Tag Archives: Mouthus

The Best (and Worst) of 2009

This week’s LEO Weekly contains a short top-five list by yours truly, and here it is for your perusal — Top Five Albums of 2009:

1. Blues Control, “Local Flavor” (Siltbreeze)

Russ Waterhouse and Lea Cho of Blues Control have delivered the goods with “Local Flavor” (full disclosure: Russ and Lea are friends, and I was present at their first show a few years back). That is, if the goods were super-hallucinogenic drugs that didn’t leave you damaged, but rather took you on a midnight journey through Tangier without leaving your living room. From beat-laden not-quite-dance workouts, to deconstructed guitar licks, to massive underwater drones, to ringing alarm clocks, there isn’t a record this year I’ve heard as wonderfully evocative of out-of-mind experiences.

2. Group Doueh, “Treeg Salaam” (Sublime Frequencies)

While it might put off some world music purists (and who do those jokers think they are, anyway?), the lo-fi nature of Group Doueh’s recordings are not only more “authentic” than, say, bringing the band to Paris or London to record in some sterile studio, they’re also far more joyous. Listening to “Treeg Salaam” at a loud volume, you feel like you’re standing in some Western Saharan souk, watching guitarist Doueh and company tear it up – and seeing them have a great time while they’re doing so.

3. The Phantom Family Halo, “Monoliths and These Flowers Never Die” (Karate Body)

Generally, most rock bands these days can’t pull off the sprawling double album, once a 1970s hallmark. But The Phantom Family Halo manages to do so, with aplomb. After multiple listens, I’m not entirely sure what the overarching theme or concept behind “Monoliths and These Flowers Never Die” is, or even if there is one, but this double album is executed so brilliantly, I’m not sure it matters. Hopefully the rest of the country will start paying attention to what these local greats are up to.

4. Mouthus, “Divisionals” (Ecstatic Peace!)

Back in May I wrote in LEO about Mouthus, the rackety, noisy guitar-and-drums duo of Brian Sullivan and Nate Nelson, and their album “Divisionals,” one of the mellowest, yet undeniably great albums I’ve heard this year. I even went so preposterously far as to write that “Divisionals” contains “a mysterious set of cyclic drones, which interlock and mesh within each other, much as the strands of DNA within our cells.” Well, Nate came through Louisville in August, and told me that “Divisionals” was performed on synths, a departure from their usual m.o. There you go.

5. Extra Golden, “Thank You Very Quickly” (Thrill Jockey)

Despite listening to more music from around the world than ever, I find that not very much of it is by current bands. The recent explosion of reissues of 1960s and 1970s African music is far more compelling than most new African bands, sadly. Extra Golden is an exception to that rule, and perhaps it’s because the half-Kenyan, half-American band has an extra rock element to it reminiscent of 1970s classics. Regardless, we’ve been lucky to see them twice in Louisville in the past year, and that they release consistently great albums.

Other albums that I’d have given honorable mention to, if space allowed: Bill Orcutt, A New Way to Pay Old Debts (Palialia); Sperm, Shh! (DeStijl); Sir Richard Bishop, The Freak of Araby (Drag City); Oneohtrix Point Never, Zones Without People (Arbor); Omar Souleyman, Highway to Hassake: Folk and Pop Sounds of Syria (Sublime Frequencies); Jim O’Rourke, I’m Happy, and I’m singing and a 1, 2, 3, 4 (Editions Mego); Kurt Vile, Childish Prodigy (Matador); Orchestre Poly-Rythmo de Cotonou, The Voudon Effect: Funk & Sato from Benin’s Obscure Labels 1972 – 1975 (Analog Africa); Death, …For the Whole World to See (Drag City); Tony Conrad/Genesis Breyer P-Orridge, Taking Issue (Dais).

Best Shows I Attended in 2009: Throbbing Gristle/Emeralds at Logan Square Auditorium, Chicago; Daniel Higgs at Lisa’s Oak Street Lounge, Louisville; Joe Manning/Doug Paisley/Nathan Salsburg at the Swan Dive, Louisville (full disclosure: I booked this show); Endless Boogie/Cross at the Swan Dive, Louisville (I also booked this show); Sapat/Blues Control/Softcheque/Raw Thug at Lisa’s Oak Street Lounge, Louisville; Black Juju (The Alice Cooper Cover Band) at Lisa’s Oak Street Lounge, Louisville; Young Widows/Maserati/The Genitalmen at Zanzabar, Louisville (full disclosure: I djed at this show); The Julia Schagene/Furry Bits at Jeff Komara’s house, Louisville.

Worst Things to Happen in 2009: The deaths of Rowland S. Howard, Jack Rose, Jerry Fuchs, Tony Bailey, Rashied Ali, Maryanne Amacher, Hugh Hopper, Max Neuhaus, Michael Jackson, Ron Asheton, Randy Bewley, Lux Interior, Luther Thomas, Mick Cocks, Sirone, and probably many more that I’m forgetting.

You can read the rest of the feature, including the top-five picks by the rest of LEO‘s music critics here: http://leoweekly.com/music/music-top-fives-2009.

Insect Factory, Air Traffic Control Sleep (Insect Fields) CD

Insect Factory

Insect Factory is the solo guitar drone project of one Jeffrey Barsky of Silver Spring, Maryland. Now, as you could probably guess, the words “solo guitar drone project” sometimes conjure up some startlingly bad mental images. However, on the new release Air Traffic Control Sleep, Insect Factory delivers the sort of drone that is, y’know, actually engaging! Like, not only did I not get bored listening to it, I actually liked it! There’s something in Insect Factory’s sound that reminds me of what I’ll call (for lack of a better term) post-Niblock electronic drone (apologies to Mr. Phill Niblock as he is certainly still alive and well and making great music), wherein rock guitars were used to make pretty heavy non-rock music. The first (and foremost) practitioner of this style who comes to mind is Rafael Toral, the Portuguese guitarist who began making heavy drone statements such as Wave Field in the mid-1990s (more on him in a post coming soon). Insect Factory continues pleasantly in Toral’s footsteps, using guitar to make music that sounds nothing like “guitar music.”

Funnily enough, the last track on the record, “Landing Back on the Shore [By Morning],” isn’t really drony at all, but since it’s the shortest, it’s what I’ve decided to upload. This song is unlike the other two on Air Traffic Control Sleep, but don’t let that deter you. You can buy Air Traffic Control Sleep direct from Insect Fields here (for cheap!).

Barsky is also a member of/contributor to D.C.’s excellent Kohoutek, who will be soon releasing a new CD entitled Expansive Headache on Music Fellowship shortly. In the meantime, here is their self-titled two-song CDr from 2005, unfortunately Barsky-less, but still worth your time (disclaimer: I booked a Kohoutek/Mouthus show in the fall of 2005). And if you happen to live in the Washington, D.C. area, you can catch another Barsky band Civilians on September 18th (with Eddy Current Suppression Ring), Insect Factory on September 20th (as part of the Sonic Circuits festival), and Kohoutek on September 28th (with Alasehir and Suishou No Fune), all at the Velvet Lounge.

In an unrelated note, I will be moving at the end of the month, so posts may become infrequent. I know all two of my readers will be upset, but that’s the way it goes.

New Links and Live Stuff

Blues Control with Brian Turner

(Blues Control with Brian Turner covering Unholy Swill at the Bowery Ballroom, 7/11/07)

Yeah, stuff. Instead of taking a planned road trip, I ended up stuck in New York all week, so got to see a couple good shows and whatnot. Wednesday’s Deerhunter/Ex-Models/Blues Control show was a hilarious clusterfuck of epically later’d proportions. Congee Village eats beforehand with Lukas were crucial, then BC’s smoky jamz left us all ready to pound beer after beer (esp. their cover of an Unholy Swill song — forget the title — with WFMU main man Brian Turner on lead ax). Fortunately we were ready for beer pounding, because Ex-Models made us wanna sit downstairs, say hi to our friend bartending, and lament. Just not into ’em. Deerhunter were pretty good, basically sounded about the same as the record, but the best part of the evening might’ve been the singer’s 45-minute-or-so-long monologue from the stage after the band was through. Poor kid only wanted some G.I. Joes, not to be dressed up like a girl! Parents can be so cruel. Nice retardo Germs cover, too.

Friday night it was time for jammin’ at Cake Shop in a basement get-wrecked stylee. First two bands were a pretty deec female moan trio (some combo involving Child Bride and I don’t know who else). Don’t really know nothing ’bout the players, but they were enjoyable enough. After that was a metal band called Fogeaters which wasn’t really my thing, but at moments the guitarist had some great Mainliner-style moves. The main thing I was there to see played third, and that was Tobogan, a total retarded mess consisting of Russ and Lea from Blues Control, Brian from Mouthus, Don from DremCron and Big Whiskey, Allison from Awesome Color and Ryan from King Crab. Headbanging sludge plus stylish moves (esp. from Lea on guitar and handbag!). Two more bands played as well, Portland’s Night Wounds (not really my thing though not bad — and it’s nice to see a tight punk band with a saxomaphone) and New Jersey’s own Home Blitz (already written about here, though now Daniel’s got a new trio lineup, and is much more confident than last year). Oh and Max from Violent Students and Richie from Clockcleaner played records and mp3s too, so that was the perfect soundtrack to a night of beer, beer and more beer.

So what else? Not much. Skipped Excepter tonight, feeling way too wrung out to get my mind blown, unfortunately. Thinking about Jack Rose/D. Charles Speer/GHQ/This Invitation (see Todd’s page for more info), but haven’t decided yet. Oh and I’ve been adding lots and lots of links lately to the the right side over there, take a look at the following:

Direct Waves – Lots of full album downloads of obscure shit
Mutant Sounds – ditto
Neglected Books – just like it sounds like, buddy
Awful Tattoos – also pretty self-explanatory

Check ’em out and get nerdy.

Harry Potter is for fucking nerds

P.S. did you know that Channel 11 plays “The Best of Soul Train” at 2 AM on Saturday nights?!? Me neither, but now I know and it’s awesome! Next up, Yellow Magic Orchestra!

MAGIK MARKERS/MONOTRACT/MOUTHUS/PANOPTICON EYELIDS at the Hook, 8/5/2006

My ridiculously over-booked social schedule (no, really!) has me running all over town, and at no time was that more evident than last weekend, when I managed to make it from the Walter Reade Theater at Lincoln Center (to see “Not a Photograph: The Mission of Burma Story”) at 6, up to Harlem to walk my friends’ dog by 8, and then out to Red Hook to catch this show. Thankfully, a car was involved, otherwise that’d be way too long on the subway.

Montreal noise-rock quartet Panopticon Eyelids kicked off the show, and unfortunately I don’t have any crappy cellphone camera shots of them. But they were quite the debonair Quebec’ers, singing such things as “AARON’S BALLS!” really really loudly. Really good in a AmRep-meets-now style. Mouthus followed, and in their inimitable way, they smoked. I have to admit, despite loving them a ton (and thinking they’re swell guys to boot), they can sometimes not deliver live. This was not an issue Saturday, and might’ve been one of the better Mouthus shows I’ve seen – though not as good as the show I did with them at the Palace that like nobody came to.

I first saw Monotract way back when in Chicago when they were on tour with Russ Waterhouse and a very young Joel St. Germain, and they’ve definitely changed a bit since then, adding more electronics to their sound. Honestly, I wasn’t too into them before, but Saturday’s show really brought out the best, even though they had some technical equipment issues. Their new album, XPRMNTL LVRS (I’ll be reviewing this soon for City Paper), has some strangely weird pop moments on it, and I think I like that side of the ‘Tract more and more.

Magik Markers are, in a word, unfuckwithable (if that’s a word).

Seriously I cannot think of another group of people who manage to walk into any live situation and just completely own it in the way they do. Not in the “fantastic performer” sense, because yeah I guess “anyone” can do this (which is the complaint of the common dumbass – no your five year-old can’t paint better than Picasso, either), but there’s something about their mind-melding musical ways that just transcends the “noise” thing. Pete and Elisa are just amazing, no matter who they play with (this time it was with Greg Weeks Steve Gunn, I think – I’m not up on my noisicians much any more), and this show was no exception.

And on one last note: props to Tony Rettman for playin’ fruity tunes!