Precious Tempo: A Sheet to the Wind

Preface:

Precious Tempo is the title of a series of entries that will cover what I am working on in regards to music or art. I hope for it to be part-reflection and part-informative. This year I have tried to remain more focused and motivated when it came to music-making, so I feel cataloging and writing about it could serve as a somewhat interesting narrative. It might not, so fair warning.

I - Ending Revisited

Near the end of 2018, I felt a familiar sense of ennui that comes with the lowering temperature and farcical sense of survival people have for "making it" to the "end". Having been unexpectedly laid-off since September, I dedicated much of my free time to sleeping, feeling sorry for myself, and listening to music. I told myself that taking some time off would be good in order to finally finish some music, but the lukewarm response to "Footpath Republic" made me doubt my direction and desire to really get anything done. Band rehearsals weren't exactly great either, with what little shows played going decently but feeling a sense of drudgery. By late November I was seeking other outlets of inspiration, having been invited to record and perform on a cover of Pavement's "Texas Never Whispers" with Static Hands' Steve Keen and Marc Crossland. It was a great bonding experience in playing with talented people, re-arranging a classic song in a new styled, and recording what was essentially a live session, but it only helped to exacerbate the feeling of stagnation back at home base.

This feeling came to a head during my last show of the year, a strange affair where all live members of HS were present on a Thursday night (!) but were either playing in different bands or simply part of the audience. As I looked on to the scenery, a half empty room mixed with acquaintances and drunken strangers, I felt my tolerance for any false holiday cheer reduce to zero. Instead, a bewilderment at why I was even there to expose itself, and a deep dissatisfaction at this ill glorified and unattended end of the year party. I tried to muster up some camaraderie but instead I spoke of how it felt like the years repeating the process of playing to the room with the drunks of disposition were weighing down. To say the least, I was feeling down. I did not blame anyone but myself really. So once the post-show wallowing ended, I decided to be proactive: I cancelled a New Year's Eve show and began to figure out what I should do.

 In Burbank with friends: HS show flyer in Glendale Community College (Nov. 2018)

Contrary to this dire straits situation, and how magnified it felt in the final month of the year, I knew deep down that it was pretty successful, all things considered. The band had played the most it ever had in out-of-town locations, from Downtown Los Angeles and Echo Park to Ventura and West Covina, and usually we would be mild innovators in playing these places before our local peers. Not that it meant anything, since it was impossible to play in a frequency that capitalized on these plantings of the flag. Recognizing this problem and having free time, I knew I had to try something new.

II - Here to Go

Previously in 2017, I reached out to my friend Nicky (better known as songwriter Nicola Rivere) in hopes of performing semi-acoustically as a duo, in which we would perform songs from each other's back catalog and attempt to write some songs together. For about a month or two, we had rehearsed and re-arranged a handful of our songs (many of mine being from the early era of How Scandinavian, never played live before) with hopes of going on a mini-tour in cities we'd never played before. Unfortunately, and admittedly through fault of my own, we didn't play a single note of these arrangements we had developed together and the project fell through. Understandably, I suspect Nicky had grown sore at my indecision and we would not speak again for many months. It would take until the summer of 2018 for us to get back in touch.

In my current dilemma of not being able to perform out of town with enough consistency, I sought to make good on my previous promise and asked Nicky if he were willing to join me on a three month trek of open mics. Feeling similarly discontent in how stagnated the local scene was becoming, and needing a new challenge to seek outside audiences, he accepted. The plan was to do the discovery ourselves, going through pages of Craigslist, Facebook, and Instagram in hopes of finding open mics that were held in locations as far as 60 miles away; the point being that we would "go for it" and try to stretch ourselves as far as possible from our home. I would drive the majority of the time and split the gas bill, but Nicky was willing to share the burden of driving in his car for certain shows, or if I were already in the vicinity, he would meet me at the location. With this all in mind, we both set out in researching locations during the last two weeks of December and settled on making our first move the farthest and biggest: the open mic at Back to the Grind in Riverside, CA.

Recording for a cover of "Texas Never Whispers". Pictured: Steve Keen. (Dec. 2018)

Having the plans laid out and travel itinerary set in stone, I felt a sense of excitement that I had not felt in playing solo acoustically pretty much ever. It was admittedly not my greatest strength and did not really showcase what I felt was the "full" experience of How Scandinavian songs, but having this challenge made me practice much harder. As a result, I felt my voice control improved being solely backed by acoustic guitar; this really pronounced the importance of restraint and when to let loose. Now with boosted confidence and new reasons to move forward, I personally felt better at having a purpose and the physical nature of moving to other locations did wonders for a grounded laid-off person like me.

Unsurprisingly during this extensive planing, the live band's stagnation in rehearsal felt more pronounced, so I decided to cancel all practices until the New Year proper and see how it would feel with some time off. It felt like a good idea, as I anticipated a very important show in late January, planned many months in advance, at a record store that was the last of the all ages venues. I felt optimistic time off would reinvigorate everyone for the show, let them have a deserved break, and that a sense of unity for incoming new year for the band would prosper. What could go wrong?

Song of the Day: Ute Lemper - Split

There are times when the level of seriousness in a musical arrangement can almost seem ridiculously melodramatic, and when coupled with intelligent, emotional lyrics, the effect can lead to overt self-awareness, or at worst, camp. But the songs where this fine line is just on the precipice of being passed, there exists a sense of equally exciting and affecting power. "Split", a song from Ute Lemper's 2000 album, Punishing Kiss, is one of such songs in this category.

Born in early 1960's Germany and brought up with a lifetime of participation in stage musicals, film, and behind the microphone, Lemper seems the sort of classically trained superstar that is largely absent in modern times. Gaining early fame for her performance in the original Viennese version of Cats in 1984 and later recording Ute Lemper Sings Kurt Weill in 1987, she would create a successful career of interpreting classically influenced work that was either derived from or sent to the dramatic stage. Even at the age of 16, she seemed to have sophisticated ambitions beyond those of the usual teenager and would join the Panama Drive Band, a jazz rock band influenced by "Joan Armatrading, Chick Corea, the Brecker Brothers and all that." 

But perhaps singing standards left Lemper with a sense of stagnation during the late 1990's (including a minor role in a panned 1996 film, Bogus, with Whoppi Goldberg), a new collaboration would commence with Northern Irish singer-songwriter Neil Hannon of The Divine Comedy. Requesting songs to be written for her by serious heavy-hitters such as Scott Walker, Elvis Costello, Nick Cave, Tom Waits, and Phillip Glass, along with her usual Weill-penned classics, the record is a showcase for Lemper's lifetime of prowess as a singer and performer.

Costello-penned numbers "Passionate Fight" and title track merge his cynical lyrics and shifting musical arrangements with Lemper's tender and emotive vocals, while "Streets of Berlin" have her match Glass' chanson inspired "rock" song in period-correct 60's voicing. Even Scott Walker's "Scope J", a behemoth of a finale with dissonant textures and tension, seems to be no problem as she moves from quiet intimacy to siren of despair for the song's continual build and collapse for 10+ minutes.

But then there is "Split", by far the most electrifying and driving track of the whole lot. Written by main collaborator Neil Hannon and his mainstay arranger, Joby Talbot, Ute Lemper goes toe to toe with Hannon handling the duet vocals of an estranged lover.

Like a rude awakening (hear the organ going up the scale chromatically in the first seconds), the song begins with a crash and tom-tom led drumbeats, driven by a persistent staccato piano chord progression, and call and response guitar/organ riffs that are treated with Leslie speakers.

Suddenly, Hannon begins singing in his near-lowest and most serious register (long-gone is
the soft-spoken bookworm of "The Booklovers"): "I was made for you, you were made for me... I thought." And Lemper responds in kind, "But maybe not after all!" Continuing this call and response, Hannon reminds her that "We had so much love..." and Lemper sets the dagger, "Love enough for three, I guess... Oh god."

Clearly, subtlety isn't in the cards for this song, but where the song could plod along as melodramatic moodiness forever, the song takes a relate-able, human shift as Lemper suggest that "Maybe there's hope...". And so the chords change, the pleading for forgiveness begins; "I never meant to hate you." And three, two, one...!

Suddenly the song is in full orchestral melancholic glory as both harmonize in a truly majestic (and effectively catchy) chorus of "ALL the times that we TOED the LINE, look what we've GOT! ALL the times that I FORGAVE YOU!". For a brief moment (and in each subsequent repeat of this chorus), the song has its melodrama validated, both characters here being fully justified in their vindication and pleading. Hannon's character for being so foolish to "let go of the signs" and Lemper's character for taking advantage of this foolishness. It's the pathos of a dramatic stage brought to audio form.

As it continues, the ugly details continue to pour out;"You were there for me... and HIM, and half of the western world it seems!/Oh baby that's not fair, there were two or three at most, but I don't like to boast!" And once the second, angrier variation of the chorus ends, what seems to be the actual physical aspect of confrontation and separation (the split, so to speak) is played by a fierce organ solo on the path of retribution.

Finally, after the orchestra uplifts for the third and final time for a glorious final chorus, the reality of the doomed situation comes crashing down with a repeated progression of descending strings, horns and piano chords. Now fully aware of the gravity of the situation, Lemper's character pleads for a final chance to be heard, "Baby please listen! Oh why won't you LISTEN?!", as Hannon sings with equal remorse, "GIVE ME ONE REASON WHY! I JUST want a REASON, WHY!" . Finally the madness of regret turns into vain bargaining, revelations of abuse and full-blown anger from Lemper, "I'm GONNA MAKE YOU LISTEN! So OPEN your EYES! You don't REALIZE the nights that I've CRIED the SALTIEST tears! The lovers who LIED and stepped on my PRIDE! I WANTED to STOP! I wanted to DIIIIIIIEEEE!". All the while, the desperation in Hannon's repetition of demanding to understand just "WHY" this has happened increases, the plea for a logical and rational reason for a devastating betrayal denied.

As the song fades into an eternally descending march into oblivion, Lemper simply whispers to herself, her character's betrayed partner no longer listening, "Want only you, need only you..." So ends the story with two people entirely separated and unable to communicate. And yet, for all the downtrodden nature of the subject matter, it is hard to not root for both characters in this story, for their downfalls are convincing, emotional, and gradually turn more complicated as the song reaches its climax.

When asked about her first band's falsely reported genre as punk, Lemper would respond, "I was never a punk person. The music of punk is not interesting to me, it’s horrible." With her discography and musical upbringing, it isn't hard to dismiss such a claim since punk was the nihilistic "answer" to sophisticated music, where complexity must die. It was an opposite world to what she was raised and thrived in; where performance and skill undeniably mattered the most.

But in the confines of "Split", the ferocity and simplicity of punk is matched and replaced by cutting musical arrangements, equally cutting lyrics, and dramatic vocal performances. Punk music simply lacks the vocabulary to reach the upmost heights of stage drama while demanding a quasi-universal emotional response. All in all, the knife is best impaled with precise skill and a confident, wry smile.

Song of the Day: The Angels Light - Praise Your Name

 Right now I am reading The Orange Eats Creeps by Grace Krilanovich and Nova Express by William S. Burroughs which I hope to finish before school starts. I will be posting reviews of both right when I am finished.

Now right now this was the song of the day for me: Angels of Light's "Praise Your Name."

Praise Your Name is probably my favorite song due to the dissonant violin coming in and out reach with the icy xylophone and mournful piano. The lyrics are dark and drenched in apocalyptic imagery concerning the worship of some lover. The chorus' choir behind the yelping of Michael Gira sounds all so glorious.

I gained an emotional attachment to this song after listening it everyday, for three weeks last year after feeling trapped in my small dorm room. In fact, Gira was pretty hot on Bryan's and mine playlist for majority of our first year at CSUN.

Where are you wounded girls
With bruised faces and blackened eyes
Break open your glass doors
Welcome the whirling debris
Carve your name there
In the marble and concrete

New Release: How Scandinavian - Philistine Empathy EP

The latest and most delayed-est release by How Scandinavian ever. I put a good deal of work on these and I hope I didn't overcook the songs as a result. Much darker and 'lush' than Pity Won and it reeks of some sort of dreadful nostalgic call-back to Dolorous along with some new influences I've found through nightmares, dreams, and harsh cynicism. Probably the least messy and 'mid-fi' release I've been able to muster at this point in time as well. Now that this is out I'll be working on the sophomore LP and have some peace in not following personal deadlines. How Scandinavian will probably tour this little EP locally for a month and then I'll concentrate on both school and finishing the work I've already begun for the next LP. I hope any fans that still abide by this blog and HS will enjoy this. I'm sorry I took so long.

Track list:
1. Eucalyptus Burning
2. We Exist
3. New Romantic Ideas
4. A Brighter Hell
5. Life Is Saccharine

Catalyst or not

Here's the 'setup' for the collaborative project between Starlon and I; Mister Ugly. Consists mainly of me using the floor tom, hi-hat, and guitar while providing some much needed delayed vox. Starlon handles the drum machine (barely pictured), bugle, vox, and additional percussion. We both interchangeably use the horrible mid-90's keyboard thank you very much! While still in the infantile stages and with little hope of having an audience in the local area, we trudge on with early Saturday afternoon practices despite great sleep deprivation. More to come.

Song of the Day: Chavez - Wakeman's Air

Chavez is one of those bands that you 'kind of' have to dig around about in the confines of the internet to really find out about. It's ironic that one can make such claims when it is already an immense step up to what might have been an impossible search in the past when they were still around.

The reason I bring this up is because the sound that Chavez have is particularly timeless, it's not obviously 90's post-hardcore and it's not really too modern sounding to be considered a recent release either. I always see this as a blessing because it allows much of the song's context to be focused on in a more specific manner; it allows for a unique listening experience because it literally 'sounds' unique.

But to cut the inane attempt at describing, I'm just going to say that Chavez knew how to really balance their sound between moods as they allow for a certain amount of tension to build up unknowingly to just throw you off a little when the song itself actually 'quietly' explodes.

'Wakeman's Air' is a great example of this skill and really lends itself to several moods (it opens with a heavy riff, goes into a rather bleak verse, has a noisy bridge and morphs into an uplifting chorus, goddamn!) that are only exemplified by that timeless feel and their almost post-hardcore/metal hybrid sound. A real treat of balance and attention to arrangement that makes for repeated listens.

Favorite releases of 2012 so far, in no particular order

Death Grips - The Money Store



Obvious choice really, but I'll be damned if I haven't heard another release that has exceeded all my expectations. I enjoyed Exmilitary quite a bit last year but I credit The Money Store in only adding to my appreciation for that release.

But aside from that, The Money Store itself is an excellent release that is worthy of its hype and praise. Essentially expanding upon the noise hip-hop sound that their previous release touched upon, this album simply pushes the boundaries of what is actually considered 'hip-hop' all while being catchy as fuck. I guarantee this will be on my end of the year list and the best part is Death Grips have one more album to release this year.

Favorite tracks: Lost Boys, Hacker, Get Got, Double Helix, Bitch Please, The Fever (Aye Aye)

Protip: I pretty much love the entire thing.

Moonface - With Siinai: Heartbreaking Bravery



I had a huge revival of Spencer Krug's sadly in-hiatus band Sunset Rubdown just recently this year while replaying both Shut Up I am Dreaming and Random Spirit Lover and grew a huge new love for Dragonslayer after previously only enjoying a few tracks. Needless to say, I never really cared much about his Moonface project, thinking it was just something to pass the time while he would eventually return to Sunset Rubdown in a year or so.

Well it's been about three years and Sunset Rubdown is indefinitely stuck in 2009 while Moonface is releasing their second album, Heartbreaking Bravery. Color me surprised when I find out that this new release bears no resemblance to Sunset Rubdown's mythical prog rock leanings. Well I wasn't actually surprised, but what did was the sheer emotional nature of this album. I have to say, this is a SAD record (I dare you not to feel anything on the album closer 'Lay Your Cheek On Down').

Krug sings directly and the songs are huge, muscular, and repetitive until you get the picture of no hope. While I can understand if this isn't a hit at parties, it certainly gives me something to party about as I await the next evolution for Spencer Krug's musical career.

Favorite Tracks: Heartbreaking Bravery, Yesterday's Fire, Shitty City, Lay Your Cheek On Down

Portico Quartet - Portico Quartet



A nice blend of electronics with modern jazz sounds, Portico Quartet's self-titled album is complex and layered as it is organic and effortless. This album provides some very memorable songs and soundscapes that incorporate a healthy mix of electronic and acoustic instruments that will capture your imagination. One of the earliest releases that I got into this year and will definitely be heard throughout the rest of it.

Favorite tracks: Rubidium, Spinner, Lacker Boo, Steepless

Kayo Dot - Gamma Knife



The latest release by experimental band Kayo Dot was actually one of the earliest new releases I heard this year and while I really want to consider it an album that is more than the sum of its parts, there are a lot of things from keeping it from being memorable. The production is very flat due to being recorded mostly from live performances, and if that isn't enough, the majority of the album is mixed too messily to really piece out what is going on. These factors sadly make much of the album seem like a giant blur rather than separate songs.

Yet even with these setbacks there are good points throughout, the unique brand of experimental metal that Kayo Dot is known for is pretty much present and is still enjoyable, the opening track 'Lethe' is extremely beautiful and is easily the best track, and the album itself doesn't overstay it's short welcome. All in all, a decent release that for some reason holds a soft spot in me.

Favorite tracks: Lethe, Mirror Water Lightning Night, Gamma Knife

Daniel Rossen - Silent Hour/Golden Mile EP



A short and sudden release by Department of Eagles/Grizzly Bear's Daniel Rossen, Silent Hour/Golden Mile serves as a sort of snapshot for the singer-songwriter's current direction. Filled to the brim with bright, beautiful and punchy acoustic guitar, shimmering woodwinds and brass, and Rossen's rich vocal, the release could easily pass off as either of his two projects.

But what sets this release apart is this paradoxical sense of intimacy that you wouldn't expect from what sounds like 'full band' songs. Personally, I'm reminded of Elliot Smith's 'full band' releases on some of the tracks and the unique personality that Rossen puts into his guitar playing really nods to Smith's own skills. It's tough to say whether this is simply a one-off or the beginning for a solo career since Grizzly Bear is actually rumored to release a new album this year. One thing is clear though, we'll be hearing from Daniel Rossen in one form or another and for that I am excited.

Favorite Tracks: Silent Song, Saint Nothing

You Slut! - Medium Bastard



Coming in at just barely over 25 minutes, You Slut! provide a quick jab to the ears with their instrumental math rock. Memorable, complex and not over-bearing, the band arrange their songs in an effortless manner that kept me both satisfied and wanting more at the same time. Some of the songs are extremely gorgeous and literally made me stop in my tracks at times to question if what I was hearing was really going on. On the other side of the spectrum You Slut! also create some very heavy sounding songs, so the balance of the album is kept and saves it from monotony. Overall a great release that I will hopefully grow to appreciate more.

Favorite Tracks: Fifzteen, Let's Do 'Do The What Now?' Now, Shopping Placenta

Cloud Nothings - Attack on Memory



The closest thing I've heard that resembled 90's emo and post-hardcore to an almost eerie extent. I'll never fathom how exactly Cloud Nothings came from, what I think was, shitty lo-fi indie pop into the fully fledged beast they CAN be. Granted, not all of the songs here are amazing or in-your-face as I'd like, some even annoy the fuck out of me ('Fall In'). But if this album is just a taste of what is to come, I can wait.

Favorite tracks: No Future/No Past, Wasted Days, Stay Useless

Song of the Day: James Blake - Once We All Agree

I really enjoy the sound of a piano, but don’t confuse the typical sound of a piano with the sound of a piano that I’m referring to. I enjoy a very melancholy, slightly reverberated, and filled with ‘dark’ sounding chords sort of piano; something that I try my best to emulate with my shitty Casio keyboard that leads to poor results and terrible dynamics. Fortunately, James Blake’s ‘Once We All Agree’ from 2011’s Enough Thunder really feeds my sweet tooth for this particular delicacy of sound.

But I wouldn’t simply call this a typical melancholy piano ballad by any means, in fact James Blake employs his masterful, ahem, ‘post-dubstep’ sound to the track by adding whirring low bass tones and a haunting sound that I can only describe as the owl that follows you in your bleakest noir-esque dreams. It’s not all dark black melancholy though, as James Blake’s sweet vocals add a glimmer to the tonal sadness and ultimately allow the track to achieve a heart-aching success.



Couldn't find the studio version, sorry!

Song of the Day: Cocteau Twins - Glass Candle Grenades

I'm fairly new to the Cocteau Twins' expansive discography and really only listened to parts of Heaven or Las Vegas and the song 'Crushed' on the 4AD Lonely is an Eyesore compilation (which is excellent by tHe way). But the lack of Dream Pop in my listening had encouraged me to dig deeper into the band's music. While I haven't been able to listen to all of their material I can attest that Cocteau Twins were definitely the flagship band of 4AD for the duration of their stay.

'Glass Candle Grenades' is one of the songs, that to me, really displays a rarity in the Cocteau Twins' grandiose style. Mixing heavily reverberated drum machine, layered and heavily processed guitar and Elizabeth Fraser's famous vocals, the song is one of the highlights of 1983's Head Over Heels for successfully containing both heaviness and ethereal, sometimes even alien, tones.

Those 'alien' tones don't pertain to just the guitars either, it's evident in the melodies, harmonies and incomprehensible sound that Fraser vocalizes. This is something I don't see mentioned often in their music, a shame because much of Cocteau Twins' material is very foreign-sounding, unique and ultimately indescribable until you really pay close attention. Maybe 'Dream Pop' is an apt definition after all; events that happen in slumber often transcend the familiarity of reality. In others words, they are- otherworldly.

A little fun with graphs

Made this for fun, I will eventually keep it updated over time. Maybe someone will enjoy looking at it?

New Release/Upcoming: How Scandinavian - The Woods/Caves

Hey everyone! Big news for the rest of the month for How Scandinavian, we're planning on releasing a brand new single for each Tuesday in the next three weeks, starting today! They will all be compiled into a collection EP at the end of the three weeks for the sake of convenience as well. So whether you prefer to hear them as they come along or if you want to save it all for a giant listening single experience, you can. Listen to the first single, The Woods/Caves, below!

New Release: Old Soybu - Job John Rise EP

Here it is folks! We finished Old Soybu's debut release Job John Rise. It's a heavy mixture of chiptune, post-punk, post-hardcore, drone, and noise. An incredibly experimental release and hopefully the first sign of many new directions and mixtures from this side project Chief Tizo supergroup. Download it for free below!

Song of the Day: Daniel Rossen - Saint Nothing

The first song from this year that has me eating out of the palm of its hand! I've been a great fan of Grizzly Bear ever since Veckatimest came out a few years back. Grizzly Bear are one of the few modern bands that have an extremely distinctive sound and are incredibly talented at the same time. I was lucky enough to catch them perform at the Hollywood Bowl two years ago as well.

But this song isn't the new Grizzly Bear single or anything like that, no, this is a taste of Daniel Rossen's, the second half of Department of Eagles and the guitarist/vocalist for Grizzly Bear, Silent Hour / Golden Mile EP that is to be released this March.

The song is nothing short of beautiful, melancholic, and powerful. A gloriously subdued piano ballad with dark lyrics at first, the choir and horns only add to the mix and turn it into a gloomy march. While it could have easily fit in any of the previous releases by Grizzly Bear or Department of Eagles, it certainly does have a since of desperate sadness that hasn't been explored since the release of 2007's Yellow House.

This track has me extremely excited for future material by Grizzly Bear, Department of Eagles, or Daniel Rossen himself. An unparalleled track from this year, it sets a high bar for what's left to come. Amazing.

Chief Tizo Interviews #3: Thrill Touch

My favorite interview so far! Starlon and I decided to give Thrill Touch an interview before their set at the Explosion New Year's Eve show and got some interesting information! Lots of laughs all around. Oh and some release news somewhere in there... So what are you waiting for? Check it out above!

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

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!

Music Documentaries Part 1

This year has been a lazy trip. Instead of actually doing my homework I ended up watching documentaries on music scenes and eccentric bands and musicians. So this is a list of some great ones.

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

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.

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,

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