26 Feb 2015
Six Organs Of Admittance "Hexadic"
Reviewed by Grey Malkin (The Hare & The Moon)
Six Organs Of Admittance, the solo project of visionary guitarist Ben Chasny, have fearlessly journeyed the outer reaches of psych via early albums such as the John Fahey fingerpicking mysticism of ‘For Octavio Paz’ to the more recent smouldering full on guitar howl and explosive work on display on ‘Shelter From The Ash’ and ‘Sun Awakens’. A true maverick pursuing his own unique and exploratory furrow, Chasny’s work is never anything short of electrifying and utterly absorbing. Indeed, this writer remembers a hushed crowd one cold night at a Six Organ’s show in Glasgow literally swooning at every guitar flurry and angelic vocal swoop that emitted from the man himself. Latest opus ‘Hexadic’ turns things on their head once again, into freeform and furious guitar noise with less structure but no less intensity or direction. Indeed Chasny has used a very deliberate and personally devised form of improvisation, as the press release states; 'Over the last two years, Ben assembled a comprehensive system of musical composition. Designed to free sound and language from rational order and replace calculation with indeterminacy, the Hexadic System is a catalyst to extinguish patterns and generate new means of chord progressions and choices... this was the goal: to use the System to make heavy music with as few "heavy" signifiers as possible. The ones that are left: Volume. Distortion. Impact!'
'The Ram' begins by casting a sombre and reflective mood, its echoed, Duane Eddy style guitars recalling earlier Chasny forays such as 'The Desert Is a Circle’ (from ‘Sun Awakens’) as jazz drumbeats swagger and stagger behind the growing atmosphere of dread and tension. 'Wax Chance' follows, corrosive guitar hissing and spitting out monolithic slabs of pure white noise. More akin to Chasny’ s occasional link ups with psych monsters Comets On Fire, the ever present crackle and bleed from the amp is hugely thrilling. There is nothing polished here, this music is for real. Drums and bass follow low in the mix, a processionary and sullen beat occasionally exploding into frantic action. 'Maximum Hexadic' picks up where the previous track left off, manic riffing and solos bending and merging into growling noise and electric howls, Chasny’ s vocals hidden under layer upon layer of feedback and fuzz. The veritable calm after the storm, 'Hesitant Grand Light' presents an almost spaghetti western aura, Spanish acoustic guitar underlying a reverbed electric that wails like an oncoming steam train. The tension is palatable; freeform this might be but cleverly and carefully paced and articulated it certainly is. A widescreen mood is conjured; you can almost feel the heat of the sun.
'Hollow River' opens like Black Sabbath at their most malevolent, huge swathes of funereal paced darkness bursting forth and fizzling with pure energy. Reminiscent of Earth (though less tightly controlled) this is the sound of the world ending through one man’s guitar. 'Sphere Path Code C' continues the heaviness though throws in Chasny’ s broken up and hallucinatory vocals to disorientating effect, not unlike 'Hairway To Steven' era Butthole Surfers or the work of early Pain Teens. There is something visceral at work here, this is Chasny’ s muse stripped back to pure noise and expression rather than the precision and considered layering of earlier albums. This is his soul pouring forth in white hot expression, the unconscious becoming conscious in the form of unadulterated guitar freak-outs. The mood quietens with ‘Future Verbs', a doom filled and echo laden piece of black hearted psych which, sounding not unlike Godspeed You Black Emperor at their most barren, drips dread and despair across the scorched wasteland. 'Vestige' builds from this wreckage, the metallic hum and drone of the guitar like a choir from hell, a swarm of electric bees. To close, 'Guild's titanic guitar riffs scream across deceptively laid back and improvised drums, sounding not unlike a eulogy for the earth itself in some kind of death throes. This music is monumental, the sheer noise and scale emotionally overpowering and occasionally overwhelming. But go with it, let it catch you in its flow and go with it and you are in for a truly immersive and genuine experience. This is music with its heart bare, tapping into something collective and subconscious.
Six Organs are no-one's band but their own. They will follow their muse and this album takes them down one particular strand of expression. At other times they are melodic, gentle, spiritual or virtuoso. Here they are alive with the pure dread and joy of existence. You can be too, make sure you get hold of this album.
"Hexadic" is available here.
Nine Questions with Klaus Morlock
Nine Questions is a new regular feature on the Active Listener,
where we ask our favourite artists nine simple questions and get all
sorts of answers....
Today.... Klaus Morlock.
What was the first record you bought?
Animals by Pink Floyd.
What was the last record you bought?
The soundtrack to "The Duke of Burgundy" by Cat's Eyes.
What's one thing about you that very few people know?
I am fascinated by the word "umbrella" and by umbrellas themselves.
If you could record with any one artist who would it be and why?
Steve Jansen. I've always loved his drumming and his general approach to rhythm.
Who should we be listening to right now?
Portishead.
Vinyl, CD or digital?
All three can sound good, but it's vinyl for me.
Tell us about your latest release.
I'm working on a concept album called "The Child Garden", which loosely tells, over the course of about 15 short pieces, the story of a group of adults falling under the malign influence of a shadowy mystic. It's a mixture of pastoral electronics and deep, menacing tape-saturated textures. I'm obsessed with the project.
What's next for you, musically?
The sequel to "The Child Garden" has already been planned. It'll consist of two synth-driven, echo-enveloped, eighteen-minute freak-outs.
What's for dinner?
Cold noodles.
https://klausmorlock.bandcamp.com/releases
https://www.facebook.com/pages/Klaus-Morlock/1580246002203871
Today.... Klaus Morlock.
What was the first record you bought?
Animals by Pink Floyd.
What was the last record you bought?
The soundtrack to "The Duke of Burgundy" by Cat's Eyes.
What's one thing about you that very few people know?
I am fascinated by the word "umbrella" and by umbrellas themselves.
If you could record with any one artist who would it be and why?
Steve Jansen. I've always loved his drumming and his general approach to rhythm.
Who should we be listening to right now?
Portishead.
Vinyl, CD or digital?
All three can sound good, but it's vinyl for me.
Tell us about your latest release.
I'm working on a concept album called "The Child Garden", which loosely tells, over the course of about 15 short pieces, the story of a group of adults falling under the malign influence of a shadowy mystic. It's a mixture of pastoral electronics and deep, menacing tape-saturated textures. I'm obsessed with the project.
What's next for you, musically?
The sequel to "The Child Garden" has already been planned. It'll consist of two synth-driven, echo-enveloped, eighteen-minute freak-outs.
What's for dinner?
Cold noodles.
https://klausmorlock.bandcamp.com/releases
https://www.facebook.com/pages/Klaus-Morlock/1580246002203871
The Virgance "Hiko Shrine"
Reviewed by Nathan Ford
Formerly of Ripley and Loveless, Nathan Smith is steering his own boat now as the Virgance, a one man maelstrom capable of both extreme shoegaze squall, and moments of serene beauty.
Smith's compositional approach has an almost ambient quality, with layers of processed guitar ebbing and flowing over pounding, insistent drums. Instrumental shoegaze he calls it, and I certainly couldn't argue with that description, although the echo laden guitars on tracks like "Propulsion Lab Part I" also remind this listener favourably of unbeatable post-rock titans Jakob. These layering techniques give an initial impression of a wall of noise, but repeated plays reveal naggingly hooky melody lines lurking just below the surface, distorted by, and sometimes created by the echo effect. Smith also has an unerring ear for crescendo building, releasing into calmness at exactly the right moment for maximum impact, creating a sense of negative space which is sometimes as overwhelming as the preceding storm.
The consistency of mood and lack of vocals throughout "Hiko Shrine" may not offer enough variety for everyone, but then again you don't create instrumental shoegaze music to reach a mainstream audience. Listeners more attuned to Smith's mindset however, will discover that the initial, nagging sense of sameness evaporates after a few listens. Rather than separate "Hiko Shrine" into its constituent parts, it's best to approach it as one lengthy, transportative piece, full of subtle twists and turns which exert an addictive pull, while retaining an elusive quality that helps maintain an element of mystery.
Ideally suited for headphone listening, I'd recommend immersing yourself fully in this one, with no outside stimuli to distract from the beautiful, ferocious world that Smith has created.
"Hiko Shrine" is available as a name your price download here:
25 Feb 2015
Nine Questions with Heaters
Today.... Heaters.
What was the first record you bought?
Zeppelin II
What was the last record you bought?
Haven't picked up much vinyl lately, but Andrew got some tapes for the van and "You Know What To Do" by the Shivas was in his last bundle. Been diggin that one!
What's one thing about you that very few people know?
Josh makes exquisite casseroles.
If you could record with any one artist who would it be and why?
There's a dude in Grand Rapids that plays in a couple of sweet surf bands and he runs an analog studio; Tommy Schichtel at GoonLagoon Studios. He shreds and is into the same tones and toots that we are!
Who should we be listening to right now?
Spike and the Sweet Spots, Les Marinellis, Moonwalks, The Omecs.
Vinyl, CD or digital?
They've all kind of got their time and place, but vinyl is probably the most rewarding to produce and to own.
Tell us about your latest release.
We have a 7" called "Mean Green" coming out on April 28 with Beyond Beyond is Beyond Records, and we're also in the process of recording an LP, which will also be out a little later this year. We're recording it with some buds in their basement and it's sounding pretty sweet.
What's next for you, musically?
Tour!
What's for dinner?
Tacos!
https://beyondbeyondisbeyondrecords.bandcamp.com/album/mean-green-7
https://www.facebook.com/heatersss
https://heaters.bandcamp.com/
https://twitter.com/heatersband
http://www.cmj.com/news/watch-heaters-levitate-thigh-video-plus-qa/
Heaters "Solstice"
Reviewed by Maggie Danna
"Solstice", Heaters’ first 10” after several EPs, is a fresh, enchanting surf twist on garage rock. Though the band members are residents of land-locked Grand Rapids, Michigan, this is pretty much as beach goth as a group can get. "Solstice" is a psych-surf album that screams early Growlers and reminds me especially of the Growlers’ album "Are You In Or Out?"
Heaters are self-described as “psychotropic/buttermilk” on their Facebook page, which is certainly intriguing, and this proves to be a very good thing. Of the trio; Joshua Korf, Andrew Tamlyn and Nolan Krebs, two (Tamlyn and Krebs) were high school friends who met the third (Korf) as he happened to be their neighbour.
The jangly, echoing guitar that is omnipresent throughout the album really creates the surf rock vibe, which is further enhanced by the liberal use of hi-hat and tight percussion. Each song gives off its own unique lo-fi sound and all are expertly constructed. One of my personal favourite tracks is “No Fuss”. With a spiraling guitar background, “No Fuss” is deliciously reverb-laden and has the strongest space rock essence of the album. There is a sorrowful moan to the vocals and each note is held onto, drawn out in an almost drone-like way until it is released to softly fade away. The melancholy is almost tangible. “On A Whim” is another standout track, with more energetic guitar riffs. A bit of twang is also apparent throughout the album, though it is definitely far from country. Despite its laid back and often sorrowful vibe, "Solstice" also has irresistible dance appeal thanks to some great hooks, and it’s easy to imagine this album being played at an angsty sock hop.
I especially recommend "Solstice" if you like The Growlers, The Black Angels, Allah-Las, Gringo Star, or The Wytches.
"Solstice" is available in digital and on vinyl here:
24 Feb 2015
Nine Questions With Al Lover
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| Photo - Keith Ainsworth |
Today....Al Lover!
What was the first record you bought?
Probably some crappy thrift store nonsense, but the first one that holds any weight that I can remember buying is Yusef Lateef "The Diverse" on Atlantic.
What was the last record you bought?
It was a batch including Syd Barrett 'Barrett', Roky Erickson 'and the Aliens', PIL '2nd Edition', Schoolly D 'Saturday Night - the Album' and a couple others (no reissues here, haha!)
What's one thing about you that very few people know?
I love the Grateful Dead.
If you could record with any one artist who would it be and why?
Probably Sonic Boom. I would say so much of my textural aesthetic is inspired by him and musically I know he's very well informed by the same stuff I am and more (mainly because of his influence on me, haha!) So, I think it would yield really cool results. And I'm sure I would learn so much from that experience, which is the most important aspect of any collaboration in my opinion.
Who should we be listening to right now?
Nest Egg from Asheville, NC. Their upcoming album is out May on Bathetic Records.
Vinyl, CD or digital?
Vinyl at home, Digital on the go.
Tell us about your latest release.
My last release, Cave Ritual is a project I did where all the main samples were taken from one soundtrack record from the late 60s. I wanted to make something with an extremely limited pallette. So it's those samples, a couple breaks, some loops from old rhythm boxes, 808s kicks and like two synth patches. It's probably the most minimal work I've intentionally tried to do thus far. I really like how it turned out.
What's next for you, musically?
I have a new record I just finished that will be coming out late summer / early fall titled 'Zodiak Versions'. It's a project I did inspired by the 2 most important genres to contemporary music, which in my opinion are Dub (proper Jamaican dub) and Krautrock (mainly the more synthy stuff). Really stoked on this project. It's pretty weird and doesn't sound like anything I've put out yet. Hopefully folks will dig it!
What's for dinner?
Roast fish, collie weed and cornbread!!!!
https://www.facebook.com/coolallover
https://allover.bandcamp.com/music
https://soundcloud.com/al-lover
http://stolenbodyrecords.co.uk/record-label/al-lover/
Orgasmo Sonore "Revisiting Obscure Library Music"
Reviewed by Nathan Ford
Frank Rideau's Orgasmo Sonore project has a new mission. After several collections interpreting classic European film music from the likes of Bruno Nicolai, Ennio Morricone, Goblin, Fabio Frizzi and the likes, he's now turning his attention to the vast field of library recordings. For those uncertain of what exactly library music is, here's a handy introduction.
While Rideau's "Revisiting Obscure Film Music" series mostly focused on material I was already familiar with, the source material for "Revisiting Obscure Library Music" is all previously unknown to me, mainly for reasons of access. After all, this music was created for industrial use, and it's uncommon (but not unheard of) for it to appear in used record bins.
So, without familiarity of source material on my side, how exactly does "Revisiting Obscure Library Music" fare? Excellently. I can't pass comment on how true to the originals Rideau's interpretations are, but the track selection, sequencing and performances are uniformly excellent.
While library music is an extremely broad genre (as necessitated by the wide range of uses it was intended for), Rideau has been selective with what he's taken on board here, creating an album that flows smoothly through progressive rock, funk, crime jazz and spacey synths - all the sorts of things beloved of Active Listener readers.
"Erba di Prima" starts things off in a pastoral prog vein which will make collectors of late sixties / early seventies U.K proto-prog feel right at home. Things then get nicely jazzy without losing their prog edge with Alessandro Alessandroni's "White Sand" having a nice flutey Tonton Macoute vibe, before Piero Umiliani's "Viadotti" channels Zappa at his busiest, and most melodic. Bruno Nicolai's "Tempo Sospesso" utilises synth choirs, harpsichord and guitars on the verge of feedback, making this a good entry point for those more familiar with Rideau's Giallo style work.
Side two changes pace slightly with the spy jazz of "Confronto" making good use of the sort of signature harpsichord / hammered keys motifs that John Barry employed so memorably during the sixties. "A Mind Level" mixes funk with some spacey synth passages, pre-empting the marvelous space age pop of "Electric Maneges" and "Space Team", either of which would be a natural fit on an Advisory Circle record, or soundtracking a seventies science documentary, which the originals were likely intended for.
I'm suitably impressed. Rideau's obvious knowledge and affection for the source material shines here, providing an ideal place for the novice to dip their toe in the water or the seasoned library collector to nod approvingly at his selections. And the handy sleeve notes annotate the source of the originals obsessively, which will be fueling my google searches for the next few days.
"Revisiting Obscure Library Music" can be pre-ordered on LP/CD Set, LP only or CD Mint Pack by e-mailing the label directly at informazione@cineploit.com
Available from other online retailers in March.
23 Feb 2015
Nine Questions with the Transcendents
Nine Questions is a new regular feature on the Active Listener, where
we ask our favourite artists nine simple questions and get all sorts of
answers....
Today..... Chris Pole of The Transcendents.
What was the first record you bought?
Oh man, I think it was probably a cassette of Bon Jovi's Slippery When Wet which I went halves in with my older sister, and we would alternate between us, including the tapedeck it was played on. Pretty inglorious stuff considering my Mum had Beatles 45's on the shelf, but my sister gets half the blame for that! Then with totally my own money it might've been Paul Simon 'Graceland' or Bruce Springsteen 'Tunnel Of Love', but the first one I truly fell in love with was Janes Addiction 'Ritual de lo Habitual', and at 13 years old I was all about the first side - the fast songs - but over time the tripped out psychedelia on side two -Three Days! - started to sink in....
What was the last record you bought?
A couple of EPs, Tom's Lunch by the Phoenix Foundation and one by Emily Edrosa (from Street Chant). They're both great!
What's one thing about you that very few people know?
Ummm, when I was in high school I was in a school play of Bugsy Malone. During auditions it was decided that I couldn't sing (so no change there then, ha!), so I was cast as Dandy Dan, the villian. It was actually pretty fun, I was a badass with henchmen, and we had these guns that fired shaving cream everywhere. It got pretty outrageous by the third night!
If you could record with any one artist who would it be and why?
Even though it would be a dream come true, I think I'd be too scared to record with my heroes! I'm all for collaboration, but I'm also acutely aware of my own shortcomings, so being in a room full of instruments with Jeff Tweedy or Adam Granduciel or somebody would be kind of terrifying and embarrassing! Maybe I'll go with Mark Linkous as it can't actually happen now, not that I imagine it ever could have anyway. RIP Sparklehorse.
Who should we be listening to right now?
There's just tons of brilliant stuff out there, but you should definitely be listening to Jim Nothing right now - his first release 'Death Traps' is great, and he's just released a new EP 'Zig Zag Blues' that I've gotta check out myself. Much more well known but both worth it for the incredible productions are the latest albums from Warpaint and Interpol.
Vinyl, CD or digital?
I'm a digital fiend, it's just so convenient you know, to take your entire collection with you everywhere you go. That said, aside from the free download our debut album is also out on 12" record. As opposed to pressed vinyl, every copy is lathe-cut in 'real time' on clear polycarbonate, and it's just a really beautiful package put together by Peter King Records, and corresponds really well with the DIY ethic of The Transcendents.
Tell us about your latest release.
Our debut album consists of 10 tracks, available for free download from www.thetranscendents.co.nz, and also as a 12" as mentioned. There are videos for five of the tracks, with one more to come (for the final track on the album, 'Weakness Was Always Your Strength", a personal favourite), but it's still in the early editing stages. The vids are all pretty lo-fi, much like the music, which I guess is a kind of spooky, noir-ish dark alt-folk thing, with strange beats and an unhealthy disregard for timing.
What's next for you, musically?
Gonna finish up that video and then hopefully start work on a new EP. There's some bits and pieces already written, and a few lyrics taking shape, so hopefully some new stuff from The Transcendents later this year.
What's for dinner?
I've already eaten, and I'm into the red wine now, a nice Central Otago Pinot Noir thanks.
The Transcendents on Bandcamp.
The Transcendents on Facebook.
YouTube.
Today..... Chris Pole of The Transcendents.What was the first record you bought?
Oh man, I think it was probably a cassette of Bon Jovi's Slippery When Wet which I went halves in with my older sister, and we would alternate between us, including the tapedeck it was played on. Pretty inglorious stuff considering my Mum had Beatles 45's on the shelf, but my sister gets half the blame for that! Then with totally my own money it might've been Paul Simon 'Graceland' or Bruce Springsteen 'Tunnel Of Love', but the first one I truly fell in love with was Janes Addiction 'Ritual de lo Habitual', and at 13 years old I was all about the first side - the fast songs - but over time the tripped out psychedelia on side two -Three Days! - started to sink in....
What was the last record you bought?
A couple of EPs, Tom's Lunch by the Phoenix Foundation and one by Emily Edrosa (from Street Chant). They're both great!
What's one thing about you that very few people know?
Ummm, when I was in high school I was in a school play of Bugsy Malone. During auditions it was decided that I couldn't sing (so no change there then, ha!), so I was cast as Dandy Dan, the villian. It was actually pretty fun, I was a badass with henchmen, and we had these guns that fired shaving cream everywhere. It got pretty outrageous by the third night!
If you could record with any one artist who would it be and why?
Even though it would be a dream come true, I think I'd be too scared to record with my heroes! I'm all for collaboration, but I'm also acutely aware of my own shortcomings, so being in a room full of instruments with Jeff Tweedy or Adam Granduciel or somebody would be kind of terrifying and embarrassing! Maybe I'll go with Mark Linkous as it can't actually happen now, not that I imagine it ever could have anyway. RIP Sparklehorse.
Who should we be listening to right now?
There's just tons of brilliant stuff out there, but you should definitely be listening to Jim Nothing right now - his first release 'Death Traps' is great, and he's just released a new EP 'Zig Zag Blues' that I've gotta check out myself. Much more well known but both worth it for the incredible productions are the latest albums from Warpaint and Interpol.
Vinyl, CD or digital?
I'm a digital fiend, it's just so convenient you know, to take your entire collection with you everywhere you go. That said, aside from the free download our debut album is also out on 12" record. As opposed to pressed vinyl, every copy is lathe-cut in 'real time' on clear polycarbonate, and it's just a really beautiful package put together by Peter King Records, and corresponds really well with the DIY ethic of The Transcendents.
Tell us about your latest release.
Our debut album consists of 10 tracks, available for free download from www.thetranscendents.co.nz, and also as a 12" as mentioned. There are videos for five of the tracks, with one more to come (for the final track on the album, 'Weakness Was Always Your Strength", a personal favourite), but it's still in the early editing stages. The vids are all pretty lo-fi, much like the music, which I guess is a kind of spooky, noir-ish dark alt-folk thing, with strange beats and an unhealthy disregard for timing.
What's next for you, musically?
Gonna finish up that video and then hopefully start work on a new EP. There's some bits and pieces already written, and a few lyrics taking shape, so hopefully some new stuff from The Transcendents later this year.
What's for dinner?
I've already eaten, and I'm into the red wine now, a nice Central Otago Pinot Noir thanks.
The Transcendents on Bandcamp.
The Transcendents on Facebook.
YouTube.
22 Feb 2015
Palace of Swords "Reimagined"
Reviewed by Nathan Ford
Remix projects really are a load of old cobblers aren't they? I still vividly remember the disappointment that I used to feel when I'd stumble across a scarce CD single from a beloved band, only to find that the b-side was some terrible club remix instead of a proper b-side. Imagine my surprise then, when Palace of Swords' new project "Reimagined" arrived in the post and turns out to be really, really, proper good.
The clue is in the title of course. "Reimagined" implies a lot more commitment than your average remix, and those featured here have all excelled and gone well beyond the project's brief to create something unique, varied, and greater than the sum of its parts (they're some pretty good parts too).
Now, obviously it helps to have solid source material to work with, and Peter Lyons' Palace of Swords nom de plume provides plenty of that, but whether by accident or design, the five artists who have reimagined here have twisted and turned Lyons' original material in all sorts of unexpected directions, yet, the project flows and fits together absolutely perfectly, despite the variety on display.
Creation Records co-founder Joe Foster creates a palpable air of tension with his mix of "Echoes From a Distant Star", which sounds like it belongs in an early eighties slasher film, before the Hare & The Moon surprise with their kosmische pagan take on "Ringstone Round". These two tracks make up the content of the 7", pressed on white vinyl - Reverb Worship's first ever vinyl pressing! The CD-R version features an extra three tracks, and selecting the two for the 7" must have been an arduous task, as there is no discernible quality drop here. The Snide Rhythms remix of "Aesthete Cured" is particularly noteworthy, channeling a New Order vibe without losing its sense of mystery.
Highly recommended, and as is always the case with Reverb Worship releases, very limited. You can order the 7" or the CD-R right here.
I'd urge you to check out the YouTube videos of all clips here, then reach for your wallet.
Nine Questions with the Myrrors
Nine Questions is a new regular feature on the Active Listener,
where we ask our favourite artists nine simple questions and get all
sorts of answers....
Today.... Nik Rayne from the Myrrors.
What was the first record you bought?
Not sure if this counts, but I think it was the first Led Zeppelin album, without the record inside. This was before I even had a turntable, I just wanted the sleeve for my wall. Still waiting to find its missing half, though I'm pretty sure I dug that album a lot more back then than I do now...
What was the last record you bought?
It's gonna have to be a three way tie: Art Ensemble of Chicago's "Reese and the Smooth Ones," Ravi Shankar's "Portrait of A Genius," and Cecil Taylor's "Great Concert of Cecil Taylor" (beautiful three-LP set featuring the mighty Sam Rivers), all from the Double Nickels Collective this last weekend when we went up to Phoenix to play a gig with Destruction Unit. Always score at that place.
What's one thing about you that very few people know?
I guess "very few people" is relative, but maybe that my dad is from Kabul, Afghanistan. Him and his family moved over to the States during the Russian war. He can still speak a good amount of Farsi, though unfortunately I was never taught.
If you could record with any one artist who would it be and why?
That's a hard one. Assuming they would still have to be alive, maybe Tony Conrad - I could definitely get down with some heavy all-night violin drone action. Conrad's music was definitely a big influence on the new Myrrors record too, especially that first record he did with Faust, "Outside the Dream Syndicate."
Who should we be listening to right now?
Sunn Trio from Phoenix, a radical young cosmic/space-jazz ensemble with hints of Bitches Brew-era Miles, classic era Ornette, and Can. Also Scattered Purgatory from Taiwan, who are making some of the most beautiful and creative drone-based music I've ever heard.
Vinyl, CD or digital?
Always vinyl, but let's not forget the cassette!
Tell us about your latest release.
Well our second "proper" studio full-length is coming out this March on Beyond Beyond Is Beyond Records. It's called "Arena Negra" and we're really excited about it, because the last time we really released a record like this is was way back in 2008! A lot has changed since then, as you can probably imagine - things have gotten a little heavier, a little more widescreen, and way further out. We workshopped a lot of ideas between the reformation of the band in 2013 and the final recording of the album, and I think that really helped us zero in on where we wanted to take The Myrrors as a band.
What's next for you, musically?
The lineup of the band has undergone something of a shake-up these last few months, but we've been playing out a lot around Tucson and I think, as a unit, things are sounding better than ever. We're already starting to brainstorm the follow-up to "Arena Negra" - I'm thinking it'll probably start out based in that record's general aesthetic, but we're definitely looking to explore some more distant sonic territories. We've even thrown around the (maybe overly ambitious) idea of making it a double LP. Might not be able to get much work done on that though till mid-late Summer, as we've got Austin Psych Fest this May followed by some in-the-works tour plans.
What's for dinner?
Leftover New Mexican food, green chili & pork hashbrown scramble - if you're ever in Tucson, Poco & Mom's diner is the place to be.
https://beyondbeyondisbeyondrecords.bandcamp.com/album/arena-negra
https://soundcloud.com/the-myrrors
https://www.facebook.com/themyrrors.az
https://themyrrors.bandcamp.com/
Today.... Nik Rayne from the Myrrors.
What was the first record you bought?
Not sure if this counts, but I think it was the first Led Zeppelin album, without the record inside. This was before I even had a turntable, I just wanted the sleeve for my wall. Still waiting to find its missing half, though I'm pretty sure I dug that album a lot more back then than I do now...
What was the last record you bought?
It's gonna have to be a three way tie: Art Ensemble of Chicago's "Reese and the Smooth Ones," Ravi Shankar's "Portrait of A Genius," and Cecil Taylor's "Great Concert of Cecil Taylor" (beautiful three-LP set featuring the mighty Sam Rivers), all from the Double Nickels Collective this last weekend when we went up to Phoenix to play a gig with Destruction Unit. Always score at that place.
What's one thing about you that very few people know?
I guess "very few people" is relative, but maybe that my dad is from Kabul, Afghanistan. Him and his family moved over to the States during the Russian war. He can still speak a good amount of Farsi, though unfortunately I was never taught.
If you could record with any one artist who would it be and why?
That's a hard one. Assuming they would still have to be alive, maybe Tony Conrad - I could definitely get down with some heavy all-night violin drone action. Conrad's music was definitely a big influence on the new Myrrors record too, especially that first record he did with Faust, "Outside the Dream Syndicate."
Who should we be listening to right now?
Sunn Trio from Phoenix, a radical young cosmic/space-jazz ensemble with hints of Bitches Brew-era Miles, classic era Ornette, and Can. Also Scattered Purgatory from Taiwan, who are making some of the most beautiful and creative drone-based music I've ever heard.
Vinyl, CD or digital?
Always vinyl, but let's not forget the cassette!
Tell us about your latest release.
Well our second "proper" studio full-length is coming out this March on Beyond Beyond Is Beyond Records. It's called "Arena Negra" and we're really excited about it, because the last time we really released a record like this is was way back in 2008! A lot has changed since then, as you can probably imagine - things have gotten a little heavier, a little more widescreen, and way further out. We workshopped a lot of ideas between the reformation of the band in 2013 and the final recording of the album, and I think that really helped us zero in on where we wanted to take The Myrrors as a band.
What's next for you, musically?
The lineup of the band has undergone something of a shake-up these last few months, but we've been playing out a lot around Tucson and I think, as a unit, things are sounding better than ever. We're already starting to brainstorm the follow-up to "Arena Negra" - I'm thinking it'll probably start out based in that record's general aesthetic, but we're definitely looking to explore some more distant sonic territories. We've even thrown around the (maybe overly ambitious) idea of making it a double LP. Might not be able to get much work done on that though till mid-late Summer, as we've got Austin Psych Fest this May followed by some in-the-works tour plans.
What's for dinner?
Leftover New Mexican food, green chili & pork hashbrown scramble - if you're ever in Tucson, Poco & Mom's diner is the place to be.
https://beyondbeyondisbeyondrecords.bandcamp.com/album/arena-negra
https://soundcloud.com/the-myrrors
https://www.facebook.com/themyrrors.az
https://themyrrors.bandcamp.com/
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