POST-80S, ELECTROROCK, AVANT-POPROCK,
DIFFERENT NEW ROCK, CREATIVE ALT ROCK
review page 3

The Bad Hand ('06)
Earthmonkey ('07,'11)
Christus and the Cosmonaughts ('07)
230 Divisadero ('07)
Astrophagus ('08)
Head Resonance Company / Peter Pixel Project ('80-'84/'04/'08)
Aucan ('08)
Montreal On Fire ('09)
Mount Eerie ('09)
Chance:Risiko ('09)
Ed Wood Jr. ('11)

-(moved to a different page)- : My Education

grading : * ok ** g  ***vg ****perf *****no better example than this: must-have heard, classic
with additional ° some tracks better  ; with ' possibly better for some (viewpoints)


Prankster Dice Rec.   The Bad Hand :This is no time for modesty US,2006)****
/ Daly City Rec.

The Bad Hand are an independent rock band who’s style is a rich mixture of influences and ideas which makes the group distinctive from a simple categorisation or easy style description. The guitars roar often but there are also acoustic passages and the drums take the time to focus on in between rhythms. I’m sure the band must have listened from a range of Canterbury or jazzrock to newer underground rock and beyond. The mix is intelligent, controlled and with all tempo and even arrangement changes they succeed to be logic in their evolutions. People into new inventive indie-rock should check this out.

Released on a 12" LP.

Audio : "Grand Theft Bravo", http://myspace.com/thebadhand
& more on http://www.dalycityrecords.com/
Other review : http://www.pitchforkmedia.com/article/...
& http://www.fishcomcollective.net/archives/category/reviews/indie/
& http://www.musiquemachine.com/reviews/reviews_template.php?id=949
& http://www.fishcomcollective.net/archives/507/
BLR Rec.    Earthmonkey : Be That Charge (2cd) + Discobalistic (bonus cd) (UK,2007)***'

Speaking about a group who does not (“fucking”) care to belong anywhere : Earthmonkey is such a group. The first album of two has a strange mixture of Cramps & surf flavoured ideas, with just a few post-wave sequenced bass ideas, lots of distorted guitars, and ever changing echoes and guitar sounds and mix, making a vibrant spacey sound. Basically this is a rather darkened late night inner doors underground improvisation with spacey elements, with also a few additional programmed rhythms, with peeping psychedelic associations. The last endless long track is a psychedelic repetition (I think the same chords and fundaments was used by Ozric Tentacles once ?), mixed with spoken word.

The second CD starts with a different version of the rather Middle Eastern heavy surf kind of titletrack, skunk-like. The upbeat intensity and groovyness then calms down a bit, and these tracks sound more improvised, and in that way a bit more psychedelic too, while still exploring different groove rhythms too, which brings in psychedelic dub-like associations, surf and even jazzy grooves !! (on the last track) This and a bit of spacepsych is style-mixed-up more than once.

It is worth being quick to have one of the first 300 prints, because they have an extra bonus CD called "Discobalistic", which is the best produced and most groovy and intense mix. This sounds all improvised, and starts like wave-psychedelia, has the best use of a rhythmbox with a nice consistent complexity of arrangements that keep up the entertainment. With spoken words, voice rhythms, dark tensions, grooves, a bit of electronica, lots of rhythmic evolutions, and growing tensions the group proves to have a good producer who successfully keeps this vibrantly running. By the end the tension is high, and with the use of some partly ethnic overtone vibrations and thrills, the last track finishes this CD off with intensity.

Audio : "Be That Charge", "Jokin' Joe", "Hydraulic Bugger","Fun House", "Spinal Unwinda",
"When She Watches Television", "Echo Base", "Scaccia Pensieri", "Be That Charge Agin'""E-Freeme Buzzbomb", "Sapphire Wave", "Sister Marble Gazer"
Info on group : http://betterpropaganda.com/artist_page.asp?id=323
Info on release : http://funksoul.discogs.com/release/935087
Label description : http://www.blrrecords.com/prod/1578/be_that_charge.html
Other reviews and descriptions :
http://www.corazine.com/reviews/earthmonkey-be-that-charge
& http://www.xlr8r.com/topstories/2007/04/dinosaur_jr_beyond_fat_possum.php
& on http://www.kozmik-artifactz.com/shop/...        next->
BLR Rec.       Earthmonkey : Alms of Morpheus -2cd- (UK,2011)**°

Two CDs of each over 77 minutes that are mostly based upon dark jams, which makes you lose the idea of time and of your own state of mind and being is more than a little bit too much. But I took most of the time for it and will try to describe what I heard after a few brain cells already combusted and I needed a cacao infusion to compensate for this.

The first CD hangs a bit in the territories of dark electro-pop, with use electronic rhythms, a few backing wordless atmospheric vocals, and mostly electric fuzz guitars which improvise over it. There’s a vague danceable tension, some of the backing vocals remind me of hiphop vaguely. There’s a bit of rock, a large cloud of dark wave, and a tendency towards endless guitar jams, with several guitars including rhythm guitar. The fifth track also included didgeridoo and even sitar if I remember well, because I was already sitting in that cloud. Here and there the bass lines add a small funky touch. Yes, and I think there was some singing too and spoken word, all part of the same shoegaze trip.
The second album trips towards trance territories. The music becomes even more improvised, more jammed and more psychedelic. The music becomes lighter but I am getting terribly bored as well after one and a half hours of not much concrete direction. Near the end the guitars add slide forms in the way of Gong, space-psych like but then darker, denser and more endless. Too much is too much.

Label info :http://www.blrrecords.com/prod/2100/alms_of_morpheus.html
Beta-Lact.Ring Rec.  Christus And The Cosmonaughts : From Atop This Hill (US,2007)***°

Front man and electronic wizard Scot Solida has available a lot of serious electronic music equipment which he also presents under the name of ‘The Electronic Garden’. Together with bass player Har, and special guests on this CD, Mike Weeks (2 tracks), John (Vurt) Wright (2 tracks), Wayne Cunningham (2 tracks) and Ant Graham (one track), this album was recorded.

It sounds partly like a song album with lots of room for a specific style mix of often sequenced electronic music, with bass, electric and for the song focus parts amplified guitar. Thematically the writer is influenced by science fiction that works as an escapism from harsh realities of some other time of being, and produced by the metaphor for this, the heavy machinery of electronic wizardy in a new, but rather dark rock context.

Although it has been said Legendary Pink Dots were not a too direct influence, especially the opener, “Beyond Belief” partly electronic arrangement, very much, so sound almost exactly like some unrecalled track I have heard from them, or at least from Edward Ka-Spel, an arrangement with rhythmically breathing effects of electronica and bass sounds with slower played guitars, as a carpet for the song. With growing rhythms on it, I am again reminded at a concert I once saw from the Legendary Pink Dots (in Utrecht, Holland, some years ago), that had an almost psychedelic effect on me. Also this track builds up like this concert, rhythmically, brooding, and additionally embedded with an electric guitar solo, some echoed stringed guitars and some other, for the track essential effects.
The second track, like a chapter in a book, is more driven by a slightly sad song and its lyrics of disappointment. It has glockenspiel to it, and touches of a late Floydian kind of electric guitar.
Next track is sequenced like speeded up cosmic music, mixed with electric guitars, almost with a threatening fast nature as if expressing someone trapped on a different planet with only a short timespan to survive.
The track after this is more electropop styled : Scot Solida was influenced by Gary Newman in his early days, something which can be heard here. The content & sphere on it is not pop, but is much darker, enclosed in a darker spirit.
The next song has moods that are built by electronic, strange soundscapes. “Nod if you were..” is much more heavy electropop. Its electric guitar goes more in the direction of Richard Pinhas/Heldon, so the association with Gary Newman here is out of the question. But then it finds a more catchy rhythm, within a dark “progressive” rock reach.
The instrumental “Modulating..” is built from sequenced noise, tones and samples.
The final track is a last song focus with guitar, but then with new directions with weird effects, electro-pop/rock with its own dark heaviness...

As a whole the album very much sound like a musical concept. Comparisons with Legendary Pink Dots are easily made, even when this is a world and expression on its own with a certain variety reaching towards its own influences in lyrical and musical themes.

Note : the LP version has less tracks.

Audio : "The Painfree God", "Nothing to say","From Atop This Hill", "Surviving the Fanatics", "The Fractured Faithful", "Nod if You Were the Last Man Alive","Modulating Between Faith and Knowledge", "No Chance To Dream"
Info & audio : http://www.myspace.com/christusthecosmonaughts
Label info & audio : http://www.blrrecords.com/prod/1685/from_atop_this_hill.html
Homepage : http://www.ambientguitarist.com/
Info on band and members : http://www.olscratchrecordings.com/christus_and_the_cosmonaughts.htm
Description on http://www.smother.net/reviews/...
Other reviews : http://www.smother.net/reviews/...
& http://www.aural-innovations.com/issues/issue37/christus1.html
& on http://www.regenmag.com/...
Locust Music  230 Divisadero (MON/UK,2007)***'

230 Divisadero acts under a style that is more or less comparable to some works of the Use Of Ashes / Legendary Pink Dots / Edward Ka-Spel. We could recognise already a similarity in the use and arrangement of the leading voice, which first of all has that similar quality (mixed also with feedback that way), that there is an underlying baritone over/undertone in it. Secondly, the slow singing has that kind of slow and moody speed so that the voice penetrates like spoken word to a soundtrack. Also, the vocals are often double layered with two similar vocal layers (just check for instance “there’s no such thing as a human” or the following after this tracks). There is some time taken for instrumental ambience, carefully constructed with floating fuzz guitars, simple tiptoe touching stones of piano, with elsewhere more lost and lonely piano notes, electric piano vibes, clarinet, lonely harmonica notes arrangements, textures of electric bass, amplified guitar, sometimes pedalled, tiny reverb effects like feedback electronic sounds, occasional soft plucked string swipes and percussion like careful plastic and tin cup improvisations or just like wind-in-grass-and leaves sounds, and with touches of oscillating guitars and bird sounds and so on. It is full arranged so that there is a more harmonic warmth in arrangements than a lonely world feeling. A bit different, like clear thoughts in between are a few quiet acoustic songs, like “Old Photograph” with picking guitar and textured environmental space, or the concluding track, “For Cody”. An album with urban sophistication.

The band consists of Nick Grey (currently living in Monaco, also known from solo recordings, 48 Cameras and collaborations with people like Tony Wakeford, and runner of the Milk & Moon label) & Matt Shaw (UK, also with various solo recordings). Additional performances by Nicholas Davis (guitar), Gregory "Shaman" Doria (clarinet), Rodolphe Gonzales (bass), and David Widmer (cello).

Audio : "Hands" & on http://www.myspace.com/230divisadero
Label info : http://www.locustmusic.com/...
Info on EP : http://milkandmoon.com/catalog_6.html
& http://www.regenmag.com/Track-Reviews-25-230-Divisadero.html
Homepage : http://www.230divisadero.com/
More on Nick Grey : http://www.nick-grey.com/
Review of solo release I did on next page->
Review with 3 audio tracks on http://www.boomkat.com/item.cfm?id=59371
Other reviews : http://thievesandthrills.free.fr/230Divisadero/accueil.php?page=response
& http://www.popmatters.com/pm/music/reviews/50202/230-divisadero-230-divisadero/
& http://www.ukmusicsearch.co.uk/reviews/230-divisadero.html
& http://www.musicnonstop.co.uk/product-view.php?productid=19993
Helmet Room Rec.Astrophagus : For Boating (US,2008)****

Technically this (post/new?-)rock band is an absolute winner, with perfect contrasts, perfect production, some intelligent layers of arrangements, a good foundation of a rhythm section, and great rocking roaring guitars (and rhythms) and flows on the emotions of the singer. The only slight minor thing is that the song melodies and something of the lyrical inspiration leads are from a more mainstream approach, which of course doesn’t disturb the plain experience of just the music, being more directly involved with the flow of passing by moments, through the factor of a youngster’s escapism and a need for the 'real' intensity, pumpin in their blood, with a muscling instinctive strength for discovering its personal emotions, this band delivers a channelling power.

The band has lots of energy in them, even in the flow of emotions. There are surprising, clever arrangements which (especially in the beginning) pass almost too quickly to get a grip on their impact. The intro for instance is almost contemporary music (a led by violin breaking out improvisation with some drumming tensions and other effects), before the first powerful pop song immediately takes you in. Also “Runner” after that surprises with its breaks and change of tensions, some beautiful trumpet, combined with the right flow of rhythms, subtle electronic sounds, and then some outburst break with heavier trumpet, rhythm changes and an organ arrangement. More than often the singer expresses his sad thoughts with some drifting powers of the rock band, without forgetting to involve for the release some amounts of more arranged or instrumental inspirations. “Honda Prelude” for instance is led by a piano improvisation with lots of resonance, combined with a radio-like voice spoken word fragment.

The album grew with each listen, for it has a much more different style than I usually pay attention to, but I hear how this band deserves certain praise.

info & audio : http://www.myspace.com/astrophagus
Other reviews : http://waywardpanties.com/index.php/2008/06/04/astrophagus-for-boating/
Homepage : http://www.astrophagus.com/
Label info (with audio) : http://www.helmetroom.com/album_pages/HR0019astrophagus/HR0019astrophagus.html
Beta-Lactam Rec.       Head Resonance Company + Peter Pixel Project :
      19 tracks for unknown people 1980-1984 + DVD (1979-2008) (D,re.2008)**°

Head Resonance came to existence in 1978 as an “interdisciplinary art and research project” with the “implementation of ideas and the studies of the laws of how an idea is realized in space and time”. Their music on this recording sounds like an idea preceding the Neue Deutsche Welle style, -of German dark wave-pop-, something in which their next and later project, Peter Pixel Project (also included, without mentioning the recording date ; I assume this is already be post-NDW, from 2002) seems to dig more of it (-on the dvd I liked the -sadly just fragments of- the rhythmically well prepared video collage montages of “Geld is Macht/Money is Power" and the fragment before that-). Where the band Deutsche Amerikanische Freundschaft was more rooted in post-punk krautrock improvisation, before coming, as DAF, to their sequenced heavy bass with spoken word ‘coolness’ (for those unknown with this last band, remember the hit from Grauzone, “Eisbär” to give an idea of this popular but still related with underground and night music German pop style), while Head Resonance, also not really a so known band, more came from the avant-garde scene. They mostly continued with projects related with art exhibitions or performances, which the DVD overview shows very well (and of which I think the vocal overloop projects, like the one for the Sibelius Academy, and the voices transformed into sound effects seemed like successful examples). It was an avant-intellectualised scene in which they seem to have fitted best.

This compiled works from Head Resonance seems to play with looped ideas of electronically produced or controlled rhythms and sequenced electric bass, sound filtered sax improvisation with noise. It is rhythmical music, but also uses some arhythmical layers more often not to sound too predictable. Some electronic instruments seem to have been used as well. The core remains rhythm which remains in a dark restraint sense of space. Where the Peter Pixel Project sounds more NDW-pop-orientated, with ‘cold’ spoken word, and with robot-mechanical processing, these songs are just a bit too repetitive to be as equally and directly appealing as the cream of the 80s scene.

The first edition of 500 copies contains the extra DVD, a compilation which would fit them well in an art exhibition-related context.

Info & audio of Peter Pixel Project on http://www.myspace.com/peterpixelprojekt
Video HRC on http://www.youtube.com/... & PPP: http://www.youtube.com/...
Info on band : http://www.vinyl-on-demand.com/...
Label info : http://www.blrrecords.com/prod/1866/19_tracks_for_unknown_people_1980-1984.html
Homepage : http://headresonance.de/
Other review on http://www.funprox.com/index.php/...

PS. About Neue Deutsche Welle : http://en.wikipedia.org/wiki/Neue_Deutsche_Welle
& http://en.wikipedia.org/wiki/Category:Neue_Deutsche_Welle_groups
Africantape/Ruminance     Aucan (I,2008)****

This band shows how instrumental new rock music can convince and do without song contexts, but have a similar effect of bringing over a conceptionalised emotional wave with breaks and tensions. It is very much an interactive rock comination of improvisation and architectural precision, but sometimes the heavy guitar and drums side dominates in a more improvised nature, until the electric piano (or keyboards played like glockenspiel or Rhodes) brings in a different mood, changes which are always provided with mathematical precision as if embeded in a classical (or almost new symphonic) structure. Sometimes the parts start to build a mode from experimenting with this interaction of harmonically residing sounds (with keyboards and guitars) until this also builds up to technical heights and then a rockier nature. This is really succesful, and is done with spontanuous progression that can grip your attention from start to finish. Recommended.

Info : http://fiverosespress.net/?p=952
Info on band : http://ruminance.free.fr/UK/bands/aucan.html
& http://www.mandai.be/info.php?id_mandai=50482
& audio : http://www.myspace.com/aucan
French review : http://www.popnews.com/popnews/aucan/
Label : http://africantape.com/ & http://ruminance.free.fr/
Lacrymal Rec.        Montreal On Fire -LP+CD- (F,2009)***

I still remember when I was 16 or so and listened to The Cure I could find myself well into the weeping/crying aspect of the music, Montreal On Fire makes that inner cry a sound on its own, pushing itself with sad two-note-humming chords and oscillations of the electric guitars, heavily loaded, slowly finding with its inner rhythm, its energy with which to survive, bursting out, bringing out these emotions, louder and louder while bleeding heavily. The quiet moments are sniffing moments in the solo room, licking wounds. A thunderous noise in the background is traffic, a railwailstation, the feeling of being lost in the crowd while remaining deserted. An acoustic guitar playing...

Released on solid vinyl LP with inserts and a cd-version of the album. Limited to 500 handnumbered copies.

Info on band with audio: http://www.myspace.com/montrealonfire
Homepage : http://montrealonfire.com/ with audio on http://montrealonfire.com/3_player.html
Info : http://fiverosespress.net/?p=1600
& http://elementaryrevolt.blogspot.com/2009/06/montreal-on-fire-decline-fall-2009.html
P.W.Elverum & Sun        Mount Eerie : Wind's Poem (US,2009)**°

Somewhat different from the folkier previous album, this album needs a little bit of preparation or the right orientation for it. Wind’s Poem is a prepared conceptual piece, inspired by a hidden message behind the wind. It is at times a frightening power. Like some alternative dark metal groups used ambient distortion in their music, Phil Elverum made concentrated noise drones from distorted electric guitar and organ and cymbal noise loops, before coming to the songs, which are mostly blown away to a lower melancholic energy into the background, dominated by the echoing power of this wind and the horror of its reality. The personal melancholic cry tries to find breathless koans outside the wind, but can’t compete or express much in the sense of the more powerful entity, even when its own story has some similar expressions. When he finds a peaceful moment and the drifting differences are not as strong, these songs are guided by metallic xylophones or Rhodes piano, or slow warming up rhythmic pulsations of electric guitar... Although basically a one man project the full bands accompaniment hangs around to join the scene.

Label : http://www.pwelverumandsun.com/
Other reviews : http://blogcritics.org/music/article/music-review-mount-eerie-winds-poem/
& http://www.prefixmag.com/reviews/mount-eerie/winds-poem/30505/
& http://www.sputnikmusic.com/album.php?albumid=39449

Previous more acoustic release is reviewed on http://psychedelicfolk.com/acidfolkreview27.html#anchor_1014
Altrock Prod.        Chance:Risiko : Sleep Talking (I,2009)****'

This relative young band succeeds to prove how alternative rock can be uplifted towards an art-progressive, and next professional and serious level of almost symphonic nature. This is a song based album, with a warm voice (as effective as Talk Talk with large ensemble). With just a core of four people the arrangements with guitars/rhythm (some vibraphone) based fundaments (-often arranged with details of classical nature but in a rock context-) are enriched with string and brass orchestrations. There are tiny hints to Zappa or free mood and sound based electric details. In general this all sounds pretty much semi-improvised with a much larger band. Highly recommended. This gives a new meaning to contemporary alternative music. From a label with a taste for music.

Info and audio : http://www.myspace.com/chancerisiko
Label info : http://production.altrock.it/prod2.asp?lang=eng_&id=121&id2=122
German review : http://www.babyblaue-seiten.de/album_10274.html
Swarm Rec.     Ed Wood Jr. : Silence (F,2011)****

Most new alt rock bands give the impression they do something that was done before, but then better, as if they only listened to mediocre bands of the less interesting creative years of the 80s and early 90s, blinded by their own egos and a portion of testosterone. Luckily, there are exceptions to be found if you keep on looking for them and don’t stop looking before you find them. Ed Wood JR are such a band who stand out very much, and who are more creative, more convincing and more intelligent than most of the alt rock scene. To start with, they have an interesting use of rather sequenced melodic loops of electronics, use great accents with heavy stoner bass, have attractive woody drums with speeded up drives and nice progressions, a spare use of voice, most often like a radio voice adapted into the music as just one element so that the instrumental progressions and moves have all the space they need with all rhythmic variations, flowing from one idea and track to the next. Only for the eight track I needed a few more listens to get used to a more dominant and punkish singing, something I personally liked less, the collection for the rest to me more or less was felt like a perfect listen. The bass pulls the sound to the ground, the guitars make strong compositions and the rhythms are well varied. Very good !!

Info & audio : http://swarmrecords.bandcamp.com/ & http://www.myspace.com/edwoodjrocks
& http://fiverosespress.net/?p=3572
Homepage : http://www.edwoodjr.fr/ & http://edwoodjr.bandcamp.com/
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