Saturday, March 31, 2007



I am presently at work, sitting up in the booth of sound at the horrid pit of faux-humanity that I sell my soul to for a above market price. They just installed public wifi here and I am fucking taking full advantage of it.

Well.. I just stumbled across this...

At the last record show I picked up a copy of Wildfire 'Smokin' from the mighty Paul 'O Athens, the man who has, or can get, every record you want. It is never cheap, as he has got the best shit at the show PERIOD and knows we want it.
The coolest thing about him, aside from his great taste, is that he will put on ANYTHING and often pulls out stuff you have never heard and demands you hear it. It's the sort of ACTUAL excitement you rarely get from dudes who deal in such rare records, aside from the late, amazing, and soooooo fucking mised Ken Stone.
Wildfire was one of those records that he said " I had to hear" and he was right.
Apparently only 5 copies of it have ever been unearthed, all in plain white sleeves with the band's name and the title written on them. One of Paul's friends found a copy and eventually pressed a limited to 500 re-issue in '96, which is what I purchased.
Fucking killer power trio guitar jamz and its on CD now... and rockadrome has it.
But if you look here you can download it.

The '96 re-issue LP has a very simple sleeve, as at the time nobody had been able to dig up much info on who the members of the band were, etc... so I was absolutely amazed to see that picture of the band as they look absolutely fucking amazing.
Peep that fist waving in the air, the glorious goofy grin, the 'merican flag, and just the pure fucking REALNESS that it encapsulates.

That picutre is what we all wish it looked like when TOTH play.
I think only Matt Miner could pull off that grin...



Unless you happen to be Jason R. Womeldorph sweatpants and/or flip-flops are COMPLETELY FUCKING UNACCEPTABLE ATTIRE ANYWHERE!

Friday, March 30, 2007

Dearest America:

I apologize for my lack of recent entries, but I have had laptop vs internet issues as of late. They appear, for now, to be fixed so as to allow me to resume attacking your senses with useless information.

So lets begin!

I do not believe that there are many records recorded and mixed better than the orange self-titled Grand Funk LP. Much like the cover the bass is to focal point of the mix and it is absolute PERFECTION. The sound of a cranked tube amp clipping and rounding the Fender Jazz Bass attacking it into square waves then panned hard left. The guitar and drums are fantastic too, but SERIOUSLY listen to the fucking bass sound on this record on record, as I am sure (like the early yes re-masters) that they toned the gnarly on the bass down a bit.

The Mops have been making me very very happy as of late. They are regarded as Japan's 1st psychedelic rock band and released this one killer fucking LP in 1967. Apparently it was impossible to get acid in Japan at the time and so in order to try to achieve a 'higher state of being' they would blindfold themselves and flash strobe lights in their eyes until they had achieved the desired effect. That fact alone makes the record with checking out, as that is serious dedication to the psychedelic experience. The LP is the typical mix of covers and originals one would expect, but the covers are fairly amazing in that they were songs that had barely had time to make their way to Japan. The version of "Somebody to Love" is fucking unreal, but the real gem is their cover of "Inside Looking Out," which sounds less like the Animals original version and more like... oh the cover that Grand Funk does on the orange self-titled LP. Seriously, play them back to back. The originals are killer and sung in their native tongue. Thanks to Kyle for putting this on in the store for me so I could give it a listen.

In other news...
The FRDM! record is coming along... we got a practice space in downtown c'bus and are in the midst of FINALLY get what I have in my head to tape and should be playing shows by... may-ish, or so I hope... but you don't come here to read about that...

100% pro-d00m!
dig it!

Monday, March 19, 2007



I did a post about the voyage to SXSW o'er at the new dark ages SXSW blog and then continued to not post a gawdamn thing after that... ooops...

Instead, however, of doing some day by day logical sort of re-cap or overview I am merely going to make a list... yes a fucking list.


1. 2 days in a van sucks. Even if the van is nice and you have your own bench seat. It still sucks. Sitting still sucks. The desert does rule though, everybody knows that.

2. My tolerance and ability to drink has nearly doubled (thank you free drinks, I heart thee) over the last few drink. I flat out cannot believe the volume of alcohol I consumed on Saturday. I thank you various corporations and magazines whom want to see 'FUCKING COOL' so you will spend as much money on my worthless generation as you can so as to get their money (read parents money mostly) as quickly as you can. Product placement rules! Lets go drink So Co in our Levis! PS: I am not bitchin' I saw Vietnam and Redman back to back on their tab.

3. Seeing this:

4. Kevin J. Elliott is a great dude to talk to when you have no idea what show to go to. He will know where to go, and in case of the rare time(s) he doesn't... well then he will join you for a drink.

5. Times New Viking were fucking amazing and it was great to freakout with friends from Columbus whilest they played. PS: How did pitchfork know we were all from Columbus? WTF BRO!

6. Entrance / TOTH / Earthless back-to-fucking-back! I haven't seen Guy (play live) since he went electric and he fucking ripped. The record was solid.. but fucking hell were they great. TOTH melted off my face as per usual, which I fucking neeeeeeeded desperately. Haven't seen any true metal since I left Ohio. Ending with Earthless! FUCK! Seeing Mario play drums in person and did anybody else notice how they miced his drums? WTF! The bonus at this show was bro-ing down with even more Columbus dudes. I remembered why I loved Columbus.

7. Talking to LA dudes about Columbus.

8. Talking to Columbus dudes about LA.

9. Being let down by the Portland / San Fransisco bands I *DID* manage to see.

10. This.

11. Missing most of what I actually cared about because I was busy having fun.

12. I am not good at being interviewed.

13. Etc etc...

So my moms lives in Austin and picked me up at the hotel on Sunday to stay for a few days and on the way home I ask to stop at the Half-Price Books near her house (in some weird suburb north of town) for no specific reason. Well what the fuck do I find but... A COPY OF 'MEDUSA' by TRAPEZE!
I almost paid (arguably) wayyyy to much for it at the last record show, but I scored a copy for 14 bucks. This blew my mind.
If you haven't heard this record download it now... you know how to find it. I will do a big review of it when I get back to Columbus tomorrow.

Finally to top off my 'lil trip to Austin, I got to see a showing of a restored 35mm print of El Topo this evening... with my Mom. Needless to say it was a great fucking close to a hell of a week.

I am still tired.

Tomorrow I return to Columbus after a month of adventure.

Monday, March 12, 2007


So yeah...
In the morning I am climbing aboard a van and heading (like every asshole in america) to Austin for SXSW.
Since this is the biggest topic presently in rockblog I thought I would inform you of where I will be.

All of these shows are with sea wolf

---------- --- --- --- -

3-5pm - Daytrotter (recording for internet site)
8pm - Official SXSW showcase - Blender Bar at the Ritz, 320 E. 6th St

5:35pm Set time - Dangerbird Party @ Mother Egan's, 715 W. 6th St

2:30pm - Set time (Hot Freaks party) @ The Mohawk, 912 Red River St

---------- --- --- --- -

So yeah, c'mon c'mon and come out if you can.
Blah blah blah blah...

In other news.
I am going to bed.

Saturday, March 10, 2007


I found these for you.
Outsider fantasy art, aka the next big thing.

And while we are looking at amazing things...

PS: SOCMZ put up some new tracks today and they fucking rip... get turned on at

Friday, March 9, 2007

Check out this killer fucking writeup for the Plastic Crimewave Sound show tonight in Cleveland at Pat's. Take a minute to read it, as its some of the best music writing I have read in awhile. Steve Krakow has a fucking Doors tattoo! "I maybe gave them up for like 10 years. Then I read that [underground Japanese guitarist] Keiji Haino was once in a Doors cover band. Those first two albums are perfect."
Its a solid read. Do it.

I found myself desperately wanting to hear ZZ Top's "Master of Sparks" last night circa 2AM. My records are back in Ohio presently, and so I got on ye olden soulseek and proceeded to procure a copy of Tres Hombres.
A few minutes later, after hitting play, I fucking remembered that the ENTIRE ZZ Top back catalog got 'remixed' in '87. And by 'remixed' I mean FUCKING SLAUGHTERED! The last thing the endless boogie of '70s Top needs is fucking gated reverb.
Luckily a lil' bit of hunting and I found some vinyl rips and discovered that last year they re-mastered (aka not remixed) Tres Hombres and and Fandango, but the fact that they did the remix in the first place is appalling.
I just wanted to jam 'em shits on my ipod whilest rollin' through the deserts of texas.
Give a dude a break.

Wednesday, March 7, 2007


Dearest Vetrans of the Time Wars:

Y'know how sometimes you sort of 'forget' about a record or band for a moment...
Often they are the ones that help you get from point a to point b. The ones whose work helps to connect where you started and where you are now. When I first heard Magma in 8th grade I couldn't make any sense of it, but I saved the mix tape that contained that song (as well as "Fools Gold" by Spring, which after losing the track list I spent YEARS trying to figure out who the fuck that song was by) and every few years would dig it out and listen wondering if I could make sense of what was coming out of the speakers. Eventually I did make sense of what Christian Vander was trying to tell me, but it took time. I needed audio gateway drugs.
This post, however, is not about Magma (although I could ramble about that band for days) it's about the criminally un-hyped work of Agitation Free!

As many of you know, a few short years ago I was bordering on being completely obsessed with the unique flavor that was Deutschland Pink Floyds, esp the commune living variety. Today, while sitting on the couch digging through the archive on my laptop I remembered how much I have neglected some of those bands as I dug for even more and more obscure (and often worse) bands, recordings, etc. I think most of us in total fucking nerdland have this problem, as you dig you sometimes loose track of some of the steps along the way. You never forget the first stone you stepped on but you do lose contact with some of the other stones you step on from time to time. Agitation Free's "2nd" re-blew my mind today.

In Austin there was a lil' store by the name of 33 Degrees that I would attempt to get to as soon as I got to that fair city. It was fucking amazing and Sound on Sound stole a LOT of ideas from it. Probably the biggest idea that i borrowed from 33D was that everything was open; however, another idea that I yanked from their clutches (and some of you may not remember) was having separate prog, psych, and krautrock sections. One must rember that before our modern tymmes, before easy obscure-o file sharing and blog posting, you had zero fucking ways to hear the sounds of these records, which made this open product philosophy the most amazing concept I had seen in years. You must also remember that other than ordering a 30 dollar import CD from Forced Exposure, as NOBODY in Columbus was stocking 'em, you had NO way to hear anything new of this ilk. You could read review after review, typically only referencing other bands that you hadn't heard (yet) and hope that the reviewer knew his/her shit and was on point and order it, hoping for the best. I can't even imagine how hard it was to dig for and hear these jams pre-internet.
Anyway, what made going into 33D so amazing was basically that I could just walk inside, dig, put headphones on, and learn. I owe whomever was ordering for them a hundred handjobs, as they somehow had EXACTLY just what I was hunting to hear the sound of. Gawdamn I'm now way off track, as I am not here to eulogise (yup, they closed a few years later) 33D.

Upon one of my many voyages inside 33D I picked up the Garden of Delights CD re-issue of Agitation Free's "Malesch", based on the fact that it was on Garden (who had put out the XHOL re-issue that fucking split my head in half, shoving me down the path Tago Mago had led me to the gate of) and had a fucking pyramid on the cover. In case you are not aware of it: no one has ever made a bad record with a pyramid on the cover. Its just a fucking fact, dude.

Over the next couple weeks I read the liner notes over and over and just because fascinated by this band. The idea of a band going to Egypt and it playing some huge role in influencing the sound of the record they were about to work on is completely idealistic and romantic. The claim that the record I held in my hands was in fact just that was too hard not to add to the record (ie: whoa dude, rock mytholigy). Factor into this 'mythology' that I was just learning about all the hippie squats and communes of Europe that helped to feed and enable (what would become) my favorite artists to make music so far out and outside the realm of commercial viability (ie: underground music has existed since music itself). The idea of existing in this group setting basically as a means to play music constantly and that all their energy went into that was the most inspiring thing to me at the time and still fucking is. At the time I was living with 7-9 people in a shitty house (although we were increasing its shitty-ness tenfold on a daily basis through our various antics) and in my mind we were inches from being a house as a commune. Which is probably nowhere close to true, but I was always stoned and people were living in vans (ok not people, just BJ) behind our house so it definitely had that sort of vibe to it, more so than a typical 'punk house' does. Then again I lived with Lazer and was high more or less constantly, so maybe my memory is blurry.

Over the following months following that trip to 33D I hunted furiously to get every second of audio I could by Agitation Free, and I was blown away more and more with each record I scored. The fact that "Malesch" wasn't a fluke, or even the obvious high point of their discography (which they don't really have, in my opinion) was mind blowing. To find out that it was part of a body of work that is this consistent was unreal, it's amongst the hardest things to find (or create). Look at Guru Guru, they turned to absolute shit when they learned how to play too well. The fact that Agitation Free managed to make 4 solid records WITH line-up changes is fucking impressive, period.

Sadly, in the grand scheme of history Agitation Free are often seen as more of a farm team than as artists in their own right, since members ended up in such units as Tangerine Dream, Ash Ra Tempel, and Guru Guru. This, sadly, does a great injustice to how fucking good Agitation Free actually are in their own right.

For as free as they are (or can be) there is considerably better musicianship than in most other improv rock bands. At no point do they sound on the verge of collapse unless intentionally so, yet they can still space and free out and up pefectly. Their synthesizer work! Gawdamn! It's flat out perfection! Overflowing with actually unique sounds and fitting perfectly into the compositions and never overtly flashy even when its the focus. Why do you not hear more people raving about this band!

You owe it to yourself, right now, to listen to 'Through the Moods' from "At the Cliffs of River Rhineand hear a band that knows exactly what the fuck it's doing and how fucking cool synthesizers can be. If that isn't enough to make you shit your pants then listen to 'Haunted Island' from "2nd" and unleash a heavy monster of a closing track, not to mention that the filtered vocals are absolutely brilliant.
Note: If you want to ever get me to give your record a good review do this trick, I am a sucker for it. Period. Check out the spot on the Orang-Utan LP where they do it.

There is an amazingly detailed history of the band on their website (seriously more bands need to write their history with this level of detail) that you should go check out:

Go listen to 'em, now.

Dig, digging, dug.


I am tired (again) and it is late... so this shall be a quick one.

Here is a lil' somethin' somethin' for yalz:

I changed up the 'look' a little bit. Enjoy, fellow art school dropouts.

If you have watched any episodes of the Mighty Boosh yet then go to fucking youtube now and watch ANY of them. If you are nerdy enough to spend your time reading bullshit drivel like mine then you are certainly nerdy enough to watch this. Its killer fucking comedy from the UK in a very classic sense but through the eyes of guys who make jokes about Brian Ferry, sub-genres of jazz, and familiars. Watch it. Now!

I found the most perfect fucking home ever and I want to live in it.

Fucking Laurel Canyon.

I am going to bed.

Expect some big write up about XHOL and Wolfgang Dauner soon, so go ahead and listen to some of their shit now so we can be on the same page when I post it.

Get on America!

Sunday, March 4, 2007


So I just got back to LA... and I am fucking completely beat. This weekend marked my first two shows with Sea Wolf and it fucking nuts, at least to me, for a number of reasons (none of which involved high levels of liquor, drugs, or wizardry).

Here are a few:
1. It's weird being in a van with people I barely know for seven hours (which has happened twice already and in exactly a week I will be in the van for fucking 24 hours to make it to Austin). To state the obvious, the vibe is completely different than being in the van with your closest friends in the world. It is not bad AT ALL, just completely different than what I am used to.
2. Dressing rooms are weird. Esp when there are multiple dressing rooms. Period. The only thing that made the dressing room at the Troubadour cool was the fact that Don Henley has almost assuredly done coke there.
3. I am not afraid to admit that having a guitar strapped to my body is basically my safety net. It feels absolutely and totally fucking weird to be on stage and not have that comfort zone AT ALL.
4. San Fransisco looks like NYC on acid. SRSLY!
5. Being given money on which to eat, instead of cooking beans over a camping stove by the side of the highway next to a broken down van, is absolutely fucking weird. If this continues I think I will still find a need and/or desire for occasional homeless style meals, as some of my fondest memories of BTDATDBS tours are the moments where we might as well been bindle toting hobos. Such magnificent times as when we would cok beans and faux hot dogs in a public park while Greg slept under the trees. Often this would lead to even more misadventures, such as Jason and i wondering around which ended in us either gambling or getting lost in a graveyard that somehow the forest led us to.
6. Clinic are old. I saw them without the masks. They are old. Make no mistake. They could be your dad, or at least his BFF.

More will be revealed in time.

In other news...

While listening to headphones I came to the realization that Human Instinct's "Stoned Guitar" might be a tad over-rated. I am, by no means, saying its not fucking awesome. I am, however, saying its not totally fucking awesome. Yes I agree, 'Black Sally' is a great fucking song, the freak-out moments are great, the wah-wah work is fucking spot on, and the feedback on the title track is fucking gnarly BUT the garage cream jamming gets a little old... it's neither amateur enough to be riveting nor good (but bad) enough to be inspiring.. its just kinda limp. DO NOT get me wrong AT ALL it's a great rare early hard rock LP but I think it's mythic status is a bit overwrought simple because the record IS FUCKING TITLED STONED GUITAR!
I really do have a weak spot for garage cream jamming (seriously dude come over we'll get high and do some shitty cream jamming but I get to be Ginger, sorry thats just how it goes BUT if you plan on being Clapton at least have the decency to buy this before you come over), but this just doesn't seem all that inspired really. It sounds more like they are wearing the style of the time without setting into it properly, or maybe they were just too stoned (or their guitar was, get it! ha! motherfucking jokes, son!) to pull it off.
I think the cover sort of does a good at illustrating whats inside, as just like the record itself the cover has a lot of good ideas BUT just kinda falls a little flat. The warped monotone guitar is brilliant, the landscape painting, the typography beautiful, but when it is all put together it looks kinda shitty (but still kinda awesome) and I don't know exactly why... JUST LIKE THE RECORD INSIDE! WHOA!
Sorry if I just shit in your favorite sandwich, brah.

I am ending this transmission now, as the episode of Star Trek with KHAN is on TV right now and he totally just grabbed some girls ass, so y'allz can fuck off.

Friday, March 2, 2007



Are you NOT on drugs? :
Are you NOT on drugs? The band known as 'Explosions in the Sky' are amongst the biggest farces in the world of 'art rock' ever. SRSLY! Get the fuck over it. They got no fucking soul. I have been bitching about this for YEARS so it will come as no shock to most of you but come the fuck on people but I REFUSE to believe that anybody can take this band seriously, seriously.
PS -- way to be making 'jock jams' bros!

I know me saying that is a bit redundant but every time they push a new piece of shit onto the world I get livid seeing ads and reviews everywhere. Plus Temporary Residence usually puts out quality quality jams.

In other news I have been listening to the Mainliner "Mellow Out" disc constantly.

There is no need for me to write anything about this...
Mr Cope already did so here.
And he is better at being verbose than I, so just read his rant.

I plan on spending some time with headphones on in the back of the van digging through some new stuff tomorrow en route to SF, so expect some new text soon.

Piano Tymme.