Black Bug - Reflecting the Light

Towards the end of the 2000's first decade, I stumbled across a Silk Flowers album in the used record bin at Zia Records in Arizona.  I remember being surprised to find the PPM Records release, especially used, and picked it up, simply intrigued by the rarity of this find; I had never heard of the band before.  The music had me at the first dissonant goth chord, loving the "Bela Lugosi's Dead" meets Switched-On Bach current approach.  This was my first encounter to what seemed to be a new wave of music that was pulling from some of my favorite past times.

Upon opening HoZac Records' mailer and witnessing Black Bug's cover art for Reflecting the Light, a band I was also unfamiliar with, I could smell the freshness of this new synthesized, yet punk approach, to darkness, simply from the artwork.  The opening track, "You Scream," delivered with perfection.  I was immediately transported back to The Milk Bar; a references that works on two levels. Anyone growing up in Jacksonville, FL, knows I am referring to Goth Nights at the underground downtown club, The Milk Bar.  For anyone else, the A Clockwork Orange reference generates the same aesthetic.

The digital collage begins with a healthy centerpiece that is our own moon, supported by a horizon of fog and evergreens with the watchful eye of mountains above, tangled in a web of computerized red angular outlines. The afternoon sky above, reflecting the light, is warm like the desert, in contrast to coolness of the morning below.  The cover art is the only image necessary for this album.

There was no text on the front telling me what I was in for, yet this artwork spoke so clearly.  It is the kind of album cover that I know would have compelled me to buy immediately while cratedigging, and would have withstood all process of elimination phases if funding had to drive such a decision.  Black Bug's Reflecting the Light wins on all levels, and that's before their future-like music evens fills the room.

I recently read a book about Joy Division, claiming they never intended to attract a gothic following, and certainly did not take a goth approach with their songwriting.  I believe this, and I believe it is the same for bands like Black Bug.  Hell, no one actually said to me that this was goth. I think in fact I am the one proudly using that term here; that is the impression I get, just like so many Joy Division fans did years before.

Call it what you want; it is good / bad ass / loaded with attitude / loaded with synths / overdriven to perfection / current / right / infectious / horrifying. It's Black Bug.

The Young Evils - Foreign Spells 12inch EP

I've been dying to write a review for this 12inch EP titled Foreign Spells from The Young Evils ever since I've been dancing in front of my speakers (a la Einstein A Go-Go style; kicking the foot back and all) at full volume over one year ago when it first graced my turntable.  This quartet from Seattle, WA simply nailed it with their four song EP, brought to you by Fin Records.  Their sharp-shooting approach with such a stellar release reminds me of the EPs Ride used to put out between their full lengths; packing a punch and never tiring.

"Darker Blue Bayou" takes off with a great clap-beat, supported by an assured groove.  Troy Nelson and Mackenzie Mercer play back and forth with vocal leads.  The rhythm drives deep into the bayou down I-10, never looking back.

I remember hearing "Dead Animals" for the first time; the second track to side-a.  Mackenzie plus a muted power-pop guitar begin the song.  Truthfully, my first impression was, "Oh no, it was too good to be true.  They over delivered on the first song, and now it's downhill from here."  But to my great and welcomed surprise, just about sixteen seconds into the track, The Young Evils brought me back to my imaginary dance floor, head swinging back and forth (wishing I had hair), and singing along to the lyrics (yes, upon first listen).  Turning the volume up louder and louder, rift by rift, I simply could not get enough of The Young Evils' persistence; and we were only two-tracks into this inaugural listening.

Take a breathe, walk over to the turntable, and flip this beautiful wax to continue an amazing indie pop discovery.  "The Devil's Barricade" finds Troy, with his hushed Jesus & Mary Chain -like vocals, taking the first step with another boy/girl tag-team approach to the vocals; I think this what I am beginning to like more and more about The Young Evils (it's keeps things interesting, and moving along).  There is a familiarity with their music, much like The Rosebuds, leading you to believe you already know what's coming, yet creating a yearning for more.

Just as I am beginning to adore The Young Evils grittier comparison to UK indie poppers, The School, "Touch Tone Lovers" takes a sharp right hand turn onto 'Bad Ass Lane.'  Do yourself a favor and go turn up the volume even louder than you had it before for this one; the drums feel so good, especially when The Young Evils drop out the bass for that break, leaving the guitars dangling out the window.  Mackenzie's voice slides into a more chill, shoegaze-like vocal style, while the music, traditional to Rock n' Roll in many senses, really stands out on its own; presenting you with the truest of sounds for The Young Evils (and I love it).  

Fin Records does not cut back in any way for this four song release.  True to their form, the clear vinyl is simply immaculate.  Inner sleeve embossed with their logo, pristine polypropylene bag to protect the artifact, Fin Records shows respect in many ways other won't.  The two-toned packaging lends a hint to the modern day doo-wop inside.  I just wish I could have told you all about this sooner.

The Puddle - Secret Holiday / Victory Blues

When I decided to start this project, reviewing vinyl records and their packaging, I knew it would be limiting due to the cost of mailing physical materials, so I am always very thankful when someone chooses to send something over my way for me to write these words within this here website for you all to read my thoughts about their release.  That being said, and having been a distant fan of New Zealand's own Fishrider Riders, I was pleasantly taken aback when their package arrived at our doorstep.

Now, I say "distant fan" not only as a pun due to the mileage between us, but because I truthfully did not own any of their records (until now), but have always had great respect for Fishrider Records and their contributions to the indie pop world.  The Puddle, a band also from New Zealand, apparently have no shortage of prestige themselves.

This particular record Fishrider Records released for The Puddle is not a proper album, rather a double EP: Secret Holiday and Victory Blues.  I almost wish The Puddle gave unique cover artwork for each EP, using each side of the jacket to represent the cover individually.  Fishrider Records delivers a traditional 12inch LP package, with titles and featured artwork on the front, while credits are on the back.  The insert providing additional photographs and lyrics for each song is a comfortably odd 3:4 landscape cut.  I can't help by wonder if its size was driven by economics; printing two insert sheets on one tabloid size sheet of paper and cutting in half (two for one printing).  I love it when positive design characteristics are actually the result a non-creative decision; it's nature's way of keeping the world balanced.

At first glance, or should I say touch, the satin / waxy finish makes you wonder what they are doing down their in New Zealand.  In this post-high-gloss era of printing on the reverse side of the cardstock, satin presents an entirely welcomed veneer. The polypropylene (rather than the standard polyethylene) outter sleeve adds to this mystique.  I'm always (at first glance) impressed by these crystal clear skins, but in the end, prefer the traditional (milkier / heavier) polyethylene protective layers; I find the polypropylene bags can easily tear.

Being a fan of The Puddle's music, and as mentioned before, I do desire something more with the artwork; not just craving some identity for each EP, but some explanation for how the black and white photograph of girls laying on the ground being governed by two goats ties into holidays and the blues.  I don't often require this connection between cover art, album titles, or the music, but for some reason, The Puddle's cover is so strikingly offbeat, yet seemingly with purpose, there has got to be something I am missing.  As I dance around my living room listening to The Puddle, studying their imagery with great effort, I struggle with no relevance, even within the photograph itself and it's featured characters.

Speaking of dancing, have you ever seen Tim Gane from Stereolab dance along as he is playing his guitar during their live shows?  This is me while listening to The Puddle's track "The Vitalist."  I could dance to this song for hours; singing along with George Henderson's perfectly-placed "ba-dah-bahs" and Gavin Shaw's playfully-plucked lead via acoustic guitar (at least I think that is who is doing it and how the lead was constructed).  For me, "The Vitalist" is definitely the stand-out track, and will certainly be played at the discotheque on our next DJ night.

I'm a sucker for the 007-like / spy movie hook with "Decline to Fall."  The lead here, played by a necessary synthesizer, adds to the 1970's aesthetic, while Alan Starrett's viola shares a uniqueness, reminding you that this ain't American.  I also appreciate the Farfisa on "Hydrogen 6," Shaw's glockenspiel on The Puddle's instrumental closer, "Walrus Arabia," and the sadness of "Tender Validation," with a deep cutting Will Sargeant inspired guitar lick.

There is a looseness within The Puddle that excudes confidence and wisdom.  George Henderson's vocal tone is familiar and comforting; I'm guessing Sondre Lerche was influenced by him.  The eclectic instrumentation of The Puddle's lounge-pop compels you to move to section "B" of your record collection, reaching for anything Belle & Sebastian to follow.  Of the two EPs, Secret Holiday makes sense on Side-A; for me, it's the hit single.

The Electroscopes - Made a Mistake 7inch

I love this little record, I love everything about it.  I love the way it came to me.  I love the cover.  I love that it is on black wax.  I love the music that comes out of the speakers.  I love the bands being promoted on the promotional flyers that were included.  I love the handwriting used to label side-a. I love the 4-millimeter (not the less expensive 2-millimeter) polyethylene bag used to hold everything together.  (Wait, haven't I done that already, where I start the review with "I love..., I love... I love...?")

Okay, not that we got that over with, let's begin.

The Electroscopes "Made a Mistake" 7inch was released by German label, Firestation Records, limited to 200 copies.  It is the sole project of Paul Mansell, from Northampton, Britian; a fine young gentleman I may add.  When Paul himself heard our original copy of his record was lost somewhere in that great big pond that divides our countries, he without hesitation sent a second copy (again, limited to only 200 pressings) to ensure we were still able to get our groove on.  I have got to say, sending out promo copies of a limited release vinyl records is one thing.  Sending promos internationally is another.  But sending a replacement copy... hats off to you Paul, and superthanks for making sure this one landed safely.

I remember pulling this 7inch out for a first spin late one night.  I believe I had just returned from being out at the clubs (or you could say, "in da' clurb" if you like), and me and Mrs. Blogger were feeling pretty chill as is.  "Made a Mistake" was no mistake at all, rather cool and nostalgic; reminiscent of early Trembling Blue Stars.  I immediately dimmed the lighting to a faint glow, savored a nip of American Kentucky bourbon, and repositioned the black Ray-Ban Wayfarers I once wore only to shade the sun.  

"First Into Space, Last Down to Breakfast" on the flipside kept the party going.  It is the soundtrack for a contempo Asian bar, where conversations are comfortable, the beat keeps you feeling right, and everyone looks good.  If this song were released earlier than 2003, Sofia Coppola would have included it in Lost In Translation.  Another example of the b-side track potentially outshining it's (what's meant to be) better half.

I think Firestation Records could have gone with DJ-style white (no label) center labels for this one, perhaps lending further to the downbeat discotheque elements of the release.  However, the fact that someone literally hand wrote information on side-a only gave a cordial hit of twee / C86.  The black and white photocopied j-fold sleeve is simple, and gives all you need; done right.  The heavier polyethylene bag makes the record proud; I always appreciate it when that detailed is given attention.

The cover art is a photograph of a skyscraper; perhaps one with businesses below and a handful of condominiums on the upper floors.  There is a texture to the photograph that dates back to the 1970's, but the many television satellite dishes (or are they electroscopes) affixed to the porches greets the modern age.  Iconic, nonetheless, and well positioned, it's an appropriate image for a single.  

As for the promotional material included, I think someone knew how big of a Sarah Records fan I am.  It did not take too long for my eyes to detect the mentions of The Orchids and St. Christopher.  Thanks for the additional swag!

Clawhammer - I Think I Heard a Sound 7inch

Banjos were never my thing. Perhaps it's my palate, perhaps it's my kin. However, if you drop a funky beat and a wee-bit of fuzz-toned lead, you've got my attention... and you've got Clawhammer. Nestled in Springfield, Missouri, this quartet brings to you their self-proclaimed "most original" fusion of time-honored Ozark boogie-woogie blended by a variety of synthesized utensils.

A straightforward designed 7inch release, Wee Rock Records keeps it traditional with black vinyl and a large cut center whole (always my favorite). The indie-cute cover had me guessing wrong; I was thinking something twee for this one. Nonetheless, hand-drawn artwork with black and white and one spot color printing is always a nice simplicity.

This is Wee Rock Records' 86th release (congratulations!) for local music out of Missouri. Their catalog suggests that they started the label releasing CD-Rs, but then gravitated toward 7inch vinyl (w00t!w00t!). The focus for Wee Rock Records is on documenting their local scene (which is how it should be), so kudos to them for keeping it going since 1995!

If you've been wondering what has been developing in the Ozarks with music in the past decade, check out Wee Rock Records!

R. Stevie Moore - I Missed July 7inch

I'll never forget Sweater & Pearls' owner, Jason Dean, and his enthusiasm when he first told me about their newest release for R. Stevie Moore.  Allow me to go ahead and call myself out... I had no idea who R. Stevie Moore was at the time, but Jason was so excited and proud, I had to go along with it and be supportive.  Thankfully, that is what friends (and blogs) are for... to introduce each other to new music!  

I am going to skip the introduction of Mr. Moore and assume that if you are in my same shoes, you've already GTSed his name and are scratching you head as I was, trying to figure out how you missed this homegrown icon.  "I Missed July" was recorded in 1978, while the b-side for the 7inch release, "Traded My Heart For Your Parts," is from 1993.  The former not unlike an unreleased track from Brian Eno's 1977 album Before and After Science that didn't quite make the cut between side-a and side-b.   Moore's low-if pop qualities on both tracks are appealing, and after my own intriguing world wide web research, apparently are very influential within the indie community; I think this guy may have taught Robert Pollard a thing or two.

After Sweater & Pearls' Soccer Mom release, I was anxiously awaiting to see what they would do with the packing for their follow up.  Unfortunately I was not one of the first fifty, who received a very attractive matchbook sleeve, hand screened by artist Travis Kostell.  However, the handwritten liner notes printed on yellow lined notepad paper was a nice touch.  Sweaters & Pearls even include the music transcribed for "Traded My Heart For Your Parts" so you can play along.  

For me, the winning vote came when I pulled out the beautiful red opaque 7inch vinyl; there is just something about opaque colored vinyl that I am a sucker for.  The red truly compliments the over-saturated photo used for the cover art - a childhood photo of R. Stevie Moore, one may ask (wait, is that Elvis swimming in the pool?!).

Great forth release for the Brooklyn based label!  Keep 'em coming Mr. Dean!

Heavy Times - I'm Single 7inch

I've always appreciated the raw, straight forward approach of HoZac Records.  Their releases could easily be mistaken for a first-time self-release by some junior high school punks, and maybe they are.  But then there is always an edge of professionalism and a sense of collection that makes you realize there is more than just the fearless attitude; HoZac is on top of their game.

This 2012 release by Heavy Times is nonetheless politic.  Featuring "I'm Single" as the lead on side-a, followed by "Unsolved Mysteries," then "Bath Salts" on side-b, Heavy Times delivery a quick 7inch worth heavy rotation.  It's the ol' 'get in, get out, leave them wanting more' approach that HoZac Records is so good at.

The packing is simple, yet fitting.  A v-fold cover with titles only, no credits, because it is all about the music.  Black vinyl with a large cut hole, because this isn't a fucking art project (people), its rock and roll.  Drink up.

"Unsolved Mysteries" bears great melody with some added production, and delivers that 'everybody gather together and sing along' feeling at the beginning of each verse that would make Kevin Seconds proud.  Continuing the trend of stellar b-side tracks, "Balt Salts," digs into Heavy Times' dour side.  With fetching guitar leads, and curious vocals, I can't help but reset the needle on this one again and again.

WELCOME TO NORTH CAROLINA!

Alright, we apologize for our delay, but we have finally settled in our new home of North Carolina.  The record player is set up, vinyl are on the shelves, and we are ready to get back at it with reviewing vinyl records for you!  Stay tuned, and send us anything you would like us to check out.

Naïm Amor - Dansons

Naïm Amor is simply one of the most under appreciated artists, as well as guitarists, of our time. He is possibly the most stylish Frenchman living in the desert of Arizona playing live performances on any given night in a number of various dining establishments with an equally talented posse. I've been a fan of his music for years, and appreciated all of his recordings, but it wasn't until his release of 'Dansons' with Vacilando '68 Recordings that Amor marked his place in history. 'Dansons' is a timeless treasure.

Vacilando '68 Recordings really put their best foot forward with this release. With a stunning botanical cover image, and complimentary / properly delivered handwritten fonts (I really hate when people use a computer for this; thank you Naïm) that resemble the pistil of the lily-like flowers, you can anticipate the romantic qualities Amor naturally exudes, and appreciate his sensitive transmission.

The vinyl itself is a silky, buttermilk cream complexion that is quite possibly more smooth that Naïm Amor's own blend of traditional classic jazz with the most underground of indie rock; breaking and blending sonic barriers between genres decades apart. Naïm Amor is the J Mascis version of Joao Gilberto, whom inspired Martin Denny, only he's of this generation.

Thøger Lund and Mr. Howe Gelb himself from Giant Sand, as well as John Convertino of Calexico, are featured players on Naïm Amor's 'Dansons' album. Jim Waters at Waterworks, known for his work with Sonic Youth on their 'Goo' masterpiece, recorded and mixed the pièce de résistance of Amor's career.

Choice cuts are the tropically inspired "The Day After," which will have you reaching for a pitcher of Mai Tai and your Ray-Bans, "On Se Tient" and "The Other Step," appropriate for any Sunday breakfast at Tiffany's, and certainly "Sparkling Guitar," Amor's English journey into the Space Age Bachelor Pad realm.

Order Naïm Amor's 'Dansons' direct from Vacilando '68 Recordings today!

Mike Adams At His Honest Weight - Oscillate Wisely

There is something about handmade silkscreened record artwork that gets me good every time. It often accompanies music released on a more local level and/or limited run basis, and it always demonstrates a level of passion and dedication hardly ever revealed through manufactured artwork.

I can't help but relate this admiration to a foody's obsession with locally grown organic ingredients. Corporate owned restaurant chains continue to fill the bellies of the masses in the same way larger record companies thoughtlessly use the same formulas over and over for what should be creative designs. When you can simply look at carrots and see their unique flavor profile, or open a carton of multicolored eggs and know the vibrant yokes inside are going to ooze richness... that's when I can wait to drop the needle on the record to hear what awaits. It's not going to be Radiohead or Justin Timberlake, and no its not going to be that McRib sandwich that stirs up memories of youthful trips to the beach, but I can promise you it's going to push some envelopes that were left on the table that should have been opened in the first place.

This is definitely the case with Mike Adams At His Honest Weight's album 'Oscillate Wisely.' But Mike Adams has a lot more going for him than thought provoking packaging; he's a brilliant song writer, and has a handsome Mike Love (Beach Boys) -like voice (maybe not quite as high but just as silky-sweet) - best presented on "I'm Not Worried."

The cover art appears to be a picture of Mr. Adams himself, although I've opted not to GTS to confirm. St. Ives and Flannelgraph Records (split release) had a standard white record jacket (spray?) painted with silver ink on the front, and then the artwork was silkscreened with blue ink on top, with the emblem-inspired imagery.

The back cover is much more raw; as if there was a little dirt left on the carrots. Mike Adams did the handwriting and additional illustration. The record is hand-numbered, limited to 500 copies, and does come with liner notes that further explain the teamwork and responsibilities involved with crafting this prize release.

"Don't You Blanket (When That Happens)" launches side-b like the best of any Starflyer 59 album, while "It's All Been Done (You Said)" highlights Adams' understanding of vocal melodies in a way that reminiscent of Alan Sparhawk (Low); pulling from the best-of-the-best of influences.

I can't get enough of this bona fide indie rock record and Mike Adams' graceful vocals, as well as his respect of ambience. Originally released January 25, 2011... Check out 'Oscillate Wisely' over at Flannelgraph's Bandcamp.