Archive for the ‘California’ Category

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Fluorescent Grey presents: Michael Jackson: ‘Sonic the Hedgehog 3 and the Lost Songs’

July 1, 2009

Kids Playing Video Games

Michael Jackson ‘Who is it’ (original mix): ‘Ice Cap Zone 1′ Sonic the Hedgehog 3 OST


So electronic artist Fluorescent Grey out of California believes he has discovered a link between Sonic the Hedgehog 3 and bits and pieces of MJ’s catalog. Here is what he posted this morning:

“for those unaware of this piece of music history trivia, Michael Jackson was hired by Sega to compose the music for sonic the hedgehog 3, for whatever reason he was let go from the project. Sega ended up using the songs anyways with minor changes done to them, and Michel Jackson himself used several of these original versions to later make the hits ‘Black and White’ ‘Remember the Time’ and ‘Jam’. Most of the Sonic music was sped up to double time and keys changed. I made adjustments to each song to match them up with one another.

Since MJ is dead now we will probably never know the actual truth about what happened, but as i listen to more Dangerous and post Dangerous Michael Jackson i keep imagining Michael Jackson busting out some awesome sega genesis fm synthesis music and taking it just as seriously as he would one of his hit singles and i respect him a lot for that.”

Fluorescent Grey has created a blog to distribute is reconstructions that contrast Sonic 3′s music with MJ lyrics etc. They are most definitely worth a listen and you will want them at you’re next party. They are sick! Click the links below.

Is it true? This might not be a hoax, but it certainly could be a cleverly and intentionally perpetuated conspiracy theory with little or no merit. But if something interesting comes of it, then I suppose who cares…

Fluorescent Grey Blog- http://michaeljacksonsonic3.blogspot.com/
Fluorescent Grey on Record Label Records

Read Previous Record Label Records Reviews Below
Fluorescent Grey
Tomoroh Hidari
Brian E

Here is a video Fluorescent Grey found and sent out discussing the matter (watch video in a Youtube window).

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Brian E- Yellow Light District

June 25, 2009

Brian E

Brian E
Yellow Light District
Record Label Records
July 15th 2009

“Don’t Stop—Just Slow Down”

This motto on the cover of Brian Ellis’ newest project speaks volumes. Yellow Light District, due to be released as a limited series of 500 individually numbered 12” vinyl in July, is vintage sonic pornography for those who get a hard-on when they listen to the likes of the Beverly Hills Cop soundtrack, or are obsessed with 1988’s Bloodsport…err anything Jean-Claude Van Damme. This record is no conservative, veiled throwback; it is a neon headband inspired synth-feast.

I listened to the LP while jogging through industrial Bushwick and Williamsburg. I quickly transformed into Little Mac training for my final bout with Mike Tyson in NES’ Punch-Out. Yellow Light District’s most penetrating hook is its style; It isn’t intellectual—it isn’t professorial—it is its own weird science. The first track, Theme, flawlessly begins the record with rolling waves of soft synth melodies that eventually starburst into a dance floor beat, textured with free form keyboards. As every track passes, Mr. E never lets up, always reintroducing the listener to an era some wish was long forgotten. But like the venerable Dov Charney seems to believe, some things don’t die for a reason, and there should always be those creatives out there to remind us why.

7/9

-FF

http://www.myspace.com/technoirdisco
http://www.recordlabelrecords.org/

Other Music
Tech Noir
Beast Beats EP

Sinistyle Video Below!

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Fluorescent Grey- Gaseous Opal Orbs

January 30, 2008

gaseous-opal-orbs.gif

Fluorescent Grey
Gaseous Opal Orbs
February 29th 2008
Record Label Records

Gaseous Opal Orbs opens in the ether; in a primordial atmosphere complete with zoological calls whispered from the furthest reaches of time. As the track continues, Chrono-Synclastic Infundibulum then descends over the human infested fabricated and technocratic world with the weight of collected textures, sounds, and beats, symbolic of the manifest destiny that has not only spread across the horizontal plane of this planet’s surface, but also the vertical conquests of urban development and file cabinets filled with patents of science and industry. The track is in a sense linear; it is a story of the eons, from the proterozoic to the post-industrialized and globalized world. Chrono-Synclastic Infundibulum crescendos late, with tension and anxiety, as if all the sounds of the modern world were heard in concert.

The incorporation of sounds bound by a specific time or context predominate Gaseous Opal Orbs. The sound of African drums invoke a specific mode of music construction, which is then integrated with an electronic beat, paralleling the musical form without ever sounding alien or intrusive. Their basic functions are underscored and their purpose is maintained. They are time keeping devices. As the music itself deals with themes of time, growth, evolution, and importantly some of the darker aspects of so called progress, the instrumentation was conceived to a similar end. This record utilizes sounds from a variety of eras. This not only includes the vast stretches of geological time, but also musical styles separated by only decades. Take for instance the groove of Palette Swap Dub, to the Celtic revival of Celtic K-hole, to the acid infused hyperventilations of Molten Ghost.

Fluorescent Grey, aka Robbie Martin, invests a lot of energy in creating thick soundscapes that have the presence of a dense swamp fog. When there are not active contextual or temporal juxtapositions, he allows the listener to simply exist in the heavy environments found in the space between beats, emphasizing not always where the beat drops, but where it is conspicuously missing. This is a technique mastered by electronic pioneers such as Richard D. James, an artist that Fluorescent Grey clearly admires and through style and smarts, pays homage to. Gaseous Opal Orbs is a good record with a graspable concept and tremendous displays of talent. I look forward to more releases from both Fluorescent Grey and Record Label Records.

6/9

http://www.myspace.com/fgrey
http://www.recordlabelrecords.org

Other Releases
Please Do Not Buy This Recording- 1996
Untitled- 1997
Staircase made of balsa wood- 1998
Molten Ghost- 1999
Benjamin Vanderford with Fluorescent Grey- 2002
Lying on the floor mingling with god in a Tijuana motel room next door to a veterinary supply store- 2006
Ghos Busters III- 2007

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Frederick Foxtrott Battles The Tuss Cult

January 26, 2008

The Tuss Cult

Click for Review of Rushup Edge
***New “Official” Tuss Myspace Page began 1/29/08***
http://www.myspace.com/thetussofficial
Click for Review of Fluorescent Grey’s Gaseous Opal Orbs

I’ve never claimed to be a super-sleuth, although I suppose I believed I had gotten to the bottom of the whole Tuss mystery. The identity of The Tuss was fun to think about for a while, but over the last day or so I have decided it has become a bit too much for me. I never claimed to be an electronica expert and I’ll have you know that I am content to leave some things unknown. The identity of The Tuss has lost its mystery and appeal, not because the music is no good, but because the secret is being kept with an oddness that repels further investigation. I have decided that the intention of a hoax to mislead can be every bit as powerful as apparent facts are when trying to uncover the truth.

Frederick Foxtrott received a record for review by an artist named Fluorescent Grey, the name used by electronica producer Robbie Martin of Record Label Records. I was and still am very excited to review the disc. I had listened to some of Fluorescent Grey’s music and found it to be superbish. Others on the label were equally as talented. As I browsed through the album art I noticed something strange. Mr. Martin thanked a certain William Reid Dunn in the credits. Pausing to contemplate the moment of familiarity, I suddenly remembered that I knew this name. I remembered it from my research for the article The Tuss- For Real Aphex Twin? The “Band Member” section of Brian Tregaskin’s Myspace page lists Reid William Dunn and Robbie Martin as members of The Tuss. Clearly this Myspace page is a hoax and its dubious appearance begins a domino chain as one fact clicks and thuds onto the next, making the orchestrated nature of this whole fiasco just a bit more obvious.

When the name William Reid Dunn is Googled, the search reports an obscure page from Last*fm that reveals that W. R. Dunn uses the stage handle Wisp. On Myspace, this handle is used by an experimental electronica artist from Niagara Falls who calls himself Lord British. Listed among Wisp’s friends is none other than Fluorescent Grey, also known as Robbie Martin. At this point I became disillusioned at the prospect of ever knowing the truth. Little did I know I was only at the tip of a very large and disastrous iceberg. There are so many people who are involved in the hoax. How such a coordinated effort could go on unchecked is beyond me.

Update: Wisp, aka Lich, aka W.R. Dunn, aka Lord British will be releasing some work on Rephlex Records.

This Tussian cult has several Myspace pages associated with it. Some believe that the real Rephlex backed page is hidden among them. Others believe that they are all false. I am inclined to believe the latter prospect. I’ll examine a few pages claiming to be associated with The Tuss so that some of the dots can begin to be connected. It is worth noting that all these pages have or at one time had music on them. The tracks on the pages have a definite AFX/Tuss style and could be considered by some, including me, to be very good. So the individuals behind the faux websites are talented in more ways than one.

The Tuss Myspace Cult Pages

http://www.myspace.com/briantregaskin

http://www.myspace.com/briantrageskin
http://www.myspace.com/briantregaksin
http://www.myspace.com/karentregaskin
http://www.myspace.com/thetussmusic
http://www.myspace.com/cat189
http://www.myspace.com/patregaskin
http://www.myspace.com/thepussfuss

As mentioned earlier, the first page labeled “briantregaskin” lists Robbie Martin and Reid William Dunn as band members of The Tuss along with Richard D. James, and both Brian and Karen Tregaskin. Karen is listed as the writer and producer of the material on the actual CD titled Rushup Edge. In the “Friend” section of the page, Fluorescent Grey is listed as a top friend. In fact, he is the second friend listed in the section. In the “Influences” section, it lists Ghostbusters III as a favorite movie. Notably, Robbie Martin released a disc called Ghos Busters III in 2007 on Record Label Records.

While the “briantrageskin” page has been deleted, the “briantregaksin” page is still around. This is a mock Brian Tregaskin page with very good electronic-phonics. Humor seems to be a important aspect to The Tuss cult pages. Instead of Rushup Edge or Confederated Trough, this site lists the record names as Rushup Hedge, Pushup Egg, Mushup Reg, and Confederated Turf, with a song titled Deaf Fuck instead of Death Fuck. In a Q&A session threaded in his blog space, the hoaxter acknowledges having many Myspace pages with many aliases. His friends include both the original Tuss and Brian Tregaskin Myspace pages, both of which are clearly involved with Robbie Martin and W. R. Dunn.

karentregaskin” is the URL for a beat layer Neil from Aurora Records. This is the first time we see another label other than Rephlex get involved. At this point it should be noted how many friends all these websites share. I would guess that these pages share a good 20% of their friend lists with one another. It is strange that the handle of this site is Neil, when it was clearly created as a hoax Karen Tregaskin page. While the artist on the page does not pretend to be Tregaskin, the pictures are of women and the comments left and accepted by the site’s host are often addressed to Karen or AFX. Neil is also friends with an artist named Brian Krapowski who is also on Aurora, both of whom are friends with Fluorescent Grey aka Robbie Martin of Record Label Records.

It goes on and on like this; loose connections waver in substantiality. Another Tuss music page, “thetussmusic,” makes a more concerted effort to convince the skeptic of its authenticity. The format is very similar to Rephlex’s home page. It is very minimal with a black background and neon green lettering. Although it is strange that Rephlex is a British label and yet its homepage ends in .com. On The Tuss Myspace page, there are no blogs with Q&A sessions or cutely rhymed song titles. In fact, authentic Rephlex labelmates like D’Arcangelo are top friends. This Tuss site is also friends with acid pioneer Mike Dred as well as Aurora Records, home to Neil, Brian Krapowski, and others.

Although this Tuss site has all the looks of a real Rephlex publication, the tracks on the site, while amazing, are not tracks released on any record by The Tuss. The presence of the electronica artist named FaultyDL from New York City also bothers me, as he appears on multiple websites involved with this hoax and he comments on Robbie Martin‘s music page. The other Tuss website “cat189” is obviously referencing Rephlex Catalogue Number 189. This is the Rephlex catalog number for Rushup Edge. This Tuss music page is also friends with the likes of Rephlex labelmates D’Arcangelo, Aurora programmer Brian Krapowski, and notably with Mike Dred. It is perhaps the most authentic looking of the group, except the telling Q&A session in the blog space.

The Tregaskin family is represented by more than just Brian and Karen. Patskin or Pat has his own music page on Myspace listed as “patregaskin” in the URL. The good music and familiar friends are characteristic of the Tussian cult. This page really exemplifies the redundancy of the hoax. On the other hand, the music page “thepussfuss” is delightfully twisted. The Tuss becomes a play on words as a Cornish Tuss (cock) needs a Puss(y). Brian Tregaskin becomes Brian Treforeskin and song titles reflect the absurdity of the hoax of The Tuss’ identity. Of course the usual suspects are befriended by the parody. Found in The Puss’ friend pages are FaltyDL, who is regularly featured on other Tuss/ Tregaskin pages, Robbie Martin, alias Fluorescent Grey himself, and Wisp, also known as the beloved William Reid Dunn.

It is clear to me that all of these pages are a hoax. It does not surprise me to know that Robbie Martin is involved. Martin released a fake Autechre album in 2005 that he says was “spread so successfully that Sean Booth was asked about it in an interview.” He even sports a “PRANKOGRAPHY” section on his Myspace page where he recounts all his practical jokes. What is different with The Tuss as opposed to Autechre is that we have no one to question or confront. Only surrogates and Myspace pages presume to speak for the artists. The media hasn’t interviewed Brian or Karen Tregaskin to confirm or deny anything, and representatives from Rephlex aren’t making anything clearer. All they do is deny Richard D. James’ involvement in The Tuss, and then confirm that the Tregaskins are the real artists. If Robbie Martin and friends are the hoaxters then why doesn’t Rephlex dismiss them directly?

Brian Tregaskin was said to be discovered after an exhaustive talent search on Myspace, yet all the Myspace accounts for The Tuss and their affiliates seem to be fake. If The Tuss hoax is driven by people living in Santa Cruz California, Niagra Falls, and New York City then why doesn’t Rephlex have anything to say? After finding Dunn’s name in a CD that was sent to me because of Frederick Foxtrott’s Tuss coverage, I think that this should have been obvious all along. I am probably the last person to connect some of these dots. Like I said, I am not a super-sleuth.

But something strikes me as odd when very talented artists from Record Label Records and Aurora Records perpetuate a band into obscurity. The strangest part is that nearly all the tracks on all these false pages are excellent. Robbie Martin is excellent, so are the yahoos from Aurora, whose music page uses the same black/green format as The Tuss‘ and Rephlex‘s home page. No matter the identity of The Tuss, I think that Rushup Edge was one of the best records released in 2007. Without a doubt it is one of the most intricate and smart electronic albums I have heard in quite a while.

I still have my convictions about the identity of The Tuss. I don’t think the Tregaskins exist, not as people anyway. Richard D. James released 41 tracks on Rephlex from the Analord series and a condensed CD called Chosen Lord on a label that he started in the early 90’s. He has released records under different names in the past and it seems as if he has done it again. The Tuss called their record Rushup Edge after a ridge in the Derbyshire Peak district in England. The highest point of Rushup Edge is Lord’s Seat. This fascination with the word Lord is not particular to AFX though. As mentioned before William Reid Dunn, also calls himself Lord British. Fluorescent Grey has a labelmate named Brian English, which reminds me of Brian Krapowski, and of course Brian Tregaskin. I suppose any number of things could be true. Robbie Martin gets off on hoaxes. I suppose I like to talk about them. But any investigation is meaningless when Rephlex and the band themselves do not see fit to substantively set the media straight. It is made meaningless when disinformation is spread so thick throughout the community of listeners that it is impossible to make sense of anything. No matter what facts are known, no order can be discerned. This was truly a marvelous experiment.

Rushup Edge is an album without an author.

It is a record without association or baggage.

I suppose Richard D. James would have it kept that way.

http://www.rephlex.com
http://www.lastfm.jp/music/Sk%C3%B8nflap
http://www.myspace.com/fgrey
http://www.myspace.com/wisp
http://www.myspace.com/aurorarecord
http://www.myspace.com/krapowski
http://www.myspace.com/mikedredacid
http://www.myspace.com/darcangelo2
http://www.myspace.com/brianenglishdotcom
http://www.myspace.com/faltydl
http://www.recordlabelrecords.org

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Xiu Xiu- Women as Lovers

January 10, 2008

Xiu Xiu- Women as Lovers

Xiu Xiu
Women as Lovers
January 29th 2008
Kill Rock Stars

I first heard Xiu Xiu at the 2005 Intonation Festival in Chicago. At the time there were only two band members emitting their unique wall of noise. It was a spectacle to see this thin little man beat a cymbal while sing-sobbing into the microphone. I fell in love with the act then and there. Caralee pushed buttons and keys, yanked twirly-bobs, losing herself in the summer heat. I remember when Jamie pulled out his autoharp and began to play what I later knew as Bog People. It was magnificent and discordant. Xiu Xiu abandoned standardization and came to represent to me the pinnacle of experimental liminal anti-pop.

The duo tackles the dark recesses of the mind, graphically describing disease, suffering, and anxiety with soft and poetic grace. Explicit sexual acts are injected into a song by a tender and emotive voice. In 2006 Xiu Xiu released The Air Force, easily one of if not the best record of the year. They seemed to have found the perfect balance, mashing beauty and ugliness, the excruciatingly ordinary and the sublime. Some may find Jamie’s lyrics melodramatic and his quivering voice ridiculous, but Xiu Xiu’s latest recording does not shy away from their stylistic hyper-expression. They seem to combat such criticisms with a doubled dose of effeminate grandeur.

Women as Lovers, due out at the end of January, transports the listener via blips and bleeps into Jaime Stewart’s personal space. The listener is often left feeling as if an acquaintance has told them something entirely too personal and while they are uncomfortable, they find Stewart’s openness agreeable and attractive. He’ll scream and he’ll croon and he’ll turn harmonic tones into caustic particles that pull apart from one another and then gravitate toward one another again. The songs simultaneously diffuse and then reconstitute themselves, proving the geist of reason can be reassembled from even the most deconstructed of expressions.

Although electronic effects color every song, there is a noticeably increased amount of guitar work throughout Women as Lovers. The song Master of the Bump recalls the quiet despair found on 2005’s La Forêt, yet it emphasizes the warmth of a reverberated amplifier. It reminds me of an old 50s era romantic radio tune playing during the loneliest moment of my life. Also, there is a noticeable presence of a fuller drum section brought by Ches Smith, not to mention the bursts of brass instrumentation that speckles tracks like No Friend Oh. Their cover of Under Pressure is not as good as it should have been, but something tells me that the track was recorded offhand and playfully. On the last track Gayle Lynn, all the newly fashioned elements of Xiu Xiu are assembled, most aptly displaying their collective creativity. The bass pulses as beats are acoustically and digitally mapped onto the track, while a flutter of horn fills the space between the layers of ambient noise.

Women as Lovers is a pretty good listen and Xiu Xiu has done well to add new creative minds to the mix. The exploration of melodic and anti-melodic chemistry is what makes Xiu Xiu great. James Stewart’s voice is amazing as ever and Caralee’s precious vocal assists beautify the monstrous themes of Xiu Xiu’s imagination. Women as Lovers never equals the shear genius of The Air Force. It lacks incredible hooks and its energy is muted. While the inclusion of new sounds is a great strength, Women as Lovers leaves the listener convinced that Xiu Xiu has not reached the full potential of their new structure. I certainly hope you people pick up the new Xiu Xiu as it is one of the first quality releases of 2008.

6/9

http://www.xiuxiu.org
http://www.myspace.com/xiuxiuforlife

Other Albums
Knife Play- 2002
A Promise- 2003
Fag Patrol- 2003
Fabulous Muscles- 2004
Life and Live- 2005
La Forêt- 2005
The Air Force- 2006

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Immovable Objects- “hoping it stays just this broken”

November 6, 2007

Immovable Objects- “hoping it stays just this broken”

Immovable Objects
“hoping it stays just this broken”
September 25th 2007
Hawnyawk Records

After listening to this record over and over again, I have concluded Immovable Objects has committed musical acts of nearly if not completely perfect proportions. It would be a shame if Matt Gagin, the orchestrator and creative force behind Immovable Objects, peaked in his career after only his first track off a debut record, “hoping it stays just this broken.” But these are the risks one takes when one decides to open strong instead of saving the best for last. Beginning with an ideal accumulation of pleasing bell beats, Raindrops in Morning Traffic introduces Gagin as an upstart who is certainly destined for greatness. In the most respectful way possible, I feel this song is directly related to Yes’ gorgeous song Soon. There is no mistaking the similarity in the beautiful vocal sensitivities of Jon Anderson and the female vocal arrangement that bursts through, fashioned with metallic and washed out guitars. The song builds upon itself with an excruciating sadness tempered with sober contemplation, resulting in one of the most artful and attentive constructions I have ever heard.

Fortunately Immovable Objects continues the record with a series of intricate shoegazing songs that legitimize the boundless nature of the first track, substantiating the extent to which Gagin has developed not only his writing abilities, but also how he conceives his music in relation to the songs themselves. While he has said that he never meant to write this record, it was indeed Gagin’s ability to delineate a very cohesive and complimentary set of songs from what might have otherwise been an unassociated and incongruent heap of shoe-goo trash that allowed “hoping it stays just this broken” to be presented with such confidence.

Like the slightly uneasy experimentation of various Icelandic bands or Canadian post-rockers, Immovable Objects utilizes dynamic and textured melodies juxtaposed with noises that ascend the tonal scale, heightening the tension and increasing the ultimate payoff when they are finally released in a wall of beautiful sound. It also seems that Mr. Gagin has learned a few lessons from My Bloody Valentine. The prime importance of atmospherics is shared by these two bands, along with other environmental disciples such as Chicago’s Airiel. The drum sequencing throughout the record is sharp and never incompetent or excessively demanding. I would suggest Immovable Objects contact Jimmy LaValle and schedule a tour or collaboration, because while Gagin’s work is not identical by any measure, he would interface extremely well with The Album Leaf.

Gagin is said to have perfect pitch and a knack for an unmentionable number of instruments. While this may be true, it is certainly not central to the thesis developed by “hoping it stays just this broken.” Gagin was injured as a child resulting in an abnormal yet formative ability to recognize pitches produced by household vacuums. While this is a skill that has its advantages in identifying a physicality or structure in music already made, it does not necessarily contribute to an artist’s ability to hear or internalize the sounds that ought to be made. Who knows what relationship Gagin’s perfect pitch has to his vision for Immovable Objects, but I would say that his heightened perception is not the sole secret to his success. This attribute originates from a creative center and is expressive rather than impressive.

I am very pleased with “hoping it stays just this broken.” It shows that the music’s creator not only knows how to execute his design, but also how to enlist contributors to provide a denser flesh and a thicker blood to his vision, intended or not. When Gagin arrives in New York, I will certainly attend his show to see how his music translates from plastic to staged passion. Successful or not, Immovable Objects is an unrelenting testament to the importance and relevance of individual creativity. I anticipate that Immovable Objects will have much more to contribute. I for one encourage others to pay attention.

7/9

http://www.myspace.com/immovableobjects

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Pinback- Autumn of the Seraphs

October 12, 2007

Pinback- Autumn of the Seraphs

Pinback
Autumn of the Seraphs
September 11th 2007
Touch and Go Records

For me Pinback represents everything that is good about “California” music. By this I mean they sound how I conceive California to sound in my head. Autumn of the Seraphs is possibly their most “California” album to date. In Devil You Know, a hip hop lilt pacifies what otherwise might be considered a thrash metal riff. Some readers may question my hardcore connection, but just listen to that dark beat. It is death metal smoking chronic in a custom hydraulic hooptie banging The Police along Pacific Beach at 15 miles per hour. It is quintessentially Pinback, although Sting practically wrote the intro to Blue Harvest (!!!Sendin’ out an SOS!!!).

Autumn of the Seraphs is a record far more produced than previous efforts. However, it does not sound as if its achieved warmth was fabricated post production. Conversely, the drum sequences add a methodical cadence to the already imminent beats. Pinback’s strength and uniqueness have always come from the interplay between the bass and drum. How We Breath sounds as if the band were trapped in a clock smith’s workshop. They, after hours of isolation, set into motion pendulums, chimes and other metronomical instruments, culminating into a beautiful concordance of time keepers.

Autumn of the Seraphs’ best track Walters suffers from a deep melancholy. As the song progresses the tempo increases and piano melodies are added until it erupts with heavy handed toms and snares along with unexpected distortion. Delicious! Pinback has the consumability of a toasted marshmallow stuffed with all the indie-pop you can handle. With synthesizers, and a healthy dose of vocal layering, this San Diego duo has made a record that is moody, pervasively sultry, and irrevocably cool. Pinback did not set out to redefine themselves with Autumn of the Seraphs, rather they have obviously sought to further elucidate their signature sound. Autumn of the Seraphs is nothing new, but it is a great addition to their heavily influential and highly regarded catalog.

6/9

http://www.pinback.com
http://profile.myspace.com/pinback

Other Music
Pinback- 1999
Blue Screen Life- 2001
Some Voices EP- 2002
Offcell EP- 2003
Summer in Abaddon- 2004

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Silversun Pickups- Carnavas

September 21, 2007

silversun-pickups.jpg

Silversun Pickups
Carnavas
July 26th 2006
Dangerbird Records

This Silver Lake district LA band has the rare luxury of thriving betwixt and between. They have originality, yet they remind me of some great bands. I’ve read many reviews and can’t imagine why most hear a similarity between Silversun and Smashing Pumpkins. No disrespect toward Billy intended, but I just don’t hear it. Perhaps they share a feedback note here or there, but only a note. They have much more in common with fellow up-and-comers Airiel out of Chicago. Mr. Aubert’s vocals seem much more akin to Jeremy Enigk and Elliot vocalist Chris Higdon. They produce such familiar music, leading me to point out their sound-a-likes, yet I won’t attempt to pigeon hole them into any category or faddish type. My Bloody Valentine is clearly an ancestor to Silversun Pickups‘ noise, while Sunny Day Real Estate shares their pop impulses and guitar supplications.

It is not an album that I obsess over or repeat every moment of my free time, but I must say this band has a gut, such a visceral vocal force that it deserves a salute of some sort. Lazy Eye and Melatonin lay it out for us. I’ll put this record on my play list for many gatherings. It whets my nostalgia for dark exploration coupled with beautiful and melodic rhythms. I don’t know if I’d rave to a friend about this record, but I’d make sure they knew I had listened to it once or twice.

If you have an interest in an up beat Sunny Day, without any real comparison, or an infatuation with Elliot’s Song in the Air, than I’d expect you’d enjoy this display. It takes a lot of creativity to achieve this level of layered intensity and noise conglomeration, but to imbue it with the pop sensibilities of Silversun Pickups requires a sober understanding of the musical soundscape from which a clean execution can be drawn. More than that, it takes the confidence that your wall of noise is worth listening to. This one most certainly is.

6/9

http://www.silversunpickups.com
http://www.myspace.com/silversunpickups

Related Sounds
My Bloody Valentine
Sunny Day Real Estate
Airiel
Elliot
(All as if 1991 wanted its day in court)


Other Records

Pikul EP 2005

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