The absolutely amazing re-issue of the classic 1973 /Blackboard Jungle Dub/
by *Lee "Scratch" Perry and the Upsetters*. If you've heard any of the
various releases of this album before, forget what you thought you know about
it. David Katz managed to pull off the impossible and remastered this album
from an original pressing (the master tapes had long been lost), using analog
equipment, and carefully giving it new life. The result is absolutely
astonishing. AMG's David Jeffries is spot on:
Tuesday, September 30, 2008
RjD2 - Dead Ringer (2002)
His debut LP for Definitive Jux, DJ/producer RJD2's /Dead Ringer/ is a deeply
creative and musically poignant hip-hop record for summer 2002. Creating a
raging underground listenership from a series of 45s and white labels and
being the only non-MC signed to Def Jux, RJD2's talent as a DJ and as
producer, to match beats and lay cult/pop gems over dusty soul tracks, is
paralleled only by people like DJ Shadow [1] and Z-Trip [2].
creative and musically poignant hip-hop record for summer 2002. Creating a
raging underground listenership from a series of 45s and white labels and
being the only non-MC signed to Def Jux, RJD2's talent as a DJ and as
producer, to match beats and lay cult/pop gems over dusty soul tracks, is
paralleled only by people like DJ Shadow [1] and Z-Trip [2].
[1] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:wnfwxqqgld0e
[2] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:hpfyxqlhldte
Sunday, September 28, 2008
The Distillers - The Distillers (2000)
If you believe that punk rock started around 1975, the year 2000 would mark
its 25th anniversary. At the end of the 1990s, not many of the early punk
bands were still together -- the Sex Pistols [1], the Clash [2], the Damned
[3], Sham 69 [4], and the Dead Boys [5] had long since broken up. But punk's
influence remained strong; young punk bands were still emerging, and
countless alternative rockers claimed punk as a major influence even if they
weren't punk artists per se.
its 25th anniversary. At the end of the 1990s, not many of the early punk
bands were still together -- the Sex Pistols [1], the Clash [2], the Damned
[3], Sham 69 [4], and the Dead Boys [5] had long since broken up. But punk's
influence remained strong; young punk bands were still emerging, and
countless alternative rockers claimed punk as a major influence even if they
weren't punk artists per se.
[1] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:kifoxqr5ldke
[2] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:gifqxqw5ldte
[3] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:difwxqe5ld6e
[4] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:hifpxqr5ld0e
[5] http://www.allmusic.com/cg/amg.dll?p=amg&sql=1:THE|DEAD|BOYS
Saturday, September 27, 2008
Experimental Audio Research - Beyond the Pale (1996)
Recorded in 1992 and promised to appear shortly after /Mesmerised/ [1]'s
release, /Beyond the Pale/ only finally surfaced four years later, on a
completely different label than indicated. Arguably this had something to do
with Kevin Shields [2], who makes his one and only appearance on an E.A.R.
[3] album with the first track, also the title song -- perhaps they had to
remix it to death or something.
release, /Beyond the Pale/ only finally surfaced four years later, on a
completely different label than indicated. Arguably this had something to do
with Kevin Shields [2], who makes his one and only appearance on an E.A.R.
[3] album with the first track, also the title song -- perhaps they had to
remix it to death or something.
[1] http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:wzfyxq8hldfe
[2] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:wpftxqegldse
[3] http://www.allmusic.com/cg/amg.dll?p=amg&sql=1:E.A.R.
Murs - The End of the Beginning (2003)
A ten-year hip-hop veteran, Murs doesn't want to be called an up-and-comer
anymore, and he proves his maturity with one of the most refreshing rap
records in years, an excellent debut for Definitive Jux named /The End of the
Beginning/. Murs has an old-school flow that recalls Ice Cube [1], and unlike
many in underground rap, he's not only got a clever delivery but a lot to
say.
anymore, and he proves his maturity with one of the most refreshing rap
records in years, an excellent debut for Definitive Jux named /The End of the
Beginning/. Murs has an old-school flow that recalls Ice Cube [1], and unlike
many in underground rap, he's not only got a clever delivery but a lot to
say.
[1] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:aifrxq95ld6e
Thursday, September 25, 2008
JFA - We Know You Suck: Blatant Localism/Valley of the Yakes (2003)
/We Know You Suck/ compiles J.F.A.'s earliest recordings for the Placebo
label, as well as 12 live and compilation-only tracks. The /Blatant Localism/
[1] EP, so important as an artifact from the initial unification of punk and
skateboarding, appears here in its entirety; it's joined by the /Valley of
the Yakes/ [2] LP, where surf anthems like "Baja" and deceptively simple,
Clash [3]-inspired screeds ("Preppy," "Johnny D.") illustrate the breadth of
J.F.A.'s definitive skatepunk sound. Even if it's plagued by shoddy fidelity,
the live material is nevertheless exciting as it encompasses the band's
youth, aggression, and immediacy.
label, as well as 12 live and compilation-only tracks. The /Blatant Localism/
[1] EP, so important as an artifact from the initial unification of punk and
skateboarding, appears here in its entirety; it's joined by the /Valley of
the Yakes/ [2] LP, where surf anthems like "Baja" and deceptively simple,
Clash [3]-inspired screeds ("Preppy," "Johnny D.") illustrate the breadth of
J.F.A.'s definitive skatepunk sound. Even if it's plagued by shoddy fidelity,
the live material is nevertheless exciting as it encompasses the band's
youth, aggression, and immediacy.
[1] http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:h9frxqehldhe
[2] http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:j9frxqehldhe
[3] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:gifqxqw5ldte
7 Seconds - Crew (1984)
This debut long-player from 7 Seconds was released after a series of
seven-inch singles and presents the type of material that made their
reputation as West Coast punk rock figureheads. Recorded several years before
the band ventured off into the uncharted waters of "artistic growth," /The
Crew/ finds the band residing proudly in the blurry confines of all-out
hardcore, with abstract, paste-together riffs for verses and anthemic
sing-along choruses to drive the point home. The sound is thin like it was
recorded in an aluminum tool shed, but the band is tight and clearly
inspired, and Kevin Seconds [1]' vocals are mixed high enough to be easily
discerned (a lyric sheet is included for any words that fall through the
cracks). Subject matter covers classic hardcore concerns like youth power,
friendship, sexism, racism and supporting the scene.
seven-inch singles and presents the type of material that made their
reputation as West Coast punk rock figureheads. Recorded several years before
the band ventured off into the uncharted waters of "artistic growth," /The
Crew/ finds the band residing proudly in the blurry confines of all-out
hardcore, with abstract, paste-together riffs for verses and anthemic
sing-along choruses to drive the point home. The sound is thin like it was
recorded in an aluminum tool shed, but the band is tight and clearly
inspired, and Kevin Seconds [1]' vocals are mixed high enough to be easily
discerned (a lyric sheet is included for any words that fall through the
cracks). Subject matter covers classic hardcore concerns like youth power,
friendship, sexism, racism and supporting the scene.
[1] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:jpfoxqwgld0e
Universal Congress Of - Prosperous and Qualified (1987)
*Joe Baiza*'s Universal Congress Of was one of the first jazz acts to sign on
Hardcore label /SST/, and their breed of furious funk-jazz fit in remarkably
well. /Prosperous and Qualified/ was their second album, and by this time
they' had found their style: garage funk. For a group of punk kids with a
heavy *Ornette Coleman* fixation this sounds pretty funky, danceable and even
melodic, but everyone who has seen them live knows that they were all about
having a good time.
Hardcore label /SST/, and their breed of furious funk-jazz fit in remarkably
well. /Prosperous and Qualified/ was their second album, and by this time
they' had found their style: garage funk. For a group of punk kids with a
heavy *Ornette Coleman* fixation this sounds pretty funky, danceable and even
melodic, but everyone who has seen them live knows that they were all about
having a good time.
Wednesday, September 24, 2008
Throbbing Gristle - Throbbing Gristle's Greatest Hits: Entertainment Through Pain (1981)
A compilation of fan favorites and a good intro to a dark, difficult group.
Hamburger Lady has to be one of the most brilliant yet unpleasant pieces of
music ever made. Nothing will ever prepare you for that experience.
Hamburger Lady has to be one of the most brilliant yet unpleasant pieces of
music ever made. Nothing will ever prepare you for that experience.
Monday, September 22, 2008
Sentridoh - Lou Barlow and his Sentridoh (1994)
Early home-recordings of Sebadoh frontman Lou Barlow under the Sentridoh
moniker. This is very stripped-down lo-fi with just Lou and his guitar. It's
a bit hit and miss, but the hits are good enough to make this a worthwhile
listen.
moniker. This is very stripped-down lo-fi with just Lou and his guitar. It's
a bit hit and miss, but the hits are good enough to make this a worthwhile
listen.
Saturday, September 20, 2008
Nurse with Wound - A Sucked Orange (1989)
A collection of little musical scraps collected over the years by Mr.
Stapleton. Lots of neat of ideas here but they simply don't have the time to
grow and evolve into classic NWW tracks. Still, Stapleton's leftovers are
better than a lot of people's finished work. This record stands on its own as
a collection of sonic dada snippets -- some dark, some hilarious, some
disturbing, and some just plain weird. Titling was half the brilliance ("A
Precise History of Industrial Music"). Great for short attention spans.
Stapleton. Lots of neat of ideas here but they simply don't have the time to
grow and evolve into classic NWW tracks. Still, Stapleton's leftovers are
better than a lot of people's finished work. This record stands on its own as
a collection of sonic dada snippets -- some dark, some hilarious, some
disturbing, and some just plain weird. Titling was half the brilliance ("A
Precise History of Industrial Music"). Great for short attention spans.
Friday, September 19, 2008
Minor Threat - Complete Discography (1989)
/Complete Discography/ compiles Minor Threat's entire body of recordings on a
single compact disc. Hardcore, as a rule, wasn't particularly musically
diverse, but Minor Threat were one of the genre's groundbreaking acts and
their music has held up better than most of their contemporaries. As the de
facto leaders of the Washington, D.C., hardcore scene, the band pioneered the
straight-edge mentality by emphasizing impossibly fast tempos, brief songs,
political lyrics, and a drug- and alcohol-free lifestyle. Besides setting the
precedent for several generations of punk rockers with their music and
ideals, Minor Threat were simply a better band than most hardcore groups.
They had a tight, distinctive sound that wasn't as heavy as their Californian
counterparts and, therefore, were often more bracing and effective.
single compact disc. Hardcore, as a rule, wasn't particularly musically
diverse, but Minor Threat were one of the genre's groundbreaking acts and
their music has held up better than most of their contemporaries. As the de
facto leaders of the Washington, D.C., hardcore scene, the band pioneered the
straight-edge mentality by emphasizing impossibly fast tempos, brief songs,
political lyrics, and a drug- and alcohol-free lifestyle. Besides setting the
precedent for several generations of punk rockers with their music and
ideals, Minor Threat were simply a better band than most hardcore groups.
They had a tight, distinctive sound that wasn't as heavy as their Californian
counterparts and, therefore, were often more bracing and effective.
Eugene Chadbourne - I've Been Everywhere (1988)
This 1988 album, credited to "*Doctor Eugene Chadbourne*," features such gems
as a manic version of *Hank Snow*'s "I've Been Everywhere," a *Buck Owens*
medley, and several strong originals. In addition to the usual answering
machine messages and between-track silliness is Chadbourne's mom's
recollections of Nazi-era Germany, which are interesting but have nothing to
do with the rest of the album, and, in fact, provide a jarring juxtaposition
with the humorous songs. In what must be one of the most fitting
collaborations in Chadbourne's history, the *Legendary Stardust Cowboy*
appears as a guest. /I've Been Everywhere/ is entertaining on many different
levels but very strange. /(AMG)/
as a manic version of *Hank Snow*'s "I've Been Everywhere," a *Buck Owens*
medley, and several strong originals. In addition to the usual answering
machine messages and between-track silliness is Chadbourne's mom's
recollections of Nazi-era Germany, which are interesting but have nothing to
do with the rest of the album, and, in fact, provide a jarring juxtaposition
with the humorous songs. In what must be one of the most fitting
collaborations in Chadbourne's history, the *Legendary Stardust Cowboy*
appears as a guest. /I've Been Everywhere/ is entertaining on many different
levels but very strange. /(AMG)/
Thursday, September 18, 2008
EL-P - High Water (Featuring The Blue Series Continuum) (2004)
El-P's entry into Thirsty Ear's Matthew Shipp [1]-curated /Blue Series/ is a
compelling experiment in genre and sound collision. El-P doesn't rap on this
set, nor does he saturate his mix with a truckload of effects. His
compositions are skeletal frames on which to hang his mixological
architecture of ambitious beats and skeletal samples, creating a tightly
controlled dynamic inside which ambitious music is created. His collaborators
are pianist Shipp [2], bassist William Parker [3], drummer Guillermo E. [4]
compelling experiment in genre and sound collision. El-P doesn't rap on this
set, nor does he saturate his mix with a truckload of effects. His
compositions are skeletal frames on which to hang his mixological
architecture of ambitious beats and skeletal samples, creating a tightly
controlled dynamic inside which ambitious music is created. His collaborators
are pianist Shipp [2], bassist William Parker [3], drummer Guillermo E. [4]
[1] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:j9fixql5ldse
[2] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:j9fixql5ldse
[3] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:dpfrxqr5ldfe
[4] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:09foxq90ldje
Wednesday, September 17, 2008
EL-P - Fantastic Damage (2002)
Of all the boundary-pushing underground hip-hop acts who emerged in the late
'90s, Company Flow [1] was easily among the hardest and least compromising,
spinning highly technical rhymes over buzzing, lo-fi beats with virtually no
concessions to melody or polish. It comes as no surprise that onetime Company
Flow [2] leader El-P's solo debut, /Fantastic Damage/, takes a similar
approach -- yet it's a logical and distinct progression from the sound that
made Company Flow [3] such seminal figures in underground rap. /Fantastic
Damage/ is even more aggressive and confrontational in its approach, and this
time out, El-P himself is solely responsible for the sonic backdrop,
producing the entire record by himself.
'90s, Company Flow [1] was easily among the hardest and least compromising,
spinning highly technical rhymes over buzzing, lo-fi beats with virtually no
concessions to melody or polish. It comes as no surprise that onetime Company
Flow [2] leader El-P's solo debut, /Fantastic Damage/, takes a similar
approach -- yet it's a logical and distinct progression from the sound that
made Company Flow [3] such seminal figures in underground rap. /Fantastic
Damage/ is even more aggressive and confrontational in its approach, and this
time out, El-P himself is solely responsible for the sonic backdrop,
producing the entire record by himself.
[1] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:dbfyxqthldje
[2] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:dbfyxqthldje
[3] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:dbfyxqthldje
G.G. Allin - Always Was, Is, and Always Shall Be (reissue) (1980)
G.G. Allin's debut album is a raging, disturbingly sincere testament to
misogyny; he puts on a virtual clinic demonstrating the word's definition.
Allin views women as mindless instruments of gratification with irritating
desires like interaction. (In "Automatic," he sings "Don't go playing with me
emotionally/Or I will make you bleed internally"). His gender politics are
discussed on nearly every track, which makes the mediocre girl group-style
backing vocals on "Cheri Love Affair" seem all the more out of place. Allin
is backed by a competent band playing Stooges [1]-style riffs, and he himself
is sometimes tuneful; this is enough to make the songs some of his best
musical material. Amazingly enough, the violent hatred, sexual and
psychological degradation, and staggering stupidity only hint at the heights
(or depths) Allin would reach later.
misogyny; he puts on a virtual clinic demonstrating the word's definition.
Allin views women as mindless instruments of gratification with irritating
desires like interaction. (In "Automatic," he sings "Don't go playing with me
emotionally/Or I will make you bleed internally"). His gender politics are
discussed on nearly every track, which makes the mediocre girl group-style
backing vocals on "Cheri Love Affair" seem all the more out of place. Allin
is backed by a competent band playing Stooges [1]-style riffs, and he himself
is sometimes tuneful; this is enough to make the songs some of his best
musical material. Amazingly enough, the violent hatred, sexual and
psychological degradation, and staggering stupidity only hint at the heights
(or depths) Allin would reach later.
[1] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:gxfoxqwgldse
Rudy Schwartz Project - Günther packs a stiffy (1995)
The R.S.P. is the nom de disque of Joe Newman, who did most of the writing,
playing and singing on these 20 energetic tracks. One of them is a sly,
touching tribute to Frank Zappa, and fans of the 1970s-era FZ will no doubt
enjoy much of Newman's satiric, sardonic humor -- check out "Yodelin' Satan"
on this CD. But whereas Zappa raised himself on 1950s R&B and avant-garde
classical, Newman is into trash TV, cartoon soundtracks, weird movies,
Yee-Hah cawntry... and *nasty* language; "Enhanced Florence Henderson" is one
of the few cuts I can play on the radio.
playing and singing on these 20 energetic tracks. One of them is a sly,
touching tribute to Frank Zappa, and fans of the 1970s-era FZ will no doubt
enjoy much of Newman's satiric, sardonic humor -- check out "Yodelin' Satan"
on this CD. But whereas Zappa raised himself on 1950s R&B and avant-garde
classical, Newman is into trash TV, cartoon soundtracks, weird movies,
Yee-Hah cawntry... and *nasty* language; "Enhanced Florence Henderson" is one
of the few cuts I can play on the radio.
Rudy Schwartz Project - Salmon Dave (1993)
One of Rudy's better demo cassettes, finally released now on a glorious
sounding CD. As always features great full color cover art by Roy Tompkins,
and several more songs to be added to the list of Rudy Schwartz's all time
classics, including "I'm No Prude, But Some Things Should Just Be Banned",
"Chick Corea's First Ouija Board" and a 1950's style doo- wop version of the
Police's "Every Breath You Take" that has to be heard to be believed!
sounding CD. As always features great full color cover art by Roy Tompkins,
and several more songs to be added to the list of Rudy Schwartz's all time
classics, including "I'm No Prude, But Some Things Should Just Be Banned",
"Chick Corea's First Ouija Board" and a 1950's style doo- wop version of the
Police's "Every Breath You Take" that has to be heard to be believed!
The Rudy Schwartz Project - Salmon Dave & Günther packs a stiffy
Two albums compiling early tape-only releases by *Joe Newman*, the wacky
brain behind the *Rudy Schwartz Project*, who keeps mentioning *Frank Zappa*
as often as he can in an apparent attempt to gain exposure by association. Of
course, the only thing he has in common with Zappa is questionable mental
health, but he's managed to receive respect from *Jello Biafra* and *Zoogz
Rift*, so he's doing something right.
brain behind the *Rudy Schwartz Project*, who keeps mentioning *Frank Zappa*
as often as he can in an apparent attempt to gain exposure by association. Of
course, the only thing he has in common with Zappa is questionable mental
health, but he's managed to receive respect from *Jello Biafra* and *Zoogz
Rift*, so he's doing something right.
Tuesday, September 16, 2008
D.I. - Live at a Dive (1993)
With a decade-plus career that roots all the way back before their appearance
in the underground film /Suburbia/, DI [1] have made a landmark in the sound
of Southern California punk to maintain legendary status along with the likes
of Black Flag [2], the Circle Jerks [3], Agent Orange [4] and the Descendants
[5]. And with /Live at the Dive/ these guys can prove that they can still
rock out after over ten years in the business and still compete with the next
generation of whipper snappers -- not doubting that their revolving door
lineup has benefited to their energy.
in the underground film /Suburbia/, DI [1] have made a landmark in the sound
of Southern California punk to maintain legendary status along with the likes
of Black Flag [2], the Circle Jerks [3], Agent Orange [4] and the Descendants
[5]. And with /Live at the Dive/ these guys can prove that they can still
rock out after over ten years in the business and still compete with the next
generation of whipper snappers -- not doubting that their revolving door
lineup has benefited to their energy.
[1] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:wxfoxqwsldke
[2] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:wifixqw5ldse
[3] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fifpxqw5ldte
[4] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:3ifqxqw5ldae
[5] http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:wifoxqlkldde
New Radiant Storm King with Polvo - ...And Then I'm Gone (split single) (1994)
Recorded during sessions for AUGUST REVITAL [1] in Stoughton, Massachusetts
at the *Outpost *by *Tim O'Heir* May, 1994.
at the *Outpost *by *Tim O'Heir* May, 1994.
Fred Frith - Gravity (1980)
This one of the most important guitar-based, experimental guitar titles from
the avant-guitarist and founding *Henry Cow* member *Fred Frith*. /Gravity/
is the most lighthearted of Frith's solo output, actually. It is Frith's
celebration of dance from all cultures. Perhaps it is the streak of
dance-music appreciation that caused him to collaborate on the musical score
to Sally Potter's /The Tango Lesson/. Percussion is light and largely marked
with handclaps. The guitars sound twangy and bring folk-instrumentation to
mind. Violins and horns add a jubilant feel to the music. Many musicians help
vary the sound of each tracks and some of these guests are from *Samla Mammas
Manna*, *the Muffins*, and *Henry Cow*. /Gravity/ is an entertaining and
multi-cultural pocket folk festival.
the avant-guitarist and founding *Henry Cow* member *Fred Frith*. /Gravity/
is the most lighthearted of Frith's solo output, actually. It is Frith's
celebration of dance from all cultures. Perhaps it is the streak of
dance-music appreciation that caused him to collaborate on the musical score
to Sally Potter's /The Tango Lesson/. Percussion is light and largely marked
with handclaps. The guitars sound twangy and bring folk-instrumentation to
mind. Violins and horns add a jubilant feel to the music. Many musicians help
vary the sound of each tracks and some of these guests are from *Samla Mammas
Manna*, *the Muffins*, and *Henry Cow*. /Gravity/ is an entertaining and
multi-cultural pocket folk festival.
Monday, September 15, 2008
Descendents - I Dont Want To Be Bootlegged (2000)
Pretty good quality for a Demo recording.
These songs were taken from the Enjoy sessions, track 4 being the only one that made it on "Red" now called Green. Don't know what the first 3 are called, so neither will you. Enjoy!
Friday, September 05, 2008
Domain working again
The problems appear to have been fixed. You can access the site again at http://whatsthatnoise.org
Attention, domain name problems
http://whatsthatnoise.org is experiencing domain name difficulties. Until this is resolved you can access the site at http://whatsthatnoise.ucoz.com
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