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REVIEW: Black Pus/Oozing Wound split 12″

 photo BlackPusOW_cover_zps3e78ede1.jpeg Released before the beginning of summer, I’ve had time to listen to this new split effort between Black Pus and Oozing Wound, and I’m satisfied in saying I’m ready for a review.

The moment I hear new Black Pus music is coming out, I get excited. For this round of music, Brian Chippendale is playing around with making music that sounds more professional. In other words, the drums are not pushed completely forward nor are the vocals distorted. “Blood Will Run” sounds like something that would be perfect for a skateboard video or any random sporting event, where the music is meant to push the imagery and vice versa. We generally know of Chippendale putting on that masked persona and having him sweat it out as if there’s no tomorrow but in “Blood Will Run” he is calm and collected, and it sounds nice. If there’s more music from this persona to come, I’m all for it. But for the Black Pus we’ve come to know and love, he offers the 14-minute noise fest called “Total Eclipse” and like its own title, the music is meant to build and build until it covers you to where you’re unable to escape or call to be rescued. Well, at least for the song’s first 11 minutes, as the remainder has him getting loose and free form, uncertain of what he’s doing and why but we dwell in it because it’s Pus of a Black notion.

Oozing Wound are a four piece band who have released two EP’s and recently participated in Adult Swim’s online Singles series last week. While they may be loosed tagged as being metal, the three songs they supply here often go towards something sleazier, or if you want a more certain term, looser. There’s a punk attitude heard throughout, and not just because the word “punk” is in one of the song titles. One can hear the disturbed voltage of bands like Alice Donut, Superconductor, and Eyehategod and go “oh, I know waht these guys are trying to do.” Their own name is perfect for how they perform, and if they choose to continue releasing EP’s or split efforts, I’m all for it but I would welcome a full length album in the very near future.

(The 12″ and MP3 versions can be ordered directly from Thrill Jockey Records.)

REVIEW: Dwarves’ “The Dwarves Invented Rock & Roll”

 photo Dwarves_cover_zps48149986.jpg The Dwarves Invented Rock & Roll (Recess/Greedy) may not be completely honest in the grand scheme of things but considering who is the competition in the mainstream these days, who do you think is going to defend the crown? In truth, while the Dwarves may not have invented it, they definitely keep the spirit alive and do so on a very wicked album full of punk rock spirit.

15 songs make up The Dwarves Invented Rock & Roll, most averaging 90 seconds in length with the longest song running close to three minutes. It has been years since they released Blood, Guts & Pussy and Toolin’ For A Warm Teabag, but vocalist Blag Dahlia has managed to fine tune his singing slightly, although when he is sable to belt and puke it out, he can do it in an instant. The songs on the album alternate between rock’n’roll freedom and pure punk rock mayhem, singing about being the faithful sons of Lord Satana. The guys in the band are older and mature, perhaps a little bit wiser, which is why they sound like a group who deserves the longevity and status, but they are still doing it for the sake of pissing people off, especially with titles like “Armagaddon Party” and “Sluts Of The USA”. Sluts, drugs, and rock’n’roll, you can’t get any better than that.

REVIEW: Hedvig Mollestad Trio’s “Enfant Terrible”

 photo HedvigMTrio_cover_zps405abc84.jpg Before this album came to my attention, I had not been aware of guitarist Hedvig Mollestad Thomassen or her trio. Sadly, I wish I was, for Enfant Terrible (Rune Grammofon) features the kind of rock’n’roll I really enjoy hearing, the kind of gritty and distorted guitar-based hard rock that brings to mind loads of grungy artists who make this type of music louder and stronger with every passage. The songs may sound like there are distinct destinations when they begin but once they get past the middle section, anything goes. A perfect example of this is “Arigato, Bitch”, where it gets into blues dirges before it gets into some kind of trippy progressive section with math rock tendencies. Thomassen plays articulately throughout but when she wants to cut deep into the abyss, she truly goes off in her own world. In the past, guitar work like this, along with the bass playing of Ellen Brekken and drumming of Ivar Loe Bjørnstad would normally find its way in hard rock circles and only that. The music stays strong in that genre but it’s that drifting elsewhere that puts it on the level of Frank Zappa, Medeski Martin & Wood or The Roots. The all instrumental album carries a lot of mileage, and for me this will allow me to check out the albums I’ve missed before. If you’ve been on a Hedvig Mollestad Trio trip before, Enfant Terrible is a ride worth experiencing many times over.

REVIEW: Oscillator Bug’s “Bursts Of The Million”

 photo OscillatorBug_cover_zps1a413ddb.jpg It’s nice to hear a band that is willing to play different ways, in different styles with each song throughout an album, sometimes being different within the same song. For some it might be considered a challenge to listen to, but I want to hear the thrill of the action of variety, and that’s what Oscillator Bug have done in the very charming and amusing Bursts Of The Million (Dymaxion Groove). “Don’t Go To Sleep” may sound like some trippy late 70′s/early 80′s new wave with an intense synth pop motif, while “Dearest Arthur” may sound like the deepest cut off of your favorite album, the one you want to inform people about because it’s the best song, not the hit that’s getting a lot of airplay. It’s hard to say what kind of band they are, because one song may be full of electronics and you may think they are one way, but then there’s a song with a rich horn section, which hits you on the head in surprise (as heard in “Giimmi Goe”). They are fitting for the mentality you would’ve heard in band from the late 70′s and early 80′s, like a cross between Devo and Oingo Boingo, but also bring them up to date and throw in a Franz Ferdinnant reference just for fun. It’s a fun band with a fun sound because they made me smile throughout, playing things that are powerful and peculiar at the same time, resulting in something that will make me want to hear it even more.

(Bursts of The Million will be released on September 9th.)

REVIEW: Black Moth’s “Condemned To Hope”

 photo BlackMoth_cover_zps03b3c204.jpg Black Moth are a hard rock band who rip riffs off as if they are trying to assassinate, and they do it with a passion on Condemned To Hope. The band are geared by vocalist Harriet Bevan, whose voice reminds me of people like Carrie Akre and Mia Zapata. In fact, what I love about Black Moth is that while they resemble different styles of classic hard rock, they have the energy of a punk/alternative/indie rock band in that there’s something in their musicianship and singing that dares to take them over the edge and allow them to fall. When a guitar solo comes in, everything has precision but the looseness of the unpredictable makes these guys and lady quite brilliant. You’re unsure where they may go next, but what is what makes you want to listen to each song in full, and eventually the entire album. These are songs that will make you think and want to let people know about them and why you felt that way after listening. It’s the hope they want you to feel condemned in, and there’s nothing wrong with that.

(Condemned To Hope will be released on September 9th.)

REVIEW: Fórn’s “The Departure of Consciousness”

 photo Forn_cover_zpsbfaf1472.jpg The latest album by Boston’s Fórn is a bastardly, dastardly effort that will make fans of metal feel like the pace of life has slowed down significantly, only for them to want to keep it drawn out forever. The music of this five-piece band has been called everything from doom and sludge to funeral metal, and you are able to sense all of this and more in The Departure Of Consciousness (Vendetta). I mean, the title is the state of mind the band want to put you in while listening, to truly let yourself go and drift off into their beautiful misery. Each song gets in some kind of musical drone, not monotonous by any means but it creates a vibe that gets you into that zone and it’s almost as if you’re locked in that and the feeling is almost non-musical. It is quite musical and in fact, with the closing song “Cereberal Intermission”, it’s probably the most melodious song on the entire album, or perhaps I’m hearing them play in a slightly faster manner (without drums) where I’m able to hear it. If I were to speed up the other tracks, I’m sure I’d hear something else too but I would prefer to play it at half speed. Nonetheless, The Departure Of Consciousness is not a rough listen, for if you’re into that type of metal that goes down a creepy path at its own leisurely pace while sounding dark and black, you’ll find this fascinating.

REVIEW: Rotem Sivan Trio’s “For Emotional Use Only

 photo RotemSivan_cover_zps178f1ebc.jpg Jazz trios are aplenty but when you’re able to make some solid music, why not let everyone know about your gift? The gift on For Emotional Use Only (Fresh Sound New Talent) is what the Rotem Sivan Trio have, and the gifts heard throughout is what they would like to share with you.

The trio consists of Rotem Sivan (guitar), Mark McLean (drums), and Haggai Cohen Milo (bass) and together they play the kind of jazz that is laid back, relaxing but not to the point of being comatose. Each of their playing is intense and intricate, and you can definitely hear them communicating with each other even between the notes. Perhaps this is why Sivan gave the album its title, it’s music meant to provoke emotion, to make you think, to make you feel and I feel each of them do this brilliantly. Sivan’s guitar work reminds me of some of the fine jazz guitar greats, not anyone specific but just the fact that he has his own form and style makes me want to hear it, regardless of how he plays.

The one thing that made me feel warm about this music is feeling that it is spacious, even where may be a deep moment with the rhythm section is Sivan’s guitar work is scattering the soundscape all over the place. I enjoy it, it’s well balanced, mixed and mastered beautifully, and I for one would play this repeatedly.

REVIEW: Boris’ “Noise”

 photo BorisN_cover_zps8207361d.jpg Even though their latest album is called Noise (Sargent House), Boris’ latest album is less about the noise and very much more harmonious, which is a part of what they have been diving in to in the last few years. It’s quite nice actually, when the band have been getting into different things in the last few years and they’re not just one type of band for the duration of the album, they’re able to bounce in and out of things without fear or regret. The noise in this case may be a collective one, simply sounds that make noise for the sake of doing so although one could consider this noise in a vulgar way if they’re not into heavy metal. Even the 19 minute “Angel” could be listened as an umbrella statement on what Boris and this album is about, a willingness to move around with the fan, in order to go on a trip and take the listeners to wherever they go. Then “Quicksilver” is a speedy trip into a blitzkrieg, which is why “Siesta” (the album closer) follows the song, allowing the listener to rest and metaphorically take a time out to sleep. These guys continue to test themselves and then go beyond, and it’s a diverse listener, which I hope will be a reason for more people to listen to them and become fans.

REVIEW: Sundance’s “Midlife Marauders”

 photo SundanceMM_cover_zps39a8d126.jpg When you name your album based on a well known hip-hop album, you’re trying to make a statement. Sundance has done this with Midlife Marauders, a slight look back at A Tribe Called Quest’s Midnight Marauders but instead waiting until after 12am to find the newness in the music you love, you’re now dealing with the reality of where you’re at now. In this case, midlife can be anything from real life to ones career, taking a look from the outside and trying to understand where you’re at and what to do next.

The vibe of this album feels like something you might hear in a Roots discography, perfectly between How I Got Over and undun, as Sundance tells his story in a very genuine way with little to no metaphors, and it’s somewhat obvious on what he’s talking about. It’s also nice to hear hip-hop that isn’t afraid to sound like it’s older and mature, as if it realized it can’t be 14 forever and wants to celebrate its existence. While the album also features collaborations with Propaganda, Wonder Brown, Cas Metah, Theory Hazit, Ozay Moore, Sojourn, Elias, KJ 52, JustMe, Boombox Titans, J Givens, and Khadia Che among many, you can still hear the fact that this is a Sundance project and everyone else also knows it’s his album too.

While the album also has instrumentals to some of the songs, the true album is about eight songs long running at 30, but it’s the perfect length to tell the stories he is successful in taking. Now that we are in the concept of a midlife crisis, Sundance knows that your menstruating heart can’t bleed enough for two, and now he’s trying to find his way into some level of sanity.

REVIEW: Gangsta Boo & La Chat’s “Witch”

 photo GangstaBoo_cover_zps49e8bf81.jpg Gangsta Boo fans have been waiting for new music for her for about a year and her new release is a collaboration with La Chat, and together they create Witch (Phixieous/Select-O-Hits). The album begins on the cinematic side with Fefe Dobson handling vocals in “Witch Brew”, which helps steer the mood of the album right off the top, only to realize that it’s a complete 180 when they get into perhaps the true start, “Buss It”. The bitches on this album are themselves and they hassle everyone who are true bitches, good or bad. In other words, they want to let everyone know why they’re not to be messed with in anything, under any and all circumstances. You might say that they are trying to be too much like the guys in the game, but if their music is all about the presentation of the game, then you play by their own rules and deal with it or get out of the way. Their brew is hot, wicked, and not to be dipped into. While women in hip-hop seems to be treated like third class citizens, Gangsta Boo and La Chat want to let everyone know they’ve been doing this for a long time and when it comes to taking part in a challenge, they are more than ready to get into your fa(r)ce.