Snap, crackle, pop.

Due to an unfortunate family emergency, I haven't had the chance to adequately prepare a review for today.

Instead of tying you down with sob stories and rushed blather, I will instead extol the virtues of vinyl over other forms of recorded sound.

*ahem*

IT SOUNDS BETTER.

Yeah, that's pretty much all you need to know. Stay tuned for something with actual content on Thursday.

An Apocalyptic Night on the Town: HUMANWINE, Fighting Naked

"for $19.95 you can get 20% more freedumb brand"

-from "Wake Up!" (Brewer/McNiss)

Late post because I'm a tad down today, but this blog isn't about me and my mopey depressed whatsit; it's about the music! So away with that bullsh#t, and let's get to reviewing.

I can't remember exactly when I encountered HUMANWINE's music. Probably stumbled on them from someone else's posting about a band they were playing with or something of that nature. I heard a couple songs, downloaded a few off their myspace page (I think), and eventually ordered the full length album when it was officially released. For lack of cash at the moment and a lack of anything new that caught my eye this week, we're going to backtrack to last year and rant about their debut album Fighting Naked for awhile.

As a quick disclaimer, my copy of Fighting Naked is touted as a limited 1 of 1,000 edition; I don't know if they are planning on a different edition being released (or currently being sold on their website) or if that later edition will feature different music. Or if they only plan on doing 1,000 copies of this album period.

Fighting Naked features some fascinating combination of styles. The first thing that leaps out at me is how much metal influence is in their music. This is pretty heavy stuff. Cabaret has a spot here, but not as much as other think. There's also a sort of demented carnival aspect to their sound that has a niche in the contemporary independent scene; unfortunately, not a big enough niche. More people need to be listening to this sort of stuff. However, HUMANWINE's greatest strength is when they whip out the battered tea kettles and drumsticks and start clanging like unchained children in the kitchen bashing pots and pans with wooden spoons. It's good to know their inner child is still alive and kicking... and making a lot of noise. There's some damn good guitar work on this album, as exemplified about four minutes into "Worthless Ode."

Holly Brewer's vocals are a massive strength to HUMANWINE. They probably wouldn't be nearly the band they are if she were not the singer she is. I can't push her voice enough; she's phenomenally impressive. Not falling into the typical growling of metal is probably the biggest plus in my department, but she leaps past that standard and goes running off into the distance with a variety of highs and lows and fantastic melodious tones that I can't get enough of.

Initially, I didn't really like Fighting Naked. On first listen, it was too much metal, too heavy, and not enough of the found-object trashbanging that I was hoping for. I have to say it's grown on me, but I still maintain that one of my primary criticisms still holds. They are too politically driven with much of this; it's a trend in the arts that I have been concerned about for some time. Yes, I know the past eight years have been a nightmare of government abuse and psychosis, but we can only be reminded of this fact so many times before we shut off the stereo. Everywhere I go, I find another writer and musician decrying The Shrub and Darth Cheney. To HUMANWINE's credit, they do perform their protestations with a distinct flair that is lacking in much of "thou doth protest too much" music that is being spewed out ad nauseum all over any area with some much a slight inclination towards the political left. As such, I am forgiving of them for this; they aren't one-note on this topic either. There's plenty of variety lyrically speaking, and as I've already said, Brewer can deliver these lyrics with potency.

The design aesthetic for Fighting Naked is really cool. The demented drawings on front cover, back cover, and liner notes follow the crazy carnival concept that in so prevalent in their music. I really find the strategic placement of the bar code on the back cover amusing in a black humor way, and the notice next to the FBI warning is a riot. Those few sentences say more than just something funny; it's also a testement to their counter-culture standing, that they rebel not only in their lyrics, but also disapprove of government interference in the will of the artists.

My favorite tracks in "Rivolta Silenziosa," "Dim Allentown Cove" (it's practically a pirate song, how could I not love it?), "Worthless Ode," "Script Language," and the quiet and touching "When In Rome." There's also a hidden track of a spoken word experiment thing in the style of a news report, which then runs into another version of "Script Language" recorded as to sound like a static-obscured film reel, complete with appropriate sound effects. Oddities like that are what really make an album for me, the little touches that really drive the atmosphere.

Fighting Naked is a strong cup of coffee, so I'm going to recommend listening to a variety of their songs online before committing, or perhaps catching them live instead. I've wanted to catch one of their shows for awhile, but our schedules never match up (when they are in the area vs. when I have to money to actually see them perform). I've heard they put on a wild show, so I figure there isn't much to lose by spending a night out to watch the madness. They're opening for the Squirrel Nut Zippers (that's a blast from the past name, isn't it?) on July 18th in Boston, so I suppose they are catching someone's attention. The Rum-Soaked Review jury is still deliberating on what to think of HUMANWINE; it's a wild ride to be sure, but there's a few things that are holding me back from screaming out praises and falling to the floor enraptured by the sound. Not perfect, but doing a fine job nonetheless. I look forward to what they will do and where they will go with their sound; their style could be applied to a variety of subject matters, and I hope they pursue different concepts with their future efforts.



HUMANWINE's website and myspace page

Indulge me for a moment here...

Ben "Yahtzee" Croshaw at The Escapist said in a review about a month ago that this is the season of "bugger all's coming out." I agree with that statement, although I refer to music as opposed to video games. While he took the opportunity to review a game he thought was overlooked from a couple years ago, I instead will indulge in a request of sorts.

When I was in college, I was introduced to the animations of the Brothers Quay. One of the aspects of their mind-blowing animations that always haunted me long after watching the films was the music. The backing compositions really inspired me and echo through my mind on a regular basis. Interpret that as hearing voices if you must, but when you actually hear this stuff, you'll understand.

The composer for almost all of the Quay's animations is Lech (or Leszek) Jankowski. His music is absolutely brilliant, moving, and has inspired numerous poems for this poor writer. Unfortunately, if I want to listen to any of his music, I need to throw in my Brothers Quay Collection DVD, which inevitably means I will wind up watching the screen instead of focusing on the music. I will admit that this isn't a bad thing since the Quays are geniuses in their own right, sometimes I just want to separate the two and enjoy the subtle nuances of some beautiful tunes.

This is where you, my (presumably) loyal reader come in. I understand that there has been a CD released of Jankowski's music (so sayeth his official website). It is titled Pause in Shadow (Street of Crocodiles 49/5), supposedly was completed last year, but I have never seen it for sale anywhere. If any of you have seen it anywhere, please let me know; I love this music and would really like to have it on CD. There was also a CD of his soundtrack to Institute Benjamenta, but that seems to be out of print and unavailable at this time.

Please, point me in the right direction, so that I might satiate my craving for this awesome music. Of course, I'm making the assumption that you, my reader, will not become obsessed with Jankowski now that I've introduced you to his work.



Lech Jankowski's official website, with a couple mp3s for you to download.

Snarky Opinions, Issue 6: Geffen Needs Your Money

My friend Kevin recently posted about how he feels that neither Geffen nor Beck need his thirteen dollars in exchange for Beck's new album. I disagree, at least with regard to the record label. Geffen really does need you money. Otherwise, how are they going to stay in business with all the money wasted on Chinese Democracy for the past decade and a half?

He also posted this picture a couple days ago:


The real thing, or the miracle of Photoshop? Only time will tell.

Now, I've already discussed my dislike for Guns N' Roses; I need not reiterate how annoying I think Axl Rose's hideous caterwauling is. But I actually hope that Chinese Democracy, when it is released (if ever), does well in sales. Otherwise, Geffen will be really f#cked, and I don't want them f#cked like that. Well, not until I finish my collection of Sonic Youth albums, that is. After that, I don't really care. Yes, I'm being a bit selfish today.

That's all I got, really. No other major opinions.

Until next week, my little chickadees. As your attorney, I advise you drink heavily and enjoy much grilled goodness on the day of our nation's birth tomorrow. If you are a reader from a nation other than the US of A, then go grab a pint or two anyway.

undRess Béton, tarentaliogy defloration

Here’s where myspace finds itself useful. You have no doubt looked at a band’s myspace page and wondered why other bands must be obnoxious when posting comments on their favorite’s pages, as though the comment feature was solely to be used as advertising for the smaller bands. More often than not, the lesser-known band is lesser-known for a reason, that reason being they stink like a moldy compost heap. But, as I was looking at the myspace page for personal favorite Einstürzende Neubauten, I couldn’t help but notice this one comment from a person or band that used a modified image of Andre Breton as its default userpic. That got my attention immediately.

My brief research (and I do mean brief) finds this to be the surrealist sound project of one Jaan Patterson. I know little else about undRess Béton (had to turn to blogger to find Jaan’s gender), but I get the feeling that this was mostly composed on a computer, using soundbites, samples, and assorted effects on a music program. Usually, that drives me up a wall, but at points, undRess Béton hits the nail on its misshapen head, thus I am forgiving. Occasionally. Babelfish tells me that “béton” is French for “concrete.”

Undress concrete… I like it.

The whole of tarentaliogy defloration is made up of sound collage, or audio salad; for example, “steve’s handsome bite” features speed metal guitar, bells, a piano sample that repeats ad nauseam, and eventually just throws them all together into a nonsensical cacophony. I don’t know if the artist’s lack of musical coherence is intentional, but unfortunately noise music is a niche market, so I wish undRess Béton best of luck.

undRess Béton calls to mind industrial acts like SPK and Throbbing Gristle; experimental, wild, and disturbing on a certain level. We must consider also that the early industrial musicians were indeed inspired by the Surrealists and Dadaists, so this artist isn’t really doing anything that hasn’t already been done.

The trouble with reviewing such music is that, since the artists do so much to defy categorization, it’s difficult to describe. Some would probably refer to this as nonsensical dross coming from someone suffering the worst degree of attention deficit disorder, while others will hail it as pure genius descended from Heaven. I have difficulty making out much of the words, but even when I do hear them, I hear what we would refer to as “automatic writing.” Automatic writing is the oldest and purest surrealist technique, so I am not surprised to see it here. Actually, I’m rather glad that it’s not a dead technique; keep it alive, Jaan.

Do I think this is good music? To be honest, I really haven’t a bloody clue. I do, however, know that this sort of thing has been done before. As such, I’m not exactly mindblown or swept into the chaos as other people may be (one review I read seemed so blown away as to write the review in some bizarre, near-gibberish automatic-style). Stepping aside from what I have reviewed (or just yammered about) to what is on the undRess Béton myspace page, I feel the stronger tracks by undRess Béton are the ones streaming online and not available for download. Tracks such as “inside a couch” are outright unsettling and get me really excited and fascinated since I love this sort of music more than is mentally healthy.

This artist can be going places if she polishes up her game and looks at what other artists have done in this particular vein. If you are already interested in experimental music, then this will most likely at least warrant a spin, but if constant deviation from any coherence makes you ill, then steer clear of this; it will only make you sick. I personally, enjoy this, in a way. I’m not entirely sure; “ambivalent” will henceforth be known as my middle name. tarentaliogy defloration is available online for free download (thus why I’m reviewing it), so there’s no risk other than taking up some hard drive space… or damaging your mind.



undRess Béton at myspace

skeletonbreath, Louise (2005, self-released)

Late posting due to a certain laziness this week. Foul weather, family coming over, negative cash flow for music, blah, blah, blah.

Anyway, I was first introduced to the music of skeletonbreath by a friend some several years ago as she was babbling about how great their music was. I casually ignored her for awhile, mostly because money was an issue then (not much has changed) and new music was only acquired by gifts or when I had enough saved up from performances to go and pick up something. Had to make sure the music was good before spending hard earned pennies on it.

So, on an impulse one night last year, I ventured to New Paltz to see skeletonbreath play at this sh#tty bar that I rarely go to. After a cavalcade of mediocrity in the form of other bands wasting time until 1am, skeletonbreath got up, rattled the house to its foundations, and converted me on the spot. There's a special feeling that comes from buying a CD directly from an artist, and I was glad to be able to pick up Louise directly from the hands of the people that made it.

For those completely unfamiliar with skeletonbreath, they are a three piece band consisting of Robert Pycior (also of O'Death) on electric violin, Andrew Platt on bass guitar, and currently Tris Palazzolo on drums, although on Louise drums are performed by their previous drummer Crockett Doob. I file skeletonbreath with other bands that are currently unsigned but phenomenally good and probably should be receiving more attention than they are at the moment (other names on that list include the previously-reviewed Sarah Perrotta, Autodrone, and The Funeral Crashers).

Louise is the self-released 2005 debut from this experimental crew. If I had to describe it as anything with easy pigeonhole terminology, it's somewhere between post-rock and demented violin punk. This band always has something up their sleeves, with sudden changes in tempo and sound, dropping from something high-speed and loud to quiet and minimal. Completely wild and untamed, skeletonbreath can bring out the inner madman in just about anyone. I am not known for being a dancer (almost violently opposed to dancing, as my friends will attest), and skeletonbreath can get me moving on the floor. The album cover art, by Eliza Zeitlin, is awesome as well.

If there are any complaints, they lie in a feeling of repetitiveness. It feels like the same tunes are played over and over with but a few variations here and there. There are a purely instrumental band, so there are no vocals to use as a sort of mark to know which song you are on. Even given that, Louise is still a good release and worth picking up. Their music is so unique that even this criticism is reduced to a mere quibble.

More importantly, skeletonbreath is a band you should see live. Nothing compares to the experience of seeing Pycior sawing away madly on his violin and Platt slamming his bass as the crowd bounces and thrashes in ecstatic motion. Check their calendar for dates when they will be in your area, and then mark your calendar. I guarantee you will not be disappointed that you went.



skeletonbreath's myspace

Snarky Opinions, Issue 5: Literacy and The Musician

We once again have a week where there is nothing interesting coming out, and I instead fall back on the chip on my shoulder for ideas.

For my few readers that don't know me personally (if any of you exist), I write poetry and often make the mistake of reading it in public. Sometimes, these readings result in cash from the donation jar, interesting discussion, and a long discussions in diners long into the night (indigestion optional). During one such long discussion, the issue of musicians not coming to poetry readings came up. It's a long-standing gripe with some of the poets, the lack of crossover between the two (to be fair, I don't see many poets at music open mikes either).

Local scene quibbles aside, a topic did come up that is relevant to this blog: the songwriting ability and its association with poetry, writing in general, and how so much music blows chunks these days due to people not reading. I will draw examples from several of my favorites. Nick Cave strikes me as a fantastically literate man. This year's powerhouse from Cave & The Bad Seeds features some amazing songwriting, including practically rewriting The Odyssey and some name dropping and comparison of famous writers, although I disagree that "Bukowski was a jerk." Also from this year, Haale presented a touching and beautiful album strongly influenced by Persian poetry. Haale sets Rumi and other Persian poets to music, and does a fine job of it. She has an MFA in poetry, so I guess you can say she's literate.

I also must mention Tom Waits (you didn't think I'd leave him out, did you?). While literary references don't exactly leap from his music, I do know that he is a reader. I am told that he is a big fan of Edna St. Vincent Millay, but this is rumor as far as I know. But, as far as real evidence is concerned, let's look at 2002's Alice. This album was originally written as music for a play of the same name, based around Alice's Adventures in Wonderland. While the play was based on Lewis Carroll's most famous book, I can't say I really see much influence in the music. However, the unsettling song "Poor Edward" shows that Mr. Waits is familiar with folk tales and oddities. The Edward of this song is based on Edward Mordrake, a young Briton of noble birth who committed suicide at the age of 23 due to a second face that he claimed was driving him mad. Edward Mordrake's tale is often dismissed as being fanciful or at least skewed with retelling, but with the knowledge we have now of conjoined twins and other birth oddities, there is the possibility of a seed of truth to this story. Of course, in order to write a song about such a man, one must know about him, yes? To know, one must research.

Confession: I never liked "Poor Edward." Not because I thought the lyrics or music were bad in any way; it's that the song is so bloody unsettling that I can't stand to listen to it. I now find it twice as unsettling knowing that someone had such a maddening deformity, even if retelling of his short life has altered the facts of the case.

The point that I am getting at is knowledge makes for a better songwriter. How many generic love/hate/depression songs have you heard in your life, coming from musicians that sound the same? Can't begin to count them, can you? How about describing your prior loves as characters from The Odyssey? Impressive, yes? Dragging up old folk tales of mad and deformed nobles? Amazing. I could probably drag up tons of examples (no, you don't need to send me a list of your own examples), but here are but a few musicians that did something downright unusual: they picked up a f#cking book.

So, do yourself a favor and pick up a f#cking book and read it, you AIM-speaking douche.