Thursday, June 30, 2011

Shopping For Records #54: Queens & Dischord (Vinyl)

Some recent vinyl purchases.

Amazon Purchase:

Queens Of The Stone Age
Domino/Rekords Rekords
Originally released: 9.22.98
Reissued: 5.17.11

The long overdue reissuing of Queens Of The Stone Age's self-titled debut album, which spent way too much time out of print and hard to find, was something I'd been waiting on for some time.  Plans for the reissue spanned months and labels, (both Ipecac Recordings and Dangerbird were partnering with Josh Homme's Rekords Rekords label before Domino wound up the big winner), and I, being the salivating fan, was tired of false promises.

Nudity everywhere!
But, the album finally came out:  A sweet double-LP featuring three bonus tracks, which were incorporated within the album's original sequencing.  It must be said that "The Bronze" fits in pretty well with the original flow and feel of the album, but "These Aren't The Droids You're Looking For" and "Spiders And Vinegaroons" work better as B-sides.  They're both confusing as inclusions, but still worthwhile points of interest for an otherwise perfect debut.

Granted, I sort of went AGAINST my usual routine of buying albums through indie stores or merchants.  Chalk it up to a moment of weakness.  However, I have been hitting up Dischord Records directly for vinyl lately.  I really like dealing with them.  With these last two purchases, my shipments went out the day I paid.  Plus, downloads are available immediately, even for CD purchases.  It's an absolute pleasure to deal with them, so it's only an added bonus that they offer one of the best catalogues in independent music. 

Dischord Purchases:

Marginal Man EP
Originally released: 6.89
Reissued: 10.09

Ian looking cummy.

Just about every trip to a record store, I wind up paging through Fugazi releases as if my subconscious is convinced something new will be sitting there.  As a teenager, there was a substantial amount of joy I would get from buying Fugazi albums and an anticipation that would follow just before I'd hit PLAY.  When my copy of Margin Walker arrived, I sort of relived that old and familiar euphoria and got to enjoy, for the first time, Fugazi on a turntable.  It makes quite a difference, and the remastering definitely overshoots the quality of my old 1990-something copy of 13 Songs on CD.

The intro to "And The Same" made quite an impression on me when I'd first heard it, and via my Sony stylus, Joe Lally's bass line and the chugging guitar sounds had much more depth.  I turned the volume up and decided that I might want to reacquire all my Fugazi albums on vinyl, partly to relive the excitement of discovery, but also because there is evidence of a sonic reward for doing so.

Rites Of Spring
End On End
Originally released: 6.85
Reissued: '09

Pre-Fugazi Guy Picciotto has also been interesting more and more lately.  A few months ago, I put a spotlight on the blink-and-you'll-miss-it One Last Wish and their album, 1986Rites Of Spring hung on my back burner too long, almost to the point of charring.  I picked up End On End because it's essential and good.

Letters From A Tapehead

Wednesday, June 29, 2011

"Father Well-Past Midnight:" Earth at Johnny Brenda's

Ô Paon
Cloud Minder

Johnny Brenda’s
Philadelphia, PA

The entire evening was in slow motion.

I pulled into my driveway at about 2AM Monday night/Tuesday morning, obviously lethargic thanks to the long drive home from Philly and the late hour, but also sort of affected by Earth’s performance at Johnny Brenda’s that night. You don’t realize until you see the band play that Dylan Carlson and Co. work very hard at keeping it slow and patient. Watching drummer, Adrienne Davies, visibly hold herself back as she kept pace, I almost wanted Carlson to go against type and speed it up a bit just to lessen the stress you could read across her face and her arms.

You could say that it was a meditative evening, a three-pronged bill pulling both weight and wonder, Earth’s determination preceded by the minimalist Ô Paon and the post-rocking ambience of Philly locals, Cloud Minder. Mind you, traces of second hand herb found its way to my nostrils at points, (some speed toking bake case with a one-hitter standing in front of me), which was incredibly predictable. But, I had to wonder how necessary such accoutrements were in this setting. Three beers into my night, my buzz barely an embryo as far as my body was concerned, the atmosphere Cloud Minder set and built with both skill and sound lust was grand enough for a sober mind, let alone an altered one.

As an opener, Cloud Minder was interestingly the most varied act featured, a post-rock band in the vein of Explosions In The Sky that would get caught up in dissonant ruts that would fill the room with melodic cacophony. Projections of silent war movies, archaeological digs and seagulls added some visual component, but they were almost unnecessary next to what was coming out of the speakers.

Ô Paon, in some ways, was a break for my ears. One lone girl with a guitar and a couple mics, Ô Paon’s stage banter was abundant, but cute. “You can come closer,” she said as she opened her set. “I don’t spit, or bite, or fart, or anything unpleasant.”

She builds loops, her vocal collages and single chord songs in a constant state of evolution as she performs. Songs would eventually emerge, her lyrics French Canadian, her tone some strange marriage of Björk and Merrill Garbus (tUnE-YaRdS). Her outros bordered on overlong, but there was a mood or tone in her music that was captivating. The crowd offered her the benefit of some silence while she sang, though you could at times hear the bar patrons carry on over glasses of the local amber.

She did, though, incite response at one point, noting that she liked how our crowd would say “Yah!” after every song. Naturally, many “Yah!”’s followed much to her amusement.

Watching Ô Paon, though, I did wonder if the ability to build loops in a live setting would eventually result in guitarists not having to sing while playing, an ability not every musician can easily handle. Whether technology has enabled the onset of a dying musical breed or not, Ô Paon had charm and enough haunting nuance to her music that I felt compelled to buy a CD. Unfortunately, she’d sold out of merch, so…

When Carlson and fellow Earth members, (cellist Lori Goldston, touring bassist, Angelina Baldoz and Davies) got on stage, it didn’t really seem to dawn on the crowd until they plugged in.

Carlson, donned in a black leather vest on top of a black button down shirt, his graying beard hooking downward off each side of his jaw like fangs, seemed sort of shy and cautiously worded next to his outward ruggedness.

“Hello, Philadelphia. Good to be back as always.”

Cellist, Goldston, took on the music’s emotional burden, her eyes either rolled up in an affected gaze or behind her eyelids as she bowed. Carlson kept his eyes fixed on his guitar while the mostly unmoving Baldoz and the exaggerated movement of Davies crafted this onstage rhythm section dichotomy.

At my two o’clock, there was a guy maybe ten feet away from me that spent Earth’s entire set trying to get psyched like his intent was to instigate the world’s slowest and least dangerous circle pit ever. I also caught a girl slow dancing with the balcony’s railing. Otherwise, we either moved slowly to the rhythm like zombies walking in place, or we just stood and watched. Carlson retained a sense of cool with his performance, smooth and steady. Hearing “Father Midnight” from the band’s new album, Angels Of Darkness, Demons Of Light I, was a highlight for me, the song’s sullen though solid edge easily translated for the stage.

Most of their material did revolve around the new album, though they played the title track from The Bees Made Honey In The Lion’s Skull and a surprisingly Americana-styled rendition of “Ourboros Is Broken,” the first song Carlson ever wrote for Earth. There was also a sneak peak at the upcoming Angels Of Darkness follow-up: “We hope you enjoy it. It’s a waltz, so if you like dancing, then go ahead.”

The evening ended with the Angels Of Darkness title track, which allowed the band some space to jam on something shapeless for a little while. After the band thanked us all, the exodus ensued. Spotting Carlson outside gabbing with a fan, I shook his hand before I left and thanked him for the show.

Letters From A Tapehead

Boris: Hope/Riot Sugar

Pitchfork has posted a hybridized video for "Hope/Riot Sugar" from Boris' duel releases, Heavy Rocks and Attention Please.  I was hoping that my review of the albums would make the press release, but alas, I've been ignored.  I'll leave you with tour dates, album info and the opinions of OTHER reviewers while I go cower in some anonymous corner, left to age, sour and wallow in my failure to reach the masses.  Info is courtesy of Us/Them Group.

You can read my overlooked review of Heavy Rocks and Attention Please here.  

Boris premiere new video via Pitchfork, continue European tour dates with Russian Circles

Click image above to watch video

"Boris' latest efforts are nothing short of stunning" -- Rock Sound

"Heavy Rocks is a monolithic take on everything from trippy Funkadelic acid sludge to galloping Blue Öyster pöp to lightning-riding '80s thrash; yet it all billows fluffily from the same dreamy doom factory they constructed on 2005's Pink. Farther into the cosmos is sister record Attention Please, the least "metal" thing the band have released to date, which focuses on icy rhythms and smoky moods, as if they're slinking up alongside The Xx." -- SPIN Magazine

"Despite Boris' wide sonic interests, everything comes together coherently on Attention Please, the band's best record since Pink." -- NPR

These could easily be pegged as Boris' Zen Arcade -- the point where guitar music goes into the great beyond, pop hooks become heavier than hell and noise experiments become acutely accessible. These albums are a masterwork of feedback and fuzz, an epic symphony of sludge and speed, a blueprint for the future of heavy music." -- Cowbell Magazine

Iconoclast Japanese trio Boris premiere a new video today via Pitchfork. The clip combines two songs -- "Hope" (from
Attention Please) and "Riot Sugar" (from Heavy Rocks) -- taken from each of their recently released albums cleverly mashed up into one video. Watch it HERE .

Boris is currently co-headlining a European/UK tour with new label mates Russian Circles (see complete dates below) and will announce North American headlining dates soon.

Boris' vastly different albums,
Attention Please and all-new Heavy Rocks have already received a wealth of critical praise and fan anticipation. NPR Music's First Listen has posted exclusive full album streams -- follow the links to check out Attention Please and Heavy Rocks.

Boris -
Attention Please - LP/CD/digital

Boris are widely known for their ability to breach styles and stretch sonic boundaries of all that is heavy, psychedelic, droning and downright cathartic. But,
Attention Please is more like a complete redefining of their potential in several ways. First and foremost, it is the first album on which all vocals are sung by lead guitarist, Wata. While she has previously sung on a couple of songs for singles and her solo outings, the entire 10-song album features her intimate, multifaceted vocal style. Secondly, the songs on Attention Please have a sultry, intoxicating catchiness to them. It's melodic without sounding pop. It's psychedelic without sounding dated. It's heavy without relying on barre chord riffs.

Boris -
Heavy Rocks - LP/CD/digital

Boris has earned its rabid cult following for their ability to expertly harness music as power. Be it psychedelic metal, colossal drone, blistering punk or distortion-ravaged shoegaze, a Boris song is an exploration of sound as physical mass. The Japanese trio's classic 2002 album,
Heavy Rocks is a landmark of their mastery. So, it's fitting that the group's new album sharing the same title and very similar artwork to that disc, Heavy Rocks (2011) seeks to redefine "heavy" music in a culmination of the band's tireless efforts over the past two decades. This year's Heavy Rocks is beyond heavy, it firmly establishes Boris as a pillar of innovation and integrity in guitar-based music.

June 28 - Barcelona, Spain @ Apolo 2
June 29 - Lyon, France @ Grrrrnd Zero
June 30 - Zurich, Switzerland @ Rote Fabrik
July 01 - Karlsruhe, Germany @ Jubez
July 02 - Munich, Germany @ Feierwerk
July 04 - Rome, Italy @ Traffic Live
July 05 - Milan, Italy @ Miodi Festival /Magnolia (Outdoor Fest)
July 07 - Vienna, Austria @ Arena Vienna
July 08 - Leipzig, Germany @ UT Connewitz
July 09 - Prague, Czech @ Matrix Klub
July 10 - Berlin, Germany @ Festsaal Kreuzberg
July 11 - Hamburg, Germany @ HafenKlang
July 12 - Gothenberg, Sweden @ Truckstop Alaska
July 13 - Oslo, Norway @ John Dee
July 14 - Stockholm, Sweden @ The Strand
July 15 - Copenhagen, Denmark @Vega
July 16 - Dortmund, Germany @ FZW
July 17 - Dour, Belgium @Dour Festival

July 19 - Nuremberg, Germany @ Zentral Cafe K4
July 20 - Innsbruck, Austria @ PMK
July 21 - Zagreb, Croatia @ Mocvara
July 22 - Budapest, Hungary @ Durer Kert
July 24 - Wroclaw, Poland @ Events New Horizon Festival

Letters From A Tapehead

Friday, June 24, 2011

Beauty Pill: Ann The Word (Demo)

Maybe it’s become annoying how I tend to glom onto certain bands, certain songs and certain albums. Beauty Pill has become one of those bands that seem to pull an excess of praise out of my jaded being, my fingers automatically set to typing out glowing words of approval and insisting that more people lend their ears and bring this band up to a level where they can achieve more visibility and appreciation. If what I was hearing sounded bad, trust me: I’d be the first to express disappointment. But, having listened to “Ann The Word” maybe three times now, I’m all the more drawn to Beauty Pill and how they pull it all together.

It’s been about seven years since The Unsustainable Lifestyle released and a new album is on the horizon. But, with the new album, is an interesting project Beauty Pill will be participating in while recording. All info below is courtesy of Terrorbird Media along with links to other articles regarding this project.  Links to "Ann The Word" and the essential "Cigarette Girl From The Future" are also provided.

Beauty Pill To Record New Album At DC Arts Center Artisphere

Download "Ann The Word" MP3 (Demo)
Download "Cigarette Girl From The Future" MP3 (from the
Cigarette Girl From The Future EP)

Read the Story in The Washington Post

Read the Story in The Washington City Paper

After a lengthy hiatus, Washington, D.C.’s Beauty Pill returns with its work cut out for itself. Not content simply putting out a record, it will be embarking on the Immersive Ideal project. Inspired in part by the famous Abbey Road Studio Two window, the group will be creating its new album in full view of the public eye. A summer residency and winter installation at Arlington’s Artisphere’s Black Box Theater leave every step open for observation, and questions like how this will effect the output remain to be seen. Artisphere, a giant urban arts center, is the perfect venue to witness instruments being traded, new songs materializing, old songs finding new life and the collision of artist and audience. Curated by Artisphere's New Media Curator Ryan Holladay, one half of longtime Beauty Pill pal Bluebrain, the residency runs July 16 to August 2 , with the installation slated for December/January of this year. "Artisphere is excited to be partnering with Beauty Pill on this groundbreaking project. As far as I know, there really hasnt been a band to do something like this nor can I think of a place better suited for this kind of artistic experiment," says Holladay. "This is exactly the sort of thing we want to be doing. We're not sure what will happen but we're glad it's going to be happening at Artisphere." Two local studios, the Bastille and Airshow , have also pitched in on the project by loaning the group some gear.

Beauty Pill’s Chad Clark says this about the
Immersive Ideal project, "The way that we make music involves a lot of stumbling in the dark." Clark adds, "Making that process accessible and visible to the outside world will, if nothing else, be an exercise in vulnerability.”

The band’s current line up includes multi-instrumentalists Basla Andolsun, Jean Cook, Drew Doucette, Devin Ocampo and the project sees the return of founding member Abram Goodrich.


Artisphere is a new breed of urban arts center that features four performance venues, three visual art galleries, a 4,000 square foot ballroom, free Wi-Fi and here CaféBar. Artisphere's wide array of programming ranges from contemporary visual art, live music, and film to new media, theatre and swing and salsa dancing. Artisphere is located at 1101 Wilson Boulevard in Arlington, Virginia, two blocks from the Rosslyn Metro (blue/orange) and within walking distance of Georgetown. Artisphere is open Monday through Friday from 11am to 11pm; Saturday from 11am to 2am and Sunday from 11am to 6pm. Admission to Artisphere and all its visual art galleries is free; there is a cost for ticketed events. Artisphere is pleased to offer its patrons free parking evenings after 5pm and on weekends. For more information about Artisphere and its wide array of programming, visit

Beauty Pill
Beauty Pill Twitter


Letters From A Tapehead 

Talkdemonic: Duality of Deathening

So, “Duality of Deathening” is about three years old, but news of post-rock duo Talkdemonic, a post-rock duo from Portland, and their transition to the Glacial Pace Recordings, (the home of Modest Mouse, don’tcha know?), led me to find this video, which I very much enjoyed. The news comes via PMA PR. Enjoy.


Portland's post-rock duo Talkdemonic has signed with Modest Mouse singer Isaac Brock's label, Glacial Pace Recordings. The band joins Morning Teleportation, Marcellus Hall, Mimicking Birds and Modest Mouse at the label.

The twosome is coming off a tour with Modest Mouse and a coveted spot at the 2011 Sasquatch Festival in Washington State with the likes of Foo Fighters, Wilco, and Death Cab for Cutie.

The band began in 2003 as a side project for Kevin O'Connor, who, at the time, was experimenting with eclectic electric percussion and no-vox melodies. After a few recording sessions and live appearances, he teamed with Lisa Molinaro, who brought game-changing synth, viola and cello layers to the table.

"Instrumental post-rock" that "lays a bevy of acoustic elements over a foundation of pulsing programmed beats and modulating, soft-focus synthesizers" (Pitchfork). There's no doubt Talkdemonic is "one of Portland's best-kept secrets" (XLR8R).

Glacial Pace Recordings was started in 2005 as a place for Brock to produce and showcase up and coming talent that crosses his path of world wide music discovery. This year has seen success with the debut first record from Marcellus Hall (Railroad Jerk, White Hassle) and the debut record from Morning Teleportation "Expanding Anyway".

Talkdemonic is busy in the studio finishing their record and plan to tour the US in the fall in support of the album.

The band will open for Modest Mouse on Saturday July 2nd in Troutdale, OR at Edgefield and attendees can expect to hear some tracks from the forthcoming album.

Band Site:
Band Twitter:"
Label Site:

Label Twitter:

Letters From A Tapehead

Thursday, June 23, 2011

Did you hear?

We're both commentators, (sort of), so I've decided...

Letters From A Tapehead

What I Heard This Morning: Zorch

Synthesizer couplets and hectic, free jazz percussion pretty much sums up Zorch’s “Zut Alore,” a synth duo from Austin. The video for the song reflects the height of video effects and editing circa 1987, lots of flashing geometry and video snippets. Underneath the video on the band’s YouTube page is a warning that reads: “Video contains lots of flashing images: Seizure people beware.” Yes, the people of Seizure should beware.

Links and images come courtesy of Us/Them Group.

Zorch: Austin hyper-kinetic duo premiere new track via Altered Zones, announce summer tour dates 


"5 bands to catch up to in 2010"The Onion AV Club

Zorch's synth-driven experimentalism is an avant-garde swirl of mind-bending atmospherics..." -- The Austinist

Austin, TX hyper-kinetic keyboard/drum duo
Zorch premiere a new song today via Pitchfork's esoteric offshoot Altered Zones. The MP3 for "Cosmic Gloss" is a shortened version of the track from the band's new cassette/digital EP (read more about it here). Stream/download full EP HERE. Zorch also launch extensive North American summer tour dates this month. Please see complete dates below.

Zorch has also posted an incredible, potentially seizure inducing video for one of their most frenetic and hooky songs, "
Zut Alore!" Watch it HERE. Stems of all Zorch tracks are available for remixes through the music section of the band's website.

Zorch's exceptionally precise and inventive songs often invite comparisons to a wildly different composite of energetic artists such as Lightning Bolt, Dan Deacon, HEALTH, Adebisi Shank and Battles all the way to more psychedelic/pop acts like Flaming Lips, Animal Collective and F*ck Buttons. However, it seems that everyone hears something uniquely new and exciting in their songs. Stream and/or download their full
debut EP for free HERE.

Zorch is an experimental/noise rock duo from Austin, TX. Composed of Zac Traeger (keyboards, omnichord, vocals) and Shmu (drums, omnichord, vocals), the two hail from Wisconsin and Canada respectively. The duo met in Boston and began recording dozens of improvisational mixtapes, which, after moving to Austin in 2009, would help lay the foundation for Zorch. Since that pivotal move, they've quickly made a home for themselves in the city's illustrious avant-garde DIY scene, building a reputation on their deafening live shows and fan interaction.

In July of 2009, Zorch recorded their self-titled 4-track EP at Cacophony Studios in Austin, TX. It's the duo's first attempt to capture their sound and demonstrate their wide palette of musical colors, ranging from tribal to pop. Choosing to self-release the EP and offering it up as a free download through their website, Zorch also gives fans the opportunity to design and create their own CD cases at live shows. Disregarding notions of intellectual property, they post the stems to all their songs online as well, ready to be mixed and morphed to each listener's content.


06/30 Phoenix, AZ @ The Rogue Bar
07/01 San Diego, CA @ Tin Can Ale House
07/02 Los Angeles, CA @ The Smell
07/03 Oakland, CA @ Gamma Gallery *
07/04 Sacramento, CA @ The Townhouse *
07/05 San Francisco, CA @ The Hemlock *
07/06 Eugene, OR @ TBA
07/07 Portland, OR @ Holocene ^
07/08 Seattle, WA @ Ground Zero
07/09 Seattle, WA @ The Inn (daytime/house party)
07/09 Seattle, WA @ Healthy Times Fun Club
08/10 Austin, TX @ TBA %
08/11 Houston, TX @ TBA %
08/12 Lafayette, LA @ TBA %
08/13 Baton Rouge, LA @ The Spanish Moon %
08/14 New Orleans, LA @ One Eyed Jacks %
08/15 Birmingham, AL @ Magic City Wholesale
08/16 Murfreesboro, TN @ Trash Mountain (pool party)
08/17 Atlanta, GA @ 529
08/18 Greensboro, NC @ The Blind Tiger
08/19 Baltimore, MD @ The Annex
08/20 Philadelphia, PA @ Danger Danger Gallery (anniversary party) $
08/21 Brooklyn, NY @ Silent Barn #
08/22 New York, NY @ Pianos
08/23 Providence, RI @ Local 121
08/24 Boston, MA @ TBA
08/25 Montreal, QC @ Torn Curtain #
08/26 Kingston, ON @ The Grad Club #
08/27 Waterloo, ON @ TBA (day show)
08/27 Toronto, ON @ The Silver Dollar
08/28 Sudbury, ON @ Myths and Mirrors Festival +
08/29 Ithaca, NY @ The Space at Greenstar
08/30 Dayton, OH @ South Park Tavern
08/31 Bloomington, IN @ House Party
09/01 Chicago, IL @ Ball Hall
09/02 Milwaukee, WI @ The Cactus Club
09/03 Madison, WI @ TBA

* with Religious Girls

^ with White Hinterland, Wampire
% with Twin Killers, Caddywhompus
$ with Grandchildren
# with Doldrums
+ with DD/MM/YYYY

Artist: Zorch
Album: "Cosmic Gloss" / "E.M.F." EP - DOWNLOAD FULL EP HERE
Label: (iN)sect Records
Release Date: July 5th, 2011

Artist: Zorch
Label: Zorch Records
Release Date: March 8th, 2011

On the Web:

Letters From A Tapehead

What I Heard This Morning: WHIRR

Shoegaze-y psych rock band, WHIRR, has signed with Tee Pee Records and will recording their full-length debut for the label in August. Their EP, Distressor, is everything you love about My Bloody Valentine: heavy melody, soft vocals, glorious distortion. I hate to point so readily to MBV, but I feel WHIRR suggests a much-needed return to the sort of constructs that Kevin Shields brought to the table in the first place. Yes, amplification and reverb are paramount to WHIRR’s output, but the notes peek through enough to confirm that the band does more than just generate some pleasant cacophony.

All information below is courtesy of Tee Pee Records. You can here the Distressor EP via their Bandcamp page. It’s worth a listen.

Bay Area post-shoegaze sextet WHIRR has signed with NYC rock label Tee Pee Records. The band will enter a Northern California recording studio this August to lay down tracks for its full length debut and follow up to its recently released Distressor EP. The album will be preceded by a limited edition vinyl 7" that will be issued this fall. 

WHIRR (formerly Whirl) generates suspenseful songs of soothing, razor sharp guitar textures backed by soft, cooling vocals. The band's supercharged spirit rejuvenates the '90s shoegaze sound, providing a widescreen update for the post-millennial era. WHIRR's wall of lush guitars, breathy vocals, dreamy synth and thunderous drumming propel listening ears into a near-cinematic realm where instantly catchy melodies and emotional, enveloping atmospheres hang perfectly in the balance. The group's celestial lean has been described as
"if My Bloody Valentine decided to cooperate with Sonic Youth," and has drawn comparison to influential acts such as Slowdive, Lush, Ride and The Cocteau Twins.

"Our new album is a much more of a defined, dynamic and mature sound rather than just an expansion of Distressor," dished WHIRR guitarist Nick Bassett (also of San Francisco black metal band Deafheaven). "The writing process for the record was much more of a collaborative effort than ever before. We're all very excited to have the opportunity to work with a label that's home to bands and artists we respect and enjoy."

An earful of WHIRR's front-and-center boom can be experienced now as the band has made the entire
Distressor EP available for eavesdropping via its Bandcamp page ( lend an ear now at this location ). A recent Brooklyn Vegan profile on the band and its signing to Tee Pee can be absorbed at this location.

WHIRR features Nick Bassett (guitar), Joey Bautista (guitar), Byanca Munoz (vocals / synth), Sergio Miranda (drums), Loren Rivera (guitar / vocals) and Eddie Salgado (bass).

Letters From A Tapehead

Wednesday, June 22, 2011

Shopping For Records #53: The Bug (Art)ifact...

It was both the thrill of owning something rare and the nausea-inducing prospect of missing out that caused me to instinctively lay down $12 for a limited-edition cassette reissue of Dinosaur Jr.’s Bug.  It arrived today, wrapped up in cellophane and is now laying on my desk, begging me to stick SIDE A into my tape deck, press PLAY and magically transport myself back to the negative energy of my teenage bedroom where I was both enlightened and depressed.

Joyful Noise Recordings made modest headlines throughout the indiesphere a few weeks ago with news of this reissue. Why? Well, there’s a purist factor. Bug was originally released on cassette via SST Records making this edition somewhat of an artifact. The copies are even hand-numbered, (mine’s #31), and since there were only 250 produced, (half of which will be on sale during Dinosaur Jr.’s Bug tour), they’re now all gone. If you check the catalogue at JNR’s website, underneath Bug you will find “OUT OF PRINT.” So, I’m happy that I didn’t miss the opportunity.

Now, though, I have a classic album on an obsolete format that’s seen a limited run and I’m not sure I should open it. Thusly, the actual enjoyment of the music and the philistine-influenced potential for investment are sparring factors conjured by this purchase.

Maybe I can just find a used copy of Bug on CD and let my cassette retain its untouched, mint, collector-friendly condition.  Or, I can just rip it open and enjoy.  Either way, it's a pretty cool acquisition.

Letters From A Tapehead

Tuesday, June 21, 2011

What I Heard This Morning: Chelsea Wolfe

“Doom folk:” This is how Chelsea Wolfe is categorized, her morbidity cautiously accessible but beautiful nonetheless. It’s difficult at times to endorse death-tinged performers like Wolfe, the whole theatricality associated with devils and darkness a rather easy racket to break into when your audience hasn’t been initiated to others of the same ilk. Diamanda Galás fans, for instance, would probably take Wolfe with a grain of granulated salt. You may as well try selling Twilight to Nosferatu fans.

However, Wolfe has an angelic voice, a haunting presense and the music bears enough esoteric and outlandish thought to warrant attention. Plus, she’s touring with Liturgy, whose new album earned my praise recently, (for whatever that’s worth).

Tracks from Wolfe’s upcoming release, Ἀποκάλυψις (Apokalypsis), are via Stereogum and from the links below which were provided by Force Field PR.

“Mer” is especially awesome.  Go here for that track.

Chelsea Wolfe premieres new track, "Movie Screen" on Stereogum 

Ἀποκάλυψις (Apokalypsis) out August 23rd on Pendu Sound Recordings

MP3: "Movie Screen" -


California native Chelsea Wolfe has always embodied light and dark. Her music is a raw, dirging doom-folk with hints of black metal, deep blues and minimal synthesizer music, but it's as prone to triumph as it is despair. Her voice is both haunting and seemingly haunted, though whether by angels or demons is unclear. And her lyrics reflect an obsession not only with life's murkier moments, but the unlikely truths and beauty they so often reveal. It makes sense then that her influences run from Nick Cave and Selda Bagcan to Ayn Rand and Ingmar Bergman, and even more so that she hails from the wilder, woodsy northern part of her state. Wolfe's hometown was a small unspecified burg amidst the trees, idyllic by day and begging exploration, but forbidding once the fog crept in. Her skewed romanticism began early. At 9, she started sneaking into her father's home studio to record warped keyboard covers and Gothy R&B originals. But growing up, she never shared these, and it wasn't until 2009 that she considered making music for others to hear.

After a three-month stint abroad with a nomadic performance troupe playing cathedrals, basements and old nuclear plants, Wolfe returned home inspired. She began toting around an 8-track and recording, eventually winding up with the songs that would become her stunning 2010 debut, The Grime & the Glow. Described as both healing and harrowing, enchanting and narcotic, the album established Wolfe as an elemental force on the rise. Just as telling were a pair of cover songs including the timeless "You Are My Sunshine" as well as a deep cut from Norwegian metal icon Burzum that in her capable hands managed to sound equally terrifying. Drawn to Los Angeles' unique mix of gloss and grit, she moved to the city late last year and recorded her second album, Ἀποκάλυψις (pronounced "apokalypsis"), out on Pendu Sound Recordings in 2011. Most recently, Chelsea Wolfe's name exploded in the music world after pop artist Richard Phillips used her song "Moses" in his newest art-film starring Sasha Grey which premiered at the Venice Biennale in June of this year.

About the album:

It's fitting that Chelsea Wolfe's second album opens with a hair-raising, animalistic snarl -- the sound of some beastly metamorphosis caught on tape.
Ἀποκάλυψις (pronounced "apokalypsis") finds the L.A.- based artist perfecting her distinctly doom-drenched electric folk. Here she graduates from mobile 8-track experimentation to an actual studio, enlisting a few friends to help even as she maintains the strikingly visceral elements of her powerful debut, The Grime & the Glow (2010). The end result is a both a broader sprawl and a tighter claustrophobia, a serious heaviness of sound and spirit prone to unexpected moments of beauty and triumph. Rightly, the album's title is Greek for both "apocalypse" and "revelation." Wolfe's gift for tense beauty reigns supreme on "Tracks (Tall Bodies)," where warm guitar, cavernous drums, and her beguiling voice engender an elemental feeling of regret in tune with the words: It's a machine we're up against/Devoid of reason, devoid of sense." The upbeat "Demons" follows, seemingly as counterpoint, rolling forth on a damaged surf beat and becoming a careening steam engine of scratchy thrash and tortured cries. Later, "Moses" demonstrates what Wolfe may very well do best, cooing choral over grinding Sabbathy guitars, somehow hinting at an odd ebullience hidden in the dirging murk. Though Ἀποκάλυψις's tone is decidedly dark, it's a dynamic album, evidenced by buzzing, organ-soaked soul of "The Wasteland," the clanging blues of "Friedrichshain," and the haunted ambience of "To the Forest, To the Sea," which feels like a field recording from the bewitched woods of Wolfe's youth. The LP's undeniable high point however, is the unforgettable "Pale on Pale." The seven-minute song slowly bores its way into the listener's skull thanks to Wolfe's ghostly moan -- which deals death at every lyrical turn -- and the thick black metal chords that push it along. Somewhere between the blood-curdling scream and squalling feedback that close out the track, transcendence is achieved, and Wolfe's transformation into a true force of nature is complete.

07/20/11 San Francisco, CA @ Bottom of the Hill *
07/22/11 Santa Barbara, CA @ Muddy Waters *
07/23/11 Los Angeles, CA @ The Echo *
07/24/11 Costa Mesa, CA @ Detroit Bar *
07/25/11 San Diego, CA @ Casbah *
07-(29-31)-11 Meaford, Ontario, Canada @ Electric Eclectic Festival
08-06-11 Malmo (SE), Full Pull & singsang @ Far I Hatten w/ Emeralds
08-07-11 Stockholm (SE), En Ljummen I Gräse
08-09-11 Oslo (NO), Oya Night @ John Dee
08-10-11 Goeteborg (SE), Koloni @ Gårdaskolan
08-14-11 St. Malo (FR), La Route Du Rock
08-16-11 New York, NY, Venue TBA

09-02-11 San Francisco, CA Elbo Room

* = w/ Liturgy

Chelsea Wolfe
(Pendu Sound Recordings)
Release: August 23rd, 2011

Artist site -
Label -

Pendu Sound Recordings is an imprint of PENDU NYC, a group known for throwing dance parties and art shows promoting "ecstatic culture" throughout NYC and beyond." -

Letters From A Tapehead

Yuck: Shook Down

Yuck do seem more than happy to keep their videos unsafe for the working environment. Their video for "Shook Down," takes multiple shots of multiple models and crudely combines the elements into animated collage people — NAKED animated collage people. "Shook Down," though, is very melodic and pleasant, a juxtaposition to the otherwise odd mutations conceived for the video.

"Shook Down" is being released as a single with the B-side "Milkshake," a song that doesn't appear on their debut album.  You can read a review for Yuck's self-titled LP here.  All information and links are courtesy of Force Field PR.

Can't say this enough: UNSUITABLE FOR THE CUBICLE!

Yuck - Shook Down from Yuck on Vimeo.

Yuck premieres NSFW "Shook Down" video, plus updated U.S. Summer tour dates

VIDEO: "Shook Down" -

STREAM: "Milkshake" -

Yuck photographed by Angel Ceballos
UK band Yuck recently wrapped up a North American tour opening for Australian band Tame Impala and announced another run of U.S. shows in late July, starting with its debut appearance at Chicago's Pitchfork Festival and heading to the West Coast with openers and Fat Possum labelmates Unknown Mortal Orchestra. The band continues its steady stream of singles with a new self-released double A-side 7" on July 11, featuring the non-album track "Milkshake" which you can hear here. The band taped a great version of "Shook Down" for MTV Hive that you can watch here and was also recently filmed for you can watch that here.


7/17: Pitchfork Festival, Chicago, IL
7/17: Schubas, Chicago, IL
7/18: Turner Hall, Milwaukee, WI *
7/19: Varsity, Minneapolis, MN *
7/22: Capitol Hill Block Party, Seattle, WA
7/23: Biltmore, Vancouver, BC *
7/24: Doug Fir, Portland, OR *
7/26: The Independent, San Francisco, CA *
7/28: Cellar Door, Visalia, CA *
7/29: Casbah, San Diego, CA *
7/30: Troubadour, Los Angeles, CA *
10/8 - 10/9: Langerado, Sunrise, FL

* = w/ Unknown Mortal Orchestra

Shook Down / Milkshake
Street Date: July 11, 2011

(Fat Possum)
Street Date: Feb. 15, 2011

Band blog -

Twitter -
Label -

Letters From A Tapehead

Monday, June 20, 2011

Empty Space Orchestra: Exit Strategy

Judging from the live videos I've seen and their new self-titled album, I'm going to bet Empty Space Orchestra is worth checking out.  It's actually very cool to see some down-to-earth progressive music.  ESO seems to play with little or no arrogance or academically cold ingenuity.  Here's a live clip of the band playing "Exit Strategy."

The band is touring with Minus The Bear.

All info provided by Us/Them Group.

Empty Space Orchestra launch dates supporting Minus The Bear, Midwest headlining tour

"They rock in an In the Court of the Crimson King-era King Crimson kind of way but with a sound all their own. These guys (and gal) have a kind of talent rarely seen outside of jam-band/festival circles." -- SSG Music

"Part jazz, part The Mars Volta bizarro world, part stoner/spacey rock, part post-rock, Empty Space Orchestra is a band that don't want to pigeonhole themselves into anything, so instead they encompass everything -- and they do that on display in quite a loud fashion." -- Redefine Magazine

"This band could be considered The Mars Volta of their ilk. They mesh and meld everything so well that it ends up sounding like something special in and of itself." -- Delusions of Adequacy

Empty Space Orchestra hit the road once again today, this time supporting Minus The Bear in the Pacific NW. Shortly thereafter, the Bend, OR quintet of impeccable musicians bring their symphonic, melodic sound throughout the Midwest in July. Please see complete dates below.

Empty Space Orchestra unleashed the impressive instrumental heft of its new Robert Cheek (RX Bandits, Deftones) engineered, Matt Bayles (Mastodon, Pearl Jam, ISIS) mixed self-titled album back in May.

ALARM Press premiered a new MP3 from the album, "Exit Strategy" which is available HERE. Check out additional album tracks, "Intergalactic Battle Cruiser" HERE and "El Viento" HERE. The band's musicianship must be seen live -- watch videos for "Exit Strategy" HERE, "Brainjar" HERE and "El Viento" HERE.

Their 9-song, 50-minute self-titled album is a hook-laden marriage of heft and harmony that veers far away from the navel-gazing jamming often associated with music of such explorative origins. Elements of The Mars Volta's most frenetic moments merge with soaring post-rock of Russian Circles, as well as hints of King Crimson, Deftones, Dub Trio and lilting chamber pop all colliding in brilliant synergy from one song to the next.

The group of classically-trained musicians is anchored by the stunning power and precision of drummer Lindsey Elias -- clearly a musician soon to hold rank amongst her most celebrated male counterparts. Guitarist Shane Thomas and bassist Patrick Pearsall provide a balance of head-bobbing riffs interspersed with tasteful and inventive lines that weave like musical narrative throughout. Meanwhile, multi-instrumentalists Keith O'Dell (keyboards, piano, lap steel) and Graham Jacobs (saxophone, flute, synths) add myriad melodic layers and cinematic moods that often deftly counterbalance heavy riffs with glissando piano melodies and swaggering horns.

06/17 Portland, OR @ Wonder Ballroom *
06/18 Spokane, WA @ Knitting Factory *
07/07 Denver, CO @ Cervantes' Other Side
07/09 Des Moines, IA @ Bombay Bicycle Club
07/12 Minneapolis, MN @ TBA
07/13 Madison, WI @ The Frequency
07/15 Chicago, IL @ Martyrs'
07/16 Ft. Wayne, IN @ TBA
07/31 Bend, OR @ Century Center
08/19 Tidewater, OR @ Prindell Creek Farms (Mountain Stomp festival)

* w/ Minus The Bear 

Artist: Empty Space Orchestra
Album: Empty Space Orchestra
Label: Empty Space Unlimited
Release Date: May 10th, 2011

01. Brainjar (VIDEO)
02. Exit Strategy (MP3) (VIDEO)
03. Intergalactic Battle Cruiser (MP3 ) (STREAM)
04. El Viento ( MP3) (STREAM) (VIDEO)
05. Get Some
06. Tiger Puss
07. Tennessee Red
08. The Hangar
09. Clouds

On the Web:

Letters From A Tapehead

What I Heard This Morning: Gypsy Treasures & Railcars, (or two of Aria Jalali’s pscyh/shit gaze projects)...

Tiny Mix Tapes posted a video for “Four Horsemen” by Gypsy Treasures, a side-project of Aria Jalali, (whom you might know from Railcars). It’s a good and trippy instrumental to begin your Monday morning.  There are bees in the video, so it kind of freaks me out.

gypsy treasures // four horsemen from Sam Gurry on Vimeo.

Info provided by Terrorbird Media.

Gypsy Treasures Premiere New Video For "Four Horsemen"
"Buried Goods" out now on Not Not Fun

WATCH: Four Horsemen

(via Tiny Mix Tapes)

LISTEN: Stray Dogs Of Wroclaw
(via Altered Zones)

The LA/SF based Gypsy Treasures premieres a dizzying new video. Directed by Samantha Gurry, Tiny Mix Tapes says
"It's a good example of Gypsy Treasure's psychedelic stupor. Think Sun City Bishops with Gocher presiding over stereotypes of Middle Eastern/Eastern European origin."

Gypsy Treasures is the sole document of artist Aria Jalali's mid-2000s basement raga project in which blown-out faux-modal guitar lines snake and coil under a cavernous reverb chamber while bizarre bunker electronics whirr and oscillate in an opiated haze on a bed of zoned tambo & hand percussion. "Buried Goods" sounds like a lost Sublime Frequencies demo as played by a bunch of So-Cal teens obsessed with German Oak. Completely awesome and wholly apart from whatever else is/was going on, scene-wise when it was recorded.

The title "Buried Goods" refers to the accidental rediscovery of these tracks by Jalali on a recent Railcars tour in Europe. When pressed for more material to play for various encores, he found forgotten 6-7 year loops on his boss pedal which they improvised upon. Realizing that these 'jams' were worth revisiting, it inspired the collection to be re-recorded and mastered. All four tracks were 4-tracked (the exception being “Four Horsemen,” which was recorded live) with various guest personnel and inner-chemical agendas. Being lifelong fans of contextless cassette curveballs, "Buried Goods" appealed to Not Not Fun instantly who have now released it a limited pro-dubbed tapes in cases with pitch-shifted regal furniture art/design by video-maker du jour, Megazord.


And, because it can’t be all about Jalili’s one project, we have to talk about the other. Here’s Railcars covering Kate Bush’s “Hounds Of Love,” "Cloudbusting" and "Big Sky."

All information, once again, from Terrorbird Media.

LA noise-rocker railcars covers the Kate Bush classic "Hounds Of Love", out this month on Crash Symbols and soon on AMDiscs.

(via The FADER)

Big Sky

(via 20 Jazz Funk Greats)

Hounds Of Love

(via RCRD LBL)

railcars (aka Aria Jalali) is set to release his cover of Kate Bush's 1985 art-pop masterpiece "Hounds Of Love" this June via Cassette on Crash Symbols and limited edition vinyl via AMDiscs . The project was made possible through a Kickstarter campaign last year and now finally has come to life. If you would like to grab a copy now you can head over to Crash Symbol's bandcamp and find it there. The vinyl is limited to 275 copies and will be available August 8th.

"drowning among a sea of melted tape and LFO, it’s one of the most convincingly aspirational renderings there’s ever been" -The FADER
"it’s a thing which is strange, and heartfelt, and weirdly beautiful in the way in which the original is" -Altered Zones

"It seems better to go for broke than keep close to the original, and Jalali is certainly triumphant in doing so. Managing to keep a glint of Kate's 80s alive while drowning the track under a thick wall of noise-rock, his is a version that bypasses the pop in favor of exploring the song's production elements, which as with Bush, Jalali did himself" -RCRD LBL

Letters From A Tapehead

Friday, June 17, 2011

Tera Melos: Kelly

A few days ago, Consequence Of Sound posted a new video from Tera Melos for the song, “Kelly,” which is off their Patagonian Rats release. With a nice little nod to David Cronenberg and 80s cinema, there are warmhearted reactions from the likes of Christopher Reeve and Rick Moranis to animated billboards displaying some grotesque scenes from Scanners, Videodrome and a few others. In the meantime, the song is kind of a nerdy power pop track. I still need to pick this album up.

Tera Melos - "Kelley" from Consequence of Sound on Vimeo.

Information on the band’s 51 minute opus, “Echoes on the Hills of Knebworth” and their tour documentary can be found here.

EDIT: Don't know why it eluded me that the video for Bobby Brown's "On Our Own," the theme song he came up with for the super inferior Ghost Busters 2, was appropriated for "Kelly."  Just not on the ball.

Letters From A Tapehead

Joan As Police Woman: Chemmie

I managed to find a live clip of “Chemmie,” the new single from Joan As Police Woman’s recent album, The Deep Field.  "Chemmie" is being released this August as a single.  You can find information on the album and the upcoming single, along with tour information, below.

And check out the live clip.  It's a good performance.

All info is from Sure Shot PR:

New Single released August 1st 2011
From her latest album, The Deep Field - out now
UK Gigs and Festivals Aug/Sept 2011 on sale Wednesday June 15th at noon

Currently wowing audiences across Australia, Joan As Police Woman hasn’t had time to catch her breath since the release of her latest album, The Deep Field. In demand across Europe and the US, days off at home in Brooklyn have become a rarity. Joan follows her Australian trip with a month long European tour, more US shows, then back to the UK for a run of headline shows and festivals including a return to Shepherds Bush Empire on September 9th – dates/ticket links below.

Meanwhile there will be a new single to sustain her ever-growing army of fans in the UK. ‘Chemmie’ from her latest album The Deep Field will be released on August 1st.

In Joan’s own words, new single, ‘Chemmie’ describes “the undeniable chemistry that soars past logic” existing between lovers - a sultry, carnal lyric wrapped up in the form of ‘60s Philly soul.

31st – EDINBURGH – Fringe Festival -

1st – YORK – Duchess -
2nd – END OF THE ROAD Festival – Dorset -
4th – ELECTRIC PICNIC Festival – Stradbally, Ireland -
5th – GATESHEAD– The Sage -
6th – SALFORD – St Philips Church -
7th – BIRMINGHAM – Institute -
9th – LONDON – Shepherds Bush Empire -

The latest JOAN AS POLICE WOMAN album, The Deep Field begins with the words “I want you to fall in love with me,” and continues to unfurl an unashamed lust for life. It’s unquestionably her best, most significant album yet – in Joan’s own words, “my most open, joyous record.” A rocking, soulful journey, The Deep Field is Joan’s most personal, and her most universal album to date.

The Deep Field – the title refers to a tiny and far distant part of space - follows the critical and commercial success of her previous albums, Real Life and To Survive and it confirms, if confirmation were needed, that Joan Wasser is a truly original talent; utterly captivating both on record and on stage.

The Independent 5 stars – The Deep Field marks a quantum leap in the career of Joan Wasser. It has real emotional insight, couched in genuinely soulful arrangements bristling with imagination

Sunday Times 4 stars – a brooding funk that is intense rather than euphoric with Wasser’s voice floating lightly on top, this strangely soulful mélange proves addictive

Financial Times 4 stars – ravishly intimate

The Guardian 4 stars – at her Barbican show Wasser’s startling performance is rewarded by stunned silence, two encores and a standing ovation, each more deserved than the last

Dylan Jones/The Independent Magazine – Joan Wasser’s music – and indeed that voice, that beautiful voice – has been described variously as soul, jazz and thrift-store rock, and a mixture of all three.. She is the alt Lady Gaga – less dramatic, with a sweeter disposition. You’d be mad to miss her.

Attitude 4 stars – Joan Wasser’s blissful, torchy, serpentine touch has aligned her with PJ Harvey, Dusty (In Memphis era) Springfield and Al Green, but her third – and easily best – album ups the soul ante

NME – a voraciously soulful collection of some considerable beauty, utilising earthy beats and that remarkable voice, this is the sound of a woman alive and comfortable in her own skin

Uncut – deliriously good

The Mirror 4 stars – her stealthy concoctions of 70s funk and soul, abrasive guitars, poignant voices, warm brass and swelling strings remain fascinating

Q 4 stars – terrific. Joan’s warm, witty presence shines through

Letters From A Tapehead

Sonic Youth: Out and In

So, without gathering any information about “Out And In” before I listened to it, I figured Sonic Youth was just treating us to another spacey, dissonant rock jam that’s evocative of most of their past output. “Out And In” was actually recorded in 2000 with their Jim O’Rourke line-up while the band was contributing soundtrack music for the film Demonlover, (which was pretty awful). This track is part of a new four-LP box set by Three Lobed Recordings, which documents the label’s last ten years.

You can find the track at NPR and information on the box set, Not the Spaces You Know, But Between Them can be found here.

Letters From A Tapehead

Grinderman: Mickey Bloody Mouse

“Mickey Bloody Mouse” is a remix of Grinderman’s “Mickey Mouse and the Goodbye Man” by Queens of the Stone Age frontman, Josh Homme. The video displays a series of drawings of the band in montage form, sort of like viewing a comic book from left to right. The remix itself isn’t great. In fact, it’s pretty disappointing. Overlaying Nick Cave’s vocals over and over again over a ticking clock provides too long an intro for a fairly anemic mix of an otherwise energetic and tense song.

Think I’m wrong? Check out the song.

For a review of Grinderman’s Grinderman 2, click here.

Letters From A Tapehead

Thursday, June 16, 2011

Father’s Day: A reason to search for instances of “Dad” and “Father” in your music library.

So, Father’s Day is this Sunday. Being the less important parent, Father’s Day sometimes feels like a smokescreen to make us feel like we matter. Let’s face it: Forgetting Mother’s Day, forgetting the day where we celebrate the woman who brought you into this world, is tantamount to lying under oath, failing a piss test or listening to Dave Matthews Band on purpose. Father’s Day doesn’t come with as high a reputation for consequence, nor does it seem to warrant the 45 minute wait at a restaurant.

But, it’s a day nonetheless and, as Dads, we could always use another tie or free day to watch a ballgame with an opened beer in one hand and the remote in the other. Or, a day alone in the record room. Here are some Father’s Day-related songs:

Aphex Twin — ”Come To Daddy”

The Cramps — “The Mad Daddy”

Jane’s Addiction — “Had A Dad”

Descendents — “My Dad Sucks”

Brian Wilson — “Child is the Father of the Man”

Johnny Cash — ”Daddy Sang Bass”

Articles Of Faith — “My Father’s Dreams”

Tom Waits — “Sins Of My Father”

The Monkees — ”Daddy’s Song”

Grinderman — “Man In The Moon”

John Lennon — ”Beautiful Boy (Darling Boy)” (or, as I like to call it, “Sucks To Be You, Julian”)

The Beatles — ”Hey Jude” (or, as I like to call it, “Paul Must’ve Liked You Better, Julian”)

Letters From A Tapehead

Public Enemy: Welcome To The Terrordome (Fear 2011)

“It’s weak to speak and blame somebody else/When you destroy yourself...”

Words to live by.

A classic in every sense of the word, Public Enemy’s “Welcome To The Terrordome” has for the last twenty years stood paramount among hip-hop’s most seminal works, many of which were brought to life in those peak years between the late 80s and the early 90s. This remix by Meat Beat Manifesto's Jack Dangers isn’t an improvement to the song, but it’s an interesting reconsideration. Chuck D, whose broken through his fiftieth year, still carries himself like he’s in his 20s, showing anyone skipping on down the roads he’s paved what it means to be a frontman. His shoes have yet to be worn by anyone else.

For those that will point to Flavor Flav’s career-crippling turn as a reality television joke, he’s deemed sample-worthy as far as this video’s concerned.

Letters From A Tapehead

Wednesday, June 15, 2011

No Ripcord: Liturgy

Thrill Jockey
Released: 5.10.11

Letters From A Tapehead

Le Butcherettes: New York

Terroreyes TV posted a video of Le Butcherettes’ “New York” from their latest album, Sin Sin Sin.  The video begins with a short interview-style explanation of the song from singer Teri Gender Bender followed by compiled tour footage. A Le Butcherettes show looks to be a good fucking time. Might have to try and check one out next time their in the neighborhood.

The band was also just added to Queens of the Stone Age's tour roster, but no Philly dates?

All informations, links and dates come courtesy of Us/Them Group.

Le Butcherettes added to QOTSA dates & Lollapalooza, post new video and announce more US & EU shows

Click image above to watch video
"Sin Sin Sin is absolutely necessary and essential." 4/4 stars -- WBEZ, Jim DeRogatis
"They've created an album that both lives up to the legend of the live performance and also informs it. Imagine the innovation of the Locust infused into pop songs that clock in past one minute with a frontwoman who doesn't give a shit if you like her politics." -- Bust Magazine
"The best act I saw: Le Butcherettes singer Teri Gender Bender is something of a stunner. She can howl, she can yell, she can growl the letter "R" into multi-syllables, and she needs little more than one ferocious drum beat to have her way with a song. And just in case you're not paying attention when Teri sings that she's sick of you, she'll do a backward stage dive." -- LA Times

The rampantly raved-about garage-punk trio Le Butcherettes have been added to the Lollapalooza lineup on August 5th in Chicago as well as support spots with Queens of the Stone Age on the West Coast the week prior. Additionally, the band will headline the L.A. date of this month's Sargent House Presents triple bill of Le Butcherettes, Tera Melos
and Adebisi Shank that also hits San Francisco (see promo video). European festival shows follow in August. Please see complete dates below.

A live/in-studio video, "New York" culled from Le Butcherettes debut full length
Sin Sin Sin posts today via Watch it HERE.

NPR's All Songs Considered recently served up an exclusive premiere of "I'm Getting Sick of You" HERE. And, check out MP3s for other album tracks, "Henry Don't Got Love" HERE and "New York" HERE.

Teri Gender Bender -- a recent transplant to L.A. from Guadalajara, Mexico -- gives Le Butcherettes a brazen intensity and playful, hook-laden simplicity that hacks to pieces all forms of pretension and excess. Upon relocating to Los Angeles in late 2010, Teri recruited renowned drummer Gabe Serbian (The Locust) and bassist Jonathan Hischke (Hella, Broken Bells) to round out the lineup.

The band's songs and wildly cathartic live shows often draw comparisons to Karen O, Patti Smith Bikini Kill and other female-fronted rock groups. But, there's a theatricality to Le Butcherettes that brings a further reaching sense of mystery and imagery to the band. For more on the band's impressive back story, see the complete bio HERE.

Le Butcherettes' full length debut,
Sin Sin Sin was produced by Omar Rodriguez Lopez, who also plays bass on all of the album's tracks, and issued the album May 10th, 2011 on Rodriguez Lopez Productions via Sargent House.

06/15 Pomona, CA @ Fox Theater *
06/27 Los Angeles, CA @ Troubadour #
06/29 San Francisco, CA @ Great American Music Hall #
07/23 Las Vegas, NV @ Cosmopolitan Hotel +
07/25 Pomona, CA @ The Fox Theater +
07/26 Santa Cruz, CA @ The Catalyst +
07/28 Portland, OR @ Roseland Theater +
08/05 Chicago, IL @ Grant Park, Lollapalooza
08/19 Parades de Coura, Portugal @ Parades de Coura Festival
08/21 Biddinghuizen, Netherlands @ Lowlands Festival

* w/ Deftones and The Dillinger Escape Plan
# w/ Tera Melos and Adebisi Shank
+ w/ Queens of the Stone Age


Artist: Le Butcherettes
Sin Sin Sin
Label: Rodriguez Lopez Productions
Release Date: May 10th, 2011

01. Tonight
02. New York (MP3) (VIDEO)
03. Henry Don't Got Love (MP3)
04. Leibniz Language
05. Bang!
06. All You See in Me is Death
07. I'm Getting Sick Of You (MP3)
08. Riko's Smooth Talking Mother
09. The Actress That Ate Rousseau
10. Tainted in Sin
11. Dress Off
12. Empty Dimes
13. Mr. Tolstoi


Artist: Le Butcherettes
iTunes Live: SXSW
Label: Rodriguez Lopez Productions
Release Date: March 18th, 2011

01. The Devil Lived (STREAM)
02. New York
03. The Leibniz Language
04. Dress Off
05. Breathe You In
06. Gold Notebook (STREAM)

On the Web:

Letters From A Tapehead

No Ripcord: Keiji Haino & SUMAC

A review of the recently released experi-METAL (buh-dum-chck) collaboration between Keiji Haino and SUMAC is up at No Ripcord .  The album...