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Random Stabbings 18b

img  Tobias

Innovaders “Acid Reign” (Hydra Head records)
Okay, we can do this the hard way or the harder way. The hard way involves throwing around a bunch of half-baked, bleary eyed descriptives like “slo-mo Black and Decker fruit-flavored E-party gumdrops” that won’t fool anyone who’s ever heard acid house before, or we could do it the even-worse way, through comparisons to bands 99% of the citizenry’s never heard of. Or we could do neither, since what’s going on here is the rehabilitation of a worthwhile anachronism, cheeseball Linndrums overdecorated with kaleidoscopic Atari fractals that are ingeniously complex on paper but simple and pretty in practice.  Innovaders have breathed new life into the New York dance scene to hear their press detail tell it, but regardless of where you’re listening to this stuff it’s electronic comfort food. Order from Metal Postcard (click on the Paypal button below the Innovaders blurb)

Greg Chako “Two’s Company, Three’s a Crowd – Jazz Duets” (self-released)
Chako’s an American jazz guitarist who’s spent a lot of time in Japan, and two of the natives with whom he hooked up there are pianists Homei Matsumoto and Hiroshi Tanaka, both of whom have little difficulty keeping pace with Chako’s meandering and often melancholy ideas (Martino/Brighetti’s “Estate” gets a real bringdown treatment here). The tracks with Matsumoto – generally lighter and more romance-friendly – were recorded at a live Japanese club possessed of better acoustics than what many jazz bums get in the studio. Andrea Hopkins lends her Baptist soprano to seven tracks that move along breezily, most endearingly so on “Almost Like Being In Love.” Order from Greg Chako

Various Artists “International DeeJay Gigolos CD 9” (Gigolo Records)
When last we left DJ Hell he’d released the GroBenwahn comp, a dark, brooding mix of lo-fi anti-house tuneage. Here he’s no less weirder but a little more genial, compiling a 2-CD set of eminently danceable tracks beginning with his own reupholstering of Felix Da Housecat’s “Jack Your Body” featuring a breathy just-gone-done-with-the-porn-shoot vocal from Diddy. The space shuttle lifts off next with M.A.N.D.Y.’s remix of the Fischerspooner classic “Just Let Go,” followed by Miss Kittin’s usual sexually ambivalent mash notes fused to a bouncy Pacman line from the Hacker (“1982”). Hell hooks up with Grace Jones in the Berlin mix of “I’ve Seen That Face Before” to drive home a reminder that it’s always more fun clubbing with Eurotrash. Order from Gigolo Records

Scissors For Lefty “Underhanded Romance”
(Rough Trade)
For some reason Rough Trade appears to be hedging bets as far as unleashing San Fran’s Scissors For Lefty on their potential US audience; this is available pretty much anywhere but, which probably suits the limeys and their unapologetic fetish for quirkpop just fine. These guys can’t be totally pinned down on the strength of this 4-song EP, which is all US press is being provided, but they’re definitely nu-mods going at it by way of old Madness records and anything else that has the stench of ska barely concealed beneath the aroma of Turkish cigarettes in what amounts to an NME fire sale. If you’re not looking for anything serious you’ve certainly found it, in thanks in no small part to the kazoo sounds pinched from the brothers Garza’s guitars in “Lay Down Your Weapons,” which goes on to indulge in falsetto ooh-ohh-oohs that fans of Gilligan’s Island might find wryly amusing. Bryan Garza has a lot of Ray Davies in his voice, which might explain the piss-take-ness of it all, and there’s enough lo-tech here to fill up a Cabaret Voltaire album.
Order from

Bound Stems “Appreciation Night” (Flameshovel Records)
Depending on your point of view, what’s disappointing (or conversely not) about this is how identical to  Arcade Fire this is – Bobby Gallivan’s sloppy tongue barely contains itself in his mouth as he blathers his lyrics, and his accompaniment is pretty much like what you’d expect from a mothballed idea of the Flaming Lips’. Hammy theatrical displays, captivating guitar lines and herky-jerky soft-shoe routines abound, all of it kept somewhat in line by the cordial and oddly sexy vocals of Janie Porche. A few nods to Tortoise, too, such as in the ramp-up to “At What Point Did You Stop Believing Me,” but that’s only one part of a patchwork that comes off as a Rainman-esque rattling-off of pretty much any band to whom they’ve ever exposed themselves. Order from

Outraged ranting, indie label release news and spaghetti sauce recipes are always welcome.  Email

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