost', and the ominously pretty sounds of 'Separator' are all ingredients that help create a record that is more than the sum of its parts.
'The King of Limbs' was the album from this year that had more than earned my excitement and expectations.
Honorable Mentions:
- Lou Reed & Metallica - Lulu
This was probably the best juxtaposition of the year, if anything we got to see people get confused and others to claim to 'get it'. Whatever side you're on or if you just don't give a shit, you most likely noticed it and that's that!
- Mark Kozelek - Live At Union Chapel And Södra Teatern
I love Red House Painters and *almost* anything by Mark Kozelek, this live album he released this year had some great reinterpretations of older Red House Painters and Sun Kil Moon material along with much of the great material from one of the best releases last year: 'Admiral Fell Promises'. Hope he tours near me next year for once.
- Odonis Odonis - Hollandaze
What if The Horrors still had talent and made an even noisier and raw version of 'Primary Colours' that was dark as fuck? It still wouldn't be as good as 'Hollandaze'. I'd probably have this up there but I sadly didn't have enough time to truly digest this record, still maybe over time I'll recognize this as one of the best things from the year 2011. 'Blood Feast' all the way.
- Panda Bear - Tomboy
I was actually looking forward to this release because I somewhat still enjoy listening to Animal Collective and wanted to know what a poppier version of them would sound like. Not a bad release by any means and even has its share of beautiful moments like in 'Drone' or 'Scheherezade'. What really hinders the record is it's ability to be completely forgettable. It's okay Panda Bear, you still seem to be the nicest guy from AnCo, also 'Slow Motion'? Chill jam to end all chill jams.
- Teenage Cool Kids - Sunset After Denton
I played 'Beg to Differ' a million times on my way and while I was at school. It captured my feelings of apathy, melancholy, and unwavering despair in the nights before school days in a single song. Perfection, just fucking perfection. Oh, the rest of the album is pretty nice too.
- ORGE YOU ASSHOLE - homely
Best use of saxophone and the best music I used to chill out to, would be up there if I had paid it closer attention. Maybe next year!
- My Little Underground - My Little Underground
The only combination of post-punk and shoegaze I heard this year that wasn't complete shit. It was fresh and the melodies are to die for. 'Civil' was quite a hit in my playlists.
- The Drums - Money (A song I know right?)
BUT I DON'T HAVE ANY MONEY BUT I DON'T HAVE ANY MONEY
Monday, December 26, 2011
New Release: 14 Charisma - No, Not Yet EP
Great news! Chief Tizo Records is putting our their latest release 'No, Not Yet' EP by 14 Charisma! It's a mix of noise-y and wondrous 8-bit chiptune made straight from the Game Boy of our very own Cameron! It's some crazy and fun stuff to enjoy while you're relaxing or fucking shit up with rainbows. We can't wait to see what else Cameron will release under the 14 Charisma moniker in the future for us. PLAY THIS SHIT AT MAX VOLUME. (This was written by Bryan, so no it's not complete self-worship or anything egotistical like that).
Listen to and download it for free on the widget below!
Saturday, December 17, 2011
Music Documentaries Part 1
Fugazi- Instrument
I have never been a huge Fugazi fan ,but this film convinced me that there is a reason why this band is widely considered the end all and be all of post-hardcore. Collectively there is times in this film where they play off each other like they are more like jazz players, layering on sound after sound making beautiful music. My only problem about the documentary is that it is more like a collage of live shows ,though there is some interviews cut in here and there it is more like going to the best shows Fugazi ever played. Highly recommended.
GG Allin: Hated
There isn't much that can be said about GG Allin that hasn't either been said by his fans or his critics. GG Allin is the most vile and wretched of people ,but every second in this film you always want to question why these things happened. I can't forget the poo slinging, penis dangling and split heads in this film , Oh and music and stuff..... The whole film is linked above for your twisted pleasure.
Minutemen: We Jam Econo
The Minutemen far exceeded the title of hardcore punk they received during the 80s. I believe Bryan even said they were "Modest Mouse before Modest Mouse ever existed", which totally makes sense some how. This band made eccentric and politically relevant music which I can only describe as possibly being post-punk. The Minutemen band constantly were drawing in multiple influences from old bands and new bands through out their career. This documentary brought me love Double Nickels on the Dime and mourn the death of their guitarist, D.Boone. This documentary brings you into the relationship of the entire band using clips from old shows , the last interview they ever had together as a band and new interviews with Mike Watt, the bassist, and George Hurley, the drummer. Great doc.
The Flaming Lips- The Fearless Freaks
This documentary shows the career of the most progressive bands out there. They are constantly changing their sound and just recently made a 24 hour song called 7 Skies H3. I was never a Flaming Lips fan ,but after watching this I just can't stop listening to "Yoshimi Battles the Pink Robots". This documentary is less focused on the music and more focused on the lives of its members Wayne Coyne ,Steven Drozd and Michael Ivins. Good doc, click the poster to watch it on Hulu.
I will add a few more concerning music scenes and also have my top albums of this year so watch out for those.
-Starlon Hithe
Sunday, December 11, 2011
Chief Tizo Interviews #1: 14 Charisma
I had the pleasure to spend the afteroon/evening with 14 Charisma, he's releasing his debut chiptune EP entitled "No, Not Yet" on Chief Tizo Records sometime soon and I was able to interview him! Very fun and laid back, enjoy!
Tuesday, December 6, 2011
Chief Tizo Interviews: Dan Barrett (of Have a Nice Life)
So if you aren't familiar with Have a Nice Life by now I strongly suggest obtaining 'Deathconsciousness' (and listening to it a million times) before reading this. But of course if you're even on this blog then you should have a vague idea of who Have a Nice Life is and who Dan Barrett is (co-owner of Enemies List Records).
I had the opportunity to interview Mr. Barrett for one of my music classes' final papers, in which I ask questions about the beginnings of Enemies List and how it all works. Very inspirational! Check it out!
1. What caused you to begin your own record label? Did you have any previous experience to start with to make it work?
We started the label simply because we didn't really have another choice - we didn't know anyone, or have any hope of getting on a "real" label. We were just messing around, recording music we assumed our friends, and no one else, would hear. We started it up just to release our own stuff.
I didn't have any label experience. I'd been the 'merch guy' in most of the bands I'd been in growing up, so I knew a bit about printing shirts and CDs, stuff like that. Nothing very in-depth. We just made it up as we went along.
2. How would you classify yourself and your company as functioning musical world? What do you feel is the purpose?
We don't really function in the "music world," in the sense that we operate outside the traditional supply chain (manufacturer to label, to distribution company to record store, etc). We make our own stuff, we sell it all ourselves directly to our customers. In that way we exist outside the traditional means of producing music for sale. We're also fairly cut off from the live music world, since we almost never play live (most of our projects are recording-only).
3. What is your driving philosophy in order to make it all work, and in greater specificity, what inspires you to work for it?
I'm inspired by music because I love making it. I just love hearing new things, and that rush of putting out something really great, or writing something that connects. That's what makes me sink so much time into it. As far as philosophies, we keep our costs very low, so we're free to fail. Being free to fail means putting out anything we like, regardless of whether it'll sell well. That makes the label a very personal thing, a thing very aligned with our personal tastes, and music fans gravitate towards that.
4. Did you have any idea this is what you'd be doing now? If so, what did you think differently about it then? If not, then what were you planning to do?
I had no idea the label would ever be a thing, no. I didn't start out wanting to run a record label, and it isn't my full-time job, or anything. I just knew I liked making music. I can't really stop making music; it's part of who I am. The label helps me do that.
5. In relation to the last question, what did you learn now that you wish you knew before starting?
Never bet too heavy on anything, even something you think is a sure-thing. Be conservative, and order more if you need it. People will wait. Don't be afraid of people wanting to give you money. Make what they want, within reason.
6. Where do you plan to go from here? Where would you like to be in the next five or so years? Do you have a set plan to pursue in the future?
The label doesn't really plan, in the sense that a normal business might. In general, I try to do something - a new shirt, a record, whatever - every few months. Keeping it in the moment lets it be more than a business - turns it into a more personal thing, something that reflects where we are at whatever moment in our lives.
I'd love to do the label full time. Don't know if it'll ever happen, and don't really need it to. I want to grow it slowly, naturally, by bringing more people into the fold. That's all.
7. What do you attribute to your current successes? Do you feel there is anything that you could call a 'secret ingredient' to your success?
Really, it was people connecting with our music on a personal level. Being truly honest, and raw, about what we do connects to people in a way that you wouldn't normally see with a more polished product. That kind of connection spurs people to go out and tell other people about the record - they have an intimate experience, and want to share it. That's what grew our label, and grows it today: word of mouth. We don't advertise, we did promo once and stopped. Nothing is more powerful than word of mouth...and the only way you get that is by just sitting down, doing your best, and trying to be as honest as possible.
Thanks Bryan!
Monday, December 5, 2011
Michael Gira is a Genius
Swans are maybe the greatest bands to ever exist. They have basically changed all of No Wave with their first release, "Filth" and single-handedly influenced post-rock with their perfect album "Soundtracks for the Blind" and they are even going to continue their deeply disturbing art next year with the album "The Seer" , which I am eager to listen to ,but Swans' front-man and songwriter, Michael Gira is as much as a enigma as art.
Recently I bought his very rare compilation of short stories called the Consumer. The cover shows a tunnel leading to a mysterious darkness , which basically describes the few stories I have read perfectly. There is no light at the end of the tunnel in any of their songs or projects. Gira seems to be devoid of any emotion except extreme sadness and extreme anger. But ,boy was I wrong. Here is a good interview that shows the artist that is Michael Gira.
To plug Michael Gira more as the genius he truly is here is a great song from his Experimental Folk side project, The Angels of Light.
Recently I bought his very rare compilation of short stories called the Consumer. The cover shows a tunnel leading to a mysterious darkness , which basically describes the few stories I have read perfectly. There is no light at the end of the tunnel in any of their songs or projects. Gira seems to be devoid of any emotion except extreme sadness and extreme anger. But ,boy was I wrong. Here is a good interview that shows the artist that is Michael Gira.
To plug Michael Gira more as the genius he truly is here is a great song from his Experimental Folk side project, The Angels of Light.
Friday, December 2, 2011
Tuesday, November 29, 2011
What I have been listening to lately.
So it has been a while that I have posted anything so I am going to post a few albums I have been listening to lately and hopefully you may listen to some of them.
Beau Navire - Hours
If you know me personally you would know I am a avid fan of Screamo. Though it is a label that has been basically contaminated with metalcore and post-hardcore it is still one of my favorite subgeneres of punk . Beau Navire features artist from different screamo bands, Loma Pierta, Specters and one of my favorites I Wrote Haikus About Cannibalism in Your Yearbook. Together, Beau Navire is a band that can provide a spectrum of emotions while playing. This album alone is 22 minutes of sheer emotional explosions. Beau Navire has this skill of having extremely violent songs that end with sounds of remorse and loss.
Unwound- Leaves Turn Inside You
Bryan has already posted a little something about them which is a huge coincidence. This band is one of those post-hardcore bands that doesn't sound like anyone at all. I don't even like calling them post-hardcore I always feel like they are space rock. The songs on this album would probably be perfect if matched up with 2001 A Space Odyssey. Such smooth sounding atmosphere. Ohhh Boy! Good album. Good band check them out.
Danny Brown- XXX
To mix up my music taste here I am posting one of my favorite hip-hop albums of this year. Danny Brown is a Detroit rapper with a style that is his own. This whole album is just rude, crude, emotional, sad, depressing and even funny. He has songs about his many vices (drugs, drinking, partying, sex) ,but also he has songs about his drug fiend family and what being 30 feels like. I feel that there is no low point in this album at all so give it a try,
Unwound- Leaves Turn Inside You
Bryan has already posted a little something about them which is a huge coincidence. This band is one of those post-hardcore bands that doesn't sound like anyone at all. I don't even like calling them post-hardcore I always feel like they are space rock. The songs on this album would probably be perfect if matched up with 2001 A Space Odyssey. Such smooth sounding atmosphere. Ohhh Boy! Good album. Good band check them out.
Danny Brown- XXX
To mix up my music taste here I am posting one of my favorite hip-hop albums of this year. Danny Brown is a Detroit rapper with a style that is his own. This whole album is just rude, crude, emotional, sad, depressing and even funny. He has songs about his many vices (drugs, drinking, partying, sex) ,but also he has songs about his drug fiend family and what being 30 feels like. I feel that there is no low point in this album at all so give it a try,
Sunday, November 27, 2011
After the dust settles: A reflection
So the first ever annual Chief Tizo Thanksgiving Fest is already two days in the past and here I am thinking about what I wish I could've done, saw what worked to my surprise and what I think we'll do next.
What went wrong:
I noticed that more than half of those in attendance did not pay a single penny towards the event. While I wasn't too surprised about the usual abundance of freeloaders who come to a house show this was worse than my usual experiences. I only made about $39 dollars including the sales of drinks and I could already see that at least 30 to 40 people were in attendance. So that means about half didn't pay what I think is a reasonable fee of $2 dollars.
I'm slightly baffled as to why some people couldn't pay for what I thought was a genuine event with more than 4 bands performing, and the effort put towards organizing the entire thing. Maybe people don't understand that actually getting these sorts of things together takes effort and can't be done in just a whim of the willing. While I know my closest true friends didn't hesitate to pay (thanks again), it surely is discouraging to learn that people attending an event of a stranger will not pay up.
What went surprisingly well:
I have to hand it to Lithium and Thrill Touch (whom played in Festizo earlier this year) for putting on some solid performances that day. Maybe I am biased for it being my own event but I was more than happy with their material and feel eager to seeing them play again and hopefully with them in the future. 14 Charisma I felt had a second life this time around due to an enhanced light show and the addition of keyboard in the musical aspect, still he needs to work on his stage presence a little more.
Old Soybu was a surprise hit for me as I wasn't sure how people would react to chiptune infused noise rock. It was probably the most fun of the three performances I did that day and hope to play more under the moniker. Ghost Time's performance was rather an emotional experience since we couldn't truly play our last show the way we wanted but we were entirely grateful to have our good friends Mark and Starlon (the guy who co-owns this label!) take the stand when our singer wouldn't.
How Scandinavian's set was pretty much technically flawless for us and surprised the hell out of me when the usual spotty parts of our live renditions worked out. The performance was ultimately a cathartic one as I had been tired and worn out after so many emotions and clandestine feelings. The chilly night air resonated with much of the songs' own dark material and I felt as if I really depressed much of the viewing audience. I suppose it comes with writing/performing sad songs. Luckily we ended the night on a rather happy note and ended the festival with a feeling of completeness.
What we'll do next:
The future of what happens next is rather hazy at the moment because after events like these I tend to feel tired and apathetic. While I myself don't consider profits to be a major point of contention when I host these events I can say I feel discouraged by the lack of support from more than half the audience. Maybe I didn't make myself clear, or perhaps I have to hire big tall people to make them pay? Nah, I don't want to do that but it is rather frustrating.
If there is any sequel to this then it will be one with a much greater emphasis on entrance and attendance. All the other components I felt were spot on and if anything the only things to improve are to have a greater variety of bands on board and rationalize with the audience on what they want to hear and have available to them at a show.
We're all still learning.
What went wrong:
I noticed that more than half of those in attendance did not pay a single penny towards the event. While I wasn't too surprised about the usual abundance of freeloaders who come to a house show this was worse than my usual experiences. I only made about $39 dollars including the sales of drinks and I could already see that at least 30 to 40 people were in attendance. So that means about half didn't pay what I think is a reasonable fee of $2 dollars.
I'm slightly baffled as to why some people couldn't pay for what I thought was a genuine event with more than 4 bands performing, and the effort put towards organizing the entire thing. Maybe people don't understand that actually getting these sorts of things together takes effort and can't be done in just a whim of the willing. While I know my closest true friends didn't hesitate to pay (thanks again), it surely is discouraging to learn that people attending an event of a stranger will not pay up.
What went surprisingly well:
I have to hand it to Lithium and Thrill Touch (whom played in Festizo earlier this year) for putting on some solid performances that day. Maybe I am biased for it being my own event but I was more than happy with their material and feel eager to seeing them play again and hopefully with them in the future. 14 Charisma I felt had a second life this time around due to an enhanced light show and the addition of keyboard in the musical aspect, still he needs to work on his stage presence a little more.
Old Soybu was a surprise hit for me as I wasn't sure how people would react to chiptune infused noise rock. It was probably the most fun of the three performances I did that day and hope to play more under the moniker. Ghost Time's performance was rather an emotional experience since we couldn't truly play our last show the way we wanted but we were entirely grateful to have our good friends Mark and Starlon (the guy who co-owns this label!) take the stand when our singer wouldn't.
How Scandinavian's set was pretty much technically flawless for us and surprised the hell out of me when the usual spotty parts of our live renditions worked out. The performance was ultimately a cathartic one as I had been tired and worn out after so many emotions and clandestine feelings. The chilly night air resonated with much of the songs' own dark material and I felt as if I really depressed much of the viewing audience. I suppose it comes with writing/performing sad songs. Luckily we ended the night on a rather happy note and ended the festival with a feeling of completeness.
What we'll do next:
The future of what happens next is rather hazy at the moment because after events like these I tend to feel tired and apathetic. While I myself don't consider profits to be a major point of contention when I host these events I can say I feel discouraged by the lack of support from more than half the audience. Maybe I didn't make myself clear, or perhaps I have to hire big tall people to make them pay? Nah, I don't want to do that but it is rather frustrating.
If there is any sequel to this then it will be one with a much greater emphasis on entrance and attendance. All the other components I felt were spot on and if anything the only things to improve are to have a greater variety of bands on board and rationalize with the audience on what they want to hear and have available to them at a show.
We're all still learning.
Tuesday, November 22, 2011
New Releases: How Scandinavian/The Latecomers - Narcissists and Ghost Time - Something to Hold No One Over
Great news everyone, after much procrastination I finally got my shit in gear for our second and third releases on Chief Tizo Records!
Chief Tizo Records Release #2: How Scandinavian/The Latecomers - Narcissists (Split EP)
First off is an exciting collaboration for How Scandinavian as I had the awesome opportunity to mix and master the songs by The Latecomers on this split EP. The Latecomers' two songs 'Followed Home' and 'Fault' prove to be fun and exciting lo-fi post-punk that acts as a great counterpoint to my own moody music. Seriously it makes me want to lighten the fuck up! Lovely. Download/Stream it for free right below on the widget.
Chief Tizo Records Release #3: Ghost Time - Something To Hold No One Over
I'm happy to say this is the definitive collection of late-era Ghost Time and it showcases some of the best songs the band had to offer. All recorded live and made to sound as best as possible as rehearsal tapes would ever allow, this is a great assessment to the band's history. Download/Stream it for free right below on the widget.
Chief Tizo Records Release #2: How Scandinavian/The Latecomers - Narcissists (Split EP)
First off is an exciting collaboration for How Scandinavian as I had the awesome opportunity to mix and master the songs by The Latecomers on this split EP. The Latecomers' two songs 'Followed Home' and 'Fault' prove to be fun and exciting lo-fi post-punk that acts as a great counterpoint to my own moody music. Seriously it makes me want to lighten the fuck up! Lovely. Download/Stream it for free right below on the widget.
Chief Tizo Records Release #3: Ghost Time - Something To Hold No One Over
I'm happy to say this is the definitive collection of late-era Ghost Time and it showcases some of the best songs the band had to offer. All recorded live and made to sound as best as possible as rehearsal tapes would ever allow, this is a great assessment to the band's history. Download/Stream it for free right below on the widget.
Wednesday, November 9, 2011
Chief Tizo Records Presents: Practice Room Sessions #1
So me and Starlon are going to 'try' and start a sort of exclusive lo-fi recording sessions thing for our artists. Of course, we don't have many artists so who else to start with but myself and Starlon in a shaky and uncomfortable performance?
For your viewing pleasure... How Scandinavian live at Practice Room Sessions #1!
How Scandinavian - Gift Card
How Scandinavian - As They Who We're With
How Scandinavian - The Pioneer
How Scandinavian feat. Starlon - Improv Minute/No Hands Jazz Man
More to come at some point
For your viewing pleasure... How Scandinavian live at Practice Room Sessions #1!
How Scandinavian - Gift Card
How Scandinavian - As They Who We're With
How Scandinavian - The Pioneer
How Scandinavian feat. Starlon - Improv Minute/No Hands Jazz Man
More to come at some point
Monday, November 7, 2011
Album Review: Matana Roberts - Coin Coin Chapter One:Gens de Couleur Libres
Sunday, October 30, 2011
What I want from Chief Tizo
I have been sitting on this idea for a while now, tossing it back and forth in my mind and finally this is going to be the great reveal. Sorry Bryan if this turns out complete shit.
Last week I started watching a ton of Punk documentaries. One of the documentaries that inspired me the most was "Kill Your Idols" ,which documented the No Wave scene in New York during the late 70s and the early 80s. The thing that interested me the most was the not only the bands (Swans, DNA, Teenage Jesus & the Jerks, Suicide and Sonic Youth) ,but also the philosophy of the scene.
The main philosophy of the scene was to make music with no influences. They did this because punk was turning convoluted filled with the same cancerous tumors that they were against. Bands were still using the same chords that was used in Chuck Berry songs just sped up. There was no more real revolt in punk anymore, everyone were caring about was fashion and violence.(Basically A Clockwork Orange just not as cool)
Today music is pretty stagnant there is no real revolutionary thing going on. In the mainstream people are using the same basic beats taken from clubs, the Black Eye Peas are using 80s choruses, mainstream rock is all really just bad Foo Fighter wannabes or just basic indie rock which is just emotionless post-punk. The underground indie scene is also in nearly the same place it always been, underground. The problem about the underground rock scene is that it is so claustrophobic that there is no more real flow of new ideas. In the end you get the same basic drum beat, the same shitty bass line, the same jangly guitars; nothing new, nothing innovative. All of the indie bands just want to be other bands, they either want to be My Bloody Valentine, Joy Division, the Beatles or the Smiths; no one wants to express a different point of view no one wants to show anything new. We don't need another indie band that bangs on their guitars and mindlessly mumbles incoherent babble and become known as the best thing that happened to indie rock. (Wassup Strokes?)
We need a No Wave kind of revolution. We need to have bands that are dirt poor playing different instruments they barely know how to play. What happened to trumpets, what happened to saxophones what happened to those obnoxious vuvuzelas; rock is not only focused on just guitar, drums and bass get something new like a bike pump or a bugle. We need more experimentation, more innovations and less copies. We need more progression in music as a whole and less regression.
Therefore, what I want from Chief Tizo is a electronic venue for the bands of the "Nope Wave", the new No Wave. I want to use this blog to showcase unusual music from different bands and artist that are not just a rehash of Joy Division ,but something different and more innovative than them. I want to have a small era of completely new ideas all created from cynical people.
All 2 followers of this blog ,please share your thoughts below.
-Starlon H.
Last week I started watching a ton of Punk documentaries. One of the documentaries that inspired me the most was "Kill Your Idols" ,which documented the No Wave scene in New York during the late 70s and the early 80s. The thing that interested me the most was the not only the bands (Swans, DNA, Teenage Jesus & the Jerks, Suicide and Sonic Youth) ,but also the philosophy of the scene.
The main philosophy of the scene was to make music with no influences. They did this because punk was turning convoluted filled with the same cancerous tumors that they were against. Bands were still using the same chords that was used in Chuck Berry songs just sped up. There was no more real revolt in punk anymore, everyone were caring about was fashion and violence.(Basically A Clockwork Orange just not as cool)
Today music is pretty stagnant there is no real revolutionary thing going on. In the mainstream people are using the same basic beats taken from clubs, the Black Eye Peas are using 80s choruses, mainstream rock is all really just bad Foo Fighter wannabes or just basic indie rock which is just emotionless post-punk. The underground indie scene is also in nearly the same place it always been, underground. The problem about the underground rock scene is that it is so claustrophobic that there is no more real flow of new ideas. In the end you get the same basic drum beat, the same shitty bass line, the same jangly guitars; nothing new, nothing innovative. All of the indie bands just want to be other bands, they either want to be My Bloody Valentine, Joy Division, the Beatles or the Smiths; no one wants to express a different point of view no one wants to show anything new. We don't need another indie band that bangs on their guitars and mindlessly mumbles incoherent babble and become known as the best thing that happened to indie rock. (Wassup Strokes?)
We need a No Wave kind of revolution. We need to have bands that are dirt poor playing different instruments they barely know how to play. What happened to trumpets, what happened to saxophones what happened to those obnoxious vuvuzelas; rock is not only focused on just guitar, drums and bass get something new like a bike pump or a bugle. We need more experimentation, more innovations and less copies. We need more progression in music as a whole and less regression.
Therefore, what I want from Chief Tizo is a electronic venue for the bands of the "Nope Wave", the new No Wave. I want to use this blog to showcase unusual music from different bands and artist that are not just a rehash of Joy Division ,but something different and more innovative than them. I want to have a small era of completely new ideas all created from cynical people.
All 2 followers of this blog ,please share your thoughts below.
-Starlon H.
Thursday, October 27, 2011
New Release: How Scandinavian - Dolorous / Upcoming plans!
Big news. The How Scandinavian debut album Dolorous is out right now. I'm promoting the hell out of it by posting it in god knows where. So please give it a listen and give us some feedback. This is my first real big release and I hope that everyone enjoys it. You can go download it and pay what you want for it (free!) right on this widget thing...
I can't relax just yet though, some big plans are underway for the remainder of the year. The first annual Chief Tizo Thanksgiving Extra Stuffing Eat-You-Out November Festival Extravaganza 2011 is due to happen and much planning is in the works. I hope to make it a big occasion just like Festizo 2011 was this year in the summer.
Also How Scandinavian is going to release a split EP with the post-punk/lo-fi band The Latecomers (check them out at http://breadonbread.bandcamp.com) next month! It's going to be called Narcissists and should be an awesome collaboration. It will contain two songs by each band and will be out on November 1st!
A new EP is also in the works for possible December release or early 2012 from How Scandinavian. Our next Chief Tizo release will be a new compilation of Ghost Time songs, which I've delayed long enough. So stick around for that in November as well!
Thanks for reading (any of you who do!)
- Bryan
I can't relax just yet though, some big plans are underway for the remainder of the year. The first annual Chief Tizo Thanksgiving Extra Stuffing Eat-You-Out November Festival Extravaganza 2011 is due to happen and much planning is in the works. I hope to make it a big occasion just like Festizo 2011 was this year in the summer.
Also How Scandinavian is going to release a split EP with the post-punk/lo-fi band The Latecomers (check them out at http://breadonbread.bandcamp.com) next month! It's going to be called Narcissists and should be an awesome collaboration. It will contain two songs by each band and will be out on November 1st!
A new EP is also in the works for possible December release or early 2012 from How Scandinavian. Our next Chief Tizo release will be a new compilation of Ghost Time songs, which I've delayed long enough. So stick around for that in November as well!
Thanks for reading (any of you who do!)
- Bryan
Wednesday, October 26, 2011
Micheal Gira in the Bathroom
Oh man dem two chords. Dude this guy can make a interesting song in a bathroom with just cowboy boots and a guitar, what are you doing with your life?
Rant coming soon!
Tuesday, October 18, 2011
untitled 3
Here I sit after much hours of Wikipedia reading and listening to both the lush claustrophobia of Blonde Redhead's 'Misery is a Butterfly' and More Than Life's aggressive and depressing 'Love Let Me Go'. I describe what I listened to because that will 'probably' be the only links of musical relevance in this post (they're both excellent albums too).
Things have been going great lately, perhaps surprisingly. My own cynicism usually is the first layer of doubt in classifying anything as a success but I can't help but feel as if everything is... nice.
I'm a tad impatient at myself for a number of reasons though. First, there's 'Dolorous', yes perhaps it's not going to be the album of the year or decade but I have personal expectations and feel that perhaps I DON'T have enough time to finish the album in time by next week. I don't like rushing work and when it happens it declines in quality.
Second, I want to perform live much more, the problem is getting shows in this local area is very hard and without having a friend in the booking business, it's discouraging. But I hate to use that terminology because it only proves to show that one doesn't have the capacity or effort to succeed in this. So I have to fix this whole thing by the end of the month and hopefully find a balance between being a slacking college student and music.
Lately I've found myself to have been repressing something peculiar, a thought and idea that I'd have for the longest time. You see, there's this romantic view of what life is like for the idols and the musicians whom I adore. Life under that lens is not to say extravagant but rather there is a substance that is more than my own in the everyday life. With all the realities of quasi-adulthood, I had forgotten about that sort of thought process.
I approach this cautiously because I don't want to be left vulnerable to a shock. But perhaps living with this fantasy as a result of working hard and mild optimism is what awaits? I don't know. If it were as easy as saying whatever happens, happens, I'd be good to go.
P.S. Oh the motherfucking STONE ROSES reunited AND Radiohead announced their 2012 tour. Next year will be a good year, let's hope it's for this and ourselves as well.
Things have been going great lately, perhaps surprisingly. My own cynicism usually is the first layer of doubt in classifying anything as a success but I can't help but feel as if everything is... nice.
I'm a tad impatient at myself for a number of reasons though. First, there's 'Dolorous', yes perhaps it's not going to be the album of the year or decade but I have personal expectations and feel that perhaps I DON'T have enough time to finish the album in time by next week. I don't like rushing work and when it happens it declines in quality.
Second, I want to perform live much more, the problem is getting shows in this local area is very hard and without having a friend in the booking business, it's discouraging. But I hate to use that terminology because it only proves to show that one doesn't have the capacity or effort to succeed in this. So I have to fix this whole thing by the end of the month and hopefully find a balance between being a slacking college student and music.
Lately I've found myself to have been repressing something peculiar, a thought and idea that I'd have for the longest time. You see, there's this romantic view of what life is like for the idols and the musicians whom I adore. Life under that lens is not to say extravagant but rather there is a substance that is more than my own in the everyday life. With all the realities of quasi-adulthood, I had forgotten about that sort of thought process.
I approach this cautiously because I don't want to be left vulnerable to a shock. But perhaps living with this fantasy as a result of working hard and mild optimism is what awaits? I don't know. If it were as easy as saying whatever happens, happens, I'd be good to go.
P.S. Oh the motherfucking STONE ROSES reunited AND Radiohead announced their 2012 tour. Next year will be a good year, let's hope it's for this and ourselves as well.
Monday, October 3, 2011
Cool Finds! The Speed of Sound in Seawater!
Because I am very lazy right now, instead of a full review of Joyce Manor I will just write a few things about this little know math pop group called The Speed of Sound in Seawater.
The Speed of Sound in Seawater is a unique band. They have a math rock sound which they mix with pop delivery. They have successfully found a appropriate balance between hard and soft which has became a important part of their sound later on in their small discography. With each EP they have released and they have quickly became a very special part of my library. The Speed of Sound in Seawater accomplished something that many other artist have failed at and that is making catchy math pop without sacrificing speed or skill.
All of The Speed of Sound in Seawater's are available for free here. You can listen below before downloading.
Sunday, October 2, 2011
untitled 2
This isn't the acclaimed sequel to 'untitled 1' but rather a whole other story altogether. I can only hope that whomever reads this at least tries to understand I've made an effort towards that.
Regardless there are some cool things that have been happening lately. The work on 'Dolorous' is starting to come together and the light at the end of the tunnel is getting more visible. Songs like 'The Bloodless' and 'Winter Leaves' were really starting to get on my nerves but I've managed to pin down how I want them to sound and I think they'll be ready for release sooner than I thought.
Work on 'The Bloodless' initially began as in exercise in trying to record something concrete as quickly as possible but after leaving it aside for a few months I felt it fit with the rest of the material and worked on it. I was initially confused on how to approach such a basic track and decided that just piling as much shit into it would be the best course.
Much to my surprise I could actually take out the main guitar track and it would be an entirely different song altogether. I liked both so I'm a bit at odds at what to do but I think I'm simply going to release it with everything on top of it.
'Winter Leaves' is even older and had it's basic track recorded a year ago in a period of Mark Kozelek worship (still do) and was my perverse take on a RHP song if they decided to go into a shoegaze direction. It was pretty weird as it has this very uncharacteristic chorus because something about how it sounds is so dissonant. Despite that I enjoyed it at the time and kept it in the pile for later. I rediscovered it a few weeks ago and have re-recorded the drums just this past week. I like it but I'm not sure how I'll sing on it; I have lyrics just no real delivery idea.
Aside from album stuff I've been making some new material alongside this and will probably see the light in an EP next year when I can get some time to settle down. I'd really like to take a step back from the intricate arrangements of the 'Dolorous' era and make some more simple material. I don't think this will happen in actuality but I'd love to make an EP like 'A Stranger Danger' again.
I'm also waiting for a response on an advertisement I made about a new drummer for 'How Scandinavian' in a live setting. Let's hope someone answers as it would be best for everyone if this happened. Starlon and I already had a year long discussion on the rise and fall of drummers last Friday and I'm sure we'll have more as this week comes into fruition.
Besides boring music I was happy to spend the entire weekend with Nancy, my girlfriend. I hadn't seen her for about three weeks and it was a real happy and fun time to be with her after so long. I hope to be with her again soon as the days are much easier to bear with her than without.
Later this week I'll be hosting a live music listening chat room over at http://listeningroom.net/. Anyone can join and you can upload your favorite songs so we can all listen to them together. I don't think many people will join but hopefully some of you will. I'll be uploading my favorite songs and hopefully someone will get something out of it.
Here's to a good week.
Regardless there are some cool things that have been happening lately. The work on 'Dolorous' is starting to come together and the light at the end of the tunnel is getting more visible. Songs like 'The Bloodless' and 'Winter Leaves' were really starting to get on my nerves but I've managed to pin down how I want them to sound and I think they'll be ready for release sooner than I thought.
Work on 'The Bloodless' initially began as in exercise in trying to record something concrete as quickly as possible but after leaving it aside for a few months I felt it fit with the rest of the material and worked on it. I was initially confused on how to approach such a basic track and decided that just piling as much shit into it would be the best course.
Much to my surprise I could actually take out the main guitar track and it would be an entirely different song altogether. I liked both so I'm a bit at odds at what to do but I think I'm simply going to release it with everything on top of it.
'Winter Leaves' is even older and had it's basic track recorded a year ago in a period of Mark Kozelek worship (still do) and was my perverse take on a RHP song if they decided to go into a shoegaze direction. It was pretty weird as it has this very uncharacteristic chorus because something about how it sounds is so dissonant. Despite that I enjoyed it at the time and kept it in the pile for later. I rediscovered it a few weeks ago and have re-recorded the drums just this past week. I like it but I'm not sure how I'll sing on it; I have lyrics just no real delivery idea.
Aside from album stuff I've been making some new material alongside this and will probably see the light in an EP next year when I can get some time to settle down. I'd really like to take a step back from the intricate arrangements of the 'Dolorous' era and make some more simple material. I don't think this will happen in actuality but I'd love to make an EP like 'A Stranger Danger' again.
I'm also waiting for a response on an advertisement I made about a new drummer for 'How Scandinavian' in a live setting. Let's hope someone answers as it would be best for everyone if this happened. Starlon and I already had a year long discussion on the rise and fall of drummers last Friday and I'm sure we'll have more as this week comes into fruition.
Besides boring music I was happy to spend the entire weekend with Nancy, my girlfriend. I hadn't seen her for about three weeks and it was a real happy and fun time to be with her after so long. I hope to be with her again soon as the days are much easier to bear with her than without.
Later this week I'll be hosting a live music listening chat room over at http://listeningroom.net/. Anyone can join and you can upload your favorite songs so we can all listen to them together. I don't think many people will join but hopefully some of you will. I'll be uploading my favorite songs and hopefully someone will get something out of it.
Here's to a good week.
Gloomy October Sunday
Here's a couple of songs I've been listening to in the wake of the new season.
1. Nick Cave and the Bad Seeds - Your Funeral My Trial
2. Radiohead - Dollars & Cents
3. Polvo - Bridesmaid Blues
4. Failure - Bernie
5. Slint - Nosferatu Man (LIKE A BAT I FLUSHED THE GIRL!)
5. The National - Sin-Eaters
6. Slowdive - Melon Yellow
7. Sun Kil Moon - Sam Wong Hotel
1. Nick Cave and the Bad Seeds - Your Funeral My Trial
2. Radiohead - Dollars & Cents
3. Polvo - Bridesmaid Blues
4. Failure - Bernie
5. Slint - Nosferatu Man (LIKE A BAT I FLUSHED THE GIRL!)
5. The National - Sin-Eaters
6. Slowdive - Melon Yellow
7. Sun Kil Moon - Sam Wong Hotel
Monday, September 19, 2011
Top 7 albums of 2011 (so far)
7. ORGE YOU ASSHOLE - homely
This is what many call the Japanese Modest Mouse, I honestly do not understand this label at-fucking-all. Whether or not that makes sense to you or not, this was one of my favorite things to listen to due to the chilled nature of the music and how effortlessly the band played their songs. Some of the best use of horns and saxophone I've heard on a rock record in a long time.
6. Dads - Brush Your Teeth, Again ;)
Lovely creative guitar lines and complex rhythms throughout. Some of the best homemade twinkly emo bullshit I've ever heard. Unexpected amounts of expertise and songwriting in such a independent bandcamp release. Highly recommended and respectable music.
5. My Little Underground - My Little Underground
An EP release that was a mix of the more danceable styles of post-punk and several nods to shoegaze bands like Ride. A very satisfying listen, in retrospect and even in a tinge of sadness I enjoyed this record more than The Horror's Skying. Goes to show that the sometimes the best music is hidden.
4. Joyce Manor - Joyce Manor
This fucking band. THIS FUCKING BAND. Straight from my hometown and area of my earliest childhood memories I cannot help but have an emotional attachment to this music. While it may be simply indie rock influence punk, it evokes memories of the gone by days of happiness, youth and sadness, all in one package. One of the strongest debuts I've ever heard, I only wish this band the best.
3. Radiohead - The King of Limbs
Yeah yeah yeah, I know a whole mess of fans were butthurt after this wasn't 'In Rainbows Part Two' which baffles me as many wanted the band to experiment and evolve their sound. Well here it is assholes. Even if I did overplay this record to death for myself it still holds a special place with me as the only record that I was legitimately excited for and was satisfied with. Whether it was the beauty of 'Bloom', the dark rhythms of 'Morning Mr Magpie' or the delightful 'Separator', this record fulfilled everything needed for an experimental and different Radiohead experience.
2. Iceage - New Brigade
This record not only revitalized my dying interest in post-punk but made me love noise rock even more. When I first heard descriptions of this album as 'dirty', 'grimy' and 'murky' I was excited and intrigued. Not many bands can truly pull off the fine line between noise indulgence and actual songs that stand. Iceage managed this effortlessly. Truly the coolest record I listened to so far this year and the record that made me rethink if bands like Interpol or The Horrors are even trying at making good post-punk.
1. Dirty Beaches - Badlands
The only release that made me long for something I've never experienced, a truly immense listening experience in only about half an hour. The lo-fi elements transport one to a long forgotten time of paranoia, sorrow and escape. With songs like 'True Blue' and "A Hundred Highways" I can only imagine what Dirty Beaches is capable of with a entire studio to use. Lovely music.
Top 5 albums of 2011 thus far.
Bryan and I were talking about this year for music earlier today over lunch. We both agreed that this year pretty much sucked. Goblin turned out to be a huge disappointment, as well as Watch the Throne and Shaolin vs. Wu-Tang. So to combat this pessimistic view of the year here is 5 albums that might be worth your while.
5.) The Saddest Landscape- You Will Not Survive
These guys are probably the only band still making authentic screamo. The instrumentals are amazing. I hope these guys keep stay around and not split like their contemporaries.
4.) Shabazz Palaces- Black Up
I mentioned this album before in my first post. This album takes hip-hop and launches it to a futuristic place. The beats on this album are out of this world. It feels like the beats were made by a supercomputer from the future.
3.) Giles Corey - Giles Corey
One half of Have a Nice Life, Giles Corey is nearly equally as depressing. I can't say anything other than the fact it is absolutely soul crushing.
2.) *shels - Plains of the Purple Buffalo
Nothing more I could say about this album that I haven't already said already in my review. This album creates "epic soundscapes" which feels like a imaginary world.
1.) Joyce Manor- Joyce Manor
Though this album may be considered just a simple punk album, it feels so much more than just that. From the first track, "Orange Julius" to the last track, "Constant Headache" you feel this surge of strange teenage joy which can only be explained simply by the strong songwriting. I have probably played this album 20-30 times this month and it still hasn't got old.
5.) The Saddest Landscape- You Will Not Survive
These guys are probably the only band still making authentic screamo. The instrumentals are amazing. I hope these guys keep stay around and not split like their contemporaries.
4.) Shabazz Palaces- Black Up
I mentioned this album before in my first post. This album takes hip-hop and launches it to a futuristic place. The beats on this album are out of this world. It feels like the beats were made by a supercomputer from the future.
One half of Have a Nice Life, Giles Corey is nearly equally as depressing. I can't say anything other than the fact it is absolutely soul crushing.
2.) *shels - Plains of the Purple Buffalo
Nothing more I could say about this album that I haven't already said already in my review. This album creates "epic soundscapes" which feels like a imaginary world.
1.) Joyce Manor- Joyce Manor
Though this album may be considered just a simple punk album, it feels so much more than just that. From the first track, "Orange Julius" to the last track, "Constant Headache" you feel this surge of strange teenage joy which can only be explained simply by the strong songwriting. I have probably played this album 20-30 times this month and it still hasn't got old.
Saturday, September 17, 2011
What you may see in the unknown Future?
As you can see I am Starlon. Should be doing my homework ,but since I am dodging this 7 page paper on a bad book, blogging sounds pretty attractive.
I am a 17 year old Lancaster born black kid with a thing for post-hardcore and strangely Waka Flocka Flame. One of my hobbies is to find obscure music on the internet from any genre which I may share here. One of them is Shabazz Palace's Black Up. I will go in depth about it later ,but it is a weird hip-hop album with some really different beats.
I have watched anime on and off for years. One of my favorites is and always will be Neon Genesis Evangelion. I consider it nearly a perfect series which is being masterminded by a depressed autistic savant, Hideaki Anno. The only thing that can possibly rival the greatness of Evangelion is possibly the "female version" of it, Revolutionary Girl Utena. Which has about equal amounts of psychological break downs and large amounts of "what the hell is going on ?"
On a related you should be looking out for some rants, I just recently went into a cave of un-evolved Homo sapiens which look closer to our primate ancestors, which are called anime fans. I will rant about the cleanliness and organization of their society, "Anime Club".
I am majoring currently in Journalism at CSUN ,but I am really thinking about switching to Anthropology. Though I love writing I have noticed that I have really no talent in it and well Anthropology is just cool. Maybe with this site I would gain some confidence with my writing and may even improve.
So, what you may expect from me in the future is some album of the week kind of stuff, rant of the week and maybe if I am feeling in any form creativity in my body, stories.
Random facts about me: favorite book even though I never finished it Savage Detectives, favorite movie Holy Mountain, favorite comic book Animal Man and favorite animals cats.
- Starlon H.
Friday, September 16, 2011
From safety to where...?
So this is the first post and introduction to the blog/website of Chief Tizo Records. To be quick and to the point, this is a digital music label for my musical outlet and any other artists we may discover and have under our banner.
There's truly no label "aesthetic", I don't really believe in that sort of thing because it diminishes the amount of output and diversity we could have on a independent record label like this one.
Let's be honest here though, I have no money, Starlon doesn't, this is mainly a digital ordeal in which we will promote the music that we make and promote anyone else's music who wishes to 'sign' with us and be a part of this small community in the making.
I wish to create something akin to Factory Records with their sense of style and 'coolness' without the copious amounts of drugs or the inevitable bankruptcy. A digital age of that... right?
I readily admit we are all new to this and this is a huge experiment of effort and creativity.
So what can you expect?
Well Starlon will be writing some very interesting articles and pieces about music, disillusion and whatever else he feels like writing about. I really don't know and am as excited as anyone to see what he posts.
I'll be posting new releases, recording updates, upcoming shows, and whatever else I feel like posting. Don't worry though it will not get too out of hand or off-topic.
Later on we'll be getting more writers within the bands to help us post and update this weekly! So it'll be very exciting, hope everyone will be a participant in this.
Godspeed.
- Bryan
There's truly no label "aesthetic", I don't really believe in that sort of thing because it diminishes the amount of output and diversity we could have on a independent record label like this one.
Let's be honest here though, I have no money, Starlon doesn't, this is mainly a digital ordeal in which we will promote the music that we make and promote anyone else's music who wishes to 'sign' with us and be a part of this small community in the making.
I wish to create something akin to Factory Records with their sense of style and 'coolness' without the copious amounts of drugs or the inevitable bankruptcy. A digital age of that... right?
I readily admit we are all new to this and this is a huge experiment of effort and creativity.
So what can you expect?
Well Starlon will be writing some very interesting articles and pieces about music, disillusion and whatever else he feels like writing about. I really don't know and am as excited as anyone to see what he posts.
I'll be posting new releases, recording updates, upcoming shows, and whatever else I feel like posting. Don't worry though it will not get too out of hand or off-topic.
Later on we'll be getting more writers within the bands to help us post and update this weekly! So it'll be very exciting, hope everyone will be a participant in this.
Godspeed.
- Bryan
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