Long Beach’s Magic Lantern have finally gone and released a new sonic document after what seemed like an eternity of waiting. Eagerly anticipated by those who have been biding their time waiting for the band to get on with their uber limited cassette only and CD-R releases (their Self-Titled CD-R was limited to 30), High Beams, the band’s latest opus, is available on both a format (vinyl LP) and in a quantity (500) that is obtainable by not just those who fill their shows at The Prospector. Anchored by two Goliath-sized jams, the heavy swirling drone of the opener “Deathshead Hawkmoth” and the psych boogie of the closer “Cactus Raga”, Read more »
Parts & Labor make a lot of noise. That is the usual sentiment expressed by critics of the band, and yes it is true, “noise” plays a large part in Parts & Labor’s sound, but what should be noted is it is a highly focused noise. On their new album Receivers, an amalgamation of noise punk, indie rock and pop, Parts & Labor have greatly expanded the sound-scapes they previously created on their prior album Mapmaker. Read more »
Appearances can be often be deceiving, and in this instance, the saying couldn’t be any more correct when looking at photos of Brightblack Morning Light and then listening to their new sophomore release, Motion To Rejoin. One look at Brightblack Morning Light’s Nathan “Naybob” Shineywater and Rachel “Raybob” Hughes and it would be easy to discount these two as nothing more than a couple of neo-hippies who spend more time crafting their look then actually creating music. That is, until the smooth sounds of a Fender Rhodes melded with the hushed shoegaze vocals starts sauntering forth from the speakers, and all preconceived notions of “hippie” music instantaneously go up in smoke. Read more »
Initially released in Europe in October 2006, Blackstrap‘s second full length, Steal My Horses and Run, is finally seeing it’s official release in the U.S. via New York’s Tee Pee Records.
At first pass it would be easy to write off Steal My Horses and Run as just another retread of the JAMC and My Bloody Valentine catalogs, that is if it weren’t so well executed and/or if you weren’t able to make to the last quarter of the album where the band really opens things up with some more diversified song writing. Coming across much the same as Black Rebel Motorcycle Club did on their first album, Blackstrap wear their influences (Velvet Underground, My Bloody Valentine, Neu!, The Jesus and Mary Chain, Stereolab and Suicide) on their sleeve, writing songs that would fit on any of the aforementioned bands’ albums, only with much better production. Read more »
Made up of former and current members of Bottles and Skulls, Fleshies, Lower Forty-Eight and a drummer who is in too many other bands to list, San Francisco’s Triclops! are a veritable hybrid of the Bay Area underground punk/hardcore scene.
Triclops!’s “trademark” are their vocals, which for about half of Out Of Africa are run through broken solid state amps with a phaser explosion – achieving a sound that I can only describe as how the Mars Volta’s Cedric Bixler-Zavala would sound singing underwater. While slightly off-putting on first listen, the phasered vocals effects – delievered by Fleshies’ Johnny – become pretty aurally addictive over the course of the album, so much so that when the effect is not being used, I found myself anxiously awaiting it’s return. Read more »