Refined Sound
by Thomas Schulte
**************************************************************
Outsight brings to light non-mainstream music, film, books, art, ideas and opinions.
Published, somewhere, monthly since July 1991. Feel free to re-print this article.
Please, keep Outsight informed:
Email Outsight at outsight@usa.net
Ratings are (1) = :(, (5) = 🙂
Outsight Radio Hours Internet radio Webcasts with live interviews:
Sundays 6pm-8pm EST http://www.new-sounds.net
**
NEWS AND VIEWS **
REFINED SOUND
The company’s epigram says it all, “Refined Records is dedicated to furthering
the art of acoustic instrumentation. By minimizing ‘plug-ins’ – synthetic sound
production and computer programming techniques – the music is freed from impurities,
cultivating a subtle, polished, and cultured gem.” Find out more about this
exquisite label on the Web. Two
titles out now from the label exemplify its ideals. Boulevard Of Broken Dreams
mates American-styled pop jazz vocals ala Nat King Cole with the swinging gypsy
jazz of the acoustic Robin Nolan Trio. Fun and sophisticated, this album delivers
fresh renditions of 15 standards such as “Route 66”, “Take the ‘A’ Train” and
“Caravan”. These songs suggest travel and the meeting of the worlds creates
a wondrous passage to a singular collaboration
of European jazz instrumentation and American vocal styles. Randy Greer is not
a member of the ensemble, but is featured on this recording as the group explores
the possibilities of this fusion. It is Robin Nolan’s turn to be featured on
Turkish Blend. This is the album of guitarist Johnny Hepbir. Hepbir learned
his Gypsy-jazz guitar style by immersing himself in Gypsy culture. Beside Nolan
for additional guitar, Hepbir has his own Stephane Grappelli in Baz Stanescu
adding free-spirited violin.</p>
<
Listen to or Buy Boulevard at Amazon.com</a>
to or Buy Turkish Blend at Amazon.com</a> </p>
FRIENDLY RICH EPK
Vulgar Friendly Rich is the Tom Waits of Brampton, Ontario, and you owe to yourself
to find out more about this crazy creative’s music. Rich has helped out by compiling
an electronic press kit that condenses all the insanity into a short video.
Visit his site and follow the links
to the low-bandwidth
or high-bandwidth version.
</p>
SLOW GUN RECORDS
Slow Gun Records has been quietly flying under the radar of the independent
music scene for the past five years. Many labels stick to their favorite genre,
but Slow Gun covers all aspects of a punk/indie/rock music connoisseur’s collection.
After releasing more than a few 7” records from bands such as the Icarus Line,
the infamous Gayrilla Biscuits, and Over My Dead Body, Slow Gun is concentrating
on developing bands and releasing full lengths, such as the new records by Swindle
(out now!) and Crashcart (out soon!). For more information, check out http://www.slowgunrecords.com!
</p>
– David Gillanders, http://www.corsairmedia.com
</p>
FLIGHT OF THE SHEEP’S HEAD
300 miles west of Oslo, Norway a sheep’s head hit a concertgoer, fracturing
his skull at a concert by metal band Mayhem. The sheep’s head was launched into
the audience after it came off the knife of lead singer Maniac. The band separated
the ovine pate in the act of carving the animal up, this being part of the stage
show. Though the victim, Per Kristian Hagen, is a Mayhem fan, he filed involuntary
assault and battery charges against the band. The charges carry prison time.
Mayhem’s Rune Eriksen, a.k.a. Blasphemer, said the incident was unfortunate
and promised Hagen a free ticket to the next Mayhem mayhem. Norwegian police
began an investigation into the extreme Norwegian concert ritual.
</p>
FREE SCANNER
Surf to http://www.pogogallery.com/
to read an interview with scanner and download any of the half-dozen Scanner
MP3s available there. Says Scanner, the files are “textures and sounds that
you [are] welcome to download and use in your own creations if you so desire.
You can also view some beautiful photographs of the Garches hospital project
in France where I created the soundtrack for a working morgue.”
</p>
VINYL REVIEWS ******************
US Bombs
Art Kills
US Bombs is upset with what it sees as government crimes of a conspiratorial
nature. Here the group delivers its case in melodic but potent and punchy punk
rock. The B-Side is “Framed”, a laundry list of reasons why the band feels Timothy
McVeigh was framed. The title track on the A-side features nice guitar work
and anthemic group vocals.
Last Target
What Caused the Problem?
This is the debut release from Last Target, put out as the band headed out to
Japan to tour with The Boils. The band has a distinctly ‘77 punk style. They
make themselves stand out by trading male-female vocals in the songs. One
of those vocalists is Ryoko Naitoh, former guitarist/vocalist for Thug Murder.
The band constantly tours the U.S. and Japan, winning fans with their unique
Tokyo take on the vintage punk spectrum offering street and melodic styles.
(4)
Head Hits Concrete
Hope, Fear and the Terror of Dreams
Unfettered malevolence, unrestrained violence launches off this densely packed
33 RPM 7”. The Winnipeg grindcore band is a rare example of the extreme scene
in the Great White North. Typical of the grindcore formula, these are short but
brutal blasts of music allowing the group to pack five songs onto each side of
the release. (3)
DVD REVIEWS **
Clarence “Gatemouth” Brown
In Concert
A blues showman in the tradition of Aaron “T-Bone” Walker, multi-instrumentalist
Clarence “Gatemouth” Brown regales a German club crowd with guitar and fiddle
in this 10-song set. The 1995 concert is an entertaining example of Brown’s Texas
blues fusions style, a mix of blues, country, R&B, Cajun and some jazz. Brown
rose to prominence in the post-War blues scene and has 50 years of experience
to draw on in this excellent, varied performance that includes “Take the A-Train”,
“Long Way Home” and “Mojo Workin’”. (4.5)
<
p align=”center”>More
on the DVD from Amazon.com</a></p>
Yellowman
Live in San Francisco
2B1 Records/MVD
Yellowman became famous with American college crowds in the ’80s for his sexually
explicit dancehall style. Much of this was seen as homophobic and sexist and the
‘90’s saw Yellowman entirely reinvent himself. This 1998 concert from the Maritime
Hall in San Francisco is a socially aware Yellowman encouraging condom use and
directly warning against mistreatment of women. Full of energy and racing across
the stage, Yellowman packages most of these tunes into medleys of songs. Along
with his dancehall pieces, Yellowman works in many covers. Some work much better
than others. For example, “Girl Watcher” comes off very well, but the rendition
of “Blueberry Hill” does not fit. The encore gives a touch of old school Yellowman
slackness for the fans. Special features on the DVD are a photo gallery, discography
and poster catalog. (3.5)
<
p align=”center”>More
on the DVD from Amazon.com</a></p>
Irv Cass
Blue Suede Films/MVD
This fascinating documentary centers on Elvis impersonator Irv Cass. The Niles,
Michigan performer prepares for a final attempt at the national crown at Memphis’
“Images of Elvis” contest, a title he has been the runner-up for multiple times.
While exploring Cass’ struggles to succeed and battling with the diet decision,
we are introduced to other hopefuls. These include Quentin Flagg and Robert Washington.
His extreme youth may hold Flagg back and Washington may have an obstacle to the
crown in the color of his skin. Regardless they are among the talented contestants
that are Irv’s colleagues from his South Bend, Indiana regional to his chance
on the Memphis stage. Beyond the colorful characters that are the impersonators,
this documentary also explores the Elvis impersonator community made of up talent
judges, fans, costume designers, agents and more. Almost Elvis is an entertaining
and illuminating view of this sub-culture that is the ultimate in retro. (4)
<
p align=”center”>More
on the DVD from Amazon.com</a></p>
Various Artists
Modulations: Cinema for the Ear
This DVD is am ambitious overview of both the history of electronica and its myriad
contemporary forms. The producers, also the makers of Synthetic Pleasures,
feature interviews with or clips of Scanner and John Cage, Derrick May and Robert
Moog, Genesis P. Orridge and Atari Teenage Riot and more. Largely in the form
of candid chats, these clips form an enlightening mosaic of the growth of electronic
music, its own genesis and its power of self-creation derived from internal inspiration.
That is, innovators server to inspire the next seminal innovator. Interestingly,
in all this chatter and reflection, the implicit fact that electronic music came
in two waves is never explicitly acknowledged. The birth of electronic music from
Stockhausen to John Cage arose from purely aesthetic or purely inventive motivation.
Later came a utilitarian wave of beat music purveyors characterized by Orbital,
The Future Sound of London, Roni Size, etc. Very little is done to explain how
the dance music forms first grafted onto the art and academic movement, though
producer Teo Macero’s comments on ’50s production techniques suggests much. Also,
the current state of that art and academic movement is not touched on except through
the appearance of Pierre Henry. (3.5)
<
p align=”center”>More
on the DVD from Amazon.com</a></p>
Various Artists
That Old Black Magic
Morningstar Entertainment/MVD
In the 1950s, CBC’s Toronto studios were a safe haven for black performers seeking
to promote their art away from the segregated United States. Black jazz, R&B and
pop stars appeared in variety shows produced there. This DVD culls from high-quality
kinescopes compiled as part of the studio’s 50th anniversary. Thanks to the CBC
Archives Department, we now get taken back to that golden era for a short narrated
biography and performances from a playfully nimble Cab Calloway (“Minnie the Moocher”),
Dinah Washington singing Bessie Smith murder ballad “Send Me to the ‘Lectric Chair”,
smooth Billy Eckstine (“September Song”) and opera star Marion Anderson. Also
featured are Ella Fitzgerald and Della Reese. Sampled from variety shows are appearances
by Sammy Davis, Jr. and Nat King Cole. The main star is Duke Ellington. We get
five songs from Ellington as he opens and closes this excellent DVD. (4)
<
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on the DVD from Amazon.com</a></p>
CD REVIEWS **
The Cutters
In the Valley of Enchantment
Bright and uplifting, smile-inducing indie pop continues to come in quality from
the camp of The Cutters. The album is ten tracks long, with an eleventh unlisted
track called “Sluggish”. That leaves the listed experience bookended with the
clarion call to joy, a power pop anthem called “(Back In The) 20th Century” and
ending with a cocktail of alcohol and attraction blended with fiddle called “Partly
Cloudy”. Be that as it may, it is always sunny with The Cutters and this disc
is sunshine on a spinning platter. (4)
ANTiSEEN
Noise for the Sake of Noise
The Vault of ANTiSEEN continues with the resurrection of this Southern
brand of white trash punk from ANTiSEEN. The album, originally, was an Australian
release. Like many early Australian punk bands, this album is a primitive, noisy
affair – as the title suggests! At this point, the group was so punk they could
play a Dylan song (“Positively 4th Street”) … with keyboards, and get away with
it. (At least offering enough high-octane fuel to hurdle this speed bump.) The
five bonus tracks include four live cuts featuring a James Brown-inspired “Death
Train (In a Cold Sweat)”. (4)
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Listen to or Buy at Amazon.com</a></p>
On High
The power blues punk of Murder 1 reincarnates the spirit of Blue Cheer. This heavy
slab marks the band’s third release, and is more stylistically consistent and focused
for maximum stoner rock energy. The group now sports a new vocalist (Will Naga)
and piano/keyboard player going by the name Bram Phetamine. On songs like “White
Horse Trail”, Phetamine offers a funky keys break that gives the song the shadow
of R&B soul. (3.5)
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Squirtgun/Teen Idols
The Dysfunctional Shadowman
Pop punk bands Squirtgun and Teen Idols get together for this four-song split
CD. The four tracks are alternately ordered so that each band follows the other.
Teen Idols packs more of a punch with a melodic leaning toward street punk. Squirtgun
has more charm with backing female vocals adding confection to their speedier
brand of indie rock. This is a good introduction to the two bands now both signed
to Fat Wreck Chords’ imprint Honest Don’s. (3.5)
<
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Maria de Alvear
Fuerzas
Christina Fong
This is the first recording of the extended viola piece composed by modern European
composer Maria de Alvear. Performing the piece is Christina Fong; know for premier
recordings of newer music. The piece is sixty-six minutes and rarely does she
compose anything lasting less than an hour. De Alvear uses the single, brown-toned
instrument to impressionistically deliver a potent monologue on strength, intensity,
vigor and force that can all be used and is best used with art, skill, style and
passion. (4.5)
<
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Hellborg/Lane/Sevaganesh/Umashankar/Umamahesh
Icon
On Icon Jonas Hellborg, bass icon with Mahavishnu Orchestra, Public Image
Ltd. and more on his résumé, continues to explore the possibilities of Indian
music in a progressive jazz setting. This album uses the Indian tradition as a
basis and Hellborg does little to obscure what is there. Guitarist
Shawn Lane is on hand to add electric guitar, but he also does not get in the
way. The core of this album is vocalist V. Umamahesh (a verbal acrobat) backed
by the two percussionists (Umashankar and Selvaganesh) on konokol and other instruments.
Hellborg sees improvisation as the heart of both jazz and Indian music, making
the two sympathetic on that level. (4.5)
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Mindflayer
Take Your Skin Off
Mind Flayer is a two-main collaboration: B. Chippendale (Lightning Bolt) and Mr.
Brinkmann of Meerk Puffy, Force Field and more. Noisy and clamorous, grating and
cacophonous, this is a harsh, mind-flaying assembling of kit drums and angry electronics.
Take Your Skin Off is an adrenalized cross between Foetus and the Dungeons
& Dragons Monster Manual. (3)
Harry Manx / Kevin Breit
Jubilee
Jubilee brings together two of Canada’s best modern blues guitarists: Harry
Manx on the mohan-veena Indian guitar and lap-slide guitar along with journeyman
session guitarist Kevin Breit. After an impromptu jam with Breit’s Folk Alarm
in 2001, Manx discovered he and Breit made an exquisite sonic alloy. Luckily for
us, they got into the studio mere months later, resulting in this exquisite album.
Their styles are a union of opposites. Manx has an atmospheric, detached quality
touched by Indian music. His music has the gift of flight. From Breit we are taken
down, inside and into a world of whiskey in a Mason jar and down home blues. Breit
also delivers exquisite mandolin on this album. In the blended result it is Manx’s
style, unexpectedly, that comes through the most. Jubilee is a laid-back
album that gently rolls forward from track to track like drifting downriver on
a warm, sunny day. (4.5)
<
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Bob Holroyd
Without Within
Subtle, relaxing ethereal electronica is the fare here on this album from Bob
Holroyd. Holroyd offers a formula of relaxed beat music making a canvas for impressionistic
inclusions of ethnic sounds. In this, Holroyd has a large, and admitted, debt
to Peter Gabriel. Holroyd pays homage to the master with the album’s strongest
track, an excellent rendition of “Games Without Frontiers”. The criminally underrated
Happy Rhodes does an excellent job here singing the verses made famous by Kate
Bush. (3)
<
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Värttinä
Iki
Led by a female trio of vocalists, this Finnish ensemble celebrates their 20th
anniversary with Iki. “Iki” is the “primal, eternal breath” and this album
celebrates that sacred respiration by focusing on songs full of intertwined melody
lines and minimally supported by acoustic folk instrumentation. Some songs, like
“The Blacksmith’s Son”, offer a deep, indulgent beat and jazz feel. The group
continues to evolve over time and still features vocalist Mari Kaasinen. The album
also features producer Janne Haavisto, known for previously successful collaboration
with the large, Nordic folk ensemble in ’90s albums such as Aitara and
Kokko. (4)
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Tomorrow Waits
Vintage equipment and an affectation for ’60s pop give Silent Kids a penchant
for catchy, uplifting psychedelic pop. They use their formula for not only creating
the music but in recording it also. This hip and rugged sound came from analog
eight-track recordings made at band members’ homes. The group dresses up their
lo-fi indie rock with Moog, tape loops and samples. This building up of instrumentation
makes for a vintage-sounding recording rich in texture. (3.5)
<
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David Darling
The Tao of Cello
Originally released in 1993 to only the most limited distribution, this is the
re-issue of Darling’s early masterpiece. The solo, instrumental cello pieces are
improvisations upon themes taken from the Tao Te Ching, an important work forming
the basis of Taoism. The warm, ambient sound was recorded in a Connecticut barn.
Just reading the titles is relaxing and reflective; “Just Do What Needs To Be
Done”, “Yield and Overcome” and “Knowing Others is Wisdom” being some of the titles.
Darling’s short improvisational pieces further enhance the contemplative nature.
(4.5)
<
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Linda Draper
Patchwork
Linda Draper
Producer Kramer (Urge Overkill, Galaxie 500) opted for an understated, unadorned
sound for the simple, basic songs of anti-folk singer-songwriter Linda Draper.
This works very well for Linda, who has clear and uncluttered delivery that needs
no extra help. Her quickly strummed but hardly stated chords snap along with a
regular, locomotion rhythm. This percolating guitar work removes anything haunting
from these sparse songs, making them instead brightly delivered, witty observations
from a former church choir soloist. (4)
Tangiers
Hot New Spirits
Toronto’s Tangiers has a quivering, quavering delivery for Richard Hell-inspired
punk rock. A harmonica-like blast that could be keyboards on “Keep the Living
Bodies Warm” is one of the tricks Tangiers does to keep the music fresh. “Here
Come the Pieces” is like The Buzzcocks through a Goth-rock lens. More on the variety
front occurs in “Return to the Ship” which varies from cooing ooh-ooh vocals to
a frantic explosion of verses from the lead singer. This is somewhat of an unexpected
direction of the quartet. Drummer Marco Moniz is ex-Killer Elite, a garage rock
band, and the other three members come from The Deadly Snakes, another T-town
garage band, but with a Southern feel. The keyboard cleans up the sound and
makes the album a post-punk power pop throwback, and a very good one at that.
(3.5)
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The Cinch
The Cinch
This five-song CD EP is full of energy and punch. The female voices sharing vocals
add diversity to the songs as the arrangements change. The bright, full-sounding
indie rock of “Once a Week” precedes a song of spurned attraction that varies
from indie pop to, once again, the full-throttle guitar approach. The two-guitar
band provides four originals and a cover of Modern Lovers’ “She Cracked”. Packing
their sound full of distorted guitars to juxtapose against the bright, perky ladies
singing, this group hails from Vancouver. (3.5)
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Off the Charts
The Briefs is a pogoing time machine, using their original music to take us back
to an early punk sound that was about fun, the energy of wild youth, skinny ties
and outrageous sunglasses. The music bounces with the feel of “Banned from the
Pub” and rings anthemic like 999’s “Homicide”. Just as those songs are packaged
on endless punk-era retrospectives, so do songs on this album like “Outer Space
Doesn’t Care About You” and “(Looking Through) Gary Glitters Eyes” also define
that vibe and would fit just as nicely on those compilations. (4)
<
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Blackmore’s Night
Past Times with Good Company
This double-CD live album includes Ritchie Blackmore’s renaissance-flavored band
doing not only the mighty minstrel thing, but also Deep Purple (“Soldier of Fortune”)
and Rainbow (“16th Century Greensleeves”) tracks. Vocalist Candice Night does
an excellent job sweetly and distinctly leading the group through this varied
material. The turbo-charged folk melodies are in no way devoid of their rustic
charm or simple elegance, though each is briskly and boldly delivered as any Deep
Purple arena rock anthem. The material was recorded May 2002 in Groningen, The
Netherlands. The instrumentation features much traditional tools, like recorder
and shawm. Besides electric and acoustic guitars, Blackmore also plays mandolin,
mandola and more. (4)
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Nineteen Forty-Five
I Saw a Bright Light
Hunter Manasco sings his lines like a husky folk-country singer-songwriter and
sometimes he screams like an angry punk. Katharine McElroy weaves in her vocals
that mollify the blend, the triple sec in this indie rock cocktail. The trio arrangement
lends a rugged simplicity to the simplicity. This was also echoed in the recording
on vintage equipment in the band’s basement studio. Beside the noisy indie pop
recalling The Pixies, some tracks like the melancholy “Someday I’ll End It All”
have a fragile, folk-like beauty that suggests the K Records sound and bands like
The Microphones. (3.5)
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S PRCSS
MNML
S PRCSS (S Process) offers noisy but melodic art rock that sometimes waxes spacey.
“Hi-Yah is a Karate Chop” recalls Syd Barrett’s Pink Floyd in the intro. Vocalist/guitarist
Bob Doto sites Sonic Youth as a major influence. When drummer Daneil Mazone leads
a song (“Spring Garden Drive-By”) there are clockwork rhythms and near-rap vocals.
All this variety and texture makes for something that it is hardly minimal. (3.5)
<
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Your Free Gift
Brightly and precisely produced, this shining gem of an album showcases well the
upbeat songwriting of David Clement. It was a New York visit from his high school
classmate Liz Phair that prompted Clement to get serious about music and set about
recording. After building a solo career, Clement now works with a band and attracted
some serious talent for this album. Chris Cochrane (Suck Pretty, No Safety), Marc
Ribot and even Rob Bailey (Anastacia, Cyndi Lauper, Lisa Lisa) all are on hand
to handle guitars. Drumming is split between Richard Dworkin (Alex Chilton) and
Marty Beller (They Might Be Giants, The Negro Problem). In all that, Clement was
tangled in legal difficulty with this Hard Candy release on Mercury. Impressive
to Liz Phair and subsumed into a sought-after bootleg, the content sees new light.
Unable to use the original recordings, Clement re-recorded 12 of the 14 songs
on the album here available as the peerless and inimitable classic
of excellent songs: Your Free Gift. (4.5)
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Rotary Downs
Long After the Thrill
Static on Vinyl
Easley/McCain Studio on Deadrick Street is just south of midtown Memphis. The
room at Easley/McCain has a warm sound and the studio uses analog tape and vintage
microphones. Rotary Downs showed up to capture an intimate sound for their small,
closely worked songs featuring appearances by pedal steel, viola and piano as
well as Moog, Mellotron and Wurlitzer. Rotary Downs calls this focused approach being vintage without being blurry “mid-fi.” The group hails from New Orleans,
but seems unaffected by the Crescent City’s musical traditions. This indie rock
band ready for your favorite college stations must be an anomaly in their hometown.
Wherever they got their inspiration, they chose wisely and crafted exquisite songs
with such lyrics of vivid metaphor as “In a cold squall at the sea wall/Every
sea gull was a sym-bol” (“Hole in the Heart of Bama”). (4.5)
