i think its about experimental music. .. ... .... ..... ...... ....... ........ ......... .......... ...........

Tuesday, September 27, 2011

Thom Yorke Lion Attack

Stephen Colbert said to google "Thom Yorke Lion Attack" to find the second half of the episode featuring performances and interviews with Radiohead. I couldn't help but bait you with a stupid phrase that I knew people would be searching for... Anyways, check out their performance of "The Daily Mail" (previously unreleased).

Sunday, September 25, 2011

AIDS Wolf new album (Oct. 4): Ma vie banale avant-garde

Active for the better part of the 2000’s, Montreal’s AIDS Wolf is now getting ready to release their fourth lp and first double lp, Ma vie banale avant-garde. The band has been tagged as no-wave, noise rock, experimental, in a word: fuckin crazy (ok, two words). If your unfamiliar, imagine a barrage of atonal guitar riffs, wicked witch vocals, and loud, tantrum-like drumming feeding off of each other in what sounds like a collective emotional breakdown. According to the band's home page, while recording the new album, the band grew a bit and developed it’s sound as it “focused on polyrhythm and flowing, elastic tempos.” “In AIDS Wolf’s compositional approach the band ‘learns its mistakes’, composing songs by learning improvised passages off blown out cassette tapes recorded on a trusty GE tape portable device.”

Ma vie banale avant-garde drops on Oct. 4, 2011 on Lovepump United and will be celebrated with a release show on Oct 7th at Quebec's largest museum of modern art, Musée d'art contemporain de Montréal. Have a peek at an mp3 off the new album and check out upcoming tour dates in the US here. This is from their last album, March to the Sea:

Teaching To Suffer by AIDS Wolf

Saturday, September 24, 2011


Solo project of Toronto composer Joey Hoyda, Apperception is an ambient guitar project distinguished by experimentation with polyrhythm, melody, and musical ambiguity, playing with the perception of the listener. It has it’s roots in a concept explored previously by Hoyda in a quintet. In that project, according to Hoyda: “a single repeating note pattern was orchestrated with an indefinite feel and time signature, allowing the listener to focus on different musical cues and create their own time signature depending on the object of their attention.” In some pieces, like Zappa Memorial BBQ, one main melody seems to stabilize the piece, which you eventually forget is there and begin to focus on all the counter melodies, while the percussion moves you through different phases of the composition. Other times, it is unclear what melodies are leading, and different rhythms seem to be fighting each other, but it all blends together in a beautiful, spacey ambiance.

More information, a link to purchase the CD and a free download of the album are available at the homepage. Check out the trippy fractal video made for Zappa Memorial BBQ:

Tuesday, September 20, 2011


Post Abortion Stress is the angst and psychological trauma a women experiences after an aborted pregnancy. It is also a collective of abstract sound artists from Brooklyn. Started by Robert Pepper in 1995, the name is a metaphor for “those who have been aborted by society, because their point of view doesn’t fit in the constraints of ‘normal’ society,” and the music they create expresses this alienation, along with an affinity for pure sound. PAS’s music, it seems to me, is more akin to art than music. Although the music hints at patterns and rhythms, it’s more like a free form sound collage with no traditional musical foundation. It’s a combination of effected sounds, often made with found objects, that talk to and interact with each other in ways that only the individual listener can propose in his or her own mind. It is like music for a strange animation, with the listener’s own imagination, experiences, and memories left to draw the images.

They have a pretty impressive catalog, which includes some interesting collaborations and side projects like the new york quartet Jazzfakers, and they’ve performed at countless music festivals around the world. Info on all of their concerts, collaborations, videos, as well as a complete discography for sale is on their homepage. This is from their 2010 collab with HATI, appropriately called: P.H.A.S.T.I.
PAS & HATI - Stage 4 (Delta Sleep) by Alrealon Musique

Sunday, September 18, 2011

Interview with Pete from Wax Fingers

I talked with Pete from the band Wax Fingers a while back about a range of subjects: musical influences, the difficulties of collaborative song writing, and making a name for themselves in the Portland music scene. Refer to the original post on them for more info and links.

Matt: So how long have you guys been at it?

Pete: About five years... Our first EP with a bassist was in 2008. He left immediately after, and this was after we had sort of been searching for a long time… after he left we kind of said “fuck it, we’re done looking for bassists” and that was when I started incorporating electronics into the show. We incorporated more looping and more samples and then bass tracks and things like that and it’s really dramatically shifted the sound to what you hear on the new album.

Matt: You guys actually did pretty good without a bassist. I didn’t really notice…

Pete: Our bassist is a computer or one of us on guitar using a pitch shifter, or playing bass lines on synth. There's definitely a low end on that album… Some of it is triggered samples. Sometimes live we have to play the pre-recorded tracks.

Matt: Ok, so how did you guys all meet originally?

Pete: We are a craigslist band… Tommy, the drummer, and I were both putting up craigslist ads looking for people. He was finishing up school down in Eugene and he was putting up ads for when he moved back to portland and the two of us kept answering each others' ads. It was like: “oh it’s you again…” and the two of us played. It was great. Then I played with Zac, the other guitar player, and just hit it off. It was kind of like, effortless…

Matt: Are you guys all from Portland or surrounding areas?

Pete: Tommy is a Portland native, I grew up in Ohio and then spent some time in Chicago, I was in Chicago about four years and then moved to Portland. Zac is from Florida, grew up there. So, both Zac and I are transplants.

Matt: It seems like the idea that Portland is like this indie rock haven or whatever is growing in popularity. Did you move there for that reason or….?

Pete: I moved out here, 7 years ago, I guess, now… I had just always wanted to move to the west coast. Chicago was not turning out to be what I wanted it to be as far as music anyways. I was busting my ass and looking for people to play with and nothing was coming together really and Portland, there’s the music scene, it's one of the cheaper cities that you can live in on the west coast… and I got here and within a year I was playing with these guys I’m still playing with… Its been exponentially better than my time in Chicago. Zac would probably say the same thing… So, we moved here looking for something.

Matt: How have you guys faired in that music scene, because I feel like you guys have more of a progressive, almost experimental edge. How does that go over up there?

Pete: How does it go over in Portland? Uuh… (laughs), not as well as we’d like it to. We bitch about the scene here. We love Portland but I’d say there's a lot of regurgitation of the same sort of material over and over again. The same music with different cued instruments, you could say, (laughs). I don’t want to bad mouth the scene too much, but we have definitely run into a hard time, even with the newspapers and media here… They celebrate a lot of bands, and its been hard to get them to grab on to our stuff… Actually, recently, we’ve heard, there’s been a lot of rock bands and bands that are doing some more experimental stuff and it’s been kind of exciting. Not all of it is necessarily experimental but it’s just bigger and louder… We need more of that I think.

Matt: You guys seem pretty eclectic to me. What are your various influences?

Pete: We all like a lot of different stuff but Animal Collective definitely had a big influence on all of us, with Sung Tongs and Feels… combined with stuff like Don Caballero and Battles. We’re definitely big fans of Battles. In my mind, I think a lot of what I hoped to do is sort of combine some of the new pop elements that have been introduced by bands like Animal Collective with some of the more math rock, experimental, rhythmically jagged stuff, from stuff like battles. We’re big fans of Tortoise and Radiohead, and Tom Waits too. We like Raunchy stuff as well.

Matt: Interesting, I don’t think your style is easily pinned down, but if you had to think of a weird genre name, what would it be?

Pete: Uum, (laughs), we get called all sorts of weird stuff, psychedelic math rock I guess… experimental math pop, (laughs) I don’t know! It’s becoming less weird as far as time signature is going. So we’re, in a lot of ways, leaving the math rock thing behind.

Matt: Talk about your creative process a little bit. Do you guys share the song writing responsibility?

Pete: It’s pretty collaborative. I’ll often bring an idea or Zac will bring an idea and we tend to sort of tear it apart and put it back together again… I tend to be the one that sort of comes with a full song idea, and then Zach will tell me what sucks about it. (laughs), We’ll arrange and move it around at practice. Inevitably, it just turns into something completely different than what it starts as, because Tommy is such an aggressive, crazy drummer, that sometimes the beat just changes the mood in such a way that you’ve got to adjust the way that your going about playing what your playing ya know? And the same thing goes for Zac’s parts. He does a lot of the weird pedal and effected guitar stuff that you hear. And sometimes… it’s like well “fuck, this is a completely different thing,” and now the song needs to go to this place instead. It’s really unpredictable in that way and it definitely ends up being more than any of us can pull off on our own.

Right. It sounds like you guys use a lot of effects. Do one of you guys have a discount at Guitar Center or something?

Pete: (laughs)… I try to avoid Guitar Center as much as I can, but we buy and sell gear. Most of what we buy is used just because shit is so expensive these days. Zac and I both recently got two new crazy effects pedals, Eventide effects pedals. I got the Pitch Factor and he got the Time Factor. I imagine that they are going to have a pretty big impact on our sound for the next year or two.

Matt: How long did it take you guys to finish recording the album? That’s a big accomplishment: recording a whole album.

Pete: About 9 months. We recorded the first batch of songs, and overdubbed and built the whole thing and then scrapped, I think, two songs, and recorded two or three more. So, the whole process took about nine months, with shit being recorded and mixed and built up on top of it for most of that time. A lot of it… changed in the recording process. There’s stuff that we do a lot differently now, live, because we didn’t know exactly what it sounded like or how it was supposed to be until we recorded it.

Matt: Did you guys record yourselves or work with someone in a studio?

Pete: I recorded all of it, pretty much. We did it in basements and living rooms around Portland Oregon, (laughs). I would love to be able to go into a studio and have a producer but so much time gets put into it, so much time screwing around with different sounds, different melodies, different things… this album didn’t become what it is until we got to build on these songs and make them all into what they are, and none of that would have happened if we had been working in a studio, because, ya know, $300 a day…

Matt: Got it. What was the biggest hurdle, or thing you had to overcome to get this album done?

Pete: … There were a few tunes on the album that just weren’t working… Because it is so collaborative… we need to wrestle with each one of these tunes, for two or three months sometimes before they really feel complete… We didn’t have a huge batch of songs and so I think the challenge was getting the last two or three of them up to par. Abacus was a big to do. (laughs) We fucked around with that song forever to get it to where it finally went.

Matt: So that one took forever huh? I like that one.

Pete: Yeah (laughs), we can barely pull that one off live because it took so much work after the fact.

Matt: Interesting. I always find it amazing that a band is even able to come together and agree creatively on what it is (laughs) that they are trying to do… To me that’s the hardest thing: the politics of art or music… trying to agree on your vision. How do you think you were able to do that, or do you think you were able to do that?

Pete: Yeah, we bicker and stuff. I think I tend to be the most sensitive (laughs), about the music I make, its like I bring this thing to the band and I think they are supposed to fucking love it or something, and half the time it just gets torn apart. Zac is the one that kind of digs in… And I go home and stu on it a bit and figure something else out and it ends up getting better. I think we’ve found a good Balance. I don’t think it is very common. I think all three of us in this band have more creative input than most bands do. In other bands, it’s usually just one person calling the shots and everyone just kind of agrees that this is the person calling the shots, so everyone else does what they’re told. And our band is not at all like that, and we were just sort of lucky enough to have found each other… We all have the same feeling about what is good and what isn’t… We still bitch about stuff and get on each other’s nerves, but it’s also why we can’t find a fuckin bass player (laughs). We always talk about: “aww man if we just had one other person to hit those notes on the synth or shake that thing or beat on this drum pad or play this bass line…” We always talk about how we want this auxilary person… and every time a fourth person walks in the room its fuckin akward (laughs). Its like someone watching you have sex with your girlfriend or something (laughs).

Matt: (Laughs)… Any recent commercial successes to talk about?

Well, there’s this guy who writes for this blog called Caliper Music who really took a liking to our music (laughs).

Matt: (laughing) ok…

Pete: ... We got asked to play a music fest North West, which we were really fuckin excited about. We had to, very sadly, turn it down because of a wedding… we got picked up by this small booking and management agency called Octopus Entertainment. They really took a liking to us and have helped make some of our more recent gigs be more successful… We’ve been shopping around, sending this thing out and doing our best to get people to care. We’ve made some fans but as far as commercial success goes, we’re still waiting.

Matt: Are you guys planning any tours or anything like that?

Pete: We’re gonna do a short little northwest thing here in the next few months but it will just be Seattle, Olympia, Bellingham, Vancouver, maybe Boise or something like that. Just a small little thing and then probably next spring we’ll head out and do a bigger west coast thing.

Saturday, September 17, 2011

"False Awakenings" (a video by Celeste Byers)

A trippy short video by Celeste Byers, a visual artist based in Los Angeles, False Awakenings was made using live action time-lapse photographs and features music from Disappearing People (a side project of the bay area Psychedelic prog band Moccretro).

FALSE AWAKENINGS from Celeste Byers on Vimeo.

Friday, September 16, 2011

Religious Girls - Midnight Realms

Although I just stumbled upon the bay area band Religious Girls recently, It’s been a couple of years since 2009’s Open Your Heart to Fantasy. Their follow up EP, Midnight Realms is more psychedelic synth melody drowned effects, zealous chanting, and pulsing rhythms with the occasional change up. It's worth a listen. This track is available for free download on their bandcamp.

OG by Religious Girls

Thursday, September 15, 2011

New Deerhoof Live Album

Earlier this year, at a show on their Deerhoof vs. Evil tour, Deerhoof recorded a live album which they just released for free. 99% Upset Feeling contains 11 tracks from past albums and attempts to capture the high energy presence of the band. Check out one of the tracks:

Deerhoof - Pinhead

Download the album from their homepage.

Monday, September 12, 2011

Modus Pony

A unique little home recorded album, Modus Pony is made up of interesting experimental ideas contained inside succinct, elegant compositions: random distorted chanting that somehow morphs into a song, dissonant layered organ melodies with a funky beat, a song composed entirely of feedback loops, etc. It's weird and seemingly chaotic at times, but it's tempered with catchy melody and infectious rhythm in tracks like "Star Sweeper" (albeit with some randomized drum breaks). The album, which includes two free tracks, is available on the Bandcamp page.
Modus Pony - How to Unatomize a Chicken by howlingcaliper

Sunday, September 11, 2011

New Hella album: Tripper

I don't think Hella has ever done anything I don't like. Their new album, Tripper, is a return to the original two-piece structure the band had so much success with in the early 2000's. The duo of Seim and Hill move through (by now familiar) scrambled beats, drastically changing time signatures, accompanied by noisy, angular guitar riffs with the occasionally discernable "hook." Basically, it's enjoyable if you like Hella and is a good example of a band that knows their sound, and each other very well, and has it all down to a crazy science.

Thursday, September 8, 2011

Wax Fingers

A unique and eclectic band hailing from Portland OR, Wax Fingers recently released a self-titled debut album that brings together some pretty diverse contemporary styles: experimental, math rock, progressive, psychedelic. “Animal Collective with a math rock edge” seems to be apt at first listen, but stay tuned and you’ll find it’s far from simplistic or contrived. There’s an authenticity to the album that makes the stylistic blend seem like their own, with jagged yet understandable rhythms, dynamic and practiced vocalization, artful use of electronics/effects, and sometimes spastic guitar riffs. Even styles you wouldn’t expect to hear seem to rear their heads (“Pummel Horse” has kind of a Klezmer, “Strange Days” sort of feel to it). While its probably too early to call them auteurs, solid musicianship paired with an interesting creative vision makes Wax Fingers one to watch. The Album is available to stream on Soundcloud (including a couple of free downloads), or it can be purchased on their homepage.
Sticky Bees by waxfingers

Tuesday, September 6, 2011

Pink City - Pitcher (from "Designing Women")

Somewhere between punk and noise, between the US and UK, Pink City, the duo from two different continents, has a heavy, degraded sound, with some monotron and samples mixed in for nuance. As ear-splitting and gritty as it is, however, there’s also a bare honesty and passion, felt especially in the uncompromising vocals of Mike, that makes the music instinctually accessible, yet almost scary for the same reason. Their debut album is Designing Women and is available for download on Bandcamp.
Pink City - Pitcher by ilove5ive

Monday, September 5, 2011

Ernie Althoff - The Way I See It/You've Got the Option

From Shame File Music: Ernie Althoff is a Melbourne sound artist and instrument maker active in the Australian experimental music scene since the late 1970s. He is unique not only for the original textures and sonic elements he creates, often tempered with wry humor, but also for his practically continuous contribution to and participation in the Melbourne experimental music community for over three decades. Shame File Music is very proud to present online reissues of each cassette, complete with cover art, original liner notes and Althoff's thoughts on these recordings today, all for free download/streaming, or on CDR with basic artwork if you prefer.

The Way I See It by erniealthoff

Saturday, September 3, 2011

Paul Heslin - Shower (from chaque jour ep)

Paul Heslin, the Australian born experimental musician hears the sounds around us in a different way than you or I. He transforms everyday experience into strange rhythmic soundscapes that are as interesting as they are oddly enjoyable. He also seems to share a mind with the experimental artists of old, judging from the set of rules he lays out on the bandcamp page for his album "Rubbernecker" (“sound may only derive from the performer's voice or room sounds… recordings must be performable live,” etc.) His new EP, to be released 1st of October 2011, is chaque jour.

shower from pauljheslin@yahoo.com on Vimeo.