Like so much of the rock stuffs that was coming out of Detroit during the ‘60s, Index (which comprised guitarist Jim Valice, drummer John B. Ford and bassist Gary Francis) made good use of its amplifiers. Yeah, the music was still tied to those basic blues progressions – and moreover, the almost passé surf music from earlier in the decade – but the addition of endless reverb and sometimes obnoxious noise set the group apart from its more hippified peers.
Those hefty price tags might still apply – or the conversaion rate to the British pound might simply screw potential patrons – but with an engorged market of both buyers and hockers, it seems that everyone should be a bloody winner.
Even if that’s not always the case, it is with Harappian Night Recordings. And while the name of the recording project might sound more appropriate if it was to be attached to a studio or record label, the tag lends Dr. Syed Kamran Ali a disguise to work behind.
One should assume that if executed properly the end result is going to be properly received by the general public and the media that spoon feeds the mindless dullards too daft to figure stuff out for themselves. Yes, assuming does generally lead to let downs. And with a spate of ‘60s and ‘70s folk fair it seems that the music buying public was able to just miss out.
Anyway, almost ruining a combination of musics would have been difficult for a band that fancies itself ‘gypsy punk,’ whatever that means. So thankfully, Alec K. Redfearn has been around since the mid ‘90s working out his own recombinant music.
Being necessitated to maintain a backing group for Tina, his touring and recording dates, the Ikettes became something of an institution themselves. While the group was comprised of a never ending slew of female singers, the Ikettes, whoever they were, never received anything akin to proper financial compensation. Of course, in hindsight, Ike’s treatment of his singing group isn’t too surprising. And while that might be the case, it’s still a shame that these women never got too much scratch.
Apart from the vocals, this is pretty much perfect stoner metal from the '70s. Thanks to German efficiency.
I dunno why Ginger Baker's mouth is wide open, but I suppose he can do whatever he wants...
Henry Flynt goes in on a bit of NYC rock history in-front of Tony Conrad's old apartment.
With those three personalities kicking around – and the latter two eventually working/hanging out with Lou Reed in various capacities – the landscape from whence the Velvet Underground sprung wasn’t as flat, dark and empty as some would be led to believe.
(Dischord Records, 2004)
I’m not sure if every Dischord release is recorded at Inner Ear Studio, but enough of them have been that I’ve noticed. And Brendan Canty of Fugazi fame and glory mixed this one down. Not being in touch with the newest of the new Dischord acts, I have to take for granted that Medications fit into that sound. Ya know the press release says so anyway. Regardless of that, there’s a little Minutemen influence on the guitar, which some how is sung along to almost note for note on a few tracks. Going back to the Dischord family idea; even though I was able to buy the Minor Threat discography ten years ago for the price of this cd/ep, the tracks on here all clock in at about four minutes, so at least I get twenty minutes of new music. As for the notes that come outta your stereo, most of them are good ones, occasionally the band begins to sound like Weezer, but more talented and with louder instruments. So, simultaneously that’s endearing and aggravating. The cowbell rears its’ ugly head on “Excersie Your Futility” while the track somehow maintains the sound of urgency that not too many groups can achieve. Departing from the frenetic pace of other tracks, “Reconcile Awake” is served with smooth drumming becoming tense without the track being overbearing. Unfortunately, someone decided to stick a clunker on at the end of this slab. “The Perfect Target” sounds similar to most average rock songs, only adding in some dissonant chords during the chorus for good measure. I don’t think there’s anything bad about this band or this release, but let us refrain from canonization until a full length comes out.
Music geeqs need to take umbrage with such a statement. The term ‘world music,’ obviously construed by some westerner, seeks to encompass all non-Anglo based musics under a single banner. Absurd. Fela Kuti has very little to do with Burning Spear, but there’s unquestionably a number of record stores where browsers are going to find the Afro-funk band leader sitting in the same bin as that reggae stalwart. Not only is that unfair and damnably disconcerting, but it discredits each man’s work.
Founded in ’67 and making its live debut early the following year, Les Rallizes Denudes, centered around Mizutani Takashi, sought to incorporate as many different modes of expression into performances as possible. There were films, lights, disco balls and the like all functioning alongside the rock-steady drum beat and repetitive bass lines that comprise such a dense block of the group’s catalog.
For its 25 birthday, these East Coast hardcore types are hitting the road. At this point it’s more nostalgia than spit and vinegar. But the story that’s taken Vinnie Stigma and Roger Miret from cult status afforded them by covering little known skinhead bands to international stardom is mirrored in punks various rises in popularity over time.
01.21.10 – The Black Lips/No Bunny - Great American Music Hall