June of 44 - 'Tropics and Meridians' (Quarterstick)

I'm going to show my age a bit now by remembering the strange and somewhat maligned sub-genre of late 90s indie rock that we called "boat rock", or maybe it was "nautical rock". This was before Channel 101 made those highlarious Yacht Rock comedy sketches, and it wasn't anything to do with the smooth sounds of Christopher Cross or the Doobie Brothers. This was truly a sub-sub-genre or maybe even a sub-sub-sub-genre, unified by the curious trend of writing songs about nautical life.  I can remember the biggest proponents of this being June of 44 and a somewhat related band called Shipping News, both who emerged after the dissolution of the mighty Rodan. I can also remember a band called Victory at Sea and then some very 'local' bands that never released anything, as well as other regional ones from the same era (1996-2000) who maybe never released anything either and are now mostly forgotten but passed through my town a few times. Or maybe "boat rock" was never such a big thing beyond these few bands, but at the time, it certainly felt like a trend that quickly became tiresome while being somewhat inexplicable as well. June of 44 dropped boat references all over their work; their first album is called Engine Takes to the Water (though I like to think it's about a jet ski), and there's a sailor tattoo on the cover of this one, and they had this kinda annoying, kinda brilliant song called 'Sharks and Sailors'. I watched the Slint documentary a few weeks ago and ever since I've been jamming Tweez a lot; I guess this is the third generation of Louisville bands (Rodan came after Slint, and June of '44/Rachel's/Shipping News/The Sonora Pine after Rodan, though by the time of Tropics and Meridians the band had moved to Chicago. So what does this record sound like? Essentially like a third generation Slint, who took their musical cues from that band's more copied works (cough, 'Washer', cough) than their more innovative ones (say, 'Nan Ding'). You can hear this most evidently on this record's 'Lusitania' (hey, that's a song about a boat!) which propels along with a 5/4 beat and whispered/spoken vocals. It's probably the strongest cut on the record, with a sinewy guitar line that keeps folding in on itself and actually conveys a circular feeling of sinking. I had forgotten all about it, but not about the epic opener 'Anisette', a thunderous and slow jam that builds eventually to a screaming force after about nine minutes. No one ever called this stuff 'screamo' at the time, but it was intensely serious guitar based music with a tendency to explode both musically and vocally. I guess we called this post-rock though it feels pretty straight-forward in places. When there are scratchy, interlocking guitars ('June Leaf', 'Arms Over Arteries') June of 44 sound like a pretty tight, impressive band. The careful, whispered singing on the latter sounds like Bedhead and that's always a good thing. 'Sanctioned in a Birdcage' does everything it's supposed to do, painting by numbers with a powerful punching bass sound, guitar playing that mimics the militaristic theme of the lyrics (shards and muted single notes on one, against ringing arpeggios on the other) and a nice growl on the vocals (which shout 'Where did the birds go?' a few times, which is either brilliant or hilarious or both). I lost interest in these guys so I've never heard their last two albums, because it started to feel derivative and a bit tired by 1999 or so. I still jam the Rodan record a good bit but the offshoots I have mostly forgotten, except the second Sonora Pine record which remains an underrated gem of that whole movement. Yet there's a reason I always held on to this record; maybe it's a bit of teenage nostalgia for me (I was still in high school when I bought this) or maybe because it's a solid document of a time when this music genuinely inspired me; this is a roundabout way of confessing that Tropics and Meridians sounds pretty good right about now. While my tone here is somewhat teasing, I don't begrudge these guys for writing songs about boats; it's better than another album of songs about girls, or cars, or whatever the fuck men normally tend to write rock songs about. And their interest in literature (the band is named after Henry Miller's wife, and their first album has a song about her which is one of their best, perhaps because it's one of their most concise) is also commendable, even if it maybe seems in retrospect like a superficial affectation. I think I used to listen to this a lot, and I've dragged it around for 21 years, so it sounds kinda rough now, beat up and scratched and the victim of years of poor turntable/stylus choices. Which is also a shame; the recording by Bob Weston should sound explosive and thundering, and those drums on 'Anisette' I remember well, though this particular replication of them has suffered. This comes packaged with a beautiful set of art stamps, not legal US postage but lovely nonetheless, depicting, mostly, well, boats. Can you remember some other "boat rock" bands?

Philip Glass ‎– 'Koyaanisqatsi' (Antilles)

I've seen the film of which this is the soundtrack, and it's pretty good! A bunch of crazy time-lapse stuff, showing people from all over the world working and living their lives; it's a real artistic vision of late capitalism, for sure. Not entirely unlike those videos Phill Niblock always shows during his performances, of developing nations toiling in fields of rice, etc. -- but maybe the short attention span theatre edition. The music sounds pretty austere though - a bunch of chanting in unknown tongues and thick, layered instrumentation (five trumpets, five French horns, four violas, two tubas, etc.) which makes it actually sound like synth music in a few places. There is a lot of keyboard, being pretty much equally lead instrumentation with the choir (courtesy of the Western Wind Vocal Ensemble, none of whom are credited by name -- I guess when you join a choir you take a vow of semi-anonymity, sort of like playing offensive line for the Denver Broncos) and it all just sounds great if you turn it up LOUD. A reviewer's note here: I got a new turntable since the last post, so this is the first record listened to through the superior effort of the Rega Planar 3, and wow! The voices sound fucking intense, especially on 'Vessels' or maybe it's 'Cloudscape' - I wasn't paying attention. Turning up the volume knob makes the recorded human voice sound like I've never heard it before, perhaps the way he's layered them here or something to do with what they are singing. I assume it's the Hopi language that the title comes from, but maybe it's just gibberish, or maybe the Magma language -- who knows? who cares? It's a power that those Alabama Sacred Harp Singers records have, where you just feel an energy coursing through your body and ripping you apart. The sacred harp jams are about Jesus or salvation or something, and this is, I guess, about how the pace of technology-driven modern life is desiccating our souls (again, I'm not fluent in Hopi) so you can choose what's more inspiring. I'm not a Christian in the slightest (hail Eris!) and spend most of my time thinking about the aforementioned desiccation than any sort of Creator, yet I love Gospel music, which at its best, conjured the same shimmery whole-body magic that this does. Fans of that mid-70s Meredith Monk vibe will also find a lot to love here, as Koyaanisqatsi has a dour, medieval feel (despite its openness, or maybe precisely because of it); when the title track is chanted at the beginning and end of this record you know you're somewhere special. This has always been my favourite Philip Glass work, seemingly balanced between his more commercial efforts and the postmodern operatic work such as Einstein on the Beach (though, I remember that pretty fondly, too).

The Garbage & The Flowers - 'Eyes Rind as if Beggars' (Bo'Weavil)

If you wait long enough, eventually everything gets reissued. I had this for over a year and only just now realised there was a CD stuck inside, but my CD player is broken at the moment so I'm not sure what's on it. Maybe I should pay closer attention to things I purchase. In the New Zealand hall of fame, this band occupies a special place, though really they should qualify for the regular ol' "music" hall of fame, if such a thing existed. Thank gosh it doesn't. Originally released in 1997, this double LP is mostly made of lo-fi live recordings, documenting this anarchic, shambolic mess of a band that nonetheless managed to captivate enough listeners to warrant this deluxe reissue, many years later. This is guitar music, occasionally erupting into piles of dissonant feedback and distortion, but it's not the slightest bit aggressive. This is dream music, though it never seduces you with anything too easy or too confectionary. Singer Helen Johnstone and guitarists Yuri Frusin and Paul Yates are the yin and yang, with her gorgeous voice and their hell-guitars pushing and pulling, but the drummer is nothing to scoff at either - this was really perfection, more than the sum of their parts, because of (not 'despite') the rough edges. The album feels more like a collection of whatever was lying around, a document that this existed, rather than a focused project, and I couldn't imagine it any other way. The notes bend and shimmer ('Holy Holy Blue' feels like it's barely held together at all), the recordings sound like their all made during the last night on earth, and the feeling is all warmth and magic, mostly creeping in from the edges. The walls of guitar on 'Nothing Going Down' and 'Rosicrucinn Lover' are almost devotional; they take over the space but never feel self-indulgent. Maybe it's just the Velvet Underground taken to the logical conclusion if it was 25 years later and on the other side of the world, but I love it. There's a quality to a lot of music from New Zealand -- Alastair Galbraith, I'm looking at you -- that is spooky, reverent, and open. This record is saturated in that, while seemingly laid on a fun jammy indie-rock structure. This is all romance without cynicism, a testament to the powers of noise and the energy within a band unit. And it's simple too - listen to 'Nothing Going Down at All' or 'Carousel' - this could be you or I. It's inspiring, and it makes me feel young and old at the same time, and I'm gushing here but I'm just so fucking grateful that this band existed.

Family Underground - 'Familiar Places' (Into The Lunar Night)

So many contradictions here! These Danes are about the sweetest, kindest people you'll ever meet, but their music often sounds like the devotional chants of a murderous cult. The title is 'familiar places' but the only familiar imagery this will conjure is an imagined nocturnal bender with distant, ever-ungraspable shrieks in the distance and a pulsating ur-drone throughout. That is to say, this is a pretty great album that somehow transcends the ecstatic drone scene it was birthed from and has lots of peers (Double Leopards, Birds of Delay, etc.) while still somehow retaining a distinct quality. The centrepiece, 'Valley of 1xxx Smokes', sounds a bit like the mid-fi horizontalism of Newcastle's Culver, though with extra members to sweeten the deal with melodicas, tinkering bells and other not-quite-identifiable sounds. It's not too obvious, but works up enough steam that having to break in the middle to flip the LP is actually a detriment. Family Underground seem to flirt between organic, pastoral drone and darker, industrial-tinged rattling; it's a delicate balance than shifts its weight even in the same track. And when 'Hellish Design' rolls around to close up, it feels sufficient, a band that hasn't outstayed their welcome and knows exactly what they are converging on.

Double Leopards - 'Halve Maen' (Eclipse)

We're back after a hiatus where we listened to no sound at all - a self-imposed anechoic chamber which means Halve Maen, where we left off, sounds like the most overwhelming and powerful sound of all (after the lack). The title must be Old English, or something, and the artwork is perfect to support the dark, cavernous sounds inside. This is primitive but not simple; a very careful, mature experimental field that builds on the experiments of the last album, adding some (dare I say?) polish to the proceedings. 'Druid Spectre' uses a piano to create something probing, beautiful in texture and tempo. The second side's long 'A Hemisphere in Your Hair' fulfills the promise of a new age; it moves, enveloping air like a cloud, not eschewing structure but rather jogging alongside it. The drums that come in at the end are like a wakeup call. Double Leopards might never transcend Halve Maen's intimacy; even the noisier tracks on the second record ('The Forest Outlaws' is a beacon of light towards the dirty 00s, a decade they would conquer, without trying) feel like they are made close to the heart, close to the ears. There's a constant folding at play - a representation of sound that is wet, layered, and unraveling all at once. The tools may be simple or may be complex - it's not relevant. It's hyperbole, perhaps, to say the promise of Pebble is fulfilled here, especially as they followed this with further explorations and more great records. But this is a masterful summation of the Double Leopards sound, at least their early sound, and records like this make me still love the sound recording object as art form.

Chris Corsano - 'Another Dull Dawn' (Ultra Eczema)

Coincidence and circumstances places two Ultra Eczema LPs back-to-back here, this one being #71 in the label's run and showcasing Chris Corsano's personal, idiosyncratic brand of percussive noisemaking. These were recorded in Edinburgh when Chris was living there and seem to reflect the manic-depressive nature of Scottish temprement while reflecting the uniquely bleak weather of the region. For someone as powerful at pounding things, there's an equal amount of scraping and breath here. The 15 short pieces, all recorded in a wooly, murky manner, run the gamut from drumset freakout to toy gamelan (the beautiful 'Kittenish Gnawing pt 2' is a particularly highlight), with a lot of wind instrument mouthpieces, often modified with plastic pipes. There's a primitive, guttural feel t stuff like 'The Misread Altimeter', which is a searing, sharp wave of human breath often redlining into gutbucket territory, only with a skiffle-band aesthetic. The pieces flow; it's a really coherent statement of one man's energy, simultaneously referencing all the solo free drum classics by Milton Graves and Andrew Cyrille while also trying to stake out something new. The speedy drumset work is certainly remarkable - 'The Wreck' is a total explosion, and the full kit parts of the closing track ('The Chair Dustless in the Tiled Room') are practically blast beats. Said closing track swings between these energetic bursts and pot lid/gong melodies, which unfold into a really loose expression of rhythm. Eclectic, yes - expressive, even more so. This style of solo Corsano - also exhibited in his Cricketer album - seems to perfectly bridge the gap between the noise underground's focus on dense, textural material and his own passion for free jazz/improv. What's remarkable is how natural it feels, and how flowing and introspective it manages to be despite carving out an original, singular language. Though I think this maybe flew under the radar a bit (due to the limited nature of the pressing) this might be a high water mark for the genre, if the genre could be defined.