Roots, part 12: Shooting Stars

Most likely this is the end of the series, and so far it may be the most important.  No, it's not really related to anything I'm doing now, it doesn't have any of the familiar characters, it doesn't even amass any great talent like BATWÖLF.  In fact, it was far from my band.

What is so special about Shooting Stars is that they are the oldest.  Xyster (whose material will probably never surface) was barely even a thing at this point.  I believe that Tommy Holden, Adrian Ricelli, Aidan, and myself had only played all together once at this point.

It was July 2001 in Bryn Mawr, Pennsylvania.  I was in my first week of the legendary Summer Music Programs in a "misfit band" that I decline to name and discuss in detail, mostly because it was just lame kid stuff - nothing interesting, offensive, or competent.  The three boys (not even one girl that week in the overnight program) were not on the same wavelength musically and it seemed like few others were.  That was, until I met Shooting Stars.

They kept to themselves as they had all come together.  Two of the oldest - Chris Ott and Emilio Rovello, and one of the youngest - Johnny Ott, students at the program.  I sat with them one day at lunch and we connected over love of the B-52s, Ramones, and many other hip artists.  My band didn't appreciate this desertion, but I didn't care.  I learned that these three were the only kids in the program for all three weeks, they had traveled unaccompanied via train from Stamford, CT, and had rented all their gear.  None of them had any experience playing music, even on their own, until that summer.

Of course that put off other students, but I knew that training had nothing to do with making music. These three had no boundaries in the music they loved.  They were some of the only people there who liked hip-hop, they liked punk, and ska, and psychedlia, and experimental rock, and even jam bands - even though they couldn't see how anyone would listen to that exclusively.  It was liberating coming from an enviroment full of very close-minded music fans.  They were open to anything but Weezer.  Despite being thrown into their guitar, bass, and drums and having to sing at the same time they managed to make a big splash on the scene their first week.  Their key composition "Current C#" with its infectious reggae-inspired groove became the best remembered song in that program's history.  No joke.  Instructors would be playing this catchy tune for years afterward.

So, with it apparent that these were the koolest cats in Bryn Mawr I asked Chet, the leader of this fine institution if I could join Shooting Stars despite there already being a bass player.  Luckily it was allowed and that Friday night I became another Shooting Star.  On Monday we were given a slightly hippie-ish instructor named Josh and we went to work on the next EP.  Josh was pretty helpful despite being in over his head and he more than anything was there for an extra skilled hand as the four young musicians swapped instruments and made Summer Music Programs history.  Here is the evidence:

Back and front cover, featututing the barely visible typo from our designer.

These are thanks you's that are hard to read, and most are not that important, mostly obvious.  There's a lot of thanks to the Sage Dining Service and their gruff employee Tyone Ellis and no hanks to Weezer and The Bon.  Also thanked are Pooch, the "industry insider" that would speak at Summer Music Programs for many years, and "bitch on wheels" which was a catchphrase of that week.

Inside artwork, taken from a fun and immature afternoon with Hayden Wright.
That's us in tennis skirts.  Shame Emilio was cut from that image, he cross-dressed too.

Back cover starring Johnny Ott.

The EP kicks off with "Music,"young (12) Johnny's original, which despite being sung from a drummer's perspective features Chris on drums playing some really cool awkward-length fills (on purpose).  It features Josh on Chris's role of guitar and is the only song with two basses.  It's pretty cute.

Next is my vocal spotlight "Now I wanna Sniff Some Glue" which we had to change to "snip" some glue, if you can even tell.  It's kinda ruined by the high, snappy snare that EVERYONE had to use on that trip to the studio, but also established me as "the Ramones guy" for many years at the program, almost more than I wanted.  For the sake of extension, we added a solo that Chris made real weird.

Then things really move into our unique territory with "61 Cans on the Wall/The Bon" which, of course, was mixed up on the CD.  This was a loose, reggae-inspired jam, with hippy-dippy rap lyrics a la De La Soul from Chris and Emilio.  The tracks features myself and Josh on piano, but no need to mention that - it's mentioned in the improvised lyrics towards the end.  Chris gets really weird on guitar on this track, further showing how willing this group was to just have fun and be weird.  At the end we go into the noise breakdown "The Bon" - a noisy punk attack with all four of us shouting out the memories from the week, largely about Tyrone Ellis and "Johnny Dinglehopper." Johnny Ott's screams my be my favorite part.

Ending it is the six and a half minute instrumental "Twisted Symphony" which really foreshadowed just about everything I have done with music since.  Chris Ott gets even weirder with his guitar parts and he and Josh overdubbed some pretty weird sounds.  Emilio is on keyboards, and I play a repetitive bass drone.  On the rhythm track josh lended an extra set of hands on drums.

I will admit it can be a rough listen at times, but far less than Chronic Insurgence.  If you want to hear a bunch of kids who love music and hate rules and conformity here it is.  I have never had more fun recording in my life and when I hear this all the memories come back.  You can hear some of these tracks and realize that I really haven't changed in the 12 years since making this.  Shooting Stars was a rare band, especially this week.  We genuinely liked each other and shared a lot of vision.  Never gain would Summer Music Programs have a band go into a professional studio and just jam and mess around.  Just listen for yourself, you will be glad you did because there is nothing else like it.  Maybe the Shaggs, but I think it's a lot easier of a listen!

DOWNLOAD:  Shooting Stars - Politically Correct (2001)

Friends

So the last series was really self-centered, but this whole time it was all with the intention of putting out a collection of songs by my friends.  Most of the are the fascinating characters mentioned in my previous articles.  I have been lucky enough to be surrounded by geniuses my whole life, most of them musicians, and many of them collaborators.  Though some may be over or under-represented in this set, I tried not to have any favorites, I merely wanted all the major projects represented.  Alameda and Basking Ridge probably make up the majority of the lot, but people I know from college (the bridge to all, I suppose) and LA are in there too.  Now for the long explanation int eh only order that makes any sense:  Alphabetical...

Colin O'Brien-Lux is a Maryland-bred performance artist in Los Angeles who has been active in many communities in the city and is perhaps best-known for his Winter 2012 clown show Everybody Nose Nothing Means Anything And I'm Very Worried, which unfortunately coincided with Super River's debut.  Not to discuss my own band too much, but the connection is a major one as Jesse Johnstone did the engineering on the EP Angel Will You Marry Me? from which both these tracks are taken and played drums on one song.  Other drums were played by Miles Marsico and bass came from Andrew Lewis, who played in Skin Rat.  Last I know he was performing as Grandma in a very atmospheric and intimate way that should not be missed.  "Scarf" is one of the most powerful tracks I have heard in a while.

The Darflers is a project led by Alex "Flash Gilmore" Hatatsis that has also featured fromer Funbeatles/Sunfighter Marty Skeels and local legend (and portrayer of Nagatoku in "Gundam Driver") Chris Arnold.  The band had an emphasis on power-pop with green musician Halatsis skillfully pulling off both bass and vocals.  Not much has been heard since, but Halatsis is now in a band with Big/Ewox member Alyssa Polizzi before her move to LA.  "Best Boy" comes from the Spencer's Girl EP, and "Another Lonely Girl" is a demo with lyrics penned by yours truly.  One of my two appearances in this set.

Flash Gilmore & the Funbeatles was Alameda's greatest band, band certainly the greatest live act of 2012.  With firm roots in The Comfy Men, they were comprised of frontman Flash Gilmore, drummer Jerry Ramone, bassist Mick James and guitarists Hazel James and The Glove.  Their uniformed and choreographed shows were a rare spectacle featuring both phenomenal originals and classic covers.  They released the record Debauchery Playground, named after their closing track - the first composed for the project shortly before disbanding in late Spring of 2011.  Unfortunately, the album was recorded months before and the band's playing and songs had improved much in that time, but that's only an issue if you were lucky enough to witness these later shows.  It still stands as one of the best rock records of its time and "The Top" and "Here It Comes" are hardly enough to hear by this unbelievable combo.

Kidz was a project led by Sam Deutsch (who will be explained in more detail shortly) with a collaborator named Mike.  "Move Yo' Body" is a fantastic piece of 90s dance music that shows just how much the artist who cut his teeth in Hurtu/the Shears/Love Athena can do.

The Last Nights was the brief reunification of Funbeatles Alex Halatsis, Paul Igaz, and Arran Rogerson who made a worthy (even by their standards) debut with an improvised set in May 2012.  Before the Hawaii exodus they played a few shows and recorded Dig This from which these two tracks come.  "Dany James" is about the inspirational Oakland artist.  Sadly other classic tracks "Virtual Tibet" and "Guided by C-Mac" remain unrecorded to my knowledge.

Love Warrior was a solo project from Arran Rogerson after the disbanding of the Funbeatles and recorded the album DMZ, a power-pop album mostly about masturbation.

Also from Alameda is One Tribe, the project of Hawaii native Tony O'Toole.  A spiritual figure in the Alameda scene, Tony was the subject of one of the Funbeatles' earliest songs and has been catalyst to much musical growth (in both directions) with most of the Alameda musicians.  Music For My Friends was an ambitious project for him, but turned out to be a success.  It is the source of the atmospheric instrumental "John" and the cover of "30 Century Man," with guest vocals from Alex Halatsis.  "What a Strange Day" is a demo I rather like as well.

pow wow! is the project of Basking Ridge originals Jeff and Eddie Nazareno with roots going back arguably about ten years, or 26, depending on the perspective.  Last year they released the refreshing Don't Stop To Look with a five-member lineup providing big arrangements, tons of hooks, and beautiful harmonies.  The first two tracks are here, but the whole thing is about as good.  The band has had varying levels of notoriety throughout it its career, and their album, one of the finest of 2012 still needs its due.  Unfortunately their future is a bit uncertain, but there is no doubt its members will go onto creating more great music.

Sunfighter is the primary band of former Funbeatles Arran and Sam Rogerson.  They both play guitar and sing and split songwriting duties.  Sweet Machine was another great and overlooked album of 2012 full of catchy guitar rock that evokes all the best stuff and is quite creative in its songcraft.  They toured the West Coast last summer with rhythm section Fed Martinez (drummer in Rogerson's past groups Life on Mars? and others) and Eamon O'Conner, playing with Super River in two instances.  Here are two of my favorites from that record.

SWade is the former alias of Sam Deutsch, one of the most talented and unpredictable artists I know in any regard.  That made selecting tracks from him very difficult.  He can write great classic pop songs, experimental pieces, piano ballads and just about everything in between.  Lately his focus has been on Dark R&B, though with plenty of breaks in between.  He is currently using the name 50 Grand Sam and working on an EP, but just released the song "Hollywood" yesterday which you can purchase on iTunes, and I implore that you do.  These two are different though - "Could This Mean Space?" is an experimental synth pop that is as edgy as it is catchy, and "A Best Friend's Love" is a funny folk-rock demo.  Just two of my favorites among a whole lot.

Volcano Divers is Liam Carroll, from Liberty Corner, not Basking Ridge if you can believe that.  First appearing in this blog as Batwolf's butler Dr. Alphonzo Vengeance (yes, we had a doctor for a Butler), he has recorded a lot of noise-pop in this form and here are a couple of my faves.

Will Stratton is another old friend from Basking Ridge.  His real name is Will Lulofs and he was a member of Batwolf, the Tangles, and previously Time Well Spent.  He is recovering from Testicular Cancer and planning to return u-time to New York in October.   There will will be more about that in an upcoming article.  Last Friday was his benefit show, featuring a closing performance by the man himself in accompaniment of the BENEFIT ALBUM which I will also discuss in more detail.  Having the most professional career of all (four albums released on real labels) it was also hard to choose material from him, especially considering how much of it has Basking Ridge references.  However I chose one from his first, another from his second, and a demo of the title track for the next.  I am sure it will change a lot before the album is released, but I like this version.  I also used to like the demo version of "You're a Real Thing" more, but that has changed.

As mentioned before, Zero the Astronaut is Alex Adler's solo project after Ways ceased to be.  With so much material he started narrowing it down and went into the studio to record a debut single of "Solitude" and "Misery City."  He played all the instruments except the bass on "Solitude" which, not surprisingly was me.  The songs show both his sides - heavy and complex and soft and stoney, but both have a great deal of raw emotion.  Adler is an excellent songwriter who is firmly in the tradition of the best American rock of the 80s and 90s who has a lot of potential, particularly in his ability to not fear the obvious.

DOWNLOAD: THE BEST OF FRIENDS

I hope you enjoy all these tracks and artists as much as I do.

Roots, part 7: The Lost Bands

I started playing in bands when I was 12.  That was way too late, but it was hard to find people to play with.  I was mostly a drummer back then, you could say.  When Time Well Spent played at the William Annin Middle School talent show in 2000 it was time to stop dragging my feet.  Time Well Spent was a ska band led by Will Lulofs (aka Will Stratton) who at that time included Laura Allen (drums), Alex Jen (bass), maybe Rob Fehn (sax), Josh Felter (trombone) and I think, Greg Schefler (trumpet).  Later on they included Jeff Nazareno on guitar and Shannon Mackey on vocals.

So I hooked up with Matt Brady who just started playing guitar.  We would eventually call our band Panaphobia, but for the rest of 2000 I switched to bass and we had a revolving cast of members such as Doug Chee, Bo Liu, Alec Signorino, Tommy Holden, and probably everyone else I was friends with in 8th grade. No recordings survive to my knowledge, but Doug Chee made some on his old TalkBoy, but in addition to Metallica and AC/DC covers "The Tower Air Saga" and "Smokey Bear Plays With Matches" were in their early formation.  The former was the first song we wrote with lyrics by Tommy written after a Time Well Spent performance.  Those lyrics returned in a one-off performance from Love Athena much later.  Other names considered/used were The Electric Shoes, (Red) Convulsion, and Safety Hazard.  How embarrassing!

That band dissolved by the end of 8th grade and things settled down on Xyster which featured myself, my brother Aidan, Tommy Holden, and Adrian Rodrigues Ricelli.  That band was a lot more focused on humorous noise rock and a demo recorded with a computer microphone was made on a MiniDisc in the Autumn of 2001.  That has probably vanished, sadly, but it had some cool stuff.  Any fan of The Power of Rawk would have loved what we made.  That day (possibly others too) we recorded songs like "The Tower Air Saga," "Radio Boy," "Creep Street," "Smokey Bear Plays With Matches," and "Randy."  The last was written by guest vocalist Albert Martini who compliments the lyrics about a bratty kid with a Louis Armstrong voice assuring us, "I got the Jell-o!"  It was one of the only songs to utilize the band's dual bass capability.   Tommy was out of the band somehow and replaced with Sam Deutsch before Xyster played Charter Day in Basking Ridge, May 2002 though it was not very successful.  We played "Creep Street," "Virulent," "Love Will Tear Us Apart," and I think "Blitzkreig Bop."  It was intense, I think "Virulent" sounded best even as a broke sticks and played drums with my hands.  At the time I thought we were re-inventing noise-rock.  It mat have been true.  

In the summers of 2001-2003 I attended Summer Music Programs in Bryn Mawr, PA and recorded 6 EPs with 5 different groups, all of whom played a show at the end of the week.  In 2001 was was in the Mejettes which was a pretty sad group of misfits that covered "Brown-Eyed Girl" and began my tradition of singing the Ramones with "Blitzkreig Bop," albeit with incorrect lyrics.  I can't recall what else and I would prefer not to... oh God, one of then was "What I Got"...  The next week I joined Shooting Stars on second bass/multi-instruments.  Shooting Stars had proven themselves the most interesting band the week before, and the coolest kids int eh program with the most diverse and open taste in music and best attitude.  Before me they had written some cool dubby originals and covered A Tribe Called Quest's "Can I Kick It?"  We did an original called "Music," another jammy one which's title I cannot recall, "Now I Wanna Snip Some Glue," and something else.  The Ramones cover was altered to keep it parent-approved, though it still got me in trouble as my own mother found a tube of Liquid Nails I was using to fix an old guitar buried in my room.  It was embarrassing, though the music was still cool.

The next year Aidan joined me and the first week we met Jeff Ziga who was our drummer and goth chick who played guitar.  We called ourselves the Popes and recorded the EP Shabazz!.  We played "Creep Street" and "Virulent" which had evolved to have a few more changes.  Even the super-hip Ziga was unsure of our minimalistic krautrock and Spacemen 3- derived sound, but we did it.  Additionally we covered more Joy Division with "Transmission" and something by the Ramones, I think "Beat on the Brat."  The next week the brothers McEneaney were thrown into another misfit band.  Satisfied with our work the week before we took it easier, but it was pretty difficult.  The band's de facto leader was a blue-haired Hot Topic victim from Chicago named Josh.  He dubbed us "Chronic Insurgence" which he thought was really clever and put this symbol on the album cover that was a total rip-off of the Quake logo, though he denied it to no end.  He played guitar and vocals.  Even worse was a rich redneck from North Carolina named Chuck.  I hit my breaking point with him and threatened him.  The administration had to speak with me, but they sympathized.  Everyone did.  I hope he was murdered.  Both of them actually.  The bassist (I played guitar all week) was the best non- McEneaney int eh band, but still your typical bass nerd.  He loved to slap and was really excited about the release of By The Way, wanting to cover the title track.  Obviously, he had a chin beard.  He was credited on the EP as "Qev."  The band performed a so-bad-it's-good original by Josh - the title escapes me, "Just Like Honey" (which I sang, of course), a jam and a cover of "Sunday Bloody Sunday" which had a noise breakdown that actually was the band's greatest achievement.  "Just Like Honey" was fun too and is my mom's favorite recording, but the BC Rich just doesn't jive with it.  When we played it Aidan, of course, cranked his distortion all the way up, once to be corrected by Josh who felt the need to remind him it was "a soft song, no distortion."  What an asshole.

These four EPs still exist, unfortunately the first two are in LA.  I'll get them back and post them.  The second two I could get at my mom's place some time soon probably/hopefully.  As for 2003, that was already documented in my article on The Shears.

In Fall 2002, Adrian left and Xyster folded, making way for Hurtu, which has also been documented.  What I failed to mention, possibly intentionally was the Guilty Parties.  This was a punk band formed by André Cernasov prior to joining Pukey and the Vomets and bassist Sean Dlugos.  I played drums, Sam was the singer.  We had some original songs which sadly I can only remember one being a reggae jam with a lot of cursing.  We also did "California Über Alles."  The main original we did though was not bad and pretty funny, though.  We had a good time.  Recordings probably existed, but I know nothing of them.

After that there was The Shears, Mr. Disco, and Love Athena.  In Spring 2004, Sam and I were in pop-metal supergroup Batwolf, a band whose legend is too lengthy and will one day get their own article - hopefully right before a reunion.  I will say a little though, such as that the band included myself, Sam, Will Lulofs, Jeff Nazareno, and Albert Martini, all of whom have been mentioned in this article already.  The five of us assumed the names of five demigod brothers raised by Ganfalf on planet Lovetron named Valhalla O'Shea, Ogrim Doomhammer, Sir Elven Hellspawn, River Styx Milton, and Sabertooth Siren.  We had three songs - "Meat Factory Lovin'," "The Fall of The Wizard," the gorgeous "Love Commander," and an ELO-inspired instrumental.  Instrumental recordings were made of the songs for Albert to practice vocals and have since disappeared.  There were plans to record a record entitled Taste the Rock which would also include a title track, but after two performances that was the end of the band.  The first was at Charter Day and saw the group chauffeured by Mike Raynes in his 1990 Chrysler LeBaron nicknamed "Ron" in full costume.  We played all three fully-formed songs and welcomed Liam Carroll in character as Dr. Alphonzo Vengeance feeding microwaved (and mostly partially-frozen) taquitos to Sam.  He threw a few into the audience, hitting Eric "Big Montana Schneider" on the head with one, prompting a humorous "are you serious!?" caught on a lost video taken by Tommy Holden.  A small, mostly acoustic show was organized in Society Hill by Jeff's place later, but was cut short by power issues and awful neighbors.  It was gorgeous as we set up our instruments and fans by the pond that late spring evening.  Later, Liam made a documentary about the group further developing the band's mythology.

Batwolf illustrated:  Will, C-Mac, Albert, Jeff, Sam, and Liam

That Autumn, following the breakup of Love Athena I joined two other bands, I played bass in neither group.  I served on guitar in Down/B with Jason Paskow (also of Jesus Cookie), Tom Baumgarten, and Taylor Green.  We had some cool sounds and covered "Hey Ya," but I was too busy to keep up and I don't think much happened afterwards.  The other was The Hispanics with Tim King (aka Raphael Agudelo), Alex Talbot, and Adrian Rodriguez Ricelli.  I played drums and we had a cool dissonant, yet danceable post-punk sound in the mold of early Liars, The Ex, and of course, This Heat.  I remember a song called "She Missed The Stop Sign" being one of our best.  We played a party at Paul Niziolek's on December 10, 2004.  Birthday boy Aidan guest starred with us on sax when we played "Sex Bomb" - Flipper, not Tom Jones.  No recordings made to my knowledge.

As high school ended Will, Jeff, and I went ahead and finally formed the ultimate Basking Ridge supergroup The Tangles.  We had three songs and I think recorded at least instrumental racks to all which have all been lost.  A full song "Nightmare Town" was put on a Myspace which has somehow vanished.  It's a shame, it's perfect indie rock, circa 2005.  I tried to put a new version of the Tangles together the next summer with Sheldon Kartush on bass and myself on guitar.  We played "Love Commander" and a few other songs, but nothing else came of it.  That was about it until The Comfy Men, the Ways, Super River, and my new band featuring Jeff Nazareno and Andrea Kannes which has yet to be named.

Oh, also there was The Funkateers who was more of a performance art piece.  Sam played guitar, Ian David Played bass, I think Ryan Clark played drums while I played a silent home-made keytar and Alex Dinsmore and Brian Von Glahn were backup singers/dancers.  I think...  Either way, that was the same day I lost my virginity and Ridge high had it's 2003 Battle of the Bands featuring excellent performances from Tommy Wanish and Jeff Nazareno.  The latter, originally intended to include Will (who was sick), featured not only a cover of "Bizarre Love Triangle," but also a robot battle of Albert Martini as Killtron and Tim King as "Ghetto" Killtron.

Oh, and also I assisted Tim with some emo demos he was making with Lindsey Morelli in 2002.

That's just about everything.  More about my friends and my future later.

Roots, Part 6: (Winding) Ways

Alex Adler, George McTernan, C-Mac

There was another barren period, this time also lasting about three years, but it was perhaps even more barren and a lot of it had to do with not even having an instrument with me when I moved to LA in June of 2009.  That changed slightly over a year later when my family visited.  I needed the thing back no matter what, but it was heightened by the possibility of the Funbeatles losing a member.  Luckily for everyone other than me that never happened.  The bass was useful when I moved to Alameda at the end of 2010, though, but I would not be in a proper band until the following Spring when I returned to LA.

That band was Ways, also known as Winding Ways and sometimes The Ways.  It was led by my college friend Alex Adler who had amassed a large quantity of songs, ideas, and titles, all of which impressed me, such as "Inner Moon," "Alive In Well," "(Oh) Family," "Ocean Vision" and many more.  Just looking forward to playing again, we began and all too quickly found drummer and recent transplant from New England George McTernan.

We began weekly sessions at Echo Park's ultra-hip rehearsal space Bedrock (where less than a year later Super River would be) and got to work on this wide body of songs.   Some of the first were "Zero The Astronaut," "On Pleasure Pier," "Discipline" and "Vice/Versa."  The band's influences were mostly of the 80s and 90s rock type like grunge, shoegaze, and American Underground, though with some space-rock in there too.  Some more specific inspirations were the Wipers, Meat Puppets, and Bobb Trimble, with Adler's dominant guitar style evoking a lot of John Frusciante, Curt Kirkwood, and Trimble.  Those four early songs were recorded in early May by Paul Igaz in his legendary basement with him on drums.  I unfortunately do not have these demos at the moment which is tragic as they may be the best recordings and Igaz' drum style is quite different from McTernan's which offers a very different interpretation of these songs.

Brady Nelson played with us a few times on synth, but we were unsure how needed that was and schedules were not ideal.  Through that Summer we kept playing and our setlist grew and grew into an exciting little show.  That show was finally put on display at the embarrassing Highland Park venue Mr. T's Bowl with current Los Angeles buzz band Spaceships and a "punk" band called Dog Teeth or something, who I guess has a cassette or something.  I found them unpleasant, but Spaceships was great.  We got that show through their bassist Schuyler Stone, also of Benefit Friends (who departed that November for New York) who also, through them got Super River a nice show at Silver Lake Lounge a year later.  It went well for the most part, other than my amp being a bit too loud and my mic being way too loud as the sound guy was not expecting my screams on "Pheonix" which on a good night like that were pretty ear-piercing.

We recorded nearly every rehearsal to varying success.  The vocals were often far too low.  We used some kind of good machine I've seen before, but an iPhone probably would have worked better as it did for Super River.  There were also some really great videos made with the help of Adler's room mate Hee-Jae Park, but those have been taken down.  These are probably the rawest recordings I will share.  Not our best performances nor best sound quality and I think I may even be out of tune on "Vice/Versa," but this is the best I have of the band in its original form.

"Misery City" is probably the most pop-oriented song, with a dark beachy vibe.  Keeping with the nautical theme, common in Adler's work is the ballad "On Pleasure Pier," which was always a lot of fun to play, even at its slower tempo.  "Phoenix" was maybe our heaviest songs and definitely the heaviest here.  It has a rare complexity and was more complicated than most, which made it a lot of fun to play, in addition to the screams.  "Vice/Versa" is another emotional rocker, one where it's hard to find a point of reference, though.

The first song we did together "Zero The Astronaut," is obviously pretty spacy and at its best was a hypnotic piece that we would jam on for a while live despite its radical shifts.  Also a lot of fun on bass.  "Discipine" was a loud fast punk track, sort of like a stiffer Wipers.  "Greener Paper" was also fun and one of our shortest songs that always reminded me of Nirvana for some reason, though I really can't hear it.

The band folded in late 2011 as Adler and McTernan's inability to agree on drum parts worsened and the early days of Super River made me unable to focus on any other projects - I even wrote a song partially inspired by this, also included here.  It is one of the few Super River tracks with me on lead vocals.

I think all these songs have a lot of potential and just needed some fine-tuned dynamics to be classics.  Luckily, Adler has stuck with most of them on his own as Zero the Astronaut - available here.  So far he has recorded "Misery City" and "Solitude" which I have also included.  I was lucky enough to lend my bass to "Solitude," though to see it live, and on the old video was ideal with vocal harmonies provided by George and me.  It was truly something exciting and I have a lot to look forward to from Alex Adler.

THE ORIGINAL WAYS +related

Next:  The lost bands, the future, and the best of friends.

New Hope on Earth

Well, I just got back from another show at 5011 in Mid-City. A week and a half I went to see my friend Benefit Friends, but had to leave before he played. However it was still a good time thanks to Tubby Boots and the San Francisco band that preceded them. That band sounded like Ratatat with the guitarist from Tortoise if that rings any bells.

Tonight was an even better show, though. The first band - Furcast was amazing. They were like an epic goth-inspired Black Moth Super Rainbow... but no, that would be playing them off as a little bit more derivative, but shit, they were really great. Corridor may have been even better. Merely a heavily-affected acoustic guitar and drummer they had a very full sound.

Both bands I genuinely liked and fully endorse. I am sure they all have myspaces, but I don't really keep up with that kind of thing. Either way I think despite Jay Reatard's death we have a lot to look forward to again.

The Vaccine to Hearing Loss

Whether you love or hate Antone Newcombe this is going to make you feel stronger either way.


Now, despite what Newcombe says in the above video it is not as easy as you might hope to find all of his music on the internet. After struggling though, I did.

This release, I feel, is particularly important to share as the usual and understandable place to start with BJM is Tepid Peppermint Wonderland: A Retrospective. This album was recorded on TVT Records, which as we all know may function more like a major than any other indie. Though actually with even less patience as this was BJM's only record with them, and they were followed by an almost as brief period with GbV. Naturally, the label would not share these tracks for that wonderful compilation. It sure is a shame as the band was on a roll as much as ever and the record highlights many of the band's strong points.

Recorded during their time in Los Angeles, their sound is rooted as much in 60s psychedelia and the Velvets as ever. However, his album named after an 80s Bowie quote not only is the most typically 90s indie rock I've heard from them but also explored the subtle nuances of 90s psychedelia revivalists. There is no better example of this than the Elephant 6 (Specifically Gerbils-esque) pop of "Jennifer," besides maybe "Dawn" with Newcombe seeming emulating Wayne Coyne. Likewise the magnificent opener "Going to Hell" Newcombe gets in touch with his inner Dylan more than just musically to outstanding results. Tracks like "Nothing to Lose," "Dawn," and "Lantern," are typical BJM at their finest being the perfect medium between Spacemen 3 and Rain Parade. This album is a little more acoustic guitar and organ heavy than a lot of BJM's other work, but not of course with any less of Joel Gion's famous tambourine. Keep the revolution going!


The Brian Jonestown Massacre - Strung Out in Heaven (1998)

Believe Me!

It seems that over the past year Dara Puspita has become a familiar sound in hip circles, perhaps a mostly as a name to drop, but to be honest, not even this cynic sees it that way. That being said, I am a little late on this, but I should throw in my two cents as well, and perhaps as in such "dire economic times" two cents has more value than we have thought. Either way, I just want everyone to know they heard it here too, plus it's been a while since I've posted one of those girl groups we love so much.

So, Dara Puspita or, in English "The Flower Girls" were an all-singing, all-playing girl group from Java who in my opinion represented everything great about sixties rock. This well-coiffed quartet had the sass and presentation of America's finest negro girl groups, the songwriting of the British invasion, the energy and low fidelity of garage/proto-punk, and all with a delightful psychedelic tinge. Obviously it's a ton of fun. This is as pure as it gets as the forward-thinking West had yet to see such a perfectly self-contained X-chromosome unit and this pre-dates even the Kim Fowley-dictated Runaways by nearly a decade. Like much of the music I have posted it is catchy and memorable even when largely in a foreign tongue, so don't let that bother you on pop gems like "Bhaktiku" and the fantastic title track which demonstrates the finest lo-fi production prior to GbV's Propeller, and maybe even beyond. For those intimadated by the language barrier you may want to start with their beautiful cover of the BeeGee's "To Love Somebody," or their own work in "Believe Me." Regardless this aptly-titled album is a real pleasure from beginning to end.

In some ways, I feel like Dara Puspita will be to 2009 what Os Mutantes was to 2004, so get hip to them before liking them too much makes you seem a bit behind the curve. On the other hand, David Byrne has yet to champion them and their cohorts, so you may be fine. Either way, if you love fun pure, rock 'n' roll, especially from girls this is essential.


Dara Puspita - A Go Go (1968)

Going Where No One Else Can Be

"Sailor" had always been one of my favorite Brina Jonestown Massacre songs, so I am pretty ashamed to have not known it was a cover. Here is the original. More "complete" update later.

And HERE is a link to the album.

Choke on the Wonder of It All

Of course, first off I apologize for disappearing like that. I'll try not to do it again. I am tired as I jsut got back from a show in Mid-City I will likely write about this week.

So here is the first solo album from the one man whose hair outdoes Robert Smith's - Echo and the Bunnymen's Ian McCulloch where he proves the band may be different be he is not. After a substantial break since the masterpiece Ocean Rain he returned with a strong set that does not disappoint. It is another great piece of evidence in the Liverpool stands as one of Rock's greatest cities.

While I can assure any fan of Echo that they will be pleased this is not another album by that band. It's a little less moody and dramatic than them and the music is more akin to New Order even as the singer's voice remains as expressive and pleasant as ever. However, this is not to say that record is full of synth-dominated extended dance tracks. McCulloch is still about well-written poetic psych pop songs best fit for a lonely bedroom or romantic night than a crowded club. The opening track "The Flickering Wall" is sure to engage the most critical listener with it's dreamlike lyrics and production and sing-along chorus you will be glad to have stuck in your head for days. The lullaby-like title track is another standout as is the single "Proud to Fall," and the head-scratching "Horse's Head" with its Godfather imagery is delightful pretentious in that distinctly Ian McCulloch way.

Even if you are wary of solo records from leaders of legendary bands, this one really is a essential for any fan of 80s UK indie rock.


Ian McCulloch - Candleland (1989)

Obnoxious Actions, Obnoxious Results, They Teach Us to Refuse to Be Taught

Thanks to most likely the greatest creations of our time, Pandora, I have finally discovered the ultimate band I shouldhave heard 6 years ago... The Chameleons.

Hailing from outside Manchester, the psychedelic postpunk quartet led by bassist Mark Burgess is the perfect thing in between The Teardrop Explodes (to whom they own a massive debt) and the Smiths, as well as a missing link to post-rock. They released three albums in the mid 80s: Script of the Bridge (1983), What Does Anything Mean? Basically (1985), and Strange Times (1986) before breaking up and re-uniting in 2000. These three records are all fantastic and utterly life-changing, yet they all follow expected patterns: First a raw, energetic debut, then an somewhat excessive piece that relies on studio wizardry, and then an absolute masterpiece.

The debut begins with the near goth of "Don't Fall" which take away it's atmospheric psychedelia would not be out of place on an early Bauhaus release. However, it only gets better from there with "Up the Down Escalator," which's lyrics set the standard of symbolism, introspection, and transcendence. This continues in particular onto "As high as You Can Go." The sophomore release after an indulgent synth intro kicks into "Perfume Garden" which succeeds in melding rock guitars with airy synths and pure emotion so many artists these days fail to replicate. Pretty much every other track does this as well, particularly "On the Beach" and "Looking Inwardly." The final masterpiece Strange Times truly captures everything great about the band with the energetic "Mad Jack" opening and the real show-stoppers "In Answer" and "Tears" solidifying its title as one of the greatest records of the decade. The latter (which has a perhaps even better version on the second disc) and "Childhood" also contain a nostalgia that also sets it as a perfect swansong.

This is 100% essential for any fan of 80s UK indie rock, postpunk, and psychedelic rock... especially if you are a fan of Kilimanjaro.

The Chameleons 80s.

Water, Keep On Falling...

Well, back from another trip to the Bay which included a much needed trip to Amoeba after months of being to lazy to go to the one in H-Wood while it was still open...

While in their home town, I was looking for any Viva Saturn, but to no avail. While checking the Rain Parade section, though, I was pleasantly surprised. First, I saw that for the first time ever Crashing Dream was available on CD, but I also found this one for the first time on any format.

Here is a posthumous compilation of Rain Parade's finest odds and ends. Mostly demos, it's a great look into their later work for the Emergency Third Rail Power Trip purist, as the stylistically similar album art should imply. The first ten tracks show the band in preparation for Crashing Dream before Island records cleaned up their sound a bit. Personally, I think most of the album version are better, but these are worth hearing, even if you agree with me. Though, perhaps this could only be said about such standouts as "Mystic Green," as this collection's version of "Gone West," despite its invasive synthesizer is better than the proper album's. Additionally, this includes two tracks (including a title number) from that album which, at least in this context, stand up to the others.

The last nine tracks of this collection are the only available examples of Rain Parade's last days and the unsurprising change of pace. Here the band's final sound was one much darker and indeed for the most part heavier than any previous phase. While at times they remain slow and more comparable than ever to David Roback's post-Rain Parade project Opal, even more are rockier than one would have previously though possible, with the live "Got the Fear" sounding a bit like early Built to Spill. However, this should not be a surprise considering how much Rain Parade's Paisely peers had changed by this point (1987), and these rough demos are better than anything The Bangles or The Three O'Clock released that year.


Rain Parade - Demolition (1991)

Hey, You Wanna Buy Some Speed?

In a sense created by a record executive, Speed, Glue & Shinki was more or less Japan's first successful super session, and a particularly visually alarming one full of 6-foot plus Eurasians. Journeyman guitarist Shinki Chen, often hailed as Japan's Jimi Hendrix was a mainstay of Japanese sessions, but had failed to make any great music on his own. Vice-heavy bassist Masayoshi "Glue" Kabe had been a founding member of the naturally most cracked-out Groups Sounds band the Golden Cups. The only exception was drummer/vocalist/songwriter Joey "Speed" Smith a virtually unknown half-American Filipino national who at the time was fronting an R&B band playing department stores. With a loud, messy blues concotion that would have sounded msot at home in Detroit only years earlier, the three recorded perhaps the most drugged-out music of all time.

This debut album ranked by Julian Cope as the greatest Japrock album (tied with the Flower Travellin' Band's Satori) is a thirty-five minute tribute to drugs and the futen lifestyle. Immediately in "Mr. Walking Drugstore Man," the band shows that while they are excellent musicians, their life truly does revolve around getting high. While the stringed section's command of English may not have been near that of Smith's, it is doubtful they, especially Kabe would object to their content. While the love of drugs is explicit, so is everything else. "Big Headed Woman" is the rock 'n' roll suicide suggestion the PMRC spent most of the eighties searching for, and a funny one at that. The group's assertion of the futen lifestyle runs rampant especially in the anthemic "Ode to the Bad People" to which we all should relate to.

Tempo changes, the instruments run wild, it's a loud mess, but probably the tightest, most deliberate one you will ever hear. This is punk rock.


Speed, Glue & Shinki - Eve (1971)

Indeed That Heavy, But This Futen Has No Right to Say...

Well, I've been inactive for a long time now. Just wasn't feeling too inspired, but that's changed. Just dicked around in this hopeless post-graduate LA job-market clearing my palate with some old favorites and Rhino's Super Hits of the 70s: Have a Nice Day series thanks to my roommate Tommy. That and getting deeper into Julian Cope's Japrocksampler...

...which of course has been the return of my inspiration, and here is Les Raillezes Denudés. Formed in the late 60s this Japanese band formed out of the folk scene emerging with the radical (mostly communist) left, but eventually took their music in an even more radical direction. After the politics took an equally radical turn for the band's bassist hijacking a plane en route to South Korea with quite a few American passengers and escaping to North Korea, the band faded somewhat into obscurity. At this point the cult legend and the sound only sound worthy of it grew. At this point leaderand sole consistent member Mizutani Takashiheaded off into the mountains to live in isolation and set the standard for generations of futen artists like Ghost and perhaps his most dedicated followers Acid Mothers Temple and the Meltin Paraiso U.F.O. Here the sound was honed, taking the Velvet Underground's "Sister Ray" as the blueprint and turning into a precise art of noise as only the Japanese could. Not to mention it's a whole lot more interesting musically, and I must hope with less-embarrassing lyrics. Likewise, Andy and the Velvets' Exploding Plastic Inevitable Show was the top influence on Mizutani's "total sensory assault," which unfortunately was put to rest in 1997.

This set - a bootleg like all their releases, is ranked as the third greatest of the Japrock movement by Cope is some of the most exciting music I've heard. Starting off with the hypnotic "Strong Out Deeper Than The Night," the band's mastery of noise and atmosphere as well as Mizutani's perfectly executed vocals prove that this unique music demands one's full attention. Luckily, it is well-held for the whole 15:33 with an exploratory experience of jazz with the unity of a classic rock song. "The Night Collectors" rocks out the hardest and catchiest, but not without the Tarkovskyesque approach of "sculpting in time." Moments, or long stretches of them of softness come through as well most notably in "Enter The Mirror," making this psychedelic experience particularly dreamlike. For those looking for the most hardcore psychedelia, here it is, one that evokes the full-body brain-piercing experience of an Acid Mothers show even though these busted laptop speakers - full-blast, full-attention, life-changing.


Les Rallizes Denudés - Heavier Than A Death In The Family (1995?)

*I have a few more suspicions than usual this file may not have uploaded properly, so please let me know if there's an issue!

Here's a great video - the true title of this gorgeous song is "Romance of the Black Grief"

What's Going On and What Will Be

Sorry I've been away for a while - I have recently moved from Venice (sort of) back to Westchester and was, as a result, without home internet for a while.

Anyway, back to beeswax... Of all the great artists to bring 60s-influenced psychedelia back in the 80s none was as into the 60s Swinging London look and sound as Milwaukee's Plasticland.

I am not totally sure what that Great Lakes region city was like at the time, but it may have had a burgeoning scene along with the Violent Femmes, who I believe had some loose connections to the band. If anyone can enlighten me and out other readers on that topic, it would be appreciated. Regardless of how big it may have been it is not remembered as widely as Hoboken, Los Angeles, Seattle, Boston or other indie rock hotbeds of the time. Plasticland was no better known in the national scene though and their first self-titled album was actually released initially only on a French label. It is too bad though as their hard acid sound would have found an audience with fans of Paisley Underground or, perhaps even more so those misfit early Flaming Lips.

This album is one so in touch with the sixties that it could have only come out of the eighties that and the punk rock influence that only is apparent in the group's energy and short song lengths. Likewise, it is a bit prescient of groups like Mudhoney's use of 60s-style feedback - especially when coupled with Glenn Rehse's voice which is not too different from that of Mark Arm's. The album is structured well and from the ass-kicking opener "Alexander" it would be hard to switch to something else afterward. "Her Decay" is another particular standout and was the first I heard of the band from listening to "Jet Fighter" Radio on Pandora. Needless to say this is perfect for fans of not only 60s psych, but any kind of 80s sixties revival style, be it acid rock, garage, or even jangle pop.


Plasticland - Plasticland (1985)

She's Like Fire, She's Like Ice, She'll Leave You High And Dry

A lot of people give David Roback the most credit for Rain Parade because of Mazzy Star. Their later work does not falter enough for that argument, nor is Mazzy Star good enough. His in-between group though, is the place to highlight his individual talent though.

Originally as Clay Allison, he and the Dream Syndicate's Kendra Smith collaborated on the work here, which I feel, particularly on the shared track "She's a Diamond" is better than their Happy Nightmare Baby. While it may have been in discussion of Rain Parade, Roback's famous quote "we wanted to make very quiet music," is the best description of Opal's work, more of a departure from the old band's Byrds-y guitars and hard-hitting drums than expected. What distinguishes this from the follow-ups of sorts is stong songwriter, at least some that can really shine through. Its opener "Empty Box Blues" is instantly more captivating than a lot of Roback's other post-Rain Parade work, and Smith sounds better than ever, as well. At times she even has the sound of an Old West chanteuse with a quiet shoegaze milleu. There is not much else like this, just don't let it put you to sleep... no offense.


Opal - Early Recordings (1988)

They Weren't Kidding When They Called It "Obsession"

...and that is because all the featured artists have gotten bigger and bigger over the past year and a half. While not all of them have gotten proper re-issues, their names are out there and their music is on the blogosphere. I will continue this with the Quarteto Nova Era EP. There is not much more I can add to it - Brazilian, stands up to their contemporaries, shame there wasn't more from them despite making it into the 70s. Every song is good. A friend of mine bought a copy of this extremely rare find on eBay. The rest of us can get it here.


The Quarteto Nova Era EP (1968)

Be Kind and Humour Me

With their hit "A Whiter Shade of Pale" lifted from Bach, the music of Procol Harum lives in the subconscious of the Western mind. Unfortunately fewer and fewer people know the name and even less know of anything else the band did. It's a real shame since Robin Trower's guitar style was an key influence in classic Hendrix, and there's nothing like the majesty of the piano-organ duo.

So, here is some of their best work. "A Whiter Shade of Pale" was originally intended as one-off studio project, but by this time they had become a true band still playing a unique blend of baroque sounds and classic blues-based rock. All with unusual, carefully written lyrics Procol Harum stands as one of the more distinct bands of their era, albeit an often forgotten one. While the other instruments usually get the most credit, this album's drums really excel. Fromthe first track "Quite Rightly So" they are the extra little kick that gives the album so much of its appeal. This is a dark and pretty album with the band channeling all of their diverse influences to create something totally new, as best heard in the wild "Skip Softly, My Moonbeams."

There are plenty of bonus tracks here and those are many of the best. "Homburg" - the band's second attempt at a hit and perhaps a little much like the first one is here, and as similar as it may be it's still an amazing song. However it is "In The Wee Small Hours of Sixpence" that may be the band's best all thanks to the organ of course.


Procol Harum - Shine on Brightly (1968)

Woke Up Screaming "God I Hope I'm Not Bleeding!"

I went with a recent photo for the irony. I have not listened to that much Built to Spill in a while, but this weekend after "Ze" telling me about their performance at Outside Lands they have been on my mind. Like my friend was after their set I was just a little disappointed when I saw them about four years ago. Now, a lot of that had to do with weak openers, but also because my friends who had seen them two years prior seemed to have gotten an unusually remarkable set from them featuring VERY early work.

I am one of the few that think the band got slightly weaker with each album, thusly implying that the debut is the best. In addition to having the best album and best cover it in fact has the best music. But, it has been out of print (actually, I think just decent distribution) for who knows how long? It captures the band at their best offering both the pop of There's Nothing Wrong With Love and Ancient Melodies of the Future AND the jammy epics of Perfect From Now On and Keep It Like A Secret all with classic 90s lo-fi recording. One could argue that the band may not have the chemistry they would later have as a solid line-up'ed band, but with songs and energy like this who cares? It is particularly odd this did not catch on more as its heavy guitars and playfully angsty lyrics, in addition to the band's Boise home town could have given it a grunge audience at the time. Everything just comes together in such sloppy glory and Greg Martsch's affinity for stacks of guitar tracks shines through, particularly on the simple, yet wailing "Get A Life." "Lie for a Lie," the album's catchiest and shortest song with its goofy samples and white nose tracks stands with The Olivia Tremor Control's "Love Athena" as definitive 90s US indie pop. Its line "Once in a while there's a girl I don't know in my dreams/ she reminds me of a lot of people, but she's someone that I've never seen/ and she's perfect" was the star of numerous bonding moments during my teenage years. However, the star of the show is probably "Nowhere, Nothin', Fuckup" which showcases the band's remarkable talent for jamming on something familiar and turning it into their own masterpiece while making the title a fun little sing-along. This is essential American indie rock. A lost masterpiece.


Built to Spill - Ultimate Alternative Wavers (1993)

Party In The Pines - Big Sur

Thanks to my friend (whose more-professional-than-mine review is available here) I was able to attend this great event.

We arrived as Wooden Ships were playing. They were pretty cool - heavy instrumental psych-rock with the years there to do it quite well. Next there was Vietnam and Farmer Dave. Neither of them did it for me, personally, but with some good, but expensive New Orleans barbecue and some good, and modestly priced local beer who cares? Then, at last there was Ariel Pink's Haunted Graffiti. His set consisted mainly of new stuff and the obscure. Some of these highlights were "Bevery Kills (Freaks with the Golden Heirs)" and "Psychodrama City." The new stuff is fantastic and I really can't wait for the next LP, which if released on time could rank as one of the best of this decade. He also gave an obvious(ly great) rendition of "Among Dreams" and my wish from the last time I saw him of hearing "Higher and Higher" was granted.

Following Pink was Gang Gang dance. I had never heard them before, but they put on a really cool show, which even more than the other sets I wished had been in a different setting. I would not listen to their records, but when they play LA next I will attend that show, especially if it is at the Echo, where their sound would fit perfectly.

Dungen was the star of the show in my eyes, and while they played mostly cuts from he last two albums, it was everything I could have asked for. Gustav Ejstes' genius was in plain view as he demonstrated his skills on mainly piano, plus vocals, flute, guitar... and tambourine. Also on display was his amazing ability to find talented musicians who can play just like him. The band also matched the forest setting best and their sound on classics like "Festival" and "Panda" was more subdued, yet no less powerful than on Ta Det Lugnt. Never miss the chance to see Dungen.

Another star of the show was the DJ who gave us music during the painfully long transitions. Her set consisted heavily of Anatolian rock, even with a cut from Benimle Oynar Mısın - the awesome "Sen Varsin". Gustav Ejstes was enjoying it a whole lot and why not because many of those artists are a clear influence on him.

And of course, who could discuss Anatolian rock without Erkin Koray...

Starting as early as the late 50s, Erkin Koray was the definitive voice of the Anatolian Rock movement, which while less famous was as unique and strong as similar prog/psych rock movements of the time in West Germany and Japan.

Since I have been so unreliable lately, here are his first two solo albums, which despite the increasing availability of Anatolian Rock since the successful Obsession compilation are really not "widely" available. Both of them are very strong and solid and serve as a great introduction to the style which melded Western psych rock with traditional sounds from the crossroads of the Old World. The self-titled is the one that is most in tune with that side, while Elektronik Türküler, much cleaner, is a little but more on par with the West, despite the exotic language. Okay, enough words.


Erkin Koray - Erkin Koray (1973)


Erkin Koray - Elektronik Türküler (1974)

Have YOU Been to Stockholm?

Unfortunately, this month will continue to sag in posts as this weekend I will be going up North. The main reason is that for a second week in a row I will be attending a California region's second best music festival: Party in the Pines in Big Sur. I am pretty amped to not only see Ariel Pink's Haunted Graffiti again, but also to see a band I have wanted to for over three and a half years - Dungen.

A few months back I posted their follow-up to this album, and indisputable masterpiece. This one, originally released in 2002 made its way to the US in 2005 and in my experience stands up more than any of the following albums do. Hopefully the group's set won't rely too much on that stuff. More seventies-style psych-rock here, and quite a bit more pop-oriented than the harder, trippier Ta Det Lugnt. The album, which's translated title is "City Walks" kicks off with catchy title track that keeps your ears glues as much as the follow-up's "Panda" does. Urban tribute "Har du vart' i Stockholm?" makes it a solid one-two punch that makes the album as great a tribute to the band's home city as classics like Midnite Vultures and Marquee Moon did for Beck and Television, respectively ...and all without understanding the language!

Whereas later efforts show Gustav Ejstes trying to recapture the mastery of Ta Det Lugnt, this album is the sound of him honing his craft in creating the best vintage-style psychedelia, nay music of this decade while displaying his multi-instrumental virtuosity. His way with folkier European arrangements is remarkable as well with "Sol och Regn" being a fiddle and flute instrumental on par with the bonus disc included in the reissue of the follow-up. It is one of the album's finest tracks. Like most other music of the present half of the decade, forget about Dungen's later work - this is the next stop for them. Either way, though I am expecting a life-changing performance from the crew this weekend, and this should give anyone else who will be joining me similar expectations.


Dungen - Stadsvandringar (2002)