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An Uncontrollable Urge Playlist 3/8/10
Tonight’s show was vaguely rock-themed, either experimental rock, or experimental music somehow influenced by rock. Got a request for some Kronos Quartet, and while looking through their records, I found a performance of “The Misirlou Twist,” which blew my mind, so even though I had already began playing their rendition of “Purple Haze,” I had to throw that on as well. Always nice to get an educated request that turns me on to something new.
Playlist after the jump.
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[Flash 9 is required to listen to audio.]Magic Places - In the Conservatory…
The Time-Traveler’s Pocket Guidebook Demo
I don’t care what anyone else has to say on this matter, because I’m closing it right now. The Legend of Zelda has proven to be the most influential object on American indie music of the past two decades. Also, fuck Zelda II. That shit was garbage. Don’t even try to tell me that Ocarina of Time, A Link From the Past, and Link’s Awakening, in that order, are not the best things to happen to the world ever.
In conclusion, check this out.
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Stiff Little Fingers - Suspect Device
I think this song might have been what got me into punk music.
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An Uncontrollable Urge on Yr Radio
What’s on the queue for tonight’s program of experimental rock music?
So far, two new releases from Cuneiform Records (Algernon, and a new record from Univers Zero!), Sonny Sharrock, Henry Cow, the Butthole Surfers, Sonic Youth, Glenn Branca, Red Krayola, and something new from Acid Mothers Temple.
This gnarly edition of An Uncontrollable Urge airs on WMUA tonight, broadcasting at 91.1 FM on yr radio dial, and streaming on the web at WMUA.org.
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[Flash 9 is required to listen to audio.]Mulatu Astatke - Yekatit
Timeless (Mochilla)
Mochilla’s putting out a set of three DVD’s of live concerts of Mulatu Astatke, The Music of James “Dilla” Yancey, and Arthur Verocai, and, I must say, they’re pretty gnarly. In my opinion, Mulatu’s performance was the most compelling, but, then again, I’m more interested in his style of music to begin with. Each performance was shot in black and white, and each one captured an almost spiritual musical moment. While the Suite for Ma Dukes seemed to be missing something, it still contained many a worthwhile moment, and the first ever performance of Arthur Verocai’s solo record was full of soul and texture. As I said, Mulatu’s concert was phenomenal, with so many fantastic improvised solos, and insane musicianship from each individual.
The set comes out March 30, and you’d be a fool not to check it out. In case you’re still on the fence, for some reason, here are samples from each DVD:
FULL SCREEN
mochilla.com / Mulatu
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mochilla.com / Hoc n’ Pucky
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I’ve just returned from Gamelan Galak Tika & Ensemble Robot’s performance at Bowker Auditorium on the UMass campus, and, although I’ve had some odd luck with performances at the space, I was quite happy with tonight’s performance.
I’ve never seen gamelan in person before, and the performance seemed to take in to account that there would be many unfamiliar with the style in the audience. They began with two traditional pieces, providing an introduction to the music that was almost aggressively complex in rhythm and tempo. There were so many changes in meter and speed that I almost forgot to pay attention to the actual timbre of each instrument. For a drummer, I don’t think there could be a sight more exciting than a stage full of people wielding hammers, and they really went to town up there knocking the shit out of whatever those things were. I’m still not sure what most of those instruments were, although I’m pretty sure somebody was playing a turtle.
The second piece also made use of two traditional Balinese dancers. Once they were announced, I began to wonder how one would dance to music that made time it’s bitch like that. The answer was that they dance both fluidly, and at times robotically. The expressions on the dancers faces were creepily intense; the piece was about two bumblebees playing, but, to my ears, it sounded so much darker. With the expressions of the dancers so intensely statuesque, the whole thing was almost macabre. It ended up being the high point of the night, I thought, and it made me wish I had more than five dollars in my pocket, since CD’s were fifteen.
After that, they moved on to their original compositions, each of which involved contemporary western instrumentation, creating interesting textures in combination with the traditional gamelan. The star performer of the night was Heliphon, described by Ensemble Robot’s website as “a double-helix shaped robotic metallophone … it uses solenoids to hammer metal keys, and each key lights up as it plays.” The instrument sounds like a glockenspiel, and though I won’t say it’s the prettiest sounding thing I’ve ever heard, it meshed well with the rest of what was happening. Also used in these pieces were electric bass that ranged from droning to straight funk, electric guitar that was almost Quinian in style, as well as violin, accordion, an EWI, and an upright bass.
The original compositions, while interesting in the variety in timbre, did seem to lack the intensely complex rhythms of the traditional songs. Musicians were playing in multiple time signatures at once, but the changes arrived at a much less rapid pace, and though I think it may have been a bit much to continue like that the whole time, I do think they may have shot their wad by beginning the way they did. I think that, and the fact that the Heliphon was not actually just C-3PO playing the glockenspiel were my only complaints.
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[Flash 9 is required to listen to audio.]Googoosh - Talagh
Pomegranates (Finders Keepers)
Another excellent comp from Finders Keepers. Pomegranates collects psychedelic music from ’60s and ’70s Iran, described by the label as including “voices and stories that may again prove relevant to a psychologically damaged and spiritually corrupt society, a society whose discontents recall the latter years of the Shah’s rule.” Heavy stuff, if I could understand what they were saying. But it’s great stuff, just the same. And, as per usual with Finders Keepers releases, the liner notes are extensive and enlightening.
Drippy wah-pedals, droning organs, funkified basslines, and drummers that create tight-as-hell pockets, but most importantly, “Googoosh.” I don’t know what that means, but I’ve never been more excited to type a word. Googoosh.
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[Flash 9 is required to listen to audio.]Double Dagger - Sleeping With the TV On
Masks (Thrill Jockey)
I guess it’s not realistic to expect anything on the level of Double Dagger’s previous record, More, which was definitely one of the best records of last year. But I was hoping for more of a standout track on this EP, and I’m not sure I feel like we got one. ”Sleeping With the TV On” might be the closest to rivaling More in great punk, with it’s accelerating tempo and blasts of energy.
This EP sounds like Double Dagger, which is good, but it sounds like them being lazy. That’s the last thing I was expecting. It’s definitely still worth some time, but on the heels of an excellent full-length, I was hoping for something more.
Eh, who am I kidding? This is still better than 99% of what’s out there. Go get it, I’m just being spoiled.
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[Flash 9 is required to listen to audio.]Splinters - Splintered Bridges
Kick (Double Negative)
Coming out of the Bay Area, The Splinters are making fun garage pop that sounds like the Coathangers, if they had better singers … and musicians…
Now, obviously, that’s part of the appeal of the Coathangers, but the Splinters manage to keep things fun without sloppiness, perhaps only because the music is so simple. As far as garage stuff goes, this record is actually pretty cleanly played. The guitars are jangling with just a bit of fuzz growing out of the riffs, the bass is overdriven but not overwhelming, and the gang vocals make the whole thing sound like a sing-a-long with your favorite group of friends.
The later cuts on the record are a bit more interesting, I think, starting from “Sorry,” a stripped down conversational tune that starts off quite simple, with light guitar, drums, and vocals, and as the cut goes on, more voices join in, along with another guitar, and some more percussion as well. ”Electricity” rocks in a bit of a modal feel, using some awesome half-steps in the vocals to add some darker tone to the whole piece. But I think my favorite cut is “Splintered Bridges,” ‘cause it hits the riff just right. Check it out at the top of this piece.
Kick comes out March 9th on Double Negative Records.
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