Friday, April 29, 2011
Thursday, April 28, 2011
Most critics panned the band's music as a throwback to earlier sounds of the 1950s and 1960s, such as Pat Boone and Mitch Miller. In spite of poor reviews, the band's albums continued to sell to largely white, Midwestern and Southern audiences.
Wednesday, April 27, 2011
Tuesday, April 26, 2011
Monday, April 25, 2011
Sunday, April 24, 2011
Saturday, April 23, 2011
Though evidence of a warmer season has finally begun to show, I find myself drawn to the stark, cold sounds of Pasternak. If there were one band, or album, let’s say, that resonates with me most—containing or exhibiting all the elements of sound and visions that I pursue—it would be this album from this band. However, “band” may be a misnomer in Pasternak’s case. Pasternak consists of one individual (unnamed) and a rotation of friends that visit becoming part of his project. (This I’ve gleaned from the linear notes.) What it is that I am particularly drawn to, perhaps, is impossible to say—or I simply lack the ability or a language to articulate what it is I am attracted to. Lyrically, there is a hermeneutical preoccupation to this work that—combined with music/sound both coarse and banal—makes something of raw beauty. Perhaps that is all I get. Perhaps that is all I really need. I suggest that if this album finds you, let it into your world.
Friday, April 22, 2011
A partial examination of the extensive recordings done at Freddy Saturn’s “Liftoff!! Lounge” in Titusville, Florida. Produced by legendary sound engineer Junior Bezerkley, tracks on this album include the Liftoff!! Lounge house band’s immortal rendition of John Lennon’s “Universal Whore”, the SkyFairies’ forty-three minute fusion opus, “Fuck me Baby to Pluto and Back!” and the always creative Willy, “I’m not insane, I’m just off my meds”, Valentine doing his jazz interpretation of Gustav Holst’s “Jupiter Suite” on solo nose flute.
Thursday, April 21, 2011
Wednesday, April 20, 2011
The strange story of “Blundar and the Rockin’ Barbarians”
A metal techno-punk group that appeared out of nowhere in early 2009 and who released only one record, “Pillage and Plunder” in March of that year. It was released on vinyl and met with some critical success. The band played small venues throughout Europe from May through early July. Fans were especially amused by the band’s Bass player as the musician appeared to be a floating robot bristling with weapons. Described by the band as an advanced holographic skin the weapons did appear to work whenever overly curious fans attempted to get too close to the Bass player. The resulting lawsuits limited the band’s performance options until the band was offered to head-line a big rock concert in the home town of one of the band’s performers, Atilla the Honey. What happened at the concert is open to some dispute but there can be no doubt that the band, “Blundar and the Rockin’ Barbarians” are no more. What follows is the initial press release:
Tragedy and Shock in Błåwscöw
Dateline: July 28, 2009 Błåwscöw, Georgia Republic
Shock and horror occurred at an outdoor rock concert near the picturesque town of Błåwscöw when and estimated crowd of 15,000 happy concert-goers were robbed and terrorized by what eyewitnesses describe as human pirates and floating robots who disembarked from a UFO. Authorities have been quick to denounce the UFO allegations as the drunken ramblings of shocked citizens but there is no doubt that a massive robbery took place. Queries that authorities confiscated the few remaining cameras and cell phones that had not been taken by the thieves has been met by stony silence. Even more puzzling are accounts that the head-line band, Blundar and the Rockin’ Barbarians, participated in the massive robbery and fled with the pirates on the alleged UFO. A Europe wide warrant has been issued by Interpol for the band members but so far no arrest has been made.
Tuesday, April 19, 2011
Monday, April 18, 2011
Few areas of the world have been as exciting to watch as the experimental community in Poulsbo, WA over the past half decade. What was originally dominated by Christian Rock and Nordic folk has slowly transformed into a sea of post-rock, ambient, and electronic artists, exposing a magnitude of creative musicians. “Sad Bastard on a Sunny Day" is the self-titled sophomore EP from one such talent, Bani Char and his collective alliance. The albums lethargic yet intricate sound could (at times) be described as “molasses pop” however it never hedges into being trite or self-conscience as so many other bands do. This is done via sincerity and a broad musical palette that incorporates spiraling tape loops, fizzing electronics, ethnic percussion, cello, and musical saw. Best listened to while sipping an americano by Liberty Bay.