If there is one word to describe this latest outing from Kim Salmon, with its droning rumbles, hazy distortion, and proto-punk vibe, it is “menacing”. This is an album you apologize to, maybe buy it a drink to be safe.
As individuals, Jay Som and Palehound each have their musical quirks and unique style. Together as Bachelor they plot a strange new course through the realm of dream pop.
Uwe Schmidt has had an extensive career, recording under many names as electronic musicians do, but it's his work as Señor Coconut (and now as Atom™), where he deconstructs familiar songs into something Kraftwerk would play if hired to play a quinceañera, that brings me this very particular weird glee.
The new mixes are nice and clean, but the real treasure here is the extra material, alternate takes and mixes and even some jams, that provides an intimate snapshot into the creative maelstrom that was this explosively inventive foursome.
The Ghoulies from Perth, Australia look like regular blokes caught out grocery shopping, but the sound they make is an urgent, insistent punk rock howl with a frenetic keyboard bubbling through.
The original “Crimson and Clover” was Tommy James and the Shondells' biggest hit, but it was also one of the first songs to be recorded on 16 track equipment, and is a textbook example on the use (or overuse) of rhythmic tremolo. Pom Pom Squad does a good job of channeling the song's sweet yet feral vibe.
I will let you in on a secret weakness: a band like The Rare Occasions can seize control of my playlist just by showing up with a surplus of pop hooks and grade AAA harmonies.
Australian Ben Lee broke through as the singer for the teen outfit Noise Addict, but has since made quite a solo career for himself. He kicks off this edition of Version Control — all covers, all night long.
The Weatherman returns and takes prominence on this latest sound art foray, taking on the intersection of the surveillance apparatus and our insatiable need to have machines listening for our latest whim.
If you love Neil Young as much as Scott McCaughey does, you’ll be able to grin at yourself on recognizing each and every one of these deep, deep cuts, delivered in McCaughey’s enthusiastic yelp rather than Young’s grizzled whine.
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