Tuesday, November 30, 2004

We don't want any melodrama up in this bitch

"Our mission is to breakdown the paradigm
of corporate sponsored filth and the heterodoxy
of a misogynistic patriarchy imbedded into co-modified youth culture
Oh yeah, and to bend over some bitches."
DJ Tanner

I've been really been vibing off Sissorkick this week, and in particular the review for a band called The Changes (the track was called "The Machine"). I'm definately looking foward to their full length release. They sound like an neu wave indie band band, but only with a more jazz and punk funk edge. God knows what i'm talking about though - You'll probably be better off reading the article over at Sissorkick to be honest....Right, you know when you have some spare time and actually check out the links on a band website? Well, I did that today, listened to a few Explogasm tracks, and decided to write my thoughts on here. I know i'm probably not the first person to talk about this band on the blog network, but this entry had to be done.

The members of these disco divas, techno freaks and generally immoral human beings have alter egos like: Stevie Jacuzzi, MC 900ft. Penis, Juicy Jess, Captain Awesome, Abbey Abortion and LL Cool AIDS. Which is nice. No? Well it isn’t really important I suppose. Totally immature really, but that’s the point entirely. Their lyrics are immature, they sound outrageous, and they wear ridiculous outfits on stage. They are quite literally looking for a reaction, and they definitely achieve this through their music. They seem to go for that pop song, grab it, pummel it into submission, and totally change the song in the process. Oh yes, they're good, and they know it.

They're best friends with The Mae Shi, and even sing about the Moving Units in one track - God knows what that's about though. There is also about ten people in this band, and not even I can really see why there needs to be that many. Maybe they set the vibe? If so, that's ok, but it doesn't really sound like ten people. I mean, that's my only complaint; if you can call it that. They really do make the most sleazy and dirty noise in the world. Part electro, part synths, part hip hop and loads of random screaming and shouting. They're great. I don't really know that much about them though. They're on myspace and their website can be located here. So you know, tell them how great they are or something – it’s not like they really need the encouragement, but hey.

Explogasm - Soccer Mom Sex

Monday, November 29, 2004

It's kicking off in Bright

Well, I bought a ticket to see Death From Above 1979 in February today. I mean, £6 isn't to be turned down, is it? Especially when Controller. Controller are going to to be joining them. Yes, that is correct, Controller. Controller WILL be playing with DFA79... 2005 is already looking good, and the Canadians are are coming to show us how it should be done. Then again, the last time I went to a show in Nottingham at the Rescue Rooms there were more people interested in The Zutons than Hot Snakes. Still, there was a nice turn out at the Hot Snakes gig, and The Futureheads were supporting The Zutons, and I can understand the interest in them.

Anyway, back to Brighton. First there was The Go! Team and now they've brought us The Pipettes. What the hell is going on over there? I heard about this band whilst under the influence of the Plan B Magazine - It's been happening a lot more lately - but i'm glad I did. I don't like the Belle and Sebastian comparisons, but it is "twee pop" but with a difference. This all girl trio are RiotBecki, Rose, and Julia, and have recently been making waves in the live circuit for their live shows: matching uniforms, bad dancing and synchronised hand movements. Intrigued? I was. They like Phil Spector (his music/ production), and have some great pop songs.

There isn't an album out yet, but they're are some MP3's avaliable to satisfy your interest for the time being. They're breaking out of Brighton right now, and if you get the chance, try to catch one of their following shows:

Oh, and you can't be bothered to search google yourself then by all means:

The Pipettes - Judy (Wotcha Gonna Do?)

Oh, and click here to visit their website. Thanks

Saturday, November 27, 2004

Mashin' it up

[on the title of his album, “One AM”] It comes from a couple of different things," he explains. "Before I really delved into this record, I lived in a house with a couple of my friends who were very much a part of making music and laying down beats, so we had a basement studio where we did pre-production and we'd go down and often create. It sort of bugged me how often we'd go down and beat around until 1am - so [the title] was sort of like paying homage to where I've come from in terms of creating. That was many years ago."

Diverse aka Kenny Jenkins is the new entrepreneur of instrumental hip-hop, but not on this album. The production is incredible (of course), but this Chicago artist is very much talented MC in his own right. So much so that his debut album: “One AM,” should have stood for one of the most impressive releases of last year. In fact, it makes you wonder why artists like Kanye West are constantly being awarded accolade after accolade for successfully bring hip hop “back” to the masses - Whatever that actually means? Maybe there isn’t a lot here to get too carried away with, but after some serious spins on my part, this album has yet to disappoint; and with it's big sound beats and crowd rousing scratch anthems, Diverse is so good that after a while you pay no mind to what he is saying and just sit back to admire the results.

Another interesting fact is while artists like MF Doom, (equally unappreciated) suffer from the amount of guest appearances, Diverse is able to make artists such as Madlib, RJD2, Prefuse 73, Jean Grae and Vast Aire contribute to his own various talents. In fact it could be argued that he has created a classic Hip Hop album, driven by guitar based instrumentals and laid-back Funky grooves it even rivals DM and Jemini’s masterpiece: “Ghetto Pop Life.” His vocal style is accesssible and never comes across or over the top or arrogant despite the obvious confidence in his own abilities.

Injury cut short any basketball career he might have had planned and I’m sure we’d all agree that the world of hip-hop is a lot better off because of it. Uprock appears fairly early on in the album, but remains the best example of the talent Diverse displays throughout this album. I only hope that this modest offering is not enough to satisfy any curiosity you might have.

Diverse - Uprock

Click here for information on how to purchase the album

Friday, November 26, 2004

Opening night (the other night?)

So the night didn’t go as smoothly as we hoped; both of the bands pulled out. But we managed to get replacements, and they did a great job for us. So I can’t complain too much. God knows what people thought of the music. We kept getting asked to play Libertines tracks, and not one of us own a copy of their new album, or the abomination known as Babyshambles – Sorry, disgraceful language folks. No, but seriously, we all think it went really well. People stayed to listen to the music, and we had a good time. It’s hard to gauge what went down really well. We did have a projector playing, so there could have been a lot of people who stayed to watch Kill Bill or the Big Lebowski. We managed to play some Out Hud, and well, “Hair dude, You’re Stepping on my Mystic” was a definite highlight for me. “S.T.R.E.E.T.D.A.D” is a great album, and I’m sure a lot of people have revisited it (or plan to) after the impact of the !!! (pronounced chick, chick, chick) album this year, but I thought I might speed up the progress by posting a track now.

Regarded by many as a genuine classic, which has spawned a lot of substandard imitators over the last couple of years, S.T.R.E.E.T.D.A.D was released in 2002. Incorporating punk, dub, electro, funk, acid house and hip hop, the music on this album is an amalgamation of pure noise and catchy grooves - leaving the listener at worst, slightly unsettled. So, all this from a debut album you say? Well, strictly speaking, it is a debut album – an extremely accomplished one at that – but the members of this band are composed of members from another famous Sacramento group, !!! as well as from the group The Yah Mo's.

In short: this is an important record, and if you like this track then stop by to hear some more of the same on the 8th of December – If you’re local. But more importantly BUY the album. It’s essential listening for anybody with an interest in music: Amazon,

Out Hud – Hair Dude, You're Stepping on my Mystique

I'm guessing people didn't vibe off the other entries (Devo excluded)?

Tuesday, November 23, 2004

Ladies and gentleman, the kitchen sink...

Death From Above 1979 make some horrible party noise. It’s all pure sweat, filth and brutal noise from this terrible twosome; who armed with only a bass and a drum kit are destined to destroy audiences in the not too distant future, with their high octane mix of primal rock: that will leave you either dancing like a lunatic, or in a state of total shock. DFA79 are a two-piece, two friends; Jesse F Keeler and Sebastien Grainger that live in a funeral parlour in Toronto. To hear them on record, it’s hard to believe that the only instruments being played are the bass and drums – I’m fully aware that that statement has been used before when people reference Lightning Bolt, but still…These guys are make terrifying and catchy music in equal measure, and go out of their way to leave you used and abused by the time you’re finished with their new full length: “You're a Woman, I'm a Machine”

DFA records have (as you might expect) approached the band to change their name and were greeted with the following reply (on their former website): "FUCK DFA RECORDS, FUCK JAMES MURPHY, WE DECLARE JIHAD ON THEM. HOLY WAR ENDING IN THIER DEATH AND DISMEMBERMENT... James Murphy is a selfish piece of fuck that will burn in the flames of a specially dedicated rock and roll jihad. If I had the resources I would fly a plane into his skull." – So there we go. They have the same 'outlook' when it comes to the questions regarding the obvious, and deliberate lack of a guitars in their music too: “We don’t need them, and besides why would we want to put anyone else on the payroll?” This attitude is even more evident in their music, where the music IS all about attitude.

DFA79 are the sonic equivalent of “Everything and the kitchen sink…” and even though this is their first major release there is no shortage of interest (and quotes) available on this crazed duo. They are here to fuck with you, and they just about pull it off in the progress. I just wish I had time to throw in some more outrageous superlatives…

I refer you to there website, and details of where you can buy the album;
Amazon basically…

But if you’re still in any doubt then follow the link below to an MP3 taken from their new album. It’s available through their website, but I thought I’d try and be as helpful as possible:

Death From Above 1979 – Little Girl

Sunday, November 21, 2004


I don’t really want to get too involved with the man himself. Roky Erickson had a lot of problems, and still does, but it can't take anything anyway from the music. He’s been quoted as saying that music is the only thing that’s kept him going, it was his oxygen, and that’s what makes him such an interesting to figure to someone like me. I’ll be the first person to admit that I don’t know that much about his back catalogue. I suppose he must have made some below par recordings, and although he’s often focused on for his off the wall antics, his legacy is for all to see. I’m not just talking about current bands either. He’s helped to influence punk and new wave, and played with a host of bands such as the Aliens, the Resurrectionists, the Explosives, and Evil Hook. He was a great songwriter, one of the best in fact, but what a voice. It’s kind of blues, hard acid rock, mixed together with wolf-like yowls that just make this music so uniquely brilliant.

Credited with helping to bring “psychedelic” music to prominence in the sixties while fronting The 13th Floor Elevators, he later, and famously, spent some time in Rusk (a mental insitution) to avoid going to jail for possessing one joint(!); he pretended to be crazy, thinking it would spare him a prison term. After he was released he started to make music, which leant toward a far more "themed" hard rock direction. Writing lyrics often concerned with gremlins, demons, and vampires. He famously stated in one interview that he was in fact an alien. All of this has helped to generate a continuing interest in his life, but what about the music? Well, although I wouldn’t normally advocate this, but You're Gonna Miss Me: The Best of Roky Erickson is great introduction to his music. His earlier material, while probably a more attractive proposition to most, will certainly leave out an interesting period of music, and this release in particular is great at capturing this - If you're lucky enough to get hold of a copy

I thought the following the following song was kind of relevant:

Roky Erickson - Can't Be Brought Down

Friday, November 19, 2004

It’s pronounced Deeevo!!!

"Devo work on a powerful,
abrasive cut and thrust,
which also happens to be
utterly danceable..."
J.B., Melody Maker, 9/2/78

Somebody else has said: “There are two kinds of people: those who get Devo, and those who don't” Now, that might sound extreme, but Devo were a band extremities. In the Devo biography (Sorry, the only Devo biography): Are We Not Men? We Are Devo, Jade Dellinger talks about how the band came into existence, and focuses primarily on the early years. They wanted to provoke a reaction from their music, and their music was intended to both attract and repel listeners. Now, I don’t know about any of that, but they certainly weren’t new wave OR punk. They were something else. Simply Saucer might have seen a future with robots, but Devo were robots – Or at least sounded like they were…? They wanted to be robots.

DEVO were actually catchy electro pop riffs… I mean Mark Mothersbaugh (Vocals and Synth keyboards) Gerald V. 'Jerry' Casale (Vocals and Bass), Bob Mothersbaugh 'Bob1' (Guitar), Bob Casale 'Bob2' Guitar and Synth Keyboards). And over the years on Drums Jim Mothersbaugh 1974 - 1976, Alan Myers 1976 - 1985, David Kendrick 1986 - 1990 and most recently Josh freese 1996 - present. They were innovators. The future. We just have a wait a while before we catch up with them.

The following track is well, incredible. You have the layers of keyboard, a swirling intro and when bass and when the drums kick in this song just comes alive. Beautiful if slightly disturbing, I give you Devo, and a great track from a perfect album. This song also features on the soundtrack for the new Wes Anderson film. Mark Mothersbaugh has had soundtrack duties on Bottle Rocket, Rushmore and The Royal Tenenbaums – So you always knew there would be a Devo track featuring at some point.

Devo - Gut Feeling/Slap Your Mammy

So what are you waiting for? Buy buy buy! It’s dirt cheap!

We rap ‘bout what we see

Quest That title is perfect because it’s what A Tribe Called Quest were all about. Their lyrics were witty BUT with a purpose; and they weren’t into that bullshit posturing “gangsta rap” and the feuding that went with it. They were Q-Tip (Jonathan Davis), DJ Ali Shaheed Muhammad, Jarobi and Phife Dog (Malik Taylor). Now That’s the only factual information I have for you I’m afraid. They’re no longer with us, but they were well, incredible then and even more now. “Midnight Marauders” is the best album that A Tribe Called Quest made. Fact! Err, now I have to explain myself..Their first three albums are classics of which there is no argument, but “Low End Theory” always ends up being their true masterpiece - It doesn't really matter of course, but for the sake of my psychobabble it’s going to. “Midnight Marauders” is genius! On this album they have that indelibly jazzy sound fully formed, the big time basslines, and the rhymes ("Lyrically I'm Mario Andretti on the momo") to compliment if not match this sound. It’s confident without being arrogant, and sounds more like a live set than a studio album.

If I’m going to be honest, I listen to this album more than anything than De La Soul and Pharcyde ever did - Not that I’m comparing these guys, they are afterall, completely different from one other, but it’s important to put it into context. It’s over ten years since it was released, and even though I wasn’t listening to it back then it still has that nostalgic sound that that you search for in records. I don’t have a favourite track, but I’ve decided to share We Can Get Down with you all. For me, the album, and this track in particular have aged really well. It’s slower, funky and has that Jazz meets old school hip-hop sound that was distinctive for them then, and even more so now. These guys are sorely missed.

You can buy the album from amazon people - Who else is disturbed by the lack of a website dedicated to these guys? I would have thought they'd at least have a site.

Monday, November 15, 2004

Hold on to your genre

Les Savy Fav

So what’s the deal with Les Savy Fav? Well, way way back in 1996, and long before they had even released an album, the band decided to embark upon a project that would see them release nine different singles, each on a different label. The result was “Inches” a greatest hits album of sorts – it is and it isn’t really – which was greeted with rapturous critical praise earlier this year. Anyway, the band collect a group of nine 7-inch singles onto a CD, and includes a DVD featuring live footage, videos and other stuff that I really can't be bothered to talk about.

Back to the songs then: these songs bounce, jitter and explode in all their mournful post-punk excess, cave man like drumming, atmospheric guitar play and soaring vocals – they never quite decide on what their sound holds an allegiance to really. “Hold On To Your Genre” boasts eerie slide-guitar squalls that recall the early work of Gang of Four, and even the Buzzcocks. In fact this album is a lot like “Going Steady” I suppose. It’s all about the songs, youth! New wave punk? Check. Strung-out guitar anthems? Check. I know, you’ve heard it all before, but these guys really do all of this stuff well. It makes Inches well worth your time too; especially when you consider that there are 18 tracks to play over and over again.

We'll Make a Lover of You has recently been (re)released as a single. I might be wrong about that, but it’s definitely one of their new tracks. This song just kick-starts the album (I mean party) for me. Perfect really. These guys should be huge

Les Savy Fav – We'll Make a Lover of You

To purchase the album click here.

You can also find their website here but nothing much happens there – They’re too busy partying apparently.

Saturday, November 13, 2004

Now for some heavy metalloid music

"Canada's Simply Saucer
may be the single greatest
1970's band to have
influenced absolutely no one..."
- Jay Hinman

Before I even start talking about Simply Saucer, who has the new 1.0 version of Mozilla Firefox? It’s brilliant isn’t it? I know I’m never going back to Internet explorer…Anyway. Music! Described as a combination of early ‘70s pre-punk (Velvet Underground, Stooges, Modern Lovers), Krautrock (Can, Neu) and UK psyche (Hawkwind, Syd Barrett), Simply Saucer were born in 1973, with Edgar Breau on lead guitar and vocals, Kevin Christoff on bass, Neil DeMerchant on drums, and Ping Romany on electronics. They wrote songs about cyborgs and metalloid bodies while making ample use of loopy sound generators – in addition to their potent guitar playing and frantic garage rock sound, which often drew comparisons to Count Five. But although proud of their musical heritage (“Oh What a fantastic movement I’m in/ What a fantastic scene I’m in”) they were also more than a sum of their influences. I’ve mentioned the sci fi element in their music already, but this was very much distinctive then and even now. They combined heavy guitar surges with electronic noodlings to create a space rock sound that along with their lyrical style preordained an almost dystopian future – a least a future with robots. Godammit, where are the robots?

So why didn’t they make it? Well, the band are probably the best people to answer that question, and they summed up the problem in an interview long after disbanding: “We were so isolated... there was no direction, there was no guidance, there was no good criticism of what we were doing. If somebody could've pointed us in a direction we would've taken off, but being here in Hamilton was wasted in a way, because nobody was into the Stooges at all, or Syd Barrett - we were basically playing for ourselves. Y'know it was like I was doing headstands to get a reaction from the crowd." So, they were hardly noticed outside their hometown, and that, coupled with the fact that their album never really saw an official release until in the 80’s meant that they never really had a chance of making it – a travesty, only really understood after the tireless campaigning of Chris Stigliano of Black To Comm magazine (formerly Pfudd!) in his work.

Originally available only as a limited run LP, the album has been hailed by both Forced Exposure and Alternative Press as "the best Canadian LP ever." The newly remastered, expanded reissue is the first genuine re-release of this material in more than a decade.

Simply Saucer - Nazi Apocalypse

Nazi Apocalypse is a howling, and heavily disturbing comic punk rocker ("I'm cyanide over you . . . Eva, Eva Braun / Bye bye baby so long"). Enjoy (you're in for a treat), but remember to buy the album - If you like what you hear, obviously.

Friday, November 12, 2004

Cause this rhymin for nickels business ain't makin it

KMD were brothers Zevlove X and DJ Subroc along with close friend Onyx. They released the classic album “Mr. Hood” in 1990 on Elektra records. Criminally ignored on upon it’s the release the emergence of Zevlove, under the alias MF Doom and his alter egos, have seen this album become some serious hard currency in recent years. It’s incredibly hard to get hold of. Elektra dropped KMD in 1994 *sigh* before the release of their second album: “Black Bastards”, and shortly after this Subroc was tragically killed in a car accident. Putting an end to form of comeback

The world just wasn’t ready for KMD. This whole album is packed with stories, humour, sarcasm and excellent skills both on the musical and the lyrical tip. It’s fun, but with a serious edge. Mr Hood is a figure that appears as a character throughout the album. You get to hear about the interesting situations and scenarios he encounters in his story. But Mike Skinner he is not. Mr Hood is far more interesting; achieved mostly through KMD’s amazing use sampling, and Zevlove X’s own vocal delivery. That it works so well as a debut is testimony to the talent of this group. So with all this in mind, take a walk down to Piocalles Jewelry (The first track on the album is pretty indicative of the humour and their style) but beware, this is not *just* a hip hop parody.

Keep a look out for future releases. This year has seen the release of the their Greatest Hits CD, so it can’t imagine it will take long for Mr Hood gets his day.

KMD -"Soulflexin'"

I have to say I don’t know?

WhiteySo what if 1,2,3,4 Records didn’t send me a promo of the new album. I’m a nobody. Surely it makes more sense for them to send a copy of “The Light at the End of the Tunnel is a Train” to a radio station, so that they can ignore it, and continue to play some bland indie that the NME have “suggested” for them to play. Grrr. I’d like to think that John Peel would like Whitey though. Ahh well, I don’t really don’t want to go down that path. In fact my own sensitivity precludes me from following any discussion of the radio one legend at this moment in time. Of course it might have something to do with that fact that I’m talking complete rubbish without presenting any semblance of a review… *sigh* It’s not like I have to worry about being edited is it? Who knows, they might even send me the promo? Haha, who am I kidding. Anyway, the main reason why I sent an email to said record company is because I really like this band. Actually, I call them a band but the “band” is in fact one man: Nathan Whitey. He’s the one who provides the vocals plays guitar, bass, keyboards, synths, and vibraphone on these tracks. He’s even remixed some tracks that will remain nameless.

They don’t have an album out (yet) they kick serious ass, and their EP/Single is an amalgam of loud and shimmering bass lines and catchy riffs, served on a bed of electro beats. Are you interested yet? You really should be. After a while you even begin to understand Krautock references. There is a lot of unnecessary momentum to these songs, sure, but they never seem contrived or artificial (Hmmm artificial beats…I've heard that before (obviously) but I like it). I have little information to provide you ("I hate I don't know?") on this band – If you haven’t already guessed. But even with what little I do know, I have to admire him for constantly changing the tempo and even the style of these songs. I like what I’ve heard, but it seems like the album is going to be really difficult to market. Maybe I’m wrong. The music is good, and if they’re able to get out there and play then I’m sure they’re going to blow folks away.

Whitey – Just Another Animal

Mad props to Stuart and Juan of 20 Jazz Funk Greats and Simon from Spoilt Victorian Child for bringing these guys to my attention, and of course, to the people who still put these guys on their playlist every week!. Please visit Amazon and order the EP/ 12” in a single and orderly fashion. Ready. Set. Go.

Thursday, November 11, 2004

Sonic Destruction

Comets on Fire are Ethan Miller (guitar, vocals), Noel Harmonson (echoplex), Ben Flashman (bass), Ben Chasny (guitar), and Utrillo Kushner (drums). Since forming in Santa Cruz, California in 1999 this band have been destroying audiences with their fiercely anti commercial acid-freakout rock and roll. Ethan Miller in fact states that: “audiences should be left exhausted and abused by the intensity of our attack, and if they don’t like us then they should be punished even worse.” He even claims in the same interview with Doug Mosurock (See the most recent issue of Plan B) that Jefferson Airplane’s “Surrealistic Pillow” was one the first records that got him interested in psychedelic music – Do I need to continue? No? Well, I’m going to anyway…

No doubt many of you have bought into hype surrounding their new release: Blue Cathedral. It successfully weds Led Zeppelin guitar play with The Stooges and ends up sounding a lot like Simply Saucer: Only a lot heavier. Actually, words like ‘heavy’ don’t even end up as suitable adjectives. This band seem to be genuinely redefining noise at the moment: even if the do make homages that hint at the exact opposite. But for those like myself, who have been left quite literally hungry for more then well look no further than their earlier releases. If you were left bemused and even frightened by the “sound” of Blue Cathedral then their self-titled album will quite simply blow you away. Their sound has definitely evolved since their releases, but they still rock the hell out. Tracks like Graverobbers, and Got a Feelin are just pure filth, with Noel Harmonson on Echoplex, joining Ethan Miller on Vocals and Guitars. They sound a lot more like a punk band on this album, but their frequently drawn out jamming, and use of the echoplex always leaves you second-guessing and slighting unhinged.

Comets On Fire – Graverobbers

Wednesday, November 10, 2004

Still burning brightly

Right then, Manitoba. Dan Snaith might not be allowed to produce any more albums like “Up in Flames” under the Manitoba moniker, but they’re always going to be good old Manitoba to me. I’m probably not breaking any new ground in discussing how great this album is, but after looking through the linear notes in the CD case the other day I came across the receipt, and yes, I’ve been playing this album constantly for over a year now. I wouldn’t really call what I’m writing now a review, it’s more like a homage, because “Up in Flames” is just up there for me. I’m normally not that interested in Electronica music, but since listening to this album I’ve definitely started to realise why people like Four Tet et al so much - I mean, lets face it, it’s generally seen as being a lifeless and soulless musical genre, and the although fairly impressive at times, they’re making music on a lap top.

Manitoba bring you instruments like the guitar, saxophone, glockenspiel, and keyboards and blend them together like you wouldn’t believe. Words like cut and paste even become an understatement; as Dan Snaith makes instrumental music sound fresh more alive then should be possible. It’s sounds like what you’d imagine an acid flashback from the 60’s might sound like. Its invigorating, life-affirming energy that improves on repeated listening, and has been made to demand your full attention throughout its 39-minute running time. It's been said that even Lester Bangs found it difficult when he wrote about his favourite bands, but I will say this: There aren't many albums that successfully break free from the confines of their own genre - and cross over in the progress - but "Up In Flames" is one of them. But by all means, judge for yourself:

Buy from Amazonand for their Official Site click here

Manitoba – Kid You’ll Move Mountains

Tuesday, November 09, 2004

Scare yourself

"...Save Yourself
is the most accomplished
and limber blend of punk
gospel, psychedelia and soul..."
-Heather Phares

Now for something completely different: The Make-Up.Ian Svenonius, whether as a part of Nation of Ulysses or The Make Up, has always been fiercely inventive in creating music. He strikes me as the sort of person who hates to be pigeonholed, and strives to make original music. If pushed you’d have to say that these guys play a form of Gospel/ Yeh Yeh music – Well, that’s what I seem to read everywhere. They like James Brown, and they loved to put on a live spectacle. Because of Ian Svenonius’ history with Nation of Ulysses this band are normally associated with bands like Rocket From the Crypt. But, there was, and is, a lot more to this band. I wouldn’t say they were that funky, but they’re definitely down and dirty. Well, you know, this is music that was always considered for it’s live setting, so it runs that risk.

On the other hand Save Yourself is definitely not amateur hour. Ian Svenonius croons, screams, preaches and although the album often sounds like it’s going to fall apart, it continually has it’s own trademark swagger and sleazy sound. I’d love to post a couple of tracks that might make sense of what I’ve already written, but I’m not going to. It’s weird because these guys released singles, but don’t see how releasing singles would ever work for this band. Tracks like "Feelin’ Man" in particular, are perfect Halloween fare. It’s music that haunts you, and even if I am a day late, it’s time to get scared. Funk. Rawk. Punk. Whatever…

You can buy the album quite easily from Amazon. I can’t find an official site for them anymore.

The Make-Up – Feelin’ Man